Conference napalm::commusic_v1

>    ANYONE ELSE HAVEING ANY ESQ-1 PROBLEMS ??????

	I haven't had any ESQ-1 problems. 

	Does it do it every time you power up? Or, for that matter, does it do
it every time?  If you're in a different menu (SEQ) do the buttons still
misbehave? 
    

    
    I'm thinking of becoming one the many happey owners of an ESQ-1.
    I've only had a limited amount of time playing with it, and I'm
    very impressed with the sounds, and with the keyboard. I'd like
    to ask you more experienced user's a few questions:
    
    1. How does it measure up as a live performance keyboard. Is it
    relatively easy to change sounds midstream in a tune?
    
    2. How hard is it to leatn how to program. I noticed it does come
    with a pretty beefy manual.
    
    3. What exactly can be stored? Can you store a layered sound? And
    can you store a split sound (split keyboard, that is)? And can you
    store a split, layered sound? 
    
    4. If split & layered sounds cannot be stored, how quickly can they
    be created from other presets? In other words, would I be able to
    switch from a full keyboard sound to a split sound in the middle
    of a tune?
    
    5. The bottom line: how much does it cost?
    
    Thanks for any help you can give me.

    re .1
    
    The buttons act funny in all menues. It is always the same buttons
    too. I forgot to mention that I did get it to work once by turning
    the power on and of about n times. This method however hasen't worked
    since. If it is a software problem, is there any way to do a complete
    reboot ? If it is a hardware problem, ummmmmmmmm ????
    
    thanks for the replies
    
      Frank
    

    re .2
    
    1) changing from sound to sound in a live performance is done
    almost instantly ( 2 button presses max for internaly stored
    and 3 for EEprom storage.)
    
    2) it programs very much like traditional analog synths
    i.e.  waveforms ( 32 to choose from) oscillators, amplifiers,
    filter etc. it is not the 6 operator nightmare of the DX7.
    The better part of the manual is dedicated towards the ESQ-1's
    8 track sequencer which is very powerful.
    
    3) you can create split or layered or split-layered and save the
    program just like you would for a single sound. therefore,
    press a two buttons and you go from brass to a piano-string
    layer with a slap bass split !
    
    Frank.

    I've got some questions concerning the sequencer on the ESQ-1. 
    How many songs can you store on board at a time?
    Can you use the RAM cartridge to store sequences, or is the only
    way of storing sequences externally via a hookup to the disk drive
    of a mirage?
    
    In other words, could I use the ESQ-1 to sequence a whole evening's
    worth of material without getting a mirage also?
    
    	Ron

    re .4
    
    Thanks for the info - how 'bout the price tag? Is this miracle machine
    affordable? I heard it was going for a hard to believe $1300!
    

    As far as I'm aware, the only way to save sequences is
     1- to tape
     2- to Mirage disk
     3- on the sequencer expander cartridge which merely gives you more
        sequencer memory - 10,000 events. Its not easily exchangable
        since it initialises all sequencer memory when you fit it +
        you still only get 30 sequences 10 songs.
    
    
    As far as problems go I havn't really had any - other than sometimes
    a menu 'jams' up. Switching off and on again instantly clears the
    problem.
    
    The 'Chunky' manual may be big but I don't think it's very *good*
    
    After living with the synth a while, I have become very unhappy
    with the preset sounds. I just don't think they are *that* good
    anymore. Although I admit I am inexperienced with Polysynths I find
    it quite difficult getting sounds that are any better myself.
    
    Finally though it is excellent value for money - 1225 pounds in the
    UK ( if you can find one that is) . 
    
    Andrew

    yep, list price is around $1395 US bucks. I lucked out and bought
    mine USED ! If you live in the New England area, keep track of the
    Want ADvertiser. There are lots of good deals if you read through
    each ad. i.e. I found the ESQ-1 buried in a long paragraph for an
    ad for a TR-707. 
    
    Frank

    My friend has an ESQ-1 which he's very happy with. The first one
    he got had a bad power supply and had to be returned. This on eworks
    very well, but is sensitive to static electicity. It will jump to
    another menu page if you are charged and touch the casing. The "flakey"
    buttons described in previous notes sound like a hardware propblem
    to me, take it back for repairs.
    
    Regarding the sequencer storage - you get (with the expander cartridge)
    10,000 notes to use in 30 sequences, which can be combined into
    10 songs. This might be pretty close to enough for a set of music,
    if some of your pieces just use simple sequences and not full blown
    song structures.
    
    Rob

    
    	Duh, dunno if I should venture a guess on the problem in .0,
    might as well.   I am *NOT* familiar with the instrument, so this
    is a sweeping generalization about a place that may be worth a check.
    
    	Does it have any non volatile memory ?  i.e. can you make settings,
    store sequences, etc., then pull the power cord out of the wall
    and truck it off to a gig ?   If so then it will have some kind
    of a battery pack somewhere, and the symptoms you describe *COULD*
    be indicative of insufficient volts.
    
    	Reg
    

    re -1 The ESQ DOES have a battery - the user guide claims the software
    will give you an error message if it needs replacing ??
    
    
    

    re .10
    
    	Yes Reg, all programs and sequences are stored in 'nonvolatile'
    memory which is battery backed up. As for insufficient volts, well
    maybe but I would probably expect lots of other funnies to be
    happening if that were the case. I'm beginning to believe that it
    is a *yuck* hardware problem......
    
    thanks
    
    Frank

    	If anyone is interested I found the problem with my ESQ-1 with
    the help of Daddy's in Salem. Under the display there are two
    circuit boards sandwiched together (.25" maybe). One of the functions
    of these boards is to determine which button is pressed and process
    the switch closure. Pins from an IC from
     the upper board weren't cut properly
    and were sticking into the board below it !!! It took a few months
    of use before a pin broke through the shell of a disk capacitor.
    Replacing and repositioning of the cap, insulating tape and a pair
    of wire cutters did the trick.
    
    now, back to PLAYING the beast !!!!!

    
    	Foul !	I coulda told ya that was the problem if you'd published
    the circuit schematics, physical component layouts, assembly and
    manufacturing processes, q.c. sheets, etc.   You didn't give us
    pro troubleshooters a chance !
    
    	Reg
    

               How thoughtless of me !!!!
    8^)
    
     Frank

    I looked around here and in 584 but couldn't find the answer, so here
    goes ... 

    I know that it's supposedly easy to dump sequences/patches from the ESQ
    to a Mirage.  What if you don't have a Mirage?  Then how are patches /
    sequences stored?  Are we forced to use (gag) tape backup? Cartridges?
    Pencil and paper?

8^)

	re:16

	Tape...or pencil and paper.  Ensoniq also sells some add on gadget that
contains just the disk drive.  Don't know any more about it.

    Mail the ESQ-1 to me. I'll back up your patch and get the unit back
    to you within a month, I promise.
    
    Edd

    
    I have a quick very basic ESQ-1 question - can you change split
    the keyboard so you have, say, the top 3 octaves of a piano sound
    on the left side of the keyboard, and then the top 3 octaves of
    the synth sound on the right side?
    

    you can have a split with top 3 octaves of piano on bottom and top
    three octaves of a synth on top. you would have to go in to your
    piano program and just shift the octave parameter of the three
    oscillators up three ocataves and save this new program and use
    it in the new split program.....
    
    Frank

    
    Hi : Another ESQ-1 naive question - I've played with a friend's
    ESQ-1 a bit and I've had problems when layering and splitting at
    the same time. If there are two sounds layered on each side of a
    split, and I'm using the sustain pedal, some of the keys I hit do
    not sound. This is only hitting two keys at a time on each side,
    so I don't think it's because I'm trying to play too many notes
    at a time. Or could it be because between sustained notes and newly
    struck keys, there are too many notes?
    
    Any else had similar problems? I'm very seriously considering getting
    one of these babies, but I'm trying to check it out very thoroughly
    first. that'll be a first for me.
    
    				    Wayne Johnson

    
           Hi Wayne,
    The ESQ-1 is an 8-voice synth. If you have a split where the bottom
    is a layer and the top is also a layer, the max amount of notes
    that can be played is two on the bottom (2x2 voices= 4 voices) and
    likewise on the top ( 4 voices on the bottom + 4 voices on top =
    8 voices total....that's all that's available.) I've never tried
    your particular split/layer combination.
          If you have trouble with just 2 notes per half, I don't
    know what is wrong....I'll have to try this and see...
    
           good luck
    
           Frank
           

    re: .22
    
    Actually if you've got a split where the both the top and bottom
    are layered, you have somewhat more flexibility than 2 notes on
    the top and two on the bottom.
    
    It's more accurate to say that you can play 4 notes in any distribution
    between the top and the bottom.  (For example, you can play 3 on
    the bottom and one on the top.)
    
    	db

    
    
        ........weeeeeeell,..........yeah,......ok .. Dave.......
    I guess you're right.................!
    
    
                      "I like my ESQ-1"
                       \ /
                        |
                        |
                     :^) )
    
    
    Frank 
       

    I think I've discovered a problem with the ESQ-1:
    
    The ESQ-1 comes with a pitch bend wheel.  The function of the pitch
    bend wheel is not associated with the patch.  Its function is
    controlled by a parameters on the master setup page, and thus
    works the same way for all patches.
    
    One of the pitch bend wheel parameters that you can diddle is the
    range.  That is how much the pitch is altered.   According to the
    manual, the range setting is adjust by semi-tones.
    
    So far example, setting range to 1 means rotating the wheel all
    the way down (or up) will lower the pitch one semi-tone (C will
    get lowered to B for example).
    
    My band is doing a song that requires me to to bend a chord down
    a minor third which is 3 semi-tones (can anyone guess what song
    this is?  It was a big radio hit a year or so ago.).   I set the
    range parameter accordingly but to my dismay it bends down about
    3.5 semi-tones.   Do all ESQ-1's do this, or is this a bug in mine?
    
    The experiment to make is set range (i think thats what the parameter
    is called) to 3.  Then hit a C and turn the pitch bend wheel all
    the way down.  Release the wheel and then play an A.  What I want
    to know is if the bent C and the A play the same pitch.
    
    I'd really appreciate other people giving this a try and letting
    me know what they find.
    
    Or is it that I'm misunderstanding something?
    
    Needless to say, this isn't a major stopping problem.  I can of
    course stop the bend when I hear it hits the right pitch, but it
    would make it easier to perform if I could rely on just turning
    the wheel all the way and getting the right pitch.
    
    	db

    I'll bet the song is Heart's "These Dreams" (I was in a band that
    did it)
    
    	- Rick
    

    re: .25   I have it sequenced, if you're interested.
    	      It's recorded on an MC500 using 3 MIDI channels but
    	      can be copied real time to another sequencer.
    
    Dave

	Mine does the same thing.  Depending on your point of view it's
either a feature or a bug.  I can think of instances when you'd want to
be able to bend a little beyond the range then to the correct pitch
as a technique.  But you're right, it takes the mindlessness out of
pitch-bending.

    Am I hearing this right? There is only a *global* pitch bend range
    parameter? Can the PB be shut off for selected patches when doing
    splits and layers, or will everything bend simultaneously?
    
    Edd

    
    gee. I thought it was a cover of Beethoven's "5th".
    

    sigh.
    
    juan.
    

    Somehow I just knew that people would be able to identify that tune
    on the sole basis of that bend.
    
    re: (Dave Dreher & Rick Cohen)
    
    I would appreciate the sequence data.  But actually, what I'd like
    more is to compare notes on the chord voicings.  I just started working
    on it, and while I know I have the right chords, I'm not sure of
    the voicings.  I have a hard time figuring out chord voicings played 
    using string patches.  Would be terrific if I could get something on 
    the order of an informal chart for the tune.

    If you think you can help me out, contact me by mail.
    
    re: Stevie K.
    
    Thanks for the information.  In my opinion it's a bug, but I doubt
    I have any choice but to live with it.

    Re: .31
    
    My impression is that the music industry is not as scared of ROM
    updates as the computer industry.  It probably depends on the
    manufacturer, but it certainly couldn't hurt to call an register
    a complaint.  You never know, a new set of ROMS could be in the
    mail tommorrow, or at least available to authorized dealers.
    
    						-Dave

    I'm having another problem which I'd like to know if its common
    to all ESQ-1's:
    
    When I turn the thing off, it often makes a very loud squeal (that
    rises in pitch) that I believe is quite capable of damaging the
    stuff it's connected to.
    
    For the moment, I'm just shutting the ESQ-1 off last, but I normally
    have all my stuff set up so that I can flick one switch to turn everything
    on or off and I'd like to keep it that way.
    
    	Dave Blickstein
    
    P.S.  Anyone got a good "breathy" flute patch?  If so, please publish
          it or send it to me.

    1) Pitch bend - My Esq1 is fine. I played a C chord bent it down
                    3 semitones (ie pitch bend wheel all the way) ,
                    held the bent chord with the sustain pedal ( ie
                    pitch bend mode = "HELD" in master menu).
                    Play an 'unbent' A chord on top and it's spot on !

    2) Powering off - When I took my ESQ for an operating system upgrade,
                      the engineer told me ALWAYS to switch the ESQ
                      off with the ESQ's power switch - Not just at
                      mains. He said it can really screw up otherwise.
                      I don't get any nasty noises either.
    
    Andrew    

    My Mirage also does the wierdest things if I use the power distribution
    switch rather than the on/off switch on the unit.
    
    Maybe it's Ensoniq in general?
    
    Edd
    

    
    Radio Shack sells this unit that may help with power ups/downs.
    
    You connect your ESQ-1 or Mirage's AC plug into the unit and it
    senses whether power is being used or not and then turns other
    equipment pluged into it on or off.
    
    So you turn on the ESQ-1 and everything else comes on, a second
    later. (is that long enough?)
          
    Fredric

    WHAT???!@#$
    
    I gotta think about this one. I can see no reason why\
    there would be a difference throwing a switch right near
    the transformer or throwing one a way down the line,
    except that there are other primaries in series with it....
    They must have what is called a "novel design" around the
    power supply.
    
    Does this effect happen also with ONLY the esq connected
    to the 'remote' on off switch?
    
    

    I'm just curious (and poor).  But, how feasible would it be to have an 
    ESQ-1 sync its sequencer to a MIDI clock generated by a TR-505?
    Would the 505 be able to do its own sequence while the ESQ-1 does its
    sequence?  It seems like this kind of setup might be a good starter 
    system.  Besides event limits, what disadvantages would this system
    have, assuming it would work okay?  Thanks!
    
    Steve
    

    re: .38 (Steve Sherman)
    
    I'm just short of positive that that can be done.  I think the ESQ-1
    sequencer can sync to an external clock (I *know* it can sync to
    an FSK signal coming off a tape).  Anyway, I'm planning to do
    essentially what you've asked except that I think you'd find that what 
    you really want to do is have the TR-505 sync to the ESQ-1 clock
    rather than vice-versa.  The question than becomes, can the TR-505
    sync to an external clock?  I would think so.

    The ESQ-1 manual has a whole section on using the sequencer with drum
    machines.
    
    re: .36
    
    Sounds interesting.
    
    re: Pitch bend problem
    
    I figured it out.   The manual says that you set the range parameter
    to the number of semi-tones you want the thing to bend to.  Turns
    out the documentation has a "one-off" problem.  RANGE=0 bends 1
    semi-tone, RANGE=1 bends 2 semi-tones, etc.  Setting the range to
    3 bends a minor third just fine.
    
    	db
    

    
    The ESQ1 syncs from the TR505 - No problems

    The TR505 syncs from the ESQ1 - No problems
    I find it easier to sync the TR505 from the ESQ1.
    
    The ESQ1 can sequence TR505 sounds with dynamics at the expense
    of sequencer memory
    
    Andrew
    

    More ESQ-1 Questions:
    
    1) Is there a way to step BACKWARDS while editing a track in STEP mode?
       If not, there certainly oughta be.
    
    2) Can anyone tell me if the amount of tape needed to store sequencer
       data is a function of:
    
    		a) Amount of sequencer storage currently in use
    
    			and/or
    
    		b) Whether the expansion option has been installed
    
    
       Why do I ask?  I expect to often have several things cooking
       at once.    I'd like to have one "work" tape for sequencer data.
       Suppose I record SONG A sequence data on the tape and then
       record SONG B sequence data after SONG A.  Now I add some stuff
       to SONG A which I want to write over the old SONG A data.  I
       have to worry about the end of SONG A overlapping the beginning
       of SONG B.  So I have to figure out how much of a gap to leave
       between the two songs.
    
       I haven't bought the sequencer expansion option, but I expect
       to (so far, I haven't come close to running out of space).
    
    3) Patches I would like to have:
    
    	a) Thunder			e) single violin
    	b) Wind				f) single trumpet
    	c) Breathy Flute		g) Tubular Bells
    	d) Regular flute		h) More Hammond C-3 sounds
    
    4) I would love to setup a clearing house of ESQ-1 patches and
       sequencer data.  I'd even volunteer to coordinate it in much
       the same way that the COMMUSIC tapes have been done.  If you're
       interested, send me mail.  If there's sufficient interest, I'll
       get things started and post a note in this conference.
    
    5) Some of you ESQ-1 owners may not be aware that there is an ESQ-1
       discussion on the usenet (portions of which have been published
       elsewhere in this conference).   What I'm thinking of doing is
       setting up a ESQ-1 distribution list on my u-vax so that you
       can send mail to DREGS::ESQ1 and it will automatically gets sent
       to anyone on the list.    I would probably automatically forward
       all stuff I get from the USENET to this list.  Again, if you're
       interested, let me know.
    
    I find that the value of any piece of technology can be tremendously
    enhanced/exploited by better communication among the users of the
    technology.  By sharing insights and information we get to know
    the technology better and learn all the tricks/opportunities/quirks/etc
    that it presents.  I'd like to see a real high level of this kind
    of thing for the ESQ-1.   
    
    	Dave Blickstein
    	

    Just discovered an interesting trick to get around what I knew in
    advance would be a severe limitation of the ESQ-1 sequencer.
    
    The ESQ-1 doesn't provide any hooks to program in r�tards (a gradual
    slowing of the tempo).  This is true of many sequencers so I don't
    specifically "fault" the ESQ-1 for not having it.  R�tards are a
    common thing to do at the end of a piece (I hate "fade-outs") among
    other things.
    
    Well, you can accomplish a retard by slowing the tempo down manually
    during sequencer playback with the data entry slider while recording
    your sync track.  The net effect is that the sync track will be
    recorded with a builtin retard.  It might require a little practice
    and maybe a couple of takes to get it right.
    
    Only awkward thing about this method is that when you're recording
    your sequences, you have to do it at tempo and that makes it hard
    to get the right "feel" that you want with the r�tard.  It's also
    a royal pain trying to program the drum fill patterns that typically
    come along with a r�tard when you have to program them at a constant
    tempo.
    
    But it's better than nothing.
    
    Once again, forgive me if I'm merely stating a well-known method.
    I'm new to all this and don't know all the tricks.  Rather share
    whatever insights I manage to get rather than risk not sharing a
    truly useful one.
    
    	Stay tuned,
    
    	db

    re .42
    you want to RETARD a piece dave? is it too smart ?  8^)
    
    Frank

    re: .43
    
    You should be ashamed of that pun ;-)
    
    	db

    
    			    oh my 
    
    			**** GAWD ****
    
    			**** TAWD ****
    
    you been sniffing the ink off fresh Keyboard mags?

    sheesh.
    
    [name witheld pending investigation]    

    Well, it's "rItard" anyway, the Italians having snarfed up the lead
    for musical terminology.
    
    len.
    

    Is there a way on the ESQ-1 of assigning voices to incoming MIDI
    channels?  For example:
    
    	Stuff received on MIDI channel 1 goes to VIOLIN patch
    	Stuff received on MIDI channel 2 goes to PIANO  patch
    	etc.
    
    I didn't understand a lot of the section on MIDI modes.
    
    Does any other multi-timbral synth have a feature like this.
    
    Can't imagine it would be all that hard for the ESQ-1.  It's just
    software right?
    
    	db

    
    
             Since the MIDI page on the ESQ-1 is a global page ( similar
    to master tuning) I doubt that the MIDI channel could be made part
    of the individual program. Now that I think about it, the internal
    sequencer sort of does this by being able to assign different programs
    to separate tracks. Now if we could assign a MIDI channel to a
    program .........mmmmmmmm.......what a feature! 
    
    from another controler, the ESQ-1 could look like 16 separate synths!
    
    wow.
    
    Frank

    Yes, see the thing is that the manual brags about how the sequencer
    and the synth are designed to work together, but here is a case
    where it would be better if they were less intertwined.
    
    I think it would have been better if the sequencer didn't have the
    concept of a "local" track, and instead had all MIDI tracks and
    controlled volume level through the MIDI volume feature.
    
    Now, if they aren't going to give us that, I think the least they
    could have given us was a "Pan" feature IN THE SEQUENCER for local
    tracks (this would be one of the sequencers MIX pages).  
    
    I find the stereo feature of the ESQ-1 to be poorly designed. Perhaps
    even worthless.  If you could do any of the following it would have
    been worthwhile but none of the following can be done:
    
    	1) Stereo delay effects  (no support at all)
    
    	2) Panning the individual oscillators in a patch
    
    	3) Panning tracks in the sequencer
    
    All you can do is pan the patch itself.  Big deal!
    
    You can sorta do (2) for two voices using a LAYER, but that's sorta
    an obtuse way to go about things.
    
    Is the only thing that differentiates the left and right outputs
    the PAN setting on DCO4?  Or are there other things that cause stereo
    effects?
    
    	db

I don't own an ESQ-1 so this may sound stupid, but I remember at the
    demo I got at Union Music, that when you call up the screen that
    assigns the sequencer tracks as local, MIDI or both, that there
    was a fourth option called "sequencer" or something that allowed
    the sound to be controlled from an external device.   Did I
    misunderstand this or is the problem that when you use this mode,
    you cannot set separate MIDI channels for each "track"????

    re: .50
    
    Intriguing.  Will have to look closer at that.  That may be the
    hook to do it.

    I feel pretty sure that it can be done.
    
    The midi master page just sets the default mode stuff.
    
    When you want to make full use of the multitimbral functionality
    and midi you use the sequencer page with program number,volume,midi
    channel etc.
    
    You can set up a TEMPLATE which is not a sequence but just an
    arrangement of midi channel numbers, volumes, program numbers and
    status (ie midi + local, just local, just midi or sequencer.
    
    I have always used it with the ESQ as the controller. with this
    system you just have to select a different template to get a completely
    different midi setup. The template automatically sends patch change
    information to all the midied devices. Its pretty neat.
    
    I think to do what you need you have to set the midi number to the
    recieve number, the patch to the internal program you want, the
    volume to the volume you want and the status to SEQ. I only say
    that though because its the only one I haven't used !!  Because
    there's 8 tracks on the sequencer page, you can set up a different
    config for each of the 8 available voices on one template.
    
    Its all in the manual !!
    
    You can modulate PAN with any of the modulators, including envelope
    and KEYBOARD. The only trouble is that it is on a patch basis.
    
    Andrew

    
    
            re -1
    
    Thanks Andrew !
    
      I've never used the 'sequencer' select on the mix/midi page. I'll
    have to try it!
    
    
    Frank

    RE: .47  et al
    
    As I mentioned over in the note regarding the Dr. T KCS for Atari,
    the ESQ handles multi-timbral mode on different incoming MIDI channels
    very well. The MIDI/mix page in the sequencer section is the key
    to this. Just set a sequence to have each track on a different MIDI
    channel and start sending from an external sequencer. You can set
    the instrument and mix by hand, or let the external sequencer handle
    that as well. The different channels will respond to MIDI program
    changes and the mix responds to MIDI controller 7 (volume) I believe.
    I haven't seen any other synth that works in multi-timbral mode
    so well. My CZ-101 is multi-timbral, but only lets you select a
    "base" channel, is mono only in this mode, has no mixing ability,
    etc., etc,. The ESQ is really a joy to work with. 
    
    The only problem we've encountered so far is it sometimes doesn't
    respond to MIDI properly on power up, we have to go to the MIDI
    page and switch the mode parameter back and forth.
                                                      
    Beyond that, we also use the KCS to set up patches for each song.
    If the ESQ is to be used for manually playing two different sounds
    in one piece, we select the first sound, modify the final DCA parameter
    by sys-ex messages to "mix" the volume, and then select a second sound.
    The first "mixed" sound selected ends up in the change buffer, since
    we've actually editted the sound under sequencer control, so all
    you have to do to switch back and forth is hit the "change" button. 
                                                                
    Rob

    I have an ESQ-1 with software version 1.7 but the "Musicians Manual"
    that came with it specifies version 2.0.  I am having problems making
    the ESQ-1 system exclusive message header work, i.e. my ESQ-1 does
    not seem to recognize the sysex message listed in my version 2.0
    manual.
    
    Can anyone give me the system exclusive message pre-2.0?  I would
    certainly appreciate it until I can get the ESQ-1 into the dealers
    for software upgrade.  I am working on a little ESQ-1 librarian
    for my Yamaha CX5M and can't do diddly without the ESQ-1 acknowledging
    the sysex message.
    
    P.S. I am very sure that I have the MIDI page set up correctly,
    or at least as best as I can tell from the mis-matched manual.
    
    Thanx much in advance,
    		Steve Bulmer (who really likes his ESQ-1!)
    

    Exactly which sysex message are you trying to use? Might be that
    your problem is just a poorly written section of the manual. We had a
    lot of trouble trying to get my friend's ESQ to recognize a parameter
    change message because the manual wasn't clear about the exact content
    of the message. Turned out that we needed to send a combination
    of bytes that was only vaguely implied by the MIDI message table
    in the manual. I'm not sure which version my friend's ESQ is, but
    I'll check tonight to see if it might be pre-V2.
                                                 
    Rob

    
           One fine day I turned on my ESQ-1 and started to play it.
    I had the pitch bend parameter set at 3 which is +/- a major third,
    I think. I go to use the pitch bend and instead of a major third,
    I get something like +/- 6 OCATAVES !!( out of the hearing range on
    the highs and individual beats on the low side). When I try to set
    it back, the lowest value I can get with either the slider or the
    up/down buttons is 48 which is about +/- 3 octaves and the highest
    value I could get was 63 which was about +/- 6 ocatves. If I remember
    correctly, didn't the pitch bend have a max of +/- 1 octave ?? Whatever
    happened rendered the pitch bend wheel useless.(except for doing
    the synth solo in Edgar Winter's Frankenstein) 8^)
    
    
          Anyone got any ideas on how to correct this ???
    
           Thanks
    
    Frank

    You mean it does this even if you turn the unit on and off?
    
    Only thing I can think to suggest is to try changing that setting
    via MIDI.  You'll need something to generate the MIDI data like
    a PC with a sequencer.
    
    That is bizarre.  That's what you get when you buy a synthesizer
    that's implemented via software.  Anyone remember all those fun
    VT100 microcode bugs.  Especially ESC [ 1 5 5 q, which put the
    VT100 into "music mode"!
    
    I just bought one of those 80 program expander cartridges.  Daddy's gave
    me 80 programs with it.  Some of the programs are real decent.
    There's a nice series of choir sounds, and an "ahhh" sound which
    sounds like 125 people singing "ahh" (it's based on one of the sampled
    wave forms).  Reminded us of one of the sounds Emerson used in the 
    intro to "The Score".
    
    I got all excited when I saw FLUTE but it's far from what I wanted.
    Just not "breathy" enough.

    	db

    See my reply 656.4 for a complete list of what factory patches are
    availiable on ESQ cartridges
    
    Andrew
    

    re: .59
    
    Thanks.
    
    Discovered another ESQ-1 problem although it may be a feature.
    
    My ESQ-1 stopped making sound rather suddenly last night.  Everything
    seemed to work ok but no sound came out either in mono or stereo.
    
    To make a long (painful) story short, I eventually figured out that
    I had turned the MIDI volume of the ESQ-1 off using the external
    volume feature of my MIDI controller, and then unplugged ESQ's MIDI
    in.
    
    This apparently left the ESQ-1 in MIDI volume off.  I would have
    thought that unplugging it would have "reset" the MIDI volume but
    it didn't.  In fact, it remembers the MIDI volume even if you turn
    the unit off.
    
    This leads to to ask a question:  How is MIDI volume implemented?
    Is it a continuous signal?  Intermitant signal?  Does it only send
    out messages when the volume is changed?
    
    So the bottom line is that there is a way you can subtlely "disable"
    your ESQ which is by turning the MIDI volume off from an external
    controller and then unplugging the MIDI cable.  The only way to
    "restore" the ESQ is to restore the MIDI volume.
    
    Do other synths work like this?   If so I imagine that this could
    be a problem if you're using the ESQ-1 to sequence other devices.
    I think that the MIDI/MIX feature that allows you to mix the tracks
    directly from the ESQ-1 probably sends out MIDI volume information,
    and who knows if it attempts to reset the MIDI volume when the track
    is done or interrupted?
    
    	db

    re: .59
    
    I don't have any of the cartridge II sounds.  Is anyone willing
    to provide me with them?  
    
    Is this a "legal" request?  I've heard that Enosoniq distributes
    these for free at clinics and through music stores so I think the 
    answer is yes, but I can't be certain.
    
    	db

    re .60	I think MIDI volume is implemented as a message that
    goes out sayin', essentially, "here's a new volume setting for Ya
    tone generator, have at it at this level 'til I tell ya summat
    different".  I reached this startling conclusion by trying to turn
    off one of my KX 88 channels with the CS 3 (or CS 4, they both do it),
    the FB 01 went quiet on that voice until I touched the foot controller,
    then the voice came back up, even when I tried a lower foot pedal
    setting.  What I expected/wanted was the CSs to provide an overall
    range that the foot controller could work within; no such luck, an
    extra foot controller separately assigned seems to be the only ($45)
    way out.
    
	Reg
    
    	(not complaining too much, cos there may be a way that's too
    obvious for me to see, (yet))
        

    RE .61
    
    I've already given a copy of my cartridge sounds to David Braithwaite.
    
    Perhaps you can come to an arrangement with him. At least he's in
    the same country, so it's easier for him than for me.
    
    I aquired some 3rd party stuff from a company called Valhala who
    I believe are a USA company. Some of the patches are quite impressive.
    
    Andrew

    
    velocity info goes out with the note on (and off) message.
    
    "volume" message is just a 'continuous controller' message
    (which one I'd have to look up) but the point is that everyone
    seems to have de facto standardized on that one to be volume.
    
    continuous controller messages can go or come any old time, and
    are acted upon...and held at that level....until the next message.
    
    every time you wiggle that pitch bend 'controller' just a little,
    BILLIONS (well, you get the idea) of midi bytes are 'propagated'...
     

    re .60, .62, .64
    
    MIDI volume is continuous controller 7, and it works like Reg said;
    you hear a "MIDI VOLUME" message, you set your output level to that
    value and remember it until told otherwise.  I don't know if there's
    a defined convention with respect to remembering across power down,
    but the controller number is assigned by the MIDI spec.
    
    I got "burned" by this one time on my JX-10.  It's really a feature,
    but like many obscure features it may appear to be a bug to the
    uninitiated.
    
    len.
    

    re: .65

    OK, I wonder if it's a bug that changing the MIDI channel doesn't
    affect/reset the MIDI volume.  Probably not...  Just the lack of a 
    feature.

    This is a real pitfall.   I think the standard should have some
    provision for resetting the MIDI volume without having to actually
    generate the MIDI signals to do it.  Or at least a note to implementers
    warning them of this pitfall.

    	db

    re the last few, MIDI volume.. been noticing what it's doing on
    my various modules. Even when it's implemented as a controller,
    all 3 synths 'boot' with the value at 127, full volume. Only after
    I USE the foot controller for volume does it vary from full.
    
    km

    Here's the list of software differences that I mentioned. I can't
    remember the original note so I've put it here...

   - Andrew
    
    
From:	RHEA::DECWRL::"[email protected]" "Christopher Chow" 11-APR-1987 22:33
To:	[email protected]
Subj:	ESQ software 2.0

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A while back someone on the list mentioned that they were getting their esq
upgraded from version 1.70 to versio 2.00 software and asked that the
differences were.  At that time, I contacted the Ensoniq Rep on PAN and I
forwarded his letter onto this list.  Since then there was no discussion on
this matter.

Recently, my ESQ-1 died (control board failure).  My dealer didn't have the
board (they only do board swaps) and Ensoniq was moving their plant into
another building so my ESQ was at my dealers for some time.  Then Ensoniq
messed up and didn't send out a control board to my dealer and they're now
backordered!  So faced with an unknown amount of downtime my delaer lent me
a ESQ-1 while my was waiting for parts.  That was yesterday, and I finally
managed to get to play with the loaner for sometime today.

The loaner is running version 2.0 of the software, which I will now compare
with version 1.70.  First, the machine comes with a bound manual which is
still the _Musician's Manual_ version 1.0,but now comes with a change sheet
to describe differences between verison 2.0 ROM and the manual.  But before
I summarize that sheet, here's something which I found out:

I don't know how many of you drive your esq running pre 2.0 software with an
external sequencer, but I do and there were definite problems.  One thing I
noticed early on was that it takes an esq a long time (c. 1/5 sec) to
respond to a set of 8-program/volume changes over midi.  This was nasty in
that you couldn't record each of the factory demo sequences onto another
sequencer and play it back correctly because during instrument changes the
esq will play using the old instruments until it completed its switchover.
Well, I was pleasently surprised to find that this bug has been fixed.  The
esq now responds pretty much instantly to multiple midi program/volume
changes.

Now for the official list of changes between 1.xx and 2.00:
1.  on the MIDI page the MIDI enable parameter has been changed.  There are
now these states:
a.  key events only
b.  keys + controllers
c.  keys + ct + prog chng
d.  keys + ct + pc + snsl - same as (c), but midi song select messages will 
	also be received/sent.
e.  keys + ct + pc + ss + sx  (sx = system exclusive)

2.  The esq now transmits and receives midi song selects in sequence mode as
well as song mode (depending on the setting on the enable control).  This
allows you to select esq sequences as well as songs from a remote seuqncer
or drum machine, and vice versa.  They are set up as follows:
	midi song selects #00-09 will select esq songs #1-10
	midi song selects #20-49 will select esq sequences #1-30
Note that these song select messages are sent by the esq-1 whenever a
sequence or song is selected from the front panel.

3.  On the three sequence select pages, a _Dot_ is placed to the left of a
sequence location which contains recorded data.  This helps to distinguish a
recorded sequence from a template or newly created sequence.  A sequence
location reading [.SEQ-10] indicated a sequence with recorded data in it.  A
Sequence location reading [SEQ-10] (no dot) indicates a sequence in which
nothing has yet been recorded.

4.  When you select tape load from the storage page, the upper right hand
selection, wich instructs the esq-1 to load all sequencer data from tape,
ahs been changed to read all seq instead of all data, in order to avoid
confusion.  This page now appears as shown below:
	tape	sequencer- 	one seq	-	all seq
	save	programs-	int banks

5.  addendum to the esq-1 midi specification
[this section summarized because of lots of hex numbers which I dont' want
to type in...]
2.1 esq-1 system exclusive header - the same except that they note the esq
will only receive if enable=keys+ct+pc+ss+sx.

2.5 received virtual keypad events:
This system exclusive message allows an external device to simulate the
pressing of the esq-1 front panel buttons.  The formate of the message is an
esq system exclusive header, followed by the keypad command code, and then a
stream of button down and button up codes which is terminated by an end of
exclusive.

NOTE:  Each button down keypad event should be followed by a button up event
fo the same button to prevent the inbound keypad event processor from
becomming "hung up" while waiting for a button to be released.  This should
usually be done within _one_ system exclusive message.  It should also be
possible to follow up with separate messages, but be careful not to leave
dangling button downs.

xxxxxxxx	ESQ system exclusive header
00001110	keypad command code 
		(data stream...)
0nnnnnnn	any number of keypad events (buttondown/up codes)
		one button down or button event per byte.
		(button codes are specified int he table below)
11110111	end of exclusive

(button code table eliminated - all buttons are implemented)
...
As you may have observed, the button up codes are differentiated from the
button down codes by a positive offset of 51 decimal or $33 hex.  The button
code 00 is reserved for illegal key events within the system and should not
be sent to the esq.  Also, button codes out of the rage specified in the
above table should not be sent to the esq-1.

2.6 Midi song selects
Midi song selects may be received by the esq-1 when the setting of the midi
enable parameter is "keys+ct+pc+snsl" or "keys+ct+pc+ss+sx".  Inbound midi
song selects are reconized only in sequencer stop or sngs (song stop)
modes.  Song select 00 to 19 will select defined songs withing that rage and
put the sequencer into song mode.  Selects for undefined songs will be
ignored.  The esq-1 will interpret midi song selects 20 and above as
sequence selects, and will map them onto seq-1 and above.  A song select 20,
for example, will select seq-1 if it is defined, and will then put the
sequencer into sequence mode.

Midi song selects are transmitted whenever a song or sequence is selected
from the seq bank pages by using the softkeys on the front panel (virtual
keypad events will also transmit them).


---------------

Christopher Chow
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    As of yesterday my lovely ESQ-1 has been rendered unuseable thanks
    to some system bug.  At power on now, usually I cannot get any soft
    keys to work.  Thus I am always stuck at the power-up logo.  I can
    then play several notes but soon I get:
    
        SYSTEM ERROR - SOFT RESET
        PRESS ANY SOFT KEY TO CONTINUE
    
    My question is, does the "SOFT ERROR" imply that I may be having
    software problems ?  I am running V 1.7 and was considering upgrading
    to
      V 2.0.  Now I wonder if this will alleviate this problem or if
    there is a hardware problem that is causing all the errors.
    
    I would appreciate any input before I take the unit into my "nearest
    authorized Ensoniq dealer" where I did NOT buy the unit, to attemp
    to get some warrantee service.  Thanks in advance.  Steve Bulmer
    

    
    Hmmm... Perhaps it is something simple, like the CMOS RAM is all
    mucked up, messing up initialization.  Have you tried the reset
    command (hold down RECORD and press the upper left softkey, if 
    memory serves...)
    
    Just a guess...   BTW, if the keysequence I mentioned is wrong,
    I'll poke through my Hacker issues to find what it really is...
    
    

RE: .69

    I had the same thing happen to me this weekend, Steve.  Lost my entire
    10K of sequences.  Before that happened, I was recording a track to
    drive my 707 and - poof! - other tracks started disappearing.  I don't
    mean just going away.  I mean when you goto the MIDI page on the seq,
    the track is blank - no led is lit, and the track cannot be selected.
    Real weird.  To boot, the rest of seq memory was rendered useless.

    I thought at first that memory had a bad spot - so I tried filling up
    memory by starting the seq and slapping the board as fast as I could,
    playing around 8-10 notes per hand at a time.  That's when I got the
    error message. 

    I am also running 1.7, and am becoming more and more convinced that
    this was a software problem.  I threw a few hacked up things on the
    sequencer just to see if I could get the thing to choke, but nothing
    doing.  I can't get it to reliably barf; looks like a software bug.
    The local store is charging $20 to install the latest ROMs (2.2, I
    think). 

    I know that I'm gonna upgrade ASAP.  Just for grins, are you driving
    any external units, or just using the ESQ?

brad

    Well, I just got off the phone with some knowledgable people ... 
    
    Looks like the problem is indeed a software problem - and the latest
    version of the software is now up to 2.3.  According to the dude I
    talked to, it is important to upgrade ASAP!  1.7 is bug-ridden and not
    to be trusted.  The upgrade is gonna cost me $20 plus tax.  Small price
    to pay. 
    
    Make sure that your patches aren't hosed.  I not only lost all my
    sequencer data, but got several patches skunged in the process.
    Fortunately, the local store is gonna be nice and load the patches for
    nothing.
    
    Good luck. 
    
8^)

    
    I was poking around trying to find other people who've had this
    problem:
    
    One of the front-panel buttons (the "1 / SEQ 1" button) is dying.
    I'm extremely careful with my ESQ, but this button now doesn't seem
    to work unless I give it a little pressure and rock my finger back
    and forth.  Very annoying...  Anybody else seen this?  Is there
    an easy home remedy?  I'll probably take it in to get it fixed,
    and while they're at it they can put new software in there...
    
    It's just that it has happened to one button, and I can just see
    this sort of thing getting worse and worse....
    
    /Mitch.
    

    Would someone please post the differences between V2.2 and V2.3
    ?
    
    'twould be much appreciated.
    
    							-Jeff
    

    Far as I can tell, diffs are minimal.  Think there were only bug fixes.
    The lit handed out with the upgrade was not too revealing. 

    The ones I've noticed are that foot controller can now be used as
    volume or filter mod control (selectable from MASTER menu).  Some
    things done with what controllers can(not) be sent via MIDI.

    I have tried to make it crash (like I did in 1.7) and cannot.  Makes me
    feel much better. 

    FWIW ...

    hThe continuing saga of .69...
    
        The repair-person (I'm so non-sexist these days, it hurts)
     informed me that I had a bum keyboard 'module' and was back ordering
      from Ensoniq...no ESQ-1 for about a month now.  I was also sure
        to tell the tech to upgrade to the 2.3 software as well...the
    1.7 stuff definitely was not reliable.  I lost all my sequencer
    memory twice.  Both times I was getting fairly low < 1000 notes
    and was trying to see just how much I could I could squeeze into the
    remaining memory...well when I hit the 'save new sequence' button
    the 'saving sequence...please wait' message flashed for an unduly
    length of time and finally I got error messages, and you guessed
    it, totally corrupted sequencer memory!!  I anxiously await v 2.3
    
    You had asked if I ran anything external...only a CX5M..now you
    want to talk weird MIDI things happening!!!!    -Steve

    Had a REAL strange problem with my ESQ and TR707.

    ESQ s/w is at 2.3.  707 was connected to MIDI out of ESQ, receiving on
    channel 10, omni off, PLAY mode (not write), sync internal (i.e., not
    using MIDI clocks). Had a track in a sequence that had a sustain on
    command, but no sustain off. Went into step mode to insert the sustain
    off command, and VOILA! ...

    707 went into brain damage mode.  MIDI receive channel set to 34. Omni
    mode set on (permanently).  Patterns in all groups randomly altered -
    everything from 1-5 joined as one pattern to last step (measure length)
    set to random values.  Sound/MIDI note mappings were also blasted (set
    randomly).

    The worst part of the whole thing was that I could NOT clear ANY of
    these problems.  I had to:

	a) power down, and disconnect brick
	b) remove batteries
	c) wait circa 15 minutes
	d) replace batteries and repower

    This cleaned up OMNI mode being permanent.  MIDI channel mysteriously
    reset to 10.  Patterns were still hosed - I had to reload/rewrite
    memory.

    Moral: DON'T USE ESQ-1 STEP MODE EDITING IF YOUR 707 IS CONNECTED.

    Anyone else seen anything like this?


8^( who_used_to_like_his_ESQ

    I'm not sure the ESQ is at fault.  I've done very similar things
    with step-editing with an MD-16 (borrowed) and a DX-100 (mine)
    connected as sound generators, and I've never had a freakout like
    that.
    	
    How did you insert the sustain off?  For that matter, how did
    you manage to get a sustain ON without having a sustain OFF?  The
    ESQ manual claims that the sequencer software is smart and keeps
    track of note-ons and note-offs, and will do the right thing 
    in terms of cleaning up damage done in step-edit mode.  I know pitch
    bend info isn't "cleaned up"- it's considered a controller and it
    holds until modified.  If sustain is considered a controller, maybe.
    	
    Painful Question: Is this bug repeatable?  Have you tried?  :-(     
    
    How about this: try sending the TR707 a pair of sustain offs and
    see if it freaks out.  Maybe the 707 is not spiritually ready for
    multiple sustain commands of the same type.
    	
    	-Bill
    
    

RE: .78

    Don't know whether to blame the ESQ or the 707.  None of the modules
    were affected in any way by the operation.

    I've tried many things to determine the root of the problem.  My MIDI
    setup was originally ESQ to OB-Xa to TX7 to TX7 to 707 when "the bug"
    hit.  After figuring out how to reset all the stuff I needed to reset,
    I took out all intervening modules and tried again just to see if it
    would happen - it did.  So yes, the bug IS repeatable.  It took me
    three crashes before I realized what was going on.  >8-(

    I do know this: the bug has NOTHING to do with inserting a sustain off.
    Each time I go into step mode editing on the ESQ, the 707 gets
    scrambled.

    Oh yeah - inserting a sustain off is easy.  While in step/punch OUT
    mode, hold down the sustain pedal and step/clock thru to where you want
    to punch in.  Then punch IN, release the pedal, and exit.

    One other nit - in 2.3, when doing a "CREATE NEW SONG", the cursor is
    not left at the proper position.  The "S" in "Song" is incremented
    alphabetically, rather than the song number being incremented. Very
    strange . . .

8^)

    How about this: is it possible the ESQ-1 is issuing control information
    concerning the sequencer editing (I know it can issue change-program
    commands to a number of devices, including Hallgrimsson's Seiko,
    for cryin' out loud!)
    	
    Try switching the ESQ's MIDI ENABLE to NOTES ONLY.  I think it
    considers the pushbuttons as controllers, so NOTES+CONTROLLERS or
    other transmit enable will probably leave the problem... but then
    you can experiment at least.  Even rev 2.0 has five different levels
    of MIDI filtering.
    

    For the noting public ...

    Already did that.  Didn't change a thing.  When I said I'd tried
    everything, I meant *everything*.   Good guess, though ...

    I wonder if I could avoid this by using the "internal only" setting on
    the MIDI page?  Now, do I have the guts to try it again?
    
signed,
    sheepish

    I know that no conforming device should have this problem, but perhaps
    you are overrunning the input of the drum machine.  I don't have
    any idea where it's designers thought the input would come from,
    so perhaps lots of controller data is overwhelming.
    
    One thing you should do is to look at the MIDI data.  There are
    MIDI datascope programs for just about any PC.  I know of ones for
    the C64 and the Mac.  It might be possible to find out exactly which
    MIDI command the TR is tripping on.  
    
    	Eirikur
    

RE: .82

    Good idea! Er - um ... by the way, there, Eirikur, ol' buddy ol'
    pal ...

    You wouldn't happen to have a spare Mac sitting around that I could
    borrow for, say, a few years?  &*)

8^)

    I mentioned that such things can be done with a Commodore 64.  C64's
    can be found used, and considered expendable...  There's tons of
    MIDI software for the primitive little thing.  It's the MIDI
    interface that becomes a problem there--probably costing more than
    the computer.   But, hey, you *need* a computer to do COMMUSIC,
    right?
    
    	Eirikur
    

Re: .77
>        The worst part of the whole thing was that I could NOT clear ANY of
>    these problems.  I had to:
>
>	a) power down, and disconnect brick
>	b) remove batteries
>	c) wait circa 15 minutes
>	d) replace batteries and repower

    You don't say if you still retained any drum-sequences you'd programmed.

    My PRO/16 did such nasty things to the TR707 when I tried playing back
    drum sequences that I'd dumped from the TR707 to the PRO/16.

    I couldn't get it to clear so I:

    -Switched TR707 OFF !
    -Pressed down (help me, memory) TRACK mode and INSTRUMENT select
     keys(I think).
    -Switched power ON!
    -Released keys.

    And as documented this brought back up the machine but with the FACTORY
    presets. Had to get my stuff of a week old back up and I was lucky.

    .Zayed.

RE: .85

    Yeah, I retained drum sequences, but patterns were randomly chained
    together and last step was hosed randomly on each pattern.  Pattern
    contents were not affected, however.

8^)

   Has anyone ever attempted to perform tape backups on the ESQ?

   I tried last night to get the thing to dump patches to tape I dunno
   how many times.  It would write ok, but the tape could not be verified
   or reloaded.  (I found out reloaded the hard way, when I hit the LOAD
   button instead of the VERIFY button.)  Kept getting "Invalid tape data
   detected" or some such rot. 

   I've tried everything from shuffling tapes (TDK-SA /Maxell UDS-II
   /UDXL-II) to changing tape recorders (GE data recorder /Yamaha K-960
   /Tascam 144), but all for naught.  BTW - *ALL* recorder/tape
   combinations worked with both TX7 modules without a hitch. 

   WIFGO?  I'm at 2.3 of the software. 

   One other thing ... when the internal memory is reset (as in after a
   load failure), does this hose sequencer brains as well?  (Someone tell
   me it doesn't ... p l e a s e .....) 

8^(

    Sounds like you may have a level problem, maybe?
    
    Steve

    
    I don't have any problems with tapes. I do find that the levels
    are very important though and it can take quite a while to get them
    just right. Sequences generally give me more problems than internal
    patches do. It's just a matter of tweeking the volume on reload
    until it works !!
    
    
    Andrew

    
    

    Ditto: the levels are critical, especially output.
    
    Once I got the hang of it, I was able to write and read from tapes
    easily and reliably.  I rarely have to do anything twice but I
    *always* do a verification pass when I'm writing a tape.
    
    Other remote possibility: you're turning noise reduction off right?

    	db

    Also, directly connect the tape deck to the ESQ.  Some preamps 
    don't have sufficient headroom to act as a go-between (or the tone
    controls have enough phase shift, even when centered, to
    screw things up)
    	
    

RE: responses to tape problem

   I futzed with the level on the data recorder for about an hour.  When
   that availed nothing (but heartburn), I then used my Tascam 144.  I
   tried every level between -10db to 0db.  -2db seemed to work the best.

   Best, you say?  Well, normally the ESQ would come back *immediately*
   with a brain-damage error.  At -2db, it would wait until the tape
   signal ceased BEFORE giving the error message. 

   As for noise reduction, the 144 has hardcoded Dolby B.  I've used it
   with other units with no problem.  Maybe I should go ahead and use my
   Yamaha with no reduction and see what happens(?).

   Anyone use a computer for ESQ brain dumps?  I'm thinking real hard
   about snagging an ST now ... 

8^(

    The ESQ manual specifies that noise reduction will cause you problems.
    
    I guess they weren't kidding...
    	
    Try your VCR.
    

    I have a program that I wrote for the ST which takes any sort of
    dump (as far as I can tell...  I don't have ``any sort of equipment''
    so I can't check everything) and it is so much better than using
    those stupid tapes.
    
    I could never get the tape back-up to work on my MKS-50, so I gave
    up and wrote the program.  I haven't been sorry yet.
    
    There is also a new voice editor for the ESQ-1 (from whom, I forget)
    for the ST.  And several resonably priced librarians.
    
    Computers are a win if you can stomach the outlay.
    
    Steph

    Re: .87
    
    Brad,
    
     >>One other thing ... when the internal memory is reset (as in after
     >>a load failure), does this hose sequencer brains as well?  (Someone
     >>tell me it doesn't ... p l e a s e .....) 

    (I'm taking a SWAG here since I've not fully assimulated the ESQ-1
    manual.......)
    
    Well, if by a _reset_, you mean the same thing as in pressing "RECORD" 
    and soft key #1.....I'm afraid so......according to the v2.3 release 
    notes (see note 359.36, section 4)...you're "hosed".  Not only are
    the programs stored in internal memory cleared...but sequencer memory
    is cleared too.

I had trouble when trying to do a DX100 data dump to a stereo cassette deck.
It turned out to be that I was using the line inputs/outputs of the cassette
deck which were too low level for the DX.  I think I finally succeeded only
after using the mic input and the headphone output of the cassette deck...

Todd.

Well, here's the scoop ...

   I went home last night armed with all this good advice  &*}  intent on
   making a bloody good copy, or bust! 

   I retried a tape dump of patch memory to the 144, and it worked.
   Perfectly.  The first time.  With no hassles.  I could have spit.  So
   I thought to myself, "Hey! Let's go for broke and dump sequencer
   memory as well."  That DIDN'T work.  Not the first time.  Not the
   second time.  Not the 15th time.  Not at all.  Not ever.  Drat. 

   What in blazes is going on?  So I got a different tape, and tried
   dumping sequencer memory again - and it worked.  First time.  With no
   hassles ...  Now I figured the other tape was bad (it was a couple
   years old).  So, applying logic (my 2nd mistake), I decided to put
   patch memory dumps at the end of the sequencer dumps.  Makes sense,
   right?  Oughta work, right?  Wrong.  Not the first time.  Not the 2nd
   time ... 

   So today the Ensoniq rep just happened to be at the local hole in the
   wall music store.  Grabbed my ESQ and my tape and took a drive,
   expecting to hear something like, "Yeah - it's a known hardware
   problem - we'll take care of it."  When learning of my predicament, he
   seemed puzzled, then grabbed the local trash cassette recorder and a
   trash cassette, and proceeded to do a memory dump.  (Thinks he's gonna
   prove me wrong, isn't he?)  He did.  First time.  With no hassles. 2nd
   time.  With no hassles.  All of patch memory.  All of sequencer
   memory.  Not even a verification error.  So I look stupid.  REAL
   stupid.  And I *STILL* don't know what the deal is. 


   >8-(   >8-(   >8-(   >8-(   >8-(   >8-(   >8-(


   Tomorrow I go to pick up my 1040 ST.

8-(

RE < Note 642.97 by DYO780::SCHAFER "Dragons is *so* stupid ..." >

>   problem - we'll take care of it."  When learning of my predicament, he
>   seemed puzzled, then grabbed the local trash cassette recorder and a
>   trash cassette, and proceeded to do a memory dump.  (Thinks he's gonna
>   prove me wrong, isn't he?)  He did.  First time.  With no hassles. 2nd

	Well, Brad, it seems quite obvious that you need a Local Trash Cassette
Recorder and a Trash cassette!  Is that a subsidiary company of TEAC or 
something?

	Dan

    Do you have a cable problem????
    
    Edd

    
    The potential cuplrits are:
    
   
    your tape (lower chance since you tried a couple)
    your deck
    	But you tried your fancy one too, eh? You sure they
    	still record/playback audio? NO DOLBY. Clean the heads
    	lately? yeahbut this still doesnt seem like it.
    your connections
    	yup. Think Eddie has something here. Did you verify
    	the hookup that "he" used as being the same as what
    	you are using? whose cables got used? 
    	Try a SIGNAL through the cables and wiggle them, you
    	can hear a disconnect better than trying to see it 
    	on an ohmeter or something....
    
    

RE: .99 (Do you have a cable problem?)

   That's a personal question, don't you think? 

   Seriously, I was thinking along those lines myself, before reading the
   astute advice given in .99 & .100.  Great minds think alike, eh?

   Hi ho, Hi ho ... it's off to radio (shack, that is). 

8^)

    I dunno about with synths, but I know that with computers using
    cassette storage (I have several) the CHEAPER the tape and recorder,
    the better.  And as Todd mentioned the circuits are designed to
    go into a low-level MIC inputs and come out of high level ear-plug
    outputs.  Line level widgets just don't work.
    
    The best way to debug that stuff is to get inside the cover with an
    oscilloscope (totally serious).  I've logged hours stareing at cassette
    interface circuits on paper and in the flesh.  A 1040ST sounds like a
    great idea, eh? 
    
    But I should just warn you about the MEGA-ST.  Because some people
    get dismayed when they buy something and two weeks later the follow
    on product comes out.
    
    I believe (but am not sure) that Mega-STs are that close (several
    weeks).  That is the reason why they 1040ST prices have dropped
    abruptly.  If getting a product a day before it is replaced with
    something better bothers you, I suggest talking to a computer store
    person first.  (Personally I get products years AFTER they have been
    replaced).
    
    The price on a 1-Meg Mega is going to be the same as the 1040s used
    to be (~$999.00 for b/w ~$1200 for color)
                   
    
    Steph
    
    

    
    When I was trying to save/restore my ESQ data, I had no luck at
    all with my high quality sterio Hi fi deck. It was only when I tried
    my real cheapo  machine that I could get it to work. This is totally
    opposite to the manual's advise. It seems the trashier the better !!
    
    Have you tried syncing the sequencer to tape yet ?? I find the opposite
    true here. It won't work on the cheapo but it's ok with a good
    deck. It works Ok on my Tascam 244 with dolby on as well.

    
    Andrew 
    
    
    

    
    I have never had a successful tape backup *ever* on anything other
    than my trashy/trusty old Panasonic portable boat anchor deck. Here
    are my theories why - First, the circuits don't have noise reduction
    (or anything else for that matter) and the other is that the tape
    path is physically larger (more are gets covered) on a monaural
    portable cassette tape (both L+R and the space between gets used
    during recording on those) - probably gets just that bit more headroom
    and especially you get no alignment (phase) distortion which is
    what confuses the PCM-er. By the way, I also keep an ESQ cartridge
    around to save voices to - I've crashed my ESQ enough times to do
    quickie saves to cartridge a lot now.
    
    /pjh

    
    Also had in interesting one - as much my fault as Ensoniq's I guess.
    
    Using MIDI clock info from a TR707 driving the ESQ which then drives
    a DX100 and a JX-3P. This gives me a nice big knob to change the
    tempo with instead of trying to select the right parameter on the
    sequencer page. Problem is, don't ever go into "step edit" while
    you have "synch" selected to MIDI SYNCH. What apparently happens
    is that instead of taking your clock timing pulse from the step
    key, it takes it from the free-running timing coming from the TR707
    (I hadn't realized that if you stop the machine the clock still
    runs) - anyway to make a long story short the damn thing zips through
    your sequence in about 1 second per 1 minute of play and then crashes
    with "system error - soft reset - press any key to continue". I
    guess it's a software bug but it still baffles me why the ESQ senses
    MIDI clock info when you are in single step edit mode...
    
    I also had the thing up and tell me that I needed new batteries.
    I got it's little brain scrambled - all of the pages got garbage
    in them (MIDI channel 2F for example) but things mysteriously reset
    when selected (keyed)... Went to the music store, they just said
    "well, reset it" - it turns out it did not need new batteries, it
    was just confused. Wierd stuff.
    
    /pjh

   Well, last night I went to Radio Shlock and scarfed on 2 real nice
   quarter-pin to mini-pin cords.  Tried all 3 tape decks again ... with
   no luck. 

   My wife suggested that I try our old Panasonic (as previously
   mentioned) that my daughter uses to listen to her kiddie tapes on.  Of
   course, I promptly NACK'd that idea ... didn't make sense ... (?) 

   Tonight I try the junker - I'll even use a 15 year old Grand Funk
   cassette to record over ... and if it works, I'm STILL gonna get an ST
   (thanks for the tip on the Mega-ST). 

Signed,
   Spend_a_buck

   Thought I'd update the rumors that we've been hearing ... 

   I pumped the Ensoniq rep yesterday at the store about things to come.
   The 16 bit sampler that you've been hearing about is going to be
   announced around 1-Nov-87.  When asked about (get this) *stereo*
   sampling, the rep smiled and said, "Now, that would be remarkable for
   a machine in this price class."  You decide what he meant.  Also,
   price is circa $1800. 

   There will be no hardware stand-alone sequencer from Ensoniq (as in
   taking the ESQ sequencer and making it standalone).  However, a new
   memory expander cartridge for the ESQ sequencer is available (at $119)
   - increases memory to 20K notes (64K RAM).  Trades-ins for old 32KRAMs
   are at dealer discretion. 

   The current Mirage series samplers will probably not have their
   software modified to include a loop autolocator function. 

That's it.

    The cannonical cassette interface circuit actually RELIES on the
    tape recorder trashing the signal that it sends.  That is why cheapies
    work better.  They have crummy frequency response, so the squares
    that the things sends to the tape come back as sines (or at least
    ``rounds'').
    
    Fidelity and headroom and phase distortion are irrelevant.  Actually,
    the more the better (to a point).
    
    Caveat emptor:  This is only true for cheapy circuits.  The kind that
    go WHEEEEEE-GRROOOOONK when you listen to them.  I have seen ``high
    quality'' cassette circuits (anybody remember CAPS-11?) which work
    differently but not in the past 15 years.
    
    Steph
    

    
    Re: .107
    
    The new Sequential Prophet 3000 sampler is 16-bit and true stereo.
    
    Price: $5000
    
    That's what the rep meant about "remarkable for its price class".
    

RE: .109 (stereo sampling will cost you $5K)

   Yeah, I know ... but the Ensoniq dude had this kinda weird look on his
   face like "I know something you don't know".  We'll soon know, won't
   we? 

RE: current topic (ESQ to tape)

   With all respect to the "trash cassette is better" school - bullcrap. 

   I dug up all different kinds of decks and all different kinds of
   tapes, and the only thing that I could get to work even once in a
   while was my Tascam (144). 

   So yesterday, I started with what I knew worked (intermittently), and
   futzed around again, trying to figure out what was going on.  When
   recording/playbacking 1 track at -2db to +1db, I could get it to work
   *sometimes*.  After some playing, I figured out that the error trapped
   at the same location in the tape each time.  ???  Bad tape?   Tried
   another tape, with the same problem, but with a different location.
   Then swapped the TDK-SA tapes for a Maxell UDS-II ... HMMM.  Now the
   problem only occurs once in a while - but still in a single location. 

   Well, to make a long story short, the problem(s) had NOTHING to do
   with recording signal level, OR the quality of the tape recorder, but
   with tape saturation and breakup. Seems that a single tape track (as
   mentioned earlier) is prone to breakup, especially on TDKs.  Recording
   to a Maxell using 2 tracks at a time (and Y-cording the outputs
   together at playback) solved the problem.

   A side "benefit" from all this heartburn - it seems that Maxell tapes
   can handle much higher saturation before breakup than can TDK. Looks
   like I'll be buying Maxell from here on out.  Anyone else heard of
   this?  Didn't we discuss this several years back? 

   So ... do I dare try syncing to tape now? 

8^) who_likes_his_ESQ_again

    Well, my computers work best recording in saturation, and I've never
    lost a single byte of data in my life, and I've built three cassette
    interface circuits and wadded through the the schematics of half
    a dozen others in the past five years, and I can't even see straight
    anymore because of it, so there.
    
    The Brits are the only people who really know how to design a cassette
    interface circuit. (look at the Sinclair ZX81.  Two buffers, two
    caps and two resistors.)
    
    (Oh yah:  ``:-)'' )
    
    Steph
    

    I have an "ESQ-1 Patch Library" on a TDK tape.  It contains about
    10 collections of patches that I've collected over time.
    
    I recently did a sweep through it to combine all the string patches
    into one bank.
    
    I was able to read each bank on the tape the first time through.
    No problems at all.
    
    Even if you have it working semi-reliably, I wouldn't give up on
    the theory that there is something wrong with your ESQ-1.  Mine
    has always read and written to tape very reliably.
    
    	db

RE: .111 [ ... so there ... :-) ]

   No offense intended - consider the terse tone a result of extreme
   frustration on the part of someone who has to have 30-45 mins. of
   music completely sequenced by October 18th ... and could not get
   started because he couldn't back up the stuff he already had
   sequenced. 

   I really appreciate all the help you guys offered.  Thanks. 

RE: .112

   Most of my tapes are light years old, Dave.  I haven't purchased a new
   tape since I made COMMUSIC I.  That might have a good deal to do with
   it. 

   Besides, I need some grounds to convince my wife that I NEED an ATARI,
   right? 

:)

    ......while this isn't necessarily a problem, I haven't been
    successful in working it out......can anyone help?
    
    I too have an ESQ-1 and just purchased the Yamaha TX-81Z for an
    outboard MIDI controlled module.  What I'm trying to do is to create
    a keyboard split with one half of the keyboard controlling the
    ESQ and the other half controlling the TX.
    
    Can this be done?	(help on how would be appreciated too!!)
    
    			-thanks,
    				Jeff

RE < Note 642.114 by UFP::LARUE "Jeff LaRue - MAA Senior Network Consultant" >

	I can't help you with the ESQ, but the request is simple with the TX.
Simply find the performance parameter for 'low limit' and raise that note number
to the place you want the split to be.

	Dan

    
    hmmmm. A good one. Right on "TZ"....
    
    as an ESQ lightweight, but having done the same on 
    other synths....you may have to split the ESQ between
    a voice that you want (upper) and a voice you create
    that is silence (!) for the lower. 
    
    That should do it.
    
    rr
    

    I've been playing with SONG mode in the sequencer, and I am having
    a problem with timings.
    	
    If I put a very simple (2-bar, all quarter notes) beat into each of two
    sequences, and then create a song which plays first one sequence,
    then the other, the timing is off.  It sounds like about 
    a 1/8 note gets dropped off the end of the 1'st sequence and the
    second sequence comes in immediately (i.e. the last measure of
    the 1'st sequence does not play to completion- but there's silence
    there anyway, so it's not like a note gets dropped.).	
    	
    How do I fix this?
                                                       

RE: .114, .115, .116 (ESQ splits)

   Dan/Ron got it right, Jeff ... at least as far as I've been able to go
   with it. 

   Take any patch, set DCA 4 levels to 0 on all counts, then write it
   into a patch called NUTTIN (or NADA, BLANK, etc).  Then use NUTTIN as
   the proper part of your split on the split page.  I, for one, hope
   they'll put an option in future revs to allow one split to be *MIDI*
   (like the sequencer page). 

RE: .117 (song mode troubles)

   I have used SONG mode for a long, long time and have never experienced
   this. 

   Is it possible that you have NOT quantized one/either sequence before
   you tried putting them into a song?  Try step edit mode on the
   sequence that seems to be getting clipped and see if it really
   contains what you think it contains. 

   Only other thing I can think of is something stupid, like beats per
   measure being off (eg, SEQ-1 = 160, SEQ-2 = 120).  I can say this
   freely, as I've done it myself.  Now it's *my* turn to look stupid,
   Karl. 

   I may play with this tonight. 

8^)

    .......just a thought.
    
         What has happened to me on occasion is when I record the first
    track of a new sequence (which defines the length) and I press the
    stop button too soon after the third beat of a 4/4 measure, the
    ESQ-1 says 'sequence 23, 1 bar' (or whatever it says). I go and
    play it back and it is only three beats. To correct just undefine
    the sequence and try again. 
     
      hope this is relevent
    
    Frank

    RE .117  Play an extra measure to insure a 'complete' last measure.
             Then edit the sequence length to the length desired.

    OK, I seem to have a problem with my ESQ-1.
    
    I think its probably a genuine problem that needs to be fixed but
    I figure its possibly that it may be some 'gotcha' or something
    someone else has had experience with and can help me out.
    
    I've never had any problems reading data (sequence and program)
    data from tape.  I haven't done much with tape sync, but I did
    make some experiments with it and while I did get an occasional
    "glitch" it work well enough to suit my needs.
    
    I install the ESX-20 upgrade (20k note memory) and now when I
    set CLOCK=TAPE SYNC and press play, it starts playing at random
    unconstant speeds even when the tape is stopped.
    
    If I unplug the TAPE IN, and press play it waits like it should.
    It would seem that it starts playing on ANY input to TAPE IN.
    
    For example, if I plug a phone plug into TAPE IN, and then wave
    the other end of the plug around in the air or put my fingers
    across the contacts of the other, it plays in spurts.
    
    Before the upgrade, I made some tests of the TAPE SYNC feature
    to see how well it worked and really didn't have any problems
    getting it to sync to the tape.
    
    Now I can't get it to work at all.
    
    Oh yeah, one other complaint.  TAPE SYNC should work in RECORD and
    ODUB mode as well as PLAY.  It is often handy to listen to the
    tape tracks while laying in additional sequenced tracks.  But that's
    a documented limitation (tape sync only in PLAY).
    
    	db

    The obvious first check...
    
    The cable?? Or the input jack on the ESQ???
    
    Edd

    I tried it with two different cables.  One did seem to be slightly
    better than the other, but not anywhere near good enough.  I also
    "listened" to the cables (monitored them) and they sounded ok, although
    I'm probably gonna try a brand new cable when I get home.
    
    If its the input jack on the ESQ, I gotta send it back anyway.
    
    Interestingly I *Have* had problems with the MONO output jack.
    
    I would think though that random garbage noise would NOT normally
    get the sequencer going.
    
    	db

    Well, decide to give it one more try before extracting it from my
    setup and taking it in for repair.
    
    It magically started working!
    
    It still has glitches.  For example, about 40% of the time I hit
    play it "starts" and gives me a fraction of one beat.  I just hit
    stop and then play again until it doesn't do that.
    
    About 25% of the time, the ESQ either doesn't start in sync or loses
    a fraction of a beat here or there. 
    
    One thing I'm real glad I did was to record a click track at the
    same time I recorded the sync track.  My main reason for doing this
    was to be able to record non-sequenced tracks without running the
    sequencer, but it turns out that another advantage was to be able
    to determine whether or not the sequencer was in sync to the tape
    by comparing the click on the tape to the click coming from the
    sequencer.
    
    Does anyone in the file have a good amount of experience using the 
    ESQ-1 tape sync feature?  In general, how reliable is it?
    
    I've often heard complaints about trying to read program and sequence
    data from tape but it's always been 99% reliable for me. What is
    the general experience with the tape sync feature?
    
    	db

    New problem:
    
    Last week, after hauling my ESQ down to the cape and back (in original
    box; I don't have a case) my ESQ lost it's mind.  All the seqences
    were trashed; if you looked at the tracks page all the voice names
    were garbage, including some wierd characters.  The create page
    showed 0 free memory, and deleting stuff didn't free any.  When
    you pressed play on a sequnce, it went into audition play mode.
    I was going to take it in for service, but since obviously all my
    un-backed up (and I'm a system manager) sequences were trashed,
    I tried a clear all.  Problem gone, works fine, lasts a long time.
    
    Apparently somehow the memory map got corrupted.  Any idea how to
    avoid this kind of thing ?  (other than backing up early and often)
    
    Thanks,
    							-Jeff
    

    
    re: .-1
    
    Mine did the same thing not too long ago. I had to totally reset
    it. Lost a few things, nothing too serious (thanks to frequent backups
    of the system). Turned out to be power glitches. I bought a line
    conditioner (29.95 Rat Shack) and it hasn't lost a tick since.
    
    /pjh

RE: current tack

    When I had these problems, it was due to an O/S failure.  What rev
    of the s/w are you (all) running (2.3 is current)?

brad

    I'm running V2.2.  
    
    

    
    I have 2.0, but my 2.3 chip is waiting for me to put it in.
    
    /pjh

    
    I just brought my ESQ-1 back in to have one of the buttons fixed
    (it didn't do much unless you pressed it very hard) and I asked
    about getting a ROM upgrade.  (this was at Union in worcester).
    I have heard horror stories about version 2.3 and the almost
    released 3.0 (which supposedly Ensoniq recalled before it could
    be installed in anyone's machines).  Supposedly 2.3 has some
    bizarre sequencer problems.... could this be related?
    
    I'm sticking to 2.0 for a while... till the dust settles!
    
    BTW, I just (the other day) noticed that if you hold down
    RECORD and press the MODES button, you get a little plug for
    the authors of the software in the ESQ...
    
    /Mitch.
    

    I haven't had any software problems and I've had the thing for almost
    a year now.  I'm planning to stick with whatever version I have
    (2.1 I think) until I hear of a new version that has FEATURES I
    feel I could really use.
    
    One feature I've been intending to call Ensoniq and BEG for is
    something that allows me to pass the MIDI IN data through to
    MIDI out.
    
    I generally sequence from my RD-300 but this is only possible if
    the track I'm working on is either an RD track or an ESQ-1 track.
    If I'm trying to create sequences for my MT-32 I have to switch
    MIDI cords around cause the ESQ does not have THRU.
    
    In other words,
    
    	For recording MT-32 tracks
    
    		RD OUT ---->  MT-32 IN ---> MT-32 THRU ---> ESQ-1 IN
    
    	For playing back tracks

    		ESQ-1 OUT ---> MT-32 IN

    Since the MT-32 has only one in, I have to switch cords around to
    play the track, and then switch cords around to play it back.

    Interestingly enough, the HR-16 *HAS* the feature of merging THRU
    and OUT.  This means I can program HR-16 tracks without having to
    switch cords around to play them back.

    I think *ALL* MIDI devices with input pads/keyboards/etc, should have
    this feature.  

    	db

    You can also check the condition of some of the ESQ-1 hardware by
    pressing RECORD-COMPARE.
    	
    The display will show you the ADC outputs for the filters, both
    wheels, the analog pedal, and memory-backup battery.  Hitting F10
    updates the values (it's not a continuous read/display loop).
    
    It's handy if you think a wheel or pot is getting gratchy and you
    want to check it for yourself.
    	
    	-Bill Yerazunis
        

    re .125
    
    Regarding total memory screw up. This has happened to me twice now
    and it's due to powering the m/c direct at the mains outlet rather
    than using the ESQ on/off switch. Software initialisation and memory
    clear make no difference. It needs a hard reset by doing something
    on the inside of the case. The first time it happened was at a service
    centre and the guy told me always to use the ESQ power switch. He
    reset it but I didn't see what he did. When it happened recently
    I opened up the case. I couldnt see anything but a preset potentiometer
    type thing - so I bravely (foolishly) shorted it out (with the mains
    off!) When I powered it up ita all worked nicely. It may be coincidence
    but at least my esq works again. software rev 2.0
    
    Andrew
    
    

    I was at Daddy's the other day (where I bought my ESQ) and those
    yahoos couldn't, wouldn't, or just didn't want to tell me how much
    it would cost me to get the new firmware rev. installed, or to get
    my keyboard cleaned.  I have a sticky key.

    I really felt like I'd been s#!t on.  Here I spend $1395 in their
    store, and reminded them of the fact, and they still treat me just
    as badly as when I hadn't bought anything there.
    
    Can I install my own firmware upgrade ?  Will this void my warrantee
    ? 
    
    Is there a good place to have my keyboard cleaned ?  I also have
    a sticky button, as well as one of the keys.  I guess Miller High
    Life wasn't the ideal lubricant. 8-{
    
    BTW, they still say "the end of January" for the EPS.  They did
    have an SQ-80 there, though, along with a big sign saying to ask
    for a demo of the EPS.
    

    re: .134
    
    Which Daddy's store was it?

    re: .134
    
       You should be able to install the upgrade yourself. It consists
    of a PROM in a socket. Interesting about Daddy's. Which store was
    it? 
    
    /pjh_who_likes_living_somewhere_other_than_MA

    Nashua. 
     

          I have gotten the exact same response from the Nashua store.
    It doesn't matter how much money you have spent there. You are just
    a number to them.
    
            Frank

    I agree about Daddy's in general (At least NH ones). The thing that
    gets me is how they don't even seem interested in assisting me when
    I make it clear that I have $$$ in my pocket that's really trying
    to get into there register.
    
    pcv
    

    Hm Daddys's is a store that I absolutely avoid, the Portsmouth
    store (that once was a local store to me) is managed by a guy who
    has got to be the biggest pain I have ever tried to deal with. They
    treat people like some sort of escapee from a loony bin until they
    see the green of your money...then as soon as it's their money the
    revert.                    
    
    dbII

    In case you haven't already seen it, this month's issue of Keyboard
    Magazine (w. Herbie Hancock and Chick Corea on the cover, ?Aug? 88)
    has a clinic on the ESQ-1.
    
    Like most articles and books of this type, most of it is fairly
    uninteresting to anyone who has read the manual.  But to anyone
    who HAS read the manual there are also lots of interesting things
    including further demystification of the mysterious "AM mode".
    
    So, overall, well worth the 10 minutes it takes to read.
    
    	db

    Didn't know where else to put this - too many ESQ notes (stinking
    moderator ought to get to work ...). 

    Anyway, this is hot off the USENET - I'll be getting the mod!  8-)

-b (*still* at PKO)
+----------

Newsgroups: rec.music.synth
Path: decwrl!labrea!rutgers!gatech!rebel!ralph
Subject: ESQ1 modification to add new waveforms
Posted: 18 Oct 88 01:42:09 GMT
Organization: Tolerant Systems, Atlanta GA
 
    I had a brief phone conversation with a salesman (John Chase) at
    Thoroughbred Music (Tampa, FL) earlier today in which he mentioned an
    upcoming mod to the ESQ1.  According to John, this mod, available in
    about 1-2 months, will provide 32 NEW waveforms for current ESQ1s.  If
    I heard him correctly, an English company will produce the upgrade.  I
    did ask him whether this would be an addition to or a replacement for
    the current 32 waveforms, to which he replied an addition(!). 
 
    This would seem to require at least a ROM and OS upgrade.  No idea how
    much it will cost, but he mentioned this in response to my question
    about the current SQ80 price ($1599). 
 
    Has anyone else heard of this upgrade, or any other that adds
    waveforms? I would think that Ensoniq could produce a mod like this
    rather easily, but may not want to for fear of cutting into SQ80 sales
    (assuming you don't need the disk drive and percussion voices in the
    SQ80). 
 
    I'll post more info if/when I get it. 
 
    Ralph 

--------------------------------------------------------------------------------
Note 1798.0                     ESQ-1 Question ?                       2 replies
COGVAX::LABAK "Don't Worry..Be Cranky"                8 lines   7-DEC-1988 08:39
--------------------------------------------------------------------------------

     I resently purchased a used ESQ-1.  I noticed that when I select the
     PIANO 1 voice some of the notes sound distorted.  This doesn't
     seem to happen with any of the other voices.  I tried tuning the
     notes with the master tune but it is still distorted. 
     Is this a mechanical,electronic or voice related problem?
     Thanks for the help on this.
     Rick L.
    
--------------------------------------------------------------------------------
Note 1798.1                     ESQ-1 Question ?                          1 of 2
WEFXEM::COTE "Sing with the clams, knave!"            6 lines   7-DEC-1988 08:48
--------------------------------------------------------------------------------
                        -< My guess is the speakers... >-

    Is it also distorted if you listen through headphones?
    
    My synths have a couple patches that invariably send my speakers
    into distortion mode....                              
    
    Edd

--------------------------------------------------------------------------------
Note 1798.2                     ESQ-1 Question ?                          2 of 2
PAULJ::HARRIMAN "Just say Yo"                         8 lines   7-DEC-1988 12:04
--------------------------------------------------------------------------------

    
    re: .-2
    
       Check the filter settings. There is some "natural" distortion
    in the DCO "piano" multisample. COuld be the filter is wide open,
    allowing you to hear it.
    
    /pjh

Rick -

    I moved this because there are already too many other ESQ topics in
    this conference (insert appropriate DIR/TITLE comment). 

    Does it seem to be certain individual notes (C#2, Bb3), certain synth
    voices (3rd note always bad, 7th note always bad), or every note? 
    By distorted do you mean signal breakup or "out of tune"?

    THe PIANO1 patch detunes if the MOD wheel is thrown forward.  It is
    possible that the person you bought the machine from tweaked the patch.
    Check your OSC1-3 tunings to see if they're out of line.

    If you don't mean "out of tune", you'll have to answer a few of my
    other questions before I can give much more help. 

-b

      	The notes that are distored are F# and G#  below middle C. It's
    not out of tune because I tried tuning the note with the master tuner.
    I connected the ESQ-1 to a different amp with the same results.
    The mod wheel is not thrown forward. I'll check the filter and
    the OSC1-3 tuning tonight and see what happens.  This is a factory
    patch and I do have the factory patch tape. I could try dumping
    those back down to and see if that helps.
    Thanks for the helpful tips so far.
    Rick L.

    If those are the only notes, it certainly sounds like the problem is
    hardware related. 

    Try this - find an external keyboard and play the notes from it. Are
    they still distorted?   If so, try xposing the pitch up/down by
    an octave and try it again.  Are the *SAME TWO KEYS* still causing
    problems, or are the *SAME TWO NOTES* distorted?

    Also, what rev of the s/w are you running (displayed at power-up)?

-b

Here's something of interest from the UK January edition of Music Technology. 
I'm typing it in over a modem so appologies for any typos.

Andrew.



Hard-working synth and sampler voice cartridge distributers Executive Audio 
have announced a two-part PA Decoder expansion unit for the Ensoniq ESQ1, which 
promises to add many new facilities as well as prolonging the life of the 
machine.
 
The first part is a Wave Expansion unit, which comes in the form of a ROM 
cartridge, and adds 32 new waveforms to the original Ensoniq presets. These 
have been developed on a new 16-bit sampling system which has made it possible 
to sample natural sounds in 16-bit quality and transfer them to the ESQ format.
New software has also been developed to edit the samples and make it possible 
to filter out high frequency sub-harmonics (fizz), filter digitally, and both 
expand and compress signals without loss of quality.

The second part is a RAM Expansion Unit and comes in the form of a retrofit 
PCB. This not only expands the internal memory to eight banks and 320
memory locations, but also provides an intelligent control unit. This 
processes MIDI commands, automatically selects suitable waveforms and 
monitors the keys of the ESQ1.

The new units incorporate several new menu choices while maintaining easy and 
problem-free operation. The two units can be used either individually or 
together - the latter providing the most useful solution to supervising and 
effecting changes of waveform.

Installation of the PCB should not affect compatibility with sounds created 
using the original waveforms. In addition, librarian and editor programs should 
be unaffected by the update. The new waveforms are resident in the ESQ1 along 
with the original 32, but sounds can only be made up using one or the other.

Owners of ESQ1's or anybody looking to buy one either new or secondhand should 
lookout for a review of t products in a forthcoming issue of Music Technology.

For further information ring Executive Audio on 01-541 0180.

                      
    

            <<< DNEAST::SYS$PROD3:[NOTES$LIBRARY]COMMUSIC.NOTE;1 >>>
             -< * * Computer Music, MIDI, and Related Topics * * >-
================================================================================
Note 2251.0       Ensoniq SQ80 ESQ wavetable ROMS compatability       No replies
AYOV11::GKING "George King SCO AMT AYO 823-4247"     20 lines  30-JAN-1990 17:14
--------------------------------------------------------------------------------


  This topic was mentioned some time ago, but since there is a 
  tendency to read the newer notes, here it is again.

  In note 1001 ( May '88 ), the compatability of ESQ-1 wavetable
  ROM's and SQ-80 ROM's was discussed. ie. plugging SQ80 roms in the
  ESQ-1 to get the extra waveforms. The general speculation was
  that it may be possible. Being nearly a year later, have there 
  been any futher developments ? Has anyone done it yet with or
  without other softwar/hardware modifications ?

  Since I have had my ESQ for a number of years and it is now well 
  and truly discontinued, I would of thought it would nice to do as
  much as possible with all the bits'n'bobs that are left lying
  around.

Thanks for any info,

  George_who_still_thinks_esqs_are_one_of_the_greats 

    
    There was something in the Transoniq Hacker a few months ago about
    this.  Sam Mims, who writes the patch column, apparently is coming out
    with a cart for the ESQ that uses "alternative" waveforms (not SQ-80
    ones, tho) that he found by partially crashing the machine.  Anyway, he
    was able to save off the memory contents and claims a number of useful
    waveforms were created (how? I dunno...).  Anyway, this cart will only
    work on the ESQ-1, not the SQ-80.  A technical discussion of this was
    written up by someone else a few months ago, but I'm a recent
    sucbscriber and don;t have that issue.  Maybe someone who does can
    elaborate?
    
    							Brian

    re: .148
    
    The way it works is that you create an SQ-80 patch that uses
    waveforms not on the ESQ, and then transfer it to the ESQ.
    
    What happens is that you get some "garbage" wave forms, presumeably
    the result of addressing out-of-bounds on some internal table.
    The waveform you get is probably something like some operating system
    code interpreted as a waveform.
    
    Now one man's garbage wave is another man's "perfect wave". 
    The article said that some of the waveforms ARE harmonic (sound
    like a particular pitch rather than just noise) and are pretty
    interesting.
    
    I think the ESQ waveforms are numbered (internally) 0-31 and the
    SQ-specific waveforms are numbered 32-63.   What you have to do
    is create a patch where all three OSC's use waveform 63 and transfer
    that to the ESQ.
    
    The ESQ software will let you decrement to a waveform that
    it doesn't have (like going from 50-49) but not increment up to
    a waveform it doesn't have, if if the prior waveform was also
    one it didn't have (that is, you can't go from 49-50).
    
    That's why you have to start with a patch at waveform 63.
    
    	db

    There was talk a few years ago of a ROM retrofit ... I called just
    about everyone I could think of (and find out about) regarding this.
    Supposedly, there was a company in the UK that was going to come out
    with new ROMs for the ESQ (there are 2 wavetable ROMs in the ESQ-1),
    but that never materialized. 

    The assertion that "partially crashing the machine" causes new
    waveforms is utter bunk.  You don't alter ROM by crashing software. 

    ROM & RAM in the ESQ supposedly use the same addressing scheme - RAM is
    on one end of ROM.   Old revs of ESQ software (pre v3.5) let you
    "access" wave memory locations greater than 32, but they usually end up
    giving you a garbage name, and often end up crashing the machine.
    (Trust me - I've done it before.)  V3.5 will at least call the waves
    "WAV050" or something.

    Of course, these "waves" are, as Dave said, really just locations in
    memory where data is interpreted as a digitized wave (viz, spillover
    into RAM).  Most of these "waves" are total garbage, and not highly
    useful.  Generally, it just ain't worth the trouble, unless you're into
    non-musical sounds. 

    However, there was one instance where I remember that you could
    actually change the "wave" itself by modulating something - evidently,
    one of the pseudo-waves was mapped from a piece of RAM, and that piece
    of RAM contained numbers that were subject to change.  That was really
    weird. 

-b

       Well, after the recent discussion in note 891 about MT-32s and D-110s,
    I decided to get the D-110 (ordered Wednesday morning, received Friday
    afternoon, hurray for Sam Ash).

       There is one problem I'm having, though, now that the D-110 is in my
    "MIDI system".  I like the concept of having a virtual instrument on
    each channel, a concept that the D-110 fits right into.  Unfortunately,
    I'm having trouble getting my ESQ to work exactly the way I want.

    Right now, my set-up looks like this:                      
     ________________________________________________________ 
    |							     | 
    |							     | 
    |       |-------|	     |----|	       |---|	     |
    |-------|MPU-401|--------|D110|------------|ESQ|---------| 
    	 in |-------|out   in|----|thru      in|---|out /thru   
                            Ch 1-8,16         Ch  9-15

    The problem occurs when sequencing tracks intended for the D-110.  I
    have to set the ESQ to a D-110 channel, which causes it to respond to
    the same data that is being soft-thrued by the sequencer and then
    thrued by the D-110.  I worked around this by setting up a silent patch
    on the ESQ, which I select when recording D-110 parts.  This gets to be
    annoying because I have to switch channels to do the program change, so
    as not to disturb the D-110 setting.  Also, when I initiate playback on
    Cakewalk, it sends program changes on all channels, so I have to make
    sure the ESQ is set on one of its own channels when I do playback.  On
    top of that, the silent patch still uses up polyphony even though it
    produces no sound, so I end up clipping my ESQ parts while recording
    D-110 parts.

    I either need a way to make the ESQ ignore the D-110's channels
    completely, or an alternate set-up.  I did a lot of reading before
    posting this, and saw mention of channel filters.  This sounds as if it
    would do the trick, but I'd like the ESQ to do it for me.  

    Any comments?  Will the Anatek Pocket Filter do what I need, if I go
    that  route?


    	- Pat
    

    Two possibilities:
    
    1. Can't Cakewalk rechannelize?  Most sequencers can take input on
    channel X and record it/play it on channel Y instead.  Then you leave
    the ESQ on any channel from 9-15 and rechannelize to 1-8 when recording
    D-110 parts.
    
    2. Do you really use only seven ESQ tracks?  I assume you are using an
    ESQ sequence as a "template" for your multi setup (as described in the
    Ensoniq manual).  As long as you have the one  spare track on the
    template, set it to SEQ and the ESQ-1 will not play anything received
    over that MIDI channel.  From the MIX/MIDI page you can easily change
    the MIDI channel/patch select for that track.
    
    						Brian

    Well, I'm not sure I completely understand everything you've said,
    but here is something that may be "enough" if not "perfect".
    
    You mentioned the solution of setting up a "silent patch" using the
    "SEQ" setting of the "track status" (from the MIX page).
    
    I think what would work better is to set up a silent track.  That is
    a track whose status is SEQ (as opposed to LOCAL, BOTH or MIDI although
    MIDI might work too).
    
    So let's say I want to record a DIGPNO track using channel 4.
    
    I set up the following two tracks
    
    	Track #		MIDI Channel	   Status	Program/Patch
    	  1		    4		   BOTH		DIGPNO
    	  8		    4   	   SEQ		doesn't matter
    
    When I'm ready to record, I select track 8 on the ESQ.  That causes
    what I play to go out over channel 4 - the data on channel coming
    on channel 4 is "sounded" by track 1.
    
    You shouldn't have to touch anything on the ESQ-1 to play it back.
    
    It may be important that the silent track have a higher track # than
    the non-silent track so I would adopt the convention of doing it that
    way (although it may not matter - I'm just not sure.)
    
    So the idea, is that you always use track 8 to record.  When you want
    to record on a different channel just change the MIDI channel # on
    track 8 to that channel.
    
    

>    It may be important that the silent track have a higher track # than
>    the non-silent track so I would adopt the convention of doing it that
>    way (although it may not matter - I'm just not sure.)
    
    Actually it is *very* important.  If two (or more) tracks are set to
    the same MIDI channel, while all will *transmit* data, only the lowest
    numbered track will *receive* data.  
    
    So, in db's example, if you swapped tracks ("silent" on 1, DIGPNO on 8)
    the DIGPNO track wouldn't sound.
    
    						Brian
    			

    The Syntaur Soundset 3 patch collection with the "mystery" waveforms is
    reviewed in the new Hacker.  The reviewer liked some of the patches,
    and figured the weaknesses were mostly due to the fact that the
    addressed ROM contents aren't actually waves.  Supposedly some nice new
    bells and D-50ish patches included.
    
>    The assertion that "partially crashing the machine" causes new
>    waveforms is utter bunk.  You don't alter ROM by crashing software. 
    
    "Partially crashing" is what Syntaur programmer Sam Mims himself said
    in the Hacker a few issues ago.  But I agree with your statement.   You
    do need OS 3.4 or 3.5 for this to work, supposedly it will crash other
    OS versions to use these patches.
    
    						Brian

    re: .156
    
    > Only the lowest numbered track will *receive* data.
    
    Even if that track is set to a MIDI status that does NOT receive
    data on playback, like SEQ.
    
    See... that's what I'm not sure about.  Do you know for sure?
    
    	db

    As the title of this note is about problems, I must say that I am
    now *VERY* frustrated with my SQ-80.
    
    It has had an intermmittent problem where the keyboard and the
    buttons stop functioning.  This is usually accompanied by a loud
    blast that sounds like it generated an "All Notes On".  To make it
    worse nothing short of turning the unit off gets rid of it - yep,
    not even the volume slider!!!!
    
    I've had it in the shop 3 times already.  The first two times they
    couldn't reproduce the problem, even though it happened just about
    every time I turned it on.  And it doesn't seem to be an environment
    thing because it's happened in a number of configurations, rooms,
    temperatures/humidities, etc.  (Yes, it *HAS* happened at gigs!)
    
    The third time, they were able to reproduce it.  They (Daddy's) did 
    a "hard reset", charged me $50, but it still fails.
    
    I'm very frustrated now because I no longer have any confidence that
    if I take this thing to a gig, I'll have something to play.
    
    It's about to go into the shop for the 4th time.  
    
    One thing I'm curious about is if anyone thinks that if Ensoniq can't
    fix it, that I'm morally obliged to a replacement?
    
    As it stands now, I regard the thing as being useless to me.
    
    	db

    Re: .159
    
    One thing about Ensoniq stuff is that when they have problems they seem
    to be *big* ones.  You should call the factory about this problem. 
    Judging by mail in the Hacker, there are plenty of situations where
    they have replaced mother boards, etc. to fix bugs.
    
    If it's not under warranty, there is no "moral" obligation to replace
    it.  I seem to recall you don't have the latest OS (1.8).  Again,
    knowing Ensoniq that may be the ticket.
    
    						Brian

    Dave,
    I ocasionally read the USENET group rec.music.synth, and I know Ensoniq
    has someone that monitors that group with the specific purpose of resolving
    user problems.  Quite a few people who flamed Ensoniq in the past are
    now singing them priases.  If you have access to that group, it may be
    worth your while. 
    
    Errol

	I've just replaced the keyboard on my ESQ1, as it was intermittantly
	falling apart. There are some plastic supports under each key that
	are used to limit upward & downward travel. These were what were 
	breaking in random places in the keyboard.

	I talked to some people at Ensoniq & they mentioned that the
	keyboards on Mirages, ESQ1's and SQ-80's occasionally fail.
	The price for the replacement keyboards (the price for shops) is
	$120.00. I found that the the local shop here in Colorado keeps
	them in stock (as they are seeing quite a few keyboard related
	failures) and are selling the keyboards for $150.00 (I installed
	it myself). They (ProSound) mentioned that they are replacing a 
	few keyboards per month.

	I've talked to 2 other Ensoniq keyboard users & they have had problems
	with thier keyboards (one had 11 malfunctioning keys, which occasionally
	left notes stuck on - how useful).

	I understand that the keyboards used in the EPS and VFX are a different
	design, and shouldn't have the same problems.

	If the problem appears to go away when you are not using the SQ-80
	keyboard, but using the SGU part (ie, the sequencer only), The problem
	might be in the keyboard.

							Jens

    I don't think it's the keyboard because when the problem occurs
    neither the keys nor the buttons work.
    
    One theory that's been offered that makes a certain amount of sense
    to me is that it's a problem with the power supply.  The unit sometimes
    fails without me doing anything.  But that wouldn't (necessarily) explain
    why turning it off and on again doesn't help.
    
    We're going to send it to Ensoniq and see what they have to say.
    I also have heard that no Ensoniq repair customer goes away
    unsatisified.  The problem is resolved, or the unit is swapped.
    
    I think I can make a very good case for them doing right by me:
    
    	o I'm known to them as a big Ensoniq booster (I've talked
    	  with their engineers about enhancements, tricks, etc.)
    
    	o I've told Daddy's that it's always been my plan to get a VFX-SD
    	  (and they know I stick to my plans) and I made it known that
    	  if the end result is that I'm left with a keyboard I can't
    	  use I won't be buying any more Ensoniq products.
    
    	o I've already put up with a lot already (4 times in the shop,
    	  major bucks down the drain, problems at gigs, etc.)
    
    I'll keep you posted.
    
    	db

       
       
       
       
       Just saw a note on the Usenet regarding manufacturing problems at
       Ensoniq.  I'll include it here later, but the gist of the story
       is that Ensoniq's solder vendor changed its formula without telling
       Ensoniq.  The new flux crystallizes after a few months and starts
       falling across contacts.  Ensoniq has approved warranty repairs
       for at least some keyboards affected by this problem.  More
       details as they become available.  Contact Ensoniq directly if
       you believe your synth is one of the affected units.
       
       

    
    Just in case anyone's interested:
    
    When using the CV pedal on the ESQ-1 and SQ-80, it can be used as
    either a modulator or a volume pedal (except in the earliest ESQ-1 OS
    versions, where volume isn't supported).  The way the PEDAL parameter
    in the master page is interpreted is that response to *both* the local
    pedal and CC #4 over MIDI is determined by this.  
    
    A bizarre side effect of this is as follows:
    
    1.  XCTL = 4 doesn't do anything.  Normally you can set XCTL to allow
    use of MIDI CCs as modulators.  However, to use CC #4 as a modulator,
    the ESQ patch must specify PEDAL as the mod source, not XCTL (this is
    mentioned in the manual where XCTL is discussed).
    
    2.  When PEDAL is set to VOL, the ESQ transmits *both* CC #4 and CC #7
    over MIDI.  However, it recognizes the two independently.  
    
    What does this mean?  Let's say you are using the ESQ with an outboard
    sequencer.  You have PEDAL set to VOL and record a part.  Later, when
    playing it back, you have PEDAL set to MOD.  If the patch you are using
    has PEDAL as a mod source, you will hear modulation tracking the volume
    changes!!!  Neat bug....
    
    Apparently, when they added the volume option, it was a quick hack. 
    Internally, pedal data is tied to CC #4 *only*.  CC #7 is supported if
    received via MIDI, and when using the CV pedal for volume, the
    designers did a cheat of sending out CC #7 messages which were
    duplicates of the CC #4 messages....without shutting CC #4 off. 
    Luckily, most other manufacturers don't have pedals, and therefore
    don't respond to CC #4.  Unfortunately, the only way to filter
    controllers on an ESQ is to filter all of them at once, you can't
    filter out just CC #4 and let CC #7 pass.  If you use two Ensoniq
    boards MIDIed together, you could get into some trouble.  
    
    						Brian

    I have posted a public domain patch librarian that runs on the Amiga up
    to MIDILIB.  It is called ESQ1_0.LZH, and must be decompressed before
    using.  The decompressed docs are available in ESQ_DOC. (note no
    extension!)
    
    The program is mostly mouse driven and allows up/downloading of patch
    banks and sequencer banks, as well as rearranging patches in banks.
    
    							Brian