[Search for users] [Overall Top Noters] [List of all Conferences] [Download this site]

Conference napalm::commusic_v1

Title:	* * Computer Music, MIDI, and Related Topics * *
Notice:	Conference has been write-locked. Use new version.
Moderator:	DYPSS1::SCHAFER

Created:	Thu Feb 20 1986
Last Modified:	Mon Aug 29 1994
Last Successful Update:	Fri Jun 06 1997
Number of topics:	2852
Total number of notes:	33157

1548.0. "The ESQ1 as a MIDI system configuration manager" by DREGS::BLICKSTEIN (Yo!) Tue Jul 19 1988 14:36

    I'd like to dedicate this note to using the Ensoniq ESQ-1 (and SQ-80)
    as a MIDI system configuration controller.  Some of you may think
    that this belongs in some other existing ESQ-1 note, but I'm convinced
    this warrants a separate topic.
    
    Now, I do not mean using the keyboard to drive other MIDI devices,
    i.e. as a MIDI keyboard controller.  In fact, it's rather limited
    for that kind of use since (like most other synths) the keyboard can 
    only send on one MIDI channel at a time.
    
    I mean using the power of the ESQ-1's sequencer to send out the
    patch change information to configure the system according to the needs
    of various tunes.
    
    For the non-ESQ owners, this is referring to a "swiss army knife" type
    application of the ESQ-1 sequencer.
    
    The ESQ-1 sequence has the heirarchy of songs which are composed of
    sequences which are composed of tracks.
    
    Each track in a sequence has associated with it (among other things):
    
    	1) A MIDI program number
    
    	2) A MIDI volume level
    
    	3) A MIDI channel number
    
    	4) A MIDI status that is pretty much LOCAL (the track plays
    	   ESQ-1 sounds) or MIDI (the track gets sent out over MIDI)
    	   or both.
    
    Whenever a sequence (a collection of tracks) is selected, the
    ESQ-1 sends out patch and volume information to all the channel
    with MIDI track status.  This is used to call up the right patches
    on other MIDI stuff in your rig.
    
    If a track has status BOTH (and maybe LOCAL, I'm not sure), selecting
    the sequence will cause the ESQ-1 to respond to data coming in over
    the tracks MIDI channel to play the ESQ-1 program associated with
    the tracks MIDI program.  This is used to get the ESQ-1 to play
    the right sounds on data coming in from an external keyboard.
    
    If the track has LOCAL status and is the "currently selected track",
    playing on the ESQ-1's keyboard will cause the patch associated
    with the program to be played.
    
    So there are sorta 4 basic uses for tracks:
    
    1) To setup ESQ sounds that are triggered from the ESQ-1 keyboard
    
    2) To setup non-ESQ sounds that are triggered from the ESQ-1 keyboard
    
    3) To setup non-ESQ sounds that are triggered from some other keyboard
    
    4) To setup ESQ sounds that are trigger from some other keyboard
    
    	Note that you can have more than one ESQ-1 sound being triggered
    	from a remote keyboard: up to 8 w/o splits or layers, 16 w. splits,
    	*32* with splits and layers.
    
    	Also note that my use of the term "non-ESQ sounds" implies
    	a non-existant limit.  In fact, you can change not only 
    	just sounds, but ANYTHING that can be controlled via a MIDI
    	program change: effects settings like reverb, delay, etc.
    	even lighting cues!
    
    You press one button, and your whole rig is configured!
    
    What's more is that if you're playing a tune that involves several
    different configurations, you can sequence the patch changes rather
    easily into a song.  Press the play button and the sequencer makes
    the changes for you at the right points within the song without you 
    having to do a thing!
    
    Be warned though, that when people see you play a keyboard and hear
    bells, and then seconds later, without you having touch anything other
    than keys hear horns coming from that same keyboard, they tend to
    think that you're not really playing and that whats triggering those
    notes is a sequencer!!!  ;-)
    
    Now please note that you ARE playing all the PARTS.  All the sequencer
    is doing is sending out MIDI volumes and program changes.  Of course
    if you want to sequence some of the parts, you can.
    
    Anyway, that's probably a sufficient overview on the basics.  I wrote
    this mostly for the benefit of the (unfortunate) non-ESQ owners out
    there so that they might be able to understand what gets talked about
    here.
    
    As soon as I have some time, I'll be posting some notes on how I use
    this stuff, and asking some questions about what other people are
    doing.  I also have some observations, glitches, tips, etc. I'd like
    to share although my main interest here is to learn such things
    from other people.
    
    	db

T.R	Title	User	Personal Name	Date	Lines
1548.1	How to sync up	DREGS::BLICKSTEIN	Yo!	`Tue Jul 19 1988 14:42`	26
	One question that pops up as soon as you try to play along with sequenced parts or even just sequenced program changes is how do you sync up to things. Well, here are some of the ways you can do it. 1) Program in some basic drum patterns that will allow the band to follow the sequencer. You have to keep them simple so as not to take all the space away from the drummer. I generally find that one of the following works: a) straight time with a bass and snare b) 8th or 16th note rides with shakers, cabasa, Hi-hat, etc. 2) Dedicate a drum machine to generate a click track (driven from the ESQ-1 clock) that the drummer listens to over headphones. 3) Use the ESQ-1's audible click 4) Buy one of those devices that takes external triggers and generates MIDI clock, and drive the ESQ-1 sequencer from that. This is a technology I personally do not trust yet, and from the reviews I've read, my lack of trust is entirely appropriate. db
1548.2	Ceramic Baseball Bats, and other practical things	DRFIX::PICKETT	Who Framed John McNamara?	`Tue Jul 19 1988 16:14`	7
	3) Use the ESQ-1's audible click Which goes through the ESQ-1's main audio out! As useless as a fish with a bicycle. dp
1548.3	You're right but in a pinch...	DREGS::BLICKSTEIN	Yo!	`Tue Jul 19 1988 17:55`	10
	re: .2 Depends. Depending on what's going on in the song, it may not be obtrusive. Remember also that the click is not affected by the volume control, thus you can regulate the balance in volume between the click and the rest of the ESQ's audio output. I agree though, it's not really a practical solution. db
1548.4	MMT-8 is quite similar	TYFYS::MOLLER	Vegetation: A way of life	`Wed Jul 20 1988 15:21`	24
	I bought the ALESIS MMT-8 because it's sequencer was like that on the Ensoniq synths. I really didn't want my sequencer built into anything, as I might want to get rid of the synth, but wanted to hang onto many hours worth of work. In my case, I have built a rack unit, with everything mounted into it/on top of it, and use it in very confined places (I don't have the physical space for anything wider than a CZ-101). Thru this, I'm connected to a midi-merge, a thru box (1 in 4 out), TR-505, MT-32, CZ-101, 2.8 Quick Disk Drive, and a Suzuki Midi Guitar (or what ever you want to call this very strange device - It ain't much like a guitar, but lets me do some weird stuff live). The MMT-8 is the heart of the system - to be replaced by a Mac in the near future. I thought that the sequencer in the Ensoniq keyboards to be simple to comprehend & flexable (real important to me, as I would rather spend my time making music - it pays much better - than putzing with the hardware) - If you want similar sequencing capabilities, for lots less than an ESQ (and you can live with the junky keypad), the MMT-8 is quite useful. Also, it's CLICK comes out of an internal speaker, or a seperate phone jack, so the click doesn't end up anyplace that you don't want it. Jens
1548.5	Any body want to share??	TYFYS::MOLLER	Holloween the 13th on Elm Street #7	`Wed Nov 30 1988 13:39`	45
	What a year, last February, the only MIDI device I owned was a CZ-101, now, a few thousand dollers later & bunches of other MIDI devices begging to join my other stuff (Roland MT-32, Alesis MMT-8, Roland TR-505, Yamaha MIDI disk, etc). I just aquired an ESQ-1 (not for my use, but for my keyboard player) and it occurred to me that I'm in a position to swap sequences for cover/original tunes. This seems to present some interesting opporitunities among the masses. If there is anyone out there with an ESQ-1 that wants to mail cassettes with a dump of sequences, along with a list of: Midi Channel# Device Manufacturer/Patch type/Other --------------------------------------------------------------------- # : Drum machine : xxx # : Bass instrument : yyy # : other instruments : zzz I've standardized on channel 10 (I have an MT-32 - no choice in the matter) for drums & I use a slightly modified TR-505 set up (the bass drum is shifted by one, this allows me to use my CZ-101 to play the drum patterns - I run out of range otherwise). I also always set Channel 2 as the Bass instrument (I have some exceptions, but these were my earlier efforts before I came up with a system). All other channels are free for other instruments. At the moment, I'm not particularly interested in Patches, as I plan to continue using my Alesis MMT-8 as the main controller, moving any sequences from the ESQ-1 to the MMT-8 (It's simpler to maintain things in one place - what a messy network you can create using MIDI!!!), besides the ESQ-1 came with over 1000 patches & a Voyce Crystal (#2) & that gives me plenty to work with. I don't expect to be using the ESQ-1 for anything myself (no room for it when I play live), so I don't think that I'll play much with it's architecture either, beyond the sequencer. (I also have quick access to a Roland D110 if that helps any on standardization of anything.) Any takers?? Jens_who_has_grown_bleary_eyed_reading_more_and_more_manuals_that _seem_to_be_substantially_unrelated_to_anything_else_I_thought_I _understood_relative_to_music_and_MIDI (Another option would be to try and do some long distance originals, passing sequences around & having people add the parts that they are best at - might make an interesting contribution to the COMMUSIC tapes).