Conference napalm::commusic_v1

< Note 1932.0 by ISLETA::SFAFRAK "Let me out of this file cabinet!" >
                                -< Ensoniq VFX >-

Scott,

Here is the info that I get from Jeff at Union Music, and the Transoniq Hacker:

Ensoniq VFX Specifications:

Keyboard: 61 key, weighted action, programmable velocity and pressure
          sensitivity, poly-aftertouch without the keyclick of the SQ80 and EPS

Controllers: pitch & mod wheels, mod/vol pedal input, data entry slider
             performance patch select buttons ala EPS, programmable dual
             footswitch input for sustain, preset advance, and other
             assignable functions (same as EPS)

Internal Memory: 32 Kbytes of non-volatile RAM for 60 internal programs
                 and 20 performance presets

Cartridge: 32 Kbytes for 60 additional programs and 20 additional performance
           presets

Waves: 1.5 Mbytes internal ROM containing sampled waveforms
       multi-sampled acoustic instruments in string, brass, bass, percussion
       groups
       Special modulation capabilities called "Transwave Spectral Interpolation"
       Timbre-shifted versions of acoustic samples
       modulatable start point and forward-backward playback modes on all
       samples

Voice Architecture: 21 dynamically assigned voices
		    A single "program" can use up to 6 voices (layers)
		    2 independent mult-mode dynamic digital filters per voice
		    (low pass, high pass, variable bandwidth, band pass)
		    3 six-stage envelopes per voice
                    1 programmable pitch table per patch for alternate tunings

Output: 16 bit D/A conversion with 96dB dynamic range
 	First-order linear interpolation for wide transposition range
	Linear phase output filters
	Dynamic stereo panning per voice

Digital Signal Processor:

	Custom VLSI 24 bit digital signal processor specifically designed for
	audio processing.
	Programmable stereo effects processing with dynamic performance control
	capability.

MIDI:	Poly, Omni, Multi, Mono A and Mono B modes
	Multi-timbral, accomodating up to 12 simultaneous polyphonic MIDI
	channels with separate programs and keyboard zones.
	Global controllers in Mono modes for use with alternate controllers
	(MIDI guitars, etc.)

Display: 2 line x 40 char fluorescent display, with 6 soft buttons for ease
	of programming.

no sequencer
no disk drive
price point: $1800-2k

dave

Here are some excerpts taken from the VFX Sneak Preview in the Transoniq
Hacker, "The independent News Magazine for Ensoniq Users"...

The VFX should become available in about 1 month.

=========================================================================

Craig Anderton, EM magazine:

"at a recent sneak preview the VFX sounded huge, with a degree of 'motion'
 to the sound that we're just not used to expecting from a wavetable
 synthesizer"

"The secret ingredient is the ability to modify the sampled waveform itself
 in real time, in a manner reminiscent of how changing the pulse width on
 analog synthesizers adds animation to the sound. An alternate point of
 reference is the EPS, which by letting you modulate the loop start point
 can also provide some pretty innovative effects."

"In many ways, the VFX sounds like the ultimate analog synth...fat,
 animated, and rich, but with the stability and programmability of digital
 technology."

"And, as you might expect, there's the usual easy-to-understand user
 interface and polyphonic aftertouch."

[So there! Take that Keyboard!] :)

=========================================================================

Jim Johnson,  JAMOS Music:

"The best way to describe this instrument is that it is to the ESQ-1
 as the EPS is to the Mirage...sort of."

"Most important, it's a true synthesizer, not just a sample player or
 workstation"

"The most impressive feature, in my view, is the inclusion of the
'transwaves', which are waves whose shapes can be modulated by any
modulator in the instrument. Ensoniq compares this with the old PPG
synthesizers"

"And yes, they really have improved the poly-pressure keyboard; it doesn't click
at all, and still feels nice and stiff."

=========================================================================

Bill Lewis,  MCS Magazine:

The new sound chip is the DOC II 2  (called "Otis"), a VLSI chip from Malvern
The DSP is called the "ESP" chip
VFX stands for   V LSI  F/X (Effects)
                 -      - -

=========================================================================

Sam Mims, Gig Magazine:

"The Prophet VS took a stab at dynamic waveform modulation a few years ago
by providing four oscillators per voice and giving the user a joystick or a
modulator to control the mix of these."

"The VFX, however, is the first synth ever to offer oscillators with which the
actual waveform can be modulated and the sound is fabulously alive, ever
changing with the complexities of natural sound or of new dynamic synthesized
soundscapes."

"There's no disk drive, but sounds can be stored on EEPROMs"  [he means patches]
on tape or on SysEx dumps."

"Even completely dry, D-50 type sounds were beautifully ambient. With fully
programmable multiple effects, there will be no stopping it. Here is a new
breed of synthesizer and it's a sure champion."

Some VFX impressions I get...

Pros:

1. New improved keyboard, fully polyaftertouch, no click, weighted?
   I wonder if they really mean weighted. Most of these keyboards are
   spring tension, not weighted.

2. Performance patch buttons!

3. Special modulation capabilities called "Transwave Spectral Interpolation"
   Timbre-shifted versions of acoustic samples
   modulatable start point and forward-backward playback modes on all samples

   Sounds like a programmers dream come true. Plenty of 3rd party patch
   library potential here.

4. 21 dynamically assigned voices

   same as EPS

5. Output: 16 bit D/A conversion with 96dB dynamic range
 
   great SN ratio

6. Digital Signal Processor:

   Nice not to have to use outboards all the time. The D-50 internal
   f/x are great.

7. No sequencer. Yay! Get a Mac and Master Tracks Pro!

8. No disk drive. EEPROM will probably be fine (ala D-50). My disk library
   is getting unmanageable.

Cons:

1. multi-sampled acoustic instruments in string, brass, bass, percussion
   groups

   What? No piano?  :)

2. Display: 2 line x 40 char fluorescent display,

   I don't care for the fluorescent displays at all. The "flicker" is very
   annoying.

3. Price Point: $1800-2k

   If they were in the $1200-1500 range, they would compete with the D-50
   better. I wonder if the SQ-80 will be phased out or price cut? This should
   compete well with the Korg M-1, although lack of "traditional" keyboard
   sounds may be a problem.


dave

    
    I got to play with a VFX (and read the manual!) at Only Guitar on
    Saturday. 
    
    Impressions:
    
    	The keyboard really hasn't changed much from the later SQ80
    and EPS keyboards.  It's not "clack-free", but it is "clack-reduced".
    
    	
    The sound architecture is:
    
    	21 chains of lfo/env/osc/filt in the system
    
    	The "osc" is not a simple oscillator.  It's not a simple wavetable
    	either.  The wavetables are these huge linear interpolations
    	between various wave samples- and there is a way to modulate
    	the frame pointer via any modulator so that a sound can cleanly 
    	and continuously modulate along a wavetable.  The various 
    	waves are chunks of wavetable.  One of the wavetables ("MULTI")
    	is the entire wave memory and you can modulate to any wave in
    	the whole wavetable memory by using it.
    
    	The filter is two filters in series, one LPF and one HPF, with 
    	programmable rates and breakpoints
    
    	Between 1 and 6 chains are used per note sounded.  Chain stealing
    	is priority (you specify hi/med/low on each chain in a
    	note) and oldest. 
    
    	Each patch is composed of programs for 1 to 6 chains, plus a
    	configuration of the effects processor.  There are two effects
    	"boxes", and you can route the output of each chain in a patch
    	to the output in either of "dry", "box1 only" or "box1 -> box2".
    	
    	The effects are reverbs, delays, and chorus/flanging.
                                                                  
    	The modulation routing is ESQ-like but not as flexible.  The
    	three envelopes are pre-allocated, for instance.
    	
    User interface:
    
    	80-char fluorescent display, 6 soft buttons.  Lots of
    	single-purpose buttons to access the filters/oscs/lfo/etc.
    	5 octave poly-pressure keyboard, 2 patch select buttons, mod
    	and bend wheels.  No sequencer, none.   
                         
    Layering:
    	
    	The control architecture is a lot like the EPS- it's zoned and
    	overshadowed, and one can pull new configurations in as needed.
    	Because the effects processors are shared, you have a choice
    	of which program's effects are used at any one time.
    	                                                          
    Sound:
    
    	It sounds a lot like a D-50.  In some ways better; it's easy
    	to get a sound with the "air" of a D-50 but that still "cuts
    	through" in the mix like an (E)SQ.       
    
    Cost & Availability:              
    
    	$1995. and now...  
    
    Accompanying Rumor:  
    
    	The SQ-80 is virtually discontinued.  Reason: It sold well, but 
    	the VFX will blow it away on the high end and it can't compete on the
    	low end with the ESQ-1.  Because it had a relatively high batch
    	size (10,000 units per "run" minimum) Ensoniq will not build
    	any more of them unless there is sufficient demand for another
    	production run.  
    
    	This still doesn't explain the sillyness of not having a built-in
    	sequencer in the VFX.  I personally consider that a strategic
    	error.  Can this be a case of "Lack of inter-organizational
    	communications?"  Nyahhh...
                                                     
    	IMHO;
    		-Bill Yerazunis

    So this is a *21 voice* synth?  (wha...?) 

    And how did it *sound*?  (Like a D50 was a bit vague for me.)  From
    your review, I couldn't tell whether you were impressed or not.  Is it
    gritty like other Ensoniq stuff?  Poly-timbral?  Etc. 

    Would you say it's better for producing sythesized textures or
    recreating acoustic intruments? 

-b

I heard the VFX yesterday and I really liked what I heard.  The sounds were 
explosive and really FAT.  The machine is exceptionally quite, not the noise you
hear from some other synths (D50, ESQ, etc.).  The keyboard is somewhat improved
but I still think they can do better.  I think they rushed the patch creation
phase of pre-production because I notice many patches were not tuned to key --
stacking some of these patches created some horrible sounds.  

$1995.00 is slightly high for just a synth, albeit powerful, but no disk drive.
Also, I heard that the VFX rack version should be out almost immediately.

All in all, a GREAT sound and although I did not have time to delve into 
programming it, it appears quite powerful.  Being an ex-ESQ owner I felt that
the programming interface resembled that of the ESQ-1/SQ80.

I will probably give it another listen and program it a bit before I make any
decision.  But it did sound real good -- and isn't that the most important 
aspect anyway!

Scott

    
    I liked the sound too- if you consider the following continuum
    for "the sound of a synth ('*' indicates the sound a synth is best
    known for) ":
         
    More 'electronic'				 More 'realistic'
    
           
    	  <---*-MiniMoog---->
    Moog	<---*---CZ series------->
    * Modular --->    <-------------*----ESQ--------->       
       <-----------------Matrix-XX----------------->
    		   <--------*--DX7------>
    			   <-----------------D50-*--------------->
    Then the VFX looks like:
    
                 <---------------------VFX-------------------------->
                                                       ^
    	 			most VFX patches are --|
                                                       
    The reason the VFX patches sound so realistic is that by "jittering"
    the wavetable frame pointer just a little, the sound gets a very
    natural sounding motion and change; much more realistic than detuning
    an oscillator with an LFO (PWM modulation is closer, but the wavetable
    framepointer modulation sounds more natural) 
                                                 
    Re: weird electronic textures:  I suppose they are realizeable,
    but that isn't the strong suit of the VFX.
                
    	-Bill

The VFX is now in stock at Union Music in Worcester MA. Hang onto your
wallets folks, and leave the plastic at home. I'll post a review tomorrow.

dave

    I got a quicky demo of the unit Saturday. Jeff was just getting
    up to speed...
    
    He said it had *21* voice polyphony. What's that, 10.5 per side
    on a 2 way split???
    
    Edd

       <<< Note 1932.10 by WEFXEM::COTE "The fool screams no more..." >>>
                                -< Saw it.... >-

>    He said it had *21* voice polyphony. What's that, 10.5 per side
>   on a 2 way split???

It's that � voice that makes the sound! Seriously, since it's dynamic voice
allocation, first come first serve grabbing the odd voice. It's a function
of the DOC III sound chip called "Otis" (insider tip: remember Otis Redding's
"Doc of the Bay?) Digital Oscillator Chip.

VFX Review:

I received a one hour demo from Jeff at Union Music in Worcester MA. I got
plenty of hands-on time, as well as helpful information. I found the VFX to be
a great synth. It uses sampled waveforms from acoustic instruments and other
Ensoniq synths as a starting point, but gives you all of the programmability
and performance features of the EPS. The sounds can be layered and split very
easily. Up to 6 waves (same or different) can be layered in any combination.
The trend now seems to be creating new "extra fat" timbres by stacking
various instruments. That is what made the Roland D-Series such a big hit.
The VFX takes this idea to it's ultimate extreme. The factory patches need
some tweaking; especially the piano and organ. Jeff and I modified the
piano to get more low and mid range. The factory patch is too "brittle" and
thin sounding IMO. We also modified the organ patch f/x. There are some
rotating leslie f/x built-in. The delay, speed, and depth are all programmable.
There are many variations of reverb, flange, chorus, delay, and f/x.
I would highly recommend that anyone considering a D10,D20,D50 also test drive
the VFX. It costs more; $1800-1995, but it may be worth it. I found the
VFX to be much easier to program than the D50. The sounds are "now" and huge.
The manual is excellent and very thick, with lots of illustrations and examples.

VFX Wave List:

String-Sound:	Brass-Sound:	Breath-Sound:	Percussion:
-----------------------------------------------------------------
Strings		Uni-brass	Woodflute	Woody-hit
Pizzi-str	Trumpet		Chifflute	Woodblock
Grand-pno	Trump.var	Ocarina		Templ-Blk
Piano.var	Frenchorn	Vox-ooohs	Dinky-Hit
Digipiano	Fhorn.var	Vocal-pad	Toyhammer
Clavpiano	Saxophone			Agogo-bel
Acous-gtr	Sax.var-1			Slinkypop
Guit.var1	Sax.var-2			Duct-tape
Gtr-harmo					Steamdrum
El-Guitar					Big-blast
Pluck-gtr					Spray-can
Chukka-gt					Metaldink
Crunch-gt					vocalperc
Crunch-lp					Anvil-hit
						Kick-drum
						Snaredrum

Trans-wave:	Bass-Sound:	Waveform:	Tuned Percussion:
-----------------------------------------------------------------

Spectral-x	Pick-bass	Organ-v.1	Marimba
Digital-x	Pop-bass	Organ-v.2	Kalimba
Vocal-x		Pluckbass	Organ-v.3	Steeldrum
Doctor-x	Doublbass	Organ-v.4	Doorbell
Inharm-x	Synbass-1	Sawtooth	Potlid-ht
Synchro-x	Synbass-2	Square		Syn-pluck
Omega-x				Sine-wave	Plinkhorn
Esqbell-x			Triangle	Flutedrum
Formant-x			1+2 Harms	Pno-ping
Planet-x			2Harm-saw	Orch-hit
Electro-x			Fretless	Kagong
Pulse.1-x			Dpno-tine	Rack-bell
Pulse.2-x			Bubbawave	Crash-cym
Resonant1			Clav-wave
Resonant2			Clav.var
Resonant3			Woodwind
Resonant4			Wwind.var
				Pipe-orgn
				Brass-org
				Vocal-bel
				Synth-bel
				Digi-vox
				Clarinet

Inharmonic:	Multi-wave:
-----------------------------------------------------------------
Triang-lp	all-waves
Anvil-lp
Clustr-lp
Tubular-l
Noise-lp

NOTE: The suffix ".var" after a wave name indicates a "timber-shifted" version
of one of the other waves; i.e., it has different split points between the
multisamples in order to create a different freq. spectrum.

It does have piano, which needs tweaking. It does have percussion and f/x.
The display is like the EPS; bright blue characters; no flicker. The keyboard
is "click reduced". I'm so used to the EPS that I "tune out" the click. The
feel takes getting used to because of the poly-aftertouch. It accepts ROM
or EEPROM cartridges for additional patches. It weights 28 lbs. (12.7kg.).

dave

The E�PROM cartridges are now available at Union Music for the VFX. Retail
list is quite expensive at about $130. There is a large markup, so don't be
afraid to haggle down to around $90.

dave

    	On the same (sorta) track, does anyone know of a keyboard/keyboard
    controller, other than Ensoniq & the Roland A-50/80 that can transmit
    polyphonic aftertouch?
    
    --mikie--

    Re: Other poly aftertouch keyboards.
    
    The Elka MK88 and MK55.
    
    Steph

    re: poly aftertouh
    
    ... and the Kurzweil MIDIboard

New for VFX:

I got a cart full of sounds from Bob Stillman at the Uniongig. He says that
2 new factory patch/preset carts are due "soon". The new patches from Bob
are pretty nice, especially a new "VOX" patch.

dave

I noticed some disturbing popping sounds that occurred randomly while playing
certain patches. In talking to Joe Friel at Ensoniq (the O/S developer), he
mentioned that this problem has been corrected in the latest rev. (1.7) of
the O/S. Breathing a sigh of relief that this loud popping is not "normal".
We should be receiving update PROMs shortly.

dave

    Dave,
    
            This month's issue of keyboard ran a review on the VFX and they
    had the same popping sounds and you've described.
    
    Frank

    Just read a rave review of the VFX in Sound on Sound -- what
    about the owners out there?  Can it really be "THE synth of 1989"?
    
    (Only 1300 pounds for THE synth??)
    
    Richard.

                     <<< Note 1932.19 by MARVIN::MACHIN >>>
                    -< Sounds like it should sound great! >-

Richard,

It is a great synth, though I may be the only owner "out here" from
COMMUSIC land. I actually sold off the D50 to get it, something I swore
I'd never get rid of.
   I'm glad they've solved the popping problem, because it really is nice. A
sequencer and disk drive would be nice for some users, and I would like
to have additional sound sample cards be available, instead of just
patch cards. I may end up buying a used D550 to get back some of those
favorite sounds. The VFX has yet another whole range of great sounds.
The piano is marginally usable alone, but is much better when layered
with other sounds. The strings and voice patches are huge. I'm developing
some patches for Ensoniq now. The programming architecture is amazing.
There is a nice review in this month's Keyboard.

dave

    Dave - have you noticed the lag on "thick cluster-chords" that Keyboard
    mentioned, or is this another misunderstanding on Keyboard's part?

    Sounds like the processor is simply getting overloaded.

-b

         <<< Note 1932.21 by DYO780::SCHAFER "Brad - back in Ohio." >>>
                              -< jet lag - T/F? >-

Brad,

I haven't noticed any chord lag on my unit. I'll be taking it in for a
tuneup in a couple of weeks. Apparently it's just a few pot adjustments
and a new O/S (vers. 1.7) to correct the popping. Maybe the new O/S will
fix any lag problem too. I play 7 note chords all the time using the
string and vox pads. I haven't tried any hairy sequences with it yet.

dave

    Since it hasn't been mentioned since it was a vague rumor several
    months ago, I'll take the pleasure of describing the announcement
    of the new Ensoniq VFX SD synthesizer.
    
    It's what I always knew Ensoniq "meant" the VFX to be.  When they
    announced the VFX, I was rather astonished by the absence of a
    sequencer.   I did note however the suspicious space for floppy
    drive.
    
    In some sense I was dissapointed, but yet the absence of a sequencer
    implied to me that it was likely that the VFX sequencer, when ready,
    would be a significant step up from the SQ-80 sequencer (I'm not
    familiar with the EPS sequencer which is also a significant step
    up from the SQ-80 sequencer).  That was good news.
    
    Anyway, they are now running ads for this thing.  The ads don't say
    much (I've sent away for the literature), but the big difference
    between this and the "original" VFX is:
    
    	o A new **** 24 track **** sequencer.  The ad says it has a variety
    	  of recording and editing features, which I wouldn't think applies
    	  to the SQ-80 sequencer.  Hopefully, they've made step editing
          a bit more useful, perhaps even added something more akin
    	  to "event editing" ala PC-based sequencers.
    
    	o A floppy drive that can be used to store sounds, sequences,
    	  and even SYS EX dumps from non-Ensoniq synths (I have found
    	  that feature of the SQ-80 to be incredibly valuable).
    
    	o New drum and percussion sounds (already there's incompatability
          in the VFX line, but all VFX sounds will play on the VFX SD).
    
    The sequencer includes 60 sequences or songs, and has a standard
    15K "note" capacity, expandable to 45K.
    
    Frankly, I doubt I will be able to afford/justify getting one, but it
    does look like this baby is a cut above the rest.  I can't wait til
    the literature arrives.
    
    	db

    What's the expected ship date?  And howz about a ballpark price?

-b

>    What's the expected ship date?  And howz about a ballpark price?

	According to a local Colorado Springs dealer:

SHIP DATE: October
PRICE: $2595.00

More on the sequencer:
I called ensoniq for the following information.
EPS seuquences are not compatible with the VFX sequencer.
The VFX will not be able to read EPS sequences off of disk.  The sequencer
will only record on one track at a time.  

			Mark

    $2600 list!!!!
    
    That's awesome at list price!
    
    I figure this thing would much more than that.  May end up with
    one after all.
    
    	db

    Just got off the phone with Ensoniq.
    
    I think this is going to make a really big splash.
    
    My questions were focused largely on the sequencer.
    
    You ready?
    
    o 24 tracks!!!!
    
    o You can have both song sequences and individual sequences
      (flexibility in how you organize your song)
    
    o Event editing ala PC's  (you can add, remove or change individual
      MIDI events)
    
    o You can shift the timing of tracks (feel function)
    
    o The entire operating system is soft (it's loaded from Disk which 
      means that it updates are easily distributed and they DO plan to
      do a lot more continual development on this baby than they
      have in the past)
    
    o Loop mode recording (among others) which means that it records
      like a recording patterns on adrum machine (merges new input with old
      input).  This is really vital for recording drum tracks.
    
    o Automated mixing (it records your fader movements as MIDI volume)
    
    o Programmable punches (oh boy do I like that)
    
    o New quantizing and filtering features
    
    o Keyboard zoning
    
    o Everything the EPS sequencer does, but in a more ESQ like interface.
      FYI - The EPS sequencer is very highly featured but not as
      ergonomically convenient as the ESQ/SQ=80 sequencer.
    
    o Copying between sequences
    
    o 4 outputs
    
    o New VFX waveforms/samples
    
    o In V1, the sequencer will NOT support the MIDI sequence exchange
      standard, but it is planned for a future version.
    
    o No you can't convert your SQ-80, ESQ or EPS sequences to VFX.
      My guess is that with a little pushback from the field, they
      could be bludgeoned into providing this.  With a totally soft
      OS, they no longer have to worry about address space.  I'm
      almost tempted to volunteer.
    
    And to top it all off, the guy I talked to said that even HE still
    doesn't know half the things that are on this sucker.  He doesn't
    get his Beta test unit until next week.
    
    According to him, the questions I asked don't cover half of what's
    new in this sequencer.
    
    I'll probably be able to post more details next week when I call
    him again.
    
    	db

    Well?  Has anyone played with one of these?  From rumblings I'm
    hearing, it sounds like lots of people are unimpressed. 

    Owners?  Comments?

-b

	I am going to borrow a VFX SD for a day or so.  I will post a review.
Should we start a serperate note for the SD?

					Mark

--------------------------------------------------------------------------------
Note 2141.0                       ENSONIQ VFXsd                       No replies
CSC32::M_MOSHER "WE ARE HERE TO GO"                  49 lines  18-OCT-1989 18:07
--------------------------------------------------------------------------------

I spent about a few hours playing with the VFXsd.
I will give a general overview:

I won't go over the voice architecuter, as it is pretty much the
same as the VFX.  

Adiitional waveforms (not in VFX):
The VFXsd has the following additional waveforms.

DRUM-SOUND wave class           MULTI-DRUM
======================          =================
GATE-KICK                       ALL-PERC
ROOM-KICK                       ALL-DRUMS
GATE-SNARE                      SNAR-DRUM
RIM-SNARE                       HI-HATS
CLOSE-HAT                       CYMBALS
OPEN-HAT                        TOM-TOMS
RIDE-CYMB                       PERCUSSON
DRY-TOM-L                       DRY-TOMS
DRY-TOM-H                       ROOM-TOMS
GAT-TOM-L                       GATE-TOMS
GAT-TOM-H                       CONGAS
RM-TOM-L                        STD-KIT
RM-TOM-H                        GATED-KIT
TIMBALE                         ROOM-KIT       
CONGA-LO
TAMBORINE

SEQUENCER:
More powerfull than the EPS sequencer, with an ESQ-1 user interface.
60 track/sequence:
Its sort of like the esq-1.  You pick the sequence you want to create,
and it asks you if you want this to be a sequence, or a song.  This
makes the number of songs and sequences flexible.  

Event edit:
Sequencer allows for individual midi event editing. 

User interface:
It is much like the esq-1 sequencer interface.  It is parametric.  

Effects:
The global effects can progam can be assigned to a sequence or song, and can
be changed with a program change.


MORE INFO TO COME...

    re: .29
    
    Looks like Brad doesn't want a seperate SD note...

    I tried out an SD the other day (just happened upon it by coincidence
    in a store). I own a D50, and the VFX, to my ears, has incredible
    sounds, I only breezed through some of the sounds (flutes, pianos,
    some brass, and some percussion). I want one. The sound sort of
    enveloped you, it was so clean and full. This has a lot to do wiht
    the built in effects, I know, but what sounds!
    
    To my ears, the piano sounded great. I tried the classical piano
    and one other one that was like the classical piano run through
    some effects, or with some detuning. The flutes were gorgeous!
    The brass tht I heard didn't do much for me, but I only heard a
    few pathes.
    
    I have some concern about the number of voices available at one
    time. It has 21 voices, but the Keyboard review states that you
    only have 7 to 10 sounds available at one time, because the voices
    can be layerd up to 6 at a time (per program as they call it).
    
    Is the VFX SD any different, does anyone know? The documentation
    describes the process a little differently for the VFX SD - stating
    that it layers up to 6 wave forms instead of 6 voices at a time.
    
    Also, the 4 outs are apparently 2 wet and 2 dry outs. Can you send
    some patches only to the dry outs, or do they have to go through
    both?
    
    Also, I bought an R-8 on Friday night, and tried out the VFX on
    Saturday. The VFX SD has some good drum sounds. I know that there
    is a school of thought that you should really have a drum machine,
    even if you have drum sounds available on a separate sound source,
    so, tell me I'd be doing the right thing by having both a VFX and
    R-8 (if the budget allows it)! I mean, I shouldn't just exchange the
    R-8 for the VFX, right? I'm new at drums, and I don't know what my
    needs will really be, I got by without them OK so far , because I
    didn't have them (I'm mostly doing "New Age" type music at the moment).
    
    Bill

re .32
>    Is the VFX SD any different, does anyone know? The documentation
>    describes the process a little differently for the VFX SD - stating
>    that it layers up to 6 wave forms instead of 6 voices at a time.

Six of one half dozen of the other.  I think waveforms and voices are the same. 
Probably just a different tech writer.  Each patch (or program) is made up of up
to 6 waveforms. Patch select buttons can be used to select which waves to play.
The voice architecuture of the VFXsd is almost exactly the same as the VFX. 

>    Also, the 4 outs are apparently 2 wet and 2 dry outs. Can you send
>    some patches only to the dry outs, or do they have to go through
>    both?

Panning can be done at the following levels (I think):
-Patch
-Preset
-Sequence

This is from memory.  I think the routing scheme looks like the following:

dry out                 -------->[left]  4
-------------------[pan]|
                        -------->[right] 3  
    

               ^-------------------------------|
               |                               |         ------->[left] 2
---------------*--->[FX 1]-------^---[FX 2]----*--->[PAN] 
                                 |             |        -------->[right] 1
---------------------------------*-------------|

You send dry out ports 3 and 4.  Effects are on ports 1 and 2.
This effects algorithm allows you to send signal from a  patch to one effect,
or both.  


>    so, tell me I'd be doing the right thing by having both a VFX and
>    R-8 (if the budget allows it)! I mean, I shouldn't just exchange the
>    R-8 for the VFX, right? I'm new at drums, and I don't know what my
>    needs will really be, I got by without them OK so far , because I
>    didn't have them (I'm mostly doing "New Age" type music at the moment).
    
Here's my two cents:
The advantage of keeping the R8 would be that you would have more polyphony.
Using the VXFsd for percussion could eat up polyphony rather fast (depending
on the song).  Also, there are more audio outs on an R8.  So, if you
are concerned with polyphony and multiple outs, keep the R8.  



						Mark				

    re .33
    
> Using the VXFsd for percussion could eat up polyphony rather fast (depending
> on the song).  Also, there are more audio outs on an R8.  So, if you
> are concerned with polyphony and multiple outs, keep the R8.  

    I am concerned about both polophony and multiple outs, so thanks for
    emphasizing those points! One thing that bothers me a little about
    the VFX (and I know I may be asking for the moon here) is that
    you are limited in most instances to 7 to 10 note polyphony. When
    I first read "21 voices", I thought, this is great! But we're down
    to 7 to 10 note polyphony here! How about at least 16 please! It
    is multi-timbral, however, and does have on-board FX, so the
    number of outs shouldn't be much of a problem, anyway. One thing
    that has always bothered me about the D50 is the fact that it's
    not multi-timbral. I know you can split the keyboard, but you are
    limited in the note range because of the split point.
    
    By the way, the VFX is multi-timbral over the full range of the
    keyboard, right (not limited to split ranges)?
    
    Regards!
    Bill

re .34
>    I know you can split the keyboard, but you are
>    limited in the note range because of the split point.
>    By the way, the VFX is multi-timbral over the full range of the
>    keyboard, right (not limited to split ranges)?
    
The VFX and VFXsd are multi-timbral, and use dynamic voice allocation.
If you have a split, you can use 21 voices on one side of the split,
let off on the keys, and get 21 voices on the other side of the split.
This makes the polyphony issue less painfull in a mult-timbral environment.

PRESETS splits and layers:
Three patches can be used in  PRESET.  The following may be programmed
for each patch: KEY ZONE (upper,lower), TRANSPOSITION, MIDI CHAN, PROGRAM
NUMBER, and VOLUME (I think).  This allows splitting and layering.

SEQUENCES:
These same parameters can be used to describe a patch being used in a SEQUENCE
on the (VFXsd).


						Mark

    Thanks for the info! By the way, I know that VFXs have had mediocre
    reviews of the piano sounds. When I commented about this to a sales
    person, he said that the piano sounds have been recently tweaked,
    and sound much better than when the review articles were written.

    They sounded good in my opinion!
    
    Bill

    re: .35
    
    Actually, I'm fairly sure that it does a lot better than a simple
    split.
    
    The literature mentions that you can have something like six different
    zones.  In fact, I don't believe it's even limtied to just different
    sounds in the zones.  I got the impression from talking with Ensoniq
    that each zone could also go out on a separate MIDI channel and
    stuff like that.
    
    I'm fairly certain it's more than 2 zones (split), I'm not as certain
    about what you can do independently with each zone.
    
    IMO, it would be worth the price just as a controller/system controller
    type thing (I certainly exploit that part of my SQ-80 to no bounds).
    
    I just wish I could afford it. 
    
    	db

According to USENET postings from VFX users, Ensoniq's sysexe and nitty-gritty
MIDI commands (non-performance types I guess -- system control like things)
in the VFX (and EPS) is very buggy, don't work, is more of a wishlist item
than for real.

There was a posting from a guy who had to spend 35$ to get his VFX reset
at the service center with an internal reset button because he sent some
command that doesn't work like documented and he didn't do  soft reset like
the error message told him to.

Chad

re.-1

>There was a posting from a guy who had to spend 35$ to get his VFX reset
>at the service center with an internal reset button because he sent some
>command that doesn't work like documented and he didn't do  soft reset like
>the error message told him to.

No need to send the unit in if its brains get scrambled.

The following is true on the VFXsd (I am not sure about the VFX)...

There are four different types of resets on the VFXsd.
  
1) Synth operating system reset:
   Press and hold the PRESET button, press the right most upper soft
   button.  This does  a soft reset of the operating system for
   the synthesizer (remember, the sequencer operating system is sepserate).
   The patches in internal memory are not initialized, and the
   sequencer memory is not erased.
2) Erase sequencer memory: 
   Press and hold the PRESET button, press the middle upper soft
   button.  This erases the sequencer memory.
3) Erase sequencer O.S. and re-init synth operating system.
   Press and hold the PRESET button, press the left upper soft button.
   This erases the sequencer operating system (it must be re-loaded from 
   disk) and re-initializes the synth operating system.  Internal
   sounds are initialized to the ROM sounds.

4) Hard re-boot:
   This has the same affect as #3.  Turn the VFXsd on and off
   six times (pause about 1-2 seconds after going to the off position), 
   and leave it on on the seventh.  This comes
   in handy if the machine gets so confused, it can even boot.   

						Mark...

VFXsd BUGS:


	I have owned my VFXsd for about 4 weeks now.  Since
I have owned it, I have gone through 1 ROM change (synth operating system),
and two sequencer operating system upgrades (disk based).  Most
of the bugs in the machine are problems with the sequencer.  Even
though there are some bugs in the machine, I think it is a fantastic
SYNTH, SEQUENCER, KEYBOARD controlller.  Ensoniq is working very
hard to correct the problems in this unit.  They ship a new
sequencer O/S every two weeks or so. 

	Sooo...  If you have a VFXsd.  Call your local music store
every couple of weeks and see if they have recieved a new O/S for the
synth or the sequencer.

	The next release (1.31 I believe) of the sequencer O/S is supposed to 
fix most of the bugs I have reported with the sequencer.  There will
also be  ROM update with this release to fix problems with the SYSEX
function of the DISK drive.  

						Mark...

	I just heard a rumor that in a future release of the VFXsd, that the
sequencer will be enhanced to allow it to record on ALL tracks  at the 
same time.  This is just a rumor, but it would make transfering sequences
from another sequencer to the VFXsd much easier...


				Mark...

ENSONIQ clinic:

ProSound in Colorado Springs is having an Ensoniq clinic
featuring the VFXsd, presented by Rick Parent.  Dec. 1,  4-6 p.m....


			Mark...

    re .27
    
    db, what are `programmable punch points?'
    
    I want this machine.  I might have to wait a year or two to afford it,
    but mark my words, I will own a VFXsd before I turn 21.
    
    --mikie--

    re .43 re .27 - I assume programmable punch points means the same
    here as elsewhere - you can set the sequencer up to automatically
    switch from play to record on some track at some specific point,
    and back again later.  That way, you can just play along and your
    playing automatically gets "punched in" and out as an overdub or
    overwrite, and you don't have to worry about hitting a footswitch
    or anything to effect the switch into record mode.  This allows
    you to concentrate on getting into the groove that's already been
    laid down.
    
    len.
    

    Expanding on what Len said by way of example:
    
    Suppose you're recording your organ solo and you get a really
    great take that you like but there's one little section you
    know you could do better.
    
    You can program the VFX to play the sequence back to you and switch
    into record at the beginning of the bad section and out of record
    at the end of the bad section.
    
    You start the sequencer up and then you just play the solo over 
    again.  When it's done it will contain the the original solo but
    replace what you originally did in the bad section with what you
    just played.
    
    It's a technique that has been used quite a bit in recording to
    tape (most multi-track tape recorders allow you to do punches).
    
    I may lose some respect for my playing by admitting this, but I have
    used punch in/out quite a bit in stuff I do.  The standard situation
    is that I just love the "feel" of something I've done, but it has
    one or two minor problems.  Rather than risk recording over it and
    getting something that is technically correct, but doesn't have the
    feel, I just punch in over the mistakes.
    
    It's more valuable than you might think.  It's been my experience that
    when you're recording multiple takes of something, you find that
    your "feel" degrades with every take while your technical accuracy
    improves with each take.
    
    I.E. the way it comes down is that humans playing music have this
    unfortunate property that makes it hard to get it both "fresh"
    (to employ a more frequently used recording term) and "accurate".
    
    But anyway, congrats on your decision.  I think you will be even
    more thrilled and amazed by your VFX-SD than I have been my my
    SQ-80 (nee ESQ-1).  It has very few limitations and IMHO is the
    best workstation of its price range on the market.
    
    	db

    	What's the lowest price anyone has seen, as of yet, on one of
    these?  How about you, db (you used to run the DECMS price qoutes)?  I
    want to go mail order (this beast is so easy I don't need any
    hand-holding).
    
    --mikie--

	Guitar Center had them on sale right before Xmas.  Don't remember
	the $$$. Call 'em. 

    
    Any VFXsd owners out there care to comment on life with a VFXsd?
    
    I really get on great with my D20, but one day maybe...
    
    Without getting back into the great timbrality debate, how 
    multitimbral/polphonic is it in use 'live' and when using
    the onboard sequencer? 
    
    Anyone particularly incensed about this machine either way?
    
    Thanks,
    
    Richard.

 After saving for what feels like years I brought home a
 VFXsd Version II this weekend.  I'm impressed so far.
  
 I haven't seen the VFXsd V.II  mentioned here yet. Apparently
it is a response to complaints about the Piano sounds.

 From memory the VFX V.II  includes

	. additional 1 meg of wave memory (ROM) 
	  containing new accoustic and piano waves.

	. New piano programs (patches)   MEGA-PIANO ( their name )
	. VSD 101 disk includes 12 more piano sounds.
 	. The Mega-Piano waves do not play correctly on the
	  original VFX(sd)

	. Seq version 2.0 - Lots of enhancements including improvments
	  to Step Time editing, multi track recording, Cleaned up
	  SysEx stuff, Audition switches between old and new without
	  restarting the seq, new effects ( overdrive distortion),
          changes to sustain pedal, Quick keys for getting out of 
    	  some menus.  Pitch table cartridge's.
    
    
     Haven't had a chance to go through a lot of it yet. Every time
    I get to the alto- sax, I lose track of what I am doing.
    
    Brien
    

    
    Is this a more expensive addition to the range, or just a 
    revision to the VFXsd at the same price?
    
    Richard.

    
    RE: .-1
    
    The reason I ask is that Ensoniq in the U.K. have no knowledge
    of an SD II. The V2.0 sequencer, yes, but no new hardware options,
    no extra ROM or Piano waves.
    
    What gives?
    
    Richard.

    
    The V.II VFX is about $100 more than the original. I don't know
    what the upgrade cost is. VII with the additional piano waves is
    definitely real - I have it.
    
    When I bought it the salesman said it was new. In fact he said
    they recieved 3 of them by accident, and it isn't out announced
    yet. I figured he was exaggerating a little. I guess not.
    
    Anyway for $1900 I've either got a new and improved VFXsd or
    a buggy Beta test unit :^)   Time will tell...
    
    Brien
    
    
    I brought the spec sheet in today.. If there's interest I'll type
    it in..
    
    

    So you paid $1900 for it?  Where?
    
    Has anyone seen it lower than that?  What prices have people seen
    them go for?
    
    With my SQ-80 seemingly on its last legs, and having expected to pay
    well over $2k for it, this may be the excuse I've been looking for
    to buy a VFX-SD.
    
    	db

    
    
    
    Caruso's in New London. Ask for Rick. He knows a few DEC folk.
    
     Caruso's address and phone is in the address note. They were all
    pretty nice folks down there. I couldn't remember the prices I'd
    seen elswhere but $1959 seemed pretty good. I had to add another
    $156 for the state but if they ship out of state you can avoid that.
    
    brien
    
    ps. - straight VFX ( no sequencer was $1300
     

    For those in the u.K., current (cash) price is 1750 pounds.
    
    Note this is for the VFXsd -- no word of a mark II yet.
    
    Richard.

I talked with ensoniq yesterday.  They say that the VFXsd has
been improved.  They have added 4 new waveforms ( 2 acoustic piano, 2
electric piano).  They are calling this an "in-line" improvement to
the VFXsd (in other words, this is still the VFXsd, not the VFXsd II).
I asked if the upgrade would be available to current
VFXsd owners.  They said they have not made a decision yet
on the possibility of upgrading older VFXsd's.  So, all new
VFXsd's sold from here on out will contain the new waveforms.

					Mark...

    Might be worthwhile to find out how we can identify a VFX with 
    the new ones so anyone planning to buy a VFXsd can tell whether
    they have an "old" or "new" unit.
    
    Like maybe the names of the waveforms, or (less preferable) serial
    numbers higher than ____.
    
    	db

    Try the OS.  The new ones should have 2.0 or higher.  1.37 was the last
    version shipped before 2.0, I think.
    
    							Brian

    
    
    The one I have has a large orange sticker that says...
     ---------------------------------------------------------
    | NOW CONTAINS MEGA-PIANO WAVEFORMS                       |
    |	Press Sounds                                          |
    |	Press Bank 0                                          |
    |	Press this key   ( arrow on sticker to soft key two ) |
    |	to hear the new piano sound.                          |
    |_________________________________________________________|
    
    From the feature sheet.....
                               
	On the wave page a new wave class called PIANO-SOUND has been added
	This wave class contains seven new piano related waves.

	MEGAPIANO	new acoustic grand
	M_PNO.VAR	timbre shifted variation of the acoustic grand
	PNO_NOISE	Mechanical action noise of Acoustic piano
	PNO-HIHIT	notes from the upper range range of an acoustic
			piano, without string dampers.
	SYMPATHETIC	sympathetic string resonances of a grand piano
			harp
	EPNO-SOFT	an electric piano played softly
	EPNO-HARD	an electric piano played hard.
                             
    
Midi Sysex Universal device ID message


	The Midi sys-Ex Device Identity Reply message has been modified
	The VFXsd Family Member(model Id) code LSbyte has been changed to 
	2 for VFXsd Version II. All other Sys-EX messages are standard.


                             
    
                            
    
      

    Did I miss it???
    
    The question you are begging is "How is the new piano sound".
    
    Can you tell us how it stacks up against the MKS-20 (et al) and
    the Kurzweill?
    
    	db

    
    
> The question you are begging is "How is the new piano sound".
 
    I'm probably not the best person to answer that. The VFX is a big
    step up for me. Prior gear was CASIO and kawai K1r. Using that as
    a reference the VFX is absolutely astounding. Having a velocity
    sensitive keyboard with poly aftertouch is enough to keep me pumped.
    Pianos were meant to be experessive.
                                                   
    Based on my limited exposure to other synths ( in-store demos )
    I don't think the VFX has set any NEW standards, but it's up there.
    
    Brien.
    
    
     

    
    Well, I phoned Ensoniq U.K. and they are going to query Ensoniq PA
    and/or Caruso's about the new version and get back to me!
    
    Richard.

>                      <<< Note 1932.62 by HUNEY::MACHIN >>>
>              -< "It's better be a free upgrade" -- Ensoniq U.K. >-
>
>    
>    Well, I phoned Ensoniq U.K. and they are going to query Ensoniq PA
>    and/or Caruso's about the new version and get back to me!
>    
>    Richard.

The impression I got from Ensoniq was that there is a new mother board in the
VFXsd VII (I guess we can call it that now).  I would imagine replacing
motherboards in all of the old synths would cost ensoniq major $'s.   When I
called they said they were not even sure if they would offer the upgrade to old
VFXsd owners.  They said call back in a week or two and they might know what
they were going to do, and if they were going to charge for it.  Hopefully it
will be free or cheap. The VFX V2.0 upgrade was free, but the synth had to be
sent back to Ensoniq for two weeks or so. 

When they told me they were not sure if they were going to offer this
to old VFXsd owners, I got pretty pissed off.  I just could not
believe that they would consider not offering it to current VFXsd
owners.  I made comments to them like:

"Not offering the upgrade to current owners is a big mistake.
If you fail to offer the upgrade to current VFXsd owners you
are basicly telling the public, "If ensoniq comes out with a new
synth, don't buy it.  Wait a year till we finish working out
the bugs and adding new features that won't be passed down to
original owners.  Wait so you get the last version of the
mother board and VSLI chips""

Anyway, if you have a VFXsd and feel the same way, call ensoniq
and let them know.  Like most companies, they are driven by
what the customers want.  Obviosly enough people complained about the 
piano samples in the VFXsd to have them put the new waves in.  If
people complain about the upgrade situation, they will probably
offer the upgrade to current VFXsd owners.

My 2 cents...
				Mark...		

    
    RE .63
    
    That's what I thought (and I'm not yet an owner). It really does
    suggest they're just throwing stuff out before it's ready, and asking
    customers to take a chance. That's a major reason for not buying any
    of their stuff, no matter how good the customer service is. This
    thing's been out about a year; that they can even suggest that the V1
    models should become obsolete in this way is ridiculous. The support
    person here in the U.K. agreed with me -- don't buy anything until
    we've sorted this out. It's pretty duff when the U.K. distributors
    rely on this notesfile to find out what's happening to their products. 
    Meantime, people are buying potentially non-compatible gear at full
    price.
    
    How they going to continue to compete with Japan at this rate?
    
    Richard.

Just talked with Ensoniq again today.  They are now considering
offering this upgrade to current VFXsd owners.  They say it
will be two or three weeks before they have the logistics or
price for the upgrade.

The 10 new piano waves take up over 1MB of memory.  This
would bring the VFXsd up to 2.7 meg.  These must
be some hot piano waveforms.  

					Mark...
	

    
    I tried a "Megapiano" VFX-SD today and, boy, it really is a pretty
    impressive piano.  Compared to the SQ-1 (which has the older piano
    waves in ROM) below it, it was no contest.  Might be the best synth
    piano patch I've heard yet.
    
    						Brian

    > might be the best synth piano patch I've heard yet.
    
    I'm very interested to hear what you've heard.  Which of these
    have you heard:
    
    	o Kurzweil PX
    	
    	o Roland MKS-20 family: RD series keyboards, P-330
    
    		db

    Aw, c'mon Dave...
    
    Few people consider either of those as *synthesizers*, eh?  The VFX is
    not a true sampler, sample player or dedicated piano.  Compared to
    synths like the M1, D50, etc., etc. this Megapiano thing is a great
    piano patch.
    
    							Brian

    Mystery solved:
    
    In the July 90 issue of Transoniq Hacker, they discuss the VFX-SD
    Version II.  The OS is 2.0, this can be used in *any* SD and get all
    the new sequencer features plus new FX programs.  You can do a full
    upgrade of any SD to Version II by having the mother board replaced,
    this way you get all the new waves plus new OS.
    
    List for the Version II is $2600.
    
    							Brian

>    the new sequencer features plus new FX programs.  You can do a full
>    upgrade of any SD to Version II by having the mother board replaced,
>    this way you get all the new waves plus new OS.

	Any word on the cost of the upgrade.  Last I heard they were going to
charge for it???


					Mark...

    Does anyone know of an editor intended to work with the VFX?  I tried
    the "Benson" HyperCard stack which worked OK for a few simple
    parameters - but I'd like to be able to control everything from my Mac.
    
    I've been thinking about writing an editor in SuperCard or HyperCard
    for the VFX if nothing is available.  I called Ensoniq, but they had
    no recommendations.
    
    Thanks in advance.
    
    Note: I ordered my VFX mail-order and the flourescent display went
    black after being plugged in for 30 seconds.  I called Ensoniq and they
    said "ship it back to where you bought it".  I shipped it back and I'm
    waiting for a new unit.  Anybody else have any VFX hardware problems?
    
    -Matt-
    
    new_to_the_game_of_MIDI                                              

    I tried the Benson Stack too, but found it too limiting.  Instead get
    yourself a copy of the underlying MIDI XCMDs (available from the RT95
    archives under the name HYPERMIDI) and do it yourself.  I did this and
    got a pretty fair TX81Z editor/librarian in a few evening's work.  It
    isn't fast enough yet, but once all those sliders come up you can
    twiddle every aspect of a voice.  Really neat.   I still have to work a
    bit on the Librarian aspect of it, though I do have all the patches
    from MIDILIB loaded into it.

    Can anyone tell me is $1900 is a good price for a VFX-SD
    that is VII but does NOT have have new piano waves.
    
    I've wanted to get a VFX-SD for awhile but IMHO the new piano sounds
    still don't compare to a Kurzy or an MKS-20-family and as I have an
    RD-300 (kyb w. MKS-20) I wouldn't use the piano sounds anyway (in fact,
    I think they ain't no big deal - I think they've been hyped too much).
    
    So I have an opportunity to get what is being presented as a mark-down
    on an out-of-date VFX-SD only because it doesn't have new features that
    I wouldn't use anyway.

Brien Roscetti quotes $1959 from Carusos in June (1932.54). I know he got 
a VFX-sd II. I'd call Carusos. You're looking at the one at Daddy's - Nashua
I'll bet. 

Dave
A VFX owner who wants you to join the club and share your expertise ;-)

    OK - now that I have mine... ;-)
    
    Daddy's is selling off a bunch of VFX-SD (that's a VFX with a 24 track
    builtin sequencer and floppy disk drive) that have the latest software
    EXCEPT for the new supposedly spiffy piano waveforms for $1900.
    
    However, they also have a new policy that people with VIP cards (anyone
    who applies probably) get a 10% discount so the net price is actually
    $1800, which I've convinced myself is a very good deal.
    
    In my opinion, the new piano waveforms aren't really all that hot.
    Certainly anyone who has something like a Kurzy or a Roland SAS module
    (MKS-20, RD series, P-330, etc.) is not going to throw their piano
    sounds away.  And even if you don't have a killer piano sound, for
    the difference between these units and ones with the piano waves,
    you could get yourself that new Emu piano module which supposedly
    is killer and still have some spare change left over.
    
    The only reason I might want the piano waves is that with them, this
    unit really is pretty much provides reasonable sounds for all the
    bread-and-butter sounds/instruments (piano, organ, drums, bass, synth,
    etc.)
    
    With the piano waves I might often consider taking ONLY the VFX to gigs
    and jams.   However, even without them it has pretty good piano sounds.
    (I've used ESQ-1's piano waves in a pinch - and in fact, in one tune
    I'm working on, I kinda PREFER them to my RD - the ESQ piano has a
    particular "sonorous" quality that appeals to me).
    
    So now, I face the monumental task of converting my SQ-80 sequences to
    VFX, as well as trying to convert a few of my favorite cant-be-without
    ESQ sounds to VFX format  (For example, I have a few organ sounds which
    I think are killer and seem to work with a lot of things I do with them
    and I just could not be without them - fortunately the waveforms they
    use are mostly simple stuff (my favorite uses SINE of all things!!!)
    and/or waves that at least appear in the VFX wave list and I presume
    are fairly similar to the ESQ-1 versions.
    
    	db

    $1900 - 10% .ne. $1800
    
    $1710 is even better!
    
    Edd

    Oops, I meant 5% obviously

    BTW, I'm very interested in getting some software (patches and such)
    for this thing.  Don't know what it comes with but I know I'm going to
    miss not having access to the 3000 or so SQ-80 patches I've managed
    to collect and would like to start building up my VFX collection
    
    (Much of this weekend may be spent typing in VFX patches from old
    Transoniq Hackers - unless someone has already done that????)
    
    	db

    
    The VFX patches have been one per issue, for a total of only four or
    five so far.  Type it in?  I think someone said there are like 150+
    parameters!!!   Time for Voice Crystal  8^)  8^)
    
    						Brian

    Actually I intend to buy Voice Crystal stuff.
    
    Their ESQ stuff was by far the best I came across.  I was very very
    satisifed with their stuff and very very dissapointed with everything
    else.

I am using three Hacker patches - Sams-piano,  KEmerson & (the best IMHO)
Brass-Gas). it has taken me at least an hour each time to enter all of 
the parameters, even after I got used to the multiple voice edit procedure.

If I knew how to dump these to my Amiga I could upload them here. 

I also entered a patch from Keyboard called Canned-Trek which was an intersting
but useless sound. Canned Heat buzz and Star Trek crossing pitch sweeps??
 
I am intersted in anyone's reviews of patches and curious about
patch compatibility with VFXsd which has at least extra drum sounds that
my VFX lacks.

Dave

    As it takes so long to type in a patch, we should start some kind of
    network for sharing the work (rotate who types it in on a monthly basis
    or something like that).
    
    All I know is that as I start trying to do things with it, I really
    miss having the 3000 or so patches to choose from that I had with the
    SQ-80.  I think one reason why that became my "workhorse synth" was
    because I could always find a sound in the library.  I really need to
    start amassing VFX patches.
    
    BTW, the demos that came with this are absolutely killer - it is NOT thet
    same demo I heard on the VFX (the one that came on the cartridge).
    I don't remember the exact names of these demos, one has the word
    "East" the other has the word "West".
    
    It has some very interesting and convincing applications for synthetic
    guitars (electric and acoustic).  Very interesting to listen to because
    prior to this I had NO idea how to use the many guitar patches I had
    and make it sound real - but I isolated the guitar tracks in this demo
    and boy... they do sound like a guitar!
    
    Anyway, reading the manual is sheer joy
    
    	1) Because it is so very well written (typical of Ensoniq) and
           as I hadn't boughyt anything from Ensoniq for awhile (mostly
           Roland stuff recently) I'm used to the utter crap that Roland 
          passes off as documentation.
    
    	2) They took seemingly everything I ever wished I had on the 
    	   ESQ and SQ and put it into the VFX.  The VFX is just EXTMREMELY
    	   well thought-out.  I gets a rare A+ in design and UI.
    
    I'm now reading through the sequencer section and the number of "Oh
    NEAT!"s it has illicited is amazing.
    
    And the effects are SOOOO GOOD!  Incredible reverb!!!  Extremely RICH
    chorusing and flanging.
    
    	db

                <<< Note 1932.82 by DREGS::BLICKSTEIN "Dave" >>>
>    prior to this I had NO idea how to use the many guitar patches I had
>    and make it sound real 
    
    .. just use characteristic guitar voicings on the keyboard !  
    no big deal... ;-)
    
    karl

>    .. just use characteristic guitar voicings on the keyboard !  
>    no big deal... ;-)
    
    Karl,
    
    As you  know, it's much more than that.  One of your Commusic
    submissions was one of the best uses of guitar samples I've heard.
    
    I sure wish that you'd write a little tutorial on how to play realistic
    guitar parts from a keyboard.  (C'mon, I contribute such articles for
    horns and strings and drums).
    
    The VFX demo did give me lots of ideas.  Like emphasizing bass parts on
    the E-string and A string, and suspended chords seem to work best with
    these samples.

    Dave,  I know when I'm cornered.  Regarding guitar idioms on keyboard,
    here's my promise : I WILL put something down (enter something in?).. 
    whether it's musically useful or not I can't predict.
    
    Oh, I know !  here's some :
    
    o	Don't play any notes on the keyboard below E2
    
    o   Have a 'fretboard noise/squeak' sample available and use sparingly
    
    o	Avoid 10-finger chords.. of course, when playing on a Kurzweil
        sampler, the built-in arpeggiation will give a nice strummed effect
    
    karl

    Having just completed reading thru the voice architecture section, I
    find myself once again thinking back to the infamous Roland MT-32
    "polyphony" debate.
    
    For anyone considering the VFX (especially if you own an ESQ or SQ-80
    and are curious about the VFX) here's some perhaps interesting
    observations regarding the true polyphony of the VFX.
    
    Basically, the VFX uses a scheme somewhat similar to the Roland
    "Partial" scheme in that the amount of polyphony you have depends on
    the patches you select.
    
    The VFX claims to have 21 voices but in terms of "real polyphony" it is
    (like the Roland) SIGNIFICANTLY less than that.  I would say, between
    8 and 12.
    
    It's interesting to note that if you were trying to emulate an ESQ-1
    by the most obvious method for mapping ESQ concepts to VFX concepts,
    you would have have something like 7-voice polyphony.  Actually, in
    terms of oscillators, the ESQ has MORE polyphony than the VFX!  The
    VFX is just more flexible in allocating them.
    
    The ESQ has 8 voices each with 3 oscillators.  The VFX basically has
    21 oscillators that can be allocated practically anyway you want 1 per
    voice, or 21 per voice (via layering).
    
    Most of the VFX factory patches use 2-3 oscillators (which the VFX
    calls "Voices" btw).  One potential savings however is that drum sounds
    on the SQ-80 take up 1 voice=3 OSCs, but drums on the VFX generally use
    1 voice.
    
    Another potential saving on the VFX is that it has builtin effects and
    thus some of the effects that you might implement on the ESQ via
    tying up OSCs (chorusing by detuning one oscillator, or reverb via
    using an envelope with a reverb shape) can be done better and more
    economically using the VFX effects.   However, most of us probably
    have effects boxes so....
    
    Another REAL saving on the VFX which DOES increase the polyphony is
    that each VFX "voice" is allocated independently of the patch being
    used.
    
    For example, if you have a ESQ patch, you might use one of the OSCs to
    generate an attack transient like a ("picking" sound for a guitar)
    and another OSC for the sustained part.
    
    On the ESQ, the OSC used for the transient is tied up as long as the
    note is sounding (even though it is no longer being used).
    
    On the VFX, that OSC could be used for another note even if other OSC's
    in the program are still sounding.
    
    	db

    Hey, db, you forgot to mention that on the VFX you have two other
    goodies:
    
    1. Patch Selects
    
    You can use up to 6 "voices" in a patch but map them to the 4 patch
    select buttons, so that only some of them are used depending on which
    patch variation is selected.  It's intended as a performance feature so
    you can change patch nuances on the fly, but it also allows you to get
    up to four timbres out of each patch.
    
    2. Voice Stealing
    
    You can specify which voices may be stolen first, i.e. if  a voice is
    needed by a new note,  you can program into the patch in what order the
    voices may be taken away...pretty cool idea.
    
    							Brian 

    (2) (Voice stealing priority) is relevant - (1) is superfluous with
    respect to the context.   I did mention that you could have an
    arbitrary number of voices allocated to a program - I just didn't
    think it was necessary to say "how" you did that.
    
    But I've now become a BIG advocate of those patch select buttons.
    
    One of the factory patches, ALTO-SAX I believe,  gives you some really
    nice expressive capabilities using the various forms of modulation:
    
    	Pressure - Vibrato + a bit of brightness
    
    	Mod Wheel - a typical horn-player type way to "fall off" a note
    
    	Data Slider - filter roll-on/off (sorta like what you get if you
    		blow harder on a sustained note)
    
    	Patch Select button combinations
    
    		oo - Normal note
    		xo - A sorta "honked" note 
    		ox - A grace note before the note
    		xx - A sorta grace-note-into-a-slide before the note
    	             (VERY REALISTIC)
    
    I have been fooling around with this patch quite a bit and now can
    improvise solos that really sound convincing.   It's great stuff.
    
    Ensoniq is definitely a leader - they were the first to really push
    pressure-sensitive keyboards and I think they really have something in
    this patch select stuff and I can only hope that other companies will
    follow their lead.
    
    Only problem is that whenever you demo an Ensoniq patch, you really
    have to check what ALL the modulation sources do.

    Another neat patch select variation:
    
    There's a mandolin patch where if you press one of the patch selects
    you get ANOTHER hit of the note when you RELEASE the key.  This makes
    it much easier to do a tremolo because instead of having to hit the
    key once for each note, you only need to hit it once for each complete
    picking motion.
    
    Cute eh?

     Another nifty use of patch selects:
     
     An ocarina patch adds slight vibrato with after touch. Press one patch
     button and aftertouch pressure makes the sound warble up about a half
     octive according to amount of pressure. Press a different patch button
     and the warble affect spreads over a full octive. Makes a sound like
     the "Indians" signaling each other from the bushes in an old western.
     I suppose ocarina players do this all of the time. ;-)
     
     
     Dave

I've just started use VFS-SD. Could someone give me help?

   When I boot the keyboard, it displays "DO NOT TOUCH - CALIBRATING KEYBOARD".
   Once the keyboard had been caught by headphone cord and when I switched 
   VFX on after that, it displayed:
        "KEYBOARD CALIBURATING ERROR 
                RECABULATE      IGNORE"

   When I selected RECABULATE, VFX recabulated only to display same error 
   message again. When I selected IGNORE, system started but NO sound even I 
   pressed the keyboard, it became dumb.
   I slightly panicked, and after initializing memory, switched it on, off some 
   times. After few minutes later, VFX displayed normal message and booted up 
   correctly.
   I fear this could be happen again. What is the best way to recover from
   CALIBURATE error? And what is KEYBOARD CALIBURATION?

Thanks,
Sugimoto

    
    Keyboard calibration is used on Ensoniq boards to determnine the "zero"
    position of each key, so that when reading the aftertouch sensors, the
    microprocessor can detect how far the key has moved from the "off"
    position.  If the processor detects key motion during calibration, it
    halts and displays an error.  
    
    Apparently the SW is not too robust here, as I've seen some weird things
    happen to my SQ-80 by touching the keys during calibration.
    
    The best way to recover?  Cycle the power off and then on again.
    
    
    						Brian

    
    
    I have seen the same thing with my VFX. Every once in a while
    it gets a calibration error for no apparent reason. I was definitely
    NOT touching the keyboard. When it happens it usually takes 2-5
    minutes before it calibrates correctly. I have tried reloading the
    OS cycling power, etc, etc. The only thing that works is to wait.
    
    I suspect that the source of the problem is temperature related.
    The room that my VFX is in has wide temperature swings - The heat
    is off unless I'm in there. By allowing it to warm up with the power
    on it always recovers. I wonder if whatever they use for pressure
    sensitivity is also affected by temp. 
    
    The other thing I noticed is at this time of year ( last 6 months)
    is that static is a major problem. I've managed to reduce the display
    to a flickering dot and corrupt the OS with a careless touch after
    a stroll across the carpet.
    
    Lately I hardly ever have any problems, I control the temp a little
    better, and use a static mat.
    
                                         

 I recieved this in October 1990 from someone on "the net". So far I have 
 had the problem twice when the board did a reinit all by itself, killing my
 internal ram patches :-( . Everything was okay after a power cycle.
 I guess it hasn't been so annoying that I went for the "fix" though. 

 Dave
----------------------------------------------------------------------------- 

 For anyone who's having this problem (the keyboard locks up; upon powering
 up the machine, "Keyboard Calibration Error" occurs, and you can't
 continue), and for anyone who's never heard of it (yet), here's the scoop
 from Ensoniq (I called them today):
 
 This problem is destined to happen to all but the most recent VFXsd's
 (any VFX or VFXsd made before August, at least!).  If you haven't had the
 problem yet, relax; you will.  Ensoniq told me so.  It seems that the flux
 they use to make the solder stick to the circuit board had its formula
 changed by its vendor without Ensoniq being informed.  (They changed
 supposedly because the new formula is better for the environment.)  The
 new formula, unfortunately, crystallizes and falls off of the board after
 a few months.  Since it's conductive, it lands across connections to the
 keyboard, and causes circuit shorts.  Thus, the intermittent problem.  A
 good smack to the keyboard will probably fix an occasional occurrence,
 since the crystals fall off, but it'll recur later when another crystal
 falls, and it ain't very good for the keyboard, neither. :-)  Ensoniq is
 offering a free treatment to the board, to eliminate the problem; they
 assure me that after treatment, it'll never happen again.  They were even
 kind enough to tell me how they do it; they simply wipe it with isopropyl
 alcohol, to remove the excess flux.  Seems to me like this might be causing
 some of the other intermittent problems people have mentioned to me, too.
 Sounds like something everyone should definitely go and have done.
  
 Poor Ensoniq; nothing ever goes quite right for them, does it?   :-)
 
 Mike Hughey
  
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Date: Wed, 5 Sep 90 20:29:54 -0500
From: [email protected] (Mike Hughey)
Message-Id: <[email protected]>
To: [email protected]
Subject: Repair for "Keyboard Calibration Error"

 A question for you VFX owners: How do you use set the "program storage"
 areas using an external sequencer. The manual says you send #125,126 or 127
 (I think) to access different combinations of ROM, RAM, & cartridge but I 
 seem to be missing something.  I haven't been able to successfully
 get the patches I want setup in my sequence. It could be that I don't 
 understand something in the way Bars&Pipes works too; I don't know.
 Otherwise, I have to make sure the needed patches are in the MULTI
 before I start.  Any insights? I won't be insulted if there is something
 obvious. ;-)

 Thanks,
 Dave

    
    
    Re Patch numbers.  I do this frequently. The basic problem stems
    from the fact that the VFX can store more than 128 Patches (programs).
    ( 3 banks of 60 ) 
    
    I don't remember offhand which PC # ( 125/126/or 127) selects which
    but they effectivly act as bank selects.
    
    Assume that PC 125 selects ram and PC 126 select ROM. (look up the
    actual #)       
    
    To select ROM                                                   
    
     Send  PC #126 - on the channel you want to change
     All subsequent PC's sent on this channel will select a sound in ROM
     This bank switch only applies to the channel you sent the PC on.
     PC's that used to select RAM patches now select ROM.
        
    
    brien
    
    Then send the PC#  1 - 60 to select the actual ROM patch you want.
    
    THe VFX will remain mapped to ROM on THIS CHANNEL until you
    send a PC ( 125- 127 ) to change it.
    
    To go back to RAM send PC 125 on that channel. 
    
                                                  
    brien
    

I have a weird problem with my VFX that happens only when I play 
one of the organ sounds on it. All of a sudden the organ sound (can't 
remember which one right now, but it was a nice gritty one) get very 
trebly, almost as if one of the layers (corresponding to a drawbar an octave 
lower) just goes away. Has anyone else experienced this? This is a new VFX, 
OS V2.1. 

Any help will be appreciated.

Mike D

    Check your voice priority parameters.  The VFX has a semi-intelligent
    voice stealing algorithm.  You may be playing enough notes so that it
    has to steal a few voices here and there.
    
    Of course, if it also does this while sustaining a single note, then I
    obviously don't know what the hell I'm talking about.
    
    
    						Brian

RE: Disappearing layers on my VFX??

You may be going over the 21 voice limit and some of the
voices are cutting out?  I know I alsways start playing big chords with
those organ sounds...  If the sound uses a lot of voices, it cuts into
the number of keys you can play at one time.  To verify, go to the
Select Voice (?) key (bottom left of the programming section). Each sound
can have six voices  associated with it. The ones displayed with
parenthesis () around them are muted. If the sound uses four or more 
voices simultaneously, you will definitely get into voice stealing 
territory. While you are looking at the select voice page, press the patch
(performance?) select buttons, way over on the left by the pitch 
bend wheel, and see how the muted and sounding voices change when
you press the buttons. Nifty eh?

If you are then layering  one or more four-voice sounds, you can see 
where the number of voices gets eaten up quicker than you want.

Considering the architecture of the VFX it should have about, say, 42 voice
polyphony. It is easy to set up layered sounds that can only be played
a few notes at a time.

I don't have the documentation here and don't have the terminology
fixed in my brain - I hope I got the names right and didn't add
confusion.

Dave

OK I admit defeat. How do I get the VFX portmento (GLIDE) to work with
my new Casio Sax?  I know the sax is sending portmento (c#65 I think) with
values 0- off & 127 -on. I know I have controllers enabled and I set the
glide time value >0.  I can set up the glide parameter to "pedal" and 
activate it that way on the keyboard, but I can't get it to switch with 
the portmento control change.

I remember setting up XCTRL as the MODSRC and I tried trigger and legato
and all of that stuff. Am I missing something?  Has  anyone done this?
Too many variable for me...

Thanks for any info.  
(and thanks to Brien (.96) for the program change exaplanation)

Dave

re .98 etc.

No, it's not voice stealing, because the problem doesn't go away, even if I
am only playing 1 note! The only way it will go away is if I select another
patch, and then re-select the organ patch again.

??

Still stumped.


Mike D

    Re: .100
    
    Not sure what you are trying to do with the glide.  I have been able to
    get my SQ-80 to respond to CC #65 with no problems.  Of course on the
    ESQ architecture you can't kick the glide on and off, I assume that's
    what you're trying to do by using XCTL as the modualtor to glide time.
    
    Stupid idea, make sure you have set XCTL to 65.  I suspect this is a
    global value on the VFX as it is on the ESQ's.
    
    I wish the ESQ had this capability, I ended up using XCTL as a switch
    to bounce between two patches in a layer, one with glide and one with
    it off, in order to be able to control the portamento.
    
    
    							Brian

Somehow I knew Brian would be the one to answer here :^)

Some of this is beginning to click. I need to modulate glide time from
0 to whatever. I'm not sure I can do that.
>Of course on the
    ESQ architecture you can't kick the glide on and off

Could this be my problem with the VFX? I'll bet the pedal option is the 
only one that lets me switch glide on and off?  hmmmmmm. Maybe I need to set up two
two patches, or map CC#65 to pedal (assuming that is possible). I'll get it yet.
Does mono/omni/multi have anything to do with getting this to work?
I know someone, maybe you Brian, mentioned modes in the dh100 note.
Although I've read up on this in a number of places, I know I haven't
nailed that jello to the wall yet.

Thanks,
Dave

    Ok, here we go again.  I assume the VFX glide is implemented
    *similarly* to the EPS.  I looked quickly through an EPS manual and see
    that it has glide also (hey, a sampler with portamento!!).
    
    There is a GLIDEMODE parameter, which has three settings OFF, MONO and
    PEDAL.  In this case PEDAL means the *sustain* pedal, not the CV pedal.
    
    OK, MONO gives you glide all the time, and mono operation (only one
    note at a time).  PEDAL gives you poly operation and no glide until you
    hit the sustain pedal, when you get mono operation plus glide.
    
    If this is how the VFX works, forget the portamento key on the DH, just
    step on your sustain pedal.  If you *have* to use the DH key, you need
    to remap CC#65 (porta on/off) to CC#64 (sustain) somehow.
    
    Hope this at least makes sense and maybe even helps!
    
    
    							Brian

     Yeah, I think this is the same deal with the VFX. Now if
     I use the pedal I have to figure out what I want the portmento
     key to affect. Lotsa choices here folks.
     Thanks Brian,
     Dave

As I saw "LOW BATTERY ..." on display, I called ensoniq-Japan in last week. 
They told me how to check the amount of remaining battery voltage.

Press PRESET and COMPARE at the same time. "ANALOG CHECK" will be displayed. 
You can check battery and etc. by that.
This check method isn't noted in the manual, at least Japanese translated one.

sugimoto

    
    ...and while on the subject of undocumented commands (which tick me
    off), pressing PRESET and MASTER will give you a ROM revision page.
    I jumped through all sorts of hoops before I finally got the right
    hardware and firmware revs together in one box.  The pains of dealing
    with music stores that push merchanidse they dont understand...
    
    Has anyone ever compiled a full list of these nifty commands that
    Ensoniq thinks we dont need?
    
    I am also seeing the calibration errors and occasional blasts of
    randomness from my VFXsd.  I wonder if simply tilting the unit on its
    side would cause the flux to fall away from whatever is shorting out?
    
    Everytime this happens I cringe at the thought of losing my beloved
    VFX for even a few weeks, so I have never sent it in.  I bought a 
    "regular" VFX and traded up to a VFXsd one week later.  I have enjoyed
    it so much that I wrote a letter to Ensoniq just to thank them for
    designing the wonderful beast.  Bugs or no bugs, I'm sold on it!
    
    Gary

    I should have mentioned in my last reply, that one of the calibration
    errors seemed to be the result of having my VFX strapped to a flimsy
    stand.  My studio is a construction zone, but I just cant stand the
    idea of keeping the VFX in a box until the dust settles (its been 
    months since I decided to turn the workshop into a studio), so anyway,
    I am always moving my equipment around and I bolted the VFX securely
    to its stand.  Well, after stubbing my toes real good one night as
    I was working on a case of insomnia, a calibration error just wouldn't
    go away.  When I noticed the stand was twisted (barely even visible)
    from kicking it, I straightened it out and the error went away.
    Coincidence?  Maybe, but I loosened the screws attaching it to the
    stand, and haven't had a problem since.  No more barefoot jammin'
    in the dark for me!
    
    Gary 

     RE .107
     
     I have heard of other people solving problems by changing stands.
     Also, I'll bet some or all of this is in this note already but
     here is some info I have:
     

This is from the #63 issue of the Transoniq Hacker:
 
 
VFX-SD Hidden Functions  (along with non-hidden ones)
 
Hold down first key while pressing the second key.
 
Presets/top left soft button:   Reinitialize the VFX-SD.
Presets/top middle soft button: Erase sequencer memory.
Presets/top right soft button:  Recalibrate the keyboard.
Presets/Master:                 Display the software version.
Presets/Compare:                Display controller values (analog test).
 
 
For the analog test, the display reads:
 
ANALOG    PTCH=064   MOD=000   PED=127   VOL=100
TESTS     KNOB=255   PSL=000   REF=093   BAT=145
 
 
This is what each code means:
 
Code  Device        Range
----  -----------   -------
PTCH  Pitch Wheel   000-127
MOD   Mod Wheel     000-127
PED   Ext Pedal     000-127
VOL   Vol Control   000-127
KNOB  Data Slider   000-255
PSL   Patch Select  000(none),032(right),064(left),127(both)
REF   Ref Voltage   Internal reference source
BAT   Battery Level Battery output voltage
 

    Ensoniq is a funny company.  Where guys like Roland and Korg trumpet
    their stuff months before the stores can actually get the stuff,
    Ensoniq dumps the stuff on your dealer's shelf before you even know
    it's coming.  Witness three new products in the VFX family....
    
    SD-1
    
    Apparently the VFX-SD-II was a stopgap.  Here's the SD-1 which looks
    like a VFX-SD, and is in fact compatible with VFX patch carts and
    VFX-SD patch and sequence diskettes.  It adds more piano waves (again?)
    some other samples (including the Roland 808 drum sounds....sheesh,
    when is Roland gonna reissue that box as a "vintage" machine?) and some
    new FX algorithms.  Also, in typical Ensoniq fashion of borrowing
    features from other products, it has the EPS-16+ output section, i.e.
    16 bit D/A and two stereo out pairs.  Price is about $2500 list, same
    (I think) as the VFX-SD.  Don't expect a blowout on VFX-SDs though, the
    factory has stopped shipping them so it's store stock only.
    
    SQ-1+
    
    OK, everyone bitched about the piano of the SQ-1.  So they added one
    megabyte of new piano samples (hmm, can you say Megapiano waves?). 
    Same list price as the SQ-1, but higher street price as it's brand new.  
    Again, SQ-1 blowouts may not happen unless some dealers are overstocked
    in a big way.
    
    SQ-2
    
    Take an SQ-1+ and add a 76 note keyboard.  Smooth move, since Korg,
    Roland, etc. only put extended boards on their flagship units.  This is
    the cheapest 76 note board available, and should grab a lot of gigging
    pianists who want the extra octave but don't want to pay over $2000 for
    it. This and the 1+ can take all existing SQ-1 sequence and patch data
    as is.
    
    Ensoniq is going on the road with clinics again, they hit Union Music
    in Worcester May 9th so that'll be a chance to see and hear them go
    thtorugh their paces.  Union has the SD-1 and SQ-1+ today, no SQ-2s. 
    Upgrades?  No word yet from Malvern, in particular no word on whether
    an SQ-R+ is coming or not.  
    
    The big risk:  will third party developers jump to these boxes?  I
    found out that many developers who had done stuff for the ESQ-1 never
    did more than put those patches onto disks when the SQ-80 came out, few
    actually utilized any of the new features.  It's a least common
    denominator decsion; if you make a patch that works on the most basic
    machine, it'll work on all of them, if you make it work only on the
    newest and biggest only the folks owning that box will be in the
    market.  Time will tell.  Anyway, Ensoniq still has the best upgrade
    record in the business as far as letting old users port their stuff to
    the new machine (the only major glitches have been from the SQ-80 to
    the VFX and the sequence incompatibilities of the EPS and EPS-16).  Go
    check these new babies out....
    
    							Brian

    I spoke today with some people in customer service and marketing at
    Ensoniq.  Upgrades to make a VFX-SD into an SD-1 and an SQ-1 into a 1+
    will be available, pricing is being decided now.  An upgrade to the
    SQ-R and/or an enchanced rack version are under consideration but not
    yet decided.
    
    Big news is that the SD-1 and SQ-1+ have "slots" for expanding
    wave memory.  I congratulated them for figuring out what computer
    companies have known for years, you will always need more memory than
    you allowed for the day the box hits the street.
    
    							Brian

    Upgrades for both the SQ-1 and VFX-SD require installing new
    motherboards.  Prices are $500 and $700 respectively, including
    installation labor.
    
    						Brian

              
    I got the following information about the VFX keyboard callibration
    problem from a usenet VFX interest list alias. Anyone can sign up 
    by sending a request, by way of node DECWRL.
       NM%DECWRL::"[email protected]"
    
    You then communicate (maybe send and receive patches soon)
    with the group by way of of the alias 
       NM%DECWRL::"[email protected]" .  
    
    Notes regarding the following:
    
    A few people have had serious trouble with their VFXs going
    flakey with keyboard callibration errors, hanging notes,
    multiple returns for service etc.  Although Ensoniq has known
    about the problem for a while, they have not been able to fix
    it for everyone.  Some people noticed more problems with
    certain keyboard stands, in particular the Apex stand, which 
    I guess allows the keyboard to bend in a way that aggrivates
    the basic problem.  Here is the story (solution?), which affects 
    some SD1s too:
------------------------------------------------------------------------
          
Hello VFX'ers (and VFXsd'er, and of course Nick, If you are still
out there:)
 
This afternoon I decided to get the low down on the VFX problems myself from
Ensoniq's own Joe Paschal, an Ensoniq Customer Service Rep with whom I have
delt with before (To my satisfaction). Beleve it or not the Apex problem and
the Keyboard Calibration problem ARE RELATED and CAN BE FIXED. (finally:-)
 
Under the keyboard proper, there are 3 circut boards that control the poly-
key (tm) pressure. They do this:
 
| # # | # # # | # # | # # # | # # | # # # | # # | # # # | # # | # # # |
| # # | # # # | # # | # # # | # # | # # # | # # | # # # | # # | # # # |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
-----------------------------------------------------------------------
 
+---------------------------------+ +----------------------------------+
|                                 | |                                  | 
|   Board #2               +------------------+   Board #3             |
|                          | Board # 1        |                        |   
|                          +------------------+                        |
+---------------------------------+ +----------------------------------+
 
Now, It turns out that Ensoniq misdiagnosed the problem TWICE! and this
new (one month old) conclusion is the result of the senior Ensoniq
Tech's reseach and testing. The first problem (they thought) was the solder
flux thing which would be on board #1. No. They then thought it was the
cable that goes from board #1 to the motherboard. Wrong again.
 
There is a connector that connects board 2 to board 3. Over time and use,
the keyboard begins to sag a little bit and this connector eventually
starts to corrode (get dirty), come loose and the like. THERE"S THE PROBLEM!
Ensoniq has determined that hard-wireing that connection solves the problem.
 
Of course this also explains the Apex deal, supporting the keyboard in the 
middle causes the connection to bend the other way, pry loose, etc.
 
Ensoniq will fix the problem free of charge and has instructed the service
centers to do the same. (BTW my service center has decided to send bad VFX's
to Ensoniq for repair.) I immedately posed the question to Joe: "Will this
effect my old ESQ-1, SQ-80, Mirage (old Ensoniq's)." No. On the older synths,
boards 2&3 are just one long board- thus no connection=no problem. I think
the orginal EPS falls into this catagory as well, but I'm not sure.
 
Service Centers have been instructed to preform this mod to ANY Ensoniq that 
comes in for repair, regardless of the problem. If you want the repair done
request that the service centers refer to bulletins #11 and #9B. 
 
Here's the killer: the first SD-1's that came out have the SAME CONNECTOR!
(that gives you some idea how long it's taken Ensoniq to fix this thing! :=)
Now, of course, they just wire the two boards together, but still. 
 
So, Ensoniq can put this thing behind them, and go back to making great
stuff.
 
-any comments????-
-------------------------------------------------------------------------------
Edgar C. Lecuyer                            Golly Gee, He's in 
University Of Lowell                        The Sponge Awareness Foundation!
[email protected]
"Ensoniq: It's not just a synth, it's a religion!"              -Jim Smith
"Ensoniq: The Technology That PerfKEYBOARD CALIBRATION FAILED"  -Nick Rothwell

    
    I put some VFX patches obtained from the "net" in 
    MIDI::A$:[MIDILIB.PATCHES.VFX] .
    
    These are single programs in sysex format (I hope).
    Since I haven't used them yet, let me know if there is a problem
    with any of them.  There is a vfx_patches.readme file too.
        
    Dave

    
    Well after reading .113 I decided to take a closer look at my VFX-SD's
    Keyboard Callibration Error problem.  Mine had been acting up lately
    taking the dreaded KCE nearly every time I powered up, and randomly
    while playing.  I had noticed it seemed to be related to the upper
    half of the keyboard, and it definitely was related to vibration or
    twisting (since these actions were also a temporary cure).
    
    So the obvious question is: Why not send it in for a free fix?
    First, I have had enough bad experiences with my "authorized" 
    repair source.  Secondly, I figure that I shouldn't be a computer
    engineer if I am afraid to give it a shot.  Finally, if I really 
    break it good, then what the heck, I can always send it in!
    
    So under the knife it went...  The following is a summary of how to
    cure your own KCE's for those of you with the stones to attempt such
    surgery.  By the way, my VFX is solid as a rock now, and I feel much
    more confident knowing it's guts.  Things like PROM updates etc are
    real simple.  After administering the proper local anesthesia, I
    scrubbed and went in...
    
    CURING THE VFX KEYBOARD CALLIBRATION ERROR:
    
    Time: Approx 2+ hours
    Tools: Allen Wrenches, #1 and #2 cross-point screwdrivers, needle-nose
           pliers, wire-strippers/cutter, grounded soldering iron, fine
           solder, flux cleaner, narrow flat blade screwdriver, static
           grounding wrist strap, good lighting, tweezers.
    Supplies: small (approx 22ga) solid or stranded wire approx 6 inches.
    
    PREPARATION:
    
    1) Unplug all cables and cords.
    2) Locate a good static-free place to work.  NO CARPET!!!
    3) Get a small box for all the springs and things to come.
    
    OPENING UP:
    
    1) Remove the four allen screws from the top display panel.  
    2) Carefully lift the lid (it's on hinges).  You will notice some
       resistance as you life the lid, this is by design, so just lift
       harder and it will pop open.
    3) Immediately attach your static grounding wrist strap to the metal
       shell of the transformer.  This is very important if you want your
       keyboard to survive.  
    4) Note the power supply board next to the transformer and all the
       fuses!  To the right is the "Mother board".  Note the two PROMS
       labeled "VFX V2.0 Upper/Lower"  These are your sequencer OS PROMS.
       Visually inspect the cables and socketed components to be sure they
       are all properly seated.
    
    REMOVING THE KEYBOARD ARRAY:
    
    1) Tip the VFX up and remove the eight(?) screws which are directly
       underneath the key array.  You will notice that these screws are
       very loose.  This is part of the problem.  They are screwed into
       soft plastic, and the average rock-n-roller is certain to cause
       the key array to shake loose, particularly if you love sax'es and
       get a lot of mileage out of key-pressure.  You may want to check
       these on occasion since the entire cabinet depends on all the 
       screws to be tight for rigidity.  It gets real floppy when you
       remove them.
    
    2) Locate the ONE ribbon cable connecting the key array to the
       motherboard.  It is sild-screened "Keyboard" on the Mother board.
       Unplug it from Mother.
    
    3) Move your static wrist-strap ground to the small metal tab which
       protrudes above the keys somewhere around middle C.  This is not
       an ideal ground, but there are no better ones to be found with
       all the plastic that comprised the key array. At this point you
       are detached from the seriously sensitive VLSI parts anyway, so
       just be static cautious.
    
    4) Lifting by the front of the keys, carefully remove the key array.
    
    DISECTING THE KEY ARRAY:
    
    1) Place the key array on a well lighted flat surface with the
       keys face down.  
    
    2) Locate and remove the four screws holding the small circuit
       board to the bottom of the array.
    
    3) Carefully lift the circit board (it is about 4" square) straight
       up.  Note the dozen or so long metal pins that connect the board
       to the other boards below it.  Poor design!  This was the second
       suspect mentioned in note .113.  It seems to be OK, but check it
       for signs of corrosion or bent pins.  Clean and straighten if
       required.
    
    4) Set the circuit board aside.
    
    5) Notice the small orange-colored connector just to the right of
       the center of the key array.  This is our culprit!  It is the same
       flakey connector as the one we just inspected, but since it is
       mounted horizontally, and the two boards it connects are only
       held down with plastic tabs, it is subject to sheering forces
       as you crank out the heavy metal tunes!
    
    6) Keeping the location of the connector in mind, turn the key array
       over (face up).  Dont worry about bending the long pins from the
       other connector.  They are protected by plastic stand-offs.
    
    7) Time to remove some keys!  You must remove approximately six keys
       to gain access to the back side of the connector, three from each
       side (or more if you think you might need more room to maneuver
       that soldering iron.  Dont worry about small parts that go "zing",
       the keys are very simple.
    
    8) For each key:  A) Pull upwards on the spring with needle-nose
                         pliers to remove it from the molded spring-socket
                         built into the key.  Set the spring aside.
    
                      B) Using a narrow flat-blade screwdriver, remove the
                         key (white keys first) by inserting the driver in
                         the square opening just in front of the spring
                         socket.  Pry gently forward on the plastic tab
                         that holds the key in place, while lifting up on
                         the pivot-end of the key.  When it lifts, slide
                         the key towards the front to unhook it from the
                         rubber-baby-buggy-bumpers (key stops).
    
    9) After removing the white keys, remove the black ones.  Reverse the
       order when reassembling (black first, then white).
    
    THE FIX:
    
    1) Locate the back of the 12 pin connector.  Facing the keyboard (as
       though you were playing, only upside down), you will notice that
       not all 12 pins are "signal pins".  That is, four of the twelve
       pins are connected to the same etch on each circuit board (this is
       a "ground plane".  If the pins were numbered 1 through 12 (1 being
       furthest away from you, 12 being closest to you), the SIGNAL pins
       are pins: 1,2,4,5,6,7,9,11 while the GROUND pins are: 3,8,10,12.
    
       The reason I mention this is because you dont really need to fix
       all 12 pins.  You can get away with only fixing the 8 signal pins
       since the four ground pins are hardly likely to all fail, and the
       loss of one of them is not likely to impact signal integrity enough
       to make a difference.  If you get good at fixing them, go ahead and
       do all 12 if you like.
    
    2) Dont bother trying to remove the old connector!  It would require
       a serious soldering iron with a SIP attachment and a solder-sucker.
       Also, the circuit boards are dual-sided, and you would run the risk
       of destroying the connections if you attempt to remove it.
    
    3) Prepare 8 (or 12) small jumper wires 1/2 inch long, stripping the
       insulation (if any) back for approx 1/16 inch at each end.  I always
       prefer to "tin" the ends of the jumpers with solder to make the
       actual connection go faster with less heat.
    
    4) With a "GROUNDED TIP" soldering iron (smallest available tip and
       solder) place a tiny drop of solder on each of the pins you intend
       to fix.  This assures quick attachment of the jumpers with minimum
       heat.
    
    5) Using tweezers, attach the jumper wires across the pairs of pins
       (just like the connector does on the other side).  It is very
       important to keep the solder to a minimum and to keep the jumpers
       as close to the circuit board as possible without shorting anything
       out (which is why I prefer insulated jumper wire).  The keys must
       clear the jumpers so at least the first three have to be close to
       the board.  If you get sloppy with the solder, get some solder-wick
       or a piece of stranded wire to soak up the excess (of course I
       wouldn't do such a thing as sloppy soldering...)
    
    REASSEMBLY:
    
    1) After all the jumpers are installed.  Clean any solder flux away
       with some spray flux cleaner (sorry ozone layer...).
    
    2) Install the keys making sure they do not interfere with the jumpers.
    
    3) Reverse the entire disection process making sure to properly ground
       yourself and to tighten all the screws a little bit better than they
       were.
    
    FLAME ON!
    
    1) Note and enjoy the refreshing lack of Keyboard Callibration Errors
       and the solid feel of the freshly tightened key array!
    
    2) If you are not as satisfied as I was, you may have to reboot since
       you unplugged things.  If you still have KCE's or worse, your
       workmanship may be bad, or perhaps it is really broken.  If you
       cant find the problem, I guess you can always take it in.  
    
    By the way: DON'T BLAME ME IF YOU DONE BUSTED IT!!!!  This adventure
    carried no guarantee.
    
    ROCK AND ROLL!!!!
    
    

    About a year ago I had these kind of problems on my SQ-80.
    
    4 weeks ago, I started getting them on my VFX-SD.
    
    I just got the VFX-SD back.  Ensoniq applied ECO's #9 and #11 and
    said that these ECO's have been very successful in getting rid of
    these kinds of problems.
    
    I haven't had any problems since the unit came back, but I haven't
    done that much with it either.
    
    But what was REALLY funny was that Daddy's loaned me a VFX-SD 
    and THAT developed the same problem!!!
    
    So, as much as I love Ensoniq, and as much as I think the VFX-SD is a
    killer piece, I would have to say that Ensoniq's Poly-Pressure
    keyboards have been EXTREMELY flakey in my experience, but maybe
    they've finally got it right.
    
    But let's remember that Ensoniq were the pioneers of Poly-pressure
    keyboards (SQ-80 was THE first, and the ONLY for quite awhile).
    
    How does that joke go?  You can always identify the "pioneers" -
    they're the ones with the arrows in their backs.
    
    	db
    
    

    In the July issue of the Transoniq Hacker (privately run Ensoniq user
    group newsletter), there's an article advertising the availability
    of a variety of programs for IBM PC.  (Thanks to Brian Rost for
    pointing this out to me.)
    
    I called the author, and he is selling a program that converts SQ-80
    sequences to VFX for $39.  You don't need to (still) have an SQ-80,
    you don't even need to have a VFX-SD.
    
    You put an SQ-80 disk into an IBM PC, run this program, and it will
    create a VFX-SD disk.
    
    As someone who is going thru this "upgrade" this program is a godsend.
    But $39 is kinda steep for the amount of data I have to convert (not
    much) and so I'm looking to see if anyone would be interested in
    sharing the cost of acquiring this software.
    
    Now, please note I am NOT proposing a copyright violation.  I do NOT
    intend to make a copy of this disk.  I intend to use it, and then pass
    it on.
    
    Any takers?  Please contact me ASAP.
    
    	Dave Blickstein

          I've got an SQ-80 and an EPS, and have never had any keyboard
    problems. They got heavy gigging use also. The only flaky problem I
    had was once when I left the EPS locked in the car all day at work
    during one of the summer's hottest days (I know, smart going Frank).
    When I booted the EPS, it said "FO INSTRUMENTS" rather than "NO
    INSTRUMENTS". Dave Orin (rest in peace) and I got quite a chuckle
    out of this. Luckily when the machine cooled down it was ok and has
    since been ok (March '89). 
    
    	Now I wish there was a way to convert SQ-80 sequences to EPS
    sequences.....
    
            Frank

I have never encountered the "FO INSTRUMENTS" problem, but on occasion,
I hear midiholics complain about the "MO INSTRUMENTS" syndrome.

As in... If I just had "MO INSTRUMENTS", I would be happy!

8^)

    Gee, I've got display errors on EVERY Ensoniq I've owned (ESQ-1, SQ-80
    and VFX-SD).
    
    They don't bother me - mostly I think I've seen them from misreading
    soundcarts.
    
    I've had my problems, but (unlike Roland) I've never had a problem that
    really shut me down.  I tend to get annoying soft failures that can
    wait until the band has a week or two off.
    
    I'm not sure my Roland S-550 has EVER been 100% working (and I don't
    even include the constant software crashes).  That's why it doesn't
    go to gigs (although it's been useful for recording).

Hi, I'm going to Nashua, NH for a year from next September. One thing I'm
concerend about is transport of my VFX-SD from Japan to US. I think it'll be
OK as, at least, it was imported to Japan at first. But if anybody of you have
tried to transport this very delicate machine to the foreign country, please
give me your advice.
And I'd like to know if there's music shop around Boston where I can get VFX's
things - additional sounds, cartridges, options, etc.

Thanks,
Sugimoto

>And I'd like to know if there's music shop around Boston where I can get VFX's
>things - additional sounds, cartridges, options, etc.

Daddy's Junky Music, right in Nashua, NH, carries Ensoniq. That's where
I first heard the VFX that sent me on the road to MIDI addiction.
Despite the name this is a good music store.

As for transport, I suppose you should consider a road case, something
I don't have, but see advertised in the back of magazines. 

Dave

As an interesting side note, one of my friends who has a VFXsd  and a 
stand that only supported the outer ends of the keyboard (within 6 inches
of both ends) recently sent his back to have the boards repaired. Evedently
the weight is high enough to cause the boards to bow a little, which
eventually started breaking the copper traces on the PC boards. The moral
here is to support the middle of the keyboard as well as the ends.

								Jens 

    As one who has bowed their SD in every way imaginable, then disected
    it thoroughly (.115), I doubt any copper traces really cracked.  It
    is more likely the connectors flaked out.  In some designers infinite
    wisdom, the VFX key position sensor PC board was built in two sections
    with a 2 cent connector between them.  Failing to support the center
    causes the connector to take up the sag.  The actual PC boards are
    mounted in a way (poor way) that allows them to float rather than bend.
    The mother board is mounted on stand-offs.
    
    By the way, ever since the surgery, my SD has performed far better
    than I have!  Which is unfortunately, the way it should.  
    
    On another subject, have any of you toyed with sequences which 
    consume all available voices in a creative way?   I have layed down
    some neat tracks consisting of a couple a tracks of percs, a bass,
    two Trans-Piano's, and a voice-hungry patch called Christmassy (kinda
    tubular-bell-paino sound).  When I select Christmassy, it tends to
    steal voices from the bass and perc tracks as needed (and as voice
    priority selection dictates) which creates a very real and dynamic
    sound, injecting occasional perc hits and bass notes at seemingly
    perfect intervals.  Then when I patch back to Trans-piano, the lost
    voices reappear creating yet another nice dynamic effect.  I have
    enjoyed this "feature?" so much, that I have started using it in
    other sequences.  Just another example of how these VFX's amaze you
    even when you think you have pushed them to the limit!
    
    Gary

    Oh yea, I meant to ask... Exactly how does this IBM PC program convert
    SQ-80 patches to VFX when these machines have entirely different
    architectures?  i.e. different number of envelopes and LFO's, different
    ranges on nearly all mods, extremely different effects, on and on.
    Something must get lost in the translation!  Have you tried this yet?
    
    I am always interested in new patch sources, but I dont have a PC
    (yet).  If I did have one, my wife would throw a fit if I wired it
    up to the VFX (she would want it for other uses, and thinks I have
    gone off the musical deep end already).  If you do get the program
    and find that it really does work as advertised, drop another note.
    I would consider sending you some blank disks and some bucks to help
    defray your cost if you've got a good SQ library going...
    
    Gary

>Oh yea, I meant to ask... Exactly how does this IBM PC program convert
>    SQ-80 patches to VFX when these machines have entirely different
>    architectures?

I read it as converting sequences only. If it also converts patches,
then this becomes more valuable. Although I don't have an SD or
SQ-80 patches, I'm always intrigued by this kind of thing.

The hacker also had an article about Ensoniq disk formats in case
someone wants to write software to read VFX-SD disks on
a computer. 

Dave

    I spoke with the developer of the program.  The program converts the
    *entire* disk, i.e. it pulls all ten sequence banks off the SQ-80 disk,
    figures out what the sequences and songs are, and puts them into VFX
    sequence formats.  Apparently he has figured out how to convert from
    SQ-80, EPS and VFX sequence formats to MIDI file type 1, and can go
    from type 1 back to EPS or VFX (but not SQ-80, long story why).  No
    patch conversions (for obvious reasons).  
    
    If anyone out there has a VFX and wants to help me work on a patch
    conversion article for the Transoniq Hacker, give me a call (I'm
    serious about this, BTW).
    
    						Brian

    > I read it as converting sequences only.
    
    Yes (from .117)
    
>    I called the author, and he is selling a program that converts SQ-80
>    sequences to VFX for $39.  
    
    The author of the program, Gary Giebler, said that he had worked on
    a program to convert patches but didn't get too far.  
    
    Brian, I'd like to help you with such a program, but frankly I don't
    have the VFX expertise at the moment, nor really the time.
    
    What I can offer you is some ideas:
    
    I think the only thing that will be a compromise is the samples.  It
    shouldn't be hard to get a program that precisely converts the
    envelopes, levels, modulation and to a large extent, the filters.
    
    I think a program that just used SOME intelligent mapping between
    SQ/ESQ samples and VFX samples would do MOST of the hard work, and
    the user could probably do the rest.    Many of the ESQ/SQ samples
    have anologs of some sort on the VFX (not suprisingly).  Two of the
    patches I most want to convert use mostly SINE waves!
    
    Anyway, I personally wouldn't expect any program to faithfully
    reproduce my SQ patch on the VFX.  What I HOPE to find some day is a
    program that will get something "close enough" such that it's worth
    my time to do the last 10th of a mile to get the sound to something
    I can use.
    
    That kind of program, I would pay money for.

    re .124 - first time I heard anyone use voice-stealing in a limited-
    polyphony instrument as a musical effect !  thanks, Gary.
    
    karl

 Well, now that it is seen as a good thing I'll admit to playing around
 with it a bit. ;-) ;-)  I like the effect and exploit it
 by holding the sustain pedal longer than normal phrasing would
 suggest. It is nice when playing a lot of rapid appeggio stuff
 with a lot of layered patches. It is a bit difficult with a sequencer 
 though, since the effect is not really recorded. It depends on the
 exact patch setup and is changed if you add or subtract any of the
 concurrent multitimbral events, change the tempo etc. So you might 
 like the voice stealing affect on the organ patch, but when you add 
 a few cymbal crashes it destroys the effect. 

 Single synth dude comments. ;-)

 Dave
 

    
    As you point out, the voice priority scheme is indeed a function of
    the instrument itself and thus cannot be recorded on a sequencer and
    faithfully reproduced on another non-VFX machine.  Of course, using
    the VFX-SD's own sequencer there is no problem recording and playing
    back the voice stealing effect.  Non-key events have no influence over
    the voice priority as far as I have explored them.  I have been toying
    with direct management of priorities lately, since many of my sequences
    are pushing the poly limits of the VFX.  I have found that the factory
    patches tend to be too generous with percussion priorities (i.e.
    hi-hats really dont need HI priority, although crash cymbols probably
    do).  Usually I can lower a couple of perc priorities and free up
    the voices needed by other more predominant sounds.  
    
    A couple of tips: I have found that listening to your sequences with
    headphones on (per order of the better half) will uncover lost voices
    more readily than listening to them over your amp/speakers.  Many times
    I didn't even realize my sequences were exceeding the voice limit until
    I listened with headphones (must be a technical reason somewhere).
    
    Also, if you need to alter the voice priorities of ROM based programs,
    then you need to copy the desired patches to RAM first for obvious
    reasons.  Finally, I have also been able to free up voices by
    using the track merge function.  Usually I do this with percussion
    tracks after debugging each individual track (since there is no
    UNMERGE function).  One would think that the VFX architecture would
    recognize identical voice configurations on separate tracks and
    optimize its voice allocation, but it appears to just dole out 
    new voice allocations for each track, even if the voices are already
    allocated once or more.  (again, there is probably a technical reason
    for this somewhere).
    
    Happy hammerin'
    
    	Gary

    Does the VFX-SD copy the RAM bank off to disk when you save sequences?
    The SQ-80 does this, so I have gotten in the habit of putting *all* the
    patches I need for a sequence into the internal bank, that way any
    specific tweaks I've made are saved off with the sequence I tweaked
    them for.
    
    As far as the phones phenomenon, I think it's just because phones in
    general provide a more detailed listening environment.  Does the VFX
    let you put patches in MONO mode?  I do this for single note lines on
    the SQ-80 so that the releases don't steal voices from sustaining notes
    on other tracks. 
    
    I actually had a line in the last tune I worked on where playing a
    rapid passage (32nd notes) over some sustained chords stole all the
    voices for the chords, even though the line was single notes.  Setting
    the patch to MONO cleared up the problem.  
    
    							Brian

>    Does the VFX-SD copy the RAM bank off to disk when you save sequences?
    
    Yes.
    
>    The SQ-80 does this, so I have gotten in the habit of putting *all* the
>    patches I need for a sequence into the internal bank, that way any
>    specific tweaks I've made are saved off with the sequence I tweaked
>    them for.
    
    I do the same thing.
    
    > Does the VFX let you put patches in MONO mode? 
    
    Yes.
    
    	db - whose SQ-80 disk just went south

	A friend of mine who was in the U.S. a few weeks ago told me, that
	it's possible to buy diskettes for the VFX-SD with complete songs
	on it. Is that right? Where can I get it from? What does it cost?
	Can someone provide me with some information?

	Many thanks in advance.

	Wolfgang (the guy from Bavaria)

    mail submissions to [email protected], and administrivia (subscriptions,
    etc.)to [email protected].
    
    -sam
    
    % From: [email protected] (Sam McCall)

    From USENET:  Apparently there is *already* an upgrade to the SD-1.
    
    From: [email protected] (Dave Ruska) 
    Subject: New Ensoniq SD-1/32 synth? 
    Date: 5 Dec 91 04:30:23 GMT
 
    I just got a call from my local Ensoniq dealer informing me about a new
    Ensoniq synth, and a new upgrade package for the VFX-SD.
 
    The synth is called something like the SD-1/32 (not sure how you
    actually write it's name).
 
    Some of the new features are:
 
    32 voices (instead of 20 on the VFX/SD-1) new 'swing' quantization
    command sequencer expansion memory built in (75000 notes)
 
    The VFX-SD to SD-1/32 upgrade price is $699 + shipping, and is done
    directly with the factory (after getting a Return Authorization #).
 
    The big difference from the SD-1 to the SD-1/32 is apparently a new
    version of the core sound generation chip.
 
    I hope this same chip can get ported into the EPS 16+ product line.
 
    Anyone else have any more information on this ?
 
    Regards, 
    Dave Ruska

    re: .136
    
    Now THAT is something I might go for.
    
    My only dissapointed with the VFX is that technically it had less
    (21) "voices" than the ESQ (3x8).  All it really had was more
    flexibility as to how they were allocated.

    So this weekend I finally got around to starting the conversion from
    my SQ-80 to my VFX-SD.
    
    One key part of being able to replace the SQ-80 with the VFX-SD is
    moving "my" bread-and-butter organ SQ-80 organ sound over the the VFX.
    
    I pretty much completed it, but I'm still trying to get the filters
    right.
    
    In the process of trying to put back some high end, I ran into a
    problem that has me totally perplexed.  The problem is that the
    setting of the filter threshold seems to affect the contour of
    the sound (i.e. almost like an envelope).
    
    I have Filter1 set to Lo-PASS/2 (also get the problem with Lo-pass/3).
    
    
    I can't remember the name of the parameter, but when I set the
    parameter that determines the frequency at which filtering starts
    to 000, I get a pretty decent organ contour: quick attack on key down,
    complete cut-off on key up.
    
    When I try and raise the parameter (to let more highs thru) it kills
    the attack portion of the sound and the sound CONTINUES (like reverb)
    even after I let go of the key (absolutely no good).
    
    Why would changing the filter cutoff affect whether or not the note
    sustains?  Does it have something to do with ENV2?
    
    	db

    I'm not incredibly familiar with it (my neighbor has one), but from
    what it sounds like another parameter is linked to the filter values. 
    I had this problem when trying to make a Thunder type sound.  I'm not
    even sure if it does that (link to filter), but check it out.  
    
    Mike

    Yeah, I figured it out.  It was the envelopes (2 AND 3).  
    
    ENV2 was doing the wrong thing on Key up, and I hadn't realized that
    ENV3 was hard-wired to the output.  The ESQ/SQ architecture has a
    similar hardwired-to-output envelope, but it makes that clear on
    the output page by having a MODSRC=ENV that you can't change.
    The VFX output page(s) don't give any such indication.
    
    Actually had a lot of success last night.  I have a bread-and-butter
    organ patch for the SQ-80 I HAVE to have on the VFX to use it - I sorta
    regard it as a signature "db organ" sound - and last night I just
    about got it to where I'm happy.
    
    Oddly enough, I found the SQ-80's simulation of a leslie by using the
    LFO to modulate a OSC  *** MUCH *** more realistic than the builtin
    VFX Leslie simulation.
    
    Part of why this has taken up so much time was because I was being so
    silly trying to make the VFX effect sound good even though I already
    had something I thought was very cool.  I finally decided to go with
    the LFO's and use the effects for a little chorusing which helped
    out a lot.
    
    I still want to do a little twiddling see if I can get it even better.
    It sounds VERY cool by itself, but it doesn't seem to blend in well
    with other sounds I use and my SQ-80 patch was really exceptionally
    at blending with other things.
    
    	db

    Does anyone have a good "cold wind" patch?
    
    I had one for my SQ-80 but it apparently relies mostly on the
    adjustable "Q" of the filters which (come to find out) the
    VFX does not have.
    
    ... and so we have my first MAJOR objection to the VFX architecture.
    You can do some EXTREMELY COOL things with "Q" (like those famous
    Moog filter sweeps).
    
    	db

    Yo, Dave, which SQ-80 waves are you using for your wind?  See if you
    can find a similar wave in the transwave set (which is how the VFX
    fakes resonance).  
    
    Don't feel bad, *noone* was offering variable Q digital filters in
    synths when the VFX was released.  It's only recently that machines
    like the Kawai K4 and Roland D-70 have offered them.
    
    							Brian

    
    Ya know what I really hate, is that the VFX has no violin wave.
    
    Does anyone have a good fiddle/violin patch to share?
    My friend in the country band would be eternally grateful.
    
    Mike
    
    Ps  He has a VFX-sd (with the piano sounds)

Does anyone have one of those Z-bar pressure sensitive controller strips 
for the VFX. I'd love to try one out to see if I like it before possibly 
buying one (if I like it).

Mike D

    Bri,
    
    I did fool around with the Transwaves, but didn't find anything.
    
    OF course, the nature of them is such that it's pragmatically not
    possible to try all the variations.
    
    But one thing I don't understand is how you can simulate Q with
    transaves?  Could you give me a little education there?
    
    	db

    Dave,
    
    Waves like Resonant1-4 are set up to provide resonance effects by
    providing a set of waveforms which vary from one another in how much
    resonance they exhibit.  By sweeping through them wtih a modulator, you
    can get filter sweep effects.  Similarly, the pulse transwaves can be
    used to simulate pulse width modulation.  The trick is whether or not
    the transwaves available are of a suitable type to do what you want. 
    
    There's a Hacker article by Jim Johnson from about a year and a half
    ago which describes how to auditon the transwaves, basically set up a
    single voice patch with a gate type amplitude envelope and the filters
    wide open, then assign a transwave as the waveform and modulate it with
    the wheel or pedal.  Use the wheel (or pedal) to sweep across the waves
    and hear what they sound like.
    
    						Brian

    So in effect, I can only get resonance on the few resonant waves
    that they've selected for this.
    
    I'll have a look, but remember that I'm trying to do a wind patch,
    and wind isn't really a waveform at all, on the SQ I did it with
    a NOISE wave.  I would imagine that applying resonance to noise
    is one of the things they would've thought to include but I will
    check.
    
    Thanks - this file comes thru again!
    
    	db

    db, I was kind of disappointed by the resonant waves myself.  Being the
    undying RUSH fan I am, I guess I'd have to get an old Oberheim for Tom
    Sawyer!
    
    Mike_who_thinks_there's_nothin_wrong_with_Oberheim

    You might also look into the inharm-x transwave and some of the others,
    as on the SQ-80 the inharmonics included STEAM.  You could fake a
    resonant filter by setting up a bandpass configuration with a single
    pole high pass and double pole low-pass (you get an assymmetric band),
    modulate the cutoff frequncies and come *close* to a resonant low-pass
    filter...maybe...
    
    						Brian

    Believe it or not, I just read the section on VFX filters last night
    and thought about trying that.
    
    Will let you know what happens.
    
    I also have a real good SQ-80 patch called "PANTHER" which uses Q to
    simulate a particular siamese MIDI-cat that I'm fond of.
    
    I regularly give "tours" of my studio to visiting dignitaries
    (relatives, dinner guests, etc.) and one of the highlights is
    watching my cat when I play that patch thru the JC-120 amp.
    
    He becomes utterly convinced that there's another cat inside the
    amp.
    
    	db

    > He becomes utterly convinced there's another cat...
    
    Just wait'll he REALLY believes it and starts "claiming" the amp as
    his territory...
    
    Edd

    Edd,
    
    > Just wait'll he REALLY believes it and starts "claiming" the amp as
    > his territory...
                       
    For sale:
    	
    		Roland JC-120 Stereo amp
    
    		Condition: Somewhat "soiled" but otherwise OK