E-Mu ESI-2000 User Manual

WARNING: READ THIS FIRST

IMPORTANT SAFETY INSTRUCTIONS

Use in countries other than the U.S.A. may require the use of a different line cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel. To reduce risk of fire or electric shock do not expose this product to rain or moisture.

GROUNDING INSTRUCTIONS

This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current, reducing the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet properly installed and grounded in accordance with all local codes and ordinances.

DANGER

Improper connection of equipment grounding conductor can result in the risk of electric shock. Check with a qualified electrician or service personnel if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product. If it will not fit the outlet, have a proper outlet installed by a qualified technician.

This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

This symbol is intended to alert the user to the presence of un-insulated dangerous voltage within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

CAUTION

If the 6200, ESI is rack mounted, a standard 19 inch open frame rack must be used.

USER-MAINTENANCE INSTRUCTIONS

1. The ESI should be kept clean and dust free. Periodically wipe the unit with a clean, lint free cloth. Do not use solvents or cleaners.

2. There are no user lubrication or adjustment requirements.

3. Refer all other servicing to qualified service personnel.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING; When using electric products, basic precautions should always be followed, including the following:

1. Read all instructions before using the ESI.

2. To reduce the risk of injury, close supervision is necessary when the ESI is used near children.

3. Do not use the ESI near water — for example near a bathtub, washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a swimming pool.

4. Situate the ESI so that its location or position does not interfere with its proper ventilation.

5. The ESI should be located away from heat sources such as radiators, heat registers, fireplaces, stoves, or ovens.

Contents i

6. The ESI should only be connected to a power supply of the type described in the operating instructions and as marked on the product.

7. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure of the ESI through openings.

8. This ESI may be equipped with a polarized line plug (one blade wider that the other). This is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety purpose of the plug. Contact an electrician to replace your obsolete outlet.

9. The power supply cord of the ESI should be unplugged from the outlet when left unused for a long period of time.

10. This product, in combination with an amplifier and headphones and speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, consult an audiologist.

11. The product should be serviced by qualified service personnel when:

A. The power supply cord has been damaged; or

B. Objects have fallen, or liquid has been spilled into the product; or

C. The product has been exposed to rain; or

D. The product has been dropped or the enclosure damaged; or

E. The ESI does not operate normally or exhibits a marked change in performance.

12. All servicing should be referred to qualified service personnel.

SAVE THESE INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER.

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ii ESI Operation Manual

RADIO and TELEVISION INTERFERENCE

The equipment described in this manual generates and uses radiofrequency energy. If it is not installed and used properly — that is, in strict accordance with our instructions - it may cause interference with radio and television reception.

This equipment has been tested and complies with the limits for a Class A computing device in accordance with the specifications in Subpart J of Part 15 of the FCC rules. These rules are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that the interference will not occur in a particular installation, especially if a “rabbit ear” TV antenna is used.

If the ESI does cause interference to radio or television reception, you can try to correct the interference by using one or more of the following measures:

• Turn the television or radio antenna until the interference stops.

• Move the ESI to one side or the other of the television or radio.

• Move the ESI farther away from the television or radio.

• Plug the ESI into an outlet on a different circuit than the television or radio.

• Consider installing a rooftop antenna with a coaxial lead-in between the antenna and television set.

Contents iii

iv ESI Operation Manual

Contents

1 General Instructions

Introduction ......................................................................................... 3

The ESI ................................................................................................ 4

Connection Instructions ....................................................................... 6

Connection Diagram ............................................................................. 7

Connecting to an Unformatted Hard Disk ............................................ 9

Sampling Basics .................................................................................. 10

Definitions .......................................................................................... 11

Additional Definitions......................................................................... 15

2 Controls

Master Volume .................................................................................... 21

Data Entry Control ............................................................................. 21

Inc/Dec Buttons .................................................................................. 21

Ten Key Pad ........................................................................................ 21

Escape ................................................................................................ 21

Enter ................................................................................................... 21

Cursor/Page ........................................................................................ 22

Preset Selection ................................................................................... 22

Save Bank ........................................................................................... 23

Load Bank ........................................................................................... 23

Drive Select......................................................................................... 24

Audition ............................................................................................. 24

Trigger Mode ...................................................................................... 24

Multimode .......................................................................................... 25

Transpose............................................................................................ 25

3 Guided Tours

Tour 1: Basics...................................................................................... 29

Tour 2: Selecting Zones....................................................................... 33

Tour 3: Dynamic Processing................................................................ 35

Tour 4: Realtime Controls ................................................................... 42

Tour 5: Sampling ................................................................................ 45

Tour 6: Digital Processing ................................................................... 47

A Practice Sampling Session ......................................................... 48

Tour 7: Managing the Bank ................................................................. 54

Tour 8: On Your Own ......................................................................... 54

Contents v

The Modules

4 Master/Global

1. Master Tune .................................................................................... 57

2. Rename Bank .................................................................................. 57

3. Erase Bank ......................................................................................58

4. Effects ............................................................................................. 58

5. Export............................................................................................. 59

6. Memory Available ........................................................................... 60

7. Disk Utilities ................................................................................... 60

0. SCSI Setup ......................................................................... 61

1. Mount Drives ..................................................................... 62

2. Rename Disk Bank ............................................................. 62

3. Erase Disk Bank ................................................................. 63

4. Lock Bank & Drive ............................................................ 63

5. Disk Status ......................................................................... 64

6. Format Disk ....................................................................... 65

7. Backup ............................................................................... 67

8. Special ............................................................................................ 70

1. Recalibrate ......................................................................... 71

2. Contrast ............................................................................. 71

3. Headroom/Boost ................................................................ 72

4. Main Output Format .......................................................... 73

5. Software Version ................................................................ 73

6. View Channels ................................................................... 74

7. Trigger Buttons ................................................................... 74

8. RAM Test............................................................................ 75

9. MIDI .............................................................................................. 76

1. MIDI Mix ........................................................................... 77

2. MIDI Globals ..................................................................... 78

Basic Channel ...................................................................... 78

MIDI Mode .......................................................................... 78

Continuous Controller Assignment....................................... 79

3. MIDI Load Bank .................................................................81

4. MIDI Volume Pedal ............................................................ 81

5. MIDI Volume/Pan ............................................................... 82

6. Multimode Enable .............................................................. 82

0. Import Options............................................................................... 83

0. Akai Import........................................................................ 83

1. Emax II Import .................................................................. 89

vi ESI Operation Manual

5 Sample Management

0. Select Sample .................................................................................. 95

1. Load Sample ................................................................................... 95

2. Rename Sample .............................................................................. 96

3. Erase Sample .................................................................................. 97

4. Copy Sample .................................................................................. 98

5. Sample Setup .................................................................................. 99

6. Place Sample ................................................................................. 101

7. Arm Sampling ............................................................................... 102

8. Force Sampling ............................................................................. 102

9. MIDI Sample Dump...................................................................... 103

6 Preset Management

1. Load Preset ................................................................................... 107

2. Rename Preset .............................................................................. 108

3. Erase Preset................................................................................... 109

4. Copy Preset .................................................................................. 109

5. Create Preset ................................................................................. 110

6. Preset Size ..................................................................................... 111

7. Merge All Presets .......................................................................... 111

7 Digital Processing

Background ...................................................................................... 114

0. Select Sample ................................................................................ 121

1. Setup ............................................................................................ 121

2. Loop ............................................................................................ 122

3. Truncation .................................................................................... 125

4. Copy Region ................................................................................. 125

5. Cut Region.................................................................................... 127

6. Paste Region ................................................................................. 128

7. Digital Tools I ............................................................................... 131

0. Sample Calculator .............................................................. 131

1. Taper .................................................................................. 132

2. Gain Change ...................................................................... 133

3. Reverse Section .................................................................. 135

4. Stereo <-> Mono ................................................................ 135

5. Left <-> Right ..................................................................... 136

6. DC Filter ............................................................................ 136

7. Sample Integrity ................................................................. 137

8. Digital Tools II .............................................................................. 138

0. Sample Rate Convert .......................................................... 139

1. Digital Tuning .................................................................... 140

2. Compressor ........................................................................ 141

3. Parametric Equalizer .......................................................... 145

4. Time Compression ............................................................. 146

Contents vii

5. Pitch Change ...................................................................... 147

6. Transform Multiply ............................................................ 148

7. Doppler/Pan ....................................................................... 149

8. Sonic Enhancer .................................................................. 155

9. Undo ............................................................................................ 156

8 Preset Definition

0. Realtime Controls ......................................................................... 161

1. Load Zone..................................................................................... 166

2. Edit Assignment............................................................................ 169

3. Erase Zone .................................................................................... 172

4. Copy Zone .................................................................................... 173

5. Crossfade/Switch .......................................................................... 176

6. Velocity Switch/Preset Link........................................................... 183

7. Pitch Bend Range .......................................................................... 183

8. Portamento/Attack ........................................................................ 184

9. Effects ........................................................................................... 185

9 Dynamic Processing

Background ...................................................................................... 189

0. Select Zone ................................................................................... 196

1. Setup ............................................................................................ 197

2. VCA .............................................................................................. 198

3. VCF .............................................................................................. 200

4. LFO .............................................................................................. 202

5. Auxiliary Envelope ....................................................................... 204

6. Velocity To .................................................................................... 205

7. Keyboard Mode ............................................................................ 207

8. Realtime Control Enable ............................................................... 208

9. Channel Assignment ..................................................................... 209

viii ESI Operation Manual

10 Appendix

Effects ............................................................................................ 215

Effects Parameters ............................................................................. 231

Using SCSI........................................................................................ 237

Disk Drive Compatibility .................................................................. 241

Keyboard Character Chart ................................................................ 242

ESI Menu Map .................................................................................. 243

MIDI Key Number Chart .................................................................. 244

MIDI Implementation Chart ............................................................. 245

Specifications .................................................................................... 246

Error Codes ...................................................................................... 247

Troubleshooting ................................................................................ 249

Warranty ........................................................................................... 253

Index ................................................................................................ 255

1 General Instructions

Introduction ............................. 3

The ESI .................................... 4

Connection Instructions .......... 6

Connection Diagram ................ 7

Connecting to a Hard Disk ...... 9

Sampling Basics ..................... 10

Definitions ............................. 11

Additional Definitions ........... 15

Intro/Basic Setup 1

2 ESI Operation Manual

Introduction

Welcome to the ESI Digital Sampling System. Congratulations are definitely in order! The many functions of ESI are detailed in this manual by their module. Screen displays and step-by-step instructions are described for all aspects of use and operation. Sidebars are used to highlight important points or to give useful operational tips which might not be readily apparent.

If you are totally unfamiliar with samplers and synthesizers in general, you may need more information than this manual provides. We suggest that you read some of the many books and magazines on the subject of music synthesis. This will help you to get the most out of this extremely powerful instrument.

We encourage you to take a moment now to read the E-mu Systems warranty and to fill out and send in your warranty registration card. By doing so, you are assured of receiving news of all updates and manual revisions.

Intro/Basic Setup 3

VOLUME

TRANSPOSE DIGITAL PROCESSINGSAMPLE MANAGEMENT

MULTIMODE

PRESET MANAGEMENT DYNAMIC PROCESINGPRESET DEFINITION

MASTER/GLOBAL

PRESET

SAMPLE

2000

DRIVE SELECT LOAD SAVE AUDITION TRIGGER MODE

INC/YES

DEC/NO

ENTER

ESCAPE

TRIGGERS

ABC

JKL

TUV

DEF

MNO

WXY

123

GHI

456

PRS

789

MIDI

ESI

ESI is the very latest in the long line of high quality and affordable E-mu sampling products. ESI features 22.05 kHz and 44.1 kHz sampling rates and 16-bit resolution for CD quality sound. Sampling can be performed in either mono or true stereo. 64 channels of polyphony allow you to stack sounds or create lush sequences without fear of channel “ripoff”. The user-upgradable memory can be expanded to a maximum of 128 Mbytes using standard SIMM modules (Details and installation are available at your E-mu dealer).

The ESI has full access to the huge library of sounds available from E-mu and other sources. It is fully compatible with the legendary EIII and EIIIX libraries, and can import Emax II and Akai S1000/S1100 banks. In many cases, the ESI can import and convert programs faster than the source unit!

The advanced features of the ESI make sampling easy. Samples can be automatically truncated, normalized and placed on the keyboard as the sample is taken. ESI also contains advanced tools such as Auto Correlation, Loop Compression and Crossfade Looping which allow even the most difficult sounds to be easily looped.

Samples can be digitally spliced and mixed with other samples, and dynamically controlled from the keyboard using velocity and positional crossfading and switching functions. Advanced digital processing features such as Sample Rate Conversion, Compressor, Digital Parametric Equalizer and Digital Tuning allow you to shape raw samples more quickly and with greater precision than computer based systems.

Additional digital processing functions include: Time Compression and Expansion, which shorten or lengthen the time of samples without changing the pitch; and Doppler/Pan, which allows you to move samples forward and backwards in space as well as from side to side.

The Sonic Enhancer adds brilliance and cut to a sample, helping it to stand out in a mix.

4 ESI Operation Manual

The ESI contains 19 different filters types for each of its 64 channels. The digital filters are very “analog sounding” and implement the following filter types:

• 12, 24, or 36 dB/octave Lowpass filters with Resonance

• 2nd & 4th order Highpass filters with Resonance

• 2nd & 4th order Bandpass filters with Resonance

• Contrary Bandpass filter

• Three types of Swept EQ filters

• Three Phasers and one Flanger filter with Resonance

• Two morphing Vocal Formant filters

• Bottom Feeder

• Original ESi-32 24 dB/octave Lowpass filter

Modulation sources include three AHDSR envelope generators and a multi-wave LFO per channel, as well as full MIDI modulation control over virtually every parameter.

The ESI's unique Trigger Mode allows up to ten different samples to be triggered from the front panel without connecting a keyboard, making it an ideal tool for DJ's.

The ESI is 16 part multi-timbral which means you can create complex sequences and sound effects.

Four polyphonic audio outputs with integral submix returns allow you to process certain sounds separately and return them to the main outputs without using up precious mixer channels. The Turbo option card adds four additional submix outputs plus an Effects main output.

The ESI can access up to 999 samples per bank arranged in up to 256 presets. The integral 3.5" floppy disk drive provides a convenient means of storing and loading banks. A built-in SCSI interface provides access to external high density media such as hard disks, magneto-optical disks or CD ROM.

A digital interface, available on the “Turbo” option, facilitates the transfer of stereo digital audio between digital recorders, mixers, etc.

The Turbo option card also contains two stereo 24-bit digital effects processors which add Reverb, Delay, Flanging and Distortion effects to the ESI. Over 70 effects are implemented which can be applied on a per MIDI channel basis or by keyboard “Zone”. Each preset can have its own effect program when ESI is in Omni or Poly mode.

In developing ESI, we retained the logical and easy-to-use interface of the industry-proven EIIIX and enhanced it with our state-of-the-art G-chip and H-chip hardware. The G-chip allows smooth sample transposition over a wide range while the H-chips retain the warm character of analog filters.

ESI is an extremely powerful and reliable, seventh generation instrument. We at E-mu Systems sincerely hope it will help you realize and further your musical dreams.

Intro/Basic Setup 5

Tip:

Inserting a standard mono plug

✱

halfway into either of the sub output jacks allows you to sum into the main outputs without a special cable. This is a handy feature for those times when you run out of mixer channels.

Tip:

The submix outputs use a “plug

✱

sensing” scheme which re-routes the signal to the main outputs if a plug is not inserted.

Connecting to a Mixer

Main Outputs: The ESI has provisions for a variety of output connection schemes. The most common hookup is probably using the main stereo outputs. Output level is -10 dBm (approximately 1-2 volts RMS). Output impedance is 1K ohm.

Submix Outputs/Mix In: In addition to the main stereo outputs, the ESI has an additional pair of submix outputs which can be used when individual processing on specific instruments is desired. Any combination of channels can be programmed to appear at the submix output pair. Any keyboard zone (key range) can also be assigned to the submix pair using the Output Channel function in the Dynamic Processing module. MIDI channels can be assigned to the submix pair using the Multimode Mix function in the Master/Global module.

Sub Output

Return (To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

The Submix Outputs are stereo jacks with -10 dBm outputs on the tip of the jack. Output impedance is 1K ohm. The ring of each submix jack is a return input to the main outputs. By using a special cable shown above, specific presets or MIDI channels can be externally processed and then returned to the main mix.

Stereo Headphone Output: The headphone output is located on the left side of the front panel and is capable of driving all types of stereo headphones. The output level is controlled by the master volume control.

Turbo Option Outputs: The optional Turbo card contains three additional output channel pairs: FX, Sub 2 and Sub 3. The stereo outputs are accessed using a stereo plug adapter cable. The FX output is a duplicate of the main outputs run through the effects processors. When MIDI channels or Zones are programmed to “Main,” they appear at both the FX and Main outputs. Submix outputs 2 and 3 incorporate “plug sensing” which reroutes signals to the FX outputs if a plug is not inserted into the submix jack.

6 ESI Operation Manual

Connection Diagram

To Digital Mixer, DAT, etc.

Digital Effect Device

60 mS

Digital Input Device

DAT Recorder, etc.

Main FX Outputs

To Mixer

Turbo Option Card

Digital I/O

SCSI Device

SCSI

S/PDIF

SUB 2SUB 3

IN OUT

TIP=LEFT RING=RIGHT

MIDI In

Sampler

MIDI Out

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

Other

Mic or Line Inputs

MIDI In

Additional

MIDI

Devices

Submix Out/Mix In

Mains

Power Amp

Power

Cord

Mixer

Intro/Basic Setup 7

! Caution:

specifically for MIDI.

Only use cords designed

Sample Inputs

The two sample input jacks accept any low to high level input (microphone to line level). Input impedance is 10K. The gain of the sample input preamplifier is controlled from the setup screen in the Sample Management module. When in the Sample Management module the sample inputs can be monitored from the main outputs or the headphone jack.

MIDI Connection

ESI provides a MIDI IN, a MIDI OUT and a MIDI THRU port.

• The MIDI IN port connects to the MIDI OUT port of an external MIDI controller which could be a keyboard, a sequencer, MIDI drum kit or whatever. Note that the ESI can only respond to information that your controller transmits. If your MIDI keyboard does not have velocity and pressure sensitivity, the ESI will not respond to velocity and pressure.

• MIDI OUT can be connected to another MIDI instrument or computer. The MIDI OUT jack is used to transmit MIDI sample dump information (transfers sample data).

• MIDI THRU simply re-transmits any information received at the MIDI IN port. Use cords that have been designed specifically for MIDI. While regular 5 pin DIN cords may work, they are not shielded correctly for MIDI use and may cause ground loops between equipment.

! Caution:

Turbo Option Kit installed, please use only low-profile SIMMs when adding RAM to your ESI-4000.

If you plan on having the ESI

Footpedal and Footswitch Connection

Control pedals and footswitches can be connected if your MIDI keyboard has inputs for them (most do). The MIDI keyboard translates the controller movements into MIDI data which is received by ESI. Controller data is sent over MIDI on a particular continuous controller number assigned by your MIDI keyboard. ESI must be set to receive the data using the same continuous controller number.

For more information, see MIDI Globals on page78.

110V / 220V Operation

The ESI may be used in either 110 volt or 220 volt environments at either 50 Hz or 60 Hz. No change of voltage settings is required.

ESI automatically switches itself for 110 or 220 volt operation.

Digital I/O (Turbo option)

The optional Turbo card contains a digital interface which allows ESI to transfer digital audio back and forth with other digital devices equipped with S/PDIF digital I/O. Keeping the signal in the digital domain is desirable to keep the signal to noise level as high as possible.

The digital input allows you to sample directly from a DAT recorder or other digital device. The digital output reflects the data at the stereo outputs of the ESI. See the Sample Management module and Main Output Format (located under Special in the Master/Global menu) for more information.

8 ESI Operation Manual

Tip:

If you plan on expanding the

✱

memory beyond 4 MB, a mass storage device is almost a necessity. When dealing with large banks of up to 128 MB, a floppy disk drive simply doesn't cut it, even for back-up. A hard disk is an absolute must! Furthermore, the extremely useful “Undo” function will not work without a hard drive attached.

SCSI

The SCSI connector is a high-speed parallel interface which is used to connect the ESI with internal or external mass storage devices such as hard disks or magneto-optical discs. The SCSI port can be used to link the ESI with an external computer for extremely fast file transfers. The ESI also supports SMDI (SCSI Musical Data Interchange protocol) which allows transfer of samples over SCSI.

For more information on SCSI installation, see, “Using SCSI” in the Appendix of this manual. Also refer to the manual that accompanies your external SCSI device.

Following are step-by-step instructions on how to connect the ESI to a SCSI hard disk or other SCSI storage device.

Connecting the ESI to an External, Unformatted Hard Disk

Important: Make sure that all power to the ESI and the SCSI device is turned OFF.

1. Position the SCSI device and the ESI in a stable location. Hard disk drives are particularly susceptible to shock and vibration. Make sure that you position your hard disk where it won't be bumped or moved while in use.

2. Connect the SCSI device to your ESI using a quality SCSI cable. Make sure that the connectors are firmly mated and that the wire “keepers” are locked in place.

! Caution:

the SCSI cable while power is applied to either the ESI or the SCSI device. Doing so may cause serious damage to both units!

✱

(Master/Global, Disk Utilities, 1) whenever an external SCSI device does not appear in the list of available devices.

NEVER connect or disconnect

Tip:

Use the “Mount Drives” utility

NOTE: There are two type of SCSI cables in common use: the 50-pin Centronics type and the 25-pin DB connector type. ESI uses the Centronics type connector. If your external SCSI device uses the DB connector you can use an adaptor cable to eliminate the mismatch.

3. Set the SCSI ID of your external SCSI device to any number other than 5 or 0. (5 is the default ID of the ESI, 0 is used by the

floppy drive). Consult the operation manual of your SCSI device for this procedure.

4. Turn on the external SCSI device.

5. Apply power to the ESI.

6. Make sure the hard disk really is unformatted or contains information you no longer want. Formatting a hard disk erases all

the data on it. Press the Load button. If the display reads, “No Valid Drives” the drive isn't formatted. Continue on to step eight.

7. Format the hard disk. Press the Master/Global button, select Disk Utilities (7), then Format (6). The display should read, “FORMAT DISK”. Use the Data Entry Control to select your hard disk, then press ENTER. The display asks, “Are You Sure?” Press the Inc/Yes button to confirm. Formatting takes a few minutes. Time to take a break.

Intro/Basic Setup 9

Sampling Basics

Percussive Voice

1 second

Each vertical line

represents a sample.

Each sample takes

a "snapshot" of the

instantaneous signal level.

DIGITAL SAMPLING

stored in digital memory. Upon playback, the measurements are converted back into voltages to reconstruct the original waveform.

Throughout this manual we will use the terms and concepts described and defined below. Read through this section carefully, even if you don’t retain it all. You can refer back periodically as you read through the manual until you understand the basics and definitions.

The ESI is conceptually like a tape recorder. However, the recording process is very different since the ESI digitally records into its computer memory. Sounds for the ESI can be loaded via removable-media hard disk, magneto-optical disk, CD-ROM using the SCSI interface; or through the S/PDIF Digital interface; or even through the MIDI interface using MIDI Sample Dump.

Computers can accept information only in the form of numbers, so the ESI accepts audio signals coded into binary numbers. Samplers work by examining (sampling) the incoming signal level at a very high rate (44,100 times a second for compact discs), and sequentially recording these different levels in memory. Once stored, these samples may be played back (in the proper sequence, of course) to reconstruct the original signal. For instance, if a two-second sound was being sampled at

44.1 kHz, it would require (2 X 44,100) or 88,200 samples to be recorded. As you might imagine, shorter sounds require fewer samples.

The signal is repeatedly measured at a high rate and the measurements are

10 ESI Operation Manual

A sound can be manipulated once it has been recorded. Playing back the samples in reverse order from which they were stored plays the sound backwards. Playing back the samples at a faster rate than the rate at which they were stored raises the pitch. Playing back at a slower rate lowers the pitch, much like a tape recorder’s variable speed control.

Definitions

How the ESI Organizes Sounds

Sure, you’re anxious to start coaxing wonderful sounds from the instrument—but the following is a necessary part of learning how to play the ESI. It is important to understand how the ESI organizes sounds in order to make best use of the instrument in the shortest possible time. Many terms will be introduced now that show up later in the manual.

You can think of the ESI as resembling a collection of sound-organizing modules, all contained within an the ESI bank. Pathways indicate how information flows within the ESI. Let’s take a closer look at what makes up this information, and how it is transferred from one section of the instrument to another. We’ll start with individual samples, then work our way through the system.

The Sample

Loading in any sound in mono or stereo creates a sample. A sample is the raw material with which the ESI works. The total available sampling time can be divided up any way you like—one long sample, lots of short samples, a few medium samples, or any combination thereof.

The term sample commonly means two different things:

1. A digital recording of a complete sound, or

2. Each snapshot of the sound that makes up the complete sample. Confusing? You bet! In this manual, we’ll assume sample means the complete recorded sound unless indicated otherwise.

You can modify a raw sample in several ways:

• Transposition: A sample can be transposed up or down in pitch to cover a particular range of the keyboard. By doing this, it is not necessary to record a sample for every key.

• Digital Processing: In the ESI, Digital Processing might consist of Looping a sample (allowing even short samples to play indefinitely), Truncating (cutting off unneeded parts of a sample, thus saving memory), or any of a number of digital processes that actually change the raw sample data.

• Dynamic Processing: Just as synthesizers include signal processors (filter, voltage-controlled amplifier, envelope generators, LFO, and so on) to modify the sounds produced by the synth’s oscillators, the ESI includes similar modules for modifying the sound of samples or combinations of samples.

Intro/Basic Setup 11

The Preset

As mentioned above, a sample can be assigned to a single note on the keyboard, or transposed polyphonically to cover a wider keyboard range. A preset is one entire keyboard setup. The process of assigning, and optionally transposing, samples to specific ranges of the keyboard is called making a preset. Making a preset is a three-step process:

1. Create the preset and give it a number and name. The bank can hold up to 256 Presets (000-255).

2. Place samples to different keyboard ranges. For example, with five samples you could assign each sample to cover one octave of a five octave keyboard. A sample can be assigned more than once within a given preset, and assigned to more than one preset.

3. Choose from a number of available options that further define the preset. Some examples are: assigning samples to partially or

fully overlap other samples, thus producing doubling effects, or assigning dynamic control to individual samples in a preset. You can modify zone parameters, and set up MIDI and dynamic processing parameters.

ZONE

= (Keyboard Range)

Any

Range

Entire

Kybd

The Zone

A particular range of the keyboard is called a zone. This zone can include one or more samples and the zone’s boundaries need not be the same as the boundaries of the samples contained in the zone. Zones free you from having to think about where the actual samples are assigned. You just select a range of keyboard (a zone) and go!

As an example, suppose you wanted to set the velocity response for the entire keyboard. You would first select the zone range by playing the lowest and highest keys when prompted by the ESI. Next you would set the velocity response (in the Dynamic Processing module). Done.

Primary Samples

Secondary Samples

Sample 05

Sample 01

Sample 06

Sample 02 Sample 03 Sample 04

Sample 07 Sample 08

12 ESI Operation Manual

= Copied Zone

Vel -> Level

Tuning

Pan

THE BANK

(Holds up to 256 Presets)

Now, suppose you wanted just the lower half of the keyboard to have increased velocity response. You would simply select a zone for the lower half of the keyboard, then change the velocity settings as desired.

When you copy a zone, the appropriate samples will be picked up along with the Dynamic Processing parameters.

The Bank

The memory bank contains samples, zones and presets. Everything. Consider the bank as the central storehouse for all of the ESI’s data. Although the memory is volatile, meaning that the data disappears when you turn off power, all bank data can be saved permanently to the hard disk drive or other media to keep a record of your work.

Preset 000

All Preset Definition Parameters

All Dynamic Processing Parameters

(One entire keyboard setup)

Sample

Sound

Data

Loop Points

Sample Sample Sample

Sound

Data

Loop Points

Sound

Data

Loop Points

THE BANK All the data loaded into the ESI is called the Bank. Each individual keyboard setup is called a Preset. Individual Samples can be shared among presets.

The Internal Drive

A disk drive is a memory storage device that stores banks of data. The standard ESI has a built-in floppy disk drive which can be used to load and store bank data. However, other types of drives, as described later, can connect to the ESI to provide sound storage.

Sound

Data

Loop Points

Preset 255

All Preset Definition Parameters

All Dynamic Processing Parameters

(One entire keyboard setup)

Sample Sample Sample

Sound

Data

Loop Points

Sound

Data

Loop Points

Sound

Loop Points

Data

Tip:

Use the “Mount Drives” utility

✱

(Master/Global, Disk Utilities, 1) whenever an external SCSI device does not appear in the list of available devices.

• Floppy Disk Drive (Drive 0): The floppy disk drive accommodates

3.5", double-sided, high-density (1.4 MB) floppy disks. The floppy drive on the ESI is used mainly as a convenient way to load and save small sound banks. When a bank size larger than 2 MB is used, (which requires 2 disks) the floppy disk becomes impractical for backing-up sound data.

• Iomega 100 MB Zip Drive: The ESI is also available with an internal 100 MB Zip removable disk drive in place of the floppy disk drive. Treat the internal Zip with care, just as you would any other hard disk drive. To use: simply insert a disk into the drive with the label side up. To eject the disk: press the button on the right.

Intro/Basic Setup 13

Tip:

The ESI can only load floppy disks

✱

which were created on the ESI. It can load hard disk data created on the EIII, EIIIX, Emax II or the Akai S1000/S1100.

Tip:

Use the “Mount Drives” utility

✱

whenever an external SCSI device does not appear in the list of available devices.

External Drives

The ESI has a SCSI (Small Computer Systems Interface) connector on the rear panel. This interface is commonly used in the computer industry, so that many devices made to work with computers—particularly mass storage devices—will also work with the ESI. Here are some of the types of mass storage devices that can plug into the ESI’s SCSI connector.

• Hard Disk Drive: A hard disk provides the advantages of much higher memory capacity and far faster access time. Transferring data to and from the ESI is quite straightforward. However, you cannot remove a hard disk and replace it with another one—the disk is a permanent part of the drive. There are three main cautions involved with hard disks:

1. Hard disks are sensitive to extreme mechanical shocks. If your hard disk falls off a keyboard stand, chances are the hard disk will be damaged.

2. Make sure power is not interrupted when you write data to the hard disk.

3. Hard disks have reached a very high level of reliability. However, they can fail from time to time (as can any part of a computer), so any data should be backed up periodically and regularly on some other medium.

• Removable-media Hard Disk Drives: These are similar to normal hard disk drives except that the disk itself can be removed and replaced with another disk. Disk densities can range from 44 Mbytes to over 270 Mbytes per platter. Removable-media hard disk drives allow you to build a sound library of unlimited size and are quite handy for transferring sounds between machines. They're also perfect for backups.

• CD-ROM Drive: A CD-ROM is a playback-only (data cannot be written to it) mass storage memory device whose capacity is approximately 660 Megabytes. Many high-quality and low cost CD-ROM libraries are available from several companies (E-mu Systems, Inc., Northstar, Sound Ideas, Q-Up Arts). These can be loaded into the bank as easily as you would load from a hard disk.

• Magneto-Optical Drive: Basically a read/writable CD, these high speed, high density storage devices are currently the hottest thing around for storing large amounts of sound data. Typically a magneto-optical drive can hold upwards of 300 Mb per side and the removable cartridges can be used over and over. Disk access time is comparable to a normal hard disk, and is sometimes even faster!

Advantages: High-speed, high-density, reliable, removable. Disadvantage: High cost (although prices are dropping fast).

14 ESI Operation Manual

Additional Definitions

The Primary and Secondary Layers

An ESI key provides for two channels. These contain the primary and secondary layers. For example, the primary layer might be a sample of a guitar note and the secondary layer a detuned version of the same guitar note. When played together, you hear chorusing. Also, a preset contains information about how the keyboard dynamics affect the primary and secondary layers. As an example, the primary layer could be a sample of a drum hit played softly, and the secondary of a drum hit played loudly. Thus, playing the keyboard softly would play the primary layer, and playing the keyboard more forcefully would play the secondary layer.

The Current Preset

When you load a bank, a preset will be ready to play and the display will show the preset number. This is the current preset. If you select another preset, or create a preset, that will become the current preset.

The Current Sample

When a bank is first loaded, the current sample defaults to Sample 001. Whenever you record, load, or select a sample, it becomes the current sample. Thereafter, when you load a bank, the default sample is the current sample at the time you last saved that bank. For example, if sample 029 was the current sample the last time you saved the bank, then the next time you load the bank the current sample defaults to sample 029. You can always hear the current sample by pressing the audition button or entering the Digital Processing module.

Tip:

If a module is already active and

✱

you are finished with one submodule, you do not need to re-activate the module - just key in the new submodule number.

Modules

A module controls a particular set of functions in the ESI. There are six main modules: Master/Global, Preset Management, Preset Definition, Sample Management, Digital Processing and Dynamic Processing.

• Activating a Module and the Module Identifier: To work with a module, you must first activate it. Press the button associated with the desired module. The display will then show the Module Identifier and invite you to select a submodule.

• Submodule: Each module contains several numbered submodules that set controls for additional functions. There are two ways to select a submodule within the module. You can move the Data Entry Control until the display shows the desired submodule, then press ENTER. As you work with the ESI, though, you will start to memorize the submodule numbers and will probably find it faster to simply key in the appropriate submodule number using the numeric keypad. When using the keypad, it is not necessary to press ENTER. Pressing either the module button or the Escape button will return you to the preset selection screen.

Intro/Basic Setup 15

Saving

The bank only retains data for as long as the ESI is plugged in and turned on. Of course, we don’t expect you to leave the thing on all the time, which brings us to the subject of saving data.

Pressing the SAVE button on the Control Panel shuttles all the bank data (samples and presets) to the drive of your choice. A hard disk permanently stores data so that even after turning off the ESI, the disk will contain a record of your work.

IF YOU DO NOT SAVE A BANK, ALL BANK DATA WILL BE

LOST WHEN YOU TURN OFF THE MACHINE.

Do not wait until the end of a session to save. Save your work periodically in case of power failure or some other unforeseen circumstance that might erase the bank’s memory. Floppy disks and hard disks are not infallible. All hard disk banks should be backed up periodically to another hard disk or other media. Should you improve the preset or sample later, you can always replace the original with the revised version. And if something goes wrong, the original will still be available to save you the ordeal of starting from scratch. Whenever you have done enough work that you would hate to lose it, back it up!

Since the disk contains a record of the bank data, loading the disk back into the bank transfers all the sample and preset data into the bank. This will replace the existing bank data, if any.

Default

A default setting is what we’ve judged to be a useful initial setting, and remains in effect until you change it. For example, if you create a new preset, portamento will default to 0 seconds (off). Had it defaulted to some higher value, all new presets would have portamento applied.

The Cursor

The cursor is that small flashing line on the display. It sits under the number or letter that will be altered if you enter data. Entering a new value will overwrite the number or letter above the cursor, whereupon the cursor will move on to the next number or letter (if applicable). If the ESI is expecting a two or three-digit number, in most cases you must enter all the required digits even if some of these are zeroes (called leading zeroes). For example, if the ESI is expecting a three-digit number and you want to enter 8, you would enter 008. If it is expecting a singledigit number, entering 8 would be sufficient.

16 ESI Operation Manual

Data Entry Control & Increment/Decrement Buttons

In virtually all instances where the Data Entry Control selects options, the Increment (INC/YES) and Decrement (DEC/NO) switches duplicate the Data Entry Control. Press INC/YES to increase a value, or DEC/NO to decrease.

Selecting

When the instructions say to select an option, you can use whatever method is most comfortable for you: the Data Entry Control, the Increment/Decrement buttons, the numeric keypad (if applicable) and, when naming, or selecting pitches, the keyboard keys. Some functions do not implement all these options; you can’t go wrong by trying, though. If a function doesn’t respond to the numeric keypad, for instance, then pressing the keypad will have no effect. Use the Data Entry Control or the INC/DEC buttons instead.

The Big Re-Cap

• A sample is a raw sound that is loaded into the bank.

• To create a new preset, make sure you have all the samples required for the preset in the bank, number and name a preset, then assign combinations of samples from the bank to specific sections of the keyboard. By specifying one or more of these samples (or portions thereof) as a zone, the zone may then be processed by the ESI’s dynamic signal processors.

• After arranging a bank, it can be saved to one or more drives.

• Since loading from a hard disk fills the bank with samples and presets, you can group these samples into new presets, process the samples contained in particular zones, or alter existing presets.

Intro/Basic Setup 17

18 ESI Operation Manual

2 Controls

Master Volume ....................... 21

Data Entry Control ................ 21

INC/DEC Buttons .................. 21

Ten Key Pad ........................... 21

Escape .................................... 21

Enter ...................................... 21

Cursor/Page............................ 22

Preset Selection...................... 22

Load Bank .............................. 23

Save Bank ............................... 23

Drive Select ............................ 24

Audition ................................. 24

Trigger Mode .......................... 24

Multimode.............................. 25

Transpose ............................... 25

Controls 19

20 ESI Operation Manual

Master Volume

Data Entry Control

Inc/Dec Buttons

The Master Volume Knob controls the volume of every audio output on the ESI including the submix and headphone outputs. The master volume knob is a digital control. For maximum dynamic range it should be kept near the maximum position.

Using the Data Entry Control is the most common way to change parameter values on the ESI. Moving the control changes either the data over the flashing cursor or scrolls through options in the display.

In all ESI menus where the data entry control selects options, the Increment (INC/YES) and Decrement (DEC/NO) Buttons duplicate the function of the Data Entry Control. The increment/decrement buttons can be used when a finer degree of control is required. They can also be used for selecting Yes or No.

Ten Key Pad

Escape

Enter

The Ten Key Pad is used to enter data in precise amounts. For instance, if you wanted to jump to preset 10, enter 010 on the ten key pad and the new preset number will be instantly selected, eliminating the process of finding the number with the data entry control and then pressing Enter.

The Escape button lets you back out of a module by one menu each time the button is pressed. It can also be used anytime you do not want to execute a particular function (bail out). In the Sample Management module, pressing the Escape button terminates the sampling process.

A flashing Enter LED means that the ESI wants you to do something. Data may need to be entered, or the ESI may be waiting for you to press the Enter button to activate a particular operation. If the Enter LED is lit steadily, pressing Enter is optional. Doing so will exit you from the function and return you to the module identifier. You also have the option of going directly to another function within the module.

Controls 21

Cursor/Page

The Cursor is a small flashing line that appears in the display window under the data that is currently being edited. The Cursor/Page buttons are used to move the cursor around in the display. The buttons are shaped like arrows which point in the direction of movement. In many cases a particular function will have more options than will fit on a single page of the display. In this case the right and left arrow buttons become the page selects, allowing you to move through the various pages of the display.

The Cursor/Page buttons perform the following functions:

1. Moving the cursor. To move the flashing cursor line in a particular direction in order to select a different function, simply press the corresponding cursor key.

2. Selecting the display page. In many submodules, a single screen of the LCD cannot display all the available parameters. Arrows (<- ->) in the display indicate that there are additional screens which may be viewed by pressing the corresponding cursor button.

Tip:

The cursor buttons can be used to

✱

select presets only when the ESI is in Omni or Poly modes.

Preset Selection

3. Selecting presets. When no modules are selected, and the cursor is placed under the preset number, presets may be incremented or decremented by pressing the left and right cursor buttons. This method is useful for live performance - arrange your presets in the desired order, and step through them as needed.

4. Adding or deleting a space when naming. A quick and easy way to add or delete a space when naming samples or presets is to use the left and right cursor keys. The up key adds a space and the down key deletes a space.

5. Selecting zero crossing points when editing samples. When editing samples in the Digital Processing module, the left and right cursor buttons can be used to select points where the waveform crosses the zero axis.

Selecting the Current Preset

With no modules active, the display shows the Current Preset name and number on line 1 of the display. The blinking cursor appears under the preset number’s first digit. There are five ways to change the current preset:

1. Enter a three-digit number with the keypad. If you enter a number for which there is no preset, the lower display line shows the illegal preset number and says “Empty Preset.” Try again.

22 ESI Operation Manual

2. Move the data entry control or the increment buttons. The top display line continues to show the current preset, but the lower line will scroll through the available presets as you move the data entry control. When the lower line shows the preset that you want as the current preset, press ENTER.

3. Increment or decrement the Current Preset (as displayed in the top line) with the left and right cursor buttons. This method is useful for live performance—arrange your presets in the desired order, and step through them as needed.

Load Bank

4. Use a MIDI footswitch to advance through the presets.

5. Use a MIDI program change command. Presets 000-127 can be

accessed via a MIDI program change command. Presets 128-255 can be accessed using a MIDI bank select command, followed by a program change. See the MIDI Implementation Chart in the Appendix.

To see the current preset number at any time, de-activate any active module and look at the display.

A bank consists of presets and samples. The Load function loads this data into the ESI's memory bank from the floppy disk, hard disk or other external SCSI device.

1. Press Load.

2. If necessary, select the drive containing the bank to be loaded.

The ESI defaults to the current drive. If you want to choose a different drive, place the cursor under the drive number in line two, select the appropriate drive and press ENTER.

LOAD BANK from D1 Internal HD

Save Bank

Select a Bank

3. Select the bank number that contains the bank to be loaded, then press ENTER. The display will say: Loading Bank. After a few

seconds, the bank will be loaded. The display will revert to the preset selection screen.

A bank consists of presets and samples. The Save function saves this data from the ESI's memory bank to the floppy disk, hard disk or other external SCSI device.

1. Press Save.

2. If necessary, select the drive to which the bank will be saved.

The ESI saves the bank to the current drive by default. If you want to choose a different drive, place the cursor under the drive number in line two, select the appropriate drive and press ENTER.

SAVE BANK into D1 Internal HD

Select a Drive

3. Select the number to which the bank will be saved, then press ENTER. The approximate size of the bank will be displayed on line four. Empty banks are indicated as such, along with their bank number on line three. Or, you can overwrite an existing bank.

Controls 23

Drive Select

! Caution:

the drive select screen, such as a computer or another sampler on the SCSI bus. Please note that only SCSI storage devices can be selected.

All SCSI devices are listed in

SAVE BANK into D1 Internal HD B00 Stereo Grand

7.8MB in Bank

4. Press ENTER to save the bank. A bar graph appears in the display showing the progress of the save operation. The display reverts to the preset selection screen when the save operation is completed.

Use the Drive Select Button to select which storage device to use when loading or saving. The ESI may have an internal hard disk and/or several external SCSI devices connected.

1. Press Drive Select. The display shows:

DRIVE SELECT D1 Sony SMO-C501

Select a Drive

2. Use the Data Entry Control or 10 Key Pad to select the desired drive, then press ENTER. Any subsequent Load or Save operations

will now use the selected drive.

Audition

Trigger Mode

The Audition button allows you to play the currently selected sample, at its original pitch, directly from the front panel without having to connect a keyboard or other controller. (The current sample is selected in the Digital Processing module.) When you are in the Load Sample submodule, the Audition button allows you to preview samples directly off the hard disk without having to first load them.

Note: If you are auditioning from the current RAM bank you hear the audition in stereo. If you are auditioning from the disk, you hear the audition in mono.

When Trigger Mode is activated, the buttons of the ten key pad become sound trigger buttons which can access any ten notes in the current preset. This allows the ESI to be used as a stand-alone sample playback unit. In Trigger Mode, the LED next to the trigger button illuminates and all ESI functions operate normally, except that the ten key pad is now used exclusively for triggering sounds.

The Trigger Buttons are programmed in the Master/Global module, Special (8), Trigger Buttons (7).

24 ESI Operation Manual

Multimode

Tip:

Setting the preset to “Unassigned”

✱

also blocks incoming preset changes on that channel.

The Multimode Button puts the ESI into Multimode, where it can receive on up to 16 MIDI channels at once. Multimode is used for multitimbral sequencing and when using a keyboard that can transmit on more than one MIDI channel at a time. The Multimode screen is where you assign presets to MIDI channels for multi-timbral sequencing. You can also set the volume and stereo pan position for each channel's preset.

1. Press Multimode. The display shows:

MIDI CHANNEL: 01 Volume: 127

Pan-∆ +00

000 Synth Flute

2. Use the cursor buttons to select one of the following parameters to edit. The volume, pan and preset can be programmed for each of

the 16 MIDI channels. Use the data entry control or INC/DEC buttons to change the MIDI channel, Volume or Pan setting. If you do not want the ESI to respond to certain MIDI channels, set the preset for those channels to “Unassigned” which is located just below preset 000.

Transpose

MIDI CHANNEL: 02 Volume: 116

Pan-∆ -01

Unassigned

This function transposes the entire ESI in half-step intervals up to

± one octave. When in multimode, all channels will be transposed.

When the ESI is in Transpose mode, the Transpose LED will be lit steadily. A new transposition can be selected at any time, regardless of whether or not the Transpose LED is lit.

Some applications are:

• Use one key's fingerings in a different key. Modulate to a different key without having to use different fingerings.

• Use transpose to easily reach hidden zones that lie beyond the ends of the physical keyboard.

1. Press and hold Transpose. Its LED flashes, and the display shows:

TRANSPOSE

Play a Key

Controls 25

2. While holding Transpose, select the desired transposition interval. All transpositions are referenced to C2, the second C from

the left hand side of the keyboard.

Some examples are:

• To transpose down one octave, press C1.

• To transpose up one octave, press C3.

• To transpose up a fourth, press F2.

Note that pressing keys C#3-C4, C#4-C5, or C#5-C6 will, in each case, produce the same effect as pressing keys C#2-C3.

3. While holding Transpose, check the display to confirm the transposition interval. Upward transpositions are indicated with a

+ symbol, downward transpositions with a - symbol. For example, if the ESI is transposed up a fifth, the display will show:

TRANSPOSE

+G Play a Key

4. Release Transpose to retain the transposition. The Transpose LED stays lit to remind you that the ESI is transposed.

5. To cancel the transposition, press and hold Transpose and press C2. Display line three will go blank. Release Transpose and the LED

should now be off.

26 ESI Operation Manual

3 Guided Tours

1. Basics ................................. 29

2. Selecting Zones .................. 33

3. Dynamic Processing ........... 35

4. Realtime Controls .............. 42

5. Sampling ............................ 45

6. Digital Processing .............. 47

7. Managing the Bank ............ 54

8. On Your Own ..................... 54

Guided Tours 27

28 ESI Operation Manual

Tour 1:

The Basics

Tip:

ESI banks usually do not fit on a

✱

single floppy disk. To load multiple disk banks, insert the first disk, then replace it with the next disk when prompted by the ESI.

Welcome to the Guided Tours! If you have just met the ESI for the first time, we suggest that you follow these tours until you complete the Guided Tours section. This will get you up and running on the ESI in the fastest possible time. Also, you’ll learn some tricks in this section that will come in handy as you play and become more familiar with the ESI. This tour covers how to:

• Load and Save to Floppy Disks

• Select Different Presets within the Bank

• Tune the ESI to Other Instruments

• Transpose the Keyboard

Loading a Bank from Floppy Disks

1. Press the Load button. Position the cursor under the drive number in line two. Select the floppy drive using the Data Entry Control.

2. Insert the first floppy disk of the selected bank and press ENTER. The display will say: Loading Bank. Remember that loading

in a new bank erases the currently loaded bank, so always think twice before pressing ENTER to load the bank. (Since ESI banks can be quite large, it may require several floppy disks to hold an entire bank. Multiple floppy disks must be inserted in the proper order. That's why it's a good idea to label them numerically.)

Play the sounds from the newly loaded disks.

Saving Data to a Floppy Disk

The floppy disk drive can be used to make permanent backups of your work. This can be a time consuming process, especially with large bank sizes and is best handled using a hard disk. If you do not have a hard disk installed in, or connected to your ESI, you can back up your work to floppies. In preparation, you should try to have at least five ESI formatted, double-sided, high-density, 3.5" diskettes on hand.

To Format a Floppy Disk:

Before a floppy disk can be used by the ESI, it must be formatted using the Format Disk function.

1. Activate the Master/Global module.

2. Select Disk Utilities (7), Format Disk (6).

3. Select the floppy using the data entry control and press ENTER.

Position the cursor under the drive number in line two. The ESI will normally default to the floppy drive.

4. Insert a floppy disk into the drive and press Yes to format.

Formatting a disk will erase all information on the disk.

Once the format is complete, the ESI asks if you want to format another disk. Continue to format at least four more disks

5. The display asks, “Format Another?” Insert the next disk and press Yes to continue formatting. After formatting the last disk, press No.

Guided Tours 29

Saving Data to a Floppy Disk:

1. Press the Save button. Position the cursor under the drive number in line two. Select the floppy drive using the Data Entry

Control.

2. Insert a floppy disk and press ENTER. The display will say, “Saving Bank”. If the save requires multiple disks, the display prompts you to insert the next disk. Once the save operation is completed, the display returns to the main screen. If the save required multiple disks, make sure to label them numerically.

Using an External Hard Disk

You may connect an external hard disk, to load and save data, to the ESI external SCSI port. Before connecting any SCSI device, always make sure that power to the ESI and the external SCSI device is turned Off.

To Connect an External Hard Disk Drive

1. Turn all power Off to the ESI and the external drive.

2. Connect the external drive to the ESI using the proper type of SCSI cable. This will most likely be a 50-pin, male to male

Centronics type. (Please read the SCSI section in this manual for important information on SCSI connections.)

3. Turn on the external SCSI device BEFORE the ESI.

4. Turn on the ESI.

To Format a Hard Disk Drive

Like a floppy disk, a hard disk must also be formatted before it can be used to store information.

1. Activate the Master/Global module.

2. Select Disk Utilities (7), Format Disk (6).

3. Select the hard disk using the data entry control and press ENTER. Your hard disk should appear in the list of available drives.

If the hard disk is not listed, use Disk Utilities, 1 to Mount Drive. After Mounting, the hard disk should appear in the list of available drives. If it does not appear, turn everything Off, then read the SCSI chapter in this manual for possible solutions.

4. Consider the consequences of your action. Formatting the hard disk will erase everything on that disk. The display will inquire if you want to do this.

5. Press Yes to continue the formatting procedure or No to cancel the operation and return to the Module Identifier. Formatting a

hard disk can take quite some time, depending on the size of the disk. Take a break.

30 ESI Operation Manual

Saving Data to a Hard Disk

The hard disk drive is used to make permanent backups of your work. Although you can back up your work to floppy disks, the capacity of the floppy drive is too small to be efficient. Only the hard disk (or its equivalent) should be used for sound storage.

To Save a Bank to Disk:

1. Press the Save button. Position the cursor under the drive number in line two. Select the disk drive using the data entry control. Press ENTER.

2. Use the Data entry control to select an Empty Bank. Empty

banks are indicated as such, along with their bank number on line three. Saving to a non-empty bank erases the bank that was previously saved there.

3. Press ENTER to save the bank. The display will revert to the preset selection screen.

Loading a Bank from a Hard Disk

1. Press the Load button. The display says: Load Bank, and shows the name and number of the current bank.

Tip:

See Master/Global, Disk Utilities

✱

and the SCSI section of this manual for important information about hard disk drives.

2. Select the desired bank. Use the Data Entry Control to scroll through the available hard disk banks. Stop when you find the bank you want.

3. Press ENTER.

• An alternate method of loading a hard disk bank is to press Load, then type in the number of the bank using the numeric keypad. The display will show the current preset number and name.

The cursor will flash underneath the first digit. Start playing the keyboard and adjust the master volume Data Entry Control for a comfortable listening level.

To check out the various presets within the bank, read on.

Selecting Different Presets

The bank you just loaded contains several presets. To call up a new current preset, use the up/down cursor buttons to position the cursor under the preset number, then use the keypad underneath the display. Note that leading zeroes must be entered for preset numbers (for example, type 0, 0 and 2, not just 2, to call up preset 002). Now type the number of the desired preset on the keypad. The entered preset number these will replace the numbers indicated by the flashing cursor.

If you enter a number for which there is no preset, the display lists the entered preset number followed by “Empty Preset.” Try again.

Tip:

Use the “Mount Drives” utility

✱

(Master/Global, Disk Utilities, 1) whenever an external SCSI device does not appear in the list of available devices.

To scroll through the presets available in the bank, turn the Data Entry Control. The various preset names will scroll on the lower display line. When this line shows the desired preset, press ENTER to make that the current preset. This is an alternative preset selection method.

Yet another method is to use the left and right cursor buttons to increment or decrement through the presets. This method allows you to arrange your presets in the proper order, then access them sequentially with a single press of a button.

When you’re ready to check out some more sounds, proceed.

Guided Tours 31

Tuning the ESI to Other Instruments

Select the Master/Globals module. Choose sub-module Master Tune (1). This function demonstrates how ESI uses the Data Entry Control to adjust a parameter. Play the keyboard while adjusting the Data Entry Control to change the overall tuning.

Transposing the Keyboard

Refer to the Transpose button. While holding the transpose button, play a key on the keyboard in the lower two octaves. The second C from the bottom (C2) corresponds to normal or no transposition. All transpositions are based from this C2 key. For example, pressing the G key above C2 will transpose the keyboard up a perfect fifth. If the keyboard has been transposed, the transpose LED will stay lit. Press and hold the transpose button while pressing C2 to return to normal transposition.

32 ESI Operation Manual

Tour 2:

Selecting

The Current Sample & Current Zone

The ESI has two modules dedicated exclusively to processing samples within a preset: Sample Management and Digital Processing. Each sample stored in a bank can be processed by the Digital Processing module independently. Therefore, we need a way to specify the current sample, which is the individual sample to be processed.

Zones

The concept of the current sample is important. To process one sample out of a preset, select one sample to be the current sample, and process it.

To Identify Which Keyboard Keys Belong to Which Sample:

1. Activate the Preset Definition module.

2. Select Edit Assignment (2).

Sample Number

& Name

3. Play a key on the keyboard. Line two shows the preset number and the last key pressed. Line three shows the primary sample assigned to the key, and the fourth line shows the secondary sample, if any, assigned to the key. As you run your fingers up and down the keyboard, the primary and or secondary sample numbers will change indicating the keyboard range of those samples. You can also move the Data Entry control knob to show you the sample boundaries.

EDIT ASSIGNMENT 000 pri D2 001 Sample Name No Secondary Sample

4. Choose a zone and press ENTER. The display now shows the range of the current zone on the upper line of the display. Don’t play any keys but press ENTER again. Now the display shows something like this, where XX is the name of the key (such as D2).

EDIT ASSIGNMENT

Zone: XX to XX Select High Key

Guided Tours 33

Specifying the Zone of the Dynamic Processing Module

Zones are sections of the keyboard which can be selected to apply Dynamic Processing parameters or to be copied, erased or loaded from another preset. A copied zone contains samples as well as dynamic parameters. A zone can be one key or the entire keyboard range.

Now that we know how many samples there are in the preset, and the range covered by each sample, let’s specify a range of keys (defined as a "zone") to be altered by the Dynamic Processing Module. Refer to Tour 3, Dynamic Processing for information about dynamic processing. This section describes how to specify a zone to be affected, starting with the lowest key.

1. Activate the Dynamic Processing module.

2. Choose Select Zone (0).

3. Specify the range of the zone. The display instructs you to “Select

Low Key.” Press the lowest key on the keyboard, then press the ENTER button (whose LED is now flashing). The display then instructs you to “Select High Key”. Press a key on the keyboard near the top of the keyboard, then press ENTER. The display now shows the current zone and prompts you to “Select a Submodule”.

At this point, you can begin modifying the sounds in the bank with the Dynamic Processing module. The assigned current zone will remain as is until you either change the current zone assignment, change presets, or load another bank. If you switch between modules, the current zone remains as assigned (unless you select the Digital Processing Module, which will be a subject of a later tour).

Before proceeding, look over Dynamic Processing, 0. Select Zone to help reinforce what you’ve learned. Now that you know what a zone is and how to specify it, we’ve reached the end of this tour. Feel free to come back any time to refresh your memory. In the next tour, we’ll see how to modify samples with the Dynamic Processing section.

34 ESI Operation Manual

1. Select Low Key, Enter 2. Select High Key, Enter

3. Select a Submodule & Modify Zone

Any range of the keyboard can be a zone. Select the low and high keys which define the zone, then select the Dynamic Processing parameter to be modified.

Tour 3:

Dynamic Processing

The Dynamic Processing module consists of several interesting sound processing functions. Let’s start with the Filter and VCA sections, as they are among the most important.

The VCA function contains a Voltage Controlled Amplifier that controls the amplitude envelope of a sound. The filter function contains a Voltage Controlled Filter that controls the timbre of a sound. (Note: The voltage controlled filters and amplifiers are actually implemented digitally.)

Working with the Filter

A filter is a device which allows you to remove certain components of a sound depending on its frequency. For example, a Low Pass Filter, like the one in ESI, lets the low frequencies pass and removes only the high frequencies.

Tip:

When the filter cutoff is set to 0 Hz,

✱

the sound will be completely cut off. The initial filter cutoff and all filter Fc modulators ADD algebraically to determine the actual Fc. If you are not getting sound, adjust the initial Fc or reduce the amount of modulation. Careful adjustment of the filter parameters is the secret of getting great sounds.

100

Amplitude

Output of Filter

40 80 160 360 720 1440 2880

Cutoff Frequency

...

Frequency

The point at which the frequencies begin to be cut is called the Cutoff Frequency (or Fc for short). A filter that lets only the high frequencies pass would be called a High Pass filter. Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, a low pass filter can simulate the response of many natural sounds.

For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present. If the same note is played softer, there will be fewer of the high frequencies generated by the string. We can simulate this effect by routing the velocity of the keyboard to control the amount of high frequencies that the low pass filter lets through. The result is expressive, natural control over the sound.

Low Q Med Q High Q

Amplitude

Frequency

Turning up the “Q” will emphasize the

frequencies around the cutoff point.

The VCF envelope generator is used to control the cutoff frequency of the low pass filter. This allows the frequency content to be varied dynamically over the course of the note. Dynamic filtering coupled with different samples makes for endless possibilities in the final sound.

Another control on the low pass filter is called Q or resonance. Turning up the Q of the filter tends to emphasize the frequencies around the cutoff frequency. In terms of sound, frequencies around the cutoff will tend to “ring” with high Q settings. If the filter is swept back and forth slowly with a high Q, various overtones will be “picked out” of the sound and amplified as the resonant peak sweeps over them. Bells and gongs are real world examples of sounds which have a high Q.

Guided Tours 35

You could activate the Filter Setup function directly by keying in 3. However, let’s investigate another way to select the filter function. Move the Data Entry Control to catalog the various Dynamic Processing functions. When the display shows function 3. VCF, press ENTER.

To Change the Filter Cutoff Frequency:

Increasing the cutoff frequency of a lowpass filter makes the sound brighter, decreasing the frequency makes the sound duller.

1. Activate the Dynamic Processing module, select VCF (3), and select the 4 Pole Lowpass filter. The display should look some-

thing like this:

VCF Type: 4 Pole Lowpass Cutoff: 861Hz Q: 0%

Play with the up and down cursor buttons. Note how you can move the cursor under the various parameters to be adjusted. For now, move the cursor under the Cutoff frequency on line three.

Tip:

Although we are changing the

✱

sounds in the bank, the sounds on the disk remain unchanged. This is because we haven’t saved the bank to disk. You can fool around with the bank sounds as much as you want without having to worry about altering the original sounds on the disk.

2. Select the filter cutoff frequency. To do this, vary the Data Entry Control. Note how the numbers to the right of cutoff change. Lower numbers mean a lower filter cutoff frequency (less high frequencies). Higher numbers mean a higher filter cutoff frequency (more high frequencies). Observe how only the notes within the current zone are affected by the Data Entry Control setting.

To Change Filter Q:

Increasing the Filter Q emphasizes the frequency at the cutoff point. See the diagram on the previous page.

VCF Type: 4 Pole Lowpass Cutoff: 22049 Hz Q: 0%

1. Move the cursor to the Q% on line four. Vary the Q using the data entry control and note the sharpness of the sound changing. Higher numbers give a sharper sound. Again, this affects only

the range of notes covered by the current zone. In order to really hear the effect, set the Q at about 60 and proceed.

2. Move the cursor back to Cutoff on line three. Vary the data entry control. Note how this produces a sort of wa-wa effect.

Remember, you have to re-trigger the key to hear the results of changing the Q.

36 ESI Operation Manual

3. Set Cutoff to 200 Hz and Q to about 50. The range of notes covered by the current zone should sound muted.

To Change the Filter Cutoff Envelope:

Enabling the envelope generator allows the envelope to control the cutoff frequency automatically.

1. Select page two by pressing the right cursor arrow.

VCF

Tracking: +1.00 Envelope Amt: +0%

Investigate the effects of envelope control over the filtered sound by moving the cursor to the Envelope Amount. Use the Data Entry Control to set a value of +40%. This allows the envelope to control the filter cutoff frequency.

2. Select page three by pressing the right cursor.

VCF Attack: 0.20s Hold: 0.00s Decay: 0.00s Sus:99% Rel:0.40s

Move the cursor under the Attack time on line one and vary the Data Entry Control. With larger values, it will take more attack time for the filter frequency to go from lowest to highest cutoff frequency. Vary the various envelope parameters, and observe the effect these changes have on the sound.

To check out inverted envelopes, set the envelope parameters as follows:

VCF Attack: 0.20s Hold: 0.00s Decay: 0.00s Sus:99% Rel:0.40s

Play and hold a chord. This is a non-inverting envelope in the sense that the envelope increases the filter cutoff frequency above the initial cutoff. To select an inverting envelope where the cutoff decreases below the initial cutoff, press the left cursor arrow.

Guided Tours 37

VCF

Tracking: +1.00 Envelope Amt: 0%

3. Move the cursor to Envelope Amount and select -40% to invert the envelope. The envelope effect is not all that noticeable when

you play a chord. This is because the envelope forces the cutoff frequency in a negative direction. Since the cutoff frequency is already fairly low, it can’t go that much lower. Now go back to the cutoff frequency and increase it. The effect will be far more noticeable since there will be more range available for the negative going envelope excursion.

If you feel like experimenting, play with the Tracking control to affect the way the filter frequency tracks the keyboard pitch.

4. Before proceeding with the tour, reset the filter parameters to their default settings. Set Cutoff Frequency to 22049, Q to 00,

Envelope Amount to +00, and Tracking to 1.00. Set the Envelope Attack to 0.00s, Hold to 0.00s, Decay to 0.00s, Sustain to 100%, and Release to 0.49s. After entering these values, press ENTER to return to the Module Identifier.

Piano

Organ

Strings

Changing the Volume Envelope with the Voltage Controlled Amplifier

The way the volume of a sound changes over time determines how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using the VCA envelope generator, you can simulate different types of instrument volume envelopes by programming them appropriately.

In preparation for the following experiments, let’s change the Current Zone to include the entire keyboard.

1. Select the Select Zone Submodule (0). Move the data entry control to the bottom of its travel and press ENTER. Now move the data entry control to the top of its travel and press ENTER again. You have now specified the entire keyboard as the current

zone.

2. Select the VCA function (2). The display shows:

VCA Level: 100% Pan: + 0% L | R

Percussion

The generalized envelope shapes of a few

types of sounds are shown above.

38 ESI Operation Manual

3. Select the next page of the VCA controls with the right cursor.

VCA Attack: 0.20s Hold: 0.00s Decay: 0.30s Sus:50% Rel:0.60s

Move the cursor under the various envelope parameters and observe how different settings affect the sound. Before moving on, make sure you have a sound that is fairly sustained with little or no envelope attack time.

Other Dynamic Processing Options

1. Select Dynamic Setup (1). Note how the tuning, delay, and chorus controls affect the sound.

2. Add some Low Frequency Oscillator effects. Select the LFO function (4). The display shows:

LFO Rate: 4.25Hz Shape: triangle Delay: 0.00s

If the LFO rate is different, change the rate so that it is about 4.25 Hz.

3. Use the right cursor/page button to move to the next page of the LFO controls. The display will show something like this:

LFO Variation: 0% LFO->Pitch: 0% LFO->Cutoff 0%

Position the cursor under each display option. Vary the Data Entry Control and observe how this affects the sound. Adding LFO to Cutoff might not sound all that noticeable. If you want a more obvious effect, bounce back to function 3. VCF and set the Cutoff to about 200 Hz and Q to about 50. This should make the LFOs effect more noticeable.

4. Select page three of the LFO controls. The display will show:

Guided Tours 39

LFO

LFO->Pitch: 0% LFO->Cutoff 0%

If the LFO settings aren’t to your liking, use the left cursor/page button to change the LFO rate, delay, and variation.

The Auxiliary Envelope

1. Select 5. Auxiliary Envelope. The display shows the first page:

AUXILIARY ENVELOPE

Dest: off Envelope Amt: 0%

Move the cursor under Destination on line two, and use the Data Entry Control to scroll through the auxiliary envelope destinations. Select Pitch as the destination, then set the Envelope Amount to -50%.

2. Select the next page using the right cursor. Set the parameters so that the display looks like this:

AUX Attack: 0.00s Hold: 0.00s Decay: 0.40s Sus:0% Rel:1.65s

Now play the keyboard. Since we are using an inverted envelope, notes will bend up to pitch and then hold there. This is an effect common in many natural sounds.

Vary the various envelope parameters, and observe the effect these changes have on the sound.

40 ESI Operation Manual

Understanding Velocity

Velocity parameters control the volume of a preset using the force of a keystroke. This section describes how to set the velocity.

By now you probably have a pretty messy sound as a result of all these exercises. Let’s start with a clean slate.

1. Press the Load Bank button, then ENTER to re-load the bank.

(Feed floppies as directed.)

2. When the bank is loaded, activate the Dynamic Processing module. You do not need to specify the current zone. ESI sets the

entire keyboard as the current zone by default!

4. Select Velocity To (6). The display will look something like this:

VELOCITY TO Pitch: + 0% VCA Level: + 0% VCA Attack: + 0%

Moving on to the next velocity page we see:

Tip:

Remember that the velocity-to-

✱

envelope Attack setting interacts with the initial envelope Attack settings. Call up the envelope Attack parameters for the filter and VCA and see how different values interact with different velocity values.

VELOCITY TO VCF Cutoff: + 0% VCF Q: + 0% VCF Attack: + 0%

Moving on to the last velocity page we see:

VELOCITY TO Pan: + 0% Sample Start: + 0% Auxiliary Env: + 0%

Move the Data Entry Control to select different values, and note the effects. With positive velocity sent to the VCA, the ESI plays softer as you play softer. In other words, the ESI equates harder play with the nominal volume setting and goes down from there as you play softer.

Continue to move the cursor to the other available parameters and vary the Data Entry Control. Notice that the filter cutoff frequency lowers as you play softer. The amount downward change is dependent on the value in the display.

Filter Q is affected differently than Level or Filter Cutoff. It raises from the initial setting as you play harder. Also, note that velocity can be set to affect Q inversely. In other words, if the filter is set to a high Q setting, playing harder on the keyboard will lower the Q.

Guided Tours 41

Tour 4:

Realtime Control Programming

Ever wanted to add vibrato to a grand piano? Or bend its pitch? The Realtime Control functions in the Preset Definition module can do this, and lots more.

Pitch-Bending

First, let’s check out pitch-bending. Pitch-bend can be enabled or disabled for any zone within a preset. Let’s have pitch bend affect only the lower half of the keyboard. Activate Dynamic Processing, 0. Select Zone. Specify the upper half of the keyboard as the current zone.

Next key in Dynamic Processing, 8. Realtime Control Enable. Use the cursor/page buttons to see a list of modulation destinations. Pitch will be set to On. Press Off, and like magic, you can now pitch-bend only the lower half of the keyboard. If modulation does not seem to be affecting a zone, make sure that modulation is enabled.

Want to change the pitch bend range? Activate the Preset Definition module, select Pitch Bend Range (7).

Modulation Wheel Destinations

The ESI offers two modulation options: Pre-programmed, which adds a constant, selectable amount of modulation, and Realtime, where the player adds in modulation by using one of the wheels or other controllers.

Each wheel on your MIDI controller can be assigned to a particular destination. For example, if the left wheel is assigned to pitch, then rotating the wheel bends pitch. If assigned to the filter, rotating the wheel varies the cutoff frequency.

Let’s set up for the next part of the tour. Choose preset 01 as the current preset if it is not already selected. Activate the Dynamic Processing module and assign the entire keyboard as the current zone if necessary. Select Realtime Enable (8). Use the cursor/page buttons to select On for all of the enable options. This will make it easier to hear the results of the next series of experiments.

Now activate the Preset Definition module, 0. Realtime Controls. To make “live” playing as simple as possible, the display works somewhat differently for this module. The display shows:

REALTIME CONTROLS 1 Pitch Control 1 Pitch Select a Controller

Use the Data Entry Control to scroll through the available Realtime Control sources and their currently assigned destinations.

42 ESI Operation Manual

Control Sources

1: Pitch Control 2: Mod Control 3: Pressure Control 4: Pedal Control 5: MIDI A Control (can be assigned to any MIDI controller #) 6: MIDI B Control (can be assigned to any MIDI controller #) 7: Footswitch 1 (on your MIDI controller) 8: Footswitch 2 (on your MIDI controller)

Modulation Destinations

! Caution:

assigned to a destination. For example, if you assigned mod. control to VCF cutoff and then assigned pressure to VCF cutoff, the ESI would automatically turn off the mod. control to VCF cutoff routing.

Only one controller can be

0: Off 6: LFO ->VCA 1: Pitch 7: Pan 2: VCF Cutoff 8: Attack 3: VCA Level 9: Crossfade 4: LFO->Pitch 10: VCF Note-On Q

5: LFO -> Cutoff

Footswitch Destinations

0: Off 5: Unused 3 1: Sustain 6: Unused A 2: Cross/Switch 7: Unused B 3: Unused 1 8: Preset Increment 4: Unused 2 9: Preset Decrement

Each of the modulation destinations (0-10) can be controlled by control source via data sent over MIDI. Each of the footswitch destinations (0-9) can be controlled by sources 7 and 8. Destinations 3-7 are from the EIII.

You’ll be happy to know that Realtime Control settings are memorized for each individual preset, so if desired, each preset can react to the Realtime controls and MIDI controllers in different ways.

Selecting a Control Source and Destination

1. Activate the Preset Definition module.

2. Select Realtime Controls (0).

3. Select Pitch Control as a control source. Move the cursor down to the next line. The display will direct you to “Select a

Destination”.

The left wheel should be assigned to 1: Pitch. Vary the wheel and check that the keyboard pitch is indeed affected. If sections of the keyboard are not affected, check that pitch control is enabled in the Dynamic Processing module, Realtime Enable (8) submodule.

Guided Tours 43

Now try assigning the pitch control to 2: VCF Cutoff. Rotating the wheel towards you should produce a more muted sound.

If you feel adventurous, check out the other control destinations. Note that if you select a destination that is already specified for one of the other control sources, the old assignment will be de-selected and that control source will be turned off (0).

Think about it for a bit... the left wheel can control a destination, the right wheel can control a different one (as can a MIDI pedal). There are other MIDI control possibilities as well. These assignments can be different for each preset, and particular controller destinations can be disabled for different presets and samples. We’re talking versatility here, so if you feel like taking the next couple of hours and checking out all the possibilities, by all means, do so!

MIDI controller numbers

are assigned here…

Master/Global

(MIDI Globals)

Pitch Control (pwh)

What the controllers actually

do is assigned here.

Preset Definition

(Realtime Controls)

Pitch

VCF Cutoff

VCA Level

LFO Pitch

LFO Cutoff

LFO VCA

Pan

Attack

Crossfade

Note-On Q10

MIDI

Mod Control (1)

Pressure (chp)

Pedal Control (4)

MIDI A (6)

MIDI B (2)

The Realtime Control screen is a digital patchbay where performance controls are routed to the various synthesizer parameters.

Oh yes, and there are footswitches too. But before experimenting with the footswitches (sources 7 and 8), we need to understand the difference between looped and unlooped sounds. Basically, a sustain looped sound is one where a portion of the sound is put into an infinite repeat loop for as long as you hold down the key. This is similar to the infinite repeat function on digital delay lines. Looping allows you to sustain a normally non-sustaining sound for as long as you like. An unlooped sound is not artificially sustained, and therefore lasts its normal length.

Keeping this in mind, refer to the Preset Definition module, 0. Realtime Controls, footswitch destinations 0-9. (Destinations 3-7 are EIII functions which were not implemented in the ESI. The numbers were retained to maintain compatibility.) Assign various functions to the footswitches. You will find that some sounds lend themselves to the sustain function better than other sounds, and we heartily encourage you to experiment.

44 ESI Operation Manual

Tour 5:

Sampling

Sampling involves more than just sticking a microphone in front of something—sampling is an art. This guided tour gives you the basics, and also lays the groundwork for the guided tour of the Digital Processing Module. In preparation for this guided tour, please read section 5, Sample Management module.

Sampling

For this guided tour, simply connect a microphone (or another audio source such as a CD player) directly to either the left or right sample input.

1. Activate the Master/Globals module.

2. Select 3. Erase Bank. Answer Yes to the display's query. This

clears out the memory, which gives us maximum sampling time.

3. Activate the Sample Management Module, 5. Setup. The display shows:

SETUP AdcGain: -04 Thresh: | L: on | R: on |

If you are sampling in mono, move the cursor to the input that you are not using and turn it off with the On/Off buttons. Otherwise, leave both channels on.

4. Use the right cursor/page button to view the next page of the Setup section.

SAMPLE SETUP Source: analog 44100 Length: 5.5secs

200.8 secs Available

Check the available sampling time. This will vary depending on how much memory you have in your ESI.

5. Change the source using the data entry control for analog sampling. Set the source to either Analog 22050 Hz or Analog 44100 Hz.

Guided Tours 45

6. Use the left cursor/page button to go back to the first page.

SETUP AdcGain: +24 Thresh: | L: on | R: on |

Tip:

The optimum gain level setting for

✱

ESI is +00. For high-quality sampling, use an external microphone preamplifier such as the one built into your mixer. The mic preamp in the ESI, while acceptable for some applications, is not designed to be used for ultra-critical sampling.

! Caution:

Threshold circuit only reads the left channel to initiate sampling.

When sampling in stereo, the

Speaking into the microphone, you should see the VU meter move, indicating that the ESI is receiving signal. Place the cursor on line one of the display and use the Data Entry Control to adjust the input gain. Adjust the gain so that the peak bar comes close to the extreme right side without actually reaching it.

7. Go on to the third page of Sample Setup by pressing the right cursor button twice. The display shows:

SAMPLE AUTO Truncate: off Normalize: off Placement: 12 keys

Set the automatic parameters as shown. The auto-placement parameter determines where the samples we are going to take will be automatically placed. In this case, with auto-placement set at 12 keys, the first sample will be placed on the lowest octave (C1 to B1), the next sample on the next octave up (C2 to B2), and so on.

8. Go back to the first page and set the Threshold using the data entry control. Set it up a few bars from the bottom so that the

ambient room noise does not cause the ESI to trigger falsely. Press ENTER to return to the Module Identifier.

9. Select Arm Sampling (7). You’re ready to sample! Speak into the microphone. As soon as the level exceeds the threshold, the display will say “Sampling.” Chat away freely. If you run out of inspiration, press Escape to stop sampling.

46 ESI Operation Manual

More Sampling

Continue to experiment with sampling. Try setting a particular sample length, or using forced sampling instead of threshold-sensitive sampling, or assigning the sampled sound to other portions of the keyboard. Also, practice terminating the sampling process.

Let’s try another sample. Notice that the ESI, will overwrite the existing sample unless you exit and re-enter the sample module. The new sample is automatically assigned to the next higher octave. This assignment can always be modified in the Sample Management module,

6. Place Sample.

Saving the Sample

To save the sample as part of a preset, de-activate the Sample/Management module. Since memory was cleared prior to sampling, the ESI created a preset (00) called “Untitled Preset.” This is the preset that holds your new sample. Had you sampled into a bank with existing presets, the sample would have been stored with the current preset.

Remember, this guided tour is intended simply as an overview to give you a feel for the sampling process. Good sampling requires skill, patience, and above all, practice!

Tour 6:

Digital Processing

Background and Setup

Digital processing allows you loop samples stored in the bank. In this guided tour we’ll learn how to do this. First, though, we need to create a couple of samples with which we can practice.

1. Clear the bank of memory. Use the Master/Globals module, 3. Erase Bank.

2. Make a sample of yourself speaking. Following the directions in

Guided Tour No. 5, select a four second sample length (Sample Management module, Setup). After setting the threshold and other parameters, arm sampling and start jabbering.

3. Take another four second sample. De-activate, then re-activate the module to sample. You will not have to do any setup — just hit 7. Arm Sampling, and talk away. You will then have two samples suitable for experimentation.

4. Assign your samples to a keyboard zone. Use 6. Place Sample.

Choosing the Current Sample

Activate the Digital Processing module. This module acts upon the current sample. To select another sample, press 0. Select Sample.

Truncating A Sample

Use the Digital Processing module, 3. Truncation, to truncate the ends off samples. Vary the Data Entry Control as you play a key in the range assigned to the current sample. Notice the start of the sample will disappear. Use this technique to get rid of silence at the start of a sample or for effects. Move the cursor using the up and down arrow keys to the End display. Use the Data Entry Control to truncate any undesired part from the end of the sample.

When you are satisfied with your truncating efforts, press ENTER. The ESI will automatically make a backup of the sample on the hard disk, (if you have one connected) in case you decide that you don’t like the truncation after all.

If desired, change the current sample (Digital Processing, 0. Select Sample) and experiment with truncating the other sample you took.

Guided Tours 47

Looping A Sample

If you haven’t yet done so, activate the Digital Processing Module and assign the current sample.

1. Select 2. Loop to graphically see how looping affects a sample.

Since the loop function is on, if you play and hold a key in the current sample, it will play indefinitely.

2. Try modifying the loop. Adjust the Start and Length values. Note that if the length equals the full length of the sample, you will not be able to set a new start point. Reduce the length, and you should be able to adjust the start point. For practice, try looping individual words or sentence fragments.

A Practice Sampling Session

Plug a microphone into the rear panel left Sample Input jack (or through a DAT into the optional digital I/O).

1. Erase all memory (Master/Globals, 3. Erase Bank).

2. Set the Sample Source for either Analog or Digital sampling (Sample Management, 5. Setup). “Source” is located on the second

page in the Setup submodule. If you are using the optional digital inputs, match the sample rate to that of your DAT recorder or the sample will play back at the wrong pitch.

3. Set the level (Sample Management, 5. Setup). Sing Ahhhh into the microphone. (This is an easy sound to loop.) The VU level should not quite reach the top of its range. Adjust the gain using the Data Entry Control, until a good level is attained.

4. Set the threshold (Sample Management, 5. Setup). This should be set about five or six bars from the left. When the input sound exceeds this level, recording will start.

5. Select 7. Arm Sampling, to arm the sampling process. OK, now get ready to sing Ahhhhh.

6. Sing Ahhhhh! When you are out of breath, press ESCAPE to stop sampling.

7. Play the keyboard in the assigned range to hear the results. The sound should default to the lower keyboard range, C1-B1. The original pitch of the sample should be located at G1.

8. Truncate the silence off of the beginning and end of the sound.

Activate the Digital Processing module. The ESI will default to the only sample in the unit, which is the one you just made.

9. Select 3, Truncation to enable the truncation function. Adjust the start and end points by moving the Data Entry Control to remove any silence or unwanted portion of the sound. You must play the keyboard after you move the Data Entry Control in order to hear the results of the Data Entry Control change. Press ENTER to exit truncation.

48 ESI Operation Manual

10. Activate the Digital Processing module, 2. Loop. Now we are ready to loop the sound.

To loop, first move the Data Entry Control to make the loop length about half a second long. Next, move the start point into the sustained portion of the ahhh sound so that the ticking sound becomes softer. The idea is to loop the “hhh” portion of the “ahhh” but not the “a “ part. The loop length can be adjusted so that it matches the rhythm or wavering of the sound. When you get a fairly good loop, press ENTER. The display says: “Auto Correlate? Y/N.” Press Yes. You now should have a fairly good loop. If not, adjust the start point and again Auto Correlate. It takes practice, but you’ll get it. That’s it! Feel free to play around with other digital and dynamic processors such as the filter, chorus and LFO.

Basically, these are the steps you will go through every time you have a sampling session:

• Take the sample

• Truncate the sample

• Loop the sample, if desired

• Assign the sample to a keyboard position (Place Sample)

• Continue to refine and make presets

Of course, you will probably develop your own order and style of sampling techniques. The purpose of this guided tour is to acquaint you with the concept of looping. There is much more to the subject than simply fooling around with looping words from a spoken sample. Please remember too that looping is a very complex process which requires a great deal of practice to achieve proficiency. The best way to fully understand looping is to experiment with a variety of signals.

Sample Placement

For sound effects or drums, try setting the Sample Auto Placement (Sample Management, 5) to white keys. This is a good way to keep your samples organized when doing rapid-fire sampling. Instead of using the Auto Sample Placement feature, you can set up your own placements before or after sampling. To place a sample, refer to Sample Management, 6. Place Sample.

• Select the sample.

• Select primary or secondary layers.

• Select the original key.

• Select the low key of the range.

• Select the high key of the range.

You can create a preset template by erasing the samples from a favorite preset, then saving the bank. As you take new samples, they will automatically be mapped onto the keyboard with Dynamic Processing parameters.

Time To Save?

Maybe you haven’t created any masterpieces during these experiments, but maybe you have. If you want to save a preset to disk, by all means do so.

Guided Tours 49

More Magic…

Contestants, it's time to play, The Backwards Talking Game! In preparation, first erase all memory (Master/Globals, Erase Bank), then take a sample of your voice speaking your name.

1. Activate the Digital Processing Module.

2. Select Digital Tools I (7), Reverse (3). The display shows:

REVERSE secs samples Start: 0.00 00000 End: 1.62 35670 Size: 1.62 35670

3. Press ENTER to reverse the sample. The display defaults to the entire sample. Play the sample back. Hey, it's backwards! Now practice saying your name backwards until you feel that you have learned it well. Think you’ve got it, do you? OK, now sample yourself saying the reversed version of your name, and then of

course..... reverse that! We guarantee loads of fun and maybe some

surprising insights.

Cut and Paste

This exercise details how to cut portions out of a sample and paste it into another sample or even the same sample at a different location..

1. Erase all memory using Master/Global, Erase Bank (3).

2. Take yet another sample of your voice. Set the sample length to

about 1.2 seconds. This time say, “Cut and Paste”. Pronounce the words clearly and distinctly.

3. Activate the Digital Processing module, Cut Region (5). We are going to rearrange this sample phrase to say: Paste and Cut.

4. Select the sample you just created. Use the Data Entry Control to choose the sample, then press ENTER. The display shows:

CUT secs samples Start: 0.00 00000 End: 1.00 44096 Size: 1.00 44096

The original pitch of the sample will appear on key C4, the fourth C up from the bottom.

50 ESI Operation Manual

5. Move the cursor under End on line three. Adjust the Data Entry Control so that only the word “cut” is heard. Press ENTER. The display will inform you that the ESI is backing up the sample, and then will return you to the module identifier.

6. Select Paste Region (6). Use the Data Entry Control to select the sample to which you want to paste. The display shows:

PASTE secs samples Offset: 0.00 00000

Select Location

Adjust the offset past that “tt” sound of the word paste. Again use the left and right cursor keys once you get close. Press ENTER. The sample should now say, “and paste, cut”.

7. Go back to Cut Region (5). Cut out the word “and” using the same procedure you used for “cut”.

8. Adjust the offset past the “tt” sound of the word paste.

9. Back in Paste Region (6), use the left and right cursor keys to adjust the offset. Once you get close, press ENTER. The sample

should now say, “paste and cut”, although it might sound a little strange. That’s the basic technique. Practice makes perfect.

Now that you have gotten a feel for cut and paste, make up your own experiments using the various other options such as mixing and crossfading.

Gain Change & Taper

Sample your voice saying “Ahhh” for one second. This time when you sample, set the Gain so that the signal only reaches about halfway up the VU meter at its peak. Also make sure that the sample time runs out before you finish singing so that the sample is cut off prematurely. We’re intentionally creating problems so that we can fix them using Taper and Gain Change.

First, let’s boost the gain to full level using one of the digital tools, Gain Change. The term for this operation is called normalization. (Don't worry, it won't make you or your samples normal.)

1. Activate the Digital Processing module.

2. Select Digital Tools I (7), Gain Change (2). The display shows:

GAIN secs samples Start: 0.00 00000 End: 1.00 44096 Size: 1.00 44096

We want to normalize the entire sample (which is already selected), so just press ENTER. The display now shows:

Guided Tours 51

GAIN CHANGE

Amount: +00dB +XXdb = Normalize

Where XX is the amount of gain needed to achieve normalization or full level.

3. Set the amount of gain so that it matches the normalization reading. Press ENTER to accept the selection. The display shows:

FADE secs samples Size: 1.00 44096 Type: Linear

4. We don’t want a fade in this example, so simply press ENTER to affect the gain change.

The sample should now be at a higher volume. Note that you can use the Digital Processing module, Undo (9) to cancel the effects of Gain Change. Use this feature to further experiment with different Gain Change settings.

5. Select Taper (1). Now let’s taper the end of the sample so that it smoothly fades out instead of ending in a thump. The display shows:

TAPER secs samples Start: 0.00 00000 End: 1.00 44096 Size: 1.00 44096

6. Move the start point to about 0.70 seconds and press ENTER.

The display changes to:

TAPER Start Amount: 0.00db End Amount: -96db Type: Linear

The Start and End amounts on lines two and three are already at the correct settings. There will be no attenuation at the Start point, tapering to full attenuation at the End point of the sample.

52 ESI Operation Manual

7. Move the cursor to Type on line four. Select Exp 2, then press ENTER. The sample should now smoothly fade out instead of

ending abruptly. And remember that Digital Processing, 9. Undo will cancel the effects of Taper. You can use this feature to further experiment with different Taper settings.

Pitch Change

Finally we're getting to the fun stuff! Pitch Change allows you to change the pitch of a sample without changing the time relationship between events.

1. Take a sample of your voice speaking… anything.

2. Activate the Digital Processing module.

3. Select Submodule 0, Select Sample. Since you may have multiple

samples in memory at this point. Use the Select Sample function to pick the one you want to Pitch Change. Use the data entry knob to select the samples, then press ENTER. Each sample will be placed over the entire keyboard range.

4. Select Digital Tools II (8), Pitch Change (5). The display shows:

Tip:

If you really want to mutate a

✱

sample, repeatedly tune the pitch up and down. Try the same thing using Time Compression.

PITCH CHANGE Tune: -700cts Type: mid-2

Set the Tune control to about +700 cents (a perfect fifth up). Set the Type to mid-2. The pitch change Type is not critical, but mid-2 seems to work well for voice. Press Enter to begin the pitch change.

If you have a hard disk connected, the ESI will automatically back up your sample before processing it. If you don't like the resulting pitch change, press Digital Processing, Undo.

Guided Tours 53

Tour 7:

Managing

The following functions don’t necessarily do terribly glamorous things, but they are exceedingly useful for managing your banks of sound data. This guided tour acquaints you with these utilities. To see how they work, load any bank from the hard disk.

the Bank

Erasing A Preset

Activate the Preset Management module, 3. Erase Preset and erase preset

01. Don’t worry, it will just be gone from the bank, not the disk. And we can get it back anyway by...

Loading A Preset

Refer again to the Preset Management module, 1. Load Preset. This time load preset 01. Now it’s back in the bank again.

This is the basic method for creating a bank with presets from other banks. The bank can only be saved as a whole. Therefore, individual presets are loaded into the bank, and when the bank is arranged to your specifications, it is then saved to disk.

Other Bank Management Functions

The other bank management functions, including copy, rename, create, and preset size, are pretty much self-explanatory. Refer to the Preset Management module, 4. Copy Preset, 2. Rename Preset, 5. Create Preset, and 6. Preset Size. Try these various functions to get a feel for how they work.

On Your Own…

The proceeding guided tours cover only the basics. To cover every possibility of how to use the ESI would drown you in words. It’s better that you just start playing! The best way to learn about the ESI is to power up and dive right in. Remember, you can experiment as much as you want on stuff in the bank. You have to actually save the bank to disk in order to alter the contents of the disk. In case you’re a nervous type, you can even lock the disk (see Disk Utilities in Chapter 4, Master/ Global for more information).

Try to spend some time not playing, but rather practicing, with the instrument. After you’re a bit more familiar with the ESI, read the manual and delve deeply into a particular module or function. The ESI is like an audio construction set, where sounds can be captured, held, processed, mutated, sped up, slowed down... and so much more. Take advantage of all it has to offer.

The more you practice with your ESI, the more you’ll be able to put your personal stamp on the music you play. And when you do play, you’ll know the instrument well enough so that you are free to concentrate solely on your music.

54 ESI Operation Manual

4 Master/Global

1. Master Tune ....................... 57

2. Rename Bank ..................... 57

3. Erase Bank ......................... 58

4. Effects ................................ 58

5. Export ................................ 59

6. Memory Available .............. 60

7. Disk Utilities ...................... 60

0. SCSI Setup ................................. 61

1. Mount Drives ............................. 62

2. Rename Disk Bank..................... 62

3. Erase Disk Bank ......................... 63

4. Lock Bank & Drive .................... 63

5. Disk Status................................. 64

6. Format Disk ............................... 65

7. Backup....................................... 67

8. Special................................ 70

1. Recalibrate ................................. 71

2. Contrast ..................................... 71

3. Headroom/Boost ........................ 72

4. Main Output Format ................. 73

5. Software Version ........................ 74

6. View Channels ........................... 74

7. Trigger Buttons .......................... 74

8. RAM Test ................................... 75

9. MIDI................................... 76

1. MIDI Mix ................................... 77

2. MIDI Globals ............................. 78

3. MIDI Load Bank ........................ 81

4. MIDI Volume Pedal ................... 81

5. MIDI Volume/Pan ...................... 82

6. Multimode Enable ..................... 82

0. Import Options .................. 83

0. Akai Import ............................... 83

1. Emax II Import .......................... 89

Master/Global 55

56 ESI Operation Manual

1. Master

Master Tune adjusts the tuning of all the samples in the current bank, so that you can tune the ESI to other instruments.

Tune

2. Rename

1. Activate Master/Global module.

2. Select Master Tune (1).

3. Select the desired tuning offset. This is variable from -100 (one

semitone below concert pitch) to +100 (one semitone above concert pitch).

MASTER TUNE Offset: + 0.0 cents Transpose: off Select Tuning Offset

4. Select the Transpose amount. Transpose allows you to transpose the ESI without the use of a keyboard. The transpose range is

± one octave.

5. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

This submodule allows you to rename the current bank.

Bank

Tip:

Use the Data Entry Control to

✱

access the complete character set. Most keyboards do not have enough keys to access all the available characters.

1. Activate Master/Global module.

2. Select Rename Bank (2).

3. Rename the bank. Choose the characters to be changed with the

left and right cursor buttons. Select the desired characters by using the ten key pad, Data Entry Control and keyboard. You can also use the up cursor to insert spaces and the down cursor to delete spaces.

RENAME BANK

B01 Current Bank [0-9]/Encoder/Kybd

4. Press ENTER to exit the submodule. The ESI will return to the Module Identifier

Master/Global 57

3. Erase

Erasing a bank erases ALL the memory in the ESI, which includes all samples and presets.

Bank

Tip:

After erasing the bank, the ESI will

✱

automatically create an empty bank for you.

4. Effects

1. Activate Master/Global module.

2. Select Erase Bank (submodule 3).

3. Decide if you really want to erase the bank. The display will

inform you that you are about to erase all samples and presets in the current bank.

ERASE BANK Erases All Presets, and Samples! Are You Sure? Y/N

4. Press Yes to erase the bank or No to cancel the operation. In either case, the ESI will return to the Module Identifier.

This function is available only when the Turbo Option Kit is installed in the ESI. For detailed instructions on how to use the Effects submodule, refer to the Appendix.

58 ESI Operation Manual

5. Export

! Caution:

presets and samples from floppy disks saved in version 1.04 software.

You cannot load individual

Export Functions

This function allows you to save an ESI bank so that it can be read by a predecessor of the ESI. If the bank you are trying to save exceeds 8 MB, or has more then 100 presets or 100 samples, you will not be allowed to save as an EIII bank. The three export options are as follows.

0 Save as v2.10 Bank: Allows you to save 3.00 banks (this version) as

2.10 banks in order to remain compatible with older ESI's or EIV family samplers using EOS software below 3.00.

1 Save as E3 Bank: Allows you to save an ESI bank in the original

EIII bank format so that it can be read by an EIII (The EIII is a predecessor of the ESI). If the bank exceeds 8 MB or has more than 100 presets or 100 samples, you will not be allowed to save as an EIII bank.

2 Save as v1.04 Floppy: Allows you to save 3.00 banks (this version)

as 1.04 banks in order to remain compatible with older ESI's. Banks created in version 1.04 format must first be loaded into a v3.00 system, and then saved into v3.00 format before samples and presets can be loaded.

þ To Export a Bank:

1. Make sure the bank you wish to export has been Saved to hard disk.

2. Press the Master key. The LED illuminates and the Memory

Statistics screen appears.

3. Select the Export submodule (5).

4. Select one of the three options using the Data Entry Control or by

entering the number (0-2) from the numeric keypad.

5. A popup dialog box appears warning you that the resident bank will be destroyed as a result of the conversion process. (You DID save it first didn't you?) Press Yes to continue.

SAVE v2.10 BANK into D0 Floppy Drive

Select a Drive

6. Select the destination drive for the v2.10 or EIII bank and press Enter. The bank will be saved. (Note: You cannot save an EIII bank

to floppy disk.)

7. If you chose the Floppy Drive destination, insert the first disk and press Enter.

Master/Global 59

6. Memory Available

Memory Available shows how much of each type of memory is available, both as a percentage of available memory and in bytes. For example, if you have used up 90.0% of the available preset memory, the display will show that there is 10.0% preset memory remaining.

1. Activate Master/Global module.

2. Select Memory Available (6).

3. Observe the display. Line two displays the percentage and amount

of preset memory available. Line three displays the percentage and amount of sample memory available. Line four inquires if you want to collect the memory.

ESI-32 Memory

Sample

Sample Sample

Sample

7. Disk Utilities

Sample

MEMORY AVAILABLE Preset: 99.8% 127K Sample: 100% 32.0M Collect Memory? Y/N

• Collect Memory allows you to defragment the memory of the ESI. When samples are erased or truncated, the sample memory is left divided or fragmented until the bank is saved to disk. This may limit your sample size even though you have plenty of memory left.

4. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

Disk Utilities include several additional numbered subsections. Here are brief descriptions of each subsection. More extensive descriptions follow.

0. SCSI Setup: Allows you to change the ESI's SCSI ID number and configure SCSI for a Macintosh or PC on the bus.

1. Mount Drives: Instructs the ESI to check the SCSI bus for the presence of SCSI devices.

2. Rename Disk Bank: Allows you to change the name of any bank on any of the available hard drives.

60 ESI Operation Manual

3. Erase Disk Bank: Allows you to erase any bank from any of the available hard drives.

4. Lock Bank and Drive: Prevents a specific bank and/or drive from being overwritten.

5. Disk Status: For a hard disk drive, this function displays the amount of space that is available, and if the drive is locked or not. For floppy disks this function indicates the name and number of a bank disk, and if the disk is blank.

6. Format Disk: Initializes a floppy disk or a hard drive to store the ESI bank data.

7. Backup: Floppy disks and hard disk drives can and do fail from time to time. This function allows you to backup the hard disk contents on another hard disk or other SCSI media, and if necessary, reconstruct the hard disk from the data on the backup disk.

0. SCSI Setup

This utility allows you to change the SCSI ID number of the ESI itself (not a connected hard disk) in the event that it conflicts with a device on the SCSI bus having the same ID number.

The SCSI interface, located as a 50-pin connector on the back panel, allows the ESI to communicate with external storage devices. The ESI can support seven SCSI devices (including its internal HD if it has one). Each device on the SCSI bus has its own ID number so that it can distinguish its data from data meant for other SCSI devices. If a SCSI device is added to your system which has the same ID number as an existing device, a SCSI error would occur. To remedy this situation, the ID number on the new device will have to be changed. Consult the operation manual of the external device for information on changing the SCSI ID number.

The ESI also contains special SCSI software that allows two “master” devices (the ESI and a Macintosh, for example) to coexist on the SCSI bus. If you have a computer connected to the ESI SCSI bus, the “Ignore Host on ID” function should be set to the ID number of the computer so the ESI will not try to access the computer itself as one of its disk drives.

1. Activate Master/Global module.

2. Select Disk Utilities (7), SCSI Setup (0).

3. Select the new SCSI ID number.

Tip:

The ID number of a Macintosh

✱

computer is set at 7.

SCSI SETUP

ESI SCSI ID: 5 Avoid Host on ID: 7

4. If a computer is present on the SCSI bus set “Avoid Host on ID”

to the computers SCSI ID number. If a computer is not present on

the SCSI bus, this function should be turned Off.

5. Press ENTER to exit the submodule. The ESI saves your choices to the System and returns to the Module Identifier.

Master/Global 61

1. Mount Drives

This utility instructs the ESI to check the SCSI bus for the presence of SCSI devices.

Tip:

Use the “Mount Drives” utility

✱

whenever an external SCSI device does not appear in the list of available devices.

If a SCSI device has been powered up after the ESI, it will not appear in the list of available devices. The Mount Drives utility tells the ESI to check the SCSI bus and to add any SCSI devices that it finds to its list of available SCSI devices. Normally, if the external devices are powered up before the ESI, this will be done automatically.

1. Activate Master/Global module.

2. Select Disk Utilities (7), 1. Mount Drives (1).

3. The ESI will mount the drives, then return to the Module Identifier.

MOUNT DRIVES

Mounting Drives...

2. Rename Disk Bank

This function allows you to name your hard disk banks.

1. Activate Master/Global module.

2. Select Disk Utilities (7), Rename Disk Bank (2).

3. Select an installed drive, then press ENTER.

RENAME DISK BANK D1 QUANTUM LP1055 B01 12 String Select a Drive

4. Select the bank to be renamed, then press ENTER.

5. Rename the bank. Choose the characters to be changed with the

RENAME DISK BANK D1 QUANTUM LP1055 B01 12 String [0-9]/Encoder/Kybd

62 ESI Operation Manual

6. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

3. Erase Disk Bank

With this utility, banks can be erased from any of the available drives.

1. Activate Master/Global module.

! Caution:

you try to erase a bank or drive that is locked. Unlock the bank or drive before proceeding.

The display will advise you if

2. Select Disk Utilities (7), Erase Bank (3).

3. If you wish to select a different drive, press the up cursor. If not, proceed to step 5.

4. Select the drive containing the bank to be erased, then press ENTER.

ERASE DISK BANK D1 QUANTUM LP1055 B01 12 String Select a Drive

5. Select the bank to be erased, then press ENTER.

ERASE DISK BANK D1 QUANTUM LP1055 B01 12 String Select a Bank

6. Decide if in fact you want to erase the selected bank. The display will ask if you’re sure.

! Caution:

the SCSI bus, the bank will only be locked when accessed from the ESI that locked it. Any other ESI on the bus can still erase the bank.

This function will not let you lock a floppy disk. To lock a floppy, open the write-protect window on the disk.

When using multiple ESI's on

7. Press Yes to erase the bank or No to cancel the operation. In either case, the ESI will return to the Module Identifier.

4. Lock Bank and Drive

If you don’t want to risk curious hands unintentionally erasing a bank or drive, here’s a safeguard. A complete drive or any bank within that drive can be locked against inadvertent erasure or tampering, and subsequently unlocked as needed.

1. Activate Master/Global module.

2. Select Disk Utilities (7), Lock Bank/Drive (4).

3. If you want to lock a drive or change the current drive, press the up cursor button. If not, go on to step 6. The display will show the

current drive and its lock status, whether on or off.

LOCK DRIVE: off D1 Current Drive

Select a Drive

Master/Global 63

4. Select the drive to be locked or unlocked, then press ENTER.

5. Select whether lock is on or off, then press ENTER.

6. Select the bank to be locked or unlocked, then press ENTER.

The display will show the current bank and its lock status, whether on or off.

LOCK BANK: off D1 Selected Drive B00 Current Bank Select a Bank

7. Select whether lock is on or off, then press ENTER. The ESI will return to the Module Identifier.

5. Disk Status

This function displays the amount of space that is available on a hard disk drive and if the drive is locked or not. For floppy disks, this function indicates if it is a software disk, the name and number of a bank disk, or if the disk is blank.

1. Activate Master/Global module.

2. Select Disk Utilities (7), Disk Status (5).

3. Select a drive, then press ENTER. If selecting the floppy drive,

insert a disk before pressing ENTER.

DISK STATUS D0 Floppy Drive

Select a Drive

4. One of the following displays will appear:

DISK STATUS D1 Main Drive Avail: 20.7% 8.49Mb 88 Banks Unlocked

DISK STATUS D0 Floppy Drive

64 ESI Operation Manual

Floppy Disk is Blank

5. If there is additional data about the drive, the Enter LED will be flashing. Press ENTER to access the revision number and the

type of drive.

DISK STATUS D1 Conner CFP21055 Rev 2847 Blksiz:512 Fixed Hard Disk

6. To select another disk, press ENTER and return to step 3.

7. Press the Master/Global button to exit the submodule.

The ESI will return to the Module Identifier.

6. Format Disk

Before a new floppy disk or hard disk can record or store any data, it first must be told how to record this data. This is called formatting. The floppy disk formatting procedure should be run on any new disk, or on recycled disks previously used with other systems (such as home computers), since these will not be formatted correctly for the ESI. Formatting a disk will not erase the bank currently in memory.

! Caution:

standard single density diskettes, we recommend that you always use High Density diskettes. High density disks can be identified by the “HD” logo printed on the disk.

Although the ESI will accept

1. Activate Master/Global module.

2. Select Disk Utilities (7), Format Disk (6).

3. Select the drive to be formatted and press ENTER. The ESI

defaults to the floppy drive.

FORMAT DISK D0 Floppy Drive

Select a Drive

4. Consider the implications of your action. Formatting a floppy or hard disk erases all information on that disk completely. The display will inquire if in fact you want to do this.

5. Press Yes to continue the formatting procedure or No to cancel the operation and return to the Module Identifier.

6. If, in step 3, you selected the floppy drive, insert a high-density floppy disk, press ENTER. Formatting takes about 60 seconds.

7. After formatting a floppy disk, format another, if desired. The

display will ask if you want to format another floppy. To do this, press Yes, remove the current disk, insert a new disk, and press ENTER. Otherwise, press No to cancel the operation and return to the Module Identifier.

Master/Global 65

Tip:

The recommended type of

✱

Magneto-Optical drive for the ESI uses the Sony type cartridge. Brand names include Sony, Pinnacle, PLI and Alphatronics to name a few.

Formatting Hard Disks

This works exactly like formatting a floppy disk except when the display asks you to “Select a Drive”, you should select the hard disk instead of the floppy. If the hard disk is not listed, use Disk Utilities 1, to Mount Drive. The hard disk drive should now be listed. Formatting a hard drive takes several minutes, depending on the size of the HD.

Formatting Read/Write Optical Disks

Read/Write Optical disks are formatted in the same way as a hard disk. Use optical disk cartridges with 1024 bytes/sector. New optical disk cartridges usually come with the “low level” formatting already in place. If so, the disk will format normally. If this low level formatting has not been performed, the ESI will interrupt the formatting process and show a “SCSI Hardware Error”. If this happens, follow the procedure for Low Level formatting on the next page, then format the disk in the normal way.

Note: Optical disks always verify the data as it is written and so do not require the long verify process that occurs after formatting has been completed. You can save hours of time by ejecting the cartridge and rebooting the system after the “VERIFYING FORMAT” message appears in the ESI display (about 10 seconds).

! Caution:

formatting Iomega Zip drives. The normal formatting procedure cannot be used with Zip drives.

! Caution:

interleave. 1:1 is the ESI default so you probably will not need to change this.

Be sure to use Option #8 when

Most hard disks now are 1:1

Hard Disk Interleave

The ESI contains an internal list of recognized hard disk drives which also contains parameter information designed to optimize the interface between the ESI and the drive. Most new hard disk drives use 1:1 interleave. The Appendix contains a listing of disk drives that have been tested with the ESI. Other types will probably also work. If in doubt, the best idea is to try out the drive with the ESI before you buy it.

HD Interleave Options

There is a hidden menu when the display asks: “Are You Sure?” Before choosing Yes or No you may choose one of the following hard

disk interleave options using the numeric keypad:

0 --- Uses the ESI's default interleave for the type of HD.

Fast 1 --- 1:1 interleave

2 --- 2:1 interleave (this is the ESI's default setting) 3 --- 3:1 interleave 4 --- 4:1 interleave 5 --- 5:1 interleave 6 --- 6:1 interleave

Slow 7 --- 7:1 interleave

8 --- Install File System 9 --- Optical Disk Low Level Formatting

66 ESI Operation Manual

! Caution:

function, BOTH drives must be unlocked.

In order to use the backup

Option #8 allows you to install the ESI file system on a pre-formatted hard disk. This option is quite handy since it saves the time of formatting. Many hard disk drive brands of now come pre-formatted.

Option #9 allows you to perform a low level format on a “virgin” optical platter (of the Sony type only). Most optical disks that you buy will already have this low level formatting, but some don't and will not be recognized by the ESI. This utility allows you to perform the function. This takes about 25 minutes, so don't do it unless absolutely necessary.

7. Backup

This module allows you to backup and restore a portion or the entire contents of the hard disk. This function makes it so easy that you really will have no excuse for not backing up all your hard disk banks. If you'd hate to lose it, BACK IT UP.

To Backup to another Hard Disk:

1. When the display asks you for the source drive (from), select the disk drive to be backed-up, then press ENTER.

BACKUP from D0 Main Drive

! Caution:

up to itself.

A disk drive cannot be backed-

Select a Drive

2. The display asks you for the destination drive (into). Select the disk drive to which the information will be saved, then press ENTER.

BACKUP into D0 Main Drive D1 Removable Media Select a Drive

3. Select between Automatic or Interactive backup modes.

BACKUP from D0 Main Drive D1 Removable Media Mode: Interactive

Master/Global 67

• Automatic Mode: transfers the complete contents of the source hard disk (or just the updated banks) to the destination drive without prompting you at each bank.

• Interactive Mode: transfers the banks of the source hard disk drive to the destination drive, but prompts you to select each source and destination bank.

4. Select the backup mode and press ENTER.

5. Select the Bank Type. The display shows:

BACKUP from D0 Main Drive D1 Removable Media Bank Type: All

• All: Copies all the banks on your hard disk.

• Range: Copies a selected range of disk banks.

6. Select the bank type and press ENTER. If you selected All or Updated as the bank type, the screen shown in step 9 will appear.

If you selected Range as the bank type the following screen will appear:

BACKUP Low Range: D0 Main Drive D1 Removable Media 13 Baby Burps

7. Select the low bank of the range. In this menu, you select the lowest bank in the range of banks which will be copied to the destination hard disk.

BACKUP High Range: D0 Main Drive D1 Removable Media 22 Dog Barks

8. Select the high bank of the range.

9. Press ENTER when the highest bank in the range has been selected. The following screen will appear:

68 ESI Operation Manual

BACKUP D0 Main Drive D1 Removable Media Bank Dest: SameBank

• Same Bank: Copies the banks into the same numbered bank locations on the destination disk.

• Empty Bank: Copies the banks into the lowest consecutive empty bank locations on the destination disk.

10. Select the bank destination and press ENTER. The display will inquire if you are sure. Press Yes if you are, and backup will proceed. Press No to cancel the operation and return to the Module Identifier.

During the Backup procedure, the display will show the banks being copied.

To Restore:

To restore your backed-up disk, simply reverse the source and destination drives following the directions for backup.

Master/Global 69

8. Special

This section contains several additional numbered functions. Here are short descriptions of each submodule. More extensive descriptions follow.

1. Recalibrate: Allows you to recalibrate the action of the data and volume sliders on the front panel.

2. Contrast: This function allows you to adjust the contrast of the front panel LCD .

3. Headroom/Boost: Allows you to adjust the amount of available headroom of the ESI's D/A converters.

4. Main Output Format: This function adjusts the ESI for optimum performance when using either the main analog outputs or the optional digital I/O.

5. Software Version: States the current version of the operating system software.

6. View Channels: Allows you to monitor your channel usage with a bar graph of each channel's level.

7. Trigger Buttons: Programs the ten-key pad to trigger keyboard notes without a MIDI keyboard when the ESI is in Trigger Mode.

8. RAM Test: Tests the CPU and the sample memory and displays any errors. You should perform this test if you increase the amount of sample RAM in the ESI.

To Access Any of the Special Functions:

1. Activate Master/Global.

2. Select the Special (8) submodule and press ENTER.

3. Select the desired function in the submodule and press ENTER.

70 ESI Operation Manual

1. Recalibrate

With this function you can set minimum and maximum values for the volume control. If you feel that the volume control is not working correctly, it may be time to recalibrate.

1. Activate Master/Global module.

2. Select Special (8), Volume Recalibrate (1).

3. Move the volume control to the minimum position, then press ENTER.

VOLUME RECALIBRATE Min: - 12245

Set Minimum Volume

4. Move the volume control to the maximum position, then press ENTER again.

VOLUME RECALIBRATE Min: - 12245 Max: + 13352 Set Maximum Value

5. Check the movement of the control. Verify that the volume control operates properly. Press ENTER.

6. To save the calibration, press Yes. To cancel the calibration, press No. In either case, the ESI will return to the Module Identifier.

2. Contrast

This function allows you to change the viewing angle of the LCD so that it may be easily read from either above or below. The angle is adjustable from +7 to -8. Positive values make the display easier to read from above. Negative values make the display easier to read from below.

1. Activate Master/Global module.

2. Select Special (8), Contrast (2).

3. Select the desired contrast setting.

CONTRAST

Contrast: -2 Select Contrast

4. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

Master/Global 71

Tip:

The headroom adjustment also

✱

controls the level on the optional S/PDIF digital audio output.

3. Headroom/Boost

Headroom is the amount of dynamic range remaining before clipping will occur. Sampling instruments are quite different from a CD player, since a sampler plays multiple channels at once. Each channel boosts the headroom requirement by 3 dB. The amount of headroom on the ESI is adjustable from 0 dB to 15 dB in 1 dB increments (with the front panel volume control set to maximum). A headroom setting of 0 dB for example, will provide the hottest output level, (and the highest signal to noise ratio) but may cause “clipping” if too many notes are played at once. The default headroom setting is 3 dB, which maintains an excellent signal to noise ratio while keeping a reasonable amount of headroom in reserve. If you hear clipping from the ESI, raise the amount of headroom. The headroom setting is retained when power is switched off.

1. Activate Master/Global module.

2. Select Special (8), Headroom (3).

3. Select the desired amount of headroom. The amount of remaining

headroom is variable from 0 dB to 15 dB in 1 dB increments.

HEADROOM/BOOST

Headroom: 10dB Output Boost: 0dB

4. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

72 ESI Operation Manual

Each channel played adds +3 dB to the output level. Increase the headroom to prevent clipping.

! Caution:

Format correctly for the type of output you are using or degraded audio performance could result.

Be sure to set Main Output

Output Boost digitally raises the output level by +12 dB and is related to the headroom control. The +12 dB boost provides the best signal-tonoise ratio when only one or two channels are being played at a time. However, playing back too many channels with the output boosted may cause the output signal to clip. The Headroom control can be used to reduce the effect of Output Boost. (0 dB of headroom = maximum boost.) Output Boost affects both the analog and digital outputs.

1. Press the Master/Global key.

2. Select Special (8), Headroom/Boost (3).

HEADROOM/BOOST

Headroom: 2 dB Output Boost: 0 dB

3. Set the Output Boost to +12 dB.

4. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

4. Main Output Format

The optional Turbo card adds a digital audio output for interfacing with other digital audio gear. The digital audio interface carries two channels of audio information which duplicates the audio at the main outputs. Both the analog and digital outputs are always active. Set the format to optimize the ESI's output for whatever format is being used. The Output format can be optimized for AES pro, AES consumer (S/PDIF) or analog output.

1. Activate Master/Global module.

2. Select Special (8), Output Format (4).

OUTPUT FORMAT Format: analog

Select Output Format

3. Set the Output to the format you are using.

4. Press ENTER to exit the submodule. The ESI will return to the

Module Identifier.

Master/Global 73

5. Software Version

1. Activate Master/Global module.

2. Select Special (8), Software Version (5).

3. The display shows the disk software version.

4. Press the right cursor key to view the credits. The names of the

ESI design team are listed, thank-you very much.

5. Press ENTER to exit the submodule. The ESI will return to the Module Identifier.

6. View Channel Levels

This is a channel monitor screen which enables you to see the volume envelope status of all 64 voice channels. This is a useful feature when you are playing back complex sequences and want to know how many channels you have left.

Tip:

E-Mu ESI-2000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual