Ensoniq TS-10 User Manual

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Performance/Composition Synthesizer

Musician’s Manual

Version 3.0

T S - 1 0 M u s i c i a n ’ s M a n u a l :

Written, Designed, and Illustrated by: Tom Tracy, Victor Adams, Bill Whipple

Please record the following information: Your Authorized ENSONIQ Dealer:___________________________ Phone:_______________ Your Dealer Sales Representative:_________________________________________________ Serial Number of Unit:___________________________ Date of Purchase:_________________

Your Authorized ENSONIQ Dealer is your primary source for service and support. The above information will be helpful in communicating with your Authorized ENSONIQ Dealer, and provide necessary information should you need to contact ENSONIQ Customer Service. If you have any questions concerning the use of this unit, please contact your Authorized ENSONIQ Dealer first. For additional technical support, or to find the name of the nearest Authorized ENSONIQ Repair Station, call ENSONIQ Customer Service at (610) 647-3930 Monday through Friday 9:30 AM to 12:15 PM and 1:15 PM to 6:30 PM Eastern Time. Between 1:15 PM and 5:00 PM we experience our heaviest call load. During these times, there may be delays in answering your call.

This Manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine readable form without prior written consent from ENSONIQ Corp. The TS-10 software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp.

Although every effort has been made to ensure the accuracy of the text and illustrations in this Manual, no guarantee is made or implied in this regard.

IMPORTANT:

“This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacturer's instructions, may cause interference to radio and television reception. It has been designed to comply with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC rules, which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures.”

* reorient the receiving antenna * relocate the instrument with respect to the receiver * move the instrument away from the receiver * plug the instrument into a different outlet so that the instrument and receiver are on different branch circuits

"If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful: 'How to Identify and Resolve Radio-TV Interference Problems.' This booklet is available from the U.S. Government Printing Office, Washington, D.C. 20402 Stock No. 004-000-00345-4."

In order to fulfill warranty requirements the TS-10 should be serviced only by an Authorized ENSONIQ Repair Station.

The ENSONIQ serial number label must appear on the outside of the Unit or the ENSONIQ warranty is void.

• ENSONIQ, TS-10, TransWave, Hyper-Wave, SoundFinder, EPS, EPS–16 PLUS, ASR-10, Poly-Key, DP/4, SQ–R PLUS 32 Voice, and KS–32 are trademarks of ENSONIQ Corp.

Part # 9310 0137 01 - E Model # MM-111

T S - 1 0 M u s i c i a n ’ s M a n u a l :

Written, Designed, and Illustrated by: Tom Tracy, Victor Adams, Bill Whipple

Although every effort has been made to ensure the accuracy of the text and illustrations in this Manual, no guarantee is made or implied in this regard.

IMPORTANT:

In order to fulfill warranty requirements the TS-10 should be serviced only by an Authorized ENSONIQ Repair Station.

The ENSONIQ serial number label must appear on the outside of the Unit or the ENSONIQ warranty is void.

• ENSONIQ, TS-10, TransWave, Hyper-Wave, SoundFinder, EPS, EPS–16 PLUS, ASR-10, Poly-Key, DP/4, SQ–R PLUS 32 Voice, and KS–32 are trademarks of ENSONIQ Corp.

Part # 9310 0137 01 - E Model # MM-111

TS-10 Musician’s Manual List of Tips

List Of Tips

Direct dialing between BankSets........................................................................3

Getting to the Bank that Contains the Selected Sound..........................................4

Centering the Value of a Parameter....................................................................5

Direct dialing between BankSets........................................................................9

Using SoundFinder to Replace Sounds with their Effects.....................................10

Using CUSTOM Settings to Define Your Own Sound Types................................10

Latching Pressure with the Sustain and Sostenuto pedals....................................16

Changing Pitch-Tables while the Sequencer is Playing ........................................18

Quick Way to get to the Disk Load Page.............................................................22

Using Presets with MIDI loops ..........................................................................28

Double-clicking the Presets button to locate the currently selected preset .............32

Finding the BankSet, Bank, and Display Location for Sounds on Preset Tracks......39

Extending the Transposition Range....................................................................47

Bypassing the Track Effect.................................................................................57

Returning to the Effects Select Page Quickly.......................................................59

Parallel Effect Algorithm Identification ..............................................................59

Changing Effect Types Quickly..........................................................................61

Bypassing the Track Effect.................................................................................61

Latching Patch Selects.......................................................................................139

Suggestions for Naming Programs.....................................................................140

A Quick Way to De-select a Modulator ..............................................................143

Setting the Modulation Amount to Zero.............................................................143

Using the LFO as a Gated Modulator.................................................................170

Using SoundFinder to Find Sounds Defined with the Same Type Classification....195

Setting the Restrike Time to Eliminate Clicking Sounds.......................................196

Playing any ROM Wave with a Drum-map ........................................................205

Auditioning Different Track Sounds ..................................................................213

Manually Changing Program Types with SoundFinder.......................................215

To Copy a Preset along with its Effect onto 3 Sequencer Tracks............................218

Finding the BankSet, Bank, and Display Location for Sequencer Tracks................223

Using Controllers On/Off as Filters for Sequence Playback .................................226

To Change the sound and install its effect as the current sequence or song effect...227

Using the Bank buttons to Select Song Steps.......................................................232

List of Tips

List of Tips TS-10 Musician’s Manual

Toggling between Song and Sequence Tracks.....................................................235

Creating a fade-in in Song Mode........................................................................236

Recording Volume Changes using a CV Pedal....................................................236

Creating a template for Multi-track recording.....................................................240

Temporary Record Bypass while in Step Entry Mode..........................................242

A Quick Way to Save Changes to a Sequence or Song .........................................243

Switching Between Song and Sequence Tracks ...................................................271

Using the Foot Switch to Advance Steps in Step Entry Mode...............................272

Using Modulators in Real-Time to Create Poly-Rhythms.....................................286

Using Headphones with General MIDI ..............................................................292

Creating Music Minus One Applications in General MIDI Mode..........................294

Getting to the Load File Display Quickly............................................................310

Displaying the Contents of the Last Viewed Directory.........................................313

To Quickly return to the Root Directory .............................................................315

Deleting Sampled Sounds to Prevent Auto-Loading Them ..................................331

Viewing WaveSample Parameter Values by Playing the Keyboard.......................336

Toggling between Edit pages and the Edit Context page for Sampled Sounds.......337

To determine which Sampled Sound bank has been assigned to a track................338

A Quick Way to Audition the Surrogate Program...............................................339

Copying Edited Parameters between Similar Sampled Sounds.............................344

Setting a Modulator OFF...................................................................................346

List of Tips

TS-10 Musician’s Manual Preface

Welcome!

Congratulations, and thank-you for your purchase of the ENSONIQ TS-10 Performance/Composition Synthesizer. The TS-10 offers the most complete set of features for the performing and recording musician ever offered. From the expressive possibilities of ENSONIQ’s Poly-Key™ Pressure keyboard and unique Patch Select buttons to the 300 Programs and 300 Performance Presets, you’ll find the TS-10 a wonderful instrument to play. The intuitive and musical sequencer design in the TS-10 will help you go from initial inspiration to a completely mixed song without getting in your way.

To expand your sound palette the TS-10 comes with 2 Megabytes of Sample RAM, expandable to 8 Megabytes with industry-standard SIMMs. This RAM can be used to load in any Sample Sounds created for ENSONIQ’s EPS/EPS-16 PLUS, and ASR-10 samplers, giving you access to the largest library of sampled sounds anywhere! And with the SP-4 SCSI kit option installed, you can read Sampled Sound files stored on CD-ROM libraries and other SCSI devices. In addition to having access to this versatile library of sounds (from ENSONIQ and many third-party companies from around the world), you can incorporate vocals, drum loops, and any sound imaginable into your music. Just use an ENSONIQ sampler, or your friend’s ENSONIQ sampler, to make new sounds to use in your music. No expandable waveform synthesizer offers you this much versatility at such an affordable price.

The Sounds

The sound of the TS-10 is based on 254 waveforms encompassing all the possible instrument groups; acoustic, electric, digital and analog synthesis, sound effects and more. The acoustic instrument waves have been carefully crafted from ENSONIQ’s huge library of source recordings, including many sounds from our ground-breaking Signature Series. For the more imaginative possibilities the unique TransWaves™ give you the moving, dynamic sound of swept wavetables. The new Hyper-Wave™ voice architecture breaks open new sonic ground with the ability to create wave-lists that can sound like evocative, ever-changing pads to “jamloop” drum and percussive grooves that can change pitch without ever changing tempo.

Each Program in the TS-10 is actually six independent sound sources each with their own parameters and programming. Now you can combine sampled sounds with analog synthetic sounds, and exotic digital textures at the push of a button -- no MIDI cables needed! And with 32-note polyphony you can layer sounds or sequence freely, without worrying about losing voices while you play.

Up to three sounds can be combined into a preset, which contains its own effects set-up and special performance parameters. Presets can be thought of as handy “performance memories” which allow you to create and save sound combinations, splits, layers, patch select variations, etc.

The TS-10’s 24-bit dynamic effects are incorporated as an integral component of each sound, and any effects parameter can be modulated by any of 13 modulation sources. And the TS-10 has ENSONIQ’s expressive Patch Select buttons and exclusive Poly-Key Pressure keyboard, giving you expressive control over your sounds and unparalleled flexibility as a MIDI controller.

Preface TS-10 Musician’s Manual

The Sequencer

To capture and expand on a creative idea, the TS-10 has an over 30,000 note, 24-track sequencer with extensive editing control. And with the addition of the optional SQX-70, the TS-10 can have over 97,000 notes of sequencer memory. Record in real-time or step entry, looped or linear mode, even transfer sequences from external MIDI devices with Multi-Track record. Sequence internal and/or external sound sources with a clock resolution of 96 PPQ for accurate timing resolution.

A variety of editing options gives you control over your sequenced parts: scale volume or controllers, edit specific notes or events, transpose, quantize, shift clocks, and more. Edits can be performed over ranges that can be specified by bar, beat, clock and/or note range for utmost accuracy, and every edit can be auditioned against the original part so you can decide which one to keep. During mixdown you can pan sounds in stereo to any of four individual outputs. MIDI Automated Mixdown remembers all volume and panning information, and the TS-10’s disk drive allows you to store your sounds, sequence data, even MIDI Sys-Ex data on inexpensive floppy disks.

MIDI Control

As a MIDI controller the TS-10 can use Song/Sequence “headers” to become a 24-zone controller with different MIDI channels, status, key zones, volume, transposition, and other performance parameters defined for each region. Stacking sounds is as easy as “double-clicking” a button, and the large display on the TS-10 gives you information in a clear, uncrowded layout.

The power of a complete MIDI production facility coupled with the benefits of a single integrated keyboard environment. It’s the latest refinement from the company that pioneered the concept of the synthesizer-based workstation. The TS-10 Performance/Composition Synthesizer… from ENSONIQ.

The Manual

This manual is your guide to unlocking the full power of the TS-10. At this point, you’re probably anxious to plug your TS-10 in and get playing. After the initial “I just gotta hear it” phase has passed and you’re ready to utilize the full potential of the TS-10, please take the time to read the sections on programming, sequencing, and storage. They’ll provide valuable information and tips, as well as speed up the learning process and enjoyment of the instrument.

Thank you again for choosing ENSONIQ. Enjoy the music!

Clean Up and Maintenance

Only clean the exterior of your TS-10 with a soft, lint-free, dry (or slightly damp) cloth. You can use a slightly dampened cloth (with a mild neutral detergent) to remove stubborn dirt, but make sure that the TS-10 is thoroughly dry before turning on the power. Never use alcohol, benzene, volatile cleaners, solvents, abrasives, polish or rubbing compounds.

TS-10 Musician’s Manual Preface

Power

1 2

Insert the line cord into the line receptacle on the back of the TS-10 (2), next to the power switch (1). Plug the other end of the cable into a grounded AC outlet. The proper voltage for your TS-10 is listed on the Serial Number label on the rear panel. Turn the TS-10 power on and make sure the display lights up. If not, check your connections and power source. The first thing the TS-10 does when it starts up is calibrate the keyboard. Be sure not to touch the keyboard while the display reads CALIBRATING KEYBOARD - DO NOT TOUCH.

Note: Because the TS-10 can automatically load Sampled Sounds previously loaded from a connected

SCSI Storage Device, we recommend powering on the SCSI Storage Device(s) first before powering on the TS-10.

Power — Polarization and Grounding

Like many modern electrical devices, your ENSONIQ product has a three-prong power cord with earth ground to ensure safe operation. Some products have power cords with only two prongs and no earth ground. To ensure safe operation, modern products with two-prong power cords have polarized plugs which can only be inserted into an outlet the proper way.

Some products, such as older guitar amplifiers, do not have polarized plugs and can be connected to an outlet incorrectly. This may result in dangerous high voltages on the audio connections that could cause you physical harm or damage any properly grounded equipment to which they are connected, such as your ENSONIQ product.

To avoid shock hazards or equipment damage, we recommend the following precautions:

• If you own equipment with two pronged power cords, check to see if they are polarized or non-polarized. You might consider having an authorized repair station change any nonpolarized plugs on your equipment to polarized plugs to avoid future problems.

• Exercise caution when using extension cords or plug adapters. Proper polarization should always be maintained from the outlet to the plug. The use of polarized extension cords and adapters is the easiest way to maintain proper polarity.

• Whenever possible, connect all products with grounded power cords to the same outlet ground. This will ensure a common ground level to prevent equipment damage and minimize hum in the audio output.

AC outlet testers are available from many electronic supply and hardware stores. These can be used to check for proper polarity of outlets and cords.

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Preface TS-10 Musician’s Manual

Ground Loops

Sometimes currents flowing through the ground line generate a signal seen by another part of the circuit sharing the same ground. In other words, if there are two identical signal paths within a circuit, they can form a loop which can result in hum and/or noise. If you are using equipment that has 3-prong “grounded” AC power cords, you may suffer from a ground loop resulting from the interconnection of this equipment. The following diagram shows how cascading or “chaining” the output of one 3-prong grounded system into the input of another 3-prong grounded system with a standard unbalanced 2 conductor cord (like a 1/4” guitar cable) can result in a ground loop.

Unbalanced Output to Unbalanced Input. Single conductor shielded cable

3-Prong "Grounded" System

SIGNAL PATH

(circuit ground)

Earth Ground

Fig. 1 depicts a system interconnection where a ground loop can exist. Fig. 2 depicts a system interconnection where a ground loop does NOT exist. When interconnecting 3-prong grounded systems, you can use signal isolation transformers to prevent ground loops. This coupling transformer effectively isolates two interconnected system signal grounds, while still allowing the signal to pass through.

AC Line Conditioning

As with any computer device, the TS-10 is sensitive to sharp peaks and drops in the AC line voltage. Lightning strikes, power drops or sudden and erratic surges in the AC line voltage can scramble the internal memory and, in some cases, damage the unit’s hardware. Here are a few suggestions to help guard against such occurrences:

• A Surge/Spike Suppressor. The cheaper of the options, a surge/spike suppressor absorbs surges and protects your gear from all but the most severe over-voltage conditions. You can get multi-outlet power strips with built-in surge/spike suppressors for little more than the cost of unprotected power strips, so using one is a good investment for all your electronic equipment.

Ground Loop

FIG. 1

3-Prong "Grounded"

System

Unbalanced Output to Unbalanced Input. Single conductor shielded cable

3-Prong "Grounded" System

SIGNAL PATH

(circuit ground)

Earth Ground

2-Prong "UNGrounded"

System

FIG. 2

• A Line Conditioner. This is the best, but by far the more expensive, way to protect your gear. In addition to protecting against surges and spikes, a line conditioner guards the equipment against excessively high or low line voltages. If you use the TS-10 in lots of different locations with varying or unknown AC line conditions, you might consider investing in a line conditioner.

TS-10 Musician’s Manual Preface

Temperature Guidelines

The inner workings of the TS-10 contain a substantial amount of computerized and electronic circuitry that can be susceptible to damage when exposed to extreme temperature changes. When the TS-10 is brought inside after sitting in a cold climate (i.e. the back seat of your car), condensation builds up on the internal circuitry in much the same way a pair of glasses fogs up when you come inside on a cold day. If the unit is powered up as this condensation occurs, components can short out or be damaged. Excessively high temperatures also pose a threat to the unit, stressing both the internal circuits as well as the case. With this in mind, it is highly advisable to follow these precautions when storing and setting up your TS-10:

• Avoid leaving the TS-10 in temperatures of less than 50 degrees Fahrenheit or more than 100 degrees Fahrenheit.

• When bringing the TS-10 indoors after travel, allow the unit at least twenty minutes to reach room temperature before powering up. In the case of excessive outdoor temperatures (below 50 degrees Fahrenheit or above 100 degrees Fahrenheit), allow an hour or more before power up.

• Avoid leaving the TS-10 inside a vehicle exposed to direct sunlight.

Amplification

Connect the Main Audio Outputs of the TS-10 to the line level inputs of a mixer, instrument amplifier, stereo, or any other sound system, using 1/4 inch audio cables. For an additional set of dry outputs, connect the AUX Outputs to two more mixer channels. If your system is stereo, connect the Left and Right Main Outputs to two channels of your mixer, stereo, etc. If it’s mono, use either of the Audio Outputs, but make sure nothing is plugged into the other output. For listening through headphones, plug the phones into the rear-panel jack marked Phones. If you’re running the TS-10 through a mixer, in stereo, be sure to pan the left mixer input fully left, and the right input fully right.

TS▼10

It is a good idea to make sure your audio system is turned off (or down) when making connections, to avoid damaging speakers or other components.

Preface TS-10 Musician’s Manual

Be Careful!

The TS-10 outputs are line-level, and are intended to be connected only to line-level inputs, such as those on a mixer, stereo pre-amp, keyboard amp, etc. Connecting the TS-10 audio outputs to a mic-level input, such as a guitar amp or the microphone jacks on a tape deck, is not recommended, and might result in damage to the device input.

Move the Volume Slider all the way up. As with any digital musical instrument, the TS-10 will give the best results if you keep the volume slider full on, and use the volume control on your mixer or amp to adjust its level.

Switch the audio system on, and adjust the amplifier volume for normal listening levels. If you hear no sound while playing the keyboard, switch the audio system off and check your connections.

Amplifying Your TS-10 Through a Home Stereo System

If you are thinking about amplifying your TS-10 through your home stereo, a word of caution. A home stereo is great for playing CDs, albums, tapes — the dynamic range of these media is limited, and your speakers aren’t usually subjected to extreme volume changes and frequency transients. While the dynamic range of CDs is significantly greater than albums or tapes, the output of a CD player is still conservative compared to the uncompressed, unlimited line-level output of a pro-level keyboard. Running your TS-10, or any pro-level keyboard through a home stereo at high volume levels can damage your speakers, not to mention the impedance mismatch this can create. If your only means of amplification is your home stereo, then try to keep your levels on the conservative side.

Powering Up Your TS-10 In a MIDI Configuration

Just as you would power up the individual components before turning on the amplifier in your home stereo system, you should first turn on the MIDI data transmitting source (keyboards, modules, etc.) before you power up the receiving MIDI source. This will prevent any unwanted MIDI information from being “spit” out of the transmitting source during power up, which could confuse the MIDI receivers, thereby disabling them. If this should occur, turn off the receiving module, and then turn it back on.

About the Auto-Load Feature

The Auto-Load feature allows you to automatically load Sampled Sounds back into the same Bank location(s). If you have loaded any Sampled Sounds or Sample Edits into the TS-10 and then powered down, the display shows the following prompt:

If you answer *NO * to the Auto-Load prompt, the TS-10 will display the last Sounds or Preset Bank page, and no Sampled Sounds will be automatically loaded.

If you answer *YES* to the Auto-Load prompt, “WORKING…” is momentarily displayed when the TS-10 is preparing to load Sampled Sound files, then it will automatically load any needed files from the current disk in the disk drive, and from any connected SCSI Storage Devices.

For more information about the Auto-Load feature, see Section 14 — Understanding Sampled Sounds.

TS-10 Musician’s Manual Preface

Care and Feeding of the Disk Drive

The TS-10’s built-in disk drive is used to store all your Programs, Sampled Sounds, Presets, System set-up, and Sequencer data, as well as System Exclusive messages from other MIDI devices. The TS-10 uses a Quad-density disk drive that can store 1600 Kilobytes of data on a Double-Sided High-Density (DSHD) 3.5” micro-floppy disk and 800 Kilobytes of data on a Double-Sided Double-Density (DSDD) 3.5” micro-floppy disk. The disks are enclosed in a protective plastic carrier with an automatic shutter to protect the diskette from physical damage. It is important not to alter this carrier in any way.

Do’s:

The 3.5” disks have a sliding writeprotection tab so that you can protect your sounds and sequences against accidental erasure. Sliding the write-protection tab in the lower left corner of the disk so that the window is closed will allow you to store information on the disk. Sliding the tab so that the window is open will protect the disk against being accidentally reformatted or having files deleted. Double-Sided High Density disks can be easily identified because they have an additional window (with no writeprotection tab) located on the lower right corner of the disk.

Floppy disks are a magnetic storage medium, and should be treated with the same care you’d give important audio tapes. Just as you would use high quality audio tapes for your important recording needs, we recommend using high quality floppy disks for your TS-10. Here are a few Do’s and Don’t’s concerning disks and the disk drive.

• Use either Double-Sided High-Density (DSHD) or Double-Sided Double-Density (DSDD) 3.5 inch Micro-floppy disks. Both types are available from almost any computer store and many music stores carry them as well.

• Keep your disks and the disk drive clean and free of dust, dirt, liquids, etc.

• Label your disks and keep a record of what is saved on each.

• Only transport your unit with nothing in the drive.

Double-Sided High-Density (DSHD)

Disk Window

Write Protect Tab

Double-Sided Double-Density (DSDD)

No Disk Window

Write Protect Tab

Don’t’s:

• Don’t use Single-Sided (SSDD or SSSD) disks. These disks have not passed testing on both sides. While a single-sided disk might work successfully with the TS-10, it is possible that you will eventually lose important data to a disk error if you try using Single-Sided disks.

• Don’t put anything other than a disk or the plastic sheet in the disk drive.

• Don’t transport the unit with a disk in the drive.

• Don’t expose disks to extremes of temperature. Temperatures below 50˚ F and above 140˚ F can damage the plastic outer shell.

• Don’t expose your disks to moisture.

• Don’t dry your disks in a microwave oven.

• Don’t subject disks to strong magnetic fields. Exposure to magnetic energy can permanently damage the information on the disk. Keep disks away from speaker cabinets, tape decks, power cables, airline x-ray equipment, power amplifiers, TV sets, and any other sources of magnetic energy.

• Don’t eject the disk while the drive is operating (i.e. when the disk drive light is on).

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Preface TS-10 Musician’s Manual

Reinitializing the TS-10

The great power and flexibility of the TS-10 lies in the fact that it is really a computer disguised as a keyboard instrument, but a computer nonetheless. The software that operates the TS-10 is very sophisticated. If you have ever used a computer, you should be familiar with the need to occasionally re-boot your system when you get an error message, etc. Reinitializing the TS-10 is the equivalent of re-booting your computer.

There are a number of things that can happen to the TS-10 (or any computer system) which might scramble the system software — voltage surges, power failures, static electricity, etc. As with any computer, very infrequently some unforeseeable event or combination of events can cause the software to become confused, with strange and unpredictable results. Sometimes, computers that appear to be broken have no hardware problem, just corrupted data in the internal RAM (Random Access Memory). In some cases, simply turning the TS-10 power off and then on again will cure the problem. If that doesn’t work, perhaps what is needed is to reinitialize the unit.

When to Reinitialize

If your TS-10 begins to behave in peculiar ways; if the display shows words or lines that shouldn’t be there; if you start getting unexplained System Error messages; if the sequencer and edit functions start doing unpredictable things; try reinitializing the TS-10 before you seek factory service.

Be Careful!

When you reinitialize your TS-10, all your custom sounds, presets, and sequences in RAM will be lost. Therefore good backup habits should be an important part of your routine. Save any important data to disk before reinitializing the TS-10.

To Reinitialize the TS-10:

• While holding down the Presets button, press the “soft” button in the top left corner above the fluorescent display.

• The following message appears on the display: “ERASE MEMORY AND REINITIALIZE”

• Select *YES*. After selecting *YES*, the TS-10 erases its internal memory and then starts up just as it does when you turn the power on, and initialization is complete.

If reinitializing your TS-10 does not correct the problem, then contact an Authorized ENSONIQ Repair Station.

Low Battery Voltage — When to Replace the Battery

The reason that the TS-10 “remembers” programs, presets and other parameters, even when the power is off, is that all of its internal RAM is “battery-backed-up.” The battery that keeps the TS10 memory intact is located inside the TS-10, and when it becomes discharged, it must be replaced by an Authorized ENSONIQ Repair Station.

The battery that came in your TS-10 is good for up to five years of life. You will know when it needs replacing, because the TS-10 will tell you so. One day you will switch the power on, and instead of its usual wake-up message, the display will read:

viii

WARNING -- LOW BATTERY VOLTAGE

SAVE DATA - SEE USER MANUAL *CONTINUE*

Press *CONTINUE* (or any button) to commence normal operation. Then, make sure that all presets, programs, and sequences are saved to disk, and take the TS-10 to an Authorized ENSONIQ Repair Station as soon as possible to have the battery replaced.

TS-10 Musician’s Manual Preface

Available Options for your TS-10

These optional accessories are available from your Authorized ENSONIQ Dealer:

• ENSONIQ Model SW-10 Dual Foot Switch — For voice sustain, sostenuto, hands-free patch select control, preset advance, effect modulation control, or starting, stopping, and continuing the internal sequencer. For ultimate foot control, we recommend using two SW-10 Dual Foot Switches.

• Model CVP-1 CV PEDAL — A Control Voltage Foot Pedal which can be assigned as a modulator within the voice section of the ASR–10 or used as a volume pedal.

• AS –Series Sound Libraries — The AS Sound Library sounds can be loaded and edited by the TS-10, provided on five High Density disks.

• SL, SLT, and ESS Sound Libraries — The TS-10 can read all of the sound files on the disks designed for the EPS Series. These disks offer the largest, most accurate, responsive, and musical sampled sounds available anywhere. These sounds are divided into three separate libraries: SL, a series of five-disk sets featuring sounds specifically designed for the EPS–16 PLUS, compatible with the TS-10; SLT, a series of ten-disk packs originally designed by top sound programmers for the EPS, also compatible with the TS-10; and ESS, three-disk “Signature Series” sets designed by renowned industry performers and producers like Joey DeFrancesco, Jason Miles, Maurice White, The System, Nile Rodgers, David Hentschel, and others.

• SP-4 SCSI Kit — This SCSI (Small Computer Serial Interface) allows the TS-10 to read Sampled Sound files from a hard drive, CD ROM player, or computer. The SP-4 must be installed by an Authorized ENSONIQ Repair Station.

• CDR Series — These CD ROMs offer a vast array of Sampled Sounds arranged in directories by file types. The CDR Series also features Direct Macros, which allows instant access (directdial) to any Sampled Sound file (the TS-10 can only read Sampled Sound files, and not ASR/EPS banks and sequence/song files).

• SQX-70 — Sequence Expander. Increases the capacity of the TS-10 sequencer to over 97,000 notes. Contact your Authorized ENSONIQ Repair Station for installation details.

Need More Help?

Whether you’re an aspiring programmer looking for additional information about basic synthesizer techniques and MIDI theory, or a professional sound designer working with advanced applications, you may want more detailed information that is beyond the scope of this manual. The following books can help enhance your understanding of sampling, synthesis, MIDI, and related topics. These, in addition to the numerous monthly magazines, provide a wealth of information. While we don’t endorse any one of these publications, we offer this partial list as a resource for you to draw on.

The Mix Bookshelf

For prices and more information call: 1-800-233-9604

MIDI

MIDI FOR MUSICIANS, Craig Anderton THE MIDI MANUAL, David Huber THE MIDI HOME STUDIO, Howard Massey THE NEXT MIDI BOOK, Rychner & Walker THE MIDI BOOK, Steve De Furia, Joe Scacciaferro THE MIDI RESOURCE BOOK, Steve De Furia, Joe Scacciaferro HOW MIDI WORKS, Dan Walker MIDI SYSTEMS & CONTROL, Francis Rumsey USING MIDI, Helen Casabona, David Frederick

Preface TS-10 Musician’s Manual

MIDI, THE INS, OUTS AND THRUS, Jeff Rona

SAMPLING

THE SAMPLING BOOK, Steve De Furia, Joe Scacciaferro SAMPLING BASICS, Bobby Maestas

SYNTHESIZERS

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TS-10 Musician’s Manual Table of Contents

Table of Contents List of Tips Preface

Welcome!............................................................................................................i

The Sounds.........................................................................................................i

The Sequencer....................................................................................................ii

MIDI Control......................................................................................................ii

The Manual........................................................................................................ii

Clean Up and Maintenance.............................................................................ii

Power..................................................................................................................iii

Ground Loops..............................................................................................iv

AC Line Conditioning................................................................................iv

Temperature Guidelines ..................................................................................v

Amplification.....................................................................................................v

Be Careful!..........................................................................................................vi

Amplifying Your TS-10 Through a Home Stereo System...........................vi

Powering Up Your TS-10 In a MIDI Configuration.....................................vi

About the Auto-Load Feature.........................................................................vi

Care and Feeding of the Disk Drive...............................................................vii

Reinitializing the TS-10 ....................................................................................viii

When to Reinitialize..........................................................................................viii

Low Battery Voltage — When to Replace the Battery.................................viii

Available Options for your TS-10...................................................................ix

Need More Help?..............................................................................................ix

Section 1 — Controls & Basic Functions

Rear Panel Connections....................................................................................1

Front Panel Controls.........................................................................................3

Parametric Programming.................................................................................5

Changing a Parameter......................................................................................5

Performance Controllers..................................................................................6

Playing Sounds and Presets.............................................................................8

Sound Memory............................................................................................8

Using the BankSet Button................................................................................9

Layering (Stacking) a Sound............................................................................10

The SoundFinder™ Feature.............................................................................10

Using SoundFinder in Sounds Mode.......................................................11

Understanding Tracks......................................................................................12

Sampled Sounds and SIMMs ..........................................................................13

How Many SIMMs?..........................................................................................13

Table of Contents - 1

Table of Contents TS-10 Musician’s Manual

Section 2 — System Page Parameters

TUNE............................................................................................................14

TOUCH.........................................................................................................14

VEL-MAX.....................................................................................................15

PRESS............................................................................................................15

PEDAL..........................................................................................................16

SLIDER..........................................................................................................16

VOICE-MUTING.........................................................................................17

MIDI-TRK-NAMES.....................................................................................17

KBD-NAMING............................................................................................17

Various ROM System Pitch-Tables

...............................................................................................................

Selecting ROM Pitch-Tables

...............................................................................................................

Using the U1-Programs Pitch-Tables

...............................................................................................................

WAKE-UP-MODE.......................................................................................23

Section 3 — MIDI Control Page Parameters

BASE-CHAN......................................................................................................24

GMIDI.................................................................................................................24

SEND...................................................................................................................24

MODE.................................................................................................................25

About Mono Mode......................................................................................25

Global Controllers in Mono Mode..................................................................26

VELS/XPOS.......................................................................................................26

XCTRL - External Controller...........................................................................26

LOOP...................................................................................................................27

Working with MIDI Loops........................................................................28

Using Presets with MIDI Loops................................................................28

CNTRLS — Controllers....................................................................................28

SONG-SEL — Song Select................................................................................28

ALL-OFF.............................................................................................................28

START/STOP....................................................................................................28

PROG-CHG — Program Changes..................................................................29

Receiving MIDI Program Changes...........................................................29

SYS-EX................................................................................................................30

DEVICE-ID.........................................................................................................30

SEND-PARAMS................................................................................................30

Section 4 — Understanding Presets

What is a Preset?................................................................................................31

What is the Difference between Preset Mode and Sequencer Mode?.......31

Table of Contents - 2

TS-10 Musician’s Manual Table of Contents

Selecting Presets................................................................................................31

How Many Presets are in the TS-10?..............................................................32

Editing a Preset..................................................................................................33

What are Preset/Track Parameters?...............................................................34

Saving a Preset...................................................................................................34

Avoiding Confusion when using Presets......................................................36

Using the Replace Track Sound Function in Presets Mode........................36

Replacing a Sound in a Preset.........................................................................36

Using SoundFinder in Presets Mode........................................................37

Replacing a Sound and the Effect in a Preset................................................38

Display Location................................................................................................38

Finding the BankSet, Bank, and Display Location for Sounds on Preset

Tracks...............................................................................................................39

Performance Tip — Creating Keyboard Splits .............................................40

Using Effects With Performance Presets .......................................................40

Section 5 — Preset/Track Parameters

Mix Page.......................................................................................................41

Pan Page.......................................................................................................41

Attack Page..................................................................................................42

Release Page.................................................................................................42

Brightness Page ...........................................................................................43

Timbre Page.................................................................................................44

External Control Page.................................................................................44

Key Zone Page.............................................................................................45

Velocity Range Page...................................................................................46

Velocity Sensitivity Page............................................................................46

Transpose Page............................................................................................47

Detune Page.................................................................................................47

Rate Page......................................................................................................48

Sustain Page.................................................................................................48

Sostenuto Page.............................................................................................49

Pitch Bend Page...........................................................................................49

Mod Wheel Page.........................................................................................50

All-Notes-Off Page......................................................................................50

Reset Controllers.........................................................................................50

Patch Select Page.........................................................................................51

Latching Patch Selects ......................................................................................51

Pressure Page...............................................................................................52

Pedal Page....................................................................................................53

MIDI Status Page.........................................................................................53

MIDI Channel Page.....................................................................................54

MIDI Program Number Page....................................................................55

Entering Program Change Numbers Directly..............................................55

MIDI Bank Select Page...............................................................................55

Program Changes and Bank Selects in the TS-10.........................................56

Table of Contents - 3

Table of Contents TS-10 Musician’s Manual

Effects Controller Page...............................................................................57

Table of Contents - 4

TS-10 Musician’s Manual Table of Contents

Section 6 — Understanding Effects

Understanding TS-10 Effects...........................................................................58

Program and Sampled Sound Effects.............................................................58

Preset Effects......................................................................................................58

Sequencer Effect................................................................................................59

Selecting Effects.................................................................................................59

What is an Algorithm? .....................................................................................60

Signal Routing Between Effects ......................................................................60

Sounds and Presets...........................................................................................60

When are New Algorithms loaded into the ESP Chip?...............................60

Performance Control of Tracks in Preset or Sequencer Mode....................61

Programming Effects........................................................................................61

The Effects Busses.......................................................................................61

Effects Mixing....................................................................................................62

Single Function Effect Mixer .....................................................................62

Multiple Function Effect Mixer.................................................................62

Parallel Effect Mixer....................................................................................63

Selectable Effect Modulation Parameters......................................................63

MOD-1 SRC — Modulation Source 1.......................................................63

MOD-2 SRC — Modulation Source 2.......................................................63

DEST — Mod1 Destination Parameter ....................................................64

DEST — Mod2 Destination Parameter ....................................................64

MIN — Mod 1 Param Range Minimum..................................................64

MAX — Mod 1 Param Range Maximum.................................................64

MIN — Mod 2 Param Range Minimum..................................................64

MAX — Mod 2 Param Range Maximum.................................................64

Section 7 — Effect Parameters

About Effect Parameters ..................................................................................65

Effect Modulation Parameters...................................................................65

00 DRY/BYPASSED ...................................................................................65

Parallel Effects ...................................................................................................65

01 DDL+CHORUS+REV............................................................................65

02 EQ- -DDL+CHORUS+REV...................................................................68

03 DELAYLFO+CHORUS+REV...............................................................69

04 ROTOSPKR+CHORUS+REV...............................................................70

05 DISTORT+CHORUS+REV...................................................................71

06 PARAM EQ+CHORUS+REV...............................................................72

07 ENV VCF+CHORUS+REV...................................................................72

08 DDL+PHLANGR+REV.........................................................................73

09 EQ- -DDL+PHLANGR+REV................................................................75

10 DELAYLFO+PHLANGR+REV............................................................75

11 ROTOSPKR+PHLANGR+REV............................................................76

12 DISTORT+PHLANGR+REV................................................................76

13 PARAM EQ+PHLANGR+REV............................................................76

14 ENV VCF+PHLANGR+REV................................................................77

Table of Contents - 5

Table of Contents TS-10 Musician’s Manual

15 DDL+ROTOSPKR+REV........................................................................77

16 EQ- -DDL+ROTOSPKR+REV ..............................................................79

17 DELAYLFO+ROTOSPKR+REV...........................................................79

18 ROTOSPKR+ROTOSPKR+REV...........................................................80

19 DISTORT+ROTOSPKR+REV...............................................................80

20 PARAM EQ+ROTOSPKR+REV...........................................................80

21 ENV VCF+ROTOSPKR+REV...............................................................81

Dual Effects........................................................................................................81

22 PLATE + PLATE REVERBS..................................................................81

23 PARAMETRIC EQ + PLATE................................................................82

24 SMALL PLATE REVERB......................................................................84

25 LARGE PLATE REVERB 1....................................................................84

26 LARGE PLATE REVERB 2....................................................................86

27 HALL REVERB 1....................................................................................86

28 HALL REVERB 2....................................................................................87

29 HALL REVERB 3....................................................................................89

30 SMALL ROOM REVERB ......................................................................90

31 MEDIUM ROOM REVERB...................................................................90

32 LARGE ROOM REVERB.......................................................................90

33 TIGHT AMBIENCE...............................................................................92

34 WIDE AMBIENCE.................................................................................92

35 NONLINEAR REVERB 1......................................................................94

36 NONLINEAR REVERB 2......................................................................94

37 NONLINEAR REVERB 3......................................................................94

38 GATED REVERB....................................................................................96

39 REVERSE REVERB 1 .............................................................................98

40 REVERSE REVERB 2 .............................................................................99

41 STEREO DELAY + DELAY ..................................................................100

42 MULTITAP DELAY...............................................................................100

43 EQ- -STEREO DELAYLFO....................................................................101

44 EIGHT VOICE CHORUS......................................................................102

45 CHORUS + REVERB 1 ..........................................................................103

46 CHORUS + REVERB 2 ..........................................................................104

47 DDL- -CHORUS + REVRB 1.................................................................106

48 DDL- -CHORUS + REVRB 2.................................................................108

49 EQ- -CHORUS + REVERB....................................................................109

50 EQ- -CHORUS + EQ- -DDL..................................................................110

51 FLANGER + REVERB ...........................................................................111

52 EQ- -FLANGER + DELAY....................................................................112

53 PHASER + REVERB...............................................................................114

54 PHASER + DELAY ................................................................................115

55 EQ- -TREMOLO + DELAY...................................................................116

56 EQ- -VIBRATO + DELAY.....................................................................118

57 PITCH SHIFTER.....................................................................................119

58 FAST PITCH SHIFTER..........................................................................120

59 PITCH SHIFTER + DELAY...................................................................121

Table of Contents - 6

TS-10 Musician’s Manual Table of Contents

60 ROTARY SPEAKER + REV ..................................................................122

61 SPEAKER CABINET..............................................................................123

62 TUNABLE SPEAKER............................................................................124

63 GUITAR AMP 1......................................................................................124

64 GUITAR AMP 2......................................................................................124

65 GUITAR AMP 3......................................................................................126

66 VCF- -DISTORTION- -VCF..................................................................127

67 WAH- -DISTORTION + REV...............................................................129

68 FLNG- -CMP- -DIST + REV..................................................................130

69 DISTORT + CHORUS- -REV................................................................131

70 PARAMETRIC EQ.................................................................................132

71 EQ- -COMPRESSOR..............................................................................132

72 RUMBLE FILTER...................................................................................134

73 VAN DER POL FILTER.........................................................................134

Section 8 — Understanding Programs

What is a Program?...........................................................................................135

Understanding Voices and Polyphony..........................................................135

Using the Patch Select Buttons........................................................................136

Compare — Using the Compare Button........................................................136

Using the Edit Buffer........................................................................................136

Abandoning Your Edits ...................................................................................137

Using the Select Voice Page.............................................................................137

Using the soft buttons as a shortcut...............................................................138

Selecting more than one voice at a time (Group Edit Mode)......................138

Using the Group Edit feature..........................................................................139

Programming the Patch Selects.......................................................................139

Write Page — Saving a New Program Into Memory...................................140

Copying an Existing Program to Another Location ....................................141

Voice Programming..........................................................................................141

TS-10 Voice Configuration...............................................................................141

Modulators.........................................................................................................143

About Modulation ......................................................................................143

Selecting a Modulator.................................................................................143

MODAMT — Modulation Amount .........................................................143

Modulation Sources..........................................................................................144

Wave Page..........................................................................................................148

Wave Class...................................................................................................148

Complete TS-10 ROM Wave Catalog.......................................................149

Using the Copy Functions................................................................................150

About the Copy Functions.........................................................................150

MAKE COPY.....................................................................................................151

RECALL..............................................................................................................151

Special Recall Functions...................................................................................152

Special Copy Operations..................................................................................152

DEFAULT...........................................................................................................153

Table of Contents - 7

Table of Contents TS-10 Musician’s Manual

SYSTEM..............................................................................................................154

Some Useful Applications of the Copy Functions........................................154

Copying an effect from one program to another..........................................154

Copying all parameters from one voice to another......................................154

Copying a complete program to a new location ..........................................155

Making a copy of the compare buffer............................................................155

Collecting parts from several sources into the copy buffer........................155

About Pitch-Tables............................................................................................156

How to Create a Custom Pitch-Table.......................................................156

Editing a Custom Pitch-Table....................................................................157

Removing a Custom Pitch-Table..............................................................158

Creating and Extrapolating a Custom Pitch-Table................................159

Creating and Interpolating a Custom Pitch-Table.................................160

Using the Copy page with Pitch-Tables...................................................161

Dynamic Pitch-Table Selection........................................................................162

About Wave-Lists..............................................................................................162

How to Create a Wave-List........................................................................162

Editing a Wave-List ....................................................................................163

Removing a Wave-List...............................................................................164

Using the Copy page with Wave-Lists ....................................................164

About Drum-Maps............................................................................................165

How to Create a Drum-Map......................................................................166

Editing a Drum-Map ..................................................................................167

Removing a Drum-Map.............................................................................167

Using the Copy page with Drum-Maps ..................................................168

Section 9 — Program Parameters

LFO Page............................................................................................................169

ENV1, ENV2, ENV3 — TS-10 Envelopes.......................................................172

ENV1, ENV2 and ENV3 Pages........................................................................172

Pitch Page...........................................................................................................177

Pitch Mods Page................................................................................................179

Filters Page.........................................................................................................180

Low-pass/High-pass..................................................................................180

Poles — Rolloff Curves...............................................................................180

Cutoff Frequency.........................................................................................180

Filter Configurations...................................................................................181

FILTER 1 Page....................................................................................................182

FILTER 2 Page....................................................................................................183

Output Page.......................................................................................................183

Wave Page..........................................................................................................187

Class-Specific Wave Parameters...............................................................187

TRANSWAVE -Specific Wave Parameters..............................................189

Hyper-Wave™ -Specific Wave Parameters.............................................190

Drum-Map Specific Wave Parameters.....................................................191

Mod Mixer Page................................................................................................192

Table of Contents - 8

TS-10 Musician’s Manual Table of Contents

Program Control Page......................................................................................195

Pitch-Table Editor Parameters.........................................................................198

Copy Pitch-Table Parameters..........................................................................200

Wave-List Editor Parameters...........................................................................201

Copy Wave-List Parameters............................................................................203

Drum-Map Editor Parameters ........................................................................203

Copy Drum-Map Parameters..........................................................................206

Program Effects Page........................................................................................207

Select Voice Page..............................................................................................207

Copy Page ..........................................................................................................207

Write Program Page..........................................................................................207

Compare Function.............................................................................................207

Section 10 — Understanding the Sequencer

Introduction.......................................................................................................208

Digital Sequencing............................................................................................208

What is a Sequence?..........................................................................................208

What is a Song?..................................................................................................209

Sequencer “Transport Controls”.....................................................................209

Sequencer Status................................................................................................210

Sequencer Banks................................................................................................210

Selecting a Sequence or Song...........................................................................211

Playing Sequences and Songs..........................................................................211

Sequencer Tracks...............................................................................................212

Replacing the Sound on a Sequence or Song Track.....................................213

Using SoundFinder in Sequencer Mode..................................................213

Layering Sounds on The Tracks Pages ..........................................................215

Sequencer Tracks and the Track Parameters ................................................215

The Tempo Track and the Track Parameters................................................217

Copying a Preset into 3 Sequencer Tracks.....................................................217

Copying a Preset Along With its Effect into 3 Sequencer Tracks...............218

Creating a New Sequence................................................................................218

Creating a New Song........................................................................................219

Erasing All Sequencer Memory......................................................................219

Recording a Sequence.......................................................................................219

About the Audition Play/Keep Page.............................................................221

Playing Tracks in Audition Mode...................................................................221

“Punching In” on a Track ................................................................................222

Finding the BankSet, Bank, and Display Location for Sounds on Sequencer

Tracks...............................................................................................................223

Edit Sequence Page — Sequence Edit Functions..........................................224

The MIDI Connection.......................................................................................224

MIDI Sequencing on the TS-10 — MIDI Connections.................................224

MIDI Mode and Channel — Remote MIDI Device......................................225

MIDI Track Configuration...............................................................................225

Recording MIDI Tracks....................................................................................226

Table of Contents - 9

Table of Contents TS-10 Musician’s Manual

Additional Sequencer Functions.....................................................................226

Recording Controllers into Sequencer Tracks...............................................226

Changing a Sound within a Sequence or Song Track (Recording Program

Changes...........................................................................................................226

Defining Track Pressure in Sequencer Mode..........................................228

Assigning a Track to the AUX Outputs.........................................................229

Using the AUX Outputs as Separate Mono Outs.........................................229

Edit Track Page — Track Edit Functions.......................................................230

Track Mix Functions — Mixing, Muting and Soloing Tracks ....................230

Song Mode..........................................................................................................231

Switching Effects in Song Mode......................................................................231

Edit Song Page — Song Edit Functions.........................................................232

Editing Song Steps — Using the Song Step Editor.......................................232

Song Tracks........................................................................................................233

Viewing Sequence Tracks in Song Mode.......................................................235

Mixing Down Sequence and Song Tracks in Song Mode ...........................235

To Record Mix or Pan Changes to Sequence Tracks in a Song ..................235

To Record Mix or Pan Changes to a Song Track..........................................236

A Few Notes About Mixdown Mode.............................................................236

Sequencer Tempo Track...................................................................................237

Removing the Song Tempo Track ..................................................................237

Tempo Track Edit Functions...........................................................................238

Thinning Out Tempo Changes Using the Event Editor........................238

Using Multi-Track Record...............................................................................240

Suggestion for Advanced Users......................................................................240

Basic Multi-track Recording from an External Sequencer..........................241

Recording into the Sequencer in a MIDI Loop.............................................241

Using the Step Entry Recorder........................................................................242

Access to Other Pages while in Step Entry....................................................242

Entering Audition Mode from Step Entry.....................................................242

Entering Step Entry Record after Locating or from Play ............................242

About the SAVE CHANGES... Page.........................................................242

Section 11 — Sequencer Parameters

Sequencer Editing Functions...........................................................................244

Edit Song Page Parameters..............................................................................244

INFO Sub-Page............................................................................................245

ERASE...........................................................................................................245

COPY.............................................................................................................245

EDIT STEPS Page........................................................................................246

TRACKS........................................................................................................247

Edit Sequence Page Parameters......................................................................248

APPEND.......................................................................................................248

INFO..............................................................................................................248

ERASE...........................................................................................................249

COPY.............................................................................................................249

Table of Contents - 10

TS-10 Musician’s Manual Table of Contents

LENGTH — Add and Delete Bars from a Sequence..............................249

ADD BARS...................................................................................................250

DELETE BARS.............................................................................................251

Sequence Bank Utilities..............................................................................252

Edit Track Page Parameters.............................................................................252

Range Sub-Page — Setting the Time and Key Range............................252

Track Edit Functions...................................................................................253

SHIFT............................................................................................................253

QUANTIZE..................................................................................................253

Using the Quantize Options......................................................................257

ERASE...........................................................................................................258

COPY.............................................................................................................258

*MORE* — Additional Track Edit functions..........................................259

TRANSPOSE................................................................................................260

SCALE...........................................................................................................260

EVENT-LIST ................................................................................................261

Auditioning Event Edit Changes..............................................................264

FILTER..........................................................................................................265

MERGE.........................................................................................................266

Click Page...........................................................................................................267

Sequencer Control Page...................................................................................268

SAVE CHANGES........................................................................................271

Locate Page ........................................................................................................274

Sequence Locate Page.................................................................................274

Setting the GOTO Locate Time While the Sequence Plays

...............................................................................................................

275

Song Locate Page.........................................................................................276

Setting the GOTO Locate Time While the Song Plays

...............................................................................................................

277

Edit Times in Song Mode...........................................................................278

Setting the Edit Times in Real Time.........................................................278

Section 12 — Sequencing/MIDI Applications

Using the TS-10 with a Drum Machine..........................................................279

To Sync a Drum Machine to the TS-10.....................................................279

To Sync the TS-10 to a Drum Machine.....................................................279

To Sequence a Drum Machine from a Track of the TS-10.....................279

Song Position Pointers......................................................................................280

MIDI Song Selects.............................................................................................280

MIDI Controller Tricks — Creating MIDI Track Templates.......................280

MULTI Mode — Receiving on up to 12 MIDI channels..............................281

A Few Important Points About MULTI Mode.............................................282

Using the TS-10 with an External MIDI Sequencer......................................283

Using The TS-10 with a MIDI Guitar Controller..........................................283

Table of Contents - 11

Table of Contents TS-10 Musician’s Manual

Delay Times/Tempo BPM Chart....................................................................285

What is General MIDI?.....................................................................................287

Sound Map...................................................................................................287

Percussion.....................................................................................................287

GS/MT-32 Compatibility...........................................................................287

Other General MIDI Requirements..........................................................287

Why use General MIDI?...................................................................................288

General MIDI Sound Map ...............................................................................289

GM and GS Percussion Key Maps (Channel 10)..........................................290

Using General MIDI in the Real World .........................................................292

Using TS-10 General MIDI Sounds with an External GM Sequencer.......292

Connecting the TS-10 keyboard to a computer (or other General MIDI

sequencer)..................................................................................................292

To Enable General MIDI on the TS-10............................................................292

MIDI Out in General MIDI Mode...................................................................293

TS-10 General MIDI Parameters.....................................................................294

RECV (MIDI Reception).............................................................................294

GM-CHAN...................................................................................................294

GM-PROG....................................................................................................294

Manually Assigning GM Sounds to Each MIDI Channel...........................295

General MIDI “Panic” button..........................................................................295

System and MIDI Control Settings in GM Mode.........................................295

Disabling General MIDI...................................................................................296

To Disable General MIDI...........................................................................296

Enabling/Disabling General MIDI with System Exclusive Messages......296

Turning General MIDI On using SysEx Messages.................................296

Turning General MIDI Off using SysEx Messages.................................296

More about SysEx Messages......................................................................296

Sound Canvas MT-32 Mode Program Change Map....................................297

MIDI Controller Implementation in General MIDI Mode..........................297

General MIDI Mode Controller Implementation Chart..............................298

Section 13 — Storage

Disk Storage — Using the Disk Drive to Save and Load Data...................299

TS-10 Disk File Types .......................................................................................300

Programs ......................................................................................................300

Presets...........................................................................................................301

Sequence/Song............................................................................................301

MIDI System Exclusive data

System File ...................................................................................................301

Sampled Sounds..........................................................................................301

Disk Capacity — Bytes, Blocks, and Files......................................................301

File Banks............................................................................................................302

TS-10 Disk Functions........................................................................................302

FORMAT — Formatting a Blank Disk.....................................................303

COPY — Making a Backup Copy of a Disk............................................304

Table of Contents - 12

TS-10 Musician’s Manual Table of Contents

RENAME — Changing a Disk's Name....................................................305

SAVE — Saving Data to Disk....................................................................306

Naming with the Keyboard.............................................................................307

Saving Programs along with a 30-SEQ/SONGS File...................................307

Saving Sample-Banks along with a 60 SEQ/SONGS File...........................308

Specifying a File Bank Location when Saving a File....................................308

LOAD — Loading Data from Disk.................................................................309

Loading 60 SEQ/SONGS Files that Contain Programs and/or Sample

Banks................................................................................................................310

Using File Banks to Locate Files for Loading................................................311

DELETE — Deleting (Erasing) Files from Disk............................................312

SCSI Option (read-only)...................................................................................312

Directories..........................................................................................................314

What is a Directory?....................................................................................314

Navigating in Directories...........................................................................314

File Paths ......................................................................................................314

To Enter or Move Down into a Directory

...............................................................................................................

315

To Exit from or move back up from a Directory

Direct-Macros™.................................................................................................315

What Is a Direct-Macro?.............................................................................315

Direct-Dialing Macros on Sampled Sound CD ROMs...........................315

MIDI SYS-EX......................................................................................................316

PROGRAMS.................................................................................................317

PRESETS.......................................................................................................317

SEQUENCER DATA..................................................................................318

ALL................................................................................................................318

Receiving MIDI Sys-Ex Messages...................................................................318

MIDI System Exclusive Recorder...................................................................319

What are System Exclusives? ....................................................................319

“Generic” System Exclusive Storage........................................................319

Saving Sys-Ex data uses the Sequencer Memory...................................319

LOADING System Exclusive Data from Disk to an External Device..321

Additional Sys-Ex Recorder Notes...........................................................322

TS-10 Disk Messages.........................................................................................323

Fatal Error Messages.........................................................................................324

Section 14 — Understanding Sampled Sounds

What is a Sampled Sound?..............................................................................325

What is a SIMM?...............................................................................................325

Warning!.............................................................................................................325

Purchasing SIMMs............................................................................................326

How Many SIMMs?..........................................................................................326

An Important Note About Electrostatic Discharge......................................326

Sampled Sound Configuration........................................................................326

Table of Contents - 13

Table of Contents TS-10 Musician’s Manual

About WaveSamples ........................................................................................327

Loading a Sampled Sound...............................................................................327

About Directories..............................................................................................328

What is a Directory?..........................................................................................328

Loading (Changing) a Directory.....................................................................328

Multi-Disk Sampled Sound Display Messages.............................................329

Selecting and Playing a Sampled Sound .......................................................329

Sampled Sound OPTIONS page.....................................................................331

Lack of Memory Message................................................................................332

About the Auto-Load Feature.........................................................................332

Loading Sample-Edits with the Auto-Load Feature..............................335

When Does Auto-Load Delete All Sampled Sounds?..................................335

Selecting a WaveSample or Layer for Editing — the Edit Context page

(Select Voice button)......................................................................................336

LAYERS-IN-PATCH (Layer Enable/Disable)..............................................337

Using the Patch Select Buttons..................................................................337

TS-10 Sampled Sound Error Messages ..........................................................337

Programming Patches ................................................................................338

What is a Surrogate Program..........................................................................338

Assigning a Surrogate Program to a Track.............................................339

Erasing All Sampled Sound Data From Memory.........................................339

Saving Sampled Sound Information..............................................................340

What is a Sample-Banks File............................................................................340

Saving a Sample-Banks File.............................................................................340

Updating Sample-Banks Files Saved with Software Earlier than Version

2.0......................................................................................................................342

Loading a Sampled Sound into an Occupied Sampled Sound Bank.........343

Loading Sample-Edits......................................................................................344

Lack of Memory Message................................................................................345

Modulators.........................................................................................................346

About Modulation ......................................................................................346

Selecting a Modulator.................................................................................346

Modulation Amount...................................................................................346

Section 15 — Sampled Sound Parameters

Edit KEY-DOWN/KEY-UP LAYERS Page (Copy button).........................347

TRK Defaults Page (Write Program button).................................................348

LFO Page............................................................................................................349

WaveSample Envelopes...................................................................................352

About ENV 3................................................................................................352

Typical WaveSample Envelope.................................................................352

ENV1, ENV2, ENV3 Pages ..............................................................................353

Pitch Page...........................................................................................................356

Pitch Mods Page................................................................................................357

TS-10 Filters........................................................................................................358

Low-Pass and High-Pass............................................................................358

Table of Contents - 14

TS-10 Musician’s Manual Table of Contents

Poles — Rolloff Curves...............................................................................358

Cutoff Frequency.........................................................................................358

Edit/Filters Page...............................................................................................358

MODE (Filter Mode)...................................................................................358

FILTER 1 Page....................................................................................................360

FILTER 2 Page....................................................................................................360

Output Page.......................................................................................................361

Wave Page..........................................................................................................363

Volume Mod Source Shaper Page..................................................................366

Layer Page..........................................................................................................367

Sampled Sound Effects Page (Program Effects button)...............................370

Appendix

TS-10 MIDI Implementation............................................................................I

Registered Parameters......................................................................................I

TS-10 Index

Table of Contents - 15

Section 1 — Controls & Basic Functions

This section provides an introduction to the TS-10’s many controls and rear panel connections, a conceptual overview of the system, and a discussion of editing various types of parameters. We suggest you read this section carefully — it will help you get the most out of your TS-10.

Rear Panel Connections

MIDI

Out

1) MIDI Thru

“Passes on” all MIDI (Musical Instrument Digital Interface) information received by the TS-10 to other MIDI devices. Information generated by the TS-10 itself does not go to this jack — the Thru jack merely echoes what comes into the MIDI In jack.

2) MIDI Out

Sends out MIDI information generated by the TS-10 keyboard and/or sequencer to other instruments and computers.

3) MIDI In

This jack receives MIDI information from other MIDI instruments or computers.

4) Foot Switch 2

5) Foot Switch 1

These two independent foot switch jacks support either a single (mono) or dual (stereo) foot switch, and can be assigned to a number of different functions, allowing a total of four independent foot switch controllers (when two optional SW-10 Dual Foot Switches are connected).

Foot Switch 2

Foot Switch 1

Pedal•CVThru

Right/Mono

Aux Outputs

Left/Mono

Main Out

Right/Mono

Left/Mono

9 11

104 5

Phones

When either type of foot switch is plugged into the Foot Switch 1 or 2 jack, it is completely programmable (on the System page), and can be used for sustain, sostenuto, Patch Select control, preset up/down, effect modulation, or sequencer control.

When the SW-2 is connected

to either Foot Switch jack:

It functions as the right foot switch

and is completely programmable.

When the SW-10 is connected to

either Foot Switch jack:

Both the left and right Foot Switches are

completely and independently programmable.

There are four parameters on the System page that let you assign the foot switches to a variety of

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

functions. When a single foot switch is connected, set the left foot switch to *UNUSED* on the System sub-page. For more information about assigning the foot switches, refer to Section 2 — System Page Parameters.

Note: If you are using a single foot switch (SW-2 or SW-6) in either of the Foot Switch

jacks, the FOOT-SW1-L and/or SW2-L values on the System page should always be set

to *UNUSED*. This will prevent note drones. Remember that the Foot Switch jacks

are optimized for use with a stereo Foot Switch (SW-10), and when a single foot switch

is connected, it behaves like the right foot switch.

6) Pedal•CV

This jack is for connecting an optional ENSONIQ Model CVP-1 Control Voltage Foot Pedal, which is assignable as a modulator to various parameters within the TS-10. The pedal gives you a handy alternative modulation source when, for example, you would want to use the Mod Wheel but both hands are busy.

ENSONIQ

A CV pedal plugged into this jack can also act a volume pedal, controlling the volume of the currently selected sound(s). A parameter on the System page (press System, then underline PEDAL=VOL/MOD), determines whether the CV pedal will act as a modulator or as a volume pedal. Set to PEDAL=VOL to use the CV pedal to control volume.

Control Voltage Foot Pedal

CVP-1

Pedal/CV Specs: 3-conductor (Tip= control voltage input, Ring=510 ohm resistor to +5 Volts, Sleeve= ground). 36 KOhm input impedance, DC coupled. Input voltage range=0 to 3 volts DC. Scan rate=32mS (maximum recommended modulation input= 15 Hz). For use with an external control voltage, use a 2-conductor cable with the voltage on the tip and the sleeve grounded.

7) AUX Out Right/Mono

8) AUX Out Left/Mono

The AUX Outputs provide an additional stereo output for use in mixing down sequences, etc. The AUX Outputs contain the dry (no effects) signal only, allowing you to process and mix certain sounds separately. TS-10 sounds can be routed to the AUX Outputs from the Track Effects page, or individual voices can be set to the AUX Outputs from the Output page. When using the AUX Outputs in stereo, connect these outputs to two separate channels of your mixer and pan them left and right. If you want to have a mono AUX Output, make sure that only one of the AUX Out jacks is connected.

9) Main Out — Right/Mono

10) Main Out — Left/Mono

The Main Out jacks contain the wet (effected) output of the TS-10’s effects processor. Any sounds or individual voices routed to FX1, FX2, or DRY will be routed to the Main Outs. To operate the TS-10 in stereo, connect these outputs to two discrete channels of your mixer and pan them left and right. Note that either of the Main Outs can be used as a mono output. If you want to listen to the main output in mono, make sure that only one of the Main Out jacks is connected.

11) Phones

To listen to the TS-10 in stereo through headphones, plug the phones into this jack. The Phones output contains a mix of the signal from the Main Outputs and the AUX Outputs. Headphone volume is controlled by the Volume Slider on the front panel. Note that plugging headphones into this jack does not automatically turn off the audio in the Main or AUX Outputs.

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

Front Panel Controls

Almost everything you do on the TS-10, whether it’s selecting a sound, editing that sound, adjusting the tuning, etc., is controlled from the front panel using the following controls:

1) Volume Slider

This controls the overall volume of the TS-10 audio outputs.

2) Data Entry Controls

The Data Entry Slider and the Up and Down Arrow buttons to the left of the display are primarily used to select and modify things — sounds, parameters, keyboard touch, MIDI Control functions, etc. — all depending on which front panel button you press.

3) Mode Buttons

These 3 buttons are used to select the current mode; you will always be in one of these modes:

• Sequencer Mode — The Seqs/Songs button is used to put the TS-10 into Sequencer mode. The

ten Bank buttons (labeled 0-9) will select Sequencer banks. Each bank contains six sequencer locations, any of which can contain a sequence or a song, or may be blank. When the TS-10 is in Sequencer mode, the LED above the Seqs/Songs Button will light. Note that when the sequencer is playing, you cannot enter either Sounds or Presets mode.

• Presets Mode — The Presets button is used to put the TS-10 into Presets mode. The BankSet

button will scroll through the five different Preset BankSets. The ten Bank buttons will select Preset Banks within each BankSet. Each Preset Bank contains six different presets. Add all this up, and you get a total of 300 different presets (120 User-programmable and 180 ROM)! Each Preset contains three sound locations called “Tracks”, any of which can contain a User RAM Program, ROM Program, or Sampled Sound. When the TS-10 is in Presets mode, the LED above the Presets Button will light, and the bottom left-hand corner of the display will show PSET.

• Sounds Mode — The Sounds button is used to put the TS-10 into Sounds mode. The BankSet

button will scroll through the different Sound BankSets. The ten Bank buttons will select Sound Banks within each BankSet. Each User RAM and ROM Program Bank contains six different programs. Sampled Sound Banks contain one Sampled Sound per Bank. When the TS-10 is in Sounds mode, the LED above the Sounds Button will light.

0 1

3 4 5

7 8 9

4) BankSet Button

A BankSet is a collection (or “set”) of 10 Banks of Sounds or Presets. The BankSet button is used to select different BankSets in Sound and Preset Modes. Repeated presses of the BankSet button will scroll through all of the available BankSets.

Tip: There is a quick way to “direct-dial” between different BankSets in both Sounds and Preset

modes. Simply press the BankSet button and while holding it down, press the appropriate Bank button. Bank buttons 0 and 1 select User RAM BankSets, and Bank buttons 2, 3, and 4 select ROM BankSets. Bank button 8 (and if expansion SIMMs are installed, Bank button 9) selects the Sampled Sound BankSet (in Sounds mode only). This enables you to “call up” the BankSets rapidly, in any order.

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

Tip: Because you can use the BankSet button and the ten Bank buttons to “shop around” in various

banks before selecting a sound or preset, it is possible to lose track of where the currently selected sound or preset (the one you are hearing) is located. There is a shortcut for getting back to the BankSet and bank that contains the currently selected sound or preset: rapidly double-click the Sounds button or the Presets button to instantly go to the bank that contains the currently selected sound or preset.

5) Display

The 80-character fluorescent display makes it possible to show information in Pages. Each time you press one of the front panel buttons, you are in effect “turning to” that function’s page. Once you have turned to the page you want, the display shows you which parameters are controlled from that page. Try pressing a few of the buttons — System, Mix/Pan, LFO, or Filters, for example, and watch the display. Notice that for each button you press, the display changes to show you information relating to that function. Each of these different display configurations is called a Page.

6) Soft Buttons

The six soft buttons above and below the display have a new function each time you select a new page — that is, each time you press one of the dedicated front panel buttons. Each of the six soft buttons is used to select whatever is directly above or below it on the display. Because their function varies depending on what is displayed, we refer to these buttons as Soft Buttons, to distinguish them from buttons which have fixed “hard” functions, such as the Track Parameter buttons to the right of the display.

7) Bank Buttons

In Sequencer mode, the ten Bank buttons (labeled 0-9) will select Sequencer banks. Each bank contains six sequencer locations, any of which can contain a sequence or a song, or may be blank.

In Presets Mode, the ten Bank buttons (labeled 0-9) will select Preset banks within the current BankSet. Each bank contains six preset locations. Pressing the BankSet button will change the current BankSet, and the Bank buttons will now select Preset banks within the newly selected BankSet. There are five different BankSets of Preset Banks (two in User RAM, three in ROM), for a total of 300 different presets.

In Sounds Mode, the ten Bank buttons (labeled 0-9) will select Sound banks within the current BankSet. There are three different kinds of sound banks within the TS-10. Each User RAM program bank contains six sound locations. Each ROM program bank contains six sound locations. Each Sampled Sound bank contains one sound location. We call these Sound Bank pages. Pressing the BankSet button will change the current BankSet, and the Bank buttons will now select Sound banks within the newly selected BankSet.

Double-Click Symbol

This symbol appears in several places on the front panel , and helps to identify buttons that offer a special "double-click" (pressing two times rapidly) feature. These are:

• Rapidly double-click the Sounds button or the Presets button to instantly go to the BankSet

and bank that contains the currently selected sound or preset.

• Rapidly double-click the Track Effects button to bypass the effect for all sounds in a song,

sequence or preset.

• Rapidly double-click the Replace Track Sound button to replace the sound on a track with

another sound, and install the new sound’s effect settings.

• Rapidly double-click the Select Voice button to edit all of the unmuted voices within a Program.

• When a song is selected, rapidly double-click the Seq/Song Track 1-6 and/or 7-12 to toggle

between the sequence and song tracks.

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

Parametric Programming

The method used to modify or edit sounds, presets and system parameters is called Page-driven Parametric Programming, which sounds like a mouthful, but don’t worry. Once you’ve grasped a

few basic concepts, you’ll find that operating the TS-10 is quite simple, given its many capabilities.

It is likely that you have already encountered some form of parametric programming on other synthesizers. What this means is that instead of having a separate knob or slider for each function, you have one master Data Entry Slider, and two Arrow buttons, which adjust the value of whichever parameter you select. This approach has many advantages, the most obvious is that it greatly reduces the amount of hardware — knobs, switches, faders, etc. — needed to control a wide variety of functions. (If the TS-10 had a separate control for each function, it would literally have hundreds of knobs.)

Sub-pages

Some of the TS-10 pages contain more that one screen of information. Repeatedly pressing the same page button will cycle through the sub-pages.

Changing a Parameter

Suppose you want to adjust the master tuning of the TS-10. Press the front panel button labeled System. The display now shows the System page:

In the top left-hand corner of the display you will always find the name of the page that corresponds to the button you pressed. To the right and below the page name are various parameters and commands that can be selected and modified from this page.

To raise or lower the tuning of the TS-10, press the soft button directly above where it says TUNE=+00. This segment of the display will now be underlined , telling you that it has been

selected, and can be modified.

The currently selected parameter on a page is always underlined.

Once you have selected a parameter to be modified, use the Data Entry Slider and the Up/Down Arrow buttons to the left of the display to adjust its value:

• Moving the slider will scroll the entire range of available values. If you move the slider

slowly, it will edit the parameter relative to its current value. Moving it quickly will cause the parameter to jump to the absolute value that corresponds to the position of the slider.

• Pressing the Up/Down Arrow buttons will increase or decrease the value one step at a time.

Continuing to hold down either button will cause it to accelerate and run quickly through the values.

Tip: There is a quick way to center or “zero out” the value of any parameter which has a center value,

as the ATTACK parameter does. Press the Down Arrow button, and while holding it down, press the Up Arrow button, then quickly release both buttons. This automatically sets the parameter value to +00.

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

To select and modify another parameter on the same page, press the soft button above or below its name. That parameter will now be the Data Entry Slider and the Up/Down Arrow buttons.

underlined, and its value can be adjusted as before, with

If you select another page, change some parameter on that page, and then return to the System page, the parameter you had last selected will still be underlined. The TS-10 always “remembers” which parameter was last selected on a given page (including each sub-page).

Be sure that the parameter you want to edit is selected before moving the Data Entry Slider and/or the Up/Down Arrow buttons. There is always a parameter selected on any given programming page.

Sometimes the soft buttons are used to select values in “multi-field” parameters. For instance, in Sounds or Presets mode, press the Tuning button. Press the soft button beneath the Transpose parameter for any sound. Notice that the first field of the Transpose parameter (the Octave field) is selected. Press the same soft button again. This selects the Semitone field of the parameter. Successive presses of the soft button closest to the values moves the cursor from one field to another.

Performance Controllers

The TS-10 features a number of real-time performance controllers which are used to modify sounds as you play for maximum expressiveness. Three of the most important controllers are located to the left of the keyboard:

Patch Select

Buttons

Pitch Bend

Wheel

• PATCH SELECT BUTTONS — These two buttons are used to select alternate groups of voices

within a sound. The TS-10 can be programmed so that the sound changes (sometimes in subtle ways, sometimes radically) when you play notes with one or both Patch Select buttons held down As you play the sounds in the TS-10, make sure you explore what these buttons do to each sound.

• PITCH BEND WHEEL — This wheel bends the pitch of a note up or down. The wheel is

normally centered, where it has no effect on the pitch — moving the wheel up or down will bend the note by the amount specified in the BEND parameters contained on the System page (for global bend range) and on the Pitch Mods page (for setting each individual voice’s bend range separately).

Modulation

Wheel

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

• MODULATION WHEEL — Perhaps the most common use of the Mod Wheel is to add

vibrato, but it can also be assigned as a modulator anywhere within the TS-10 voice architecture to alter the pitch, brightness, volume, effect parameters, and a great many other aspects of the sound.

Pressure (After-touch)

Another important controller is Pressure. Pressure (often called after-touch) is a modulator that allows you to change the sound in various ways by pressing down harder on a key or keys after the initial keystrike. The TS-10 keyboard is capable of generating two types of pressure — Channel Pressure and Poly-Key™ Pressure.

Like the mod wheel or foot pedal, pressure is a modulator, and can be chosen wherever a modulator is selected in the Programming section of the TS-10. Pressure can be assigned to alter the pitch or volume of voices, the filter cutoff frequency, LFO rate or depth, pan location, etc.

There are two types of Pressure:

• Channel Pressure, also called Mono pressure, affects all notes that are playing when you exert

pressure on any of the keys. For example, if you play a three-note chord, pressing down harder on any of the three notes of the chord will modulate all three notes. This type of pressure is the more common of the two types.

Most MIDI instruments which currently implement pressure send and receive only channel pressure. If you are playing such an instrument from the TS-10, you should set the TS-10 to send channel pressure. (Note that some devices, including all ENSONIQ products respond to both types of pressure.)

• Poly-Key Pressure, also referred to as polyphonic pressure, is a more sophisticated and

expressive type of pressure. Poly-Key pressure affects each key independently. For example, if you play a three-note chord, pressing down harder on any of the three notes of the chord will modulate only that note. The other two notes will remain unaffected.

Each preset or sequencer track can be programmed to generate Poly-Key pressure, channel pressure or none at all. If you wish to change the pressure type for a given track, you can do so on the second sub-page of the Performance Options page in the Track Parameters section of the TS-10.

Note that Poly-Key pressure generates a tremendous amount of data, and will consume sequencer memory much faster than other types of events, such as notes and program changes. You should turn pressure off when sequencing instruments which do not respond to pressure, such as piano and drum sounds.

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

Playing Sounds and Presets

Sound Memory

Each TS-10 internal sound (ROM and User RAM) is a complex structure consisting of up to six voices per key and a programmable effects setup. We refer to these internal sounds as Programs. Sounds that were created with a sampling keyboard (and are not internal—i.e.: must be loaded from disk after power-on) are referred to as Sampled Sounds. In this manual, we will use the word sound to describe both Programs (ROM and User RAM), as well as Sampled Sounds.

As it comes from the factory, the standard TS-10 has 300 different sounds:

• User RAM — 2 BankSets of 60 programs each are stored in Static RAM.

• ROM (Read Only Memory)— 3 BankSets of 60 programs each are permanently stored in ROM.

Like the User RAM programs, the ROM programs are contained within the TS-10; but unlike the User programs, they cannot be modified or replaced.

Sampled Sound Options:

• Sampled Sounds — 1 BankSet of 10 Sampled Sounds each are stored in Dynamic RAM.

Sampled Sounds are not internal sounds. This means that when the TS-10 power is turned off, any Sampled Sounds will need to be reloaded. Note that when Sampled Sounds are selected, polyphony is reduced to 31 voices.

• Expanded Sampled Sounds — When optional expansion SIMMs are installed (by an

Authorized ENSONIQ Repair Station), 2 BankSets of 10 Sampled Sounds each are stored in Dynamic RAM.

User RAM:

BankSet U0:

60 Programs

60 Presets

BankSet U1:

60 Programs

60 Presets

Sounds and Presets stored in User RAM Memory can be played, edited, and replaced with other sounds or presets.

ROM:

BankSet R2:

60 Programs

60 Presets

BankSet R3:

60 Programs

60 Presets

BankSet R4:

60 Programs

60 Presets

Sounds and Presets stored in the ROM Memory locations can be played and edited, but cannot be erased. Edited versions can be stored in User RAM.

Sampled Sounds:

BankSet S8:

10 Sampled Sound Banks

(from the factory)

BankSet S9:

10 Sampled Sound Banks

(requires expansion SIMMs)

Sampled Sounds are stored in Dynamic RAM, and will not be saved internally when the TS-10 is turned off.

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

Using the BankSet Button

Shows the currently selected BankSet type and location. Pressing the BankSet button will change these values.

The BankSet button is used to scroll through the available BankSets. The display will change with each press, showing the currently selected BankSet. In the top left corner of the display, you will find the BankSet type and location, and the currently selected bank page.

Tip: There is a quick way to “direct-dial” between different BankSets in both Sounds and Preset

modes. Simply press the BankSet button and while holding it down, press the appropriate Bank button. Bank buttons 0 and 1 select User RAM BankSets, Bank buttons 2, 3, and 4 select ROM BankSets, and Bank button 8 selects the Sampled Sound BankSet. If SIMMs are installed, Bank buttons 8 and 9 select Sampled Sound BankSets (in Sounds mode only). This enables you to “call up” the BankSets rapidly, in any order.

Once you have selected a User RAM, ROM, or Sampled Sound BankSet, select a sound using the ten Bank buttons and the soft button closest to the sound name as shown previously.

Shows the currently selected Bank page. Pressing the Bank 0-9 buttons will change this value.

Selecting a Preset

When you first turn the power switch on, the TS-10 boots-up in Presets mode (selecting the first

preset in U0-0). This is designed to demonstrate the performance capabilities (stacking, layering, splitting, etc.) of the TS-10. To select a TS-10 preset:

• If you are in any mode other than Presets mode, press Presets (the Presets LED should be lit).

• Press one of the 10 Bank buttons below the display (numbered 0-9) to select a bank of six

sounds. The display shows you the names of the six presets in each bank.

• Press the soft button above or below any of the six preset names to select that preset. Try

selecting and playing a few different presets. Notice that when you select a preset, its name is underlined

. The currently selected preset is always underlined.

Selecting a Sound

To select a TS-10 sound:

• Press Sounds.

• Press one of the 10 Bank buttons below the display (numbered 0-9) to select a bank of six

programs. The display shows you the names of the six programs in each bank.

• Press the soft button above or below any of the six program names to select that program as

the current sound. Try selecting and playing a few different programs. Notice that when you select a program, its name is underlined.

underlined

. The name of the currently selected sound is always

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

Layering (Stacking) a Sound with the Selected Sound

To layer (or stack) any sound with the currently selected sound, double-click the soft button corresponding to the sound name on the display. The underline beneath the name of the layered sound will flash and you will hear both sounds playing together.

Up to three sounds (one selected and two layered with it) can be active at once. To de-select a layered sound, press its soft button again and the flashing underline will disappear. If you already have two sounds layered with the primary sound, and you double-click on a fourth sound, that sound will replace the most recently layered sound in the stack.

If two tracks are layered, selecting a new primary track that has a KEY ZONE that does not overlap the layered track will not de-select the layered track. You can layer any combination of User RAM, ROM, or Sampled Sounds. Also, the sounds that are layered do not have to be in the same BankSet or bank.

Primary Sound vs. Layered Sounds

We refer to the sound which is currently selected (solidly underlined on the display) as the primary sound. Any other sounds that you double-click are considered to be layered with the primary sound. Only one sound is ever selected at a time. Whenever you select a new sound it becomes the primary sound.

This is an important concept, because the primary sound determines which Effects set-up will be used for layers and presets. Whenever you select a new primary sound in Sounds mode, a new effects algorithm is loaded along with it (unless the new sound has the same effect and settings as the previous one). Note however that layering a sound or selecting a different sound in Presets mode does not change the current effects set-up.

The SoundFinder™ Feature

When you press the Replace Track Sound button (its LED is lit), you can press the Up or Down Arrow buttons to scroll through Programs that have the same defined Program Type (as defined

on the Program Control page). This is a great way to hear all available variations of a particular type of sound, and it is very useful in auditioning similar sounds for a sequence or song track. Note that you can audition the sounds as the sequencer plays, but to make the changes permanent, you must first stop the sequencer.

Note: Because a Sampled Sound cannot be assigned a Program Type, the SoundFinder feature will not

work with Sampled Sounds or Sample Edits.

Note: You must load the 120-PROGRAMS file called USER BANKS from a Rev. E or higher version of

the TSD-100 disk in order for this feature to work properly with the User RAM Programs (the version is printed on the bottom of the disk following the ten-digit part number).

Tip: By double-clicking the Replace Track Sound button (LED flashing), you can use the Up/Down

Arrow buttons to select Programs by type along with their effect settings, just as you would in

Sounds mode.

Tip: On the Program Control page, the TYPE=CUSTOM setting can be used to define your own

special purpose sound type to help you quickly find your own sounds with SoundFinder. ENSONIQ sounds will never be released with TYPE=CUSTOM. For more information about the Program TYPE parameter, see Section 9 — Program Parameters.

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

Using SoundFinder in Sounds Mode

Here’s how to select Programs that have the same defined Program Type in Sounds mode. For this example, load the 120-PROGRAMS file called USERBNKS V2 from the TSD-200 disk that came with your TS-10, before continuing with the following steps:

• Press the Sounds button.

• While holding down the BankSet button, press the Bank 0 button. This selects User RAM

BankSet U0.

• Press the Bank 0 button to select the first Bank in User RAM BankSet U0. The display shows:

• Press the upper middle soft button above GRAND-PIANO (it should now be underlined).

We’ll be listening to some of the TS-10 sounds that are assigned the same Program Type as GRAND-PIANO.

• If you want to see which Program Type is assigned to a particular Program, press the Program

Control button. For GRAND-PIANO, the display shows:

• This display shows the PROGRAM TYPE assigned to the currently selected Program. The

Program Type assigned to GRAND-PIANO is ACPIANOS, which denotes acoustic pianos. See Section 9 — Program Parameters for a complete listing of Program Types.

When GRAND-PIANO is selected, SoundFinder will allow us to view all Programs assigned to the AC PIANOS Program Type.

• Press the Bank 0 button. GRAND-PIANO should still be selected (underlined). If it is not,

select it at this time.

• Double-click the Replace Track Sound button. Its LED should be lit.

• Press the Up Arrow button. The display now shows:

• BABY-GRAND (now underlined) is the next Program in the TS-10 assigned to the AC PIANOS

Program Type. You can play it if you wish.

Section 1 — Controls and Basic Functions TS-10 Musician’s Manual

• Press the Up Arrow button again. The display now shows:

• FULL-BODY (now underlined) is the next Program in the TS-10 assigned to the AC PIANOS

Program Type. Continued presses of the Up or Down Arrow buttons will scroll through all of the Programs within the TS-10 assigned to the ACPIANOS Program Type.

• When you’ve found the Program that you want, press Sounds to exit the SoundFinder feature.

The Replace Track Sound LED will no longer be lit.

Understanding Tracks

There are two main performance modes in the TS-10; Preset mode, which has 3 tracks, and Sequencer mode, which has 12 tracks. In the TS-10, the term track refers to a “channel” that

contains a sound and a complete set of track performance parameters, including mix, pan, controller settings, MIDI channel, keyboard zone, and others. The 3 tracks in a preset, and 12 in a sequence, give you access to 15 internal tracks, each one independent of the others. Song mode offers 24 tracks (combined with the presets mode, you can have a total of 27 tracks). The difference between sequence and preset tracks is that you can record data on sequencer tracks and not on preset tracks.

Multi-channel audio tape recorders have numerous physical tape tracks onto which you can magnetically record complex polyphonic information. Sequencers simulate this by recording events which describe a performance onto similar tracks in computer memory. When these sequence tracks are played back, the recorded information can either play local sounds or can be sent to remote MIDI devices to recreate the performance. Multi-timbral MIDI instruments can respond to inbound information from such sequencers on multiple channels, with each channel responding independently to a track from the sequencer.

When the TS-10 is used as a multi-timbral sound generator, played from its own sequencer, the various tracks of the sequencer control the sounds played by the TS-10. Similarly, the sequencer and/or the keyboard of the TS-10 can be used to transmit on MIDI channels to which external MIDI devices are connected.

When the TS-10 is controlled from an external MIDI sequencer, the various tracks of the sequencer can be assigned to different MIDI channels, which in turn control the programs played by the TS-10. Each MIDI channel that the TS-10 responds to can be thought of as an extension of the sequencer’s track.

Whether it is playing locally, sending MIDI to a remote device, or receiving MIDI from an external sequencer, we describe this logical construct, comprised of a sound, a MIDI channel, and various performance parameters, as a track.

TS-10 Musician’s Manual Section 1 — Controls and Basic Functions

Sampled Sounds and SIMMs

The TS-10 has the ability to read and edit sample sound files created for the EPS, EPS–16 PLUS, and the ASR-10 samplers. Sampled Sounds (as they are called in the TS-10) are stored in Dynamic RAM, and are not saved when the TS-10 power is turned off. From the factory, the TS-10 has two internal SIMMs, and provide 2 Megabytes of 16-bit sample RAM.

For more information about loading, selecting, and using Sampled Sounds in Presets, Sequences and Songs, see Section 14 — Understanding Sampled Sounds.

How Many SIMMs?

The TS-10 offers two SIMM options:

• With two 1m x 8 non-parity SIMMs (as it ships from the factory) — 1 BankSet (S8) is available

(1 BankSet consists of 10 Sampled Sound Banks). The BankSet will hold 1MWord of Sampled Sound information, equivalent to 4018 blocks of memory.

• With two expansion 4m x 8 non-parity SIMMs — 2 BankSets (S8 and S9) of 10 Sampled Sound

Banks each are available. Each BankSet will hold 2MWords of Sampled Sound information, for a total of 4 MWords, offering 8114 blocks of memory for BankSet S8, and 8191 blocks for BankSet S9.

Warning!

Because adding expansion SIMMs requires opening the TS-10 casing (which voids the ENSONIQ Warranty), SIMMs are not user-installable, and must be installed by an Authorized ENSONIQ Repair Station. To prevent damaging your TS-10, and/or causing bodily injury, do not attempt to install the SIMMs yourself.

Section 2 — System Page Parameters

These parameters control instrument-wide system functions. The settings of these parameters will remain in effect at all times and are preserved while the power is off. You can back-up the settings of the System Page parameters for quick recall by saving the System Set-up on the Storage page (see Section 13 - Storage for more information). The System Page has three subpages. Press the System button to display the first sub-page:

TUNE Range: -99 to +99 cents

Adjusts the overall master tuning of the keyboard up or down as much as one semitone. A value of +00 will set the TS-10 to concert A= 440 tuning.

PITCH-BEND Range: 00 to 12 semitones

Held Range: 00H to 12H semitones Adjusts the system pitch bend range, which is the maximum amount of pitch bend that can be applied with the pitch wheel. Each increment represents a semitone.

The bend range will apply to all programs except those which have been programmed to override the system bend range. If you adjust the system bend range, and a program does not seem to pitch-bend the correct amount, check the setting of the BEND parameter on the Pitch Mods page for each voice in that particular program. If BEND=SYS, then the program uses the system bend range. Otherwise, the program has its own bend range and will ignore the system bend range.

The “H” suffix on the semitone value indicates that Held Pitch Bend mode is active. In this mode, only keys that are actually being held down will be affected by the pitch bend wheel.

TOUCH Range: (described below)

Allows you to adjust the velocity response of the keyboard to match your playing style and technique. All velocity curves affect both internal dynamic response and the velocity values transmitted via MIDI. There are 9 velocity response (Touch) settings, which offer a lot of control for a wide range of playing styles:

• VELTBL-1 VELTBL-2 VELTBL-3 — These velocity tables are for someone with a soft touch.

With one of these three settings, it is easier to reach the maximum level of any velocity controlled parameter.

• VELTBL-4 — This default velocity table setting represents average velocity sensitivity; good

for anyone with a medium touch. This setting should be right for most players.

• VELTBL-5 VELTBL-6 VELTBL-7 — These velocity tables require harder playing to reach the

maximum level of any velocity controlled parameter.

• FIXED-64 — With this setting, the velocity curve always generates a fixed value, set at the

halfway point. This may be useful in simulating old synth sounds that originally had no velocity control.

• FIXED-127 — This setting is also a fixed velocity curve, with full volume. This is good for

playing drum/percussion parts when you want a part without dynamic changes.

Note: We recommend starting with the default setting (VELTBL-4), then going up or down to find your

optimal setting.

Section 2 — System Page Parameters TS-12 Musician’s Manual

VEL-MAX Range: 001 to 127

This parameter determines the maximum keyboard velocity value that will be recognized and transmitted by the TS-10. The default setting is 127, which allows for the normal full range of velocity values. Lower settings limit the maximum value that will be used internally and sent out via MIDI. This can be useful when controlling devices which do not respond to the full range of velocity values, or can be used in conjunction with the TOUCH parameter to control just the top part of the velocity response curve. When TOUCH=FIXED-64 or 127, this parameter can be used to set the fixed velocity to any value.

PRESS Range: SOFT, MED, FIRM, and HARD

Allows you to adjust the pressure threshold of the keyboard to match your playing style and technique. PRESS affects both internal pressure response and the pressure values transmitted via MIDI. When set to SOFT, the least amount of pressure is required to generate channel or PolyKey pressure. Similarly, HARD requires the greatest amount of pressure to generate channel or Poly-Key pressure.

Press the System button again to display the second sub-page:

FOOT-SW1-L— Foot Switch 1, Left Pedal

R— Foot Switch 1, Right Pedal

SW2-L— Foot Switch 2, Left Pedal

R— Foot Switch 2, Right Pedal

When the optional SW-10 Dual Foot Switch is plugged into either Foot Switch jack, the settings of these parameters will control the function of the pedals. You can even use two SW-10 Dual Foot Switches plugged into both Foot Switch jacks, and have four completely independent controllers.

If you are using the single SW-2 Foot Switch which came with the TS-10, you should keep both left foot switch parameters set to *UNUSED*, and assign the right foot switch parameters to the desired function. The list of available parameters are:

• *UNUSED* — makes the TS-10 ignore the Foot Switch.

• SUSTAIN — holding the Foot Switch down will cause notes to sustain after a key has been

released, much like the sustain pedal on a piano. Transmitted via MIDI as Controller #64.

• SOSTENUTO — makes the Foot Switch act similar to the sostenuto pedal on a piano. Any

keys that are held down when you press the Foot Switch are sustained until you release the Foot Switch, but subsequent keys are not affected. Transmitted via MIDI as Controller #66.

• PATCH R — makes the Foot Switch act like the right patch select button.

• PATCH L — makes the Foot Switch act like the left patch select button.

• FX-SW-MOD — makes the Foot Switch into an assignable effect modulator. Setting SRC=FX-

SW on any Effect MOD page allows you to use the Foot Switch to modulate the assigned parameter. Transmitted via MIDI as Controller #12.

• PRESET-UP — each time the Foot Switch is pressed, the TS-10 advances to the next Preset.

When the next preset is in a different BankSet and/or bank, the preset BankSet and/or bank will also be switched. For example, at preset #59 of User RAM Bank U0-9, it jumps to preset #00 of User RAM Bank U1-0. At preset #59 of User RAM Bank U1-9, it jumps to preset #00 of ROM Bank R2-0. At the end of the ROM banks, it jumps back to User RAM Bank U0-0.

• PRESET-DN — each time the Foot Switch is pressed, the TS-10 selects the previous Preset

(functioning just the opposite to PRESET-UP).

TS-12 Musician’s Manual Section 2 — System Page Parameters

• PLAY/STOP — the Foot Switch will play and stop the sequencer, exactly reproducing the

actions of the Play and Stop buttons on the front panel.

• STOP/CONT — the Foot Switch will stop and continue the sequencer, exactly reproducing the

actions of the Stop/Continue button on the front panel.

• STEP-REC — this setting allows the Foot Switch to be used in Sequencer Step Entry record

mode to advance the track location by the amount set in the step size parameter on the Step Entry page. This is the same as using the *STEP* command on that page.

• SONG-STEP — if a song step has been programmed with REPS=FS, each time you press the

Foot Switch, the TS-10 will select the sequence that is the next step in the song.

Tip: Both the Sustain and Sostenuto pedals can be used to dynamically “latch” the current amount of

pressure being exerted on the keyboard. Here’s how:

1) Select a sound that responds to pressure. Ideally choose a sustaining sound like an oboe.

2) Play a key and press into the keyboard until you can hear the pressure modulation affect the

sound of the note.

3) Press and hold the Sustain or Sostenuto pedal.

4) Release the key. You will hear that the sound continues to be modulated by pressure at the

depth to which you were pressing.

5) Play a different key. Notice that the new note is not modulated. You can now press into the

keyboard and modulate the new note independent of the note that is sustained. When the current pressure output exceeds the latched level, pressure on the new note will modulate both notes.

6) To release the “latched” pressure value on the sustained note, either press the “latched” key

again, or release the Sustain or Sostenuto pedal.

PEDAL Range: VOL or MOD

Determines whether the optional CVP-1 foot pedal will act as a volume pedal or a modulator:

• VOL — will control the volume of the currently selected or stacked Track(s). Transmitted via

MIDI as Controller #7.

• MOD — will affect any modulation destination that has PEDAL assigned as a modulation

source. Transmitted via MIDI as Controller #4.

Press the System button again to show the third sub-page:

SLIDER Range: NORMAL, TIMBRE, or XCTRL

Determines whether the Data Entry Slider will act as the Timbre or XCTRL modulator while on any Sounds or Presets bank page. This allows you to vary the Track Timbre or Track XCTRL setting of the primary selected sound without having to switch to the Timbre or XCTRL Track Parameter pages. Refer to Section 5 — Preset/Track Parameters for more information about the Timbre modulator.

• NORMAL — the Data Entry Slider will act normally, and will be disabled while on any

Sounds or Presets bank page.

• TIMBRE — the Data Entry Slider will control the Track Timbre setting of the primary selected

sound while any Sounds or Presets bank page is displayed. As a performance controller, the slider will only affect the primary sound.

Section 2 — System Page Parameters TS-12 Musician’s Manual

• XCTRL — the Data Entry Slider will control the Track XCTRL setting of the primary selected

sound while any Sounds or Presets bank page is displayed. As a performance controller, the slider will only affect the primary sound.

Note: If you play and hold a note, modulate the sound with the Timbre or XCTRL Slider, and then

select another sound, the Timbre slider will no longer affect the sound of the held note.

VOICE-MUTING Range: OFF or ON

This parameter controls whether or not all voices currently playing will shut off when a new program or preset is selected. This lets you avoid any audible “glitch” or discontinuity as the new sound’s effect is loaded, but at the expense of being able to sustain a note from one sound while selecting and playing another.

• ON — Whenever you select a new sound or preset, any voices that might be sustaining from

the previous sound will be stopped.

• OFF — When you select a new sound or preset, voices that are sustaining from previous

sounds will continue to play as long as the key(s) are held down. The old voices will go through the effect of the new sound or preset, so they might sound different, especially if the new sound uses a radically different effect.

MIDI-TRK-NAMES Range: OFF or ON

This parameter determines whether preset and sequencer tracks will show the sound name or show *MIDI-CHAN-# instead of the sound name.

• OFF — When a track’s MIDI STATUS is set to VOICE-OFF, LOCAL-OFF, or MIDI-LOOP on

the Track MIDI page, any displays that would normally show the track’s sound name (the Tracks 1-6 and 7-12 pages in sequence mode, and all Track Parameter pages in Presets mode) will show *MIDI-CHAN-# instead of the name. This is helpful when using the TS-10 as a MIDI controller, or when sequencing remote MIDI devices, as it shows you at a glance which tracks will play only over MIDI, and on which MIDI channels.

• ON — The track’s sound name will always appear on the Tracks 1-6 and 7–12 pages (in

Sequencer Mode), and the Track Parameter pages (in Presets mode), no matter what the track’s MIDI STATUS is set to.

KBD-NAMING Range: OFF or ON

When this switch is ON, the keyboard can be used for name data entry. Whenever a naming field is active, pressing a key on the keyboard will enter the character assigned to that key, or move the cursor. The 36 white keys are the digits 0..9 and letters A..Z, while the black keys provide a repeating set consisting of cursor left, cursor right, and 3 punctuation marks (space, dash, and plus). Period, slash and star are only available using the Data Entry Slider or the Up/Down Arrow buttons

Each octave of black keys repeats the same 5

characters found on the bottom octave.

Left

Cursor

SpaceCursor

Right

0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K LMN OP Q R S T U V W X Y Z

Dash Plus

When KBD-NAMING=OFF, the characters on naming pages will be affected only by the Data Entry Controls and the Cursor Left/Right soft buttons.

TS-12 Musician’s Manual Section 2 — System Page Parameters

Press the System button again to show the third sub-page:

PITCH-TABLE Range: NORMAL, CUSTOM, U1-PROGRAMS, ROM

This parameter allows you to set the system pitch-table to either a NORMAL (western 12-tone equal-temperament) or a CUSTOM (user-definable) pitch-table and affects all voices that have been programmed to use the SYSTEM pitch-table. For more information on pitch-tables, please refer to Section 8 — Understanding Programs.

• NORMAL — the TS-10 will use the western 12-tone equal-temperament tuning instead of the

custom system pitch-table. Setting the System pitch-table to NORMAL does not affect the custom pitch-table.

• CUSTOM — the system pitch-table is set to a user-definable tuning. This is installed by

creating a pitch-table in a program, and using the Copy function to copy it into the System. This is useful when you have one alternate tuning scheme that you want to use for many sounds.

• U1-PROGRAMS — This setting enables dynamic Pitch-Table Selection, allowing you to easily

switch between different system pitch-tables in performance situations. When PITCHTABLE=U1-PROGRAMS you can instantly load new CUSTOM system pitch-tables without affecting the sound you are playing by selecting pitch-table programs loaded into BankSet U1. This allows you to change the tuning while playing, without having to select a different sound.

In order for this feature to work correctly, you must set the system pitch-table switch to PITCH-TABLE=U1-PROGRAMS on the System page before “selecting” a new pitch-table program. If the program you indicate contains a valid pitch-table, it will be installed into the CUSTOM System pitch-table, and you will immediately hear the new tuning. If it does not, nothing will happen. In either case there will be no visible indication of your action. The program name will not be underlined when you “select” it, which is a good indication that you are using a pitch-table from a program in BankSet U1.

You may save programs (with or without pitch-tables) onto BankSet U1 in the normal way. It is suggested that you name programs that are to be used to install pitch-tables with names that describe the pitch-table they contain. For example, naming a program PT-PYTHA-F describes it as follows: PT for pitch-table program; PYTHA for Pythagorean tuning; and F for the tone center. This naming scheme is useful in making pitch-table programs easily recognizable.

In MIDI reception modes OMNI, POLY, and MONO A, incoming MIDI program changes 0 to 59 will select pitch-tables from BankSet U1, if PITCH-TABLE=U1-PROGRAMS on the System page. For more information about the MIDI MODE parameter, see Section 3 — MIDI Control

Page Parameters.

Tip: When this parameter is selected (underlined), you can move the Data Entry Controls in real-time

to change the pitch -tables while the sequencer is playing. This can create some interesting and fun effects.

Section 2 — System Page Parameters TS-12 Musician’s Manual

Various ROM System Pitch-Tables

By using the data entry controls, you can select from a large assortment of traditional, modern, ethnic, and exotic pitch-tables for use as the System pitch-table. These ROM pitch-tables are:

• PYTHAGRN-C — Early tuning derived by calculating 12 perfect fifths and adjusting the

octaves downward as necessary. Leaves all fifths except the one between G# and D# very pure. The entire mathematical anomaly encountered by tuning up 12 perfect fifths (called the Pythagorean comma) is accounted for in the interval between G# and D#.

• JUST INT-C — Designed so that the major intervals in any scale are very pure, especially the

third and fifth.

• MEANTONE-C — One of the earliest attempts to derive a tuning which would accommodate

music played in a variety of keys. The major third interval is very pure.

• WRKMEISTR-C — Derived by Andreas Werkmeister, a contemporary of Bach, this is a further

attempt to create a temperament which would accommodate music played in any key.

• VALLOTTI-C — A variation of Pythagorean tuning in which the first 6 fifths in the circle of

fifths are flat by 1/6 of the Pythagorean Comma. This is probably close to the tuning used by Bach for his Well-Tempered Clavier.

• GRK-DIATONC — The basic building block of ancient Greek music (in which most modern

western music has its roots) was the tetra chord - four notes and three intervals spanning a perfect fourth. The placement of the two inner notes of the tetra chord determined its genus diatonic, chromatic or enharmonic. This pitch-table is derived from two diatonic tetra chords, combined to form a seven-note scale similar to the modern diatonic scale. It is to be played only on the white keys. Tone center is E.

• GRK-CHROMAT — This pitch-table is derived from two chromatic tetra chords (the intervals

are, roughly, quarter-tone, half-step, major third), combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.

• GRK-ENHARM — This pitch-table is derived from two enharmonic tetra chords (the intervals

are, more or less, two quarter-tones followed by a major third), combined to form a seven-note scale. It is meant to be played on the white keys. Tone center is E.

• TURKISH-A — This is a typical Turkish octave-based scale using only one quarter tone. The

second note in the scale is tuned 40 cents flat from the equal-tempered equivalent; in this tuning B is 40 cents flatter from B natural. The scale rises from A.

• ARABIC-1 — The intervals in this table form the basis for much Middle Eastern music. Here

the octave is divided into 17 intervals, corresponding to the fret intervals of some stringed instruments used in this area. The scale rises from the base pitch of C4 in a series of three repeating intervals (in cents) of 90, 90, 24; and so on. From C4 to F5 represents an octave.

• ARABIC-2 — Similar to Arabic 1, except that here the octave is divided into 24 intervals. This

makes one pitch octave cover two keyboard octaves, meaning that the fingering will be the same in any octave. This scale rises from the base pitch of C4 in a series of four repeating intervals (in cents) of 24, 66, 24, 90; and so on.

• ARABIC-3 — This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents

from their equal-tempered equivalents) on the C#, E, G# and B keys.

• ARABIC-4 — Another octave-based scale with an Arabic flavor. In this case the “quarter

tones” are not perfectly equal, imparting a distinctive character to the notes.

• JAVA-PELOG1 — One of the two main scales of the gamelan orchestras of Java and Bali is the

TS-12 Musician’s Manual Section 2 — System Page Parameters

seven-tone scale called Pelog. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. (Note that there are many subtle variations of these tunings, almost as many as there are gamelan ensembles. The tunings we have included here are to be considered typical, not definitive.)

• JAVA-PELOG2 — This is another version of the seven-tone Pelog scale used in gamelan

music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan.

• JAVA-PELOG3 — A third version of the seven-tone Pelog scale used in gamelan music. The

notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes.

• JAVA-SLNDRO — This is a 15-tone equal tempered tuning from Java. Playing every third

note (as in a diminished chord) yields a typical 5-tone scale of the gamelan. Other notes can be used as passing tones.

• JAVA-COMBI — This is actually two pitch-tables in one. The white keys play the seven-tone

Pelog scale, same as the table JAVA-PELOG1. The black keys play a five-tone scale called Slendro, which is close to a five-tone equi-tempered scale. Both tunings have their octaves stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan.

• INDIAN-RAGA — Indian scale used to play ragas, based on 22 pure intervals called Srutis.

This pitch-table uses two keyboard octaves to play one octave in pitch. The 22 Srutis are mapped to keys in this two octave range omitting the A#s, which play the same pitch as the adjacent A.

• TIBETAN — This tuning is based on a pentatonic scale from Tibet. Notice that playing the

black keys yields a scale similar to the 5-tone Slendro tuning from Indonesia.

• CHINESE-1 — This is a seven-tone scale used widely in China. It is meant to be played on the

white keys.

• CHINESE-2 — This is a seven-tone scale based on an ancient Chinese lute tuning. It is meant

to be played on the white keys.

• THAILAND — This is a seven-tone equi-tempered scale from Thailand. It is meant to be

played on the white keys.

• 24-TONE-EQU — Centered on C4, this scale has an even quarter tone (50 cents) between each

keyboard note, and each pitch octave covers 2 keyboard octaves. This tuning has been used by many contemporary composers and can be used in some Middle Eastern music.

• 19-TONE-EQU — Centered on C4, this scale divides the octave into 19 equal steps. From C4

to G5 forms an octave. This scale yields very pure thirds and sixths, but not fifths. Like the 24-tone scale, this has been used by some modern composers.

• 31-TONE-EQU — Centered on C4, this scale divides the octave into 31 equal steps. From C4

to G6 forms an octave. Similar to 19-tone in the purity of its intervals.

• 53-TONE-EQU — This scale divides the octave into 53 equal steps. From C2 to F6 forms an

octave. It yields very pure thirds, fourths and fifths.

• HARMONIC-C — This is a mathematically generated scale based on the relationships of the

partials in the harmonics of the fifth octave of the linear harmonic spectrum. It is interesting mostly from a theoretical standpoint.

Section 2 — System Page Parameters TS-12 Musician’s Manual

• CARLOSALPHA — The first of three scales derived mathematically by Wendy Carlos in the

search for scales with the maximum purity of primary intervals, Alpha is based on the division of the octave into 15.385 equal steps (78 cents per key). One pitch “octave” covers 16 keys, though because the Carlos scales are asymmetric (not based on whole number divisions of the octave) they do not yield pure octaves.

• CARLOS-BETA — Wendy Carlos’ Beta scale is based on the division of the octave into 18.809

equal steps 63.8 cents per key). One pitch “octave” covers 19 keys, though, again, being asymmetric it yields no pure octaves.

• CARLOSGAMMA — Wendy Carlos’ Gamma scale is based on the division of the octave into

34.188 equal steps (35.1 cents per key). This scale has essentially perfect major thirds, fourths and fifths. One pitch “octave” covers 35 keys, though, again, being asymmetric it yields no pure octaves.

• PARTCH-43 — Harry Partch was a pioneer of micro tonality in the early 20th century. He

developed this 43-tone-per-octave scale of pure intervals, and even designed an entire orchestra of instruments for music using this scale. The tonal center is found on key D2 (the low D on the 61-note keyboard). This pitch-table has been transposed up an octave to bring the notes into a more usable range.

• REVERSE — This pitch-table simple reverses the pitch-tracking of the keyboard, putting the

highest notes at the bottom of the keyboard and the highest notes at the top. Lots of fun.

Selecting ROM Pitch-Tables

Here’s how to select and use the Internal ROM pitch-tables:

1) Start by selecting a sound from the internal memory of the TS-10. We recommend using a

piano, organ, or guitar sound. Do not select a drum kit or percussion sound, as these sounds use the TS-10 Drum-Map and will not respond to pitch-tables.

2) Once you have found a sound you like, press the System button four times. The display will

read SYSTEM PITCH-TABLE= table of the TS-10 and is known as the western twelve tone equal-tempered tuning. Play a scale on the keyboard and listen to the pitch of each note.

3) Press the Up Arrow button three times to display the first ROM pitch-table (PYTHAGRN-C)

and play the keyboard. Notice that the TS-10 is now using an alternate tuning. The first several ROM pitch-tables will make subtle changes in tuning, while the remainder of the ROM pitch-tables will have a more obvious affect.

4) Press the Up Arrow button again and play the keyboard. Continue scrolling through the

remaining pitch-tables and listen to the tuning variations offered.

If you would like to continue using a particular pitch-table with other sounds, press the Sounds button to return to the TS-10’s internal sound banks. The currently selected System pitch-table will remain in affect even after turning the TS-10 power off and back on. In this way, if your music requires the same pitch-table all the time, you can simply turn on the TS-10 and start playing.

NORMAL

. The NORMAL pitch-table is the default pitch-

TS-12 Musician’s Manual Section 2 — System Page Parameters

Using the U1-Programs Pitch-Tables

Note: You will need the TSD-100 floppy disk that was included with the TS-10 to complete the

following exercise. This disk contains two files of pitch-tables. They are stored as 60PROGRAMS file types. The first pitch-table file is called HIST PTABLS and contains five different Historical pitch-tables with twelve root key versions of each scale. The second file is called ETH/MOD PTS and contains a variety of Ethnic and Modern pitch-tables:

• Insert the TSD-100 floppy disk into the disk drive and press the Storage button twice.

Tip: Pressing the Storage button twice will automatically take you to the Disk Load Page.

• Press the Up or Down Arrow button until the display reads TYPE= 60-PROGRAMS

• Press the upper left soft button above the words LOAD FILE=__________. Using the Up or

Down Arrow button, find the file named

• Press the bottom middle soft button beneath the words BANKSET U0, and press the Up

Arrow button once so the display reads BANKSET U1.

• Press the upper right soft button above the word *YES*. This will load 60 new pitch-table

Programs into User RAM BankSet 1.

When the file has been loaded, the display will show DISK COMMAND COMPLETED.

• Press the System button four times until the display reads SYSTEM PITCH-TABLE=

selected pitch-table> TABLE=

• Press the Sounds button and select a sound of your choice from any BankSet other than

BankSet U1.

• While holding down the BankSet button, press the Bank 1 button, then release both buttons.

You have now selected User RAM BankSet U1.

Note: At this point when you select locations in BankSet U1, you will be selecting from 60 pitch-tables

instead of 60 Programs. The Programs that were originally stored in BankSet U1 have been replaced by the newly loaded pitch-table file.

• Press the Bank 0 button and then press the upper left soft button. Play the keyboard. This

selects the first of the 60 pitch-tables that are instantaneously available.

Try the other pitch-tables in Bank 0 by pressing the other soft buttons. Continue by selecting pitch-tables in Banks 1 through 9. Each Bank contains six pitch-tables.

U1-PROGRAMS.

. Press the Up or Down Arrow button to set this value to PITCH-

ETH/MOD PTS

<last

Using the above procedure, you can load the file named HIST PTABLS to try more pitch-tables.

Loading a full set of 60 pitch-tables into the TS-10 internal memory in this way gives you the ability to select a variety of keyboard tunings in real-time while in the middle of a performance! Pitch-tables can even be remotely selected via incoming MIDI Program Changes.

Section 2 — System Page Parameters TS-12 Musician’s Manual

WAKE-UP-MODE Range: SOUNDS, PRESETS, SEQ/SONG, DEFAULT,

PREVIOUS, LASTPAGE, GEN-MIDI

This parameter determines which mode the TS-10 will “wake-up” in after power-on.

• SOUNDS — Power-on in Sounds mode with the last Sound selected before power-off selected.

• PRESETS — Power-on in Presets mode with the last Preset selected before power-off selected.

• SEQ/SONG — Power-on in Sequencer mode with the last Sequence or Song selected.

• DEFAULT — Power-on in Sounds mode showing Program Bank U0-0. The default sound in

ROM will be selected.

• PREVIOUS — Power-on in the same mode the TS-10 was in when it was powered-off. Note

that if the TS-10 was in General MIDI mode when it was powered-off, it will wake-up in Sounds mode.

• LASTPAGE — Power-on showing the last page that the TS-10 was on when it was powered-off.

This does not apply to some editing sub-pages. Note that if the TS-10 was in General MIDI mode when it was powered-off, it will wake-up showing the last page that the TS-10 was on before entering General MIDI mode.

• GEN-MIDI — Power-on in General MIDI mode.

Note: When WAKE-UP-MODE=GEN-MIDI, and Sampled Sounds had previously been loaded, the

Auto-Load prompt will be displayed before the TS-10 enters General MIDI. To prevent this, you can first erase all Sampled Sounds from memory, as described in Section 14 — Understanding Sampled Sounds.

Section 3 — MIDI Control Page Parameters

These parameters set instrument wide MIDI parameters, such as the Base Channel number and MIDI Reception mode, and control what types of MIDI messages are received and transmitted. The settings of these parameters will remain in effect at all times and are preserved while the power is off. The MIDI Control Page has three sub-pages. This section also offers an introduction and overview of General MIDI, and explains how to use it with the TS-10.

Whether you are simply linking two keyboards together, playing a synth from a guitar controller, or driving a rack of samplers from the TS-10, MIDI makes it all possible.

• Press the MIDI Control button. This takes you to the top level MIDI Control page:

BASE-CHAN Range: 01 to 16

Selects the Base Channel on which the TS-10 transmits and receives MIDI messages. System Exclusive messages are always sent and received on the base channel.

Any of 16 MIDI channels may be selected as the basic MIDI channel of the TS-10. The effect of setting the base channel varies depending on the MIDI Mode and whether data is being sent or received.

Transmit If SEND=BASE, then the TS-10 only transmits keys, controllers, and program

changes on the base channel. If SEND=TRACK, then keys, controllers, and program changes are transmitted on the channel defined in the preset or sequencer track.

Receive In Poly mode — keys, controllers, and program changes are only recognized if

received on the base channel. In Mono A mode, program changes are received only on the base channel. The base channel is also used in both Mono modes as the first channel of the 12 channel range.

GMIDI Range: OFF or ON

This is used to enter General MIDI mode. The TS-10 completely conforms to the full General MIDI Specification. This allows you to play back any General MIDI-based sequence via incoming MIDI and always get predictable results. The General MIDI Sounds in ROM (listed later) are also provided on the in-box disk (TSD-300) that came with your TS-10.

For a complete description of this mode, see Section 12 — Sequencing/MIDI Applications.

SEND Range: BASE or TRACK

Controls the MIDI channel on which the TS-10 will transmit performance information such as key and controller events, as well as program changes.

• BASE — The TS-10 will transmit only on the Base Channel, and will ignore the channel

assignments contained in the tracks. When Presets are selected, they will transmit the MIDI Program Change for the Preset, and not the Program Change values for the three Tracks.

• TRACK — The settings on the Track MIDI page determine the MIDI transmission channel.

The TS-10 will transmit on the channel(s) assigned to the track(s) being played, either from the keyboard or the sequencer, depending on the Track MIDI Status (i.e. nothing will be sent if a track is assigned to the - - - - /RECV or MIDI-OFF status). Each track can have its own MIDI channel.

Section 3 — MIDI Control Page Parameters TS-10 Musician’s Manual

Note: When a Sequence or Song Track is selected, SEND will automatically be set to TRACK. Sequence

and Song Tracks always transmit on their Track MIDI Channel.

MODE Range: OMNI, POLY, MULTI, MONO-A, or MONO-B

This parameter determines how MIDI information will be received by the TS-10. MODE has no effect on what MIDI information is transmitted.

There are five MIDI modes implemented in the TS-10:

• OMNI — In this mode, the TS-10 will receive on any or all of the 16 MIDI channels. This mode

is useful when you are only using a few instruments, and you are not concerned with setting up different channels for each device.

• POLY — In this mode, the TS-10 will receive only on the Base MIDI channel. MIDI

information on all other channels will be ignored.

• MULTI — An ENSONIQ innovation, MULTI mode is the key to unlocking the potential of the

TS-10 as a multi-timbral receiver from an external MIDI sequencer. In MULTI mode, the 12 Tracks of the current song or sequence can receive MIDI information independently and polyphonically on up to 12 different MIDI channels. The Preset Tracks will not receive incoming MIDI in MULTI mode.

In MULTI mode, different MIDI channels must be selected for each Sequence Track that you want to receive via MIDI. This can be accomplished on the Track MIDI page. If more than one Sequence Track is set to the same MIDI channel, only the lowest numbered track will receive via MIDI.

In MULTI mode, independent of what tracks are stacked or selected on the front panel, the sounds you hear will depend entirely on what MIDI channel(s) the MIDI data is received on.

About Mono Mode

Mono mode is particularly useful for driving the TS-10 from a guitar controller, or any other application where having up to twelve independent, monophonic channels is desirable. The TS-10 offers two types of Mono mode operation. In both types, the TS-10 will receive monophonically on twelve consecutive MIDI channels (the Base channel through Base channel +11). The difference has to do with how those MIDI channels are routed within the TS-10.

• MONO-A — This is another ENSONIQ development intended to make using multi-channel

controllers like guitars easier. All notes and controllers received via MIDI will play whatever sounds are selected or stacked on the front panel, just as if the notes were played from the keyboard. You have the advantage of multiple tracks which will respond independently to controllers received on multiple channels, but you do not have to set up the sounds for each track separately.

• MONO-B — This is the more conventional type of Mono mode. It allows you to set up each

track of the current song or sequence as a monophonic synthesizer. Each track can have a different sound assigned to it. This is how you get a different sound on each string when using a MIDI guitar controller.

TS-10 Musician’s Manual Section 3 — MIDI Control Page Parameters

Global Controllers in Mono Mode

Global controllers are controllers sent on one channel that affect all other channels simultaneously. They can be useful in reducing the number of MIDI events required to achieve particular effects, and can thereby reduce the delays sometimes associated with overloading MIDI. Some guitar controllers can transmit global controllers, and the TS-10 can respond to them.

In Mono mode (A or B) the controllers (pitch bend, pressure, etc.). For example, if the base channel is channel 3, any controllers received on channel 2 will be interpreted as global controllers and will affect all voices being played. If the base channel is channel 1, channel 16 becomes the channel for global controllers. Each track will also respond independently to controllers sent on its own channel. For example, each guitar string on a MIDI guitar can send independent pitch bend, while the “whammy bar” controller could be sent on the global channel to affect all voices.

VELS/XPOS — MIDI Transpose Enable Range: SEND, RECV, or BOTH

Controls whether track transpose will affect the transmission/reception of MIDI key numbers, giving you more control over how the Track Parameter TRANSPOSE function will affect notes played on a track.

XPOS also controls how the Track VELS setting will affect MIDI transmission/reception of velocity, in accordance with the same rules that govern the Track TRANSPOSE parameter.

• SEND — Will transmit the transposed key numbers of a track, but notes received via incoming

MIDI will not be transposed. This setting is useful for sending transposed key numbers to an external MIDI device, without affecting the pitch of notes received via incoming MIDI.

• RECV — The key number transmitted by the TS-10 will always be the same key that was

actually played on the TS-10 keyboard, but notes received via incoming MIDI will be transposed. In this mode, the TS-10 will respond properly when transposed data sent to an external sequencer is transmitted back to the TS-10.

• BOTH — Will transmit and receive the transposed key numbers of a track. Useful for sending

transposed key numbers to an external MIDI device, while also affecting the pitch of notes received via incoming MIDI.

base channel minus one becomes the MIDI channel for global

Setting Local Voices Affected MIDI Reception Affected MIDI Transmission Affected

SEND Yes No Yes RECV Yes Yes No BOTH Yes Yes Yes

XCTRL - External Controller Range: 000 to 127

Use XCTRL to assign an external MIDI Controller number to be both transmitted and received by the TS-10. The number that is assigned here will be used as the MIDI Controller number that the XCTRL Track parameter will transmit on.

Most controllers on a synthesizer—mod wheel, channel pressure, or breath controller for example—have a MIDI controller number associated with them: this parameter can be set to match the MIDI Controller number of any controller in your rig. Doing so will make a particular external controller available as a modulator in any of your sounds.

One of the modulation sources that can be selected in the programming section is XCTRL. The value of the XCTRL parameter is a MIDI controller number, ranging from 000 to 127. When the Track XCTRL value is edited, parameters that have XCTRL assigned as a mod source will be modulated, and the TS-10 will transmit the edited value(s) on the MIDI Controller number assigned to this parameter. When the TS-10 receives MIDI Controller messages corresponding to this controller number, they will be routed to all parameters that have been programmed with XCTRL as a modulation source.

Section 3 — MIDI Control Page Parameters TS-10 Musician’s Manual

Suppose for example, you are playing the TS-10 from a keyboard with a breath controller (or want to use a breath controller as a modulator when playing the TS-10 keyboard). You can set up a program on the TS-10 in which the filter cutoff frequency is modulated by XCTRL. If you then set XCTRL=02, the breath controller will now be able to modulate the filter, or whatever else has its modulation source set to XCTRL, in the program you have created.

The following controller numbers are commonly supported:

Number Controller Number Controller

1 Modulation Wheel 64 Sustain 2 Breath Controller 66 Sostenuto 4 Foot Pedal 70 Sound Variation (Patch Selects) 6 Data Entry MSB 71 Harmonic Content (Timbre) 7 Volume 72 Release Time 10 Pan 73 Attack Time 12 Effect Modulation 74 Brightness

• Press MIDI Control again. The display shows the second sub-page:

LOOP Range: OFF or ON

The MIDI LOOP parameter controls how volume information is handled when a track’s status is set to LOCAL-OFF or MIDI-LOOP. It controls whether or not the Track MIX parameter, as adjusted in the Track Parameter section, will transmit via MIDI. It only affects tracks that have their MIDI status set to LOCAL-OFF or MIDI-LOOP. It is normally OFF, but in a MIDI loop setup, it should be ON.

• OFF — This is the default setting. When changes are made to the Track MIX parameter (on

tracks with STATUS=LOCAL-OFF or MIDI-LOOP), or when the volume pedal is moved, the TS-10 will transmit MIDI volume (controller 7) messages that combine the Track MIX setting with the current setting of the volume pedal.

• ON — The TS-10 will not transmit changes made to the Track MIX parameter on tracks with

STATUS=LOCAL-OFF or MIDI-LOOP. Volume pedal changes will be transmitted directly and are unaffected by the MIX setting.

When LOOP=OFF, then the MIX parameter is combined (multiplied) with the volume pedal setting to create a composite volume, which is then transmitted to external sound modules as MIDI controller 7. In a MIDI loop situation with a computer, this is undesirable, because lowering the MIX value will send controller messages that are indistinguishable from volume pedal messages. When this information is echoed by the computer, the TS-10 receives it as volume pedal, lowering the volume on that track even further. Eventually this causes the volume to spiral down to zero, which in turn causes the track to be silenced, even though the displayed volume setting is greater than zero. Setting LOOP=ON will prevent this problem from occurring.

Note that the volume pedal is only active if PEDAL=VOL on the System page, and that volume pedal changes will always be transmitted as MIDI volume (controller 7).

TS-10 Musician’s Manual Section 3 — MIDI Control Page Parameters

Working with MIDI Loops

With a MIDI loop setup, the MIDI Out of the TS-10 is either directly or indirectly (through an external device such as a computer) connected to the MIDI In of the TS-10. The MIDI-LOOP Track STATUS is optimized for use in a MIDI loop in which the TS-10 will play back into itself.

Do not use the SEND/RECV Track STATUS setting with a MIDI loop present. To connect a TS-10 track to a computer sequencer, the MIDI-LOOP setting should be used. In this type of setup, a computer in MIDI Thru mode forms a loop which echoes the MIDI information back into the TS-

10. See Section 5 — Preset/Track Parameters for more information about the Track MIDI STATUS parameter. See Section 10 — Understanding the Sequencer for information on recording into the TS10 sequencer in a MIDI loop.

Using Presets with MIDI Loops

Tip: For best results, set SEND=BASE and MODE=POLY on the MIDI Control page. Be aware that

when you select a new preset, program changes with the preset’s number are transmitted via MIDI; Program changes are not transmitted from the individual tracks in the preset. Receiving from MIDI while on a Preset bank page or Preset Track parameter page will minimize problems.

CNTRLS — Controllers Range: OFF or ON

This switch controls whether or not the TS-10 will transmit and receive MIDI controllers — pitch bend, mod wheel, pressure, volume, sustain pedal, etc.

SONG-SEL — Song Select Range: OFF or ON

This determines whether the TS-10 will send and receive MIDI Song Select messages.

• OFF — The TS-10 will not transmit MIDI Song Select messages, and will ignore incoming Song

Select messages received via MIDI.

• ON — Incoming Song Selects will select the corresponding TS-10 sequencer location.

Incoming MIDI Song Selects # 00-59 will select TS-10 Sequencer locations # 00-59. Selecting Sequencer locations # 00-59 will always cause the TS-10 to transmit MIDI Song selects # 00-59.

ALL-OFF Range: OFF or ON

The All Notes Off message enable switch controls how the system will react to MIDI All Notes Off messages received on any MIDI channel.

• OFF — The TS-10 will ignore any All Notes Off messages that are received.

• ON — The TS-10 will shut down all currently sounding internal voices unless the MODE

parameter is set to OMNI, in which case the message is ignored.

START/STOP Range: OFF or ON

This parameter determines whether pressing the Play and Stop/Continue buttons will transmit MIDI Start, Stop and Continue messages from the TS-10 MIDI Out port. The TS-10 will always receive Play Stop, and Continue messages via MIDI, regardless of the setting of this parameter, if CLOCK=MIDI on the Sequencer Control page. Some older drum machines have no way of disabling reception of these messages, and will always start playing their internal patterns when they receive a Start message. Set this parameter to OFF when you want to use such a drum machine simply as a voice module, played from a TS-10 sequencer track, without starting its internal sequencer playing each time you press the Play button on the TS-10.

• ON — When you press the Play or Stop/Continue buttons to start, stop or continue the TS-10

sequencer, a corresponding MIDI Start, Stop or Continue message will be sent.

• OFF — When you press the Play or Stop/Continue buttons to start, stop or continue the TS-10

sequencer, a MIDI Start, Stop or Continue message will not be sent.

Section 3 — MIDI Control Page Parameters TS-10 Musician’s Manual

PROG-CHG — Program Changes Range: OFF or ON

This switch controls how the TS-10 handles transmission and reception of MIDI program change messages.

• OFF—the TS-10 will not transmit or receive MIDI program changes.

• ON—the TS-10 will transmit and receive program changes over MIDI.

• NEW—the TS-10 will transmit program changes only if they are different than the previous

program change sent out on the particular channel. Program changes will be received normally.

Refer to the Track MIDI parameter description in Section 5 — Preset/Track Parameters and Section 10 — Understanding the Sequencer for more information on how program changes are handled.

Receiving MIDI Program Changes

The way in which the TS-10 receives program changes is slightly more complex than some other systems, because of the large number of programs and presets that are available to be selected from MIDI program changes. The following chart shows how the TS-10 receives MIDI program changes:

In OMNI, POLY and MONO-A modes (puts unit into Sounds/Presets mode): When… Incoming MIDI Program Changes… Will Select…

BankSet U0 is selected 00-59 User RAM Programs 00-59 BankSet U1 is selected 00-59 User RAM Programs 00-59 BankSet R2 is selected 00-59 ROM Programs 00-59 BankSet R3 is selected 00-59 ROM Programs 00-59 BankSet R4 is selected 00-59 ROM Programs 00-59 BankSet S8 is selected 0-9 Sampled Sounds 0-9 BankSet S9 is selected 0-9 Sampled Sounds 0-9 BankSet U0 is selected 60-119 User RAM Presets 00-59 BankSet U1 is selected 60-119 User RAM Presets 00-59 BankSet R2 is selected 60-119 ROM Presets 00-59 BankSet R3 is selected 60-119 ROM Presets 00-59 BankSet R4 is selected 60-119 ROM Presets 00-59 BankSet S8 is selected 10-127 nothing... BankSet S9 is selected 10-127 nothing...

In MULTI and MONO-B modes (received on Seq/Song Tracks only): When… Incoming MIDI Program Changes… Will Select…

Track BANK=000 (BankSet U0) 00-59 (without FX) User RAM Programs 00-59 Track BANK=001 (BankSet U1) 00-59 (without FX) User RAM Programs 00-59 Track BANK=002 (BankSet R2) 00-59 (without FX) ROM Programs 00-59 Track BANK=003 (BankSet R3) 00-59 (without FX) ROM Programs 00-59 Track BANK=004 (BankSet R4) 00-59 (without FX) ROM Programs 00-59 Track BANK=008 (BankSet S8) 0-9 (without FX) Sampled Sounds 0-9 Track BANK=009 (BankSet S9) 0-9 (without FX) Sampled Sounds 0-9 Track BANK=000 (BankSet U0) 60-119 (with FX) User RAM Programs 00-59 Track BANK=001 (BankSet U1) 60-119 (with FX) User RAM Programs 00-59 Track BANK=002 (BankSet R2) 60-119 (with FX) ROM Programs 00-59 Track BANK=003 (BankSet R3) 60-119 (with FX) ROM Programs 00-59 Track BANK=004 (BankSet R4) 60-119 (with FX) ROM Programs 00-59 Track BANK=008 (BankSet S8) 60-69 (with FX) Sampled Sounds 0-9 Track BANK=009 (BankSet S9) 60-69 (with FX) Sampled Sounds 0-9

Note: Incoming MIDI Bank Select messages 0 thru 9 will select BankSets 0 thru 9, changing which

Programs will be selected by incoming MIDI Program Changes. In all cases Program Change numbers above 120 to 127 are ignored.

TS-10 Musician’s Manual Section 3 — MIDI Control Page Parameters

Selecting a New Sequence or Song Effect from MIDI Program Changes

As indicated in the above chart, in MULTI and MONO-B modes, adding 60 to the MIDI Program Change number for the desired sound will select the new sound and also install the effect from that sound into the sequence (or song) effect. This can be useful when controlling the TS-10 from an external sequencer. Note that changing the effect will briefly silence the audio output and will cut off any sounding voices if VOICE-MUTING=ON on the System page.

• Press MIDI Control again. The display shows the third sub-page:

SYS-EX Range: OFF, ON, or OLD

This switch determines whether the TS-10 is able to receive incoming MIDI System Exclusive messages:

• When SYS-EX=OFF, the TS-10 is not able to receive any MIDI System Exclusive messages.

• When SYS-EX=ON, the TS-10 will receive MIDI System Exclusive messages in the post-2.0

SYS-EX data format.

• When SYS-EX=OLD, the TS-10 will receive MIDI System Exclusive messages in both the pre-

2.0 SYS-EX data format, and the post-2.0 SYS-EX data format. The OLD setting allows data saved from pre-2.0 software to be loaded into the TS-10.

The Sys-Ex Dump messages that are sent from the Storage, Sys-Ex, Send Dump pages can always be transmitted regardless of the setting of this switch. (Refer to the Appendix for more information about the TS-10’s Sys-Ex implementation).

DEVICE-ID Range: 01 to 16

Allows Remote MIDI Devices to address the TS-10 via incoming MIDI Sys-Ex without changing the base channel number. Think of this parameter as a higher level of identification. This is also used to identify Sys-Ex messages transmitted by the TS-10.

SEND-PARAMS Range: OFF or ON

When SEND-PARAMS=ON, the TS-10 allows the transmission of parameter values via Sys-Ex messages. When OFF, there is no transmission of parameter values. For example, if you are editing a sound, set this parameter to OFF, to prevent a stream of MIDI Sys-EX information from flowing between the TS-10 and any connected Remote MIDI Devices.

Section 4 — Understanding Presets

This section offers a basic overview of the concepts involved in selecting, creating, editing, and understanding TS-10 Presets. For more detailed descriptions of the actual parameters, refer to Section 5—Preset/Track Parameters.

What is a Preset?

A Preset is a combination of three sounds and an effects set-up that can be instantly recalled for use in performance. Presets are handy “performance memories” which allow you to create and save sound combinations, splits, layers, patch select variations, etc.

The three sounds in a preset reside on three Tracks. For each of these three tracks, the TS-10 remembers:

• which sound is assigned to the track

• whether or not the sound is selected or layered

• the values of all the Track parameters for that track

A preset also has one Effects algorithm which is common to all three tracks.

The most common context for the TS-10 to be in is Preset mode. Unless the TS-10 is in Sequencer mode, you may assume that you are in a preset. Aside from the presets that are saved, there is a preset buffer that is always active. A preset buffer is a kind of storage location that is used to temporarily store information.

Whenever you select, layer or edit the Track Parameters for a sound, you are working within the preset buffer. The information in the preset buffer is temporary until you save it into one of the internal preset locations, and then it becomes permanent (it can be recalled). The track parameters of the preset, including mix, pan, transpose, etc. are always active and you should make sure that their settings are correct if you think that your programs are behaving strangely. Whenever you select a new sound from the Sound Bank pages, the track parameters are reset to their standard default settings. If you wish to change a program without resetting these parameters, use the Replace Track Sound feature described later in this section.

What is the Difference between Preset Mode and Sequencer Mode?

There are three Tracks in a “normal” preset and twelve tracks in a sequence or song. A sequence or song, in addition to its ability to record data on its tracks, can be thought of as a giant twelvetrack “preset.” However, this giant “preset” is not available simultaneously with normal threetrack presets. The twelve tracks of a sequence or song are available from the keyboard only while in Sequencer mode — indicated by the LED above either Seq/Song Tracks 1-6 or 7–12 button being on. The twelve sequence or song tracks are always playable via incoming MIDI when the MIDI mode is set to MULTI (on the MIDI Control page).

Selecting Presets

Press Presets. The LED above the Presets button lights, indicating that you are in Preset mode. The display shows you the currently selected bank of six presets, and the bottom left-hand corner of the display will show PSET. You can press the BankSet button and the ten Bank buttons (labeled 0-9) to select the various banks within Preset mode. Take a moment to select different presets by pressing the soft button closest to the preset (either above or below the preset name).

Since Preset and Program banks look very similar (both Presets and Programs have six 11character names per page), the bottom left-hand corner of the display will show PSET when you

Section 4 — Understanding Presets TS-10 Musician’s Manual

are in Presets mode. This helps to differentiate between the two modes, as shown below:

Tip: Because you can use the BankSet button and the ten Bank buttons to “shop around” in various

banks before selecting a preset, it is possible to lose track of where the currently selected preset (the one you are hearing) is located. Try this shortcut for getting to the BankSet and Bank that contains the selected preset: rapidly double-click the Preset button. This will instantly return you to the location that contains the currently selected preset. Press the Presets button again. Across the top line, the display shows the names of the three sounds that are on the three tracks. On the lower line you see “context” information about the current preset. The illustration below shows the relationship of the preset and its three tracks to what you see on the display:

Track Parameters:

Mix

Preset Effect

• The Preset Effect Algorithm and its related parameters

Track 1

• Sound

• Track parameters

Shows the name of the preset you are hearing, and toggles between the currently saved and the edited preset

Track 2

• Sound

• Track parameters

Shows the Preset BankSet & Bank location for the currently saved preset

• Sound

• Track parameters

Track 3

Press to rename & write Preset to a new location

Pan & Pan Mode Attack* Release* Brightness* Timbre* External MIDI Control (XCTRL)* Key Zone Velocity Range Velocity Sensitivity Transpose Detune Rate* (LFO and/or Wave-List Duration) Sustain On/Off Sostenuto On/Off Pitch Bend On/Off Mod Wheel On/Off Reset Controllers On/Off All-Notes-Off On/Off Patch Select mode* Pressure mode* Volume Pedal Mode MIDI Status MIDI Channel MIDI Program MIDI BankSelect Effects Bus Routing Effect Mod Control

(* indicates saved with Programs)

Whenever the Presets LED is lit, it means that the TS-10 is in Preset mode, and the ten Bank buttons beneath the display will select Preset Banks when you press them (rather than selecting Sound Banks, as they do when the Sounds LED is lit).

How Many Presets are in the TS-10?

The TS-10 offers 300 internal Presets:

• 120 presets in User RAM — 60 in BankSet U0 and 60 in BankSet U1.

• 180 presets in ROM — 60 in BankSet R2, 60 in BankSet R3, and 60 in BankSet R4.

TS-10 Musician’s Manual Section 4 — Understanding Presets

Editing a Preset

In addition to the presets stored in memory, there is one more preset that you are using most of the time whether you know it or not. Whenever you are selecting or layering sounds in Sounds mode, you are also creating a preset. The TS-10 automatically “remembers” the last three sounds you selected and stores them in a special memory buffer called the Preset Edit Buffer. Try this:

• Press Sounds and select a sound by pressing its soft button.

• Layer another sound with the first by double-clicking its soft button.

• Layer a third sound by double-clicking on it. You have created a preset with three sounds playing simultaneously. Suppose you wanted to

adjust their relative volumes, or shorten the release time, or change the pan location of one of the sounds without losing the combination. You can do all of these things and a lot more with presets.

In Preset mode, whenever you are hearing the Preset Edit Buffer, the preset name is shown as *-EDITED--* . You can always toggle between the edited and currently selected preset by pressing the soft button closest to the preset name.

As we have already discussed, a preset consists of three tracks, each of which has a sound and a set of track parameters. The track parameters are found in the Track Parameters section of the front panel. Presets can be saved, so that you can call them up at any time, or you can use the Preset Edit Buffer in real-time as a powerful performance tool.

While you still have three programs layered, press the Mix/Pan button in the Track Parameter section. The display shows:

• Across the top line you see the name of the last three sounds you selected, one with a solid

underline and the other two with flashing underlines, just as they appeared on the sound bank pages. A flashing line means that it is a layered sound.

• On the lower line you see the mix levels for each sound. You can select which one you want to

adjust by pressing the soft button beneath the value, then adjust the value with the data entry controls.

• Note that you can select a track for editing (using the lower three soft buttons) independent of

what is selected or layered on the upper line of the display. This means that you can adjust the volume of any of the three sounds in the layer without having to un-layer them.

On this and all Track Parameter pages, selecting or layering sounds from the upper line determines what sound(s) you hear, and selecting parameters on the lower line determines which track will be modified if you move the Data Entry Slider or the Up/Down Arrow buttons. Try pressing some of the other Track Parameter buttons — Tuning, Brightness, Key Zone, etc. — and adjusting the track parameters on those pages. You will soon see that within a preset, it’s easy to create splits and layers, transpose a sound, change the pan and many other useful things. You can even assign one or more tracks in a preset to play only over MIDI, making presets a great tool for controlling remote MIDI instruments in combination with TS-10 sounds.

Section 4 — Understanding Presets TS-10 Musician’s Manual

What are Preset/Track Parameters?

Preset/Track Parameters provide easy access and control for track and sound attributes, and are used in mixing/manipulating sequencer tracks and in creating presets.

A group of Preset/Track Parameters is associated with each preset and sequencer track. These parameters control various aspects of the track, including some important and useful sound controls which may be easily adjusted during performance, or recorded into the sequencer. The settings of these parameters are saved with every preset. These instantly recallable presets include an effect setup and three programs on three tracks with a full set of programmable performance parameters, including key zones, transpositions, release times, timbral variations and others. The settings of all performance parameters on sequencer tracks are saved for each track while the power to the TS-10 is off, and are always available.

The buttons which control the pages containing these parameters are found in the Track Parameters section of the front panel to the right of the display.

To view or adjust the setting of a particular type of track parameter, press the appropriate button in the Track Parameter section. The selected parameter type is indicated in the top-left corner of the display.

On the Track Parameter pages, the top line of the display will show the names of three programs and their current layering status. The name of the parameter type is abbreviated to four characters in order to make room for the program names, and is shown in the top left corner of the display. The bottom line of the display shows the current values of the selected parameter for the three tracks of the preset.

In Sequencer mode the current values of parameters for the six tracks (Tracks 1-6 or 7-12) will be displayed. You can press the Tracks 1-6 or 7-12 button again to toggle back and forth between the TRAX page which shows the names of the programs on the tracks and the last selected track parameter page which shows parameter values.

The currently selected track parameter will be underlined. This is the active parameter which will be modified. You may select a parameter for a different track by using the soft buttons. When programming performance presets, the lower row of soft buttons is used to select tracks. For sequencer or song tracks, both upper and lower soft buttons are used.

Remember that you can edit parameters on tracks that you are not hearing. The tracks that you can hear are indicated with solid or flashing underlines on their names.

Saving a Preset

Once you have created a preset you like, you can save it to one of the 120 Preset locations in the User RAM memory (you cannot save presets or sounds to the ROM memory — it is read only). Saving a preset to a User RAM location will erase the one that is currently there, so be careful.

To save a preset, first decide which User RAM BankSet and Bank location you want to save it to, then:

• Press the Presets button twice to view your edited preset. If the display does not show your

edited preset, press the soft button in the lower left corner of the display. The display should show “*-EDITED--*” in the lower left corner.

• Press the lower right soft button underneath the word “*WRITE*.”

TS-10 Musician’s Manual Section 4 — Understanding Presets

• The display shows the current name of the preset with a cursor (underline) beneath the first

character. If you want to give the preset a new name, do so at this time. Use the Up/Down Arrow buttons and the Data Entry Slider to change the underlined character, and press the Left/Right Cursor (soft buttons) to move the underline.

• After you’ve named your preset, press and hold down the Presets button. The word SAVE

flashes in the lower left corner of the display. The display shows the names of the presets in the currently selected BankSet and Bank. If you let go of the Presets button, the display will return to show the Preset Write page.

Currently selected BankSet & Bank location

• Press and hold any of the Bank buttons (0-9) to view the different preset banks. This allows

you to select a Bank location within the current BankSet for your edited preset. While holding down a Bank button, press the BankSet button to toggle between the two User RAM BankSets.

Seqs

Songs

Presets

Sounds

(Write)

BankSet

While holding down the BankSet button…

Bank

1 2

User RAM BankSets ROM BankSets

Press & hold any of the10 bank buttons

Sampled Sound BankSets

8 9

• Once you’ve selected a BankSet and a Bank location for your edited preset, while holding

down either the Presets button or the appropriate Bank button, press the soft button for the preset location into which you want to save your preset. Your edited Preset will be saved into that location, erasing the existing preset.

If you need to listen to a few presets in order to decide which one to replace, simply press the soft button beneath *EXIT* and then select presets just as you normally would. The word *EDITED* disappears from the screen, indicating that you are listening to saved presets. Your new preset is safe in the Preset Edit Buffer. But make sure you don’t edit anything in any of the presets you audition, including selecting or layering sounds in Sound mode, or this will create a new Edit Preset, erasing the one you created.

When you are ready to save the new preset, press the Presets button, and then the lower left soft button. You will be returned to the Edit Preset (the word *EDITED* should return on the display). Now you can save the preset as described above.

Section 4 — Understanding Presets TS-10 Musician’s Manual

Avoiding Confusion when using Presets

Whenever you create and save a preset, the TS-10 only “remembers” the location of the three sounds in memory — not the actual sounds themselves. This is important to remember when you use User RAM programs in presets. If you move a sound, put another in its place, or transfer an entire BankSet of sounds, the preset might still be “pointing to” a location that no longer contains the sound you had in mind.

For example, if you create and save a preset containing a brass sound, a string sound and a piano sound, and you then write over the piano sound with a flute sound, the flute sound will now appear in the location originally occupied by the piano in your preset.

Using the Replace Track Sound Function in Presets Mode

The Replace Track Sound function is primarily used for:

• Assigning sounds to tracks without changing the effects or other Track Parameters

• Determining the exact placement of sounds in a preset

Normally, when sounds are selected from the sound bank pages, they are transferred to a track in the Preset Edit Buffer, and many of the track parameters for that track are reset to standard default settings. However, you may wish to change which sound is assigned to a track in a preset without changing any of the other settings for that track. This is done using the Replace Track Sound feature in Presets Mode. The Replace Track Sound button is located next to the Seq/Song Tracks 1-6 and 7-12 buttons on the bottom row in the Track Parameters section.

Replacing a Sound in a Preset

• Press one of the Track Parameter buttons, such as Mix/Pan, to display the current preset, and

make sure that the correct track is selected. The track whose sound will be replaced is indicated by the underlined parameter value on the lower line of the display. It does not matter which Track Parameter page is displayed. Use the bottom three soft buttons below the display to select the correct track.

• Press the Replace Track Sound button. The last selected sound bank page will be displayed

and the LED above the Sounds button will start to flash, indicating that you are in Replace Track Sound mode.

• Locate the sound that you wish to install into the track and press the soft button nearest to it.

This sound is now installed on the track, and will acquire the status of the sound that was replaced if it was selected or layered. You may change BankSets, Banks, and/or continue to select replacement sounds until you are satisfied that you have found the right one. If you replace the sound on a track that is not currently selected or layered in the preset, you will be immediately returned to the preset page that you were on.

• Press Replace Track Sound again to exit Replace Track Sound mode and return to the preset

page to verify that your change was correct. Pressing Sounds or any other page button will also exit Replace Track Sound mode.

The method described above is also used to change the sound assigned to a track in the current sequence or song. Unlike using Replace Track Sound in a Preset, using it in Sequencer Mode will update the track Program and Bank Select number to the correct value for the sound selected. See Section 10 — Understanding the Sequencer for more information.

TS-10 Musician’s Manual Section 4 — Understanding Presets

Using SoundFinder in Presets Mode

Here’s how to scroll through Programs that have the same defined Program Type in Presets mode. For this example, load the 120-PROGRAMS file called USERBNKS V2 from the TSD-200 disk:

• Press the Presets button.

• While pressing the BankSet button, press the Bank 3 button. This selects ROM BankSet R3.

• Press the Bank 0 button. This selects the first Bank in ROM BankSet R3. The display shows:

• Press the upper left soft button to select AC-BS/PIANO (an upright bass and piano split).

• Press the Mix•Pan button (pressing any Track Parameter button will allow you to view the

three tracks that make up a Preset). The display shows:

In this Preset, FULL-BODY is the primary sound (solid underline) and UPRITE-BASS is layered (flashing underline) with it. In this scenario, we will use SoundFinder to audition other Programs that have the same Program Type as the FULL-BODY Program.

Section 4 — Understanding Presets TS-10 Musician’s Manual

• Press the lower center soft button so that the cursor (underline) is beneath the FULL-BODY

MIX value (090). The display should look like this:

• Press the Replace Track Sound button. Its LED should be lit.

• Press the Up Arrow button. The display now shows:

• BRITE-PNO is underlined because it is the next Program that has the same Program Type as

FULL-BODY.

• Press the Up Arrow button again. Notice that SoundFinder has moved from BRITE-PNO to

the STEREO-PNO Program. STEREO-PNO is also defined with the same Program Type as FULL-BODY.

• Continued presses of the Up Arrow will scroll forward through all of the Programs with the

same Program Type. Continued presses of the Down Arrow button will scroll backward through all of the Programs with the same Program Type.

• When you’ve found the sound that you want, press the Replace Track Sound button to exit

SoundFinder. The Replace Track Sound LED will no longer be lit, and you will be returned to the MIX page with the last sound selected replacing FULL-BODY.

Replacing a Sound and the Effect in a Preset

You can replace the sound on a track and make its effect become the preset’s effect by doubleclicking the Replace Track Sound button:

• Select a preset and select the track whose sound you want to replace.

• Double-click Replace Track Sound. The last selected sound bank page will be displayed and

the LEDs above the Replace Track Sound and the Sounds button will both start to flash, indicating that you are in Replace Track Sound mode.

• Use the BankSet, Bank buttons, and soft buttons to pick a sound as before; but now each time

you pick a new sound, its effect will become the preset effect.

• Press Replace Track Sound again to exit Replace Track Sound mode and return to the preset

page to verify that your change was correct.

Display Location

The following short cut for finding the locations of the sounds assigned to each Preset Track also shows the Display Location for each Program. For any Program or Preset Bank, the Display Locations are numbered as follows:

TS-10 Musician’s Manual Section 4 — Understanding Presets

Preset BankSet Location

Preset Bank Location

Preset Display Location

Finding the BankSet, Bank, and Display Location for Sounds on Preset Tracks

To find the BankSet, Bank and Display location (U0-1.5, U1-3.1, R2-7.4, etc.) for the sounds assigned to Preset tracks:

• Select a Preset to view (it should be underlined). For this example, we’ll use the

DIGIWARMTH preset located in R2-0.

• Press Presets.

• While holding down the BankSet button, press the Bank 2 button.

• Press the Bank 0 button.

• Press the upper left soft button in the display. The display now shows the Preset Bank page:

• Press and hold Presets, and then press Sounds. The display will show:

Program BankSet Location Program Bank Location Program Display Location

The BankSet, Bank, and Display location for each of the track sounds are shown on the top line of the display.

• Release both buttons and the track names will be redisplayed:

Section 4 — Understanding Presets TS-10 Musician’s Manual

location.

• Press Presets again to return to the Presets Bank page. When a Sampled Sound is assigned to a Preset Track, it follows the same rules as explained in

Finding the BankSet, Bank, and Display Location for Sounds on Sequencer Tracks, found in Section 10 — Understanding the Sequencer.

Performance Tip — Creating Keyboard Splits

One of the most common uses of presets is a keyboard split, in which your left hand plays an “accompaniment” sound and your right hand plays a “solo” sound. This is easy to set up on the TS-10 by layering the two sounds and assigning them different key zones. You can save this arrangement as a preset so that any time you select that preset, you’ll recall the keyboard split.

Since each track in the keyboard split has its own Transpose value, you are not limited to bass notes on the piano just because it’s on the bottom of the keyboard. Just set the key zone to the keys you want to play and then transpose the sound up or down until it’s playing in the range you want.

Once you have a keyboard split, you can change any of the sounds without affecting the split points by using the Replace Track Sound button.

Using Effects With Performance Presets

All three tracks in each preset, and all twelve tracks in each sequence or song, share the same effects algorithm and settings. The effects settings for each preset is inherited from the primary (non-layered) selected sound, and any layered sounds in the preset will use that same effect. The effects settings for each sequence or song are inherited from the current sequencer effect at the time the sequence or song was created. If this effect is incompatible with other programs in the preset, sequence or song, there are several options:

• set the effects bus routing to -DRY- for any of the programs that are incompatible

• set the effects bus routing to -AUX- for programs that you want to process separately by

sending them to the AUX Outputs

• change the preset/sequence/song effect to be something more suitable

When you press the Track Effects button from preset or sequencer mode, the first page that appears is the Track Effects Bus Routing page. On this page you can override the normal effects routing of the sound on each track. Subsequent sub-pages let you edit the effect for use in a preset, sequence, or song; these pages are identical to the effects programming pages under the Program Effects button. See Section 6 — Understanding Effects for more information on effect selection and programming.

Section 5 — Preset/Track Parameters

This section offers detailed descriptions of the commands and parameters used in selecting, creating, and editing Performance Presets as well as sequencer tracks. For an overview of the concepts involved, refer to Section 4 — Understanding Presets.

The default settings for several of the Track Parameters are stored with Programs. These default settings are installed whenever a Program is put on the Track. Editing these values at the track level will not edit the default settings stored with the program. If you want to edit the valuesthat are stored with a Program, they are available on the first sub-page of the Program Control page.

Unless otherwise noted in the detailed descriptions which follow, use the Up/Down Arrow buttons or the Data Entry Slider to adjust the value of the parameter.

• Press the Mix/Pan button to get to the Mix page:

Mix Page Range: 000 to 127

The Mix Page enables you to make volume changes to the individual tracks, allowing you to balance the TS-10 sounds and/or control the volume of external MIDI devices. In sequencer mode, the MIX page has a special function which allows you to click or double-click on specific tracks to mute or solo them during playback of sequences or songs.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, VOICE-OFF, or LOCAL-OFF will send a MIDI Volume Change message (controller 7) with the indicated value whenever this parameter is edited. Sequencer and preset tracks will also send the current volume for each track when a sequence or preset is selected.

• Press the Mix/Pan button again to get to the Pan page:

Pan Page Range: -64 to +63, STEREO or -MONO-

The Pan Page gives you control over the placement of the track’s sound in a stereo field. A PAN setting of -64 is hard left, and +63 is hard right.

Press the soft button underneath the PAN value again to select either STEREO or -MONO-. When -MONO- is selected, it will override the settings originally programmed on the Output page and force ALL of the voices of the sound to the new pan location. -MONO- is the optimal setting when using parallel effects, because it allows for discrete routing into the two components of the FX-1 effect. When this is set to STEREO, and the PAN is set to +00, the voices of a sound are panned according to the settings originally programmed on the Output page.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 10) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Attack/Release button to get to the Attack page:

Attack Page Range: -64 to +63

The Attack Page allows you to increase or decrease the attack time of the sound on a selected track. Attack time is the time it takes for the sound to be heard when the key is pressed. This is useful when you need to adjust the attack characteristics of a sound for a particular application without getting more deeply into programming. Higher values offer a longer attack time, and could be used to create a fade in effect.

In order for a Program to be controlled by this parameter, one or more of the envelopes in the Program must be programmed with the Envelope ATTACK parameter set to a value with a star (* ) suffix. For example, if a voice’s ENV3 TIMES - ATTACK=50* instead of simply 50, then the attack time of Envelope 3 can be adjusted from the Track Attack parameter. It is typical to have at least Envelope 3 controlled by the parameter on this page.

The current value of Attack is saved with the sound whenever a sound is written, and is restored whenever the sound is selected or placed on a track.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 73) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The default value of Attack is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page. This parameter does not affect Sampled Sounds.

• Press the Attack/Release button again to get to the Release page:

Release Page Range: -64 to +63

The Release Page enables you to increase or decrease the release time of the sound on a selected track. Release time is the time it takes for the sound to fade away when the key is released. This is useful when you need to adjust the release characteristics of a sound for a particular application without getting more deeply into programming. Higher values lengthen release time, lower values shorten release time.

In order for a Program to be controlled by this parameter, one or more of the envelopes in the Program must be programmed with the Envelope RELEASE parameter set to a value with a star (* ) suffix. For example, if a voice’s ENV3 TIMES - RELEASE=50* instead of simply 50, then the release time of that Envelope 3 can be adjusted from the Track Release parameter. It is typical to have at least Envelope 3 controlled by the parameter on this page.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 72) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The default value of Release is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

• Press the Brightness/Timbre button to get to the Brightness page:

Brightness Page Range: -64 to +63

The Brightness page enables you to increase or decrease the filter cutoff frequency for each voice within the sound on a selected track. This is useful when you need to adjust the brightness of a sound for a particular application without getting more deeply into programming. Generally, higher BRIT values increase brightness, lower values decrease brightness (when Filter2=HI-PASS on the Filters Page, the functionality of the Brightness parameter is reversed).

In order a Program to be controlled by this parameter, at least one of the two Filter CUTOFF parameters for at least one voice in the Program must be programmed with the CUTOFF parameter set to a value with a star ( * ) suffix. For example, if a voice’s FILTER1 CUTOFF=125* instead of simply 125, then the brightness of that voice can be adjusted from the Track Brightness parameter.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 74) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The default value of Brightness is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Brightness/Timbre button again to get to the Timbre page:

Timbre Page Range: 000 to 127

The Timbre page provides an easy way to make useful changes to the character of a sound without getting into more complex programming. This performance parameter uses the Data Entry Slider or Up/Down Arrow buttons to control various aspects of the sound, depending on what the programmer has decided would be useful.

As one of the voice modulation sources, Timbre can be assigned to any parameter that can be modulated in a sound or effect. The Timbre control can be connected to parameters such as filter cutoff, waveform modulation, LFO rate, and others. It is a good idea to experiment with the Timbre setting to hear what it has been programmed to do in each sound.

The Timbre parameter also controls the relative volume modulation amounts for each of the six program voices (assigned on the TIMBRE sub-page found on the Program Control Page). This allows you to determine how much louder or softer each voice will become as the Timbre modulation controller is increased or decreased.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 71) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected. This parameter does not affect Sampled Sounds.

The default value of Timbre is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

• Press the Brightness/Timbre button a third time to get to the External Control page:

External Control Page Range: 000 to 127

The External Control parameter transmits on a user-definable MIDI Controller number (set on the MIDI Control Page), and transmits the full range of 000 to 127. It will also modulate any voice or effect parameters that have XCTRL selected as a Mod Source. Any remote MIDI device that can transmit the same MIDI Controller number can act as a modulator by sending controller messages to the TS-10.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (on the controller number assigned to the XCTRL parameter on the MIDI Control page) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The default value of XCTRL is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Key Zone/Velocity button to get to the Key Zone page:

Key Zone Page Range: A0 to C8

Each track has its own independent key zone within which the track will play. Key zones can be used to create simple two-program splits or to create more complex keyboard layouts. Key zones control which keys will be sent out via MIDI as well as which keys will play on the local voices of the TS-10.

You can divide the keyboard into as many as twelve different key zones by using the twelve sequencer tracks. In addition, you can set the key zone so that each zone overlaps the next, producing “layered” zones in which you would hear the sounds from more than one track.

The illustration below shows an example of three tracks with overlapping key zones. The Piano is layered with, and partially overlaps, the Cellos on the lower end and the Flute on the upper end. The Key Zone settings for this example are shown in the sample display above.

In order to set a Key Zone:

1) Select the track by pressing the soft button underneath the zone you wish to set. This will

2) Play the key on the keyboard that you want to be the lowest key of the zone. The underline

3) Play the key for the highest key of the zone. The new values for the zone will be displayed and

The key zone is automatically reset to full range whenever you select a sound from one of the Sound Bank pages. When you select a sound using the Replace Track Sound feature, the key zone setting is left unchanged.

Changing the key zone will not affect the playback of sequencer tracks (though it does affect what is recorded). Sequencer tracks will play all keys that were recorded, regardless of the key zone at the time of playback. To eliminate a key range from a track, use the Erase function on the Edit Track page (explained in Section 11 — Sequencer Parameters).

Be Careful!

If the key zone is accidentally set to a range where the High Key is below the Low Key, then the track will not play. To correct this situation, you can re-program the zone manually or you can reselect the sound from the Sound bank page, which will automatically reset the key zone to the sound’s original range.

Cellos Flute

result in the Low Key of the zone (the left key number) becoming underlined.

will automatically move to the right for the High Key of the zone.

the underline will disappear. With the underline gone, you can play the keyboard without continually resetting the key zone range. This allows you to “audition” the newly created key range.

If you wish to change the zone, simply repeat the process.

Piano

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Key Zone/Velocity button again to get to the Velocity Range page:

Velocity Range Page Ranges: 000 to 127

The Velocity Range page enables you to determine the amount of velocity for each sound on a selected track. The velocity range affects both local playing and MIDI transmission/reception. The first value sets the LO velocity range, and the second value sets the HI velocity range. The soft button beneath the velocity ranges is used to toggle between the LO and HI settings. This is useful when you need to adjust the velocity of a sound for a particular application without getting more deeply into programming.

In the example above, a soft velocity will only play the MEGASTRINGS sound, and a harder velocity will only play the TENOR-SAX sound. HYPER-LOOP is not layered (underlined), so it will not be heard. If you could double-click on the soft button above HYPER-LOOP, you would hear HYPER-LOOP with both soft and hard velocity.

Note: This parameter will not regulate what notes are recorded into the Sequencer, but will affect

Sequencer playback. VELR acts as a filter on Sequencer playback.

• Press the Key Zone/Velocity button again to get to the Velocity Sensitivity page:

Velocity Sensitivity Page Ranges: -16 to +16

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Tuning button to get to the Transpose page:

Transpose Page Octave Range: -4 to +4 octaves

Semitone Range: -11 to +11 semitones

Octave Transposition Semitone Transposition

Each track can have its pitch transposed (raised or lowered) by octaves and semitones within an eight octave range. The transpose setting affects both the pitch played by local TS-10 voices and the key number transmitted via MIDI, depending on how the VELS/XPOS parameter is set on the MIDI Control page.

Pressing the soft button for an already selected track will toggle the underline (showing the active field) between octave and semitone.

Tip: It is possible to extend the transposition outside of the normal range by using the Up/Down

Arrow buttons to edit the semitone value to a maximum of + or - 9 octaves and 11 semitones,

although this may cause unexpected results.

In Sequencer mode, the Transpose function provides a way to transpose tracks in real-time without changing the data in the track. However, you should take care never to transpose a track whose status is SEND/RECV, SEND/----, VOICE-OFF, or LOCAL-OFF while holding keys down or while the sequencer is running. This could cause the key-up events to be missed by the receiving MIDI device, causing notes to “hang.”

• Press the Tuning button again to get to the Detune page:

Detune Page Range: -99 to +99

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Tuning button a third time to get to the Rate page:

Rate Page Range: -64 to +63

The Rate page provides an easy way to change the rate of the LFO’s within a sound. LFO’s are most often used to create a vibrato effect. This parameter defines how much the LFO rate will increase or decrease for any voice within a sound that has LFO selected as a Mod Source.

In order for LFO’s in a Program to be controlled by this parameter, one or more of the LFO’s in the Program must be programmed with the LFO RATE parameter set to a value with a star ( * ) suffix. For example, if a voice’s LFO RATE=50* instead of simply 50, then the rate of that LFO can be adjusted from the Track Rate parameter.

When one or more voices in a Program are assigned to play a Wave List in a HyperWave Program, the Track Rate parameter will modulate the DURATION and XFADE times relative to one another. This allows you to fine tune the rate of Wave List playback to conform to a particular musical context. It is often useful to disable the Track LFO Rate control (i.e.: turn off the star) in voices that are assigned to play a Wave List; this will avoid unwanted LFO Rate modulation when adjusting Wave List times.

All tracks whose MIDI Status is set to SEND/RECV, SEND/----, LOCAL-OFF or VOICE-OFF will send a MIDI Continuous Controller message (controller 75) with the indicated value whenever this parameter is edited. Preset tracks will also send this controller message when a preset is selected.

The default value of Rate is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

• Press the Controllers On/Off button to get to the Sustain page:

Sustain Page Range: OFF or ON

The Sustain page allows you to determine whether each of the individual tracks will respond to sustain controller events. The effect of all sustain events, whether from the SW-2 Foot Switch (when the corresponding foot switch is set to SUSTAIN on the System page) or sustain commands received from MIDI, is controlled by this switch.

• ON — sustain events will affect all notes played within the active key zone for this track.

• OFF — sustain events will have no effect on the notes played on this track.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

For example, it may be useful to turn off sustain events on a track set up as a bass sound in a split keyboard configuration. This allows you to play staccato bass lines on the lower part of the keyboard while playing chords on the upper part of the keyboard and using the sustain pedal. The bass notes will not be affected by the sustain pedal because the track is set to OFF, but the chords will sustain.

Sustain Pedal Off events are always transmitted via MIDI (except if track status is set to ---/RECV or MIDI-OFF) whenever the Sustain Pedal Enable switch setting on the track is changed. This is done to ensure that external MIDI devices are not left with the sustain pedal controller “stuck” in the held down state.

• Press the Controllers On/Off button again to get to the Sostenuto page:

Sostenuto Page Range: OFF or ON

The Sostenuto Page, similar to the Sustain page, allows you to determine whether each of the individual tracks will respond to sostenuto controller events. The effect of all sostenuto events, whether from the SW-2 Foot Switch (when the corresponding foot switch is set to SOSTENUTO on the System page) or sostenuto commands received from MIDI, is controlled by this switch.

• ON — sostenuto events will affect all notes played within the active key zone for this track.

• OFF — sostenuto events will have no effect on the notes played on this track.

Sostenuto Pedal Off events are always transmitted via MIDI (except if track status is set to

----/RECV or MIDI-OFF) whenever the Sostenuto Pedal Enable switch setting on the track is changed. This is done to ensure that external MIDI devices are not left with the sostenuto pedal controller “stuck” in the held down state.

• Press the Controllers On/Off button a third time to get to the Pitch Bend page:

Pitch Bend Page Range: OFF or ON

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Controllers On/Off button a fourth time to get to the Mod Wheel page:

Mod Wheel Page Range: OFF or ON

The Mod Wheel Page is used to determine which track(s) will respond to the Modulation Wheel, when assigned as a controller for any of the modulatable parameters.

• Press the Controllers On/Off button a fifth time to get to the All-Notes-Off page:

All-Notes-Off Page Range: OFF or ON

The All-Notes-Off Track parameter determines how the sequencer will handle note-off transmission. This parameter is visible on Preset Tracks, but does not really apply to Presets. When OFF, the TS-10 will transmit key-up messages for every note currently sounding when the Sequencer Stop/Continue button is pressed to stop the Sequencer. When ON, the TS-10 will send an ALL-NOTES-OFF message in addition to all of the key-ups when the Sequencer Stop/Continue button is pressed to stop the sequencer.

• Press the Controllers On/Off button a sixth time to get to the Reset Controllers page:

Reset Controllers Range: OFF or ON

The RSET parameter determines whether or not the TS-10 will transmit the MIDI Reset Controllers message, in addition to transmitting a default value for every controller on each Track, in the following instances:

1) each time the Sequencer Stop/Continue button is pressed to stop the Sequencer

2) each time a Song Step ends

3) each time a Song loops back to the beginning.

This parameter is visible on Preset Tracks, but does not really apply to Presets.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Performance Options button to get to the Patch Select page:

Patch Select Page Range: (described below)

current

Patch Select

button state

This Page gives you control over the Patch Select button assignments for each track.

Setting Patch used by track

LIVE uses the current state of the buttons to select a patch

-00- always uses the 00 patch (no buttons down)

-0*- always uses the 0* patch (right button down)

-*0- always uses the *0 patch (left button down)

-**- always uses the ** patch (both buttons down) HELD uses the patch set by the first key hit while touching the patch select buttons

The HELD setting is special because it lets you easily hold a patch select variation by playing a key on the keyboard while touching the patch select button(s). The first key you play after touching the patch select buttons will hold that patch select variation as the current patch for the track. You may then continue to play without having to touch the patch select buttons, which makes two-handed playing easier. If you wish to return to the 00 patch, touch either of the patch select buttons and release it before you play the next note. This will hold the 00 patch.

When programming patch variations, you can set the mute status of the various voices in different patches without leaving the Select Voice page by using the HELD feature.

The default value of Patch Select Mode (LIVE or HELD) is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

Latching Patch Selects

Latching is more permanent than holding because once latched, the patch will remain assigned to the track even if the patch select buttons are touched again later.

While the Patch Select page is being displayed in either Preset or Sequencer modes, it is possible to instantly “latch” the current state of the patch select buttons into a track by pressing the soft button for the currently selected track. If neither of the patch select buttons are being held down when this function is performed, the parameter setting will revert to LIVE status. If you wish to set the status to 00, then use the Up/Down Arrow buttons to change the fixed setting. To latch the patch select setting for a different track, first press the soft button to select the track, then press it again while holding one or both patch select buttons to latch the setting.

For more information on programming the Patch Selects, refer to Section 8 — Understanding

Programs.

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

• Press the Performance Options button again to get to the Pressure page:

Pressure Page Range: (described below)

The Pressure page enables you to assign one of three pressure modes to each Track.

• OFF — Pressure information will not be transmitted via MIDI or recorded by the sequencer,

nor will the sound assigned to the track respond to pressure locally.

• KEY — This setting enables the track to send and receive via MIDI the most expressive kind of

pressure — Poly-Key™ pressure. ENSONIQ’s exclusive Poly-Key pressure lets you add pressure modulation to each note independently. If you press down on any particular key within a chord, only that note will be affected by pressure — all others remain unaffected. When a sequencer track is set to KEY, Poly-Key pressure will be recorded into the track, even if the sound is not programmed to respond to it (see the note below about conserving sequencer memory).

• CHAN — This enables the track to send and receive via MIDI the most common type of

pressure — channel pressure. With channel pressure, after a note is played, pressing down harder on a key modulates every note currently playing. Like a mod wheel, channel pressure is “global,” it affects the entire keyboard when activated. When a sequencer track is set to CHAN, Channel pressure will be recorded into the track.

You should consult the MIDI implementation chart of the remote MIDI device you will be using in conjunction with the TS-10 to see which (if any) type of pressure it responds to and transmits. For best results, set the TS-10 Pressure parameter to match the type of pressure supported by the external MIDI device which will send to or receive from the track you are setting.

The default value of Pressure Mode is stored with the Program, and is restored whenever the Program is selected or placed on a track. The default value can be edited on the Program Control page.

Note: You should select Track PRES=OFF whenever you don’t want or need pressure for a given

sound, particularly when sequencing. Pressure data eats up sequencer memory rapidly, so whenever you record a track with a sound that doesn’t respond to pressure, set this parameter to OFF. This will avoid wasting valuable sequencer memory, and will avoid clogging up the MIDI data stream with a lot of unnecessary pressure information. Existing pressure information can also be removed from a track using the Filter command on the Edit Track page.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Performance Options button again to get to the Pedal page:

Pedal Page Range: (described below)

The Pedal parameter disables (when OFF) or controls the polarity of the CV•Pedal, when PEDAL=VOL on the SYSTEM page. Inverted polarity can be used to crossfade between layered tracks with the volume pedal.

• Press the Track/MIDI button to get to the MIDI Status page:

MIDI Status Page Range: (described below)

This page determines the MIDI Status of a track (i.e. whether it will play locally, only over MIDI, or both). The six possible settings are:

SEND/RECV Keys, controllers, etc., will play locally and will be sent via MIDI over a selected MIDI

channel. Incoming MIDI will play internal voices. This is the default setting for Presets.

SEND/---- Similar to SEND/RECV, keys, controllers, etc., will play locally and will be sent via MIDI

over a selected MIDI channel. However, incoming MIDI will not play internal voices.

----/RECV The track will only play internal voices, and will not send any data out MIDI. Incoming MIDI will play internal voices. This is the default setting for sequencer tracks.

MIDI-OFF The track will only play internal voices, and will not send any data out MIDI. Incoming

MIDI will not play internal voices.

VOICE-OFF Keys, controllers, etc., will be sent out via MIDI when the track is played from the

keyboard. However, keys played on the local keyboard will not play TS-10 voices at all. Incoming MIDI and sequencer playback will not play internal voices. This is useful when using the TS-10 as a controller with an external sequencer and a number of other remote MIDI devices. It is also good for turning off certain tracks when using the TS-10 as a multi-timbral receiver in MULTI Mode, thereby limiting the number of channels to which the TS-10 will respond.

LOCAL-OFF Keys, controllers, etc., will be sent out via MIDI when the track is played from the

keyboard. However, keys played on the local keyboard will not play TS-10 voices at all. Incoming MIDI and sequencer playback will play TS-10 voices. Use this status when you want to create MIDI-only tracks for sequencing or playing remote MIDI devices.

MIDI-LOOP This track STATUS is optimized for use in a MIDI loop. It functions just like LOCAL-

OFF, except that the sequencer will not play local voices. This ensures that sounds will not play twice (once locally and again via incoming MIDI) when sequencing in a MIDI loop. See Section 10 — Understanding the Sequencer for information about recording into the sequencer in a MIDI loop.

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

Note: When MIDI-TRK-NAMES=OFF on the System page, Tracks with a MIDI Status of VOICE-OFF or

LOCAL-OFF or MIDI-LOOP will display *MIDI-CH-## in place of the name of the sound on the track.

This chart details the behavior of sequencer tracks for each MIDI status:

Track Status SEND/RECV SEND/---- ----/RECV MIDI-OFF VOICE-OFF LOCAL-OFF MIDI-LOOP

Playing the keyboard plays local voices

Playing the keyboard sends out MIDI

Playing the keyboard will be recorded by the sequencer

Incoming MIDI data plays local voices

Incoming MIDI data will be recorded by the sequencer

Playing the sequencer track (pressing Play) plays local voices

Playing the sequencer track sends out MIDI

• Press the Track/MIDI button again to get to the MIDI Channel page:

MIDI Channel Page Range: 01 to 16 (MIDI Channels)

YES YES YES YES NO NO NO YES YES NO NO YES YES YES YES YES YES YES YES YES YES YES NO YES NO NO YES YES YES NO YES NO YES YES YES YES YES YES YES NO YES NO YES YES NO NO YES YES YES

Use the MIDI Channel page to determine which MIDI channel a track will use to transmit and receive data. The differences in how this parameter controls the track for transmitting and receiving are important to understand and are described below. You may also wish to refer to Section 3 — MIDI Control Page Parameters, and Section 12 — Sequencing/MIDI Applications.

Transmit Controls which channel the three tracks of a preset will send data on only if

SEND=TRACK is selected on the MIDI Control Page. Otherwise, in Preset mode, the TS-10 keyboard will send only on the base MIDI channel no matter which preset track is selected. Sequencer tracks which have SEND/RECV, SEND/----, VOICEOFF, LOCAL-OFF, or MIDI-LOOP Status will always transmit only on the MIDI channel defined on this page.

Receive Controls which channel an individual sequencer track will receive data on if

MODE=MULTI or MONO B mode is selected on the MIDI Control Page. In POLY or MONO A modes, the TS-10 will receive only on the base MIDI channel no matter which track, program, or preset is selected. Individual preset tracks will not receive on different MIDI channels; for presets, this is a send-only function.

Note: If several tracks have the same MIDI channel, only the lowest-numbered track (1 to 12) will receive

the incoming MIDI events. See Section 12 — Sequencing/MIDI Applications for more information about MULTI mode.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Track/MIDI button a third time to get to the MIDI Program Number page:

MIDI Program Number Page Range: 000 through 127

This sub-page lets you choose which MIDI Program Change number will be transmitted via MIDI when the track is selected. Editing this value will transmit MIDI Program Changes in realtime. If the track MIDI status has been set to ----/RECV or MIDI-OFF, the track will not transmit MIDI Program Changes.

The default Program Change number that appears is usually the number of the internal TS-10 sound assigned to the track. This number is automatically set whenever a sound is selected from the Sound Bank pages. Assigning a new sound to a Preset track from Replace Track Sound mode does not change the Program Change number automatically, but sequencer tracks will acquire the new sound’s Program Change number. When sequencer playback loops back to the beginning of a track, all Track Program Change values will be restored to their stored values.

You can set this number to any other legal Program number if you wish to override the default value. This can be useful in presets and sequencer tracks, which will transmit a MIDI Program Change message for every MIDI-enabled track when selected.

Entering Program Change Numbers Directly

While this page is displayed (or from the Tracks 1-6 and 7-12 pages in sequencer mode), it is possible to send MIDI program change messages by holding the soft button nearest the track sound name and then entering the MIDI program change number using the numbered Bank buttons. When you release the soft button, the program change will be sent, and the program number will be updated in the display. The range of acceptable numbers is 000 to 127. You do not have to enter leading zeroes (for example, to send 003, simply press 3 and release the soft button).

• Press the Track/MIDI button again to get to the MIDI Bank Select page:

MIDI Bank Select Page Range: 000 through 127, LSB or MSB

Section 5 — Preset/Track Parameters TS-10 Musician’s Manual

The second field determines whether the BANK value represents the LSB or MSB of the MIDI Bank Select controller message. It defaults to LSB (Least Significant Byte), but can be set to MSB (Most Significant Byte) to accommodate other keyboard manufacturer’s products. It should always be set to LSB for ENSONIQ products.

The default Bank Select number that appears is usually the number of the internal TS-10 sound assigned to the track. This number is automatically set whenever a sound is selected from the Sound Bank pages. Assigning a new sound to a Preset track from Replace Track Sound mode does not change the Bank Select number automatically, but sequencer tracks will acquire the new sound’s Bank Select number. When sequencer playback loops back to the beginning of a track, all Track Bank Select values will be restored to their stored values.

You can set this number to any other legal Bank Select number if you wish to override the default value. This can be useful in presets and sequencer tracks, which will transmit a MIDI Bank Select message for every MIDI-enabled track when selected.

Program Changes and Bank Selects in the TS-10

When sounds are assigned to a track from a Sound Bank page, their Program Change number and Bank Select number are automatically set according to the following scheme:

• User RAM programs (BankSet U0) are numbered from 000 to 059; Bank Select is 000 LSB.

• User RAM programs (BankSet U1) are also numbered from 000 to 059; Bank Select is 001 LSB.

• ROM programs (BankSet R2) are numbered from 000 to 059; Bank Select is 002 LSB.

• ROM programs (BankSet R3) are also numbered from 000 to 059; Bank Select is 003 LSB.

• ROM programs (BankSet R4) are also numbered from 000 to 059; Bank Select is 004 LSB.

• Sampled Sounds* (BankSet S8) are numbered from 000 to 009; Bank Select is 008 LSB.

• Sampled Sounds* (BankSet S9) are also numbered from 000 to 009; Bank Select is 009 LSB.

Refer to Section 3 — MIDI Control Page Parameters for more information on how the TS-10 receives program changes.

• Press the Track Effects button to get to the Effects Bus Routing page:

Effects Bus Routing Page Range: VOICE, -FX1-, -FX2-, -DRY-, or -AUX-

On the Effects Bus Routing page, you can re-route the voices for each track without editing the sound itself. This may be useful when two sounds are split or layered, and the effect is not appropriate for both. Also this is used to assign a track to the AUX Outputs for separate processing or mixing. The available Effects Bus Routing options are:

• VOICE — uses the normal voice routing from the sound on the track

• FX1 — forces all voices to FX1

• FX2 — forces all voices to FX2

• DRY — forces all voices in a track to the DRY bus

• AUX — This bypasses the effects on all voices in a track, and allows you to process them separately by sending them directly to the AUX Outputs. Any track that has -AUX- selected will not be heard out of the Main outputs.

TS-10 Musician’s Manual Section 5 — Preset/Track Parameters

• Press the Track Effects button again to get to the Effects Controller page:

Effects Controller Page Range: NO-CNTRL or CNTRL-FX

In effects which allow real-time control, it is sometimes desirable to limit which tracks send controller information to the effect. This is particularly true when using multiple MIDI input channels from a sequencer. If more than one track is set to CNTRL-FX, “controller fights” can occur. If set to NO-CNTRL, a track will remain routed to the effects, but its controllers (such as TIMBRE, WHEEL, PEDAL, etc.) will not modulate the effect.

• Press the Track Effects button again to get to the Effect Selector page. Here you can redefine the Effect Algorithm for use in the preset, sequence, or song.

Continued presses of the Track Effects button will scroll through the parameters related to the currently selected Effect Algorithm. These are identical to the effects parameters in the Programming section of the TS-10 (see Section 7 — Effects Parameters for descriptions of these parameters).

Tip: By double-clicking the Track Effects button, you can instantly bypass the effect. The effect bus

routing is temporarily set to *BYP* on all tracks except those set to AUX. Only the dry signal will be heard. Double-clicking again will restore the previous effect bus routing settings.

Section 6 — Understanding Effects

This section offers a basic overview of the concepts involved in selecting, creating, editing, and understanding Effects. For more detailed descriptions of the actual effect parameters, refer to the following section.

Understanding TS-10 Effects

The TS-10 has a powerful built-in signal processor that can produce a variety of effects. More important, its functions are integrated into, rather than added onto, the rest of the synthesizer. The flexible bus routing scheme and extensive real-time control give the TS-10 its dynamic effects capability.

The TS-10 is equipped with an advanced digital signal processing system based on the ENSONIQ Signal Processor (ESP) chip. The ESP is designed specifically for digital audio signal processing, and in the TS-10 it works in tandem with a fourth-generation version of the Digital Oscillator Chip (DOC IV a.k.a. OTTO) and an external 16-bit digital-to-analog converter to provide a very high-quality output signal.

Digital effects processing capability has been designed to complement the advanced performance features of the TS-10, and all of the effects can have any parameter modulated by various performance controllers such as the Mod Wheel, Poly-Key™ pressure, and other user-definable controllers.

All effects are fully programmable and may be customized for particular applications. Effects are most often stored as part of a sound, although each preset may also have its own override effect, independent of the effects contained by the sounds within the preset. Each individual sequence and song also has an independent effect. The following sections describe each type of effect.

Program and Sampled Sound Effects

Each sound in the TS-10 contains an effect and a complete set of parameter values which determine how that effect will sound. The effect is present even if none of the voices in the sound are routed through the effect (e.g. all voices are sent to the DRY or AUX destination bus - see the Output page in Section 9 — Program Parameters). Whenever you save or write a sound, the effect settings are also saved with the sound.

The sound effect is displayed and edited by pressing the Program Effects button. These Effect Parameter pages are described in detail in Section 7 — Effect Parameters.

If the preset effect that is currently loaded and being heard is different than the sound effect that is being shown, then a flashing MUTE will appear in the lower left corner of the display.

Preset Effects

Each preset in the TS-10 also contains an effect and a complete set of effect parameter values. The effect is present even if none of the tracks in the preset are routed through the effect (e.g. all tracks are sent to the DRY or AUX destination bus - see Section 5 — Preset/Track Parameters). Whenever you save or write a preset, the effect settings are also saved with the preset.

The preset effect is the same as the effect contained in the primary selected sound in the preset, but can easily be changed to suit the needs of the preset more closely. This effect applies to all preset tracks (or their program voices) that are routed to either the FX1 or FX2 destination bus.

The preset effect is displayed and edited by pressing the Track Effects button in the Track Parameters section of the front panel, when the TS-10 is in either Sounds or Presets mode.

The top level page controls the re-routing of the voices without editing the sound itself, and is described in Section 5 — Preset/Track Parameters. The next page allows you to define which tracks

Section 6 — Understanding Effects TS-10 Musician’s Manual

will send controller information to the effect. The remaining pages contain the effect parameters, which are specific to the effect type. These effect parameter pages are described in Section 7 — Effect Parameters.

Sequencer Effect

Like each of the presets in the TS-10, each sequence and song contains an effect and a complete set of effect parameter values. The effect is present even if none of the tracks in the sequence are routed through the effect (e.g. all tracks are sent to the DRY or AUX destination bus - see Section 5 — Preset/Track Parameters). This effect applies to all sequencer tracks (or their program voices) which are routed to either the FX1 or FX2 destination bus.

The effect is saved with each sequence or song. It will remain unaffected until a new song or sequence is selected, unless it is specifically edited. A special incoming MIDI program change message may be used to load new effects into a sequence in MULTI mode (see Section 3 — MIDI Control Page Parameters). The Copy function and a special mode of Copy Preset to Sequence can be used to replace the Sequence effect.

The sequencer effect is displayed and edited by pressing the Track Effects button in the Track Parameters section of the front panel, when the TS-10 is in Sequencer mode.

Selecting Effects

The first parameter of the Effects page is the effects selector. Changing this parameter causes a new effect to be selected, which in turn changes the type of parameters that will be available on the rest of the pages. Selecting a new effect algorithm will automatically set all of the effect parameters to their default values for the new effect. The available effects algorithms are:

00 DRY/BYPASSED 25 LARGE PLATE REVERB 1 50 EQ- -CHORUS + EQ- -DDL 0

1 0

2 0

3 0

ROTOSPKR+CHORUS+REV 29 HALL REVERB 3 54 PHASER + DELAY

4 0

5 0

6 0

7 0

8 0

9 10DELAYLFO+PHLANGR+REV 35 NONLINEAR REVERB 1 60 ROTARY SPEAKER + REV

11ROTOSPKR+PHLANGR+REV 36 NONLINEAR REVERB 2 61 SPEAKER CABINET 1

2 13PARAM EQ+PHLANGR+REV 38 GATED REVERB 63 GUITAR AMP 1

1 4

1 5

DDL+CHORUS+REV 26 LARGE PLATE REVERB 2 51 FLANGER + REVERB

EQ- -DDL+CHORUS+REV 27 HALL REVERB 1 52 EQ- -FLANGER + DELAY

DELAYLFO+CHORUS+REV 28 HALL REVERB 2 53 PHASER + REVERB

DISTORT+CHORUS+REV 30 SMALL ROOM REVERB 55 EQ- -TREMOLO + DELAY

PARAM EQ+CHORUS+REV 31 MEDIUM ROOM REVERB 56 EQ- -VIBRATO + DELAY

ENV VCF+CHORUS+REV 32 LARGE ROOM REVERB 57 PITCH SHIFTER

DDL+PHLANGR+REV 33 TIGHT AMBIENCE 58 FAST PITCH SHIFTER

EQ- -DDL+PHLANGR+REV 34 WIDE AMBIENCE 59 PITCH SHIFTER + DELAY

DISTORT+PHLANGR+REV 37 NONLINEAR REVERB 3 62 TUNABLE SPEAKER

ENV VCF+PHLANGR+REV 39 REVERSE REVERB 1 64 GUITAR AMP 2

DDL+ROTOSPKR+REV 40 REVERSE REVERB 2 65 GUITAR AMP 3

TS-10 Musician’s Manual Section 6 — Understanding Effects

EQ- -DDL+ROTOSPKR+REV 41 STEREO DELAY + DELAY 66 VCF- -DISTORTION- -VCF

6 17DELAYLFO+ROTOSPKR+REV 42 MULTITAP DELAY 67 WAH- -DISTORTION + REV

18ROTOSPKR+ROTOSPKR+REV43 EQ- -STEREO DELAYLFO 68 FLNG- -CMP- -DIST + REV 1

DISTORT+ROTOSPKR+REV 44 EIGHT VOICE CHORUS 69 DISTORT + CHORUS- -REV

9 20PARAM EQ+ROTOSPKR+REV 45 CHORUS + REVERB 1 70 PARAMETRIC EQ

ENV VCF+ROTOSPKR+REV 46 CHORUS + REVERB 2 71 EQ- -COMPRESSOR

1 22 PLATE + PLATE REVERBS 47 DDL- -CHORUS + REVRB 1 72 RUMBLE FILTER 23 PARAMETRIC EQ + PLATE 48 DDL- -CHORUS + REVRB 2 73 VAN DER POL FILTER 24 SMALL PLATE REVERB 49 EQ- -CHORUS + REVERB

Tip: Double click the Program Effects button to return to the algorithm select page. Tip: The names of the parallel effect algorithms are right justified to differentiate them from the other

effect algorithms.

What is an Algorithm?

An algorithm is the basic signal processing building block in the TS-10. The word “effect” could be used instead of algorithm, but some algorithms can produce several sonic effects simultaneously. Each algorithm has a set of parameters used to control the effect(s) it produces. The values of these parameters are saved with the algorithm. Wherever applicable, we will refer to the TS-10 effects as algorithms.

Signal Routing Between Effects

If the algorithm consists of two or more different types of effects, the algorithm name has symbols that show how these different effect types are routed together. The routing symbols are:

-- indicates a serial connection from the effect on the left into the effect on the right.

+ indicates a parallel connection between the effect on the left and the effect on the right. For example, the EQ--TREMOLO + DELAY algorithm has a serial routing from the EQ into the

tremolo effect (i.e. the output of the EQ always feeds into the Tremolo) , and a parallel routing between the tremolo and the digital delay (i.e. there is an input into the delay line).

Sounds and Presets

The complete effects setup, including the values of all effect parameters, is saved when you save a sound. It is also saved when you save a preset. The TS-10 tries to be smart about switching effects, since all sound must stop for an instant when it changes effects.

When are New Algorithms loaded into the ESP Chip?

Whenever a new algorithm is loaded into the ESP, the audio output will pause briefly, allowing the instructions which create the new algorithm to be loaded into the ESP. If an algorithm differs only by variation in parameter values, then this pause may not occur.

These are the rules that the TS-10 follows in deciding when to change algorithms:

1) When you select a primary sound from one of the Sound Bank pages, the algorithm saved in that sound will be loaded into the ESP, and you will hear the sound with its algorithm. If you layer a sound by double-clicking, its algorithm will not be loaded.

2) When you select or layer sounds/tracks from a preset or Track Parameter page, the algorithm is not changed.

3) When you change the sound on a track from Replace Track Sound mode (e.g. with the Sounds LED flashing), the algorithm will not be changed.

Section 6 — Understanding Effects TS-10 Musician’s Manual

4) When you change the sound on a track by double-clicking the Replace Track Sound button (e.g. with the Sounds and the Replace Track Sound LED flashing), the algorithm will be changed.

5) When you select a preset, the algorithm saved in that preset will be loaded into the ESP.

6) When you select a song or sequence, the algorithm saved in that song or sequence will be loaded into the ESP.

7) Whenever you go from Sounds mode to Sequencer mode (by pressing Seqs/Songs) the

sequencer algorithm is loaded. The same is true when going from Sequencer mode to Sounds mode (by pressing Sounds).

8) Saving either the sound or the preset will save the current algorithm.

9) Should you start editing a sound while an algorithm other than its own is active, a warning

will appear, reminding you that you are not hearing the algorithm you are seeing or editing. This warning appears as MUTE, flashing in the lower left corner of the display.

10) When MIDI program changes 60-119 are received in MULTI or MONO B modes, the

sequence or song effect algorithm will be loaded with the one in the program change.

TS-10 Musician’s Manual Section 6 — Understanding Effects

Performance Control of Tracks in Preset or Sequencer Mode

When the TS-10 is in Presets or Sequencer mode, all the instruments in the internal memory are routed through the same global effect. In order to gain some individual control for each track, two additional sub-pages on the Track Effect page determine how each instrument will interact with the algorithm. The algorithm for the current preset, song, or sequence is edited by pressing the Track Effects button in the Track Parameters section of the front panel.

The first time it is pressed, it shows the Effects Output Routing parameter for each of the three tracks in a performance preset (or for 6 of the 12 tracks of the current song or sequence in Sequencer mode). The Effects Output Routing sub-page determines which of the Output Busses the track will be sent through. By using this parameter, you can give individual instruments different Dry/Wet or multiple effect mixes.

The second press shows the Effect Mod Controller page. This parameter determines whether or not the controllers of a particular track will be routed to control the effect. This is an important setting when in Presets or Sequencer mode; since all tracks are routed through the same effect, it could be confusing to have multiple instruments sending conflicting controller information to the effect. If more than one track is set to CNTRL-FX, “controller fights” can occur. If set to NOCNTRL, a track will remain routed to the effects, but its controllers (such as the TIMBRE, PBEND, WHEEL, etc.) will not affect the track.

Subsequent presses reveal the effects programming parameters, which are identical to those found on the Program Effects page.

Programming Effects

The TS-10 algorithms are fully programmable. The first sub-page contains the effect selector. The effect selector is a little different than all of the other parameters. It controls how all of the other effect pages will be configured and displayed. When this parameter is changed, a new algorithm is selected which causes several important things to occur:

• a new algorithm is loaded, causing a brief pause in the audio output

• the effect parameter pages are redefined for the particular effect selected

• the effect parameter values are reset to their default settings for the effect

Tip: When editing the effect selector, it is possible to change the new effect type quickly and avoid the

brief delay caused by the actions described above. Pass rapidly over the types between the old type and the new type, and then pause. The new effect will be recalled only after you stop changing the type.

Effect Variations

The first effect parameter page is similar for all of the effects (the display shows VARIATION=). It selects an Effect Variation, which feature various “preset” patches, letting you quickly access several set-ups within the same effect. Each algorithm has a predetermined amount of variations. Each of these variations is individually editable and can act as independent effect edit buffers. Each Effect Variation can have two different Modulation Sources, Destination parameters, and defined modulation ranges.

The Effects Busses

The output of every voice in the TS-10 is assigned to a stereo bus. A bus, like the bus of a mixing board, mixes together all the voices assigned to that bus into a single stereo pair. Of the four busses on the TS-10, two are inputs into the signal processor (FX1 and FX2), another is a direct path to the Main outputs which bypasses all effect processing (DRY) and the fourth is a direct path to the AUX outputs which also bypasses all effect processing (AUX). The Destination Bus assignment for each Voice is set on the Output page. The voice settings in a program can be overridden for each preset and sequencer track on the top-level of the Track Effects page.

Tip: By double-clicking the Track Effects button, you can bypass the effect. However, any tracks

routed to the AUX outputs will not be bypassed.

Section 6 — Understanding Effects TS-10 Musician’s Manual

Effects Mixing

Almost all of the effects have separate mixing controls for the FX1 and FX2 busses. They are found on the next sub-page within the Effects page, and will have slightly different wording depending on the effect they’re contained within.

When an effect having a single processing function (such as reverb only) is selected, both busses FX1 and FX2 are routed to it. When using a dual or multi-effect, FX1 will generally route the signal through both or all effects, with FX2 routing only through the second effect. In all cases, a third bus labeled DRY is a dedicated dry path to the Main Outputs.

Single Function Effect Mixer

FX1

Main Outputs

Vol

Voice Output

Pan

Mix1

L R

FX2

Mix2

Effect 1

DRY

Aux

AUX

Outputs

Destination Bus

The above illustration shows the effects busses and the output mixing. Every voice is assigned to one of the four stereo busses, which go around or through the effects processing. In all of the effects routing diagrams, the heavy lines are stereo paths.

Multiple Function Effect Mixer

FX1

Vol

Voice Output

Pan

FX2

DRY

AUX

Destination Bus

When the selected algorithm is a combined effect that has more than one signal processing function (such as chorus and reverb), the FX1 bus feeds Effect 1, and the FX2 bus feeds Effect 2. The FX2 Mix control sets the amount of Effect 2 (usually reverb) for voices assigned to that bus. FX1 Mix controls the amount of the output from Effect 1 sent to Effect 2 rather than directly to the output. By setting this control to its extremes, you can arrange the two effects to be either in series or in parallel. The majority of combined effects follow this topology. If a specific algorithm uses a different topology, it will be explained in the Effect Parameters section.

Effect 1

Mix1

Mix2

Effect 2

Main Outputs

Aux Outputs

TS-10 Musician’s Manual Section 6 — Understanding Effects

Parallel Effect Mixer

Destination

Bus

Effect A

FX1 L

A to B send

Effect B

B to Reverb send

Reverb

FX2 Dry

A to Reverb send

Mixer

Main Outputs

Vol

Voice Output

FX2

FX2 to Reverb send

DRY

AUX

All of the parallel effect algorithms follow the topology shown in the illustration above. The heavy lines are stereo paths. Voices assigned to FX1 (on the Output Page) will be sent to Effect A, if the PAN parameter is set to -99 (hard left) or sent to Effect B, if the PAN parameter is set to +99 (hard right). Note that by setting the PAN parameter to 50, you can create a parallel routing between Effect A and Effect B. There is a SEND parameter allowing a serial connection from Effect A into Effect B. There is a SEND parameter allowing a serial connection from Effect A into the Reverb, and another parameter allowing a serial connection from Effect B into the Reverb. Voices assigned to FX2 (on the Output Page) will send a stereo signal to the reverb. The FX- REVRB parameter allows you to define how much of the signal you want sent into the Reverb. There is also a DRY parameter (on the SEND sub-page) from FX2 allowing you to define how much of the FX2 signal you want to completely bypass the Reverb. Any voices assigned to the DRY Destination-Bus (on the Output page) will go through the mixer to the Main Output jacks. Any voices assigned to the AUX Destination-Bus will go directly to the AUX Output jacks, without any effects processing.

Selectable Effect Modulation Parameters

All of the algorithms allow real-time control of selectable parameters and share common modulation control parameters. The Modulation Control parameters are always the last parameters on the algorithm sub-pages:

L R

Aux Outputs

MOD-1 SRC — Modulation Source 1 Range: (described below) MOD-2 SRC — Modulation Source 2 Range: (described below)

These parameters select the modulation sources used to modulate the parameter Destinations. Each Effect Variation has a choice of two discrete mod sources.

Section 6 — Understanding Effects TS-10 Musician’s Manual

Modulators that can be applied to the Effects

The following modulation sources are available to alter the effects in performance:

Mod Source

WHEEL the value of the mod wheel PBEND the value of the pitch wheel PEDAL the value of the Pedal•CV input TIMBR the value of the TIMBRE parameter for the track XCTRL the value of the XCTRL (external MIDI controller) parameter for the track PRESS the channel pressure value for the track KEYBD the number of the last key played VELOC the average velocity of all keys played KEYDN on when any keys are pressed; otherwise off PATCH four values (0, 32, 64, 127) for the four button states SUSTN on when the assigned foot switch is held down (and SUSTAIN is selected as a

SOSTU on when the assigned foot switch is held down (and SOSTENUTO is selected as a

FX-SW on when assigned foot switch is held down (and FX-SW-MOD is selected as a

*OFF* no modulation For more information about the Modulation Sources, see Section 8 — Understanding Programs.

DEST — Mod1 Destination Parameter Range: varies (selected parameter name) DEST — Mod2 Destination Parameter Range: varies (selected parameter name)

The Destination parameters select which effect parameters will be modulated by the modulation sources. The choice of parameters varies depending on the selected effect. Any parameter within an algorithm can be selected. Each Effect Variation has a choice of two different mod destinations. You cannot edit a parameter when it is assigned as a modulator destination. Disabling modulation of a parameter will restore its saved value.

Modulation effect derived from

FOOT-SW controller on the System sub-page); otherwise off

MIN — Mod 1 Param Range Minimum Range: varies (based on DEST parameter range) MAX — Mod 1 Param Range Maximum Range: varies (based on DEST parameter range) MIN — Mod 2 Param Range Minimum Range: varies (based on DEST parameter range) MAX — Mod 2 Param Range Maximum Range: varies (based on DEST parameter range)

These four parameters set the minimum and maximum amount (based on the selected Destination parameter’s range) that the Mod Destination will be modulated by the Mod Source. Inverting the amounts will also invert the Mod effect.

Remember

In order for the effect modulation to work for the selected track, the Effect Mod Control parameter on the Track Effects sub-page must be set to CNTRL-FX.

Note: When an effect algorithm parameter is selected to be modulated, that parameter can no longer be

edited. If you want to edit the parameter, set the Modulation Source (SRC) to *OFF*. To see the current value that the modulator has set it to, reselect the parameter.

Section 7 — Effect Parameters

This section offers detailed descriptions of the sub-pages and parameters used in selecting, creating, and editing effects. For a basic overview of the concepts involved, refer to the previous section.

About Effect Parameters

The effect algorithms (shown in reverse type) described in this section have various sub-pages. Sub-pages are a group of parameters associated with the effect algorithm. Some of the parameters are common to many effect algorithms and some are specific to a particular effect algorithm. The first sub-page of parameters is almost identical for all of the algorithms. It contains the name of the effect algorithm and variations of this algorithm. The remaining subpages are variable and contain specific parameters that are relevant only to that effect. All of these parameters are programmable and can be used to customize each effect algorithm.

Effect Modulation Parameters

The Effect Modulation parameters are identical for all the algorithms, and are explained in detail in Section 6 — Effect Concepts.

00 DRY/BYPASSED

This utility algorithm routes FX-1 and FX-2 permanently dry without any effects processing. This is useful when you want to hear a sound without any effects coloration.

MIX FX-1 and FX-2 Ranges: 00 to 99

These parameters control the mix of silence with a dry audio signal. The FX-1 and FX-2 parameters can be assigned different levels, and used as volume mix controllers for each track in a preset, sequence, or song. 00 is silent and 99 is full volume. By assigning the modulation controllers to these parameters, you can change volume mixes of the tracks in real-time.

Parallel Effects

The first 21 algorithms in the TS-10 are called “parallel effects” and allow several effect types to be used at the same time. These algorithms can be very useful in Presets and Sequencer mode, where you would like different effects processing for each track. The key to parallel effects is how the voices are routed and how they are panned (on the Output page). Many of the parallel effect parameters are identical, and are described the first time they appear.

01 DDL+CHORUS+REV

This parallel effect combines a digital delay with a chorus and a plate reverb. The second subpage (not user-programmable) shows how this parallel effect is routed:

• Voices assigned to FX1 (and panned left) are sent to Effect A (DDL)

• Voices assigned to FX1 (and panned right) are sent to Effect B (CHORUS)

• Voices assigned to FX2 are sent to a plate reverb (REV)

For more information about parallel effects routing, refer to the previous section.

Section 7 — Effect Parameters TS-10 Musician’s Manual

SENDS A- -B Range: 00 to 99

Controls the amount of Effect A (DDL) being sent into Effect B (the chorus). A setting of 99 would yield a serial connection between Effect A and the chorus for voices sent to FX1 and panned hard left (on the Output page).

B- -REVRB Range: 00 to 99

Controls the amount of Effect B (CHORUS) being sent into the reverb. This would allow you to add reverb to voices assigned to FX1 and panned hard right. A setting of 99 would yield a serial connection between the CHORUS and the reverb for voices sent to FX1 and panned hard right (on the Output page).

A- -REVRB Range: 00 to 99

Controls the amount of Effect A (DDL) being sent into the reverb. This would allow you to add reverb to voices assigned to FX1 and panned hard left, without having to add any chorusing.

FX2- -REVRB Range: 00 to 99

Defines how much of the voices assigned to FX2 (on the Output page) will be sent into the Reverb. This allows you to fine tune the amount of reverb coloration you want to add to your voices.

DRY Range: 00 to 99

This parameter allows you to define how much of the FX2 signal you want to completely bypass the Reverb. By setting this parameter to 99 and the FX2- -REVB parameter to 00, you can assign voices to be completely dry.

DDL MIX Range: 00 to 99

Controls the mix between the original signal and the delay. Setting this parameter to 00 will allow only the unprocessed signal to be heard, while a setting of 99 will eliminate it completely, with only the delay portion remaining.

LEVEL Range: 00 to 99

Adjusts the volume of the delayed signals against the original dry signal. A level of 00 will offer no audible delay.

PAN Range: -99 to +99

Determines the location of the delays in the stereo spectrum. A value of -99 is panned hard left, and +99 is hard right. If set to either hard left or hard right, the delayed signal for the opposite side is inaudible.

DDL REGEN L Range: -99 to +99

Determines the amount of signal that will be fed from the output of the left delay back into the input, increasing the number of repeats in the delay. A setting of 99 would offer an infinite delay.

DAMPING Range: 00 to 99

Controls the cutoff of a low pass filter on the feedback signal, which adjusts the amount of damping to the feedback signals. The higher the number, the more the signals are dampened.

DELAY TIME L and R Ranges: 0000 to 1000 msec

Sets the amount of delay time for the independent delays. Each value increases the delay time by 1 millisecond. Experiment with different settings to find the right mix for your sound source and application. Some interesting effects can be implemented by using a real-time modulation controller for these parameters.

TS-10 Musician’s Manual Section 7 — Effect Parameters

CHORUS MIX Range: 00 to 99

Controls the Dry/Wet mix within the chorus itself. For starters, we recommend settings of 50.

LEVEL Range: 00 to 99

Adjusts the volume of the chorused signal. A level of 00 will offer no audible signal.

WET PAN Range: -99 to +99

Determines the location of the chorused signal in the stereo spectrum. A value of -99 is panned hard left, and +99 is hard right.

DRY PAN Range: -99 to +99

Determines the location of the dry signal in the stereo spectrum. A value of -99 is panned hard left, and +99 is hard right.

CHORUS CENTER Range: 000 to 127

Controls the nominal delay time of the chorus about which the delay modulation occurs. Adjusting this parameter will change the tonal character of the effect. This delay time is not related to the REGEN or the DDL delays.

RATE Range: 000 to 127

Controls the four rates of modulation of the delay time of the chorus. The delay modulation produces vibrato and tremolo.

WIDTH Range: 000 to 127

Controls the depth of vibrato and tremolo.

LFO SPREAD Range: 000 to 128

Controls the depth of the detuning, that is, how much the pitch will change. Low values yield a metallic sound. Some voices sound best with very low values.

REGEN Range: -99 to +99

Controls the amount of feedback applied to the chorus. The sign of the value determines the polarity of the feedback. Feedback accentuates the complexity of the “swept” signal.

REVERB DECAY TIME Range: 0.40 to 140.0

Controls the amount of time it takes for the reverberation to decay to a low level (-60 dB) after the input signal stops.

PRE-DLY TIME Range: 0000 to 0300 msec

This parameter creates a time delay before the original signal is fed into the reverb. The range is based in milliseconds.

HF - DAMPING Range: 00 to 99

Controls the rate of attenuation of high frequencies in the decay of the reverberation. As natural reverb decays, some high frequencies tend to get absorbed by the environment. Increasing the value of this parameter will filter out increasing amounts of high-frequency energy.

BANDWIDTH Range: 00 to 99

Acts as a low pass filter on the signal going into the reverb, controlling the amount of high frequencies that will pass into the effect. The higher the setting, the more high frequencies are allowed to pass.

DEFINITION Range: 00 to 99

Controls the rate at which echo density increases with time. Higher values can cause the echo

Section 7 — Effect Parameters TS-10 Musician’s Manual

density to build at a rate that exceeds the decay rate. For the best performance, try to select the highest value that works with your sound source.

DIFFUSION Ranges: 00 to 99

These parameters determine whether the early reflections will appear as a series of discrete echoes (lower values) or will be more diffused (higher values).

02 EQ- -DDL+CHORUS+REV

This parallel effect combines a parametric EQ and a DDL with a chorus and a reverb. The second sub-page (not user-programmable) shows how this parallel effect is routed:

• Voices assigned to FX1 (and panned left) are sent to Effect A (EQ- -DDL)

• Voices assigned to FX1 (and panned right) are sent to Effect B (CHORUS)

• Voices assigned to FX2 are sent to the reverb (REV)

For a complete description of the SENDS parameters, refer to the DDL+CHORUS+REV algorithm found earlier in this section.

EQDDL MIX Range: 00 to 99

Controls the mix between the original signal and the EQ into the delay. Setting this parameter to 00 will allow only the unprocessed signal to be heard, while a setting of 99 will eliminate it completely, with only the delay portion remaining.

LEVEL Range: 00 to 99

Adjusts the volume of the delayed signals against the original dry signal. A level of 00 will offer no audible delay.

PAN Range: -99 to +99

EQ FC Range: 0 Hz to 15 KHz

Sets the center frequency of the parametric EQ.

BW Range: 0 Hz to 15 KHz

Sets the bandwidth for the center frequency.

LEVEL Range: -99 to +48

Sets the amount of boost or cut applied to the parametric.

EQDDL REGEN Range: -99 to +99

Controls the amount of regen (regeneration) applied to the delay time taps. The sign of the value determines the polarity of the regen.

DAMPING Range: 00 to 99

Adjusts the cutoff of a low pass filter on the feedback signal, which controls the amount of damping to the feedback signals. The higher the number, the more the signals are damped.

TIME Range: 1 msec to 1K (1 sec)

Determines the amount of time between the input signal and the delay outputs.

For a complete description of the remaining parameters, refer to the DDL+CHORUS+REV algorithm found earlier in this section.

TS-10 Musician’s Manual Section 7 — Effect Parameters

03 DELAYLFO+CHORUS+REV

This parallel effect combines a digital delay that provides LFO modulation with a chorus and a reverb. The second sub-page (not user-programmable) shows how this parallel effect is routed:

• Voices assigned to FX1 (and panned left) are sent to Effect A (DELAYLFO)

• Voices assigned to FX1 (and panned right) are sent to Effect B (CHORUS)

• Voices assigned to FX2 are sent to the reverb (REV)

For a complete description of the SENDS parameters, refer to the DDL+CHORUS+REV algorithm found earlier in this section.

DELAYLFO LEVEL Range: 00 to 99

Controls the volume level of the original signal and the delay. Setting this parameter to 00 will eliminate the audio signal.

PAN Range: -99 to +99

WET Range: 00 to 99

This parameter controls the volume of the delayed signal only. Setting this parameter to 00 will eliminate the delay portion completely.

DRY Range: 00 to 99

This parameter allows you to define how much of the FX1 signal you want to completely bypass the Delay LFO. Setting this parameter to 00 will eliminate the dry signal. By setting this parameter to 99 and the WET parameter to 00, you can assign voices to be completely dry.

DELAY LFO CENTER Range: 000 to 127

Controls the nominal delay time of the LFO about which the delay modulation occurs. Adjusting this parameter will change the tonal character of the effect. Higher values offer a longer delay time.

RATE Range: 000 to 127

Controls the rate of pitch modulation which is the LFO. To achieve a chorusing effect, this rate must be very slow.

WIDTH Range: 000 to 127

Controls the excursion of pitch modulation. Since the rate is usually very slow, the width is usually large.

R LFO PHASE Range: 00 to 99

When set to 00, the left and right choruses will modulate their detunes together. When set to 99 the detune on the right channel will go up while the detune on the left will go down, creating an out-of-phase effect.

REGEN Range: -99 to +99

Controls the amount of regen (regeneration) applied to the delay time taps. The sign of the value determines the polarity of the regen.

For a complete description of the remaining parameters, refer to the DDL+CHORUS+REV algorithm found earlier in this section.

04 ROTOSPKR+CHORUS+REV

Ensoniq TS-10 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual