Ensoniq Corporation ASR-X Pro User's Guide

Download

Page 1

User's Guide

EADING THE WORLD IN SOUND INNOV A TION

Page 2

READ THIS FIRST!

WARNING!!WARNING!!

Grounding Instructions

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

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

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION : TO REDUCE THE DANGER OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL

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

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

SEE IMPORTANT SAFETY INSTRUCTIONS ON BACK COVER!

Page 3

UUUUsssseeeerrrrÕÕÕÕssss GGGGuuuuiiiiddddee

VVVVeeeerrrrssssiiiioooonnnn 3333....000000

Page 4

AAAASSSSRRRR----XXXX PPPPrrrroooo UUUUsssseeeerrrrÕÕÕÕssss GGGGuuuuiiiiddddee

Written, designed, and illustrated by: Robby Berman Thanks to: Jim Bryan

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 ASR-X Pro 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.

IIIIMMMMPPPPOOOORRRRTTTTAAAANNNNTTTT::

Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful 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 or relocate the receiving antenna. * Increase the separation between the equipment and receiver. * Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. * Consult the dealer or an experienced radio/TV technician for help.

Changes or modifications to the product not expressly approved by ENSONIQ could void the user's FCC authority to operate the equipment.

In order to fulfill warranty requirements, your ASR-X Pro 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, ASR-X Pro, Scratch Pad, Patch Selects and SoundFinder are trademarks of ENSONIQ Corp.

PPPPaaaarrrrtttt NNNNuuuummmmbbbbeeeerrrr 9999333311110000 0000222233331111 00001111----AA

MMMMooooddddeeeellll NNNNuuuummmmbbbbeeeerrrr MMMMMMMM----1111666699

Page 5

TTTTeeeemmmmppppeeeerrrraaaattttuuuurrrreeee GGGGuuuuiiiiddddeeeelllliiiinnnneeeess

The ASR-X Pro contains a substantial amount of computerized and electronic circuitry that can be susceptible to damage when exposed to extreme temperature changes. When the ASR-X Pro 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 ASR-X Pro:

¥ Avoid leaving the ASR-X Pro in temperatures of less than 50 degrees

Fahrenheit or more than 100 degrees Fahrenheit.

¥ When bringing the ASR-X Pro indoors after travel, allow the unit at

least 20 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 ASR-X Pro inside a vehicle exposed to direct

sunlight.

CCCCaaaarrrreeee aaaannnndddd FFFFeeeeeeeeddddiiiinnnngggg ooooffff tttthhhheeee DDDDiiiisssskkkk DDDDrrrriiiivvvvee

The ASR-X ProÕs disk drive is used to store sounds, rhythms, and sequencer data. This quad-density disk drive will store your data on a high-density (HD) 3.5Ó micro floppy disk. You can also store data on a DOS-formatted double-density (DD) 3.5Ó micro floppy disk.

Disks have a sliding write-protection tab so that you can protect your data against accidental erasure. When the write-protection tab covers the protect window, you can 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. High density disks can be easily identified because they have an additional disk window located on the lower right corner of the disk.

Floppy disks are a magnetic storage medium, and should be treated with the same care youÕd 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 ASR-X Pro. Here are a few DoÕs and DonÕtÕs concerning disks and the disk drive.

DDDDooooÕÕÕÕssss::

¥ Use either high-density (HD) or double-density (DD) 3.5Ó disks. Both

types are available from most computer stores.

¥ 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.

DDDDoooonnnnÕÕÕÕttttÕÕÕÕssss::

¥ DonÕt use single-sided (SD) disks. These disks have not passed testing

on both sides. While a single-sided disk might work with the ASR-X Pro, it is possible that you will eventually lose important data to a

disk error if you try using single-sided disks. ¥ DonÕt put anything other than a disk into the disk drive. ¥ DonÕt transport the unit with a disk in the drive. ¥ DonÕt expose disks to temperature extremes. Temperatures below 50û

F and above 140û F can damage the plastic outer shell. ¥ DonÕt expose your disks to moisture. ¥ DonÕt dry your disks in a microwave oven. ¥ DonÕt 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.

¥ DonÕt eject the disk while the drive is operating (i.e., when the disk

drive light is on).

CCCClllleeeeaaaannnn UUUUpppp aaaannnndddd MMMMaaaaiiiinnnntttteeeennnnaaaannnnccccee

Clean the exterior of your ASR-X Pro 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 ASR-X Pro is thoroughly dry before turning on the power. Never use alcohol, benzene, volatile cleaners, solvents, abrasives, polish or rubbing compounds.

PPPPoooollllaaaarrrriiiizzzzaaaattttiiiioooonnnn aaaannnndddd GGGGrrrroooouuuunnnnddddiiiinnnngg

Like many modern electrical devices, your ENSONIQ product has a threeprong 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.

Three-prong

PolarizedNon-polarized

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, which 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 non-polarized 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.

AAAACCCC LLLLiiiinnnneeee CCCCoooonnnnddddiiiittttiiiioooonnnniiiinnnngg

As with any computer device, the ASR-X Pro 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 unitÕs hardware. Here are a few suggestions to help guard against such occurrences:

¥ A surge/spike suppressor. A surge/spike suppresser 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 suppressers for little more than the cost of unprotected power strips, so using one is a good investment for all your electronic equipment.

¥ 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 ASR-X Pro in lots of different locations with varying or unknown AC line conditions, you might consider investing in a line conditioner.

with earth ground

Page 6

Page 7

TTTTaaaabbbblllleeee ooooffff CCCCoooonnnntttteeeennnnttttss

TTTTuuuuttttoooorrrriiiiaaaallll 11

LLLLiiiisssstttt ooooffff RRRROOOOMMMM SSSSoooouuuunnnnddddssss 222233

IIIInnnnsssseeeerrrrtttt EEEEffffffffeeeecccctttt PPPPaaaarrrraaaammmmeeeetttteeeerrrrssss 222277

ENSONIQ ASR-X Pro UserÕs Guide

Page 8

Page 9

Tutorial

TTTTuuuuttttoooorrrriiiiaaaall

IIIInnnnttttrrrroooodddduuuuccccttttiiiioooonn

Welcome to the ASR-X Pro UserÕs Guide, and congratulations on your purchase of the ENSONIQ ASR-X Pro. This book contains a step-by-step tour of the major features of the ASR-X Pro. For more detailed information on the topics discussedÑand moreÑsee the ASR-X Pro Reference Manual.

The first part of the UserÕs Guide is structured as a tutorial, meant to be read and followed in the order in which itÕs presented. This approach will allow you to become familiar with ASR-X Pro concepts and procedures one at a time, and will let you build up your understanding ofÑand comfort withÑthe way the ASR-X Pro works. The tutorial will only take about a half hour to complete. Along the way, youÕll get a sense of how much fun it is to create music on your new ASR-X Pro. The remainder of the UserÕs Guide contains a list of the sounds built into your ASR-X Pro, and a list of its insert effects and their parameters.

NNNNooootttteeee:::: At the end of various sections of the tutorial, youÕll see a ÒBefore proceeding...Ó section. The

instructions in each these sections help set up the tutorials that follow.

WWWWhhhhaaaatttt EEEEllllsssseeee iiiissss iiiinnnn tttthhhheeee AAAASSSSRRRR----XXXX PPPPrrrroooo BBBBooooxxxx??

The following items are included with every ASR-X Pro shipped from the ENSONIQ factory:

¥ ENSONIQ X-Audio Sampling CD ¥ ENSONIQ ASR-X Pro UserÕs Guide

Volume 1ÑProducersÕ Mix ¥ ENSONIQ ASR-X Pro Reference Manual

¥ hex wrench ¥ AC power cable

GGGGeeeettttttttiiiinnnngggg AAAArrrroooouuuunnnndddd oooonnnn tttthhhheeee AAAASSSSRRRR----XXXX PPPPrrrroo

TTTThhhheeee DDDDiiiissssppppllllaaaayyyy aaaannnndddd YYYYeeeessss////NNNNoooo BBBBuuuuttttttttoooonnnnss

The display located in the center of the ASR-X Pro front panel will always tell you what you need to know as you do different things on the ASR-X Pro. Many ASR-X Pro procedures will be presented as questions that you can answer by pressing the No or Yes button.

TTTTiiiipppp:::: When a question is being asked, the LEDs in the No and Yes buttons will flash.

Some activities involve a series of parameters and/or procedures. In such cases, youÕll begin by answering ÒYesÓ to a top-level question. From there youÕll encounter parameters and/or further questions presented on sub-displays that relate to what youÕre doing. To exit back out to the top level of the ASR-X Pro, you can press the Exit/No button.

TTTThhhheeee KKKKnnnnoooobbbbss

Parameter Value

Sound

Type

Select Track

116

MIDI Channel

Essentials

Sound

Name

Exit Enter

No Yes

567

Demo

ENSONIQ ASR-X Pro UserÕs Guide 1

Page 10

Tutorial

Below the display in the center of the front panel are two knobs used during most ASR-X Pro activities. These knobs are known by two different sets of names, since they serve two general purposes.

When youÕre selecting sounds for tracks or for pads in the ASR-X Pro, the central knobs should be thought of as the ÒSound TypeÓ and ÒSound NameÓ knobs.

Sound

Type

For every other activity, the knobs will be referred to as the ÒParameter knobÓ and the ÒValue knob.Ó

Parameter Value

Both sets of names are printed on the front panel, as you can see.

SSSSoooommmmeeee AAAASSSSRRRR----XXXX PPPPrrrroooo TTTTeeeerrrrmmmmssss YYYYoooouuuu RRRReeeeaaaallllllllyyyy NNNNeeeeeeeedddd ttttoooo KKKKnnnnooooww

ItÕs important that you understand the meaning of these terms as you use the ASR-X Pro:

¥ parameterÑThis is any characteristic of the ASR-X Pro software that can be changed. ¥ valueÑThis is the setting of a parameter. ¥ selectÑThis is the act of choosing a sound for playing or recording, or choosing a parameter to be

edited.

¥ standard soundÑA sound is a program that plays one or more digital audio recordings arranged in

layers. The recordings, or waves, can be data permanently stored in the ASR-X ProÕs ROM (for Òreadonly memoryÓ), or something youÕve sampled or loaded into the ASR-X Pro. Standard sounds based on ROM waves can have up to 16 layers; sounds that play sampled waves use one layer for mono waves, or two layers for stereo waves.

¥ kit soundÑA kit is a sound in which each of its 64 notes can play a different standard sound. Since

the ASR-X Pro is designed for beats and loops, kit sounds are its most potent sounds.

Sound Name

TTTTiiiipppp:::: See Chapter 3 of the ASR-X Pro Reference Manual to learn more about standard and kit

sounds.

GGGGeeeettttttttiiiinnnngggg RRRReeeeaaaaddddyyyy ttttoooo GGGGoo

MMMMaaaakkkkiiiinnnngggg CCCCoooonnnnnnnneeeeccccttttiiiioooonnnnss

There are a few types of connections youÕll want to make as you set up the ASR-X Pro Ñall of the jacks necessary for these connections are located on the rear panel of the ASR-X Pro. YouÕll want to set up:

¥ a way of listening to the ASR-X ProÑYou can connect the ASR-X

ProÕs Left and Right Main Out jacks to a mixer, amplifier or stereo system. If youÕd like to use the ASR-X Pro in mono, connect only the Left or Right Main Out jack to your mixer or amplifier, and make sure nothing is plugged into the other Main Out jack. If youÕd rather listen to the ASR-X Pro through headphones, you can plug yours in to the ASR-X ProÕs Phones jackÑyour headphones will need to have a 1/4Ó stereo plug or adapter to work correctly with the Phones jack.

2 ENSONIQ ASR-X Pro UserÕs Guide

Main Out

Right

Mono Mono

Left

Phones

Page 11

Tutorial

WWWWaaaarrrrnnnniiiinnnngggg:::: If you connect the Main Outs to a stereo system, set your ASR-X Pro Volume level

carefully, or you risk damaging components of your stereo. See ÒSetting LevelsÓ below.

¥ If you plan to use any external MIDI devices with the ASR-X ProÑsuch as a keyboard, sequencer or

computerÑyouÕll need to connect: ¥ the MIDI In of the ASR-X Pro to the MIDI Out of the

external device.

¥ the MIDI OUT of the ASR-X Pro to the MIDI In of the

external device.

TTTTiiiipppp:::: YouÕll be able to verify that your external MIDI device is properly connect to the ASR-X Pro

by transmitting some MIDI data to the ASR-X Pro Ñwhen the ASR-X Pro receives the data, its front-panel MIDI LED will light.

¥ AC power for the ASR-X ProÑby connecting one end of the supplied power cord to the AC Line

jack on the back of the ASR-X Pro, and the other end to a grounded AC outlet.

MIDI

InOutThru

PPPPoooowwwweeeerrrriiiinnnngggg UUUUpp

WWWWaaaarrrrnnnniiiinnnngggg:::: Before powering up your ASR-X Pro for the first time, turn its front-panel Volume knob

all the way down (counter-clockwise) before turning it on. This will help make sure that youÕve set safe levels for all of your equipment before you make any sound on the ASR-X Pro.

To power up the ASR-X Pro, press in the top of its rear-panel power switch. When you do so, the ASR-X Pro will start up and display:

ENSONIQ ASR-X PRO Resampler w/ Effects

SSSSeeeettttttttiiiinnnngggg LLLLeeeevvvveeeellllss

WWWWhhhheeeennnn CCCCoooonnnnnnnneeeecccctttteeeedddd ttttoooo aaaa MMMMiiiixxxxeeeerrrr oooorrrr AAAAmmmmpppplllliiiiffffiiiieeeerr

The ASR-X Pro will produce its best sound when its volume knob is turned all the way up, so the best way to set up your ASR-X Pro levels is to:

1. Turn the volume of the channels to which youÕve connected the ASR-X Pro all the way down. If youÕre connected to a mixer, turn down the channel preamps as well.

2. Turn the ASR-X Pro Volume knob all the way up.

3. Play the ASR-X Pro pads with a good amount of force.

4. Set the levels on your mixer or amplifier to a workable setting.

WWWWhhhheeeennnn CCCCoooonnnnnnnneeeecccctttteeeedddd ttttoooo aaaa HHHHoooommmmeeee SSSStttteeeerrrreeeeoooo SSSSyyyysssstttteeeemm

Since the dynamic range produced by the ASR-X Pro is greater than that of a CD, record or cassette, set your levels carefully:

1. Set the stereo to your normal listening level.

2. Play the ASR-X Pro pads with a good amount of force.

3. While playing, slowly bring up the setting of the ASR-X Pro volume knob to an acceptable level that doesnÕt cause your stereo to distort.

WWWWhhhheeeennnn UUUUssssiiiinnnngggg HHHHeeeeaaaaddddpppphhhhoooonnnneeeess

1. Play the ASR-X Pro pads with a good amount of force.

2. Slowly bring up the setting of the ASR-X Pro volume knob to a comfortable listening level.

ENSONIQ ASR-X Pro UserÕs Guide 3

Page 12

Tutorial

PPPPllllaaaayyyyiiiinnnngggg tttthhhheeee AAAASSSSRRRR----XXXX PPPPrrrroooo DDDDeeeemmmmooooss

The ASR-X Pro contains demos to give you an idea of what it sounds like. To play the main demo:

1. Locate the Essentials buttons on the ASR-X Pro front panel.

567

2. Hold down the Essentials button with Ò5Ó printed beneath it.

567

3. While still holding the button down, press the Essentials button with Ò9Ó printed beneath it.

567

4. Release both buttons. The display shows:

Essentials

Demo

5. Press the Enter/Yes button to hear the demo.

6. To stop the demo, press the Track Sound button in the center of the ASR-X Pro front panel.

NNNNooootttteeee:::: You can actually press any button to stop the demoÑthe Track Sound button was specified

for the purposes of this tutorial.

7. To listen to any of the other built-in demos, turn the Parameter knob to select a demo category, the Value knob to pick an individual demo from the selected category, and press the Yes button.

SSSSeeeelllleeeeccccttttiiiinnnngggg TTTTrrrraaaacccckkkkss

The ASR-X Pro is organized into a framework of 16 tracks that play an important role in the ASR-X Pro:

¥ When youÕre playing sounds or sampling/resampling in the ASR-X Pro, you can think of each track

as being a container for the sound with which youÕre working.

¥ When youÕre recordingÑor sequencingÑeach track contains a recorded performance, as well as the

sound that plays it.

¥ The ASR-X Pro is a multi-timbral MIDI receiverÑthe 16 tracks correspond to MIDI channels 1-16.

Each track receives MIDI data on its like-numbered channel. You can play a trackÕs sound or record on a track via MIDI at any time.

¥ Each track transmits MIDI data on its like-numbered channel when it uses a MIDI-OUT sound.

Start demo playback? MAINDEMO: Internal

Whenever you do anything in the ASR-X Pro, youÕre always on one or another of these tracks, which is referred to as Òthe currently selected track.Ó The ASR-X Pro display tells you which track is currently selectedÑthat is, which track youÕre on.

4 ENSONIQ ASR-X Pro UserÕs Guide

Page 13

Since youÕve just powered up and played the demo, youÕre on Track 1:

This shows youÕre on Track 1

¦01 ROM10:000 DEMO-SND: Gizmo Kit

The sound on Track 1

TTTTiiiipppp:::: The currently selected track is shown on the display during many ASR-X Pro activities.

Tutorial

TTTToooo SSSSeeeelllleeeecccctttt OOOOnnnneeee ooooffff tttthhhheeee 11116666 TTTTrrrraaaacccckkkkss

1. Locate the Select Track buttons.

2. Press the right-hand Select Track button once. The display shows that youÕve just selected the next track, Track 2.

This shows youÕre now on Track 2

Higher-numbered tracks are selected by pressing the right-hand Select Track button, while lower numbered tracks are selected by pressing the left Select Track button.

3. Press the left Select Track button to go back to Track 1.

SSSSeeeelllleeeeccccttttiiiinnnngggg TTTTrrrraaaacccckkkk SSSSoooouuuunnnnddddss

Each track can play any of the sounds in the ASR-X Pro. Finding just the right sound is simple, thanks to the ASR-X ProÕs SoundFinderª feature. With SoundFinder, you select the type of sound you want, and then choose a specific sound of that type.

Select Track

116

MIDI Channel

¦02 ROM09:011 BASS-SYN:Snot-T-Bass

The sound on Track 2

TTTTiiiipppp:::: For a list of SoundFinder categories, see Chapter 9 of the ASR-X Pro Reference Manual. For a

list of all of the ASR-X ProÕs built-in sounds, see ÒList of ROM SoundsÓ later in the UserÕs Guide.

TTTToooo SSSSeeeelllleeeecccctttt aaaa SSSSoooouuuunnnndddd ffffoooorrrr aaaa TTTTrrrraaaacccckk

1. Check the displayÕs upper left-hand corner to make sure that youÕve got the desired track selectedÑfor this tutorial, youÕll use Track 1.

2. Press the Track Sound button.

(Later in this section you'll learn why "DEMO-SND" just changed to "DRUM-KIT" on the display.)

ENSONIQ ASR-X Pro UserÕs Guide 5

Sound Edit Mute

Track

Mix / FX Bus

Solo

Page 14

Tutorial

3. Turn the Sound Type knob to view the SoundFinder categories that are currently available. SoundFinder categories are shown in the lower-left corner of the display. (When there are no sounds in memory of a particular type, its SoundFinder category isnÕt shown. )

¦01 ROM08:000 PERCSOLO: Thump Kick

The currently selected SoundFinder type

4. Select the DRUM-KIT SoundFinder type.

5. Turn the Sound Name knob to view the various drum kits in the DRUM-KIT SoundFinder category.

¦01 ROM10:005 DRUM-KIT:OlÕSkoolKit

As you turn the Sound Name knob, the sounds in the selected SoundFinder category are displayed

You can also select sounds using the Essentials buttons. Each button can be pressed to instantly place a favorite sound onto the current track. To learn more about the Essentials buttons, see Chapter 2 of the ASR-X Pro Reference Manual

6. Press some of the Essentials buttons to see how they work, and to check out the sounds that ENSONIQ assigned to the buttons at the factory. You can also press any upper Essentials button and the button just beneath itÑan additional five sounds can be accessed in this manner.

7. Press the Essentials button with the Ò2Ó beneath it to select the sound HeavyDrmKit. The display provides information about the sound youÕve selected:

The track youÕre on The soundÕs bank number The soundÕs program number

The selected SoundFinder type The selected sound

Sounds are stored in groups called banks. Each bank can contain up to 127 sounds, each of which is numbered. This system allows you to select sounds via MIDI, since each bankÕs number is also its MIDI Bank Select number, and each soundÕs program number is also its MIDI Program Change number. By sending the correct MIDI Bank select and Program Change values on a trackÕs MIDI channel, you can select its sound from an external MIDI device.

TTTTiiiipppp:::: Each sound can be found in the bank in which it's stored and in an instrument category. You

can press the Track Sound button to toggle between these. In Step 1, "DEMO-SND" changed to "DRUM-KIT" on the display when we pressed Track Sound for the second time in this tutorial.

PPPPllllaaaayyyyiiiinnnngggg wwwwiiiitttthhhh tttthhhheeee PPPPaaaaddddss

Now that youÕve selected HeavyDrmKit for Track 1, why not play it? The pads on the ASR-X Pro are a keyboard of sorts that plays the sound youÕve chosenÑitÕs a percussion-oriented keyboard perfect for a groovestation like the ASR-X Pro. Bang out a few notes to hear some of the bass drum and snare sounds in HeavyDrmKit. Since itÕs a kit sound, each pad can play a different standard sound.

lmn

¦01 ROM10:002 DRUM-KIT:HeavyDrmKit

ASR-X Pro sounds cover the entire pitch range typical of any modern MIDI instrument. The 13 ASR-X Pro pads play a section of a sound at a timeÑan octave-plus-one-noteÕs worthÑin this case, the bass drum and snare range of HeavyDrmKit. To the left of the pads are the Octave Buttons. These are used for re-aiming the pads at different octaves within the currently selected sound.

6 ENSONIQ ASR-X Pro UserÕs Guide

Page 15

Tutorial

TTTToooo CCCChhhhaaaannnnggggeeee tttthhhheeee OOOOccccttttaaaavvvveeee PPPPllllaaaayyyyeeeedddd bbbbyyyy tttthhhheeee PPPPaaaaddddss

1. Locate the Octave Transpose buttons.

Octave Transpose

2. Press the right-hand Octave Transpose button once. The display briefly shows:

¦01 ROM10:002 Pad Xpose=0oct C2-C3

The number of the octave being played by the pads The note range being played

The Octave Transpose display shows the octave the pads are currently playing. The pads can play five different octaves, each of which has been assigned a number as shown below (Middle C is C4):

¥ Octave 0 plays C2-C3 ¥ Octave 2 plays C4-C5 ¥ Octave 4 plays C6-C7 ¥ Octave 1 plays C3-C4 ¥ Octave 3 plays C5-C6

3. Tap the right-hand Octave Transpose button twice to set the pads to play Octave 1. The first tap takes you to the Octave Transpose display, and the second tap raises the octave setting by one.

TTTTiiiipppp:::: You can also select an octave by pressing either of the Octave Transpose buttons and turning

the Value knob.

4. Play the padsÑnow youÕre playing the sounds contained in the second octave of HeavyDrmKit.

5. Use the Octave buttons to find the other sounds in HeavyDrmKit.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngggg..........

1. Press the left Octave Transpose button to bring the pads down to Octave 0.

NNNNooootttteeee:::: If you see ÒKit MapperÓ on the display, press the right-hand Octave Transpose button once.

The Kit Mapper is described in Chapter 3 of the ASR-X Pro Reference Manual.

UUUUssssiiiinnnngggg tttthhhheeee PPPPaaaattttcccchhhh SSSSeeeelllleeeecccctttt BBBBuuuuttttttttoooonnnnss

The Patch Select buttons call up variations of the currently selected sound. Each sound is made up of layers of waves, and the Patch Select buttons are programmed to turn layers or groups of layers on and off (see Chapter 3 in the ASR-X Pro Reference Manual for more on layers). Depending on the nature of the sound, this can lead to subtle or radical changes in the sound.

Patch Select buttons are able to operate in a couple of different ways. The default setting is for them to act as switches that only work as long as theyÕre physically being held down. There are four possible positions for the Patch Select buttons:

¥ left Patch Select button pressed ¥ both Patch Select buttons pressed ¥ right Patch Select button pressed ¥ neither Patch select button pressed

The Patch Select buttons can also be set to Òstick,Ó as described in Chapter 7 of the ASR-X Pro Reference Manual.

Patch Selects™

As part of the demonstration of the Patch Select buttons, letÕs select a synthesizer bass sound for Track 2ÑweÕll need it later on anyway.

ENSONIQ ASR-X Pro UserÕs Guide 7

Page 16

Tutorial

1. Press the right-hand Select Track button once to select Track 2.

2. Using the Sound Name knobs, select the sound BuzzSawBassÑsince the BASS-SYN category was already selected, you didnÕt have to turn the Sound Type knob to select a SoundFinder category.

3. Play a few notes of BuzzSawBass to get an idea of its sound with no Patch Select buttons pressed.

4. Play the padsÑwith a standard sound such as BuzzSawBass, all the pads play the same basic sound at different pitches.

BuzzSawBass is one of the sounds built into the ASR-X ProÕs permanent ROM. Since ROM sounds can contain up to 16 layers of waves, the Patch Select buttons are most useful when used with these sounds.

5. Hold down either of the Patch Select buttons and play some notes on the padsÑhear how that sound has changed? You can release the button to return BuzzSawBass to its original sound.

6. Try the other Patch Select positions with BuzzSawBass.

TTTTiiiipppp:::: Patch Select button-presses will be recorded if they occur during the recording of a sequence

track. TheyÕre also transmitted via MIDI so that they can be used for controlling other ENSONIQ products that use Patch Select buttons, and so that they can be recorded in an external sequencer.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngggg..........

1. Press the left Select Track button to return to Track 1.

SSSSeeeeqqqquuuueeeennnncccciiiinnnngggg iiiinnnn tttthhhheeee AAAASSSSRRRR----XXXX PPPPrrrroo

The ASR-X Pro contains a recording device called a sequencer that is both powerful and easy to use. A sequencer records the music you play on each of its 16 tracks. The music is recorded on each track as MIDI data, and is therefore highly editable. Each segment of music you record is called a sequence. There is always a sequence selected in the ASR-X ProÑeven when you havenÕt yet recorded anythingÑand the track that youÕre on is in that sequence.

TTTToooo RRRReeeeccccoooorrrrdddd aaaa SSSSeeeeqqqquuuueeeennnncccceeee TTTTrrrraaaacccckk

TTTTiiiipppp:::: Read through Steps 1 through 4 once before actually doing them so that recording doesnÕt

sneak up on you before youÕre ready.

1. Press and hold down the Transport Record button.

2. While still holding the Record button, press the Play button, and then release both buttons. The Record and Play button LEDs light to show youÕre recording.

The sequencer begins counting off four beats before recording begins. The display shows the countoff in negative numbers in the upper-right corner of the displayÑwhen

the numbers get to 0, recording actually starts.

Transport

Record Stop Play

Scoop Locate Top

Rew

F Fwd

The numbers count up to the first beat of actual recording

¦01 -1 .01 DRUM-KIT:HeavyDrmKit

TTTTiiiipppp:::: This countoff can be customized or turned off. See Chapter 6 in the ASR-X Pro Reference

Manual.

YouÕll be recording two measures. On the first and third beats, play the lowest pad, a bass drum sound. On the second and fourth beats, play the highest pad, a snare drum sound.

8 ENSONIQ ASR-X Pro UserÕs Guide

Page 17

Tutorial

3. At the first beat after the countoff, play the pads as described above. The display will show you where you are in each measure, in bars and beats.

This shows the bar youÕre in This show which beat youÕre on

¦01 1 .04 DRUM-KIT:HeavyDrmKit

4. At the end of the second measure, press the Stop button.

Transport

Record Stop Play

Scoop Locate Top

Rew

YouÕve just recorded your first track in your first sequence.

F Fwd

TTTToooo PPPPllllaaaayyyy BBBBaaaacccckkkk aaaa SSSSeeeeqqqquuuueeeennnncccceeee TTTTrrrraaaacccckk

1. Hold down the Record button, press the Stop button, and then release both buttons to rewind to the top of the sequence.

TTTTiiiipppp:::: The Transport buttons perform many tasksÑsee Chapter 6 in the ASR-X Pro Reference

Manual to learn more.

2. Press the Play button. The track youÕve just recorded plays backÑthe sequence loops, playing your recording over and

over (this default sequence setting can be changed; see Chapter 6 in the ASR-X Pro Reference Manual).

3. Press the Stop button to end playback.

UUUUnnnnddddoo

For situations in which youÕve recorded something youÕd like to get rid of, or when youÕve done something to a track that you wish you hadnÕt done, the ASR-X Pro provides a handy Undo feature. As long as you havenÕt yet recorded other tracks or performed other procedures, you can undo whatever youÕve just done to a track.

TTTToooo UUUUnnnnddddoooo aaaa TTTTrrrraaaacccckk

1. Double-click the Sequence Process button.

Sequence

Select Edit Process

New Tap / Tempo Undo

The display shows:

The default name of the sequence youÕve been recording The location at which you stopped playback

SEQ00001 1.04 Undo track 1?

The No/Yes LEDs flash to indicate that youÕre being asked a question.

2. If youÕd like to undo your recording and try again, press the Yes button and repeat the steps in ÒTo Record a Sequence TrackÓ above. Press the No button if you're satisfied with your performance.

ENSONIQ ASR-X Pro UserÕs Guide 9

Page 18

Tutorial

CCCCoooorrrrrrrreeeeccccttttiiiinnnngggg tttthhhheeee TTTTiiiimmmmiiiinnnngggg ooooffff aaaa PPPPeeeerrrrffffoooorrrrmmmmaaaannnnccccee

A sequencer such as the one in the ASR-X Pro can correct timing inconsistencies in a recorded performanceÑthis process is called quantizing. The ASR-X Pro offers a sophisticated set of quantizing tools, as well as quantizing templates, in which common types of quantization are already preprogrammed, and that can hold your own favorite quantization settings.

TTTToooo QQQQuuuuaaaannnnttttiiiizzzzeeee aaaa TTTTrrrraaaacccckk

1. WeÕll be quantizing the just-recorded Track 1, which is therefore already selected. Normally, however, you'll want to make sure that the track you want to quantize is selected before proceeding.

2. Press the Sequence Process button. The display shows:

SEQ00001 1.01 Undo track 1?

In this case, you donÕt want to undo the track, so donÕt press the Yes button. The Undo function is only one of the track and sequence operations accessed by pressing the Sequence Process button.

3. Turn the Parameter knob clockwise until the display shows:

SEQ00001 1.01 Quantize track 1?

4. Press the Yes button. The display now shows:

Quantize track 1? Template=Strict 1/16

This display is presenting you one of the pre-programmed quantizing templates. However, the track youÕve recorded contains 1/4 notes, not 1/16th notes.

5. Turn the Value knob counter-clockwise to select the Strict 1/4 template.

6. Press the Yes button.

7. Play back your trackÑthe timing of the quarter notes in your track is now perfect.

8. Press the Stop button to end playback.

TTTTiiiipppp:::: To learn more about quantizing, see Chapter 6 of the ASR-X Pro Reference Manual.

AAAAddddddddiiiinnnngggg ttttoooo aaaannnn AAAAllllrrrreeeeaaaaddddyyyy----RRRReeeeccccoooorrrrddddeeeedddd TTTTrrrraaaacccckk

The ASR-X Pro sequencer provides a variety of recording modes, described fully in Chapter 6 of the ASRX Pro Reference Manual. These modes change the way in which the sequencer records what you play. In:

¥ Replace mode, what you record replaces anything already on the track. ¥ Add mode, what you record is added to whatÕs already on the track. In this way, you can build up

complex recordings, an element at a time.

¥ Step mode, you can enter notes or chords one at a time with the sequencer at rest. ¥ Track Mix allows you to record volume, panning and other track setting changes on a track. ¥ Final Mix lets you to record whole-sequence volume changesÑsuch as fade-outsÑ and tempo

changes.

Since youÕre in Add mode (itÕs the default setting), you can now add hihat 1/8th notes to your track.

1. Pressing the right-hand Octave Transpose button twice to aim the pads at HeavyDrmKitÕs second octave. Play the pads to locate a hihat sound you like.

2. Press the Record and Stop buttons to return to the beginning of the sequence.

3. Hold down the Record button, press Play and release both buttons when the countoff begins.

10 ENSONIQ ASR-X Pro UserÕs Guide

Page 19

Tutorial

4. Record 1/8th notes on the hihat to accompany the two measures of bass drum and snare.

5. Press the Stop button at the end of the second barÑin Add mode, recording continues until you press the Stop button.

6. Play back your track to hear the bass drum, snare and hihat playing together.

7. If youÕd like to redo the hihat, double-click the Sequence Process button, undo the track, and then record it again.

8. Correct the hihatÕs timing by repeating the steps in "Correcting the Timing of a Performance." YouÕll want to select the Strict 1/8th template this time, since you donÕt want your hihat 1/8th notes turned into 1/4 notes.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngggg..........

1. Press the left Octave Transpose button twice to re-direct the pads back to the lowest octave.

RRRReeeeccccoooorrrrddddiiiinnnngggg AAAAnnnnooootttthhhheeeerrrr TTTTrrrraaaacccckk

LetÕs record synth bass quarter notes on Track 2 to accompany the drums on Track 1. This time, however, donÕt record any notes during the first measureÑwait until Bar 2 to begin playing. You can use any of the pads to play your quarter notes.

1. Press the right-hand Select Track button to select Track 2.

2. Hold down Record, press Stop and let go of both buttons to make sure youÕre at the beginning of the sequence.

3. Record your bass part using the same technique you used on Track 1.

4. Once youÕre satisfied with your performance, quantize the track using the Strict 1/4 quantization template.

5. Play back your bass-and-drums sequence, and press the Stop button when youÕre done listening.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngggg..........

1. Locate and press the Sequence Edit button.

This button accesses various settings relating to the behavior of the sequence.

2. Turn the Parameter knob until the display shows:

Sequence

Select Edit Process

New Tap / Tempo Undo

The name of the sequence The current location in the sequence

SEQ00001 1.01 Loop Playback= On

3. Turn the Value knob counter-clockwise to turn the playback looping off.

AAAA FFFFeeeewwww FFFFiiiinnnnaaaallll SSSSeeeeqqqquuuueeeennnncccciiiinnnngggg TTTThhhhoooouuuugggghhhhttttss

The Sequence Select, Edit and Process buttons provide access to a wealth of tools used in sequencing, from the creation and selection of sequences, to all of the settings that establish your recording environment, to the various ways that recorded tracks and sequences can be manipulated and processed after recording. You can also chain sequences together to try out arrangements, and create songs as well. Sequencing is described in detail in Chapter 6 of the ASR-X Pro Reference Manual.

The Track buttonsÑSound, Edit and MuteÑprovide the means of setting up tracks and changing the way they play their sounds, changes you can make even as sequences play back. You can also mute and solo tracks using a highly musical Mute/Solo system. Chapter 2 in the ASR-X Pro Reference Manual is the place to go for information relating to tracks.

ENSONIQ ASR-X Pro UserÕs Guide 11

Page 20

Tutorial

EEEEffffffffeeeeccccttttss

The ASR-X Pro contains a powerful ENSONIQ ESP2 effect chip, capable of providing a variety of exceptional effects. Each sequence contains its own:

¥ insert effectÑAn insert effect is one of a collection of 40 high-quality effects. Insert effects handle a

wide range of processing jobs.

¥ global reverbÑThe global reverb in each sequence is intended as the all-purpose reverb youÕll use

for the sequenceÕs tracks. Each sequence can use any one of the eight global reverbs available.

SSSSeeeennnnddddiiiinnnngggg aaaa TTTTrrrraaaacccckkkk ttttoooo aaaannnn EEEEffffffffeeeecccctt

Tracks and their sounds are heard through one of their sequenceÕs effects when theyÕve been assigned to an effect bus, which routes the track to the effect you want. Each track has a parameter for this purpose. LetÕs change the effect through which weÕre hearing our bass.

1. Locate the Track Edit button.

2. Press the Track Edit button until the display shows:

Sound Edit Mute

¦02 BuzzSawBass FX Bus= LightReverb

Track

Mix / FX Bus

Solo

The currently selected effect bus

The FX Bus parameter assigns the selected track to an effect bus, and therefore, an effect. The values available for this parameter vary slightly, depending on what kind of sound is on the selected track, and whether or not youÕve added an X-8 output expander to your ASR-X Pro. You can select:

¥ ProgÑto retain each noteÕs individual effect bus in a kit sound. When a standard sound is on

the selected track, this setting causes the sound to use its Alt Bus setting, described in Chapter 4

of the ASR-X Pro Reference Manual. ¥ InsertÑto route the selected track and its sound to the sequenceÕs insert effect. ¥ LightReverbÑto apply a small amount of reverb to the trackÕs sound. ¥ MediumReverbÑto apply an average amount of reverb to the trackÕs sound. ¥ WetReverbÑto apply a large amount of reverb to the trackÕs sound. ¥ DryÑto leave the trackÕs sound un-effected. ¥ AuxOut1-4Ñto send the trackÕs sound out of one of the auxiliary output jacks provided by an

X-8 output expander. These values are only available when an output expander is installed.

3. Turn the Value knob to set the FX Bus parameter to each of the available settings, playing a few notes on the pads with each setting to hear how the bass sound changes.

4. Set the FX Bus parameter to ÒInsert.Ó

12 ENSONIQ ASR-X Pro UserÕs Guide

Page 21

Tutorial

CCCChhhhaaaannnnggggiiiinnnngggg aaaa SSSSeeeeqqqquuuueeeennnncccceeeeÕÕÕÕssss IIIInnnnsssseeeerrrrtttt EEEEffffffffeeeecccctt

Now that the bass is being sent to the sequenceÕs insert effect, letÕs find out what that effect is, and then change it.

1. Locate the Effects Select button.

2. Press the Effects Select button once. The display shows the sequenceÕs insert effect:

Effects

Select Edit

Bypass

Insert Effect= 20 DDLªChorus

3. Turn the Value knob to select different insert effects and play some notes on the pads to hear what they sound like.

NNNNooootttteeee:::: Insert effects sometimes take a few moment to be installed, or Òdownloaded.Ó

4. When youÕre done experimenting, select insert effect 25 Dist→Chorus.

Play a few notesÑthe bass has now become something rough and wide.

AAAA FFFFeeeewwww FFFFiiiinnnnaaaallll EEEEffffffffeeeecccctttt TTTThhhhoooouuuugggghhhhttttss

A sequenceÕs global reverb can be selected in the same way as its insert effect (press the Effects Select button a second time to view the global reverb selection page). The ASR-X Pro effects provide a wide selection of parameters that let you get each effect sounding just the way you want it toÑthese parameters can be accessed by pressing the Effects Edit button, selecting the appropriate question and pressing the Yes button.

Effect selection and editing is described in Chapter 4 of the ASR-X Pro Reference Manual. For a listing of the insert effects and their parameters, see ÒInsert Effect ParametersÓ later in the UserÕs Guide.

SSSSaaaammmmpppplllliiiinnnngggg////RRRReeeessssaaaammmmpppplllliiiinnnngg

The ASR-X Pro captures audio using a process called sampling, which is another term for digital recording. When you sample in the ASR-X Pro, you create a wave, or if youÕve sampled in stereo, a pair of waves. The ASR-X Pro creates a sound based on each wave (or pair of waves) you create, and when you play that sound, you play the wave.

The ASR-X Pro can sample audio that you feed it through its rear-panel Audio Input jacks, or it can resample sounds and sequences from the ASR-X Pro itselfÑor both sources at once. In addition, you can set up the ASR-X Pro to automatically begin sampling when it ÒhearsÓ audioÑa feature weÕll try out in the following tutorial.

NNNNooootttteeee:::: The techniques for sampling and resampling are the sameÑthe only difference is the source

of the audio being sampled.

RRRReeeessssaaaammmmpppplllliiiinnnngggg aaaa BBBBeeeeaaaatt

Remember that youÕre always on a track in the ASR-X Pro. This is even true when you sample or resample. So that we donÕt get in the way of the tracks weÕve recorded, letÕs select an unused track to begin.

1. Press the right-hand Select Track button to select Track 3.

ENSONIQ ASR-X Pro UserÕs Guide 13

Page 22

Tutorial

YouÕre going to be putting the samples you create into one of the kit sounds, so letÕs select one that weÕre not already using in our sequence.

2. Turn the Sound Type knob to select the DRUM-KIT SoundFinder category, and turn the Sound Name knob to select Dance Kit.

3. Hold down the Record button, press the Stop button, and then release both buttons to make sure that weÕre at the beginning of our sequence.

4. Locate and press the Resampling Setup button.

Resampling

Setup

Send

To Pad(s)

Start

Stop

Scratch Pad™

5. Turn the Parameter knob until the display shows:

Meter: Trig= ¼

This is where you can set a level that determines how loud audio has to be to cause the ASR-X Pro to begin sampling. This is referred to as the trigger threshold.

6. Turn the Value knob counter-clockwise to move the level indicator as far leftward as it will go. The farther to the left the indicator is set, the quieter the audio that will cause sampling to begin.

7. Turn the knob the other way to move the indicator to the right by one position.

8. Locate the Resampling Start/Stop button.

Resampling

Setup

Send

To Pad(s)

Start

Stop

Scratch Pad™

9. Press the Resampling Start/Stop button once. The display shows ÒWaiting for triggerÓ on its top line, since the ASR-X Pro is waiting to hear some

audio before it starts sampling.

10. Press the Transport Play button to play the sequence. On the display, youÕll see ÒSampling In ProgressÓ to show that youÕre now sampling.

14 ENSONIQ ASR-X Pro UserÕs Guide

Page 23

Tutorial

11. When the sequence ends, press the Sample Start/Stop button again to stop sampling. YouÕve just created a stereo sample thatÕs capturedÑas a pair of wavesÑthe sequence you recorded

earlier. Whereas a sequence is just MIDI data, sampling records the sound that MIDI data produces. The waves are in the Scratch Pad, which you can now play to hear what youÕve resampled.

12. The display is showing:

C2...0oct..C3 SendTo Pads?

At this point, you must send the waves to one or more pads in a drum kit in order to fully use and edit what youÕve sampled.

13. Strike the lowest pad. The ASR-X Pro takes this to mean that you want to play your waves from that pad. The display shows the pad youÕve hit.

C2...0oct..C3 SendTo ¼ Pads?

This pad symbol represents the pad you hit

14. Strike the middle pad and the highest padÑthe waves will be assigned to three pads, as shown on the display.

C2...0oct..C3 SendTo ¼ » ¼ Pads?

iii

All three pads you hit are now shown on the display

TTTTiiiipppp:::: You can un-select a pad by hitting it a second time, but for the purposes of the tutorial, you

do want the waves sent to all three of the pads youÕve hit.

TTTTiiiipppp:::: Though you shouldnÕt do this for the tutorial, you can use the Octave Select buttons to send

your waves to a pad in any octave.

15. Press the Yes button to send the waves to the three pads.

16. Play the pads, youÕll hear what youÕve sampled on the three pads you selected, and other elements of Dance Kit on the other pads.

WWWWhhhhaaaatttt HHHHaaaappppppppeeeennnneeeedddd WWWWhhhheeeennnn WWWWeeee SSSSeeeennnntttt tttthhhheeee WWWWaaaavvvveeeessss ttttoooo tttthhhheeee PPPPaaaaddddssss??

AAAA RRRRAAAAMMMM KKKKiiiitttt wwwwaaaassss CCCCrrrreeeeaaaatttteeeedd

When you send waves to pads, those pads have to be in a sound that can accept them. Since all of the sounds built into your ASR-X Pro are permanently stored in ROM, none of them qualifyÑtheyÕre unchangeable. As a result, when you try to send waves into a ROM soundÑif thatÕs whatÕs on the currently selected trackÑthe ASR-X Pro makes an editable copy of the sound, into which you can send your waves. Such a sound is called a RAM (for Òrandom access memoryÓ) sound, since thatÕs where all editable items are stored in the ASR-X ProÕs memory.

Kit sounds are ideal for sending waves into, since in kit sounds, each pad can have its own sound. If you try to send waves into a sound thatÕs not a kit, the ASR-X Pro turns it into oneÑin such a kit, each pad will play a different pitch of the original sound.

Therefore, when you send waves into a sound, it has to be a RAM kit soundÑif itÕs not, the ASR-X Pro automatically makes a RAM kit copy of the sound on the currently selected track. In our tutorial, thatÕs just what happened. Dance Kit was a ROM sound, so the ASR-X Pro created a RAM kit copy of it that could accept your waves.

ENSONIQ ASR-X Pro UserÕs Guide 15

Page 24

Tutorial

Press the Track Sound button to see whatÕs on Track 3 nowÑitÕs a sound called DanceKit_01. When the ASR-X Pro makes a RAM kit copy of a sound, it names the copy after the original, adding a number onto it (if necessary, it automatically abbreviates the name of the original ROM sound).

SSSSoooouuuunnnnddddssss WWWWeeeerrrreeee CCCCrrrreeeeaaaatttteeeedddd tttthhhhaaaatttt PPPPllllaaaayyyy tttthhhheeee WWWWaaaavvvveeeess

When you sent your waves to pads, the ASR-X Pro created a standard sound in RAM that plays the waves. For each pad to which you sent the waves, it also created a copy of that sound. This allows each pad to play the waves in its own individual way, as youÕll see in a few moments. LetÕs take a look at all of these new standard sounds that have been created.

Turn the Sound Type knob to select the *CUSTOM SoundFinder category. If necessary, turn the Sound Name knob all the way counter-clockwise so that the sound SMPL1 is displayed. This is the standard sound created when you sent your wave to pads. Each such sound is assigned a numberÑif you were to sample something else and send it to pads, its standard sound would be called ÒSMPL2.Ó

Turn the Sound Name knob clockwiseÑnow you can see SMPL1_01, SMPL1_02 and SMPL1_03, the three copies of SMPL1 that are played by the three pads in DanceKit_01. You can see that the copies of SMPL1 retain its name and are numbered.

TTTTiiiipppp:::: You can use the Memory Manager to rename sounds in RAM. See Chapter 7 of the ASR-X

Pro Reference Manual.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngg

1. Go back to the DRUM-KIT SoundFinder category and select DanceKit_01.

AAAA FFFFeeeewwww FFFFiiiinnnnaaaallll SSSSaaaammmmpppplllliiiinnnngggg////RRRReeeessssaaaammmmpppplllliiiinnnngggg TTTThhhhoooouuuugggghhhhttttss

The ASR-X ProÕs sampling/resampling features are designed to be easy and fun to use. To learn about sampling/resampling other kinds of audio, auto-normalization, the different trigger modes, using the rear-panel Audio Inputs and more, see Chapter 5 of the ASR-X Pro Reference Manual.

EEEEddddiiiittttiiiinnnngggg SSSSaaaammmmpppplllleeeedddd WWWWaaaavvvveeeess

All wave editing in the ASR-X Pro occurs in the Pads section of the front panel. LetÕs tie together what weÕve just discussed by pressing the Pad Sound button to see what sound each pad in DanceKit_01 is playing.

VVVViiiieeeewwwwiiiinnnngggg PPPPaaaadddd SSSSoooouuuunnnnddddss

1. Locate and press the Pad Sound button.

When youÕve pressed the Pad sound button, you can hit the pads to see the sounds theyÕre playing.

TTTTiiiipppp:::: If the pads youÕre viewing are part of a RAM kit, you canÑbut donÕt, for the tutorialÑselect

a new sound for each pad when this display is visible.

16 ENSONIQ ASR-X Pro UserÕs Guide

Pad

Sound Edit Process

Loop / Filter

Stomp !

Page 25

2. Play the lowest pad. The display shows:

The pad youÕve selected The currently selected track

padC2 ¦03 RAM00:002 *CUSTOM : SMPL1_01

The sound being played by the pad

As you might expect, this padÑthe first pad to which you sent your wavesÑis playing the first copy of SMPL1: SMPL1_01.

3. Hit the other two pads to which you sent wavesÑthey play SMPL1_02 and SMPL1_03.

4. You can check out the sounds being played by the other pads in DanceKit_01, if you like.

Tutorial

EEEEddddiiiittttiiiinnnngggg PPPPaaaadddd SSSSoooouuuunnnnddddss

1. Hit the lowest padÑweÕre going to edit SMPL1_01.

2. Locate and press the Pad Edit button.

3. Turn the Parameter knob until the display shows:

The pad whose sound youÕre editing The sound being edited

Sound Edit Process

Pad

Loop / Filter

Stomp !

C2 WAVE SMPL1_01 PlayMode=OnceForward

The PlayMode parameter determines how the selected soundÑin this case, SMPL1_01Ñwill play the waves on which itÕs based. It can be set to:

¥ OnceForwardÑso that the wave will play through once and stop. ¥ OnceBackwrdÑso that the wave will play backwards once and stop. ¥ LoopForwardÑso that the wave will play forwards over and over again. ¥ LoopFwd&BwdÑso that the wave will play once forward, then play backwards, then forward

again, over and over.

4. Turn the Value knob clockwise to set PlayMode to LoopForward.

5. Turn the Parameter knob clockwise one tick so that the display shows the Start/Loop parameter. On this single page, you can dial in a coarse setting for the:

¥ sample startÑthe location from which the wave will play when you strike a pad. ¥ loop startÑthe location from which the wave will start playing again when it loops around if

PlayMode is set to LoopForward or LoopFwd&Bwd.

¥ loop endÑthe point at which the wave will return to loop start when PlayMode is set to

LoopForward or LoopFwd&Bwd. When the wave is not set to loop, loop end functions as sample end, determining where the wave will stop playing.

All of the above are expressed on this display as percentages of the entire wave.

TTTTiiiipppp:::: Though you donÕt need them for this tutorial, sample start, loop start and loop end all have

fine adjustments that you can use to find perfect loop settings when working on your music.

ENSONIQ ASR-X Pro UserÕs Guide 17

Page 26

Tutorial

C2 WAVE SMPL1_01 Start/Loop= 0 0 00 99%

jip

Sample Start Loop start Loop end

Since you sampled using the threshold trigger, the sample and loop start settings should already be set properly for what weÕre about to do.

6. Turn the Parameter knob so that the loop end field is underlined, which means itÕs selected for editing.

7. Press and hold down the lowest pad, and turn the Value knob to find a setting for loop end that causes the wave to return smoothly to its beginning after the four bass notes. The auto-zero cross feature offers you locations within the wave that are likely to result in satisfactory loops.

YouÕve just made your first ASR-X Pro loop.

8. Make note of your loop end settingÑyouÕll need it again in a moment (write it down, if youÕve got paper handy).

9. Press the middle pad, and if necessary, turn the Parameter knob until the PlayMode parameter is displayed:

The pad whose sound youÕre editing The sound being edited

F#2 WAVE SMPL1_02 PlayMode=OnceForward

Notice how the display is now showing that weÕre working with a new pad, and a new sound: SMPL1_02.

10. Turn the Value knob to set PlayMode for this padÕs sound to LoopForward as well.

11. Turn the Parameter knob so that the Start/Loop settings are displayed, and the loop end value is underlined.

12. Set loop end to the same setting you used with SMPL1_01.

13. Turn the Parameter knob counter-clockwise to underline the sample start field.

14. Set sample start to half the setting of loop end.

15. Hit and hold down the middle padÑthe wave now starts playing halfway through, when the bass comes in, and then starts over again from the beginning. YouÕve turned the beat around by setting sample start later than the loop start.

16. Hit and hold the lowest padÑitÕs still playing the whole wave. You can do this because each pad is playing its own sound, and weÕve been editing those sounds,

not the wave itself. LetÕs do one more.

17. Press the highest pad and set its PlayMode parameter to OnceForward.

18. Turn the Parameter knob to display the Start/Loop parameter.

19. By adjusting the sample start and loop end settings, grab a single bass/bass drum hit.

20. When youÕre done, you can play all three pads to hear three different edits of your sampled waves. DonÕt forget: youÕve also got all of the other pads in DanceKit_01 to jam with. If you want, you can

record your jam into the sequencer and resample the whole thing all over again. And on and on....

AAAA FFFFeeeewwww FFFFiiiinnnnaaaallll WWWWaaaavvvveeee EEEEddddiiiittttiiiinnnngggg TTTThhhhoooouuuugggghhhhttttss

The Pad buttons offer a great selection of tools for processing your waves, including bit reduction for that ratty sound, and a special warp volume scaling feature. Under the Pad Edit button, youÕll find an amazing collection of parametersÑincluding resonant filtersÑthat will let you shape your waves into most anything you can imagine. The pads and all of the things you can do to the sounds they play are described in detail in Chapter 3 of the ASR-X Pro Reference Manual.

18 ENSONIQ ASR-X Pro UserÕs Guide

Page 27

Tutorial

SSSSaaaavvvviiiinnnngggg YYYYoooouuuurrrr MMMMuuuussssiiiicccc ttttoooo aaaa FFFFllllooooppppppppyyyy DDDDiiiisssskk

You can save your work to any writable SCSI device or to the ASR-X ProÕs built-in floppy drive, which can write and read files to and from standard 3.5Ó high-density or 3.5Ó double-density floppy disks. Since the ASR-X Pro uses a DOS-based format, its floppy disks can be read by any Macintosh or PC-compatible computer. ASR-X Pro sequences are saved to floppy as Standard MIDI Files that can be played by any sequencer or sequencing program that can accommodate SMFs. ASR-X Pro waves are saved to disk as AIF files so that they can be edited by most major sound-editing programs.

The easiest way to save your ASR-X Pro music is to save an ALL-SESSION file. ALL-SESSION files save all of the sounds and waves in RAM and all of your sequencesÑthey even save your System/MIDI, Resampling Setup and sequencer Click settings, and be automatically loaded when you power up.

ASR-X Pro floppy and SCSI disk operations are described in detail in Chapter 7 of the ASR-X Pro Reference Manual.

Before you can save anything to floppy, the disk must be formatted. You can format the floppy on a computer or, if youÕre using a high-density disk, on the ASR-X Pro.

Note: In order to be formatted or written to, a floppy must not be write-protected. The sliding window on its lower edge should be in the closed position.

FFFFoooorrrrmmmmaaaattttttttiiiinnnngggg aaaa FFFFllllooooppppppppyy

1. Insert a fresh 3/5Ó high-density floppy disk into the ASR-X Pro disk drive label-side up, as shown:

As you insert the disk into the driveÕs slot, stop pushing it in when itÕs seated in the drive mechanismÑyou can usually feel when this occurs.

2. Locate and press the System/MIDI button.

Disk / Global

Load Save System

Save AllAll Notes Off MIDI

3. Turn the Parameter knob until the display shows:

System/MIDI Access disk utils?

4. Press the Yes button.

ENSONIQ ASR-X Pro UserÕs Guide 19

Page 28

Tutorial

The display shows:

Select device? Floppy Disk

This display allows you to choose the storage deviceÑyour floppy drive or any attached SCSI deviceÑwith which you want to work.

5. Since we want to use the floppy drive in the tutorial, press the Yes button. The ASR-X Pro takes a few moments to load the floppyÕs directory.

6. If necessary, turn the Parameter knob until the display shows:

Disk Utilities: Format floppy disk?

7. Press the Yes button.

8. The ASR-X Pro asks you to again if you want to format the disk, since doing so will permanently erase any files currently on the disk.

9. Press the Yes button if youÕre prepared to format the floppy. The formatting process takes a minute or so. When the ASR-X Pro is finished formatting the disk,

the ASR-X Pro will briefly display ÒFormat successful!Ó If thereÕs a problem with the floppy, the ASR-X Pro will display a message telling you so.

SSSSaaaavvvviiiinnnngggg aaaannnn AAAALLLLLLLL----SSSSEEEESSSSSSSSIIIIOOOONNNN FFFFiiiillllee

1. Locate and press the Disk/Global Save button.

2. If necessary, turn the Parameter knob until the display shows:

Disk / Global

Load Save System

Save AllAll Notes Off MIDI

Save to disk? ALL-SESSION: S ESSION

The type of file to be saved The name of the file to be saved

By turning the Parameter knob you can select the different types of file that can be saved to disk. For this tutorial, you want to save an ALL-SESSION file, as shown.

TTTTiiiipppp:::: ThereÕs a faster way to jump to this Save ALL-SESSION display: simply double-click the

Disk/Global Save button. WeÕve used the longer method in Steps 1 and 2 to help you become familiar with the procedure for saving files of all types.

You can assign an eight-character name for your ALL-SESSION file. Each of the eight character positions can be selectedÑit will be underlinedÑand the desired character dialed in. LetÕs name this file ÒMYFIRSTÓ to get a sense of how files are named.

Since the first ÒSÓ in ÒSESSIONÓ is already underlined, itÕs selected for editing.

3. Turn the Value knob to dial in an ÒMÓ as the ALL-SESSION file nameÕs first character.

4. Press the right-hand Select Track button to underlineÑand selectÑthe second character position for editing.

5. Turn the Value knob to dial in a ÒY.Ó

6. Repeat Steps 4 and 5 until youÕve named the file.

7. When youÕre done, press the Yes button.

20 ENSONIQ ASR-X Pro UserÕs Guide

Page 29

Tutorial

Saving an ALL-SESSION file can take a few minutes, since itÕs saving so many things. In our tutorial, itÕs saving the following separate files. ItÕs saving:

¥ all of the sounds you created in RAMÑDanceKit_01, SMPL1, SMPL1_01, SMPL1_02 and

SMPL1_03. ¥ the waves you sampled. ¥ the current System/MIDI setup. ¥ a sequence bank containing your sequence. ¥ an ALL-SESSION file to keep track of all of the above files. When the ALL-SESSION file has been saved, the ASR-X Pro returns to the display shown in Step 2,

with ÒMYFIRSTÓ now shown as the file name.

BBBBeeeeffffoooorrrreeee PPPPrrrroooocccceeeeeeeeddddiiiinnnngggg..........

Since everything youÕve done has been saved to floppy, you can safely turn off your ASR-X Pro and restore your music whenever you power it back up. In fact:

1. Turn off your ASR-X Pro.

2. Turn it back on.

LLLLooooaaaaddddiiiinnnngggg aaaannnn AAAALLLLLLLL----SSSSEEEESSSSSSSSIIIIOOOONNNN FFFFiiiillllee

Since everything you do in the ASR-X Pro is stored in its RAMÑand RAM is cleared when you power downÑyour ASR-X Pro no longer holds anything youÕve done in the tutorial. You can press the Track Sound button, select the *CUSTOM SoundFinder category and look for your sounds, or press the Transport Play button to play the sequence to verify thisÑthereÕs nothing there. LetÕs load it all back in.

1. Locate and press the Disk/Global Load button.

After the ASR-X Pro loads the floppyÕs directory, the display shows:

Disk / Global

Load Save System

Save AllAll Notes Off MIDI

Load from disk? ALL-SESSION:MYFIRST

ThereÕs our ALL-SESSION file.

2. Turn the parameter knob to see all of the different types of files that were saved when you saved the ALL-SESSION file.

NNNNooootttteeee:::: You wonÕt see the sequence bank file, since itÕs a type of file that can only be loaded as part

of an ALL-SESSION load.

3. Select the ALL-SESSION file.

4. Press the Yes button. The ASR-X Pro loads everything youÕve done back into your ASR-X Pro. Start by playing the

currently selected sequence, and then press the Track Sound button and check out the sounds in the *Custom SoundFinder category, as well as DanceKit_01Ñfrom the DRUM-KIT category.

TTTThhhheeee EEEEnnnndd

ENSONIQ ASR-X Pro UserÕs Guide 21

Congratulations! You completed the ASR-X Pro UserÕs Guide tutorial. YouÕre well on your way to many enjoyable sessions with this portable groovestation. DonÕt forget to check out the ASR-X Pro Reference Manual, where all the details liveÑthe ASR-X Pro is a powerful little machine and the Reference Manual is the key to harnessing all the musical muscle now at your fingertips.

Page 30

Page 31

List of ROM Sounds

LLLLiiiisssstttt ooooffff RRRROOOOMMMM SSSSoooouuuunnnnddddss

The following is a list of all of the sounds built into the ASR-X Pro.

ROM08:000 Thump Kick

ROM08:001 Muff Kick

ROM08:002 Tite Kick

ROM08:003 808 Kick

ROM08:004 AmbientKick

ROM08:005 Electro Kik

ROM08:006 Wolf Kick

ROM08:007 2001 Kick

ROM08:008 Cosmo Kick

ROM08:009 Bang Kick

ROM08:010 PZ Kick

ROM08:011 Wild Kick

ROM08:012 Snick Kick

ROM08:013 WooBox Kick

ROM08:014 RapBoomKick

ROM08:015 BBM Kick

ROM08:019 SideStick 1

ROM08:020 SideStick 2

ROM08:021 Chill Snare

ROM08:022 Big RockSnr

ROM08:023 Jamm Snare

ROM08:024 Wolf Snare

ROM08:025 Gated Snare

ROM08:026 Live Snare

ROM08:027 Spak Snare

ROM08:028 Ludwig Snr

ROM08:029 Real Snare

ROM08:030 Classic Snr

ROM08:031 909 Snare

ROM08:032 808 Snare

ROM08:033 Brush Slap

ROM08:034 Clean Snare

ROM08:035 Cosmo Snare

ROM08:036 House Snr 1

ROM08:037 House Snr 2

ROM08:038 House Snr 3

ROM08:039 Bang Snare

ROM08:040 Slang Snare

ROM08:041 Zee Snare

ROM08:042 Mutt Snare

ROM08:043 Rimshot

ROM08:047 Studio Tom

ROM08:048 Rock Tom

ROM08:049 909 Tom

ROM08:050 808 Tom

ROM08:052 Studio Hat

ROM08:053 Tight Hat

ROM08:054 Techno Hat

ROM08:055 Smack Hat

ROM08:056 Snick Hat

ROM08:057 PZ Hat

ROM08:058 Compresd Ht

ROM08:059 808 Hat Cl

ROM08:060 909 Hat Cl

ROM08:061 R&B Hat Cl

ROM08:062 Trance Hat

ROM08:063 CR78 Hat

ROM08:064 Pedal Hat

ROM08:068 Compr OpnHt

ROM08:069 StudioOpHt1

ROM08:070 StudioOpHt2

ROM08:071 808 OpenHat

ROM08:072 909 OpenHat

ROM08:073 CR78-O-Hat

ROM08:077 CrashCymbal

ROM08:078 RideCymbal

ROM08:079 Ride Bell

ROM08:080 China Crash

ROM08:084 Rap Clap

ROM08:085 808 Clap

ROM08:086 808 Rimshot

ROM08:087 808 Cowbell

ROM08:088 808 Clave

ROM08:090 Tamb. Down

ROM08:091 Tamb. Up

ROM08:092 Triangle Cl

ENSONIQ ASR-X Pro UserÕs Guide 23

Page 32

Tutorial

ROM08:093 Triangle Op

ROM08:094 AfroCowbell

ROM08:095 Agogo

ROM08:096 Bongo

ROM08:097 Conga Slap

ROM08:098 Conga Mute

ROM08:099 Conga Hi

ROM08:100 Conga Lo

ROM08:101 Timbale Hi

ROM08:102 Timbale Lo

ROM08:103 Timbale Rim

ROM08:104 Cabasa

ROM08:105 Maracas

ROM08:106 Shaker

ROM08:107 Shekere Up

ROM08:108 Shekere Dn

ROM08:109 Guiro Long

ROM08:110 Guiro Short

ROM08:111 Vibraslap

ROM08:112 Clave

ROM08:113 Woodblock

ROM08:114 Stick Click

ROM08:115 Cuica

ROM08:116 Gt. SlideDn

ROM08:117 Scratch 1

ROM08:118 Scratch 2

ROM08:119 Scratch 3

ROM08:120 Scratch 4

ROM08:121 Scratch 5

ROM08:122 Scratch 6

ROM08:123 Scratch Lp

ROM08:124 Whistle 1

ROM08:125 Whistle 2

ROM08:126 Hiss

ROM09:000 Poppy Piano

ROM09:001 Digby Piano

ROM09:002 Clavinot

ROM09:003 Orgcussion

ROM09:004 NewOrgleans

ROM09:005 Snare-Imba

ROM09:006 NaturalBass

ROM09:007 Less Frets

ROM09:008 SlapYo'Self

ROM09:009 BuzzSawBass

ROM09:010 Sweep Bass

ROM09:011 Snot-T-Bass

ROM09:012 Barkin'Bass

ROM09:013 RaveTheWave

ROM09:014 TiteÕTÕBass

ROM09:015 Snoot Guit

ROM09:016 Classic Syn

ROM09:017 Squared Off

ROM09:018 Cat's Meow

ROM09:019 Sin-Stringz

ROM09:020 String Hit

ROM09:021 Horn Hit

ROM09:022 Sax Hit

ROM09:023 Raunch Hit

ROM09:024 Clangerous

ROM09:025 Spackle Me

ROM09:026 The Birds !

ROM09:027 Noise Sync

ROM09:028 SyncÕOÕGoob

ROM10:000 Gizmo Kit

ROM10:001 Dance Kit

ROM10:002 HeavyDrmKit

ROM10:003 Big Kit

ROM10:004 Rock Kit

ROM10:005 Ol'SkoolKit

ROM10:064 GM Kit

ROM10:127 Silence

ROM11:000 Vintg Bs 1

ROM11:001 Vintg Bs 2

ROM11:002 Vintg Bs 3

ROM11:003 Vintg Bs 4

ROM11:004 Vintg Bs 5

ROM11:005 Snappy Bass

ROM11:006 Bubbly Bass

ROM11:007 Vel Wow Bs

ROM11:008 BowWow Bass

ROM11:009 TB Tech Bs

ROM11:010 Sqr Whl Bs

24 ENSONIQ ASR-X Pro UserÕs Guide

Page 33

List of ROM Sounds

ROM11:011 Bass Line

ROM11:012 Mono Boy

ROM11:013 PaddedEPno

ROM11:014 CheapoOrgan

ROM11:015 Slo Pad

ROM11:016 BandPassPad

ROM11:017 Snappy Pad

ROM11:018 Square Pair

ROM11:019 ThruThePass

ROM11:020 Slow HiPass

ROM11:021 Xtra Xtra

ROM11:022 Drippy

ROM11:023 Wheel Works

ROM11:024 Slumber

ROM11:025 Cyclon

ROM11:026 Wheel It In

ROM11:027 Planet X

ROM11:028 Odd-A-Sea

ROM11:029 Xpose'

ROM11:030 Top Secret

ROM11:031 Square Deal

ROM11:032 PS HarmLead

ROM11:033 Dual Pad

ROM11:034 Padded Cell

ROM11:035 Mellow Pad

ROM11:036 Brassy Saw

ROM11:037 Poly Pad

ROM11:038 Hol O'Lead

ROM11:039 PS Harm Sqr

ROM11:040 PS HarmMono

ROM11:041 Sigh-o-Nara

ROM11:042 WHL Swept

ROM11:043 Padly

ROM11:044 Sync2Wheel

ROM11:045 Chord Pulse

ROM11:046 Techno Sync

ROM11:047 Sweep Sync

ROM11:048 In Time...

ROM11:049 Auto Jam

ROM11:050 R. Peggio

ROM11:051 C Quencer

ROM11:052 Thing Pad

ROM11:053 Step Pad

ROM11:054 Tightwad

ROM11:055 Quasar

ROM11:056 Synced Fltr

ROM11:057 Trill It

ROM11:058 Pulsar

ROM11:059 1 FingerSeq

ROM11:060 Water Drops

ROM11:061 Pan Bells

ROM11:062 'D'-X-Flies

ROM11:063 Spacey S/H

ROM11:064 S/H Dance

ROM11:065 S/H Fltr 1

ROM11:066 NoiseGroove

ROM11:067 SickPercEFX

ROM11:068 Sci-Fi

ROM11:069 Hissy Fit

ROM11:070 Junk Box

ROM11:071 MonsterSnak

ROM11:072 Arcade

ENSONIQ ASR-X Pro UserÕs Guide 25

Page 34

Page 35

Insert Effect Parameters

IIIInnnnsssseeeerrrrtttt EEEEffffffffeeeecccctttt PPPPaaaarrrraaaammmmeeeetttteeeerrrrss

The following pages list all of the ASR-X ProÕs Insert effects and their parameters. To learn how to select and edit Insert effects, see Chapter 4 of the ASR-X Pro Reference Manual.

00001111 PPPPaaaarrrraaaammmmeeeettttrrrriiiicccc EEEEQQ

The Parametric EQ insert effect offers a minimum phase, four-band parametric EQ.

PPPPaaaarrrraaaammmmeeeetttteeeerr

EQ Input Off, -49.5dB to +24dB Adjusts the input level trim to the EQs to eliminate the

LoShelf Fc 10Hz to 20.0kHz Sets the center of the low frequency EQ. LoShelf Gain Off, -49.5dB to +24dB Sets the amount of boost or cut applied to this low

Mid 1 Fc 10Hz to 20.0kHz Sets the center of the mid frequency parametric. Mid 1 Q 1.0 to 40.0 Bandwidth control that determines the width of the

Mid 1 Gain Off, -49.5dB to +24dB Sets the amount of boost or cut applied to this mid

Mid 2 Fc 10Hz to 20.0kHz Identical to the Mid 1 Fc parameter, and is used to

Mid 2 Q 1.0 to 40.0 Identical to the Mid 1 Q parameter, and is used to

Mid 2 Gain Off, -49.5dB to +24dB Identical to the Mid 1 Gain parameter, used to control

HiShelf Fc 10Hz to 20.0kHz Sets the center frequency of the high frequency shelf. HiShelf Gain Off, -49.5dB to +24dB Sets the amount of boost or cut applied to this high

EQ Output Off, -49.5dB to +24dB Controls the gain coming out of the parametric EQ.

RRRRaaaannnnggggee

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

possibility of clipping boosted signals.

frequency shelf.

resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. By raising the value, you can produce a narrower bandwidth.

frequency parametric.

control different bandwidths within the mid range.

different bandwidths within the mid range.

frequency shelf.

00002222 HHHHaaaallllllll RRRReeeevvvveeeerrrrbb

00003333 LLLLaaaarrrrggggeeee RRRRoooooooomm

00004444 SSSSmmmmaaaallllllll RRRRoooooooomm

Hall Reverb is a large acoustic space, and provides a high density reverb. Large Room reverb provides ambience, and Small Room reverb simulates the ambience and shorter decay times of a small space.

PPPPaaaarrrraaaammmmeeeetttteeeerr

Decay 0sec to 10.0sec Controls the amount of time it takes for the

LF Decay -99% to +99% Functions as a tone control and boosts (when set to a

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

ENSONIQ ASR-X Pro UserÕs Guide 27

RRRRaaaannnnggggee

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

reverberation to decay to a very low level after the input signal stops. Higher values are recommended for the hall reverb.

positive value) or cuts (when set to a negative value) the rate at which low frequencies will decay.

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 gradually filter out (dampen) more and more high frequency energy.

Page 36

Insert Effect Parameters

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth acts as a low pass filter

Primary Send -99% to +99% Controls the level of the diffused input signal into the

Diffusion 1 0 to 100 Smears the input signal transients, to diffuse and

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate at which echo density is increased with

Detune Rate 0.00Hz to 1.54Hz Controls the LFO rate of detuning introduced into the

Detune Depth 0% to 100% Controls the depth of the detuning, that is, how much

PreDelay 0 to 36ms Controls the amount of time it takes for the original

ER 1 Time 0 to 112ms Controls the delay time for the first pre-echo. Pre-echoes

ER 1 Send -99% to +99% Controls the level of the first pre-echo, with the echo

ER 1 Level -99% to +99% Controls the level of the first pre-echo. This pre-level

ER 2 Time 0 to 112ms Controls the delay time for the second pre-echo. ER 2 Send -99% to +99% Controls the level of the second pre-echo, with the echo

ER 2 Level -99% to +99% Controls the level of the second pre-echo. As a signal

Position 1 Position 2 Position 3

Output Bal Full <L to Full >R Controls the left/right stereo balance of the reverb

-99% to +99%

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.

reverb definition.

smooth the sound. Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding with fewer discrete echoes). We recommend settings of 50 for starters.

performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate.

reverberation decay. Detuning creates a slight oscillating pitch shift into the decay, giving it a more natural sound by breaking up resonant nodes.

the pitch will change. Low values yield a metallic sound. Some sounds may require very low values, while others sound more natural with higher values.

signal to be presented to the reverb. Higher values denote a longer delay.

are the first sounds reflected back from the walls or reflective ÒliveÓ surfaces. Higher values delay the diffused signal more.

routed directly to the output. The sign denotes the phase of the echo.

controls the echo send to the Definition.

routed directly to the output.

continues to bounce off the different reflective surfaces (walls), it decreases in volume. Set this parameter to a lower value than Ref 1 Level, in order to create a natural sounding echo.

These parameters simulate the depth of the hall. Think of them as three different microphones placing at various distances within the hall (Position 1 is closest to the front, and Position 3 is farthest from the front). When the range (volume) is higher for Position 1, the sound appears closer to the front, whereas a higher setting for Position 3 appears farther from the front, suggesting a deeper (wetter) hall. The sign denotes the phase of the echo.

signal.

28 ENSONIQ ASR-X Pro UserÕs Guide

Page 37

Insert Effect Parameters

00005555 LLLLaaaarrrrggggeeee PPPPllllaaaattttee

00006666 SSSSmmmmaaaallllllll PPPPllllaaaattttee

A plate reverb takes the vibrations from a metal plate and uses them to create a metallic sounding reverb. Large plate reverbs are often used to enhance a vocalistÕs performance, and small plate reverbs are often used in the studio for drums and percussion.

PPPPaaaarrrraaaammmmeeeetttteeeerr

Decay 0sec to 10.0sec Controls the amount of time it takes for the

HF Damping 100Hz to 21.2kHz Increasing the value of this parameter will gradually

HF Bandwidth 100Hz to 21.2kHz This parameter acts as a low pass filter on the output of

Diffusion 1 0 to 100 Smears the input signal to create a smoother sound.

Diffusion 2 0 to 100 This diffuser, similar to and in series with the previous

Definition 0 to 100 Controls the rate at which echo density increases with

PreDelay 0 to 36ms Controls the amount of time it takes for the input signal

ER 1 Level ER 2 Level ER 3 Level ER 4 Level

Output Bal Full <L to Full >R Controls the left/right stereo balance of the plate reverb

RRRRaaaannnnggggee

-99% to +99%

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

reverberation to decay away to a very low level after the input signal stops. High values of decay sound good on plate reverbs.

filter out increasing amounts of high frequency energy. Higher values yield an abrupt decay. This parameter controls the cut off of a low pass filter in series with the decay within the definition.

the plate reverbs, controlling the amount of high frequencies present. The higher the setting, the more high frequencies are allowed to pass through, offering a brighter ringing sound. Some interesting effects can be created by using a mod controller over a large range.

Lower values will cause impulse sounds to appear as a series of discrete echoes, while higher values tend to increase the smear, making the echoes less apparent.

one, offers control over lower frequency ranges. Plate reverbs tend to sound metallic, and the diffusers help to smear the signal, eliminating the metallic sound.

time. Higher values can cause the echo density to build at a rate that exceeds the decay rate. For the best results, try to select the highest value that works with your sound source.

to be presented to the plate reverb. A value of 0 would offer no delay.

Control four early reflection levels. Setting these levels to lower values will produce a wetter sound. These four reflection levels are close to the input of the Definition

signal.

00007777 NNNNoooonnnnLLLLiiiinnnnRRRReeeevvvveeeerrrrbbbb11

00008888 NNNNoooonnnnLLLLiiiinnnnRRRReeeevvvveeeerrrrbbbb22

Non linear reverbs can be used to obtain blooming reverb, gated reverb, reverse reverb and early reflections. In general, they do not produce an exponentially decaying reverb. Unlike the hall, room and plate reverbs, NonLinReverb1 and 2 pass the input signal through the reverb diffusers only once. For this reason the reverb diffusers are called density, to distinguish them from the other reverb diffusers (called definition). Density controls the amount of echo density, as opposed to the rate of increase of echo density. The NonLin Reverbs purposely impose a coloration on the resulting sound.

ENSONIQ ASR-X Pro UserÕs Guide 29

Page 38

Insert Effect Parameters

PPPPaaaarrrraaaammmmeeeetttteeeerr

Env 1 Level Env 2 Level Env 3 Level Env 4 Level Env 5 Level Env 6 Level Env 7 Level Env 8 Level Env 9 Level

HF Damping 100Hz to 21.2kHz The HF Damping is located within the density. This

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth parameter acts as a low

Primary Send -99% to +99% Controls the level of the diffused input signal which is

Diffusion 1 0 to 100 This parameter smears the input signal transients of

Diffusion 2 0 to 100 Diffusion 2 is similar to Diffusion 1, but offers control of

Density 1 0 to 100 Density 1 controls the number of echoes. Density 2 0 to 100 Density 2 controls the number of echoes in a lower

ER 1 Time 0 to 112ms Controls the amount of time it takes for the first pre-

ER 1 Send -99% to +99% This parameter controls the level of the first pre-echo. ER 2 Time 0 to 112ms This controls the amount of time it takes for the second

ER 2 Send -99% to +99% This parameter controls the level of the second pre-echo.

Output Bal Full <L to Full >R Controls the left/right stereo balance of the reverb

RRRRaaaannnnggggee

-99% to +99%

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

These parameters control the output tap levels sequenced in time across the density from input to output. Envelope Level 1 is tapped right after the diffusers and before the echoes. If this is undesirable, set Envelope Level 1 to 0%. Envelope Levels 8 and 9 are positioned at the very end of the Density setting these too high can cause excessive ringing. Envelope Levels 8 and 9 are also very dry. Set all nine tap levels to find the envelope for your application. We recommend the

average Envelope Level not to exceed a value of ±45% to

prevent overdriving these reverbs.

parameter selects the amount of high frequency energy to be filtered out.

pass filter on the output signal, controlling the amount of high frequencies that will be heard. The higher the setting, the more high frequencies are heard.

nearly instantaneous with respect to the input. This signal is injected directly into the Density at the specified level.

higher frequency ranges. Higher values are recommended for smoother decay. Very low values will give a highly repetitive echo-like sound. Diffusion 1 and 2 exist within each diffuser block.

lower frequencies. In general a setting of 50 can be considered an equal mix of dry/diffused sound. This setting is a good starting point.

frequency range. In general, to get the smoothest sound, Density 2 is usually less than the value of Density 1.

echo to be injected into the density. Pre-echoes are the sounds which have been reflected back from the walls or other reflective surfaces.

pre-echo to be injected into the density.

Experiment with both positive and negative on all echoes to change the tonal character of the results.

signal.

00009999 GGGGaaaatttteeeedddd RRRReeeevvvveeeerrrrbb

When the output of a reverb is muted partway through its decay, it creates a gated sound. To achieve this gated effect, the gated reverb must gate a number of internal parameters, not just the output amplitude envelope. It is, however, the output amplitude over which you have control. The ASR-X Pro offers a highly controllable gated reverb, optimized for percussive instruments, but useful for any sound. The gated reverb triggers whenever the input signal exceeds a user programmable threshold. This trigger threshold should be set as low as possible, so that none of the input signal is missed. The gate will stay open as long as the input signal remains above the threshold, and all the input signals will be accumulated under this gate until the total input signal level falls below the hysteresis level. When this happens, the hold time will begin. The reason for hysteresis is to eliminate false retriggering and to

30 ENSONIQ ASR-X Pro UserÕs Guide

Page 39

Insert Effect Parameters

ensure precise hold time durations. If you desire a separate gate on each and every note, use the Non Lin reverbs.

PPPPaaaarrrraaaammmmeeeetttteeeerr

Gate Thresh -96.0dB to 0.0dB Sets the signal level that triggers the gated reverb. When

Gate Hysteresis 0dB to 48dB Sets the lower threshold level relative to Gate Thresh

Gate Attack 50us to 10.0s Sets the attack time of the gated reverb once the

Gate Release 50us to 10.0s Sets the amount of time after the Gate Hold time has

Gate Hold 50us to 10.0s Sets the amount of time that the reverb will hold after

Decay 0sec to 10.0sec Sets the decay rate. In general, the decay rate is set very

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

Diffusion 1 0 to 100 Smears the transients, so as to diffuse and smooth the

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate of echo density build up in the reverb

Slap Time 0ms to 108ms Controls the delay time of an internal dry stereo signal

Slap Level Off, -49.5dB to +12.0dB Adjusts the volume of the slapback (internal dry) signal. ER 1 Level

ER 1 Level ER 1 Level ER 1 Level

Output Bal Full <L to Full >R Controls the left/right stereo balance of the gated reverb

RRRRaaaannnnggggee

-99% to +99%

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

the incoming signal reaches this value, it triggers (starts) the gated reverb. Higher values would require a stronger incoming signal. Set this parameter as low as possible to work with your particular source, but not so low as to cause false triggering.

below which the Gate Hold Time begins. If the difference between Gate Thresh and Gate Hysteresis is lower than the level of the incoming signal, the gated reverb will continue to retrigger. With a high decay rate, this adds a cavernous quality to percussion instruments.

incoming signal has reached the trigger level. Generally the attack should be short and not set longer than the Gate Hold time.

elapsed for the gated reverb to shut down. Generally these times are very short.

the retrigger and before the release. The Gate Hold time will begin again if retriggered.

high.

the decay of the reverb. Increasing the value of this parameter will gradually filter out increasing amounts of high frequency energy.

sound. Lower values will cause impulsive sounds to appear as a series of discrete echoes, while higher values tend to increase the smear (smoother sounding). Recommended setting is approximately 50.

performs the same way but controls lower frequency ranges. Recommended setting is approximately 50.

decay. If set too high, the echo density will build at a rate that exceeds the decay rate. A general rule of thumb: Definition should not exceed the Decay Rate. We recommend settings between 25 and 50.

to create a slapback. In general, the slapback is greater or equal to the Gate Hold time to achieve a reverse effect.

These parameters control four early reflection levels. Setting these levels to lower values will produce a wetter sound. A setting of 0% turns the early reflections off.

signal.

ENSONIQ ASR-X Pro UserÕs Guide 31

Page 40

Insert Effect Parameters

11110000 SSSStttteeeerrrreeeeoooo CCCChhhhoooorrrruuuuss

This stereo chorus uses delays to produce pitch and amplitude modulation.

PPPPaaaarrrraaaammmmeeeetttteeeerr

LFO Rate 0.0Hz to 20.0Hz Controls the rate of pitch modulation applied to the

Chorus Depth 0.0ms to 25.0ms Controls the excursion of modulation. As this parameter

ChorusCenter 0.0ms to 50.0ms Controls the nominal delay time of the chorus about

Spread (wide stereo to mono, to

Chorus Phase 0deg or -180deg Controls the relative phase between left and right LFOs.

11111111 8888----VVVVooooiiiicccceeeeCCCChhhhoooorrrruuuuss

RRRRaaaannnnggggee

reversed image)

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

delays.

increases, the amount of detuning also increases.

which the delay modulation occurs. Adjusting this parameter will change the tonal character of the chorus.

Offers control of the synthesized stereo field. The farthest counterclockwise setting of the Value knob offers true stereo, the middle setting forces the left & right into the center (mono), and turning the Value knob fully clockwise inverts the left & right signal.

8-Voice Chorus offers a symphonic chorused sound having eight different voices and using eight separately randomized LFOs. This effect is good for creating an ensemble of instruments from single sources (there is no internal filtering applied to any of the chorused voices).

PPPPaaaarrrraaaammmmeeeetttteeeerr

EQ Input Off, -49.5dB to +24dB Adjusts the input volume of the EQs to eliminate the

Mid 1 Fc 10Hz to 20.0kHz Sets the center of the mid frequency band. Mid 1 Q 1.0 to 40.0 Bandwidth control that determines the width of the

Mid 1 Gain Off, -49.5dB to +24dB Sets the amount of boost or cut applied to this mid

EQ Output Off, -49.5dB to +24dB Controls the gain coming out of the parametric EQ. Dry Blend Full Dry to Full Wet Controls the dry to wet mix of the chorus . HPF Cutoff 10Hz to 10.9kHz Controls the cutoff frequency of the high pass filter

LFO Rate 0.0Hz to 7.0Hz Controls the rate of pitch modulation applied to the

Chorus Depth 0.0ms to 300ms Controls the excursion of modulation. ChorusCenter 0.0ms to 300.0ms Controls the nominal delay time of the chorus about

Center Offset 0% to 100% Controls the relative spacing in nominal delay time

Chorus Phase -180deg to +180deg Controls the relative phase between left and right LFOs. Chorus

Feedback

RRRRaaaannnnggggee

-99% to +99% Controls the amount of feedback applied to the chorus.

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

possibility of clipping boosted signals.

resonant peak at the center frequency band. This parameter is equal to the cutoff frequency divided by the bandwidth. Raising the value will produce a narrower bandwidth.

frequency band.

frequency applied to the input signal.

delays.

which the delay modulation occurs. Adjusting this parameter will change the tonal character of the chorus.

among the eight voices. 100% is the maximum setting.

Positive settings are in-phase, negative values are outof-phase, and impart a different tonality to the chorus.

32 ENSONIQ ASR-X Pro UserÕs Guide

Page 41

11112222 RRRReeeevv

CChhhhoooorrrruuuussss

→CC

Combines a plate reverb with a stereo chorus.

Insert Effect Parameters

PPPPaaaarrrraaaammmmeeeetttteeeerr

Decay 0.0sec to 10.0sec Controls the amount of time it takes for the

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth acts as a low pass filter

Diffusion 1 0 to 100 Smears the input signal transients, to diffuse and

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate at which echo density is increased with

Chorus Mix Full Dry to Full Wet Controls the dry/wet mix of the chorus. LFO Rate 1/1 Sys to 1/32 Sys, 0.0Hz

LFO Shape Triangle, Sine, Sawtooth,

LFO Phase -180deg to +180deg Controls the relative phase between left & right LFOs. Chorus Depth 0.0ms to 25.0ms Controls the amount of modulation. Chorus Center 0.0ms to 50.0ms Controls the delay times within the chorus. Adjusting

System Feedback

RRRRaaaannnnggggee

to 20.0Hz

Square, Asym, 16-Step, 8Step, 4-Step

-99% to +99% Controls the amount of feedback applied from the

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

reverberation to decay after the input signal stops.

the decay of the reverberation. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy.

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.

performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate.

Controls the rate of pitch modulation to the chorus.

Determines the shape that the LFO will use for pitch modulation.

this parameter will change the tonal character of the chorus.

output of the chorus to the input of the reverb.

11113333 RRRReeeevv

FFllllaaaannnnggggeeeerrrr

→FF

This insert effect features a plate reverb with a flanger effect.

PPPPaaaarrrraaaammmmeeeetttteeeerr

Decay 0.0sec to 10.0sec Controls the amount of time it takes for the reverb to

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth acts as a low pass filter

RRRRaaaannnnggggee

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

decay after the input signal stops.

the decay of the reverberation. Increasing the value of this parameter will gradually filter out (dampen) more and more high frequency energy.

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.

ENSONIQ ASR-X Pro UserÕs Guide 33

Page 42

Insert Effect Parameters

Diffusion 1 0 to 100 Smears the input signal transients, to diffuse and

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate at which echo density is increased with

FlangerMix Full Dry to Full Wet Controls the dry/wet mix of the flanger. LFO Rate 1/1 Sys to 1/32 Sys, 0.0Hz

LFO Shape Triangle, Sine, Sawtooth,

LFO Phase -180deg to +180deg Controls the relative phase between left and right LFOs. Flanger Depth 0.0ms to 25.0ms Controls the range of the high-to-low frequency sweep

FlangerCenter 0.0ms to 50.0ms Sets the sweep mid-point of the flanger effect. Notch Depth 0% to 100% Controls the depth of the peaks and notches produced

Feedback -99% to +99% Controls the amount of feedback applied to the flanger.

System Feedback

to 20.0Hz

Square, Asym, 16-Step, 8Step, 4-Step

-99% to +99% Controls the amount of feedback applied from the

performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate.

Controls the rate of modulation applied to the flanger.

Determines the shape that the LFO will use for pitch modulation.

in the flanger effect.

by the flanger.

Positive or negative values will impart a different tonality to the flange effect, either accenting the peaks or the notches.

output of the flanger to the input of the reverb.

11114444 RRRReeeevv

PPhhhhaaaasssseeeerrrr

→PP

Combines a plate reverb with a 12-pole phase shifter.

PPPPaaaarrrraaaammmmeeeetttteeeerr

Decay 0.0sec to 10.0sec Controls the amount of time it takes for the

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth acts as a low pass filter

Diffusion 1 0 to 100 Smears the input signal transients, to diffuse and

RRRRaaaannnnggggee

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

reverberation to decay away to a very low level after the input signal stops.

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. This functions like a tone control on a guitar.

34 ENSONIQ ASR-X Pro UserÕs Guide

Page 43

Insert Effect Parameters

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate at which echo density is increased with

Phaser Mix Full Dry to Full Wet Controls the dry/wet mix of the phaser. LFO Rate 1/1 Sys to 1/32 Sys, 0.0Hz

LFO Shape Triangle, Sine, Sawtooth,

Phaser Depth 0 to 100 Controls the amount of modulation applied to the

Phaser Center 0 to 100 This parameter controls the mid-point of the phaser. Notch Depth 0% to 100% Controls the depth of the peaks and notches produced

Feedback -99% to +99% Controls the amount of feedback applied to the phaser.

11115555 CCCChhhhoooorrrruuuuss

→RR

to 20.0Hz

Square, Asym, 16-Step, 8Step, 4-Step

RReeeevvvv

performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate.

Controls the rate of the modulation applied to the phaser.

Determines the shape that the LFO will use for pitch modulation.

phaser.

by the phaser. This parameter should normally be set to 100%.

Positive or negative values will impart a different tonality to the phaser effect, either accenting the peaks or the notches.

Chorus→Rev combines a rich sounding chorus with the standard reverb.

PPPPaaaarrrraaaammmmeeeetttteeeerr

LFO Rate 1/1 Sys to 1/32 Sys, 0.0Hz

LFO Shape Triangle, Sine, Sawtooth,

LFO Phase -180deg to +180deg Controls the relative phase between left and right LFOs. Chorus Depth 0.0ms to 25.0ms Controls the amount of modulation. Chorus Center 0.0ms to 50.0ms Controls the four delay times within the chorus.

Rev Mix Full Dry to Full Wet Controls the dry/wet mix of the reverb. Decay 0.0sec to 10.0sec Controls the amount of time it takes for the

HF Damping 100Hz to 21.2kHz Controls the rate of attenuation of high frequencies in

HF Bandwidth 100Hz to 21.2kHz The high frequency bandwidth acts as a low pass filter

Diffusion 1 0 to 100 Smears the input signal transients, to diffuse and

RRRRaaaannnnggggee

to 20.0Hz

Square, Asym, 16-Step, 8Step, 4-Step

DDDDeeeessssccccrrrriiiippppttttiiiioooonn

Controls the rate of the modulation applied to the delay time of the chorus.

Determines the shape that the LFO will use for pitch modulation.

Adjusting this parameter will change the tonal character of the chorus.

reverberation to decay away to a very low level after the input signal stops.

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.

ENSONIQ ASR-X Pro UserÕs Guide 35

Page 44

Insert Effect Parameters

Diffusion 2 0 to 100 This parameter, similar to and in series with Diffusion 1,

Definition 0 to 100 Controls the rate at which echo density is increased with

11116666 FFFFllllaaaannnnggggeeeerr

RReeeevvvv

→RR

performs the same way but controls lower frequency ranges. Experiment with different levels between the diffusion parameters to find the settings that are right for your source.

time. Setting this parameter too high can cause the echo density to build at a rate which exceeds the decay rate.

This insert effect features a flanger combined with a plate reverb.