# Ensoniq ESQ-1, ESQ-M, SQ-80
These synthesizers form a "family". The ESQ-1 was the original keyboard
version, the ESQ-M is the rack version and the SQ-80 is essentially an enhanced
ESQ-1.
Sound generation:
The ESQ-1 family is a hybrid of digital and analog. The "oscillators" are
digital, as is much of the rest of the synth. The filters and final DCA stage
are analog, courtesy of the Curtis chips common in many synths of this vintage
(1986).
The unit has eight "voices". Each voice consists of three oscillators (each
with its own amplifier), a single filter, a common amplifier, and a modulator
pool of three LFOs and four envelope generators. With the exception of the
envelope generator hardwired to the final amplifier stage, the modulator pool
can be routed to any destination, the source of most of the unit's versatility.
The oscillators use single cycle (with some exceptions in the SQ-80, stay
tuned) digitized waveforms. Those that are obtained from samples are
multisampled across the keyboard. The ESQ-1 and ESQ-M have a pallette of 32
waveforms. The SQ-80 has these same 32, plus an additional 43. A few of these
43 are multi-cycle samples. Waveforms include the bread and butter squares,
saws, pulse, etc. from analog subtractive synthesis, plus sampled sounds
including pianos, basses, woodwinds, as well as waveforms derived from complex
synthesis techniques like the Karplus-Strong plucked string algorithm, etc.
Patches may be used polyphonically or monophonically; portamento is supported
(called "glide"). Any patch may be split and/or layered with anmy other patch.
The ESQ-1 architecture does not distinguish between a "normal" mode and a
"split" mode like many synths of its vintage. It merely maintains pointers to
other patches in memory. 40 patches are stored in local memory, a cartridge
port allows two banks of 40 each to be accessed. Some third party carts
support multiple banks, the max I have seen is 320 in one cartridge, but only
80 at a time can be used. Cartridges use EEPROM chips not RAM, so no battery
is needed to hold the data.
Each patch is actually mono, but can be panned between the two outputs. Panning
is at the *patch* level, so that patches can be made to move across the stereo
soundstage under control of an LFO, enevelope, velocity, mod wheel, what have
you. The unit is multitimbral, using dynamic voice allocation to assign the
eight voices as needed. The sequencer track pages are used to control the
multitimbral part assignments.
Keyboard:
The ESQ-1 and SQ-80 both have a 61 key keyboard. Both are velocity sensitive.
The SQ-80 keyboard also has aftertouch and can generate either polyphonic/key
pressure or mono/channel pressure. All three units respond to both types of
aftertouch via MIDI. Bend and mod wheel plus control voltage (expression) and
sustain pedals are supported. One external MIDI controller can be used as a
modulator as well.
Sequencer:
The ESQ-1 and SQ-80 have an onboard eight track sequencer that is very easy to
use and was at its time state of the art for an onboard unit. The original
ESQ-1 stored 2400 events, later expansions were offered to allow 10,000 or
20,000 event storage. The SQ-80 stores 20,000 events and no expansion is
possible. Sequences are stored in two levels, "sequences" which chain into
"songs" (similar to how most drum machines chain patterns into songs). The
ESQ-1 has 10 songs/30 sequences maximum, the SQ-80 allows twice as many
(20/60). Sequence data is interchangeable at the individual sequence level and
bulk dumps from ESQ-1 to SQ-80. Dumps from the SQ-80 to the ESQ-1 cannot be
done. All units have a cassette tape interface for data storage, which doubles
as an FSK synch connection for the sequencer. The SQ-80 also has a 3.5" DSDD
floppy drive for faster data access. The drive can be used to store system
exclusive data up to 64K bytes in length. In addition, there are hardware and
software hooks to be able to save data off to the disk drive of an Ensoniq
Mirage.
Sequences may be edited via overdub or by step editing. Controllers may be
stripped but there is no single event editing of anything but note data.
Program changes, tempo changes, time signature changes and volume changes may
be programmed into the sequence but can only occur on sequence boundaries
(essentially on any bar line). A very useful feature is that all sequence
changes may be auditioned before any existing data actually is modified.
Sound:
The sound of the ESQs is halfway between an analog synth and early digital
machines (like the DX7). Although some sampled waveforms are included, the
sounds created with them are not overly realistic compared to more modern
sample-based machines. Many people describe its sound as "grainy", although it
seems to be free of the high frequency aliasing artifcats of the early FM and
L/A machines. The modulation pool and resonant filters make this unit well
adapted to classic synthesizer textures. The SQ-80's additional waveforms
include attack samples and acyclic loops which allow it to produce some sounds
similar to the Roland D-50. It also includes some drum samples, but the "kit"
is limited to kick, snare, closed hi-hat and toms. These samples are, however,
quite useable and can be processed through the amplifers and filter to create
numerous "synth drum" timbres. The SQ-80 can reproduce any ESQ-1 or ESQ-M
patch. SQ-80 patches using the additional waveforms not found on the ESQ-1
will not sound correct on the ESQ-1 or ESQ-M.
MIDI:
The MIDI implementation is quite good. All front panel functions can be
controlled by system exclusive. The units send and recieve on any MIDI
channel, in fact these channels need not be the same. A special mode for use
with guitar controllers is included. The ESQ-1 has MIDI IN and OUT only, the
ESQ-M and SQ-80 also have THRU.
Summary:
Three years before Korg proclaimed the M1 a "workstation", the ESQ-1 was one.
It is still a good choice for someone looking for a self-contained
synth/sequencer package. The SQ-80 is worth the extra $$ for the disk drive,
aftertouch keyboard and extra waveforms if these are of interest. The ESQ-M
module is not as common (it sold poorly when in production) since many users
were not as enamored with the ESQ-1 sounds as with the built-in sequencer. The
sequencer itself still holds up well against some other on-board units in
competing machines (I'm thinking specifically of the Korg M1 and Roland D20
here). The sound is somewhat generic, in that it doesn't have an obvious
"signature" the way the DX7 and D50 did. However, it has an architecture well
suited to being able to create a wider range of sounds than other synths of its
vintage. In that sense, it's of more interest to folks willing to learn to
program it as opposed to just calling up some hot presets. There is still a
reasonable amount of third party support for the ESQ-1, you can still buy patch
sets, get memory cartridges, etc. although that support is bound to dwindle in
the coming years. There is a good amount of public domain support for the
machine, including plenty of patches and patch librarian software for a number
of computers.
Brian Rost rost@rgb.dec.com
A much more important factor in the social movement than those already mentioned was the ever-increasing influence of women. This probably stood at the lowest point to which it has ever fallen, during the classic age of Greek life and thought. In the history of Thucydides, so far as it forms a connected series of events, four times only during a period of nearly seventy years does a woman cross the scene. In each instance her apparition only lasts for a moment. In three of the four instances she is a queen or a princess, and belongs either to the half-barbarous kingdoms of northern Hellas or to wholly barbarous Thrace. In the one remaining instance208— that of the woman who helps some of the trapped Thebans to make their escape from Plataea—while her deed of mercy will live for ever, her name is for ever lost.319 But no sooner did philosophy abandon physics for ethics and religion than the importance of those subjects to women was perceived, first by Socrates, and after him by Xenophon and Plato. Women are said to have attended Plato’s lectures disguised as men. Women formed part of the circle which gathered round Epicurus in his suburban retreat. Others aspired not only to learn but to teach. Arêtê, the daughter of Aristippus, handed on the Cyrenaic doctrine to her son, the younger Aristippus. Hipparchia, the wife of Crates the Cynic, earned a place among the representatives of his school. But all these were exceptions; some of them belonged to the class of Hetaerae; and philosophy, although it might address itself to them, remained unaffected by their influence. The case was widely different in Rome, where women were far more highly honoured than in Greece;320 and even if the prominent part assigned to them in the legendary history of the city be a proof, among others, of its untrustworthiness, still that such stories should be thought worth inventing and preserving is an indirect proof of the extent to which feminine influence prevailed. With the loss of political liberty, their importance, as always happens at such a conjuncture, was considerably increased. Under a personal government there is far more scope for intrigue than where law is king; and as intriguers women are at least the209 equals of men. Moreover, they profited fully by the levelling tendencies of the age. One great service of the imperial jurisconsults was to remove some of the disabilities under which women formerly suffered. According to the old law, they were placed under male guardianship through their whole life, but this restraint was first reduced to a legal fiction by compelling the guardian to do what they wished, and at last it was entirely abolished. Their powers both of inheritance and bequest were extended; they frequently possessed immense wealth; and their wealth was sometimes expended for purposes of public munificence. Their social freedom seems to have been unlimited, and they formed combinations among themselves which probably served to increase their general influence.321 The old religions of Greece and Italy were essentially oracular. While inculcating the existence of supernatural beings, and prescribing the modes according to which such beings were to be worshipped, they paid most attention to the interpretation of the signs by which either future events in general, or the consequences of particular actions, were supposed to be divinely revealed. Of these intimations, some were given to the whole world, so that he who ran might read, others were reserved for certain favoured localities, and only communicated through the appointed ministers of the god. The Delphic oracle in particular enjoyed an enormous reputation both among Greeks and barbarians for guidance afforded under the latter conditions; and during a considerable period it may even be said to have directed the course of Hellenic civilisation. It was also under this form that supernatural religion suffered most injury from the great intellectual movement which followed the Persian wars. Men who had learned to study the constant sequences of Nature for themselves, and to shape their conduct according to fixed principles of prudence or of justice, either thought it irreverent to trouble the god about questions on which they were competent to form an opinion for themselves, or did not choose to place a well-considered scheme at the mercy of his possibly interested responses. That such a revolution occurred about the middle of the fifth century B.C., seems proved by the great change of tone in reference to this subject which one perceives on passing from Aeschylus to Sophocles. That anyone should question the veracity of an oracle is a supposition which never crosses the mind of the elder dramatist. A knowledge of augury counts among the greatest benefits222 conferred by Prometheus on mankind, and the Titan brings Zeus himself to terms by his acquaintance with the secrets of destiny. Sophocles, on the other hand, evidently has to deal with a sceptical generation, despising prophecies and needing to be warned of the fearful consequences brought about by neglecting their injunctions. The stranger had a pleasant, round face, with eyes that twinkled in spite of the creases around them that showed worry. No wonder he was worried, Sandy thought: having deserted the craft they had foiled in its attempt to get the gems, the man had returned from some short foray to discover his craft replaced by another. “Thanks,” Dick retorted, without smiling. When they reached him, in the dying glow of the flashlight Dick trained on a body lying in a heap, they identified the man who had been warned by his gypsy fortune teller to “look out for a hidden enemy.” He was lying at full length in the mould and leaves. "But that is sport," she answered carelessly. On the retirement of Townshend, Walpole reigned supreme and without a rival in the Cabinet. Henry Pelham was made Secretary at War; Compton Earl of Wilmington Privy Seal. He left foreign affairs chiefly to Stanhope, now Lord Harrington, and to the Duke of Newcastle, impressing on them by all means to avoid quarrels with foreign Powers, and maintain the blessings of peace. With all the faults of Walpole, this was the praise of his political system, which system, on the meeting of Parliament in the spring of 1731, was violently attacked by Wyndham and Pulteney, on the plea that we were making ruinous treaties, and sacrificing British interests, in order to benefit Hanover, the eternal millstone round the neck of England. Pulteney and Bolingbroke carried the same attack into the pages of The Craftsman, but they failed to move Walpole, or to shake his power. The English Government, instead of treating Wilkes with a dignified indifference, was weak enough to show how deeply it was touched by him, dismissed him from his commission of Colonel of the Buckinghamshire Militia, and treated Lord Temple as an abettor of his, by depriving him of the Lord-Lieutenancy of the same county, and striking his name from the list of Privy Councillors, giving the Lord-Lieutenancy to Dashwood, now Lord Le Despencer. "I tell you what I'll do," said the Deacon, after a little consideration. "I feel as if both Si and you kin stand a little more'n you had yesterday. I'll cook two to-day. We'll send a big cupful over to Capt. McGillicuddy. That'll leave us two for to-morrer. After that we'll have to trust to Providence." "Indeed you won't," said the Surgeon decisively. "You'll go straight home, and stay there until you are well. You won't be fit for duty for at least a month yet, if then. If you went out into camp now you would have a relapse, and be dead inside of a week. The country between here and Chattanooga is dotted with the graves of men who have been sent back to the front too soon." "Adone do wud that—though you sound more as if you wur in a black temper wud me than as if you pitied me." "Wot about this gal he's married?" "Don't come any further." "Davy, it 'ud be cruel of us to go and leave him." "Insolent priest!" interrupted De Boteler, "do you dare to justify what you have done? Now, by my faith, if you had with proper humility acknowledged your fault and sued for pardon—pardon you should have had. But now, you leave this castle instantly. I will teach you that De Boteler will yet be master of his own house, and his own vassals. And here I swear (and the baron of Sudley uttered an imprecation) that, for your meddling knavery, no priest or monk shall ever again abide here. If the varlets want to shrieve, they can go to the Abbey; and if they want to hear mass, a priest can come from Winchcombe. But never shall another of your meddling fraternity abide at Sudley while Roland de Boteler is its lord." "My lord," said Edith, in her defence, "this woman has sworn falsely. The medicine I gave was a sovereign remedy, if given as I ordered. Ten drops would have saved the child's life; but the contents of the phial destroyed it. The words I uttered were prayers for the life of the child. My children, and all who know me, can bear witness that I have a custom of asking His blessing upon all I take in hand. I raised my eyes towards heaven, and muttered words; but, my lord, they were words of prayer—and I looked up as I prayed, to the footstool of the Lord. But it is in vain to contend: the malice of the wicked will triumph, and Edith Holgrave, who even in thought never harmed one of God's creatures, must be sacrificed to cover the guilt, or hide the thoughtlessness of another." "Aye, Sir Treasurer, thou hast reason to sink thy head! Thy odious poll-tax has mingled vengeance—nay, blood—with the cry of the bond." HoME古一级毛片免费观看
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