Ensoniq ESQ-1
Encyclopedia
Ensoniq ESQ-1 is a hybrid
digital-analog synthesizer
released by Ensoniq
in 1986. The ESQ-1 featured 8 voices with 3 digital oscillators per voice. Each oscillator could be set to one of 32 different waveforms. Some of these were standard simple waveforms such as sawtooth and pulse, while others were samples such as piano and voice. Each oscillator also had an associated DCA (not VCA) to control its volume in 256 steps. In addition to that, an ESQ1's voice featured 3 LFOs
, 4 envelope generators, a 4-pole resonant analog lowpass filter (VCF), and a final VCA with left/right panning. It also sported a 61-key velocity-sensitive keyboard, full MIDI implementation, memory for 40 patches, a memory cartridge slot, and an 8-track sequencer
. A rackmount version called the ESQ-M was also released circa 1987, with exactly the same specification minus the sequencer. The ESQ-1 was produced until 1988.
When the ESQ-1 was first produced it was marketed as an affordable workstation synthesizer and was a follow up to the earlier and relatively successful Ensoniq Mirage
sampler. Following the trend of many synthesizers in the early to mid 1980s it could be classed as an analog-digital hybrid - the oscillators and modulation matrix are fully digital
in nature whereas the filters and envelopes were analog circuits (CEM 3379 and CEM 3360, respectively). This enabled the ESQ-1 to sound like an analog synthesizer while at the same time reaping the benefits usually associated with digitally controlled parts, such as patch memories and the extreme stability of the oscillators, therefore making the ESQ-1 impervious to the infamous tuning problems that could be experienced with true analog synthesizers.
The 32 waveforms enabled the ESQ-1 to cover quite a lot of ground sonically. It also had a wealth of modulation
possibilities with its three LFOs and four envelope generators, which were not of the typical ADSR variety but featured a more versatile level/time model instead: each envelope therefore contains eight controls—four levels and four time values, with the cutoff levels allowing both positive and negative values. The fourth envelope is hard-wired to control the amplitudes of all oscillators the after they have been mixed together. Note that, unlike on many other digital synthesizers of the era, the speed of the envelopes is defined not in rate, but in time, with higher values resulting in slower rates of reaching the step's respective cutoff level.
Another digital trait of the synthesizer was apparent at first glance—it has no knobs whatsoever, and only two faders, one of which being the volume slider. Thus all of the programming was handled by many "soft" buttons and one data slider that controlled the selected parameter
. This approach to programming was very similar to that of the Yamaha DX7
, at that time the most popular digital synthesizer of all, and is very different from having a dedicated control for each of the parameters. However, every internal module (all the envelopes, VCAs, filter, oscillators) have dedicated selection buttons, so you will never have to scroll through parameters to find what you want.
The ESQ-1 has a distinct sound, although the machine itself was overshadowed by other keyboards of the eighties, mainly other digitals like the Yamaha DX7
, Roland D-50
and Korg M1
to name a few. The waveforms of sampled
sounds do not produce realistic results by today's standards, but can be useful for creating patches containing hints of the instruments that they were intended to emulate. Also the inclusion of Amplitude Modulation
and Oscillator Hard Sync strengthened its ability to emulate other analog synthesizers.
Hybrid computer
Hybrid computers are computers that exhibit features of analog computers and digital computers. The digital component normally serves as the controller and provides logical operations, while the analog component normally serves as a solver of differential equations.In general, analog computers are...
digital-analog synthesizer
Synthesizer
A synthesizer is an electronic instrument capable of producing sounds by generating electrical signals of different frequencies. These electrical signals are played through a loudspeaker or set of headphones...
released by Ensoniq
Ensoniq
Ensoniq Corp. was an American electronics manufacturer, best known throughout the mid 1980s and 1990s for its musical instruments, principally samplers and synthesizers.- Company history :...
in 1986. The ESQ-1 featured 8 voices with 3 digital oscillators per voice. Each oscillator could be set to one of 32 different waveforms. Some of these were standard simple waveforms such as sawtooth and pulse, while others were samples such as piano and voice. Each oscillator also had an associated DCA (not VCA) to control its volume in 256 steps. In addition to that, an ESQ1's voice featured 3 LFOs
Low frequency oscillation
Low-frequency oscillation is an electronic signal, which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines and other audio equipment in order to create effects used in the production of electronic music. Audio...
, 4 envelope generators, a 4-pole resonant analog lowpass filter (VCF), and a final VCA with left/right panning. It also sported a 61-key velocity-sensitive keyboard, full MIDI implementation, memory for 40 patches, a memory cartridge slot, and an 8-track sequencer
Music sequencer
The music sequencer is a device or computer software to record, edit, play back the music, by handling note and performance information in several forms, typically :...
. A rackmount version called the ESQ-M was also released circa 1987, with exactly the same specification minus the sequencer. The ESQ-1 was produced until 1988.
When the ESQ-1 was first produced it was marketed as an affordable workstation synthesizer and was a follow up to the earlier and relatively successful Ensoniq Mirage
Ensoniq Mirage
The Ensoniq Corporation's Mirage was an 8-bit sampler introduced in 1984. Priced below $2000 with features previously only found on more expensive samplers like the Fairlight CMI, it became a best seller....
sampler. Following the trend of many synthesizers in the early to mid 1980s it could be classed as an analog-digital hybrid - the oscillators and modulation matrix are fully digital
Digital
A digital system is a data technology that uses discrete values. By contrast, non-digital systems use a continuous range of values to represent information...
in nature whereas the filters and envelopes were analog circuits (CEM 3379 and CEM 3360, respectively). This enabled the ESQ-1 to sound like an analog synthesizer while at the same time reaping the benefits usually associated with digitally controlled parts, such as patch memories and the extreme stability of the oscillators, therefore making the ESQ-1 impervious to the infamous tuning problems that could be experienced with true analog synthesizers.
The 32 waveforms enabled the ESQ-1 to cover quite a lot of ground sonically. It also had a wealth of modulation
Modulation
In electronics and telecommunications, modulation is the process of varying one or more properties of a high-frequency periodic waveform, called the carrier signal, with a modulating signal which typically contains information to be transmitted...
possibilities with its three LFOs and four envelope generators, which were not of the typical ADSR variety but featured a more versatile level/time model instead: each envelope therefore contains eight controls—four levels and four time values, with the cutoff levels allowing both positive and negative values. The fourth envelope is hard-wired to control the amplitudes of all oscillators the after they have been mixed together. Note that, unlike on many other digital synthesizers of the era, the speed of the envelopes is defined not in rate, but in time, with higher values resulting in slower rates of reaching the step's respective cutoff level.
Another digital trait of the synthesizer was apparent at first glance—it has no knobs whatsoever, and only two faders, one of which being the volume slider. Thus all of the programming was handled by many "soft" buttons and one data slider that controlled the selected parameter
Parameter
Parameter from Ancient Greek παρά also “para” meaning “beside, subsidiary” and μέτρον also “metron” meaning “measure”, can be interpreted in mathematics, logic, linguistics, environmental science and other disciplines....
. This approach to programming was very similar to that of the Yamaha DX7
Yamaha DX7
The Yamaha DX7 is an FM Digital Synthesizer manufactured by the Yamaha Corporation from 1983 to 1986. It was the first commercially successful digital synthesizer. Its distinctive sound can be heard on many recordings, especially Pop music from the 1980s...
, at that time the most popular digital synthesizer of all, and is very different from having a dedicated control for each of the parameters. However, every internal module (all the envelopes, VCAs, filter, oscillators) have dedicated selection buttons, so you will never have to scroll through parameters to find what you want.
The ESQ-1 has a distinct sound, although the machine itself was overshadowed by other keyboards of the eighties, mainly other digitals like the Yamaha DX7
Yamaha DX7
The Yamaha DX7 is an FM Digital Synthesizer manufactured by the Yamaha Corporation from 1983 to 1986. It was the first commercially successful digital synthesizer. Its distinctive sound can be heard on many recordings, especially Pop music from the 1980s...
, Roland D-50
Roland D-50
The Roland D-50 is a polyphonic 61-key synthesizer produced by Roland. It was released in 1987. Its features include Linear Arithmetic synthesis, on-board effects, a joystick for data manipulation, and an analog synthesis-styled layout design. The external Roland PG-1000 Programmer could also be...
and Korg M1
Korg M1
The Korg M1 is the world's first widely-known music workstation. Its onboard MIDI sequencer and palette of sounds allowed musicians to produce complete professional arrangements...
to name a few. The waveforms of sampled
Sampling (music)
In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound recording of a song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, who physically...
sounds do not produce realistic results by today's standards, but can be useful for creating patches containing hints of the instruments that they were intended to emulate. Also the inclusion of Amplitude Modulation
Amplitude modulation
Amplitude modulation is a technique used in electronic communication, most commonly for transmitting information via a radio carrier wave. AM works by varying the strength of the transmitted signal in relation to the information being sent...
and Oscillator Hard Sync strengthened its ability to emulate other analog synthesizers.
Notable Users
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(Per Gessle) - Chris Moss AcidChris Moss AcidChris Moss Acid is a British acid house and electronic musician named Chris Moss. Moss is also known simply by his forename Chris....
- Jean Michel JarreJean Michel JarreJean Michel André Jarre is a French composer, performer and music producer. He is a pioneer in the electronic, ambient and New Age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, and fireworks.Jarre was raised in Lyon by his mother and...
- Lux Voltaire
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