Want to know more about the Ensoniq EPS 16+?

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analogcontrolfreak
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Want to know more about the Ensoniq EPS 16+?

Post by analogcontrolfreak » Tue Dec 18, 2007 1:18 am

Besides the reviews on this sampler, is there anything elses one could tell me about it :?:

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Post by fuckrapsputin » Tue Dec 18, 2007 1:28 am

I have one and enjoy it, but by no means take me as an experienced user. I've had it for a year or so and it is great for experimentation and twisting sounds, I like feeding in ambient stuff from records and then twiddling randomlly until it sounds pretty f**k... but i'm pretty ignorant to a lot of the features... I'm coming from an MPC2000xl and Boss SP303 dr sample, so to give you an idea my other samples are pretty feature short on sample manipulation in comparisson...

the disk drive is f**k on mine and i don't really use the sequencer on it but for sample manipulation and f**k it goes well for me. But as i said, take this with a grain of salt, i've probably only jsut scratched the surface of its possabilities and I'm sure it is capable of doing more than f**k stuff up a bit...
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Post by analogcontrolfreak » Tue Dec 18, 2007 1:29 am

Thanks! :wink:

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Post by fuckrapsputin » Tue Dec 18, 2007 1:34 am

for how much they cost (i think mine was about $150-200AU on ebay) they are pretty good. As I said though I'm sure you'll be able to find out much more of what they can do than what I can tell you. What is it you're wanting one for, general sampling? sequencing, drums? Fun?
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Post by analogcontrolfreak » Tue Dec 18, 2007 1:38 am

Well, I have been intrguied by samplers in genneral, Espescially the early ones. I had a Mirage for a while, but did not like the split keyboard. Mostly for fun! I'm not a serious musican, mor of a hobbiest. I just love what you can do with a sampler. The coolest sound I cam up with, was sampleing feedback into the Mirage. When I played the sample back, it had a piano likw quality to it.

Paul

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Post by tallowwaters » Tue Dec 18, 2007 4:22 am

it has loop point modulation, which is the bee's knees.

one day...
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Post by esqoner » Tue Dec 18, 2007 8:06 am

i know that i saw one at a pawn shop 2 years ago and should've gotten it...

haha

duuuuuude! rza used it!!!!...

...

fooka...

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Post by wiss » Tue Dec 18, 2007 10:36 pm

pretty much worthless these days compared to what samplers can do now for less money then the 16+ is going for used these days. I would only pick one up if it has a massive collection of sound disk that you could once buy for them.
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Post by analogcontrolfreak » Wed Dec 19, 2007 12:58 am

Oh, I know the sampler's today can do so much more, but I not to big on the software based samplers, and I can't really see buying an expensive music workstation. I always loved those early keyboard based samplers.

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Post by wiss » Wed Dec 19, 2007 4:10 am

one of the Boss or Roland SP's will be a h**l of a lot better sampler. I know better is not always best.

I loved mine, I out grew the sampler.
"All we used was the explosion and the orchestra hit. The Fairlight was a $100,000 waste of space."

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Post by tallowwaters » Wed Dec 19, 2007 12:48 pm

wiss wrote:one of the Boss or Roland SP's...
analogcontrolfreak wrote:I always loved those early keyboard based samplers.
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Post by piRoN » Thu Dec 20, 2007 7:41 am

wiss wrote:one of the Boss or Roland SP's will be a h**l of a lot better sampler. I know better is not always best.
Of course, because a Roland SP will have no problem creating a polyphonic loop-point modulated pad sound with S&H bandpass filter.
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Post by desdinova » Thu Dec 20, 2007 12:48 pm

Think of the EPS as an older, poor man's K2000. It's really built to be a synth-ing sampler, not a phraseloop beast like the boss/roland boxes.
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Post by Cruel Hoax » Fri Dec 21, 2007 8:28 am

wiss wrote:pretty much worthless these days compared to what samplers can do now for less money then the 16+ is going for used these days.
I'd like to take issue with this statement. Respectfully, wiss, I tend to agree with quite a lot of your posts, but I must disagree with this one, and here's why:

The EPS uses (transmits and receives) release velocity, as well as having a dedicated "keyup layer". In other words, you can trigger samples when you release a key, not just when you press it down, and the machine can tell how fast you released it.

How is this useful, and why should we care? Well, for one thing, it's awesome on clav-like sounds. When you play a real Clavinet, lifting your fingers makes the damper come down on the string, somewhat like the heel of your hand does when playing a guitar. Depending on how hard you lift off, this can be anything from inaudible to a satisfying "chunk." In fact, you can get a whole other rhythm going with just your key-ups, which is funky and cool.

Also, imagine playing -say- a hand drum. A big ol' frame drum that takes up an armspan. So, you've got one hand holding the beater and the other underneath the drum (holding it up, too, via those ropes underneath.) You can make a rhythm with just the beater, but when you really want to be expressive, you'll use your "off" hand, too. Use it to dampen notes, so you have a contrast between long and short. It makes the difference between "bip", "bap" and "boom", all depending on how you play the drum with your "non-playing" hand. You can let the damping hand slide gently onto the drum's surface, or you can grab it hard, resulting in an audible counter-rhythm. The "release layer" allows you to not only use a sample for damping, but control how much you hear that sample (and how bright it is, etc.) by just varying how you play.

It sounds complex, but it's really quite intuitive once you've played a patch programmed for it. It feels just like playing that drum - very musical, without having to drop out of "musician mode" and enter "continuous-controller-programmer mode." You just play it lighter, and it lightens up. Dig into it and it barks. Dead simple.

Of course, the EPS's effects sound great, but another thing about them is that your sound can be programmed to rotate between the different outputs. i don't know any other synth that can do this - route each keypress through a different effects unit. M akes for tasty polyrhythms if you like Steve Reich-style minimalism (which I personally do.)

You can modulate loop point, loop/sample start and loop/sample end independently. You could have an LFO modulating loop end time, while velocity controls sample start time, and the mod wheel sweeps the loop position through the sample. Feed it a custom waveform created by Turbosynth and enjoy wavetable synthesis on your very own samples.

Newer synths have more RAM. Emu samplers have more filters (whicdh are resonant without resorting to Waveboy) and Akai samplers have more loop points. But I think dismissing the EPS out of hand in the face of so-called "modern samplers" (which often omit the instrument-building functions of a true sampler in favor of phrase-sampling and such) would be a mistake. The EPS can layer more than just Primary and Secondary voices (thus besting Emu and Korg) and its effects pretty much eat any Akai alive.

Just my opinion, of course.

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Post by Hugo76 » Fri Dec 21, 2007 3:56 pm

Hey Hoax,
Thanks for a most interesting review. This sampler seems very interesting indeed, and I might consider it at a later stage. Regarding 'release velocity', I'm curious to know if this is possible in the Emulator X 2 software sampler - anyone know?

Thanks again,
Hugo

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