Ensoniq ESQ-1
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| ESQ-1 by Ensoniq | |||
| Synthesis type: | Analog subtractive | ||
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| Polyphony: | 8 voices | ||
| Oscillators: | 3 DCOs per voice | ||
| Multitimbral: | 8 | ||
| VCF: | 1 resonant low-pass | ||
| VCA: | 4 VCA Envelope - Four levels, four rates |
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| LFO: | 3 (triangle, saw, square and noise) | ||
| Keyboard: | 61 keys, velocity, split | ||
| Velocity sensitive: | {{{velocity}}} | ||
| Aftertouch: | {{{aftertouch}}} | ||
| External control: | MIDI | ||
| Memory: | 40 patches internal 80 extra with an expansion card |
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| Onboard effects: | None | ||
| Produced: | 1986 - 1988 | ||
Ensoniq ESQ-1 is a hybrid digital-analog synthesizer released by Ensoniq in 1986. The ESQ-1 featured 8 voices with 3 digital oscillators (DCO) per voice. Each DCO could be set to 1 of 32 different waveforms. Some of these were standard simple waveforms such as sawtooth and triangle, while others were samples such as piano and voice. The ESQ-1 also had 3 LFOs, a 4-pole resonant analog lowpass filter (VCF), 4 VCA and envelope generators. 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 (circa 1987) was also released, which has the exact same specifications except it lacked 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 were controlled by digital circuitry and the envelope generators and filter by analog circuits. 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, namely 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 allowed the ESQ-1 quite a large sonic range and it certainly could do analog or digital sounds and anything in between. It also had a wealth of modulation possibilities with its three LFOs and four envelope generators, which were surprisingly not of the typical ADSR variety. Each envelope contained eight controls - 4 levels and 4 rates, allowing both positive and negative values. The fourth envelope was hard-wired to control the amplitudes of all the oscillators.
Aside from its generous selection of waveforms and modulation options the ESQ-1 was also renown for having an excellent resonant low-pass filter that gave the synthesizer its analog sound. It is said that the ESQ-1 contained the Curtis filter chip that was also used in the legendary Sequential Circuits Prophet VS around the same time.
Another digital trait of the synthesizer was apparent at first glance - it has no pots whatsoever and only two faders. Thus all of the programming was handled by many "soft" buttons and one data slider that controlled the selected parameter. This approach to programming is very similar to that of the Yamaha DX7, the most well known digital synthesizer of them all, and is very different from having a dedicated control for each of the parameters.
The ESQ-1 has a distinct sound, although one that is perhaps not well known, being overshadowed by other keyboards of the eighties. It definitely has a certain expressive warmth that is often associated with it, making the ESQ-1 a good replacement for almost any analog. However, it is also capable of very eerie and convincing special effects due to its many modulation sources. 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.
Today either version can be found in used condition at very modest prices, possibly due to its lack of recognition.
