Ensoniq VFX
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The Ensoniq VFX Synth was initially released as a performance type Synthesizer in 1988. Shortly after, the VFX-SD followed and included some updated waveforms (drum waves) and a 24-track sequencer. Both models were equipped with the Ensoniq Signal Processing (ESP) chip for 24-bit effects. The VFX-SD also included an AUX out patching system, which allowed for a total of 4 outputs from the synth for more routing flexibility. The initial models were 21-voice polyphony, and in latter models of the VFX-SD II, the polyphony was 32.
There were many features that caused this synth line to be popular. Here are a few in detail:
- The sound of the synth itself.
- The performance capabilities of the synth in live use.
- The sequencer (VFX-SD).
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[edit] The synth is primarily sample-playback
This means that there are waveforms in memory of many different instruments. There were also the exclusive Transwaves, created by Ensoniq, and were single-cycle waves that would be programmed to evolve over time and were very animated when programmed correctly. The waveforms in the original VFX and early VFX-SD synths were in 16-bit resolution. The waveforms covered the standard list of piano/bass/guitar/string varieties, and many others. In particular, the solo voices were quite good and were very deep, combining the waveforms themselves, the voice structuring, and performance capabilities.
[edit] Performance capabilities
The performance capabilities of the synth made it a favorite of live musicians, as you could select up to three voices to play from at any given time. Since each voice could be made of up to six individual waveforms, the possibilities were endless for soloing (although it significantly ate up polyphony). There was also a preset section that allowed for selecting up to three different sounds and save them in a custom-programmed setup (which allowed for transpose, output routing, MIDI channel assignments, EFX routing/selection). One particular feature that the VFX (and VFX-SD) had was 'Poly-Key' pressure. This was, in essence, polyphonic aftertouch. This allowed for the player to add vibrato to a certain note, rather than to the more common (and less expensive), channel aftertouch, which once a key was depressed, added vibrato to the entire keyboard (or split point where everything in that 'channel' has the vibrato added to it). Ensoniq also had other MIDI modes in addition to the standard Omni and Multi modes: Mono A and Mono B. The latter two modes were particularly effective when using a guitar synth and allowed for more realistic playing of the sounds. Mono A allowed for the same sound to be played across the MIDI channels and Mono B allowed for each MIDI channel to have a different sound.
[edit] The sequencer
Arguably, one of the finest hardware sequencers ever produced in a synth. It was designed in a sequence/song type fashion that allowed 12/24 tracks. This allowed for sequences to be created and chained together to make a song(s). In sequence mode, there are up to 12 tracks that can be recorded to. The full set of editing tools are there as well: filter, merge, quantize (at 96ppq), copy, erase, and others. The nice thing about the VFX-SD in sequencer mode is that because of the extra large Fluorescent display, the user can see much more about the sequence/song. The sequencer is very intuitive and allows for auditioning of tracks after making changes to allow the user to change their mind if needed. The initial sequencer capacity was 25,000 notes, but could be expanded to 75,000 notes with the optional expander. The sequencer also allowed for external recording to it from another unit, either in a single channel mode or in multi mode, for easier copying from one system to the VFX-SD. In song mode, you basically arrange the sequences desired into how you want them to be in the song (intro sequence, verse sequence, tag sequence, bridge sequence, etc...), along with the number of times you want each sequence repeated. Tempo changes for each sequence could be programmed in the sequence themselves or in the song mode, to advance/slow the tempo of the sequence. The user could also change the effects on a 'per-sequence' basis, allowing for more dramatic changes in the song. In addition to those features (and others), the song mode allowed for another 12 tracks with their own track parameters to be recorded over the sequence tracks already recorded. This allowed for, in essence, 24 tracks per song. When using external sound devices, the user could have a very complex song, triggering many different MIDI devices. Some users would use the sequencer live, and use some of the extra tracks to change programs on other MIDI enabled devices (light controllers, guitar processors, vocal EFX processors, and many others).
The VFX-SD also added a floppy disk drive, for additional data archiving purposes. The sequencer ended up in the VFX-SDII(last version of the VFX-SD, which added more piano waves, and fixed the keyboard calibration problem), the SD-1 (a VFX-SD, but with 16-bit waveforms, more polyphony and excellent reliability), TS series (new waveforms , added a tempo track, GM and was available in either 61 or 76 note versions), SQ series (a less expensive line, that had most features on the sequencer, but only allowed for up to 3 voices per sound and the sequencer was an 8/16 track incarnation).
The main thing about the VFX line that caused it to be a headache to almost every user that has owned one was its reliability. Because of the Poly-Key pressure and keybed design (which was in three pieces), it was prone to bending and breaking the solder points, causing the keyboard not to calibrate when turned on. It took Ensoniq quite a long time to remedy this problem in the future models (VFX-SD II and SD-1) and they created a very disappointed customer base. Another problem with the synth was its ability to get very warm and cause heat-related issues. The heat sync itself would get hot to the touch and cause other problems with heating up the internals of the board and causing 'meltdown' issues. These problems were corrected in future versions and other lines within the company. Another problem was that the floppy drive saved data in a proprietary format, causing copying floppies to be a nightmare and did not allow for storage onto a computer hard drive. It also was not General MIDI, but that was not really an issue, since GM was not fully created or implemented at the time of the synth's creation.
[edit] Summary
In summary, this was one of the more important synths Ensoniq created, as it combined 'ahead of its time' sounds and technology, but was limited to the technology at hand (which caused problems). The sounds were very good (they were described as not being as thin as the other sounds by other companies, and they had a lot of life to them), the performance aspect of the board was second-to-none, and it had a very intuitive sequencer. The synth has a very loyal following and there are many still in use in 2006.
