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:

  1. The sound of the synth itself.
  2. The performance capabilities of the synth in live use.
  3. The sequencer (VFX-SD).

Contents

[edit] The synth is based on sample-playback

This means that there are waveforms in memory of many different instruments. There are also the exclusive Transwaves, created by Ensoniq, which are complex waveforms consisting of different single-cycle waves "glued" together to form a finished sample that can be programmed to evolve over time and are very animated and "alive" when programmed correctly. Transwaves are also the only way to get the typical resonance sound, since the filters of the VFX didn't have a resonance parameter. The waveforms in the original VFX and early VFX-SD synths are 16-bit resolution with a sample frequency of ca. 39 kHz. The waveforms covered the standard list of piano/bass/guitar/string/ varieties, and many others. In particular, the solo voices are quite good, can be very deep, and athmospheric by combining the waveforms themselves (up to 6 waveforms/oscillators can sound at a time). The voice structuring, and performance capabilities were pretty advanced and versatile, at the time.

[edit] Performance capabilities

The performance capabilities of the VFX made it a favorite of live musicians, as you can select up to three voices, combine these into a PRESET (20 user PRESETs in memory at a time, 40 built-in) to play from at any given time and save them in a custom-programmed setup (each sound in the PRESET allowed for Transpose, Output Routing, MIDI channel assignments, EFX routing/selection etc.). Since each voice could be made of up to six individual sounds, the possibilities were almost endless, using different key-ranges/splits for each of the three voices (although it significantly ate up polyphony). One particular feature that the VFX (and VFX-SD series) had was "Poly-Key Pressure" (better known as Polyphonic Aftertouch). This allowed the player to add modulation to a single note when playing chords! Most synths (even today!) use the more common (and less expensive to manufacture) "Channels Aftertouch" which adds equal modulation to all keys at a time on a given MIDI channel.

Also an Ensoniq speciallity was the two "PATCH SELECT"-buttons above the Pitch/Modulation wheel. These two buttons are used to select different oscillator combinations of a sound ie. by pressing the left, Oscillator 1+2 would sound - pressing the right could sound the Oscillator 3+6 and pressing both could ie. sound all 6 oscillators of a single sound. Since it is programmable which oscillators will sound when a given PATCH SELECT button is pressed, a very complex sound can be made. (For example the E-Guitars uses this - try it out if You happen to play one - VERY convincing, also today!) Also, Ensoniq 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 sequence-pattern tracks and 12 song tracks. 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, paste, erase etc. Because of the (at least back then) large Fluorescent Display, the user can see a lot of information and parameters at a time, making the sequencer very intuitive to work with. Also, auditioning of tracks after a recording or editing changes allows the user to "KEEP" or "CANCEL" if needed. The sequencer capacity is ~25,000 notes, but could be expanded to ~75,000 notes with an optional memory expansion kit. The sequencer also allowed for external MIDI input recording from other instruments, either one track at a time or in multi mode (several tracks in one recording session), makes it easy to also copy sequences from other instruments to the VFX-SD.

In song mode, the different sequence-patterns can be arranged and named (eg. Intro, Verse, Bridge, Ending etc.), and arranged in any order to make a finished song. Also in Song Mode, each sequence can be repeated up to 99 times each, which can save a lot of sequencer memory by eg. recording a standard 2-bar drum/bass/piano part, then repeating this 8 times to make a 16-bar Verse. Tempo changes for each sequence could be programmed in the sequence themselves or in the song mode, to advance/slow the tempo of the song at certain points, say for a crescendo or an ending slowing down. The user could also change the effects on a 'per-sequence' basis, allowing for more dramatic changes in the song, even though that (especially with a different FX setup) this will make the sequencer run "not-so-stable". In addition to those features (among others), the SONG MODE allows for another 12 tracks with their own track parameters to be recorded along the sequencer tracks already recorded/arranged. These 12 tracks resembles having 12 "tape-like" tracks, used for live-like piano playing or for solos and such, which are difficult to "pattern-rize". By also using external sound devices (or other MIDI gear), the user can make a very complex song, triggering many different types of 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 processorsetc.

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 sink 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 most important synth series Ensoniq created, as it combined 'ahead of its time'-sounds and technology (even though the lack of the RESONANCE parameter was considered a huge "miss" by a lot of keyboard players). The sounds one CAN make on the other hand are VERY good: They can best be described as being "Thick & Warm with a lot of life!" to them. The performance aspect of the VFX's was (is, almost!) second-to-none, and it has a very intuitive Performance/Sequencer-mode.

The VFX's had/has some stability problems, but these can to a large extent be overcome. The VFX-series has a very loyal following and many are still in use today. (A lot of musicians felt sadness when Ensoniq was first bought by EMU who shortly thereafter was sold to Creative Labs, who sadly enough hasn't come up with any new Ensoniq stuff, leaving the brilliant engineering of the time kind of "unfinished" - one can only imagine where Ensoniq would have been today, if they'd continued on their own...