ENSONIQ SPM-1 Manuale utente

Sampled Piano Module SPM-1

Musician’s Manual

FEATURES:

 10-Voice Polyphonic

 Plays Over Full 88-note Range

 Velocity Sensitive

 Stereo Operation

 10 Multi-Sampled Keyboard Sounds

 Sampled Electric and Upright Bass Sounds

 Assignable Bass Split Point

 Separate Audio Output for Bass Sounds

 Separate Bass MIDI Channel

 Octave Switch to Restore Keyboard Range when using Bass Sounds

 Receives Sustain and Sostenuto Messages

 Mountable in any Standard Audio Rack

CREDITS:

Written by: Jeff Hasselberger & Bill McCutcheon

Designed and Illustrated by: Bill McCutcheon

Cover Design by: Gilligan Designs, Inc.

ENSONIQ® Corp

263 Great Valley Parkway

Malvern, PA 19355

Printed in the United States of America

This Manual is copyrighted, and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in

part, be copied, photocopied, reproduced, translated, or reduced to any electronic medium or machine-readable

form without prior written consent from ENSONIQ Corp. The SPM-1 software is copyrighted, and all rights are

reserved by ENSONIQ Corp.

Although every effort has been made to ensure the accuracy of the text and illustrations in this Manual, no

guarantee is made or implied in this regard.

IMPORTANT:

“This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in

strict accordance with the manufacturer’s instructions, may cause interference to radio and television reception.

it has been tested and found to comply with the limits for a Class B computing device in accordance with the

specifications in Subpart J of Part 15 of FCC rules, which are designed to provide reasonable protection against

such interference in a residential installation. However, there is no guarantee that interference will not occur in

a particular installation. If this equipment does cause interference to radio or television reception, which can be

determined by turning the equipment off and on, the user is encouraged to try to correct the interference by

one or more of the following measures.”

 reorient the receiving antenna

 relocate the instrument with respect to the receiver

 move the instrument away from the receiver

 plug the instrument into a different outlet so that the instrument and receiver are on different branch

circuits

“If necessary, the user should consult the dealer or an experienced radio/television technician for additional

suggestions. The user may find the following booklet prepared by the Federal Communications Commission

helpful: ‘How to Identify and Resolve Radio-TV Interference Problems.’ This booklet is available from the U.S.

Government printing Office, Washington, D.C. 20402 Stock No. 004-000-00345-4.”

In order to fulfill warranty requirements, the SPM-1 should be serviced only by an authorized ENSONIQ Repair

Station. The ENSONIQ serial number label must appear on the outside of the Unit or the ENSONIQ warranty is

void.

ENSONIQ, SPM-1, and Mirage are trademarks of ENSONIQ Corp.

Part # 9310001001 Model # MM-6

TABLE OF CONTENTS

THE SPM-1 – AN INTRODUCTION .................................................................................................................................. 1

THE FRONT PANEL ......................................................................................................................................................... 2

REAR PANEL CONNECTIONS .......................................................................................................................................... 3

GETTING STARTED ......................................................................................................................................................... 4

CHOOSING A SOUND ..................................................................................................................................................... 6

THE SOUND AND BANK BUTTONS ............................................................................................................................. 6

THE SOUNDS .................................................................................................................................................................. 7

BANK A ....................................................................................................................................................................... 7

BANK B ....................................................................................................................................................................... 7

USING THE BASS ............................................................................................................................................................ 8

CHOOSING A BASS SOUND ........................................................................................................................................ 8

CHANGING THE BASS SPLIT POINT ............................................................................................................................ 8

THE OCTAVE BUTTON ................................................................................................................................................ 9

PERFORMANCE NOTES ................................................................................................................................................ 10

FILTER RETUNING .................................................................................................................................................... 10

VELOCITY SENSITIVITY ............................................................................................................................................. 10

STEREO OPERATION ................................................................................................................................................ 10

VOICE ASSIGNMENT ................................................................................................................................................ 10

SUSTAIN AND SOSTENUTO PEDALS ......................................................................................................................... 11

TUNING .................................................................................................................................................................... 11

MIDI ............................................................................................................................................................................. 12

MIDI MODE 3 ........................................................................................................................................................... 12

CHANGING THE MIDI CHANNEL .............................................................................................................................. 12

CHANGING THE BASS MIDI CHANNEL ..................................................................................................................... 13

CONTROLLING THE SPM-1 WITH A MIDI SEOUENCER ............................................................................................. 14

MIDI THRU BOX ....................................................................................................................................................... 15

MIDI PROGRAM NUMBERS ...................................................................................................................................... 16

MIDI PROGRAM CHART ........................................................................................................................................... 16

MIDI IMPLEMENTATION CHART .................................................................................................................................. 17

GLOSSARY .................................................................................................................................................................... 18

RACK MOUNTING THE SPM-1 ...................................................................................................................................... 20

SPECIFICATIONS ........................................................................................................................................................... 20

SPM-1 Musician’s Manual ENSONIQ Corporation

Page 1

THE SPM-1 – AN INTRODUCTION

Congratulations on your new purchase. The Sampled Piano Module is a rack-mountable version of the ENSONIQ

Piano, Model SDP-1. It is the same instrument in virtually every regard, except that it doesn’t have a keyboard of

its own. You control it via MIDI (Musical Instrument Digital Interface) from a remote synthesizer, keyboard

controller or sequencer.

The ENSONIQ Piano and the SPM-1 are the products of high technology known as digital sampling. Some of the

terms we use in describing the various functions are borrowed from the hi-tech world. There’s a small glossary on

page 18 that will give you a plain language description of these terms.

Digital sampling has been around for almost a decade and is based on the same technology as digital recording and

compact discs. It involves taking the acoustical and electrical energy produced by an instrument (analog) and

converting that energy into computer-type data of “binary digits” (hence, digital). This digital information is stored

in memory and, when you press a key, is converted back into analog electrical and acoustic energy through

amplifiers and loudspeakers.

While fairly simple in theory, there are literally hundreds of catch-22’s when bringing the theory into practice.

ENSONIQ made a major breakthrough in digital sampling with the development of the Q-chip integrated circuit

and the introduction of the Mirage Digital Sampling Keyboard. The SPM-1 represents a further refinement of the

technology.

Multi-sampling allows acoustic instrument sounds – in particular, piano sounds – to be accurately reproduced

across the entire range of an 88-note keyboard. The complex waveforms of acoustic instruments don’t behave

very well when the pitch is shifted more than a few semi-tones away from the original pitch.

Multi-sampling is a technique that uses different waveform samples at small intervals from the lowest notes to the

highest. When you play a multi-sampled sound, the character and timbre of each note is true and accurate to the

corresponding note on the actual instrument. The SPM-1 is multi-sampled many times across its range, giving you

sonic accuracy that non-multi-sampled instruments can’t possibly produce.

Most MIDI keyboards built today feature a system for determining how hard you play, and they send this

information out via MIDI for each key strike. This function, known as velocity sensitivity, allows the Piano to

respond like its acoustic counterpart. The harder you play, the louder and brighter the sound will be. The dynamic

and timbral range of the Piano closely matches an acoustic piano. You can drive the SPM-1 from a MIDI keyboard

which doesn’t send velocity, but you will not be taking advantage of the subtle response capabilities of the

instrument.

One more thing; we suggest that you fill out and send in the enclosed warranty registration card. It will help

smooth the service of any problems you may have in the future and will allow us to contact you with news about

your instrument.

ENSONIQ Corporation SPM-1 Musician’s Manual

Page 2

THE FRONT PANEL

All the sound, MIDI and control functions of the SPM-1 are accessed through the front panel. The 12 push buttons

and the slider control volume, sound selection, and keyboard split, as well as MIDI channel and program changes.

The push buttons feature built-in LED’S to tell you when the function is on or off. Some of the more complex

functions will depend upon having a certain number of buttons in the on or off position. Refer to other sections of

the manual for a more complete explanation of each function.

1) Power When this rocker switch is pressed at the top, the power switches on. It is good

practice to power up the SPM-1 before turning on your amplification system.

2) Volume Controls the overall output of the instrument, including the Bass and Headphones.

3) MIDI Channel This button allows you to select any one of 16 MIDI channels over which the Piano

will receive and send information. Refer to pages 12 through 16 for a complete

explanation of the SPM-1’s MIDI functions.

4) Stereo This button creates a broad stereo sound image when the Piano is connected to a

stereo amplifier or two separate amps.

5) Bank A Pressing this button allows you to select a sound from those listed above the five

Sound Select Buttons.

6) Bank B Pressing this button allows you to select a sound from those listed below the five

Sound Select Buttons.

7) Bass Select Buttons These two buttons select either upright or electric bass sounds on the lower

keyboard. Unless you select otherwise, the keyboard will split at the G below Middle

C. See page 8 for instructions on how to program your own bass keyboard split.

8) Octave This button lowers the upper keyboard sound one octave when using a bass sound.

Note that the button will not work unless a bass sound is selected.

9) Sound Select Buttons These five buttons give you instant access to all ten sounds in the Piano. When the

Bank A button is on, you may select any sound listed above the Sound Select

buttons. When the Bank B button is on you may select any of the sounds listed

below the Sound Select buttons.

SPM-1 Musician’s Manual ENSONIQ Corporation

Page 3

REAR PANEL CONNECTIONS

1) Bass This is a separate audio output for the bass sound, letting you send the bass to a

separate amplifier or channel of your mixing console. When a ¼” mono audio cable

is plugged into this jack, the bass sound is automatically isolated from the upper

keyboard sound. There will be no output from this jack until you select a bass sound

on the front panel. When nothing is plugged into this jack, the bass will be sent out

the audio jack(s) in use. Also note that there is no stereo imaging of the bass when

this jack is used.

2-3) Audio

Right & Left/Mono

These two audio output jacks allow you to use the Piano in either stereo or mono

modes. For mono operation, just plug a ¼” mono audio cable into the Left/Mono

jack and connect it to an amplifier or mixing console. For stereo operation, connect

¼” mono audio cables to both the Right and Left/Mono jacks and connect these to

two separate amplifiers, a stereo amplifier or two channels of a stereo mixing

console. The stereo imaging feature of the Piano will only be noticed when the Right

and Left/Mono jacks are properly connected.

4) Headphone This ¼” stereo output is used to connect stereo headphones for private listening.

The volume of the headphones can be controlled by the master Volume control on

the front panel. For best results when using the headphone jack, use headphones

rated at 600 Ohms or higher, such as the AKG K240.

5) Tuning A440 This control will allow you to fine tune the pitch of the Piano over a range of two

semi-tones. See page 11 for operating instructions.

6) MIDI Thru This jack will allow all MIDI IN information to pass unaltered through the SPM-1.

MIDI information originating in the Piano will not be sent out of this jack. See pages

12 through 16 for complete MIDI functions.

7) MIDI Out This jack will send all MIDI information originating from the SPM-1.

8) MIDI In This jack will receive MIDI information from the controlling keyboard, sequencer, or

other MIDI devices.

9) Foot Pedal This ¼” stereo jack connects the optional Sustain/Sostenuto pedal board to the

Piano.

10) Fuse 1-Amp fast-blow fuse socket.

11) Line The supplied line cord should be connected here. The correct Voltage for the SPM-1

is listed on the Serial Number label on the rear panel. If you travel, remember that

the Piano will only operate on this voltage.

ENSONIQ Corporation SPM-1 Musician’s Manual

Page 4

GETTING STARTED

The first thing you will need to begin using your SPM-1 is a MIDI instrument, sequencer, or computer to send it a

control signal. Any electronic instrument which has MIDI will drive the SPM-1, though as mentioned earlier, unless

the master instrument senses and sends key velocity, you will be missing the wide range of dynamic and timbral

expression available from the piano and other sounds.

Shown below is an example of the SPM-1 connected to a MIDI keyboard. Connect the MIDI OUT jack of the master

keyboard to the MIDI IN jack of the SPM-1. Set your master keyboard to transmit on MIDI Channel 1 (more later

about changing MIDI Channels). You can connect any other MIDI instruments you’ll be driving from the same

keyboard to the MIDI THRU jack of the SPM-1, as indicated below. This jack simply “passes along” incoming MIDI

data.

Once your SPM-1 is properly connected to an AC source, a MIDI controller keyboard, and your sound system (see

the diagram below), getting started is easy. Just switch on the SPM-1, the controller keyboard, and the sound

system, and off you go. It’s good professional practice to power up your system in the proper sequence – with the

volume control at minimum, switch on the controller keyboard and the SPM-1 first, then any effects, mixer or

preamp, and finally the power amp. If you sound system is self-contained, just remember to switch on the

controller keyboard and the SPM-1 before the amplifier.

SPM-1 Musician’s Manual ENSONIQ Corporation

Page 5

When you power up the SPM-1, you’ll get a little light show on the control panel. The LED’s on the Bank and Sound

buttons will briefly light in a sequence. The SPM-1 is checking itself to make sure all the voices are working and the

filters and levels are set properly. This initial start takes about 2 seconds. The SPM-1 will always power up with the

Piano 1 sound selected. When the sequence of flashing LED’s stops, you should see the Bank A and Piano 1 LED’s

lit. Simply adjust the volume control to the desired level and play.

If you are using the sound system with a lot of tone control (equalization) potential, it’s best to start with

everything in the ‘0’ or flat response position and make adjustments from there. Since the piano sound is by nature

quite complex, the best sound will be achieved by using high fidelity components.

The sound of the SPM-1 is very rich in harmonics, so even the low notes will have a considerable amount of high

frequency content. When making equalization changes, check the sound across the entire keyboard from time to

time for overall balance. In most cases, a little equalization will work better than a lot.

ENSONIQ Corporation SPM-1 Musician’s Manual

Page 6

CHOOSING A SOUND

When first switched on, the SPM-1 automatically chooses the first sound in Bank A - Piano 1. Whenever the SPM-1

makes a choice for you, this is known as the DEFAULT.

THE SOUND AND BANK BUTTONS

The SPM-1 features 10 whole keyboard sounds and 2 bass sounds. All the waveforms that these sounds are based

on are permanently carried in ROM (read only memory) chips in the SPM-1. The sounds are instantly accessible

through the Sound and Bank buttons on the front panel.

Selecting a sound is a matter of choosing either Bank A or Bank B and then pressing the appropriate Sound button.

The names of the Bank A sounds are listed above the 5 Sound buttons and the names of the Bank B sounds are

listed below the 5 Sound buttons.

Changing the sound ls quite simple. First decide which sound you wish to change to. The sounds listed above the

Sound buttons are the Bank A sounds. The sounds listed below the Sound buttons are the Bank B sounds.

Then:

1. Select the proper Bank button. When changing banks, note that pressing a different Bank button will change

the sound instantly to the one listed for bank chosen.

2. Select the desired Sound button. Steps 1 and 2 are interchangeable. You will not harm the SPM-1 by choosing a

Sound button before choosing the Bank button. In a short time, you’ll develop your own preferred way of

choosing different sounds.

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