Ensoniq ASR/EPS emulating VSTi launched on kickstarter

[BONES]

Sample conversion for simple one layer samples usually works well but as soon as you get into more involved sample layering, key-ranges, filter settings, sample offsets and all of the FX routing and internals that add to the sound... simple sample conversion can't do it. Sure... basic wave files and loops ... no problem.

All that requires is a better sample converter, not an emulation of the hardware. Surely ChickenSys have got it down by now? After all, they've been at it for more than 30 years.

[deastman]

Filter, EQ bit and sample rates all have a more profound effect on the "magic" vintage samplers impart....much more than the converters IMO.

I miss my EPS-16 and Emax more for the workflow than the tonal variety as I'm able to dial it in easily with a multitude of software options. Maschine gets me 85% there.

I bought an Emax SE not all that long ago, having foolishly sold my original one in the 90s. I’ve never been so creatively inspired, which is directly down to the workflow, the limitations, and of course the sonic character.

I still don’t miss my EPS though.

[Bump1]

Filter, EQ bit and sample rates all have a more profound effect on the "magic" vintage samplers impart....much more than the converters IMO.

I miss my EPS-16 and Emax more for the workflow than the tonal variety as I'm able to dial it in easily with a multitude of software options. Maschine gets me 85% there.

I bought an Emax SE not all that long ago, having foolishly sold my original one in the 90s. I’ve never been so creatively inspired, which is directly down to the workflow, the limitations, and of course the sonic character.

I still don’t miss my EPS though.

My EPS I don't miss much, however my *EPS-16* , I occasionally long for. I've learned to master mind-over-matter though....nothing sounds better than nostalgia

[deastman]

Filter, EQ bit and sample rates all have a more profound effect on the "magic" vintage samplers impart....much more than the converters IMO.

I miss my EPS-16 and Emax more for the workflow than the tonal variety as I'm able to dial it in easily with a multitude of software options. Maschine gets me 85% there.

I bought an Emax SE not all that long ago, having foolishly sold my original one in the 90s. I’ve never been so creatively inspired, which is directly down to the workflow, the limitations, and of course the sonic character.

I still don’t miss my EPS though.

My EPS I don't miss much, however my *EPS-16* , I occasionally long for. I've learned to master mind-over-matter though....nothing sounds better than nostalgia

What’s the appeal of the EPS-16 for you? These old samplers really only interest me for their sonic artifacts. I only sample into the Emax at the lowest possible bitrate now, and then pitch it down a minimum of half an octave. An EPS-16 isn’t going to offer that digital grunge. The original EPS at least imparts a similar aliased character, although not as grungy as the Emax.

[BONES]

I don't miss my ASR-10 but I definitely miss the guitar multi-sample I had for it. It formed the basis of pretty much all my solo stuff in the 90s but, sadly, the Sampler in Orion didn't support triggering sample son note-off so I had to leave it behind when I moved to software.

[DrGonzo]

What always impressed me about the EPS/ASRs is the workflow. Sampling, setting up your instruments and even layering is so easy it's insane. I do also love the sound of those samplers and although I only go with my gut-feeling about software (ie I'm not making any measurements) the Arturia CMI is absolutely fantastic in terms of sound. And so is TAL Sampler. Redline Morgana is supposed to be up there among the big boys in terms of sound - but I never got into it.

/C

[Bump1]

Filter, EQ bit and sample rates all have a more profound effect on the "magic" vintage samplers impart....much more than the converters IMO.

I miss my EPS-16 and Emax more for the workflow than the tonal variety as I'm able to dial it in easily with a multitude of software options. Maschine gets me 85% there.

I bought an Emax SE not all that long ago, having foolishly sold my original one in the 90s. I’ve never been so creatively inspired, which is directly down to the workflow, the limitations, and of course the sonic character.

I still don’t miss my EPS though.

My EPS I don't miss much, however my *EPS-16* , I occasionally long for. I've learned to master mind-over-matter though....nothing sounds better than nostalgia

What’s the appeal of the EPS-16 for you? These old samplers really only interest me for their sonic artifacts. I only sample into the Emax at the lowest possible bitrate now, and then pitch it down a minimum of half an octave. An EPS-16 isn’t going to offer that digital grunge. The original EPS at least imparts a similar aliased character, although not as grungy as the Emax.

Just the sentimental attachment to it. I spent a significant amount of time with it. And anything that you sampler into an EPS16 or ASR-10 just sounded SO good once in the unit. That feeling was lost once in the mix as it took on a totally new identity....but I digress.

[BONES]

I never got that from mine. It was a technical improvement on the Korg DSS-1 it replaced and it had better workflow but it mostly just sounded like the samples I put into it. OTOH, the DSS-1 was capable of some monstrous sounds. I once blew the subs in a pub PA at a gig with a unison bass sound run through its analogue filter. ASR-10 never managed anything like that.

[deastman]

The DSS-1 is a pretty impressive beast. Basically a DW- series synth with sampled oscillators. Too bad it weighs a ton and is the size of a Prius.

[s28]

I wish this had/would come to fruition. Would be so good to have this sound in the box. Suprised no one has done it yet. I am content with TAL Sampler, especially so after the recent upgraded DAC section.

This would be great tho.

[DrGonzo]

The DSS-1 is a pretty impressive beast. Basically a DW- series synth with sampled oscillators. Too bad it weighs a ton and is the size of a Prius.

I never owned a DSS but I do own the odd rack version - and that might be the heaviest thing in my rack. Can only imagine how heavy the DSS is.

/C

[Lotuz2019]

What always impressed me about the EPS/ASRs is the workflow. Sampling, setting up your instruments and even layering is so easy it's insane.

Does this mean you want the VST instrument to look and operate just like the real sampler? I can imagine that having an emulation of an old sampler that not only sounds but also operates like the original will appeal to some. For example Cyclone*, a Yamaha TX16W VST that runs the Typhoon OS. Then again most VST samplers have a GUI that makes more sense on a large screen.

* https://soniccharge.com/forum/topic/433 ... m-the-past

Now I've never owned or used an Ensoniq sampler. The 112dB Morgana (Mirage emulation) looks interesting to me, but I'd be most interested in a VST emulation of the 13 bit EPS after seeing/hearing this video:



But then again, when you have several crunchy sounding samplers already, then (an emulation of) the EPS16 and/or ASR10 could be a nice addition as well as they too have a distinct sound. However does it make sense to make a full sampler VST of it when an effect plugin (think TAL-DAC and RX950) could also give you that sound? The aliasing you hear when pitching up/down on an 8/12/13 bit sampler is hard to hear on a 16 bit sampler, so imo there's basically no need to make the VST actually capable of sampling and make it operate like the original. Or am I wrong?

[DrGonzo]

But then again, when you have several crunchy sounding samplers already, then (an emulation of) the EPS16 and/or ASR10 could be a nice addition as well as they too have a distinct sound. However does it make sense to make a full sampler VST of it when an effect plugin (think TAL-DAC and RX950) could also give you that sound? The aliasing you hear when pitching up/down on an 8/12/13 bit sampler is hard to hear on a 16 bit sampler, so imo there's basically no need to make the VST actually capable of sampling and make it operate like the original. Or am I wrong?

Wow! That was truly an excellent post!

I really like the "sampler software DACs". I think they bring something great to the table in a incredibly simple way. And yes, your question why to fully emulate an old sampler is entirely valid. Now, I'm not taking people who cannot hear the difference between an ASR and Kontakt. I feel compelled to reveal - before EvilDragon jumps in - that I love the Kontakt libraries and what developers do with them. But soundwise I would pick a hardware sampler any day, simply because the cool artefacts and the wonderful things they do when pitching a sound down a couple of octaves.

Emulating an Ensoniq sampler might sound like a total waste of time. But looking on what Arturia did with CMI V - one of the best sounding softsamplers I've used - I am convinced that a developer like them could pull it off and play to the samplers strengths.

And connecting back to you mentioning TAL-DAC - remember, pitching down a sampled sound with a lower sound frequency is going to be different if you just slap on a TAL-DAC and play the sound with the same setting all over all keys. Sure. You could resample that and go from there. You would probably get in the right ball-park doing that.

TAL-DAC is amazing and it gives the easiest access to old hardware sound. I have no idea what an emulated Ensoniq EPS/ASR could work or sound like. I am only going on what Arturia did with the CMI V - and that - for me - showed you could do amazing things.

/C

[Lotuz2019]

Arturia could probably do it. I like what they did with their Mellotron V. But would I buy a full emulation of an EPS/ASR for €99 or double? Sure I'd like to see what the EPS/ASR is all about (OS, sequencer, sound etc.), but I'd probably prefer a "sampler software DAC", because as Maschine user then I could stay in the Maschine workflow and still have that sound in an instant. Especially when it's price tag is in the same range as TAL-DAC and RX950. And I guess then it would sell like hot cakes with nostalgic Hip Hop/House producers in mind. I'm not so sure if you'll tempt the same people when the price tag is € 99 or higher.

[DrGonzo]

Personally, I wouldn't hesitate to buy an accurate emulation for €99 or double. But that's me and I am quite loopy about those old samplers For me it's pretty simple. I already spend way more on buying up old samplers that isn't broken down, stamped on and run over a car. So from that perspective - it's a steal. And let's not go into the discussion about maintenance.

But for the normal human being? No - I am not sure if they would rush to buy a EPS emulation for 100-200 bucks. But if we are playing with the idea that Arturia would do it - if you already have their V Collection, the price could go down as low as 99 bucks for 3-4 new instruments - which - I think - would capture many enthusiasts. In that case the price of the plugin would be 25-33 bucks, which is an incredible value.

/C