source file: m1383.txt
Date: Sun, 12 Apr 1998 11:55:32 -0500

Subject: Re: delurking

From: "jloffink" <jloffink@pdq.net>

> From: mr88cet@texas.net (Gary Morrison)
> Subject: Re: delurking
> 
> >So if you were me, what
> >synth would give me the most bang for the buck?
> 
>    Just generally speaking, Ensoniq probably has the best microtonal
> provisions.  As far as the most musical capability is concerned, it seems
> like the K2500 could be your best bet, but its microtonal capabilities
> aren't as flexible or intuitive as Ensoniq's.
> 
>    I have lots of Ensoniq gear, but my K2500 information is based upon a
> friend trying to use his microtonally.  He describes it as "designed by
> Martians", but very powerful.
> 

I can't agree that Ensoniq has the best microtonal provisions.  It depends
on your application.

If 12 note per octave scales are sufficient and you don't mind working in
MIDI sysex codes, then Roland GS instruments are very affordable and
available in just about any format:  sound card, sound module, keyboard,
digital piano, stand alone sequencer, etc.  Instruments like the XP-60 and
XP-80 provide very complete workstations (sequencer, synthesis, effects and
mixing bus) and front panel microtonal scale editing as well.

Ensoniq synths and samples are good if you need 1-4 full keyboard scales
with any number of notes per octave.  The samplers are good workstations,
but the ASR-10/88 are weak in the sampling department compared to other
current samplers.  The ASR-X is an updated sampler/synth that looks like a
good value if you don't need a piano style keyboard.

I could not disagree more about the Kurzweil's being non-intuitive.  Unlike
every other synth I've used, all parameters are in REAL values, not decimal
coded binary.  Filter cutoff frequencies are given in notes and cents,
amplifiers are calibrated in dB, etc.  The architecture is more like a
modular analog synthesizer than a fixed one, so it is correspondingly more
powerful.  A Kurzweil K2000 or K2500 is especially adept at modulating just
intonation scales since it has 255 user programmable intonation tables that
can be switched in real time.  These scales are limited to 12 notes per
octave.  However, nTET scales can be easily created at the program level.  

Another consideration is sound quality.  Ensoniq samplers and all wavetable
synthesizers (just about everything else) use linear interpolation for
frequency shifting.  This introduces distortion in the form of inharmonic
overtones when a note is transposed from its sampled pitch.  While it may
not be as important for nTET, it makes a big difference for just
intonation, where the inharmonic overtones stick out like a sore thumb. 
The K2000 and K2500 use an improved interpolation scheme that greatly
reduces the transposition distortion.  Recent Emu samplers are the only
ones to exceed the Kurzweils in that department, which is a good enough
reason to lobby Emu to add microtonal capability to their samplers.

If you want the maximum sound sculpting capability and frequency
resolution, then CSOUND on a fast MAC or Pentium PC system, or Kyma with a
Starr Labs Microzone keyboard would be excellent.

John Loffink
jloffink@pdq.net