Mirage Mirage DSK-1 User manual

Mirage DSK-1
Musicians Manual
If you're like most of us,
you've probably already
hooked up your Mirage and
reached some level of limited success in making it work. This manual is a simple and
straightforward presentation of the Mirage t
sophistication. An Advanced Sampler's Guide is available from your authorized Ensoniq Dealer
for those who wish to use the Mirage in technically and artistically complex situations.
We suggest that you read th
e manual from front to back covers, including the
PARAMETER APPENDIX
. The Mirage has a great many performance features that will make
your life easier if you'll familiarize yourself with them. The terminolog
at first, but as you use the Mirage you'll quickly adapt to the terms and their definitions. The
Mirage is a very logical instrument and we've presented the information about it in a
building block fashion.
TABLE OF CONTENTS
• Introduction
• The Front Panel
• About Diskettes
• About Memory
• Inputs and Outputs
• Stereo Operation
• Getting Ready to Play
• Changing Sounds
• Changing Programs
• The Sequencer
• Sequencer Overdubs
•
Saving and Loading Sequences
• Playback Parameters
• Changing Parameters
reached some level of limited success in making it work. This manual is a simple and
straightforward presentation of the Mirage t
hat will take you to an intermediate level of
sophistication. An Advanced Sampler's Guide is available from your authorized Ensoniq Dealer
for those who wish to use the Mirage in technically and artistically complex situations.
e manual from front to back covers, including the
GLOSSARY
. The Mirage has a great many performance features that will make
your life easier if you'll familiarize yourself with them. The terminolog
y may seem a bit foreign
at first, but as you use the Mirage you'll quickly adapt to the terms and their definitions. The
Mirage is a very logical instrument and we've presented the information about it in a
TABLE OF CONTENTS
Saving and Loading Sequences
• Saving Sounds
• Copying Programs Internally
•
Using the Formatting Diskette
• Sampling
• Setting the Record Level
•
Single Wavesample Wavetables
• Multiple Wavesample Wave
tables
• Sampling Parameters & Tips
• MIDI Connections
• Glossary
• Parameter Appendix
• MIDI Program Change Chart
• MIDI Implementation Chart
• Specifications
reached some level of limited success in making it work. This manual is a simple and
hat will take you to an intermediate level of
sophistication. An Advanced Sampler's Guide is available from your authorized Ensoniq Dealer
for those who wish to use the Mirage in technically and artistically complex situations.
GLOSSARY
and
. The Mirage has a great many performance features that will make
y may seem a bit foreign
at first, but as you use the Mirage you'll quickly adapt to the terms and their definitions. The
Mirage is a very logical instrument and we've presented the information about it in a
logical
Using the Formatting Diskette
Single Wavesample Wavetables
tables

INTRODUCTION
When it was introduced in 1984, the Mirage Digital Sampling Keyboard made history by being
the first truly affordable sampling keyboard - the Mirage put sampled sounds into the hands of
musicians who didn't have the price of a house to spend on a keyboard. It has gone on to become
the most popular sampler ever made. It is also the best supported, with hundreds of sounds
available on diskette from ENSONIQ and other third party developers, as well as a wealth of
computer software and other peripherals.
The Mirage DSK represents a continuation of ENSONIQ's commitment to providing its
customers with low-cost, high-quality musical instruments. Thanks to a series of design
improvements and more efficient production techniques, it is possible to offer an instrument with
the same fine sound quality and virtually all the features of the original Mirage at a substantially
reduced price. Plus, the Mirage DSK features the added enhancement of stereo circuitry.
All the sounds ever developed for the Mirage will play on the Mirage DSK, including the
popular ENSONIQ Sound Diskette Library, which covers the full range of musical instruments
and other effects. See your ENSONIQ dealer for details about the Sound Library.
The Mirage is an eight-voice polyphonic digital sampling keyboard instrument - in many ways
similar to and in just as many ways different from a synthesizer. The Mirage allows you to
personally program sounds like many synthesizers and also features an on-board sequencer. But,
in addition, the Mirage will permit you to sample just about any sound you hear and create music
with it.
It's best described as a computer specially designed to reproduce and process sound. Like all
computers, it is a system consisting of two main parts--hardware and software. And here's where
it differs most from synthesizers.

Hardware
The hardware of the Mirage is everything that comes in the box with the exception of the
information on the mini-diskettes. The hardware itself cannot make any sound. It's an engine
without fuel. What the hardware can do is reproduce process and modify the sound information
included on the diskettes.
Software
The information contained on the mini-diskettes is called software; this information consists of
all the data necessary for the Mirage hardware to reproduce a sound. When this information is
transferred, or loaded, into the memory of the Mirage, the hardware is ready to reproduce that
sound or modify it in a nearly unlimited number of ways.
You, the user, can create your own software by taking sounds you record with the Mirage
hardware and transferring that information onto a specially formatted Mirage diskette for future
use. This process is called saving.
Because all of the crucial sound information is included as software, your Mirage will never be
obsolete. An ever-growing library of sounds is available from Ensoniq that will keep your
Mirage fresh and new for years to come.
Digital Sampling
As it applies to music, digital sampling is a computer term that basically means "recording," In
concept, it's very similar to tape recording--an electronic representation of a sound, or audio
signal, is stored in some location where it can be read and changed back into a sound at some
future time.
Tape recording uses audio tape to store the audio signal. Digital sampling uses sophisticated
digital circuitry (and eventually, computer diskettes) to store the signal. In digital sampling, the
signal is stored as bits of computer information. While in this digital form, the signal can be
modified in many ways, without deteriorating the audio quality and without the mechanical
limitations of tape recording.

THE FRONT PANEL
The Mirage control panel contains a logical array of multi-function buttons and a status display
that will show you all you need to know about what's going on inside the Mirage at any given
time.
Many modern digital and digital/analog synthesizers utilize a multi-function control panel, so
you may already be familiar with its use. If not, you will find that you'll adapt to the concept
rather quickly and will soon be breezing across the panel like an expert.
The following sections of the manual will give you detailed instructions on how to use the panel
for specific functions. Here is a general description of the controls and their function.
1. CONTROL
This section of the panel contains the display and controls parameter values, switching
functions and commands.
2. Display
This display is alpha-numeric, that is, capable of displaying letters as well as numbers. When
sampling, the display also functions as a peak level indicator. The PARA ETER APPENDIX
contains all the specific information about reading and interpreting the display. A flashing
display means that the irage is asking you a question or telling you something is wrong.
3. Param
Pressing this button will show you which parameter is selected and ready to be adjusted. The
number of the selected parameter can be changed using the SELECT keypad.
4. Param Indicator
When this LED is lit, the display is showing a parameter number.

5. Valu
Pressing this button shows the numerical value of the selected parameter. Rather than knobs
or switches, the irage uses a scale of numbers to describe the operating range of any of the
parameters.
6. Valu Indicator
When this LED is lit, the display is showing the value of the selected parameter,
7. OFF /
Pressing this button will decrease the parameter value number. Pressing the button
intermittently will decrease the value one digit at a time. Holding the button down will
change the value at an accelerating rate. This is also the OFF button for switching functions,
8. On /
Pressing this button will increase the parameter value number. Pressing the button
intermittently will increase the value one digit at a time. Holding the button down will
increase the value at an accelerating rate. This is also the ON button for switching functions.
9. SELECT
The SELECT section gives you access to many irage functions, from parameter selection to
programming, sequencing, sampling and editing functions.
10. Num ric K ypad
The numeric keypad is used to select parameters, sounds, and programs, and to determine
which sounds and patches will be transferred to the diskette.
11. Canc l
This button is used to abort commands and halt functions such as sequencing. It is also used
to cancel editing functions before they are entered into the irage memory. Virtually any
command or function can be canceled with no harmful effect as long as CANCEL is pressed
before the event occurs.
12. 0/Prog
Each sound in the irage has four preset parameter programs numbered 1 through 4. This key
will display the current program and keyboard half containing that program. Pressing the
button repeatedly will alternately show the current program on the other keyboard half.
Pressing the button and then any number between 1 and 4 will change the program to that
number for that keyboard half.
13. Ent r
This button is used to begin the transfer of sounds between the irage memory and diskettes,
to execute commands and to initiate sampling and sequencer functions, Any command or
function which dramatically alters the irage memory or diskette information will require you
to press ENTER for final confirmation.

14. SEQ
The buttons in the sequencer section are used in conjunction with the ENTER and CANCEL
buttons in the Select section to record sequences, playback sequences, load sequences from
diskettes into the irage memory and save sequences on diskettes.
15. R c
This button is used to record and overdub sequences. Pressing the button twice and then
playing the irage will record a new sequence, while pressing the REC button followed by the
PLAY button will permit overdubbing a previous sequence.
16. Play
To play back a sequence, press the PLAY button and the sequence will play back as recorded.
Pressing the PLAY button while a sequence is already playing will restart the sequence from
the beginning, The sequence can be interrupted at any time by pressing the CANCEL button.
17. Load
To load a sequence from a diskette into the irage memory, press the LOAD button and then
the number of the sequence (1-8) you wish to load. Pressing the ENTER button will start the
loading process.
18. Sav
To save a sequence you have recorded by transferring if from the irage memory to diskette,
first insert a formatted diskette into the drive. Next, press the SAVE button and the location
number (1-8 on SELECT keypad) where you wish to store the sequence on the diskette.
Pressing the ENTER button will begin the saving process. Note that this will replace on the
diskette any sequence that was previously saved in that location.
19. Sampl Upp r/Low r
These buttons are used to set up the irage to sample sounds. Consult the SA PLING section
of the manual for detailed instructions.
20. Load Upp r/Low r
These buttons are used to load sounds from Ensoniq Sound Diskettes or your own sound
library. Pressing either or both buttons will instruct the irage to load the sounds into the
memory for the upper, lower or both halves of the keyboard. After pressing the Load
button(s), select the sound you wish to load (1, 2, or 3) and then press ENTER.
ABOUT DISKETTES
The Mirage uses 3-1/2" micro floppy diskettes to store information. The diskettes are enclosed in
a protective plastic carrier with an automatic shutter to protect the diskette from physical
damage. It is important not to alter this carrier in any way.

Diskettes have a sliding write-protection tab so that you can protect your own sounds and
programs against accidental erasure. Sliding the write-protection tab in the lower left corner of
the diskette so that the window is closed will allow you to store information on the diskette.
Sliding the tab so that the window is open will protect the diskette against over-writing and
erasure. If you try to write, or "save" data to a protected diskette, the Mirage display will respond
"Pd", for Protected Diskette, and the data will not be saved. To save data to a protected diskette
you must first slide the tab to the closed position.
DO'S AND DON'TS
Diskettes are a magnetic storage medium and should be treated with the same care that you'd
give important audio tapes. Here are a few do's and don'ts.
• Keep diskettes away from magnetic fields. Exposure to magnetic energy can
permanently damage the information on the diskette. Keep them away from speaker
cabinets, tape decks, power cables, airline x-ray equipment, power amplifiers, TV sets
and any other source of magnetic energy.
• Avoid extremes of temperature. Temperatures below 50 F and above 140' F can
damage the plastic carrier.
• Keep the carrier clean. Don't allow liquids to come in contact with the carrier or
diskette and don't touch the diskette with your fingers.
• We strongly advise that you keep a written record of sounds, programs and sequences
stored on your diskettes to facilitate loading the right sounds and to avoid writing over
sounds and sequences you want to save. For maximum protection, always make back-
up copies of your sounds on Formatted Diskettes.
• Disk tt s should not b l ft in th disk driv wh n th Mirag is switch d on or
switch d off. Disk tt s should not b ins rt d or r mov d whil th r d disk driv
light is on.
Ensoniq Sound Diskettes are shipped "write
-
protected",
that is, protected against accidental erasure while in the
irage disk drive. We recommend that you do not store
sounds on a Sound Diskette without first making a
backup copy of the Sound Diskette on a Formatted
Diskette. Formatted Diskettes contain the irage
operating system data, but do not contain any sound
information. They can store up to three sounds with four
programs each, and up to eight 333-note sequences. In
order to save sounds and sequences and make backup
copies of Sound Diskettes, you must use Formatted
Diskettes. You can format your own diskettes using the
Formatting Diskette that came with your irage. See the
section on the Formatting Diskette for complete details.

ABOUT MEMORY
Disk Memory
The sound diskettes which came with the Mirage each contain three Upper and three Lower
sounds. Each Upper and Lower sound is composed of 64k of sound data - about 64,000 bytes of
information - plus the four programs and all the individual wavesample parameters which control
the tuning, keyboard range, volume, etc. for each wavesample.
In many cases, as with the piano and the bowed strings, the same-numbered Upper and Lower
sounds are related, and are designed to be loaded together and used as a single, full-keyboard
instrument. In other cases, the same-numbered Upper and Lower sounds are totally different. A
bass sound doesn't need to cover the entire keyboard; nor does the range of a sax normally
extend down a full five octaves. In such instances, different Upper and Lower sounds have been
placed together on the disk.
Internal Memory
The internal memory of the Mirage consists of
two 64k banks of memory. The Lower bank will
hold the data from one Lower sound off the disk;
the Upper bank will hold the data from one
Upper sound off the disk. The internal memory
only contains one Upper and one Lower sound at
a time. To play another sound, you must load it
from a diskette, which will replace the current
sound in the internal memory. Once a sound is
loaded into the internal memory, you can change
it in any way you wish without affecting the data
on the diskette. The data on the diskette is not
affected unless you save the modified data over
the original. Generally, it's better to save your
changes to a blank formatted diskette, leaving
your factory sound disks intact.
Always remember this: the data in the internal
memory is volatile. That means that when you
turn the Mirage off, it's gone. Any sounds you
sample, or changes you make to the factory
sounds, must be saved to a formatted diskette if
you wish to keep them around for future use.

Custom Splits
Any Lower sound can be loaded in the Mirage along with any Upper sound. Suppose, for
example, that you want the piano sound in the lower half, and the sax in the upper half. Simply
load Lower Sound #1 from the diskette with the Piano, and then load Upper Sound #1 from the
diskette with the Upright Bass & Sax, as described in the section CHANGING SOUNDS. Now
you have, in the Mirage's internal memory, piano in the Lower and sax in the Upper keyboard.
You can now save this combination to a blank formatted diskette (see SAVING SOUNDS AND
PROGRAMS) so that you can later load them in together, By making your own custom disks in
this way you can optimize your performance set-up.
Sequen e Memory
As with sound data, the Mirage has a section of its internal memory reserved for storing
sequences that you record or load from diskette. The internal memory holds one 333-note
sequence. Loading a sequence from diskette will replace the sequence in the internal memory.
Overdubbing or recording over a sequence in the Mirage internal memory will not affect the
sequence data stored on a diskette, unless you deliberately save the new sequence over an
existing one. See the Sequencer section for details on recording, saving and loading sequences.
INPUTS AND OUTPUTS
The back panel of the Mirage contains inputs and outputs for power, audio signal, Foot Switch
and MIDI interface connections. Several of these connections have multiple functions that are
controlled by parameters from the front panel. Consult the PARAMETER APPENDIX for a
complete description of the parameters and their functions.
1. Right Audio Out
When using the Mirage in stereo (see
Page 9), connect this jack to one channel
of your mixer and pan that channel
right. When nothing is plugged in here,
all audio will be routed to the Left/Mono output. Specs: Low impedance, high gain audio output.
Nom. output 800mV. Impedance 1K ohms.

2. L ft/Mono Audio Out
To run the Mirage in mono connect this jack to your mixer or amplifier. When nothing is
plugged into the Right Output, all audio will be routed to this output. When using the Mirage in
stereo, connect this jack to one channel of your mixer and pan that channel left. Specs: Same as
Right Audio Out
3. Audio In
Audio input switchable between line and mic levels, Parameter 75 (LINE INPUT ON/OFF)
controls the level select. The line level input wi11 accept signals of up to 1 V, impedance 20K
ohms. The mic level input will accept signals of up to 100mV, impedance 200K ohms,
4. P dal/Footswitch
This connection is for the Sustain Pedal/ foot- switch (Model SW-1), Its function is controlled by
parameter 89 (SUSTAIN PEDAL/FOOT- SWITCH SELECT).
5. Midi Out/Thru
This jack sends out Musical Instrument Digital Interface (MIDI) information from the Mirage to
other instruments and computers. In the MIDI THRU MODE (parameter 83), it also echoes all
MIDI inputs.
6. Midi In
The input for MIDI information. The MIDI IN jack is controlled by parameter 81 (MIDI OMNI
MODE ON/OFF), and parameter 82 (MIDI CHANNEL SELECT).
7. Ext rnal Fus Hold r.
1 Amp fast-blow Fuse socket.
8. Lin
The supplied AC line cord should be connected here. The correct voltage for the Mirage is listed
on the Serial Number label on the rear panel. If you travel, remember that the Mirage will only
operate on this voltage.
9. Pow r
Rocker switch to turn power on and off.