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.

Many problems encountered with electronic instruments are in the connections. It is wise to
use only high quality cables and connectors and to keep them in good condition. We also
recommend that you double check all connections every time you set the Mirage up to play.
STEREO OPERATION
One new feature of the Mirage DSK which was not available on the original Mirage is stereo
operation. When the Mirage DSK is connected in stereo to a mixer or stereo amp, each of its
eight voices will appear in a random location in the stereo spread.
How does it work?
Imagine the area between your speakers divided into eight equal zones, or pan locations. When
your Mirage is connected in stereo, and each channel is panned as shown at the right, any note
you play might come from any of these eight locations. The next note you play will come from
another location. The assignment is totally random - there is no way to control or predict where a
given note might show up in the mix.
This effect works best on sounds like string pads, background vocals, etc., where you are mostly
playing sustained chords. Used in this context the stereo effect can be quite stunning, with the
different notes of a chord all panned to their own locations in the mix. It can also be quite
effective in adding some interest and movement to drum and percussion sounds, though you
might want to constrain the stereo image a bit with these sorts of sounds (see below).
The stereo effect generally works less well when playing solo parts with sounds such as piano,
guitar, flute, etc. Basically, the ear does not expect a piano or guitar to be leaping from place to
place in the stereo spread as it's played - the effect can be disconcerting. For sounds like these
you might want to run the Mirage in mono, or severely constrain the stereo spread,
Constraining the Stereo Image
If you connect the Mirage's Left/Mono and Right outputs to your mixer and pan the two channels
all the way to the left and right respectively, you will get the maximum stereo spread. For some
sounds, as mentioned above, this is great, while for others you might want a less radical version
of the effect. By adjusting the pan of each channel closer to the center position, you can
constrain, or narrow the stereo spread. Thus the notes you play will still bounce around between
your speakers, but by constraining the stereo image you have defined a narrower area in the
middle of the stereo field for them to bounce around in.

Full stereo image
GETTING READY TO PLAY
The Mirage is a two-
part instrument
a sound. It needs the information on the diskettes to start doing its work. Getting this information
into the right location in the hardwa
The first diskette you put in the drive when you turn the Mirage on is very important, because the
Mirage takes its operating system from this disk ("boots" from that disk, in computer terms). The
operating system tells the Mirage
Mirage can behave like several totally different machines, with totally different capabilities,
depending on which operating system it is "booted" with.
When you turn the Mirage on and insert a
#1 and its four programs into the memory. You will have to follow a certain procedure when you
wish to change sounds or diskettes. The procedure is quite simple and only takes a few seconds.
Here's the complete sequence.
WHEN YOU TURN ON THE MIRAGE
Do this...
H r 's what's happ ning...
Turn
power
switch ON
The electrical power that operates the
hardware is ready.
Somewhat constrained
stereo image
Narrow stereo image
GETTING READY TO PLAY
part instrument
-
hardware and software. By itself, the hardware won't make
a sound. It needs the information on the diskettes to start doing its work. Getting this information
into the right location in the hardwa
re is known as Loading.
The first diskette you put in the drive when you turn the Mirage on is very important, because the
Mirage takes its operating system from this disk ("boots" from that disk, in computer terms). The
operating system tells the Mirage
hardware what to do. Because it is basically a computer, the
Mirage can behave like several totally different machines, with totally different capabilities,
depending on which operating system it is "booted" with.
When you turn the Mirage on and insert a
diskette, the hardware will automatically load sound
#1 and its four programs into the memory. You will have to follow a certain procedure when you
wish to change sounds or diskettes. The procedure is quite simple and only takes a few seconds.
WHEN YOU TURN ON THE MIRAGE
H r 's what's happ ning...
Display will show...
The electrical power that operates the
nd
(no diskette)
Flashing
Narrow stereo image
hardware and software. By itself, the hardware won't make
a sound. It needs the information on the diskettes to start doing its work. Getting this information
The first diskette you put in the drive when you turn the Mirage on is very important, because the
Mirage takes its operating system from this disk ("boots" from that disk, in computer terms). The
hardware what to do. Because it is basically a computer, the
Mirage can behave like several totally different machines, with totally different capabilities,
diskette, the hardware will automatically load sound
#1 and its four programs into the memory. You will have to follow a certain procedure when you
wish to change sounds or diskettes. The procedure is quite simple and only takes a few seconds.
Display will show...

Insert
Sound
Diskette
Hold the diskette with the slotted shutter on
top, facing forward, and insert it gently into
the drive slot until it seats fully in and down.
Wait
about
12 seconds
The operating system and sound information
is now being transferred from the diske
the hardware memory. Slight mechanical
sounds will be heard coming from the drive.
CHANGING SOUNDS
Once the Mirage is up and running, there is a slightly different procedure to change sounds,
either loaded from the same diskette or from a different diskette.
Do this... Here's wh
at's happening...
Press LOAD
button(s) either
UPPER,
LOWER or both
Before loading the actual sound
information, you must s
the sound wi11 be available on the
upper half of the keyboard, the lower
half, or the entire keyboard.
Press 1, 2, or 3
on the SELECT
Keypad
Each diskette has three sounds, Upper
and Lower. Refer to the
for a description of each.
CANCEL
If you change your mind about which
sound you wish to load, press
CANCEL and begin again.
- OR -
ENTER
This will initiate the transfer of
information from the diskette to the
Mirage memory
Wait a maximum
of 8 seconds
Loading a sound into the memory of
both halves of the keyboard will take
about 8 seconds.
Hold the diskette with the slotted shutter on
top, facing forward, and insert it gently into
the drive slot until it seats fully in and down.
Display blank,
Drive light on
The operating system and sound information
is now being transferred from the diske
tte to
the hardware memory. Slight mechanical
sounds will be heard coming from the drive.
.21
( aster Tune)
This parameter will
always show after
the first sound is
loaded.
CHANGING SOUNDS
Once the Mirage is up and running, there is a slightly different procedure to change sounds,
either loaded from the same diskette or from a different diskette.
at's happening...
Display will show...
Before loading the actual sound
information, you must s
elect whether
the sound wi11 be available on the
upper half of the keyboard, the lower
half, or the entire keyboard.
LU (load upper) or LL
(load lower) or LA
(load all). Flashing
Each diskette has three sounds, Upper
and Lower. Refer to the
diskette label
for a description of each.
L1 (Load l) or L2
(Load 2) or L3 (Load
3). Flashing
If you change your mind about which
sound you wish to load, press
CANCEL and begin again.
Previous parameter
before pressing Load
button
This will initiate the transfer of
information from the diskette to the
Mirage memory
Display blank
Drive light on
Loading a sound into the memory of
both halves of the keyboard will take
about 8 seconds.
When the Load is
completed, the number
of the last used
Once the Mirage is up and running, there is a slightly different procedure to change sounds,
LU (load upper) or LL
completed, the number

NOTE:
If there is no sound stored for the
number you have selected, the display
will flash.
Press any key.
Adjust volume
All the sound information is now in the hardware memory.
You can now play the sound as loaded or proceed to modify it
using any of the playback parameters.
CHANGING
PROGRAMS AND KEYBOARD HALVES
Each sound loaded into the Mirage memory carries four distinct parameter programs along with
it. Programs, as defined here are very similar to "patches"
set of playback parameters (volume and filter envelopes, filter cutoff frequency, chorusing, etc.)
through which the sampled sound is played back. Those programs will always be based on the
sound data in the memory. For
example, the four programs of the piano sound will all sound
different, but they are all simply different ways of processing the piano samples themselves.
We use the program parameters to tailor the sound for playback, to shape its volume and timbral
dynamics -
either to match those of the original sound or to create entirely new effects, such as
chorusing, filter resonance, layering, etc. To see how much difference the programs can make,
try loading a few of the sounds from the diskettes that came with y
different programs, as shown below.
Here's the procedure for changing programs.
Do this...
Here's what's happening...
Press 0/PROG
This will show you the current
program and the keyboard half it is
applied to.
Press 0/PROG
again
Pressing 0/PROG a second time will
show the current program for the other
keyboard half.
parameter will be
displayed.
If there is no sound stored for the
number you have selected, the display
NF (not found)
Flashing
All the sound information is now in the hardware memory.
You can now play the sound as loaded or proceed to modify it
using any of the playback parameters.
PROGRAMS AND KEYBOARD HALVES
Each sound loaded into the Mirage memory carries four distinct parameter programs along with
it. Programs, as defined here are very similar to "patches"
on a synthesizer -
each program is a
set of playback parameters (volume and filter envelopes, filter cutoff frequency, chorusing, etc.)
through which the sampled sound is played back. Those programs will always be based on the
example, the four programs of the piano sound will all sound
different, but they are all simply different ways of processing the piano samples themselves.
We use the program parameters to tailor the sound for playback, to shape its volume and timbral
either to match those of the original sound or to create entirely new effects, such as
chorusing, filter resonance, layering, etc. To see how much difference the programs can make,
try loading a few of the sounds from the diskettes that came with y
our Mirage, and then selecting
different programs, as shown below.
Here's the procedure for changing programs.
Here's what's happening...
Display will show...
This will show you the current
program and the keyboard half it is
L(1, 2, 3 or 4)
Flashing
Pressing 0/PROG a second time will
show the current program for the other
keyboard half.
U(1,2,3 or4) for the
upper keyboard
Flashing
You can now play the sound as loaded or proceed to modify it
PROGRAMS AND KEYBOARD HALVES
Each sound loaded into the Mirage memory carries four distinct parameter programs along with
each program is a
set of playback parameters (volume and filter envelopes, filter cutoff frequency, chorusing, etc.)
through which the sampled sound is played back. Those programs will always be based on the
example, the four programs of the piano sound will all sound
different, but they are all simply different ways of processing the piano samples themselves.
We use the program parameters to tailor the sound for playback, to shape its volume and timbral
either to match those of the original sound or to create entirely new effects, such as
chorusing, filter resonance, layering, etc. To see how much difference the programs can make,
our Mirage, and then selecting

Press 1, 2, 3
or4on SELECT
keypad
You are now telling the Mirage to
change to the desired program for that
keyboard half.
Selecting parameter 25 (UPPER/LOWER PROGRAM LINK) and switching it ON will
connect the program select switch to
one keyboard half the other will change automatically.
THE SEQUENCER
The Mirage features a 333-
note sequencer that will allow you to record and save a performance.
Operating very much like a sound
patterns by overdubbing previous sequences. Sequences can be stored on Formatted Diskettes.
Before using the sequencer, we suggest that you review the sequencer parameters in the
PARAMETER APPENDIX
, paying particular attention to the following:
Param.
Function
85
External Sequencer Clock Switch
87
Internal Clock Rate
88
Sequencer Loop Switch
89
Sustain Pedal/Footswitch Select
TO RECORD A NEW SEQUENCE
Do this...
H r 's what's
happ ning...
Press REC button
Turns the sequencer on
to standby and is
awaiting further
instructions.
You are now telling the Mirage to
change to the desired program for that
keyboard half.
U(1,2,3 or 4)
Selecting parameter 25 (UPPER/LOWER PROGRAM LINK) and switching it ON will
connect the program select switch to
both keyboard halves, so as you change the program for
one keyboard half the other will change automatically.
THE SEQUENCER
note sequencer that will allow you to record and save a performance.
Operating very much like a sound
-on-
sound tape recorder, the sequencer enables you to buil
patterns by overdubbing previous sequences. Sequences can be stored on Formatted Diskettes.
Before using the sequencer, we suggest that you review the sequencer parameters in the
, paying particular attention to the following:
External Sequencer Clock Switch
Sequencer Loop Switch
Sustain Pedal/Footswitch Select
H r 's what's
happ ning...
Display will show...
Turns the sequencer on
to standby and is
awaiting further
instructions.
rS
(record sequence)
Flashing
Selecting parameter 25 (UPPER/LOWER PROGRAM LINK) and switching it ON will
both keyboard halves, so as you change the program for
note sequencer that will allow you to record and save a performance.
sound tape recorder, the sequencer enables you to buil
d up
patterns by overdubbing previous sequences. Sequences can be stored on Formatted Diskettes.
Before using the sequencer, we suggest that you review the sequencer parameters in the

Press REC button
(2nd time)
You're now telling the
sequencer that this is a
new sequence. Any
sequence i
n the irage
memory will be erased
as the new sequence is
entered.
rS
Not flashing
Play any key, Press
ENTER button, or
Press the Foot- switch
(param 89 "on")
Any of these "events"
will start the recording
process. All notes, key
velocity and PITCH and
OD WHEEL changes
will be recorded. Any
delay between the
first "event" and the
first key played will
also be recorded.
Sr
(sequence recording)
Press STOP
Sequencer will stop
recording and end the
sequence at this point.
(last parameter
number used)
-
OR
-
Press PLAY
The sequencer will
stop recording and
immediately begin to
play the sequence
from the beginning.
-
The initial value of
param. 87
INTERNAL
CLOCK RATE
-
OR
-
Hit the Footswitch
(with Parameter 89
on)
You may now accompany the playback without recording further.
Changing the Playba k Speed
You can speed up or slow down the playback of the sequence by changing the value of
parameter 87 (see Selecting and Changing a Parameter). Increasing the number will increase the
tempo, decreasing the number will slow down the tempo. The Display shows the new value of
the internal clock rate.

TO OVERDUB A SEQUENCE
Do
this...
H r 's what's happ ning...
Press
REC
The sequencer is turned on to standby and is awaiting
further instructions.
Press
PLAY
The previously recorded sequence will begin to play back
immediately and any notes you play will be overdubbed
on top of the previous sequence. You can continue to
add overdubs until the memory is filled. Note that
adding pitch bend or modulation will affe
previously recorded tracks, and will use sequence
memory as do notes. Also, the irage is an eight voice
instrument, so no more than 8 notes can sound at any
one time.
Overdubbing with the LOOP SWITCH "on"
With the LOOP SWITCH (param 88) "on", the sequence will continue to play a
with subsequent overdubs layering on top of the previously played notes. This will continue
until the STOP button is pressed.
Overdubbing with the LOOP SWITCH "off"
With the parameter 88 "off
', the sequence will play through once while overdubbing and then
stop automatically.
Note that any overdubs you perform will be permanently added to the sequence data in the
Mirage memory. You can't "remove" the overdubbed notes if you don't like what you played. For
t
his reason, once you have a "basic track" to which you want to add overdubs, save it to a disk
(see below) before proceeding with the overdubs. That way, if your first overdub is less than
successful, simply load the "basic track" back into the Mirage and
have a sequence you like, but want to add notes to, save it so that you can reload it and start over
in the event of an unsatisfactory overdub.
TO OVERDUB A SEQUENCE
H r 's what's happ ning...
Display will
show...
The sequencer is turned on to standby and is awaiting
rS
(record
sequence)
Flashing
The previously recorded sequence will begin to play back
immediately and any notes you play will be overdubbed
on top of the previous sequence. You can continue to
add overdubs until the memory is filled. Note that
adding pitch bend or modulation will affe
ct all
previously recorded tracks, and will use sequence
memory as do notes. Also, the irage is an eight voice
instrument, so no more than 8 notes can sound at any
od
(overdub)
Overdubbing with the LOOP SWITCH "on"
With the LOOP SWITCH (param 88) "on", the sequence will continue to play a
gain and again,
with subsequent overdubs layering on top of the previously played notes. This will continue
until the STOP button is pressed.
Overdubbing with the LOOP SWITCH "off"
', the sequence will play through once while overdubbing and then
Note that any overdubs you perform will be permanently added to the sequence data in the
Mirage memory. You can't "remove" the overdubbed notes if you don't like what you played. For
his reason, once you have a "basic track" to which you want to add overdubs, save it to a disk
(see below) before proceeding with the overdubs. That way, if your first overdub is less than
successful, simply load the "basic track" back into the Mirage and
try again. Then each time you
have a sequence you like, but want to add notes to, save it so that you can reload it and start over
in the event of an unsatisfactory overdub.
Display will
(overdub)
gain and again,
with subsequent overdubs layering on top of the previously played notes. This will continue
', the sequence will play through once while overdubbing and then
Note that any overdubs you perform will be permanently added to the sequence data in the
Mirage memory. You can't "remove" the overdubbed notes if you don't like what you played. For
his reason, once you have a "basic track" to which you want to add overdubs, save it to a disk
(see below) before proceeding with the overdubs. That way, if your first overdub is less than
try again. Then each time you
have a sequence you like, but want to add notes to, save it so that you can reload it and start over

SAVING A SEQUENCE
Once you've recorded them, sequences can be saved for posterity on Ensoniq Sound Disks and
your own Formatted Diskettes. Each diskette can store 8 sequences in addition to it
We highly recommend that you keep a written record of sequence names and their locations (and
which sounds they were meant to play back with) to help you find them more easily and to avoid
inadvertently recording over them.
TO SAVE A SEQUENCE
D
o
this...
H r 's what's happ ning...
Press
SAVE
The sequencer is preparing to transfer all
recorded
sequence data to diskette
Press any
button1-
8
on
SELECT
keypad
You are now choosing the location on the diskette
that the sequence
will be transferred to.
Press
ENTER
The sequencer information is now being
transferred
to the assigned location on the
diskette.
NOTE: Any sequence previously saved in that
location will be erased.
Once you've recorded them, sequences can be saved for posterity on Ensoniq Sound Disks and
your own Formatted Diskettes. Each diskette can store 8 sequences in addition to it
We highly recommend that you keep a written record of sequence names and their locations (and
which sounds they were meant to play back with) to help you find them more easily and to avoid
inadvertently recording over them.
TO SAVE A SEQUENCE
H r 's what's happ ning...
Display will
show...
The sequencer is preparing to transfer all
sequence data to diskette
SS
(save sequence)
Flashing
You are now choosing the location on the diskette
will be transferred to.
S (1...8)
The sequencer information is now being
to the assigned location on the
NOTE: Any sequence previously saved in that
location will be erased.
Blank
(disk drive light
on)
Once you've recorded them, sequences can be saved for posterity on Ensoniq Sound Disks and
your own Formatted Diskettes. Each diskette can store 8 sequences in addition to it
s sound data.
We highly recommend that you keep a written record of sequence names and their locations (and
which sounds they were meant to play back with) to help you find them more easily and to avoid

LOADING A SEQUENCE
A sequence stored on diskette can be loaded into the Mirage sequencer memory
same manner that it was saved. The sequence will play using whatever sound is currently loaded
into the Mirage. Note that any sequence in the Mirage internal sequencer memory will be erased
when the new sequence is loaded from the diskette. Eac
sequences which demonstrate the same
#2 for sound #2, etc.) Try loading and playing these factory sequences to get the hang of it.
TO LOAD A SEQUENCE
Do this...
H r 's what's happ ning...
Press LOAD
(in the SEQ
section)
The irage is now prepared to receive
sequence information from
the internal memory.
Press desired
sequence
number
1 to 8 on
SELECT
keypad
You are now telling the irage which sequence
from the diskette you wish to load.
Press
ENTER
The sequence information is now being
transferred from the diskette to the sequencer
memory.
PLAYBACK PARAMETERS
Rather than have knobs, faders and switches to control functions, the Mirage uses multi
pushbuttons and a digital display to control the parameters for playing and sampling, Simply put,
a parameter is a variable for a specific
frequency and sampling time are examples of individual parameters.
LOADING A SEQUENCE
A sequence stored on diskette can be loaded into the Mirage sequencer memory
same manner that it was saved. The sequence will play using whatever sound is currently loaded
into the Mirage. Note that any sequence in the Mirage internal sequencer memory will be erased
when the new sequence is loaded from the diskette. Eac
h Ensoniq sound diskette contains three
sequences which demonstrate the same
-
numbered sounds (sequence #1 for sound #1, sequence
#2 for sound #2, etc.) Try loading and playing these factory sequences to get the hang of it.
H r 's what's happ ning...
Display will
show...
The irage is now prepared to receive
sequence information from
the diskette into
the internal memory.
LS
(Load
sequence)
Flashing
You are now telling the irage which sequence
from the diskette you wish to load.
L (1...8)
The sequence information is now being
transferred from the diskette to the sequencer
Blank
(Disk drive light
on)
PLAYBACK PARAMETERS
Rather than have knobs, faders and switches to control functions, the Mirage uses multi
pushbuttons and a digital display to control the parameters for playing and sampling, Simply put,
a parameter is a variable for a specific
function. Tuning, keyboard balance, filter cutoff
frequency and sampling time are examples of individual parameters.
A sequence stored on diskette can be loaded into the Mirage sequencer memory
in much the
same manner that it was saved. The sequence will play using whatever sound is currently loaded
into the Mirage. Note that any sequence in the Mirage internal sequencer memory will be erased
h Ensoniq sound diskette contains three
numbered sounds (sequence #1 for sound #1, sequence
#2 for sound #2, etc.) Try loading and playing these factory sequences to get the hang of it.
(Disk drive light
Rather than have knobs, faders and switches to control functions, the Mirage uses multi
-function
pushbuttons and a digital display to control the parameters for playing and sampling, Simply put,
function. Tuning, keyboard balance, filter cutoff

The parameters of the Mirage are divided into two main categories-playback parameters and
sampling parameters. The playback parameters have to do with modifying or enhancing a sound
that's already in the Mirage memory. The sampling parameters deal with getting the sound from
its source into the Mirage memory. We'll save the sampling parameters for later on in the manual
and just talk about the playback parameters here.
How To Use The Control Panel
In order to work with the parameters, you'll need some familiarization with the control panel.
Since all parameter changes are made using the same pushbuttons, you'll only have to learn the
procedure once.
First, som Mirag param t r basics:
• Pressing the Param button will display the current parameter number. Refer to the
parameter list in the manual or the parameter card to find out what each parameter
does.
• Parameter numbers can be changed only by keying the number on the SELECT keypad.
All parameters are two-digit numbers. After you enter the first digit, the display will
show a flashing "L" or "U", indicating which keyboard half the parameter applies to.
The "L" or "U" will be replaced by the second parameter digit as you enter it.
• Pressing the Value button will show you the current numeric value or status of the
current parameter.
• The value can be changed only by pressing the "On/Up" or "Off/Down" button below
the display. When the parameter is a switch function, these are the "ON-OFF" buttons.
• While in the parameter mode, the parameter LED will be lit. Pressing the "On/Up" or
"Off/Down" button will automatically switch to the value mode. While in the value
mode, the value LED will be lit.
• Pressing any numeric button on the SELECT keypad will automatically switch to the
parameter mode.
• Pressing the "On/Up" or "Off/Down" buttons intermittently will change the value one
digit at a time. Holding the button down will cause the value to change at an
accelerating rate. This will give you both coarse and fine control.
• In order to hear the change in sound made by a parameter value, it is necessary to
play a new note after each value change. A recommended procedure is to play one key
repeatedly while changing the parameter value.
• A complete description of all playback parameters is found in the PARA ETER
APPENDIX.
• Parameter values are not constant. The value will have a different meaning for nearly
every parameter. For example, the ASTER TUNE parameter values are 100 steps (0-
99) of 1/20 semitone each, while VELOCITY SENSITIVITY values are 32 steps (0-31)
which merely describe the minimum and maximum sensitivity limits.
• Parameters 11-19 are command parameters. They tell the irage to perform specific
functions, such as saving a particular program or sound, and have no numeric value.
Command parameters will always require you to press ENTER to confirm the command,
or CANCEL to abort it. After executing the command, the irage will display the
parameter number.