Ensoniq ESQ1

The presets sound pretty cheesy, they're just not usable, maybe if we were in 1988...Editing or creating patches it's not that easy, but before a while you'll get used. Manual is good. I don't like keyboard action, feels too light for me.

Poliphony is Ok, but considering this thing is 8 parts multitimbral, maybe you could use some more...It doesn't have any built FX, Midi capabilities are really good (at least in theory...). The sequencer it's not that bad but it's a little outdated, it's hard to keep correct timing, too little memory, even with the expansion, but I have to admit it's pretty intuitive.
What it's pretty cool about this synth, it's the ability of syncing whatever you like to pretty much anything; you have 3 lfo's, 3 osc, 1 filter, 4 envelopes and 3 dca's and you can combine them in whatever way you like it. It doesn't have arpeggiator or Phone's output.

ESQ1 sonds pretty goog...for the price (100-200 USD). If you're on budget, you should get this over others cheapo synths, since it would at least sound a little analog. Oscillators are a little weak for my taste, but Filters and LFO's sound fine. Good news: After playing it for a while, I've found that it can do decents pads, basses, leads and organs. Don't even think about using this thing for pianos or drums. Bad news: Whatever you play with ESQ-1, will ALWAYS have a very "own" sound; i mean, you play a Juno or a DX7 (sorry I'm poor man) or whatever you like an it will sound dry and exact, but ESQ-1 will always sound different, like with 80's reverb, weak and somewhat noisy.

Now...these are the really bad news: this thing must be the most unreliable synth ever made...why?
1.Heats as hell, you have to turn it off every 1 or 2 hours.
2.It get Midi errors all the time, and you have to do a Soft Reset. 3.After that, you loose all patterns and sequences.
4.All kinds of quirks from this machine.

I will never ever gig with this thing. Actually I wouldn't depend of this thing for studio neither.

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Very unreliable, only good for beginners.

I have software version 2.0. Presets are what you would expect from a mid 80's synth, cheesy and unusable with a few notable exceptions. I edited most of them almost instantly. Bringing me to my second point: if you understand subtractive synthesis, editing patches is a piece of cake. The programming method is a "page based" interface similar to that found on other digital synthesizers of the period, notably the Casio CZ series. Essentially, every component of the synthesis structure has a button, and the buttons are laid out following the signal path. Extra features like amplitude modulation (ring mod) and oscillator hard sync share the "Mode function. I would have liked separate buttons for these features, as well as for the portamento.
The only aspect of editing that can get slightly counterintuitive is the modulation method. Anything can mod anything, which is awesome in practice, but in programming it can be tough to keep track of what is modulating what, particularly on more complex sounds. For example, you can make an LFO modulate any of your DCA's. In order to recall which LFO is modulating which DCA, you have to bring up the page for that DCA. Its not an annoyance so much as a limitation to visualizing what your sounds are doing.

I only had to use the manual to help get me going on the on board sequencer. The sequencer is alright. It is fun to mess around with but is too quirky and unreliable to use live. I would have rather had an arpeggiator but sequencers were the trend during the period.

A nine with the only deduction being the lackluster sequencer.

At eight voices polyphony is slim by today's standards but I suppose it was alright in 1986.

The keyboard action on Ensoniq synthesizers is very polarizing, it is either loved or hated. I am a member of the former group. The key action is very *organy* (for lack of a better word). It is responsive and light. It is easy to for me to roll across the keyboard with relative ease. Keyboard is velocity sensitive, but no polyphonic aftertouch.

The pitch wheel on mine is slightly out of balance. The action on the mod wheel is immaculate, however.

No built in effects. In a studio setting would need some outboards.

Seqeuncer memory expandable, patch memory tripled with EPROM cartridge.

MIDI implementation is good for the era, but I don't use MIDI enough to be a tough customer in this department.

Sequencer is not bad, but not spectacular. It is fairly flexible but the programming is pretty counterintuitive. Its not sharp enough (lags when looping) be much use live. Still fun to play around on.

The sound quality is superb. The organs, pads, brass (if programmed well), and bass all stand out in particular. The paino presets are horrid by todays standards but again, not bad for 1986. I was able to program a couple of decent electric pianos and some cool resonated pianos. It is not intended for acoustic instrument emulation. Do not try and use it for this purpose.

The analog filters are *good* (not great.) They serve their purpose wonderfully: to fatten up the sound of the oscillators. They aren't as expressive as you might find on an ARP or a minimoog, but they are still warm, and dynamic. I believe they are the same Curtis chips found on the prophet V.

The ESQ- 1 is perhaps the only synthesizer I own that I would put toe to toe with a minimoog on its sounds. That is not to say that the minimoog wouldn't eventually win, but the ESQ would hold its own. Not many synthesizers from 1896 can say that.

45 pounds and metal. If a serial killer broke into my house, I would grab it before I got out my .44

Would Gig without backup, the battery on mine was replaced recently so I can depend on it.

The software is kind of glitchy, but considering the synthesizers age, not excessively so.

Ensoniq is long gone. Its up to us fans to keep this beast alive!

I can't beleive these things dont sell for more than they do. They easily beat many modern synthesizer workstations on sound. It is basically a fatter Yamaha DX7 with analog filters and an easier synthesis method. Who can argue with that? It sits next to my Casio CZ-1 in my lab. They are getting married. I also own a korg Trinity and an ASR-10 (also Ensoniq).

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Ok i had to put a rating up for this synth. there was a time in the mid nineties when finding one of these was a deal. i had three. they went for peanuts back then. I got all of them for under 100 bucks. its really sad that now when these are at there most unreliable and unstable there selling for much more then they did then. theres alot of things prone to malfunction in these synths.
alot of people wont like me saying this but ohwell...
1. the fuse sockets are prone to go bad eventually.

2. the power supplies on most ensoniq products have become very unreliable over the years. if you doubt this turn one on and feel the amount of heat coming from the back. think about that going for two decades.

3. if the battery hasnt been replaced yet then it will need to soon. and people that are selling them will almost never be up front about that.

4.and up front quite honestly they sound pretty flat and dated compared to modern synths. these used curtis chips. which have a high rep for sounding good. not the case here. because to my knowledge it might have something to do with other curtis synths(ob-8) using more chips to do more. these are thin low quality samples. that will sound flat alot in the mix. plus its not that easy to do certain things like detuned occilators you would do in another synth. theres alot of reasons to go with something else.

yes its polyphonic...but 8 voice. witch means that unless you use only monophonic your gonna run out before you get very far with that at all. plus there is no multi outs so why does polyphonic even matter?

so...id say if you want one of these because of the amount of occilators go with a jv 1080 and a midi controller. your gonna get waaay more out of it then you will this.

there going for 150,250,350?! hehe ok you can say screw everything i just said or actually look into it. because i guarantee that its hype. give it a few years and alot of them will be in junkyards..why? because out of all the synths by discontinued companies out there ensoniq is one of the ones that most of the products minus the asr wernt that incredible which is gonna mean repairs costing 5 times more then the synth will ever be worth because of the lack of demand. if your a hobbyist and looking for something to do. yeah look into it. if your a musician save your money and get something with a more solid future. unless you look forward to having to spend a year searching the net if some parts start to go out. if you dont trust me look into it youll see. dont be misled by people that already know this.

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It's loaded with one of the last OS versions. The presets aren't so good - they rarely are on any synth in my experience, so I started to reprogram them the moment I got the machine. And so should you - it's a synth!

The ESQ1 is a joy to program, even without its lack of parameter knobs. The basic interface is a model of simplicity and clarity: each parameter module has its own direct-access push button which brings up all parameters for that module on the no-frills but highly readable display, which is surrounded by soft buttons which then select a parameter each.

This means that all parameters are available with two obvious key-presses. Changing a value is done with the single data sliders, and/or the plus/minus buttons.

After changing a parameter value the currently selected patch is copied to the edit buffer, where it will stay until you press write or select and change another patch. You can start editing a patch, then check out other patches while it remains in the edit buffer, only a touch of the compare button away. This is very handy to look for a patch to overwrite your edit with.

The manual is a fun read, effortlessly balancing explanations of substractive synthesis with the specific operation of the machine. It throws in some humour too!

It's eight voice polyphonic, with three digital oscillators per voice. Patches can be split and layered, with the split/layer being saved as part of a patch - a nice touch. Unfortunately, you can't detune the patches in a layer, for some added thickness, but you can just save a detuned version of a sound in another location to get around this. Using up another of the 40 patches just to get a detuned layer is obviously not that great.

Considering it's decidedly eighties, low class appearance, the keyboard is an unexpected beauty. Even though the keys are not weighted as such, there still is a certain weight to them, which suits my playing style perfectly. Live I mostly play fast organ runs, and stabs, and the occasional solo. It just feels right to the touch for anything I play on it, and for keyboard feel I wouldn't trade it for synths costing five times as much.

No built in effects. Get an Ensoniq DP/4 with it and you'll be flying!

Expansion options I know off are extra sequencer memory (which mine has, a total of 10000 notes I believe), and chunky ROM/RAM cartridges with extra patch memory - 40 each I think, but some other source claims 80 each; not sure.

It has full MIDI capabilities, and a full featured 8-track sequencer which can run both the ESQ1 itself and external gear. I haven't used the sequencer yet, but it has a reputation of being one of the best sequencers on any synth.

It reacts well to velocity, with three setting for its velocity response: soft, medium and hard, which is a great help. Unfortunately, there's no aftertouch on the keyboard, even though the ESQ1 responds to it over MIDI.

It can't do 'realistic' instruments, if that means 'acoustic instruments'. It can do surprisingly convincing Hammond tones, especially the more grungy variety - which I love. Basses are good, including electric bass types. It has plenty of variations on the theme of electric piano's, but I haven't managed to coax a really satifying one from it yet - my best EP try has been a fine Clavinet + wah type, mostly courtesy of the sweet filter.

One of the reasons I bought the ESQ1 is to try for electric piano's, and I must admit to being disappointed with them so far. However, I'm adding some effects to it soon (a Boss SE50 until I can afford a n Ensoniq DP/4 later on), and I believe the addition of a little reverb, compression and either tremolo or autopanning will do wonders for the EPs.

Considering the grunchy samples, the ESQ1's ability to sound like a pretty great analog synth is surprising. Especially in the lower two or three octaves, there are absolutely great drones, basses, low pads and generic swept filter analog sounds to be had. Most of its best sounds are courtesy of the analog Curtis filter chips, which are said to be the same as on the highly desirable Sequential Prophet VS, for about one fifth the price!

I'm working on a Minimoog type lead sound, and getting very close to a very satisfying one - the simple but highly effective glide parameter does wonders!

Other sonic highlights are some great, mostly female and ethereal sounding choirs, thick analog synth strings and Yamaha CS80 like sweeps and brassy strings - think Vangelis anno Bladerunner! Some of the darked pads remind me of the Oberheim Matrix-6, which is a great compliment!

I use it in a blues rock band, together with a Hammond clone with H&K Tube Rotosphere and a E-mu Vintage Keys (the old model) for Mellotron choir and flute sounds and some Art of Noise like Fairlight choir when the cheesy bug bites me; the E-mu runs through a Roland RV-100 spring reverb.

The ESQ1 is providing the strings, pads and swept filter sounds, and the Moog type lead sound. If I get the electric piano's right, I'll use it for those; the keyboard is perfect for them.

On first impression, it looks pretty cheap, with small plastic push buttons and a garrish color scheme. However, it's build like a tank, the buttons on mine are working perfectly and I've experienced no problems with it whatsoever. Considering it's already twenty years old, I'm sure I can depend on it.

Gigs with backups are for the rich and famous. Me, I'd just whip out the old Logan String Melody II which is molding away in my band's storage if the ESQ1'd fail. But I'm guessing it won't!

Ensoniq has been gulped up by E-mu, which itself was snatched by Creative Labs. Not planning on contacting them, so no opinion.

I paid 225 euro for mine, which included a sturdy case, a ROM-cartridge, the sequencer expansion and the original manual with some patch sheets! All in all, a fine deal, but they can be had for even less if you're patient, since few people seem to be aware of its great sonic strenghts.

I've been playing for more than twenty years, and have owned quite a lot of synths: Wavestation, K2000, Juno-6, Nord Modular, K5, K5000, SX240, Synthex, D5, Poly-800, Polysix, Matrix-6r, CS5, MS20, and a lot more.

I love the ESQ1 for its playability, ease of programming, the great display and filters, and the grungy, dark quality of its sounds. There's nothing to hate about it; if I could add some things I'd like to have dedicated knobs for some key parameters, and maybe a nice warm sounding chorus.

Of course, I might just get an external controller for it - its first class MIDI implementation shouldn't stand in the way, and add the Ensoniq DP/4.

Specification, sound and prise wise, I considered the Korg DW8000 as an alternative to the ESQ, and I intend to compare them as soon as I can find one of those cheap. Another neglected source of great sounds. I chose the ESQ1 because of the added oscillator power, the display, the keyboard, and the general Ensoniq'ness of it! =)

Software vers. 3.5.

After I got heavily into programming it, I was a bit surprised that the factory patches chose not to demonstrate the Osc sync and AM functions as they work very well for sync-type leads and FM simulations (if you are one of those sad people who thought DX7's sounded cool! :-) ).

Editing is such a snap thanks to the big screen with it's soft buttons for each parameter and the page buttons for each module. With all of that, there is not need for an editor.

Manual is very good and comprehensive - I have seen no other synth manuals that offer real-time listings (in seconds) for envelope release times. Lots of nice piccies for those of us musicians who don't like reading words!

8 voice polyphony I think. I like the keyboard action, it's secure. no built in effects as it was before that era really. (I prefer outboards anyway). Mine also has the sequencer expansion card, not that I use the sequencer much.

MIDI specs are good - interesting that it also provides the old-fashioned tape backup of patches as well as sys ex.

Right, here we go! This is a top class synth considering how much I didn't pay for it. With three Oscillators, you can really go nuts and with the authoritative saw and square waves, it does a more than passable impersonation of the ubiquitous Minimoog. Incidentally, I recently heard somewhere that the sawtooth wave in the ESQ 1 was actually generated analogue NOT digital ? Someone might like to verify that for me. Either way it kicks.

Between the analogue and digital waves, the osc sync and AM functions, and the SUPERB modulation routings available, it is capable of a great deal. Pads for example can move in somevery lush ways and I have sometimes been hard pressed in some of my older recordings to tell whether I was listening to a patch from my Prophet VS or the ESQ.

The ESQ was the natural step up for me from my Roland Alpha Juno 2 which - whilst that board still has a special place in my heart - has now left my band rig since the ESQ1 can do all that and more.

Interestingly, it's not the cleanest sounding synth, it has a slightly dirty edge to it which for some strange reason adds to it's charm. Besides, when it's dressed in a judicious amount of reverb, phasing or chorusing (which one should do with any synth anyway!) you forget about it.

I have had the ESQ for over ten years and it was widely used both in the studio and live until it one day started behaving very badly (around about the time I got married and had kids!! :-) ) and I couldn'y afford to get it fixed. However, I recently came across a most excellent ESQ support site on the net - www.pic101.com/ensoniq - who published a "how to" on replacing the capacitors on the power supply to remedy peculiar behaviour, As my ESQ was exhibiting all the listed symptoms, I set to it myself (the new capacitors came to grand total of $5 Aus!) and it now works a treat. I also realised how much I've missed the dear old thing! I'm now looking forward to taking it back out on the road.

Okay Ensoniq/EMU aren't really all that helpful anymore but there are many faithful owner/disciples on the net. I for one, am truly thankful to www.pic101.com for helping me ressurect mine.

If it were lost, stolen or otherwise, I would be rather upset. I *might* get over it, but for my whole playing life, it was the first synth I had with more than one oscillator and a resonant filter (for those who need that sort of thing!).

I play in a Prog Rock band and have had a varying set up consisting of two "mainstays" (an ASR 10 and the Prophet VS) and one or two extras for other fills, pads, leads, etc. Now that it's working again, I can happily gig with only three 'boards, the ESQ being the third.

At home, it communes with Rolands Juno 6, A-Juno 2, SH-3A and the magnificent VK 8M clonewheel module, Korg Poly 800ii, the VS, an original Rhodes 73 Mk II and an original EMS VCS 3, Alesis HR 16 and D4, Simmons SDS 5, EMU Proteus, and fellow Ensoniqs ASR 10 and SQR+32 (oh yes, and an old EPS which occasionally sees the light of day as a controller). They all get along very well together.

First imagine nice huge and new Behringer MIDI controler with assignable 32 pots. Then imagine complex synth which doesn't really
need such a controller. That's ESQ-1.
Anyway, total controller for ESQ-1 would have 80 or 100 pots or sliders. The actual layout of this synth is better and more convenient
than 100 pots, that's ingeniosity of it. I don't understand why it is not copied an all later synths? For all functions you need to push 2
buttons, but you don't think which two; you know it when you see the synth. Than you move slider. Operation can be done even live
while playing. Pure beauty.
Even though Im totally new to seqencers, I figured everything before I get manual. Manual is kinda fun to read, and it will further surprise
you with unexpected functions. My favorite quote is "...we leave other external MIDI-control banks (some dozens of them) for future
ways of MIDI of controllers...". On a consumer synth made in USA in 1986???!!!! Can you believe...
Manual is harder to navigate than ESQ-1 itself, but there's NO unanswered questions after you read it.

One simple feature - choosing another sound while first one is playing, is precious like gold, mostly because of the fact you see all sounds
to choose from (or - you see banks of 10 by 10 sounds, with their names...). Most modern romplers can hold one sound and than hit another,
but you have to scroll up and down - worthless for live session. And there's very few analogues or analog-digital hybrids which can play
more than one or two timbres at same time.
Although its intelligent voice mapping was unbelievable for 1986 (and still is in fact!), don't expect too much space for polyphonic
sequencer overdubs... BUT - internal polyphony still can be combined with other synths via MIDI. If you're tired of computer screen and
noise, just switch to ensoniq's internal sequencer.
All fine functions for filters and separate envelopes you miss on JX3P or Poly800 (to stay in a similar price range) are here... Not to
mention unparalleled routing and modulating madness!
Stereo panning (default for most preset sounds), which is substitute for real stereo (or chorus-made stereo) is annoying, but can be turned
off.

At first testing I was suspicious about the sound, being low-resolution. Then I listened it over good sound-card, and I was amazed. Even lame factory presets can show sound richness. There's special flavor to sound of ESQ-1... Sometimes it sounds sweet and "sticky". But
again, it is capable of really sick noises, which means it is versatile, exept for real inst. simulations.
For some time I was sorry for it's 3 oscillators not being analogue and clean-sounding. But then I realized couple of things: 1) It would
cost some $1000 more, both new and used. 2) It wouldn't be so flexible and sick-sounding (compare it to SCI Multi-Trak). 3) It would
loose it's character.
Good for leads (because of complex velocity-triggered envelopes and fat 3-osc sound), pads, noises, complex evolving non-patern-repeating sounds. Not so good for drums and stacked unison (monophonic) sounds.

"Built like a tank" applies here. I have two of early models (serial # around 3000 and 6000), both of them in full metal bodies. (In fact,
there was minor changer in front panel colour in metal model, from black to dark gray... Early wheels enclosure was plastic made) It is a
bit heavier than Rolands (junos, etc) due to metal bottom, opposed to roland's wood bottom.

Ensoniq is gone, but some parts and upgrades are still available..

You bet it helps make music with interface and sequencer like this one!
If you're into vintage synths, this is good choice for a workstation, still comparable to modern synths. Yes, it's sound capabilities and
diversity are underrated. Find one for cheap (even in Europe, where they are somewhat rare).
My only regrets are lack of chorus to make sound true-stereo, and lack of separate outs - that would make it just a little more expensive. I
would buy it again if lost - this is my favorite synth (I have juno106, alpha-juno, JX3P, yamaha SK20..). I would buy it again, in fact, I
bought second already!

I am both the first and third owner of my ESQ-1, which tells you that this machine is capable of inspiring unusual devotion. I bought it new in 1988, the final year in which it was produced. It is running OS v. 3.2 and has the expanded sequencer.

The ESQ-1 was one of the first affordable synthesizers to offer digitally sampled waveforms, and the presets tend to highlight this feature. This is unfortunate, because compared to the sample playback synths that came later (and even some contemporaneous ones like the Korg M1), the ESQ-1 offers poor simulations of acoustic instruments. However, its synthetic sounds are superb. Prests such as synthpad, synbaz, mini m and klunks are good examples of what this machine does well, and third party developers have created some truly superb emulations of Moog, Oberheim and Prophet synths. Sounds for the ESQ-1 are still available (either on disc or cartridge), but it's not really necessary to purchase other people's sounds because the ESQ-1 is refreshingly easy to program yourself.

The ease of use extends beyond the sound programming to the sequencer, which is far and away the most intuitive on-board sequencer I have ever encountered. Once you have grasped the key commands, recording eight part arrangements becomes almost second nature. The ESQ-1 also serves as a capable, if somewhat basic, midi controller.

Which brings me to the explanation of why I am both the first and third owner of this machine. In the decade after I acquired the ESQ-1 I gradually added other elements to my system: a Korg M3R, a Korg Wavestation SR, an Alesis QS-R and finally an 88 key controller and a computer running music software. The ESQ-1 seemed to have become redundant, so I sold it to a neighbour whose main interest was in guitars but who also thought he could use a keyboard. More than five years later I found that I missed the analog and other quirky sounds of the ESQ-1. I missed even more its programmability and its extraordinarily intuitive sequencer. After some effort I managed to track down my former neighbour, and I persuaded him to sell it back to me for the same price. It has now been retored to pride of place in my midi set-up. The computer that used to run the music software suffered a fatal crash, and now sits in a box in the basement.

The ESQ-1 is eight voice polyphonic and eight part multi-timbral. It has a very intelligent voice allocation system, which keeps unexpected cut-offs to a minimum. However, it cannot handle overly complicated arrangements. For that you need additional tone modules, or perhaps an ESQ-M. Given that the ESQ-1 does not produce satisfying percussion sounds or acoustic simulations, you will likely want to use in conjunction with other modules in any event.

You will also need an external effects processor. An inexpensive second-hand reverb unit will suffice (I use an Alesis Microverb III).

The keyboard has an excellent action and is touch sensitive. However, it has no aftertouch. Aftertouch is available on the SQ-80, which also offers a disc drive and additional waveforms but is much more difficult to find than the ESQ-1.

Sound and sequencer data may be backed up on cassette, which is not very satisfactory. I understand there is a way to back up data on a computer via midi, but I haven't explored this yet.

Others have written about the ESQ-1's voice architecture, and I will simply express my agreement with those who have praised its ability to generate excellent analog and digital synthetic sounds. It can also make some marvellous sound effects and strange noises. As a traditional synthesizer is has few equals. Do not attempt to use this machine for acoustic simulations!

The sounds can be a bit noisy (or "grungy", as some people describe them), but this can be a welcome contrast to the flawlessly sterile sounds that are found on modern sample playback synths.

My ESQ-1 has functioned flawlessly for more than 15 years with only one battery change. I have the later model with the plastic case. It still feels tremendously solid and well built.

Ensoniq has now been bought by E-MU. I don't think customer support is still available from the manufacturer, but there are good on-line resources and most vintage synth technicians are familiar with the ESQ-1. It's a bit of a classic.

If it were lost or stolen I would definitely replace it, but I would wait until I found one that had been well cared for. I would also make sure it had OS v. 3.0 or higher and the expanded sequencer (or I would add these myself - I think they're still available).

For a subtractive synth with the comlexity that the ESQ-1 has, it's remarkable how easy it is to edit. The screen has a series of soft buttons above and below it. Each soft button activates a parameter depending on what page you're on. You can use the data slider or up and down buttons to adjust the selected parameter. Each page has its own button. If you want to edit Osc 1, you press the Osc 1 button, then you press the soft button for what you want to change, then use the data slider. It's very intuitive. This is probably the easiest setup after one knob per function, like a Juno-106. I haven't used a computer editor, beause the UI is so easy. The manual is pretty good, too. The only problem is the envelopes are multi-stage, rather than conventional ADSR's, so you'll need to get your head around them.

Eight voices, each with three digital oscs (grungy samples) fed through their own VCA's, then to a common VCF (same as on the Prophet VS), and finally through a common VCA. Each voice has 3 LFO's and 4 envelopes. Keytracking, sync, portomento, and amplitude modulation are available. The oscs have standard saw/square/pulse/tri/sine analog style waves, as well as digital waves and <ahem> realistic samples. The VCF sounds classy, but will not self oscillate.

The keyboard action is good. Not as good as a Virus KB or a Supernova, but certainly good enough to act as a controller for other synths. The keyboard has velocity, but no aftertouch. Midi is good enough for my purposes.

It can take a RAM or ROM cartridge. I have an unlabeled ROM cart that came with the ESQ, which is filled with mediocre sounds that I can't overwrite. I haven't tried the sequencer out once.

In my view, this category is the most important. The ESQ-1 sounds good. For the $99 that my wife paid for mine, it's the best synth deal ever. It is in league with much more expensive synthesizers. It is very versatile, since it can sound like a true analog synth or more like a digital/analog hybrid (which it is), or even dupe some rompler sounds (it's piano sound isn't great, but it's passable with a healthy dose of reverb). Sync sounds are strong, and AM sounds are clangorous and weird, just how I like them. It can do great pads, Moogy leads, and bells, and its complexity allows for all manner of weird evolving textures! There is a tradeoff, though. The ESQ doesn't quite have the sheer power of a true analog synth, nor does it have the sheen and realism of a true rompler. That said, it is capable of some powerful and beautiful sounds.

I received it with the battery warning on. I desoldered the old one and solder in a new one without trouble. I programmed for about a month, and then the ESQ-1 crashed. I had to do a soft reset to get it working again. Unfortunately, a soft reset deletes all your saved pathes, so I'm back to the mostly lame presets. However, I think mine had a hard time in shipping (sustained a little damage to it's plastic endbell). Plus, it fell off it's keyboard stand once, breaking a few keys. I suppose that it's good that it works at all.

Ensoniq was bought by E-mu, and E-mu was bought by Creative Labs. The ESQ-1 is an orphan.

This synth is absolutely wonderful for the money. I can't imagine a better bang for the buck synth. It does a little bit of everything, and it sounds damn good doing it. The only issue for me is that it doesn't do much of anything better than the other gear I have. I like my Pulse and Bass Station better for basses and leads, I like my sampler better for realistic sounds, and I like my Virus better for pads (Virus and ESQ are about on par for digital sounds). I'm still trying to find a real niche for the ESQ-1 in my studio. It certainly is deeper than my other synths, so maybe as I become a better programmer, I will make it really soar!

At any rate, I will never sell it. It's worth almost nothing because ESQ-1's are cheap and mine is beaten up. It's worth much more to me than the $50 or so I could get for it. If it were stolen, I wouldn't replace it. It is a good synth, but it hasn't really found place in my heart. That said, if my entire studio were stolen, I would buy this first, because it is so versatile, has a sequencer, and sounds great.

I bought mine used (I'm 2nd owner) in 1989. Mine was built in 1987 and has software ver. 2.3. Editing and creating sounds from scratch are just too easy! You don't even really need the manual (but it helps to read it at least once) to create a sound you like. Great first synth especially to LEARN sythesis on. The sequencer is VERY easy to figure out. You really DON'T need the manual to figure the sequencer out. Navigating around the sound banks, again, too easy. There are 3 sound banks (Cart A & B, and Internal) and each has 4 pages. Each page has 10 sounds. Too easy!

No effects but I like outboards better anyway. Still, you can create a "reverb-type" effect with the envelopes--if you want. Only one set of stereo outputs, no headphone jack, and MIDI IN, OUT, and THRU. The sequencer had a memory expansion card available. Fortunately, the guy who owned it before me put one in and saved me the expense. Display screen is LARGE and easy to see on stage (with bad and distracting lighting). The volume slider (mine anyway) seems to be reasonably sensitive--which I really like because I DO have to vary the volume of the board from song to song sometimes during gigs. 3 oscillators, 4 amplifiers (for the oscillators & filter), a decent filter, 3 LFOs, 4 envelopes--AND a few goodies in the MODE screen. Not to mention the ability to layer sounds, split the keyboard between 2 sounds (you pick the key they split on), OR LAYER AND SPLIT the board! Proabably the coolest, most useful feature (for gigging musicians) is the ability to be playing one sound and to select the Bank and Page (and even the sound itself) of the next sound you need to play in the song and to NOT have the sound change AT ALL until you select the NEW sound AND strike a new key! You can even select the Bank, Page, AND Sound and still be holding down a chord in the "old" sound without there being any change in the Voice at all. As soon as you stike another key, THEN the new voice is heard!! ABSOLUTELY AWESOME FOR GIGGING!! Alot of newer boards won't do that. The KORG X2 that I use won't do that (and it's from the mid-90's!). Since we don't use MIDI or sequences in our band (yet!--we have a live drummer and we haven't tried it yet), some tunes we play would have me sounding pretty sad if I was not able to PREPARE for the next part of the song ahead of time like that. For the price they fetch these days, you won't find a better board!

This is where (I think) the ESQ-1 shines. With 3 oscillators, the boards can make some SUPER PHATTY sounds! If you are into vintage or analog sounds, it's right here! Contrary to the opinion of some, you can make some GREAT organ sounds (including a REALLY GOOD quality Hammond B-3). I don't know about the organ sounds available for sale...but I made one myself that is just great--with Leslie effect on the Mod wheel. This board is very versatile when it comes to sounds. I have a KORG X2 also. Those "newer" boards seem to skimp on the oscillators, etc. and try to make up for it with a ton of on-board effects. I prefer thick, rich sounds on the board with out-board effects (if effects are needed). In my experience, the Horns that I have had or made DO need some reverb to liven them up.

I have played it regularly for 17 years. I have recorded demo tapes/CDs and gigged and have had only minor problems. My sequencer will not play sound anymore (I have not investigated the problem yet to know why). I was having problems with my sound cart at band practice last week but it seems to be fine now (could be dirty connections). Had to replace the internal battery ONCE (4 years ago). The battery lasted 13 years! Soldering the battery in was, again...too easy! I use the board for GIGGING and not really sequencing so much so as far as I'm concerned the reliability is AWESOME!

Not available from the company. Creative Labs offers NO support for the Emu and Ensoniq products. ONLINE help from other users is good.
I have the Musician's Manual AND the Service Manual. If you want a copy of either (or both) email me and I will scan it into a file, Zip it, and email them to you. I am very busy gigging and teaching so allow a few weeks for me to respond to your request.

I have had many offers to buy my ESQ-1 and I just won't sell it. I would try to replace it if it were gone (especially because they're so cheap these days). The MIDI technology it has is out-dated and won't work with General MIDI settings, but otherwise, it's a GREAT board for the money.
If you would like to trade patches (or just get some from me), email me. Also, I have the original Musician's Manual AND the Service Manual for it. If you want copies, I will try to get them to you as my time allows (in Zip files, of course).

Extremely easy to use. Even though the ESQ-1 has only 1 data entry slider, the page-based editing and large VFD make editing a snap. I've owned two ESQ-1s and an ESQ-1m and never had (or needed) a manual.

Excellent keyboard action. One feature that I notice a lot of the other reviewers have missed is the multitimbral mode, where you can control up to 8 different sounds or external instruments. This makes the ESQ-1 a killer master keyboard for the studio. You can have a couple of internal sounds on different MIDI channels and then control your other devices from the ESQ-1. Just hit one of the 8 buttons surrounding the VFD to select the instrument you want to control. So easy...

The ESQ-1 has a strange and wonderful sound. It's apparent that the designers were shooting for some degree of realism with the piano, organ, and brass, but they missed the mark. The good news is that the sounds the thing does make have an unearthly quality that I always found appealing.

The software in my units used to crash occassionally, but they were pawn shop refugees so they probably hadn't been treated very well.

A great synth for beginners. Drop it off the back of a truck or spill a beer in it and it will still work. To hear the ESQ-1 in action, go over to www.x-eleven.org and check out the "audio" section. I used it on almost every single song.