Ensoniq Fizmo features talk

[rids]

I wanted to open up this thread to talk about the features of the Fizmo and what makes it so interesting to use. Any tips, tricks, your Fiz sound creations, and any fun things that go with programming the Fizmo is welcome.

It is hardly documented on the net what hidden features lie in the Fizmo. It's interesting and curious to read the Fizmo manual to find out about a couple other surprises. The manual mentions the the Fizmo only has a LP resonant 4-pole filter. But Sealed's page mentions the Fizmo does has not only 2 filters but they are both Multimode and they can be used in a bunch of different combos: 2LP/2HP, 3LP/1HP, Res-BP, etc. (Click on the Overview of the Fiz and then look under Filters).

ENSONIQ FIZMO: Realtime Transwave Synth

Another thing I noticed in the manual is there is a Global LFO that it lists. As we know, the Fizmo has only 1 LFO on the front interface. But a Global LFO can be used as a modulation Source, for those parameters that can be modulated. You'll see it listed on page 22 towards the bottom of the Fizmo manual.

Since we have heard that there are "hidden features" in the Fizmo, I was curious to see that the manual actually mentions very briefly that the Fizmo has more Envelope parameters than are available on the front interface of the Fizmo. You can see this on page 23 of the Fizmo manual, in the middle of the page under the 'Note:' part. Iactually says the Envelopes are 5 stage Envelopes, but I've even heard that they are 6 stage Envelopes. Interesting to find that the manual acknowledges that there is more than meets the eye with the Fizmo.

One thing I wanted to point out to people who just purchase a Fizmo, is the blinking 'Sound' buttons and 'Osc' buttons. When I first got my Fizmo about 8 years ago, I couldn't figure what was going on and how to program a single sound. Well, I could, but the stupid blinking lights made it confusing. So I wanted to point out You should read page 16 and 17 of the manual before programming the Fizmo. It talks about how you go about Layering sounds over parts of the keyboard in different ways. It also goes over the split feature as well as selecting and choosing any of the 256 sound (slots) to use with a preset. There is a certain method you have to use, basically double clicking in a specific way, which is why I say it's a must read.

A quick tip: I didn't know this, but you can press both Osc buttons at the same time and whatever knobs you turn will edit both Osc. at the same time.

Tip: To scroll through parameters (and I think presets), you can double click the up down buttons to go through the parameters quicker or you can triple click to go through them really fast.

Something I haven't read about and don't understand is how to use and setup the Sysex #1-4 modulation parameters (in the modulation menus) on page 34, which I'm going to read next. And if anyone knows what NRPNs are being used for the hidden features, please do tell. Or even if you know what parameters are hidding, it would be nice to have this listed on the net here as a resource for Fizmo users.

Last thought... I noticed on Sealed's page that Ensoniq was going to make a Physical Modelling synth in the future and call it the Fizmo, but they knew they were going bankrupt and they decided to give their current synth they were working on this name instead, which we now know as the Fizmo. I think them going out of business might have been the reason there is hidden parameters in the Fizmo. They probably didn't have the resources to invest in making these features accessible from the front panel or software. At least this is what I'm speculating. (It would've been nice if the designers at least put the hidden parameter's NRPNs on the net. Certainly they wrote them down.) Opinions or anyone know why these parameters were hidden from everyone?

[Reptil]

I think it definatively has to do with Ensoniq being bought out.
The name "Fizmo" was meant for this transwave synth, not a VA, AFAIK.
I'll look into the hidden parameters when I can. thanks for pointing out thumbsup

[rids]

Oh ok, so they were bought out then. I forgot how that went down.

Sealed's page does mention that Ensoniq was planning a PM synth with the name Fizmo though.

I'm trying to see about finding those NRPNs. There's a guy on the yahoo list who apparently made the OEM Fizmo version of Sounddiver. He mentioned that unfortunately they never documented those hidden features. tutt I guess that wasn't Sounddiver's job to begin with, it should've been Ensoniq's.

One interesting fact I found out from the yahoo group was that the regular parameters on the Fizmo should only be edited from an external midi controller IF you plan to edit the hidden parameters of the Fizmo. Someone over there did a test and found out that if you edit a hidden parameter (from an external midi controller box) and then move a knob on the Fizmo's front panel interface, that hidden parameter will automatically go back to default. Kind of weird and interesting at the same time, but it seems to be true and good to know to utilize the NRPNs and Sysex without resets.

In the meantime, let's get some discussion going or are there any Fiz users here?

[Reptil]

Originally Posted by rids

Oh ok, so they were bought out then. I forgot how that went down.

Sealed's page does mention that Ensoniq was planning a PM synth with the name Fizmo though.

I'm trying to see about finding those NRPNs. There's a guy on the yahoo list you apparently made the OEM Fizmo version of sounddiver. He mentioned that unfortunately they never documented those hidden features. tutt I guess that wasn't Sounddiver's job to begin with, it should've been Ensoniq's.

In the meantime, let's get some discussion going or are there any Fiz users here?

The regular sounddiver works - sometimes... on a good day it collects all the memory of the Fizmo and stores it. on a bad day.. well.. it doesn't.
I'm going to bitch slap each and every Apple employee I come across, for abandoning Sounddiver.

but..... I found this groovy new site: going to check it out right now myself
Fizmotropolis - The Ensoniq FIZMO site

here's some other info on the Fizmo:
ENSONIQ FIZMO: Realtime Transwave Synth

Originally Posted by Scott Peer Interview

Interview by Brian Cowell.
Designing a synthesizer and equipment from the ground up is a specialist's job. Over the years, this man had his introduction into the late PROPHET line of synthesisers, to the final instruments the late ENSONIQ Corporation put out. Better known as the "President of SoUnDEnGiNe.com", he is Scott Peer.
Sonikmatter caught up with Scott and got an insight into the man, and some of his thoughts on the music industry today.
SONIK : How did you become involved in the music industry?
SCOTT : I was working at a government electronics firm after college, and grew weary of working with unmotivated people working on projects they didn't believe in.
I was scanning the Classified Ads in the San Jose Mercury News and I came upon an ad for Sequential Circuits. They were hiring. I couldn't believe it. I interviewed with Chris Meyer, Matt Isaacson, and Dave Smith. I got the job.
SONIK : What companies have you worked for and what did you do there?
SCOTT :
Sequential Circuits - Software Engineer
Peavey Electronics - Software Engineer, Software Engineering Manager
Fostex Research - Software Engineer
Ensoniq Corporation - Senior Software Engineer, Software Engineering Manager, Project Leader, Director of Product Development
SONIK : Can you tell us what instruments you have worked on?
SCOTT : Sequential Circuits - Prophet 3000 sampler - the first 16bit stereo sampler on the market. The first sampler with a remote front panel.
Peavey Electronics - DPM3 - the first synthesizer powered by off-the-shelf Digital Signal Processors. The DPMV3 (rack mount) the DPM2/V2 (little brothers to the DPM3). The C8 controller and the PC1600 controller were also my designs. I also worked on several effects processors and MIDI devices beyond that.
Passport Designs: Alchemy version 2.61 and MasterTracks.
Fostex Research and Development: Foundation 2000 HD recorder.
Ensoniq: Designed (ASR-X,ASR-XPro,FiZmO), Worked on (ASR-10, MR-Rack, MR 61/76, ZR76, DP-Pro, PARIS)
GVOX: MasterTracks, MusicTime, Encore, and NotationStation.net
SONIK : What would you consider to be your greatest implementation at ENSONIQ?
SCOTT : The MR synth engine is what I am most proud of. That ended up being used in the MR Series, the ZR-76, the ASR-X, and FiZmO. Because it was so versatile and useful, that is why I feel good about it.
SONIK : What was it like working on the PROPHET 3000?
SCOTT : It was tiring. We were working 90 hours per week - pretty much every day for 12-13 hours. I worked on the synth and sampling engine for that product. Of all the places I have worked, that was the most fun - both on the social and work sides.
SONIK : You were at ENSONIQ in its last days. Do you think the music industry has lost one of its most innovative companies?
SCOTT : Oh yes. None of the creativity in design that Ensoniq celebrated remains.
SONIK : What sorts of things would you "trade off" in a synthesizer?
SCOTT : You always have a target price, and a Bill-of-Materials (BOM). Hopefully, the BOM, once built and margins are added, meet the target price. They usually don't. The most common tradeoff is the CPU horsepower. There usually is never enough and if there is, the Marketing Department adds features to render it useless (joke!).
Seriously, it's a constant battle. Every component adds into the BOM, which in turn either eats into the profits the company makes, or raises the list price. Companies need to make profits in order to survive and pay engineers.
SONIK : Which manufacturers can you see being the most innovative in their products?
SCOTT : I'd have to give the award to Kurzweil as far as keyboards. I admire them for what they've accomplished with the K2x00 series. I also really like what Access and Waldorf are doing.
SONIK : Do you think manufacturers should have larger ROM blocks in their instruments?
SCOTT : I'd have to say it depends on the synth. For example, my FS1r has *no* ROM blocks, and it is a killer synthesizer. For my uses, I like the notion of a built in hard drive with RAM based sounds, like the YAMAHA A5000 has. This is a good, flexible solution for me. I do usually start making music by playing the Ensoniq MR-Rack, however.
SONIK : What forms of synthesis would you like to see explored more?
SCOTT : I still think that FM is one of the most dynamic synthesis methods, and I like where the FS1r takes it. Perhaps some combination of the FS1r flavor of FM, along with the ability to modulate PCM waves (like the SY77/TG77/SY99) would be interesting. The formant filtering is also fascinating in that box.
SONIK : Do some design "accidents" happen in the construction of a synthesizer that actually become features?
SCOTT : We usually try to fix bugs, Brian
SONIK : If you were constructing a synthesizer today, what specs would you implement as a minimum? ( eg. Like voices, sounds, RAM, ROM size, physical controllers)
SCOTT : I would design a synthesizer with a powerful software based that could be upgraded over time by purchasing new CPUs (like G3 -> G4) for example. This approach would eliminate many of the design constraints that you list above.
SONIK : These days, you are working at GVOX INTERACTIVE MUSIC : Can you tell us what you do there?
SCOTT : GVOX is a company that believes in music education. We have developed a website that is sold on a subscription basis to schools and school districts. Teachers can author lessons - music theory and instrumental lessons - and using our patented Interactive Notation Technology, teach students. We have built the site on the notation technology that was acquired when we bought Passport, and integrated Digital Signal processing and web technology. We own our own server farm, and have closed sales with several districts in NYC. I am the Chief Technology Officer there.
SONIK : Can you tell us about your 3rd party sounds business SoUnDEnGiNe.com?
SCOTT : I started the business right after I left Peavey. I was primarily focused on Peavey sounds to start. I have been fortunate over the years to be able to collaborate with Brian Cowell, Joel Putman, Michiel Post, Mike Peake and several new developers to grow the business to what it is today.
We have doubled sales for two years in a row, and hope to continue a similar growth over the coming years. Most importantly, we want to continue to offer the most innovative sounds and samples to our customers, as we have in the past.
SONIK : What instruments do you have in your personal studio?
SCOTT : I have the following instruments:
Yamaha A5000
AKAI S1100 & CD3000
Kurzweil K2600
Ensoniq FiZmO
Yamaha FS1R
Kawai K5000
Ensoniq MR Rack
Roland D550
Ensoniq ASR-X
Ensoniq ASR-10,
Fender Strat
Music Man Stingray Bass.
I am saving for a Taylor Acoustic.
My favorites have to be the ASR-10, the K2600, and the MR-Rack. Each of them is incredibly musical in its own way. The MR because of the huge built in sounds library, the ASR-10 because of the feel, response, effects, and re-sampling, and the K2600 because of the powerful synthesizer engine and the KDFX effects.
SONIK : What music software do you use in your MAC computer?
SCOTT :
Audio & MIDI sequencing: Emagic Logic Audio Platinum
Notation: Don't really work in it, personally.
Processing: Spark for sound design and SoundMaker for productivity.
I have a huge catalog of plug-ins, including Pluggo from Cycling '74. I also use my hardware effects and a patch bay for a good amount of sound design.
SONIK : What have been your musical influences Scott?
SCOTT : Well, I started playing piano in third grade, and took up Alto Saxophone in year 5. I went on to be a solo performer with the Junior High School Concert and the Senior High School Jazz Bands on that instrument. Sadly, I have hardly picked up a saxophone since. I was in a dance music band in high school and we made a lot of money! I had a Rhodes, an Arp Onmi II, an Arp Axxe, and a Farfisa combo organ that I ran through a phase shifter.
Early favorites include the Doobie Brothers, Toto, and Cheap Trick.
More recent influences are Kevin Gilbert, Jellyfish, and Ben Folds.
SONIK : Do you get to make much music of your own?
SCOTT : Yes, but I am focusing on new styles right now, adding guitar and bass to electronic tracks. I get up at 4:30am to make sure I get some time for creative outlet. I hope to start participating in the MP3.com community soon.
SONIK : Can you tell us your 10 favorite CD's?
SCOTT :
Kevin Gilbert - The Shaming of the True
Toy Matinee
Jellyfish - Spilt Milk
Crowded House - Woodface
Peter Gabriel - So
Robbie Robertson - Storyville
Beatles - Abbey Road
Depeche Mode - Violator
Frank Zappa - Joe's Garage
Oingo Boingo - Dark at the End of the Tunnel
SONIK : What advice would you pass onto someone if they were considering a career in synthesizer design?
SCOTT : Get an Electrical Engineering degree. Learn a lot about writing software, and take some course in chip design. Those are the most powerful areas of technology in music today, IMHO.
SONIK : What do you get up to in your spare time Scott?
SCOTT : I have two kids, Adele and Max. Between them and Tracy, I am a busy guy!
SONIK : Coming from both a hardware and software background, what is your view of the "hardware vs software" debate?
SCOTT : That is a tough one. In working at GVOX in the Internet business, one thing I have learned is that not everyone has computers hooked to the Internet, and for that matter, not everyone has a computer. Keeping this in mind, there will always be a need for music-making equipment that doesn't have the computer tether. I think there is opportunity for success in companies that realize their visions in both the software and hardware realms (like Access and Waldorf have).
SONIK : FEBRUARY 2001

[rids]

That was a great interview! Thanks for posting that. Interesting how he likes the MR-rack. I think it has some good sounds in it, but some are cheesy. I'm not sure editable it is and if it is, then the front panel must be tough to edit it with.

Both those sites are good resources for the Fizmo. What OS are you running to use SD? I'm guessing you have the dongle to get it to activate? Someone mentioned that SD will display what NRPN or sysex the hidden parameters are... Not sure if that is true. Have you found anything like that?

[rokuez]

Originally Posted by Reptil

I think it definatively has to do with Ensoniq being bought out.
The name "Fizmo" was meant for this transwave synth, not a VA, AFAIK.
I'll look into the hidden parameters when I can. thanks for pointing out thumbsup

I heard from an ex e-mu employee that the name fizmo was a joke (in the sense that they just came up with a funny name while developing it), but the entire company not knowing this released it as Fizmo in a rush to get the gear out and selling. when the two companies came together one side wanted to rush the product out. they didn't realize that the name was just some funny word they came up with, and released it with the name fizmo

[Reptil]

Originally Posted by rids

That was a great interview! Thanks for posting that. Interesting how he likes the MR-rack. I think it has some good sounds in it, but some are cheesy. I'm not sure editable it is and if it is, then the front panel must be tough to edit it with.

Both those sites are good resources for the Fizmo. What OS are you running to use SD? I'm guessing you have the dongle to get it to activate? Someone mentioned that SD will display what NRPN or sysex the hidden parameters are... Not sure if that is true. Have you found anything like that?

nope but I have disconnected the computer from the midi part, since I'm in the middle (halfway) of a move. So, I'll check again, later. maybe check the non active CCs?

whoever came up with the name, it sure is easy to google it. (nothing else is there like it)

[rids]

Here's a quote from Sealed's page:


"FIZMO originally meant Physical Modelling. It seems ENSONIQ was planning an even newer generation of digital synths, but it was when ENSONIQ was soon to be acquired by Creative Labs. The new phisical modelling synth did not materialize, but the name FIZMO was given to the Transwave synth, which became their last synthesizer."

[Lumin One]

i really cant chime in and give tips as i haven't had my fizmo long enough to know it inside and out but i have to say i really really dig this keyboard. everytime i sit in front of it i come up with something interesting and more importantly, useable.

these hidden features are interesting although i dont hook mine up to a computer or even midi the thing. i just record live whatever lines i need to put down. i guess i need to consider midiing it up to my computer.

[Reptil]

Originally Posted by rids

Here's a quote from Sealed's page:


"FIZMO originally meant Physical Modelling. It seems ENSONIQ was planning an even newer generation of digital synths, but it was when ENSONIQ was soon to be acquired by Creative Labs. The new phisical modelling synth did not materialize, but the name FIZMO was given to the Transwave synth, which became their last synthesizer."

yes, that's right.
I'll check once the moving and the administration is kind of done (somewhere next week)

[rockmanrock]

Originally Posted by rids

Here's a quote from Sealed's page:


"FIZMO originally meant Physical Modelling. It seems ENSONIQ was planning an even newer generation of digital synths, but it was when ENSONIQ was soon to be acquired by Creative Labs. The new phisical modelling synth did not materialize, but the name FIZMO was given to the Transwave synth, which became their last synthesizer."

I'm sure I read somewhere that the ASR-X has "GIZMO" on its motherboard!

[rids]

Oh you're probably right. I had a ASR-X Pro and it's main (1st) soundset was called Gizmo. I can't remember, but I think it was a drum kit patch.

[pro]

I spent a lot of time with the FIZMO and found it to be crippled in modulation features. I much preferred a Waldorf/PPG for wavetable synthesis.

[rids]

I prefer my MW1 for wavetable also, but when I want something bubbly or an organic synth sound, the Fizmo fits the bill. It's probably the only synth that I can make an organic plastic lead with. Seems like an oxy moron, but there is a good example of this in the Yahoo files-mp3 section.

The Fizmo, as I've been told, actually has a ton more modulations that are hidden, it's just that the front panel doesn't give you access to all the other stuff.

[bbow73]

MAN! I just got my Fizmo today, $300!
This thing friggin rocks!!!
I can't stop playing it, I feel like an 80's god in a wind tunnel with lasers shooting through the smoke.
Now I just need a red leather jacket covered in zippers.

But seriously, I know what people are talking about when they call this thing bubbly.
There's fizz and gurgles under every knob.
It's like half PPG and half early Chow Yun Phat movie soundtrack.
This thing is exactly what I was looking for.
I think I'm going to go poor some beer on the ground for all my dead homies at Ensoniq.

oh, and I also got a Hartmann Neuron today, it's pretty cool too.
I'm not going to say how much I paid for it

[rids]

Originally Posted by bbow73

This thing is exactly what I was looking for.
I think I'm going to go poor some beer on the ground for all my dead homies at Ensoniq.

oh, and I also got a Hartmann Neuron today, it's pretty cool too.
I'm not going to say how much I paid for it

Don't worry, I think we have a good idea

I so wish someone would start a company like Ensoniq again.

[Reptil]

old thread

some nice examples
really, they should've called it "transdimensional synthesizer" :-D

[Reptil]

Originally Posted by rids

Don't worry, I think we have a good idea

I so wish someone would start a company like Ensoniq again.

some gear like that in eurorack format now (new since 2009)
thumbsup
skip to 2:11, add some LPF filtering and some reverb to the following:
YouTube - Harvestman - Piston Honda
Morphing Terrarium is in the same ballpark, Fizmo is different though.. more fizzy, spluttering, unstable
YouTube - E350 & MATHS

[rids]

Yeah I have the MATHS, but have wanted to get the PH and E350. Those look like a lot of fun. I'm getting to the point that I want to sell stuff if I buy other gear, because usually if I don't the 'other' gear gets ignored. And I rather not end up on one of those A&E shows

I hadn't heard those other two clips you put up before. They both look new. That first could easily go to a scifi/suspense/horror film.

One thing I'm looking to do more of is process my Fiz. Not like it needs it, but I'm expecting universes to collide in my experiments.

[Reptil]

Originally Posted by rids

Yeah I have the MATHS, but have wanted to get the PH and E350. Those look like a lot of fun. I'm getting to the point that I want to sell stuff if I buy other gear, because usually if I don't the 'other' gear gets ignored. And I rather not end up on one of those A&E shows

Same here. I'm done buying. I'll be selling stuff soon actually. (not the fizmo, but eq and amps and perhaps a few Doepfer that are orphaned)

Originally Posted by rids

I hadn't heard those other two clips you put up before. They both look new. That first could easily go to a scifi/suspense/horror film.

The guy's done a few more. They barely touch on what the Fizmo can do though. (much much more)

Originally Posted by rids

One thing I'm looking to do more of is process my Fiz. Not like it needs it, but I'm expecting universes to collide in my experiments.

IME it (and also my Microwave XT) play especially well with my modular.
In fact I don't have any need for more wavetable madness.

[jimmysynth]

Fizmo for sale


fizmo items - Get great deals on Synthesisers Sound Modules items on eBay UK!

Information on repairs can be found here.

Muzik Elektronix: Ensoniq Fizmo Regulator Repair Tutorial

[Reptil]

Originally Posted by jimmysynth

Fizmo for sale


fizmo items - Get great deals on Synthesisers Sound Modules items on eBay UK!

Information on repairs can be found here.

Muzik Elektronix: Ensoniq Fizmo Regulator Repair Tutorial

is that yours? please see the rules about posting ads?
http://www.gearslutz.com/board/elect...hing-read.html

[UpNSmoke]

Originally Posted by Reptil

old thread

some nice examples
really, they should've called it "transdimensional synthesizer" :-D

Glad this thread got revived (for whatever reasons) - those are DOPE examples of the Fizmo. Funny, I don't remember it sounding that good in person when I owned one..but I never spent a lot of time programming it..

[Reptil]

that was also the reason for it's commercial failure.
it's a bit ehmm "strange".
in a patch you have to find some point where one sound collapses and another begins. hope this makes sense.

[systematika]

Can someone give me an accurate scientifical document on how transwaves work? Or does anyone know?

[acreil]

Originally Posted by systematika

Can someone give me an accurate scientifical document on how transwaves work? Or does anyone know?

It's basically the same as wavetable synthesis. This is a reasonable example:



You can think of wavetable synthesis as a variant of ordinary sample playback, only instead of playing straight through the stored waveform, it repeatedly plays a periodic looped portion, and the loop points are modulated. Following the example in the video, imagine controlling the "segment" played from a mod wheel, or whatever.

The Ensoniq EPS and related models can actually do this arbitrarily on any sample, though without careful preparation the result is far more of a glitchy mess than a smoothly interpolated wavetable. Later models included specially tweaked sample libraries and playback engines that made this a lot smoother.

[systematika]

Originally Posted by acreil

It's basically the same as wavetable synthesis. This is a reasonable example:



You can think of wavetable synthesis as a variant of ordinary sample playback, only instead of playing straight through the stored waveform, it repeatedly plays a periodic looped portion, and the loop points are modulated. Following the example in the video, imagine controlling the "segment" played from a mod wheel, or whatever.

The Ensoniq EPS and related models can actually do this arbitrarily on any sample, though without careful preparation the result is far more of a glitchy mess than a smoothly interpolated wavetable. Later models included specially tweaked sample libraries and playback engines that made this a lot smoother.

Yes I know that, I'm actually going to make a maxforlive patch based roughly on transwaves mixed with FM synthesis for my own personal use. (mainly to create sadistic f-ed up noisy modern art) In one place I read that transwaves were a large wavetable with varying degrees of harmonics that were scanned through and then looped each cycle, but isn't that actually scanned synthesis, like for example what is in zebra 2?

I also read in another place that transwaves had some sort of harmonic modulation, but I assumed that they were completely talking out of their asses and really thinking of DX7s or something.

Also, is it true that with each sample modulation, the single cycles were faded? I read that somewhere too.

That's pretty much the reason why I asked for a more in depth description on how they really work. All of the stuff I read is conflicting in some way, including what you showed me and it seems nobody knows what transwaves really *are*.

[Reptil]

It's Ensoniq's take on the wavetables.
They use longer waveforms that differ over time, instead of shorter, static waves (like the Microwave XT).

from here

"Transwaves remove a major limitation of wavetable synthesizers, that is the waveform being played is usually static and has no change in harmonic structure over time, other than by filtering it. Transwaves allow a sound to evolve subtly or dramatically, slowly or quickly over time, producing a richly animated, complex sound," says Bob Yannes, Ensoniq chief engineer.

other Transwave synths
VFX
SQ-R
ARS-10

also found this nice piece of cheeze

[systematika]

Originally Posted by Reptil

It's Ensoniq's take on the wavetables.
They use longer waveforms that differ over time, instead of shorter, static waves (like the Microwave XT). insert large youtube video here

I mean how is it done? I know what transwaves are, and how they are beneficial that's why I want to code a transwave synthesizer. I understand what they are and what they do, and how they do it, but I'm really concerned about the mathematics...

[acreil]

Originally Posted by systematika

I mean how is it done? I know what transwaves are, and how they are beneficial that's why I want to code a transwave synthesizer. I understand what they are and what they do, and how they do it, but I'm really concerned about the mathematics...

In all cases it boils down to a waveform partitioned into single-period segments. There are a number of design choices you can make here: you can have large or very small differences between adjacent waveforms. You can switch instantaneously between waveforms, switch when the waveform is at an endpoint (which should be a zero crossing), or smoothly interpolate between them. You can traverse the wavetable linearly or permit arbitrary jumps through a large bank of waveforms (like the Wavestation's wave sequences), or even use arbitrary modulation to allow waveshaping, FM, phase distortion, formant stretching or wave terrain synthesis. You can synthesize the wavetables additively or massage sampled sounds to permit "wavetable resynthesis".

There's a paper covering some of this: http://www.musicdsp.org/files/Wavetable-101.pdf

I don't think Ensoniq's implementation contains any secret sauce, in particular. I suspect that rather than the paper's recommendations, the Ensoniq transwaves (at least the earlier ones) probably just did some simple loop crossfade for each "step" of the transwave (I mean non-real time, when making the ROM), and moved the loop points one cycle (i.e. switch to the next waveform) at the end points. With some effort you should be able to do the same thing with sampled sounds on an EPS 16+ or ASR10.