Ensoniq Ts10 Soundfont Sf2 16 Direct
The TS-10 uses Rate-Level envelopes (Time-Value), whereas SF2 uses standard ADSR (Attack-Decay-Sustain-Release) with Delay and Hold.
Since a specific academic paper on this conversion does not exist, here is a technical breakdown (the "cheat sheet") for mapping TS-10 parameters to the SoundFont 2.0 spec.
Given these constraints, what can a sound designer actually produce? A simulacrum – a static, loop-based approximation. Here is the workflow:
Case Study: The “VoxMorph” Pad
In the graveyard of 1990s digital synthesis, two corpses lie side by side: the Ensoniq TS-10, a workstation of sprawling, almost chaotic generative potential, and the SoundFont SF2 format, a noble but rigid attempt to standardize sample playback. To attempt a “deep essay” on the TS-10 soundfont SF2-16 is to explore a fundamental incompatibility—a battle between morphing and mapping.
The TS-10 (1994) was the apotheosis of Ensoniq’s Transwave technology. It did not merely play samples; it walked through them. The SoundFont 2.0 specification (1996, Creative Labs) was a librarian’s dream: a neat grid of keymaps, loops, and modulators. The “16” in our title refers to two intertwined constraints: the 16-bit linear PCM of the SF2 standard, and the infamous 16 MB memory ceiling of early SoundFont players. To understand why a perfect TS-10 SF2 is impossible, we must first dissect the soul of the hardware.
In an era of AI stem separation and 100GB orchestral libraries, the ensoniq ts10 soundfont sf2 16 is a rebellious act. It is a rejection of perfection.
This tiny file holds the DNA of an era—when samplers used "interpolation" because they had to, and when "lo-fi" wasn't an effect, it was a limitation.
Whether you are a Hip Hop producer looking for that "swing," a Synthwave artist chasing a nostalgic lead, or a film composer wanting an unnerving texture, this SoundFont delivers. It loads in milliseconds, uses almost zero CPU, and forces you to be creative with limitations.
Don’t treat it as a "sample pack." Treat it as an instrument. Layer it. Destroy it with effects. Re-sample it.
The Ensoniq TS10 is dead. Long live the SF2.
Have you used the Ensoniq TS10 SF2 in a track? Drop a comment below with your favorite patch.
The Ensoniq TS-10, released in 1993, is often hailed as the "apex" of Ensoniq’s synthesizer lineage, a refined workstation that masterfully blended performance, sequencing, and synthesis. While the original hardware is a vintage gem, its legacy continues through modern digital formats like the .sf2 (SoundFont), which allows its unique 16-bit sonic character to be preserved and used in contemporary music production. The Hardware Legacy: A Performance Masterpiece
The TS-10 was more than just a typical sample-based synthesizer; it was a comprehensive music workstation that featured:
Hyperwaves and Transwaves: A standout feature of the TS-10 was its use of Hyperwaves, wave lists containing up to 16 samples that could play sequentially with individual tuning and volume. This provided evolving, rhythmic textures similar to wave sequencing.
Synthesis Architecture: Each sound was built from up to six voices, each equipped with its own filters, LFOs, and envelopes.
High-Quality Effects: It utilized a 24-bit effects engine based on the legendary DP/4 parallel effects processor.
Polyphonic Aftertouch: It was one of the last flagship workstations to offer polyphonic aftertouch, allowing for immense expressive control on a per-key basis. The SoundFont (SF2) Transition
For modern producers, the "Ensoniq TS-10 SoundFont SF2" bridges the gap between 90s digital warmth and current DAW-centric workflows .
What is an SF2?: The .sf2 format is a standard for virtual instruments that bundles audio samples with playback parameters like looping and modulation.
Preserving 16-bit Character: Because the TS-10 was a 16-bit sampler/synthesizer, these SoundFonts capture the specific grit and "thick" character that enthusiasts prize.
Accessibility: While the original hardware is incompatible with standard .wav or .mid disk formats , converting its library into SoundFonts allows these sounds to be loaded into modern samplers like MuseScore or VST plugins. ENSONIQ TS-10 - Hyperwaves Demystified
The Ensoniq TS-10, released in 1993, represents the pinnacle of Ensoniq’s workstation lineage. While the original hardware utilized a proprietary disk format for its synthesis and sampling, the modern preservation of its sonic legacy is largely handled through the SoundFont (SF2) format. This transition allows the TS-10's signature 16-bit, character-rich sounds to be used in modern digital audio workstations (DAWs). The Sound Architecture of the TS-10
The TS-10's unique sound is built on several advanced synthesis techniques that were ahead of its time:
Introduction to the Ensoniq TS-10 and Soundfont SF2
The Ensoniq TS-10, a keyboard instrument from the late 1980s, was renowned for its advanced capabilities in sound generation and manipulation, characteristics that were somewhat ahead of its time. One of the most notable features of the TS-10 was its ability to utilize Soundfonts, specifically in the SF2 format, which allowed for a high degree of customization and expansion of its sonic palette.
The Significance of Soundfont SF2
Soundfont SF2 files are a type of soundfont format used in digital musical instruments and software synthesizers. They contain samples and other data necessary for generating musical sounds. The SF2 format, in particular, became a standard for soundfonts due to its efficiency in storing and playback of high-quality sounds. For the Ensoniq TS-10, the use of SF2 soundfonts meant that musicians and composers could significantly expand the instrument's built-in sounds with custom or additional sounds, ranging from realistic instrument emulations to more experimental and ambient textures.
Creating and Utilizing SF2 Soundfonts for the Ensoniq TS-10
Creating an SF2 soundfont for the Ensoniq TS-10 involved several steps, including sampling, editing, and finally, converting these samples into the SF2 format. Musicians and sound designers could create their own samples using various sources, from acoustic instruments to electronic sounds. These samples would then be edited and processed to fit the requirements of the TS-10 and the SF2 format.
The process included:
The Ensoniq TS-10 and SF2 Compatibility
The TS-10 could load and play back SF2 soundfonts through its expansion slots, which allowed for additional memory and capabilities. This feature made the TS-10 highly versatile, as users could tailor their sound palette to suit their needs. The compatibility with SF2 soundfonts meant that musicians could access thousands of sounds, limited only by their creativity and the technical capabilities of their equipment.
Impact on Music Production
The combination of the Ensoniq TS-10 and SF2 soundfonts had a significant impact on music production in the late 1980s and early 1990s. It democratized access to high-quality sounds for musicians, allowing for more creative freedom and less dependence on expensive studios or hardware.
Artists and producers could now:
This technology was pivotal in shaping the sound of various genres during that period, from electronic and dance music to film scores and pop music.
Legacy and Continued Use
The legacy of the Ensoniq TS-10 and SF2 soundfonts extends into contemporary music production. While modern software synthesizers and digital audio workstations (DAWs) have largely superseded hardware synthesizers like the TS-10, the concept of soundfonts and sample-based synthesis continues to influence sound design.
Software instruments and plugins often emulate the functionality of the TS-10 and SF2 format, allowing new generations of musicians and producers to explore similar sonic landscapes. The internet is replete with resources, including free and commercial soundfonts, that can be used with software synthesizers, offering a nod to the pioneering technology of the Ensoniq TS-10.
Conclusion
The Ensoniq TS-10 and its use of SF2 soundfonts represent a pivotal moment in the evolution of electronic music and sound design. By merging cutting-edge sample technology with user-accessible sound manipulation capabilities, the TS-10 empowered musicians and sound designers to explore new sonic territories. The influence of this technology can still be seen today, with the principles of sample-based synthesis and soundfont usage remaining integral components of music production. Whether through nostalgia or the pursuit of unique sounds, the TS-10 and SF2 soundfonts continue to inspire and influence music creation.
Ensoniq TS10 Soundfont SF2 16 : Bringing a 90s Legend to Your DAW Ensoniq TS10
, released in 1993, is often hailed as the "apex" of Ensoniq's synthesizer line. Known for its rich "Sample & Synthesis" (S&S) engine, it combined professional ROM waveforms with the ability to load external samples from the legendary ASR-10 library. For modern producers, the Ensoniq TS10 Soundfont SF2 16
—a 16-bit SoundFont collection—is the most effective way to integrate these classic textures into a digital workstation. Why the Ensoniq TS10 Still Matters
Unlike many workstations of its era, the TS10 was designed by and for performing musicians. Its sounds are characterized by a "thick and rich" quality that many users still prefer over modern, cleaner alternatives.
Synthesis Power: It features up to six oscillators per patch, each with its own filters and envelopes.
Hyperwaves: This was Ensoniq’s unique version of wave sequencing, allowing for complex, rhythmic textures that evolve over time.
Transwaves: A predecessor to modern wavetable synthesis, Transwaves allowed for real-time changes to tonal timbrality by modulating loop start and end points. Understanding the SF2 16 Format
The SF2 (SoundFont 2) format is a widely compatible standard for virtual instruments. The "16" in the keyword typically refers to the 16-bit precision of the audio samples.
The notification blinked in the corner of his monitor, a persistent, rhythmic pulse against the static of the late-night rain. Julian rubbed his eyes, the grit of twenty years of searching weighing heavy on his eyelids.
The file name was unassuming, almost sterile: ensoniq_ts10_soundfont_sf2_16.rar.
To anyone else, it was digital detritus. A leftover scrap from the early days of computer music, a clumsy attempt to map the ROM of a hardware synthesizer into a software format. But to Julian, the string of characters was a holy grail.
He clicked download. The progress bar crawled. 10%. 20%.
The year was 1994. The air in the studio had smelled of ozone, stale coffee, and the particular heat generated by a rack full of heavy metal boxes. In the center of it all sat the Ensoniq TS-10. It was a beast—sixty-one weighted keys, a floppy drive that chewed disks if you looked at it wrong, and a sound engine that defied the cold, digital clarity of its competitors. It had "Transwave" synthesis, a way of stretching and warping waveforms that made the instrument breathe.
Sarah had loved that machine. She was a composer for noir films, obsessed with texture. She didn't want piano sounds; she wanted the sound of a piano falling down a flight of stairs in slow motion. The TS-10 gave her that.
Then came the fire. A surge in the wiring, a spark behind the drywall. By the the time the engines arrived, the studio was a charcoal skeleton. The insurance paid out, but they couldn't replace the custom patches. Sarah’s masterpiece, the score for a film that was never finished, was stored on a specific set of proprietary Ensoniq floppies that melted into plastic slag.
Sarah couldn't handle the loss. She stopped writing. They stopped speaking. The silence between them grew louder than the music ever was.
95%. 99%.
Complete.
Julian’s heart hammered against his ribs as he navigated to the folder. He right-clicked and selected 'Extract Here.' The computer whirred, unpacking the archive.
There it was. TS10_GM_16.sf2. 16 megabytes. A laughable size by modern standards—entire orchestras now fit in terabytes—but in the mid-90s, 16 megs was a universe.
He dragged the file into his sampler software. It was a generic player, stripped of character, purely functional. He held his breath. If this was just a generic General MIDI set—cheap trumpets and thin strings—he would close the laptop and never open it again.
He scrolled through the preset list. 001: Acoustic Grand Piano. 002: Bright Piano. ... 065: Soprano Sax.
It was the standard GM map. Julian felt the hope draining out of him like bathwater. It was a dump of the stock sounds. He was about to close the window when his finger slipped, tapping a key on his MIDI controller.
C3.
The sound that erupted from his monitors wasn't a saxophone. The label lied.
It was a growl. A textured, evolving drone that started as a cello and transformed into a warped, metallic shriek before fading into a ghostly whisper. It was the sound of a ship’s hull groaning under pressure.
Julian froze. He knew that sound. It was a Transwave.
He scrolled further down, bypassing the standard labels. Preset 114: Crystal Void. Preset 115: Deep Blue. Preset 116: The Requiem.
His hands trembled. He played a chord for Preset 116.
The room filled with a dense, melancholic pad. It shimmered, detuning slightly to mimic the imperfection of analog gear, before settling into a rich, harmonic bed of sound. It wasn't just a sample; it was the architecture of a memory.
This wasn't a commercial SoundFont. This was a specific, custom bank. Julian recognized the naming convention. Sarah used to name her patches after moods rather than instruments.
He looked at the file metadata. Under "Comment," a single line of text, likely copied over during the initial digital transfer years ago, read: For J. - In case the power goes out. - S.
Julian sat back, the leather of his chair creaking in the silence. ensoniq ts10 soundfont sf2 16
He had spent two decades looking for the hardware, thinking the machine was the magic. He had scoured eBay for broken TS-10s, haunting forums for ancient floppy disks. He thought he needed the circuits, the keys
The Ensoniq TS-10 sounds you're looking for are available primarily as multi-sampled libraries that have been converted to modern formats like SF2 (SoundFont) Recommended TS-10 Sound Resources Digital Sound Factory : They offer professional-grade Ensoniq soundfont samples specifically for the TS-10, as well as an ASR library that includes factory content shared across the TS series. SoundEngine Aftermarket TS-10 Sample Pack
includes over 1,060 high-quality samples and 130 presets designed to capture the "thick" tonal quality of the original hardware. : Provides an Ambient Worlds Soundset
with 60 custom presets focused on pads, strings, and experimental textures. OldSchoolDAW
: A community resource where users occasionally share vintage SF2 SoundFonts and players compatible with older Windows systems. Technical Details
: While the original hardware used a proprietary Ensoniq format, these modern versions are typically
SF2 files, making them compatible with almost any modern DAW or sampler. Conversion
: If you find original TS-10 disk images, you may need a tool like Chicken Systems Constructor to convert them into usable SF2 or SFZ formats. Chicken Systems original factory preset bank specifically, or are you more interested in custom ambient/synth patches ensoniq ts10 - Instruments Forum - KVR Audio
The Ensoniq TS10 SoundFont (SF2) is a digital sample library that recreates the 16-bit sounds of the 1993 Ensoniq TS-10 synthesizer. These libraries allow modern producers to use the workstation's distinctive "Hyperwave" and "Transwave" textures within modern Digital Audio Workstations (DAWs). Key Features of the Ensoniq TS-10 Soundset
Original Hardware Specs: The TS-10 featured 61 touch-sensitive keys with polyphonic aftertouch and a synthesis engine that layered up to six sounds per program.
Acoustic & Digital Hybrid: It is renowned for its high-quality 16-bit acoustic samples (like the "Baby Grand Piano") and evolving digital pads.
Transwave Synthesis: This unique method allows for evolving timbres by modulating loop points within a single waveform, a sound highly sought after in SF2 format for its vintage digital "shimmer". Usage and Availability
The SoundFont format (.sf2) is highly compatible with various software tools and platforms: SoundFont SF2 Download - norCtrack
Ensoniq TS-10 , released in 1993, remains a cult favorite for its lush, "cinematic" sound and its unique approach to synthesis
. For those looking to capture its character in a modern DAW, high-quality 16-bit, 44.1kHz SoundFont (.sf2) libraries are often the go-to resource. Vintage Synth Explorer Forums The Sound & Synthesis
The TS-10 is an S+S (Sample + Synthesis) powerhouse, blending 6 MB of high-quality ROM samples with sophisticated synthesis capabilities. Transwaves:
While it has fewer transwaves than its predecessor, the SD-1, it allows for custom transwave and wavetable imports—a feature even the later Fizmo couldn't match. Hyperwaves:
Its "Hyperwave" engine enables complex wave-sequencing, creating evolving textures and rhythms. Polyphonic Aftertouch:
One of its most prized features was the keybed's polyphonic aftertouch, though vintage units often show wear or calibration issues today. The 16-Bit SoundFont Experience
Modern SoundFont conversions attempt to replicate the TS-10's 16-bit fidelity. These libraries typically include "Sounds" created from up to six combined waves and performance-ready "Presets". Key Libraries:
Common .sf2 collections, often totaling over 1.3 GB, feature signature sounds like Grand Piano PNO-N-STRGS , and the 2Unlimited-style Dance Leads Compatibility:
These SoundFonts can be loaded into classic samplers like Reason’s NN-XT or modern SF2 players. Why It Still Matters
Unlike many compressed workstations of its era (like the Korg Triton), the TS-10 is often described as having more "balls" or weight, even with its internal effects disabled. It was a staple for film composers and sound designers who needed deep, evocative pads and sharp, clean leads. Vintage Synth Explorer Forums
For more technical details and sound demonstrations, enthusiasts often point to Don Solaris's deep dive mu:zines archive for original 1993 reviews. donsolaris.com specific SoundFont player
to load these files, or would you like to know more about the Transwave programming
Ensoniq TS-10 - Звуки в формате SoundFont (Sf2) - сэмплы 4 May 2014 —
The Ensoniq TS-10 remains a legendary workstation in the world of synthesis, prized for its warm, "gritty" digital character and its unique ability to load EPS and ASR-10 samples. For modern producers, capturing this 1993 powerhouse in a 16-bit SoundFont (.sf2) format is the best way to bring those classic 90s textures into today’s Digital Audio Workstations (DAWs). Why the TS-10 Matters Today
Unlike many of its contemporaries, the Ensoniq TS-10 didn’t just play back dry waveforms. It featured a sophisticated synthesis engine that utilized "Transwaves"—waveforms that could be swept through for evolving textures. Key reasons to use a TS-10 SoundFont include:
Hyper-Wave Architecture: Excellent for pads and rhythmic textures that feel "alive."
ASR-10 Compatibility: The TS-10 could read samples from Ensoniq’s famous samplers, meaning many TS-10 SoundFont collections include those iconic, punchy drum kits and orchestral hits.
Polyphonic Aftertouch: While the hardware was famous for its expressive 61-key bed, a well-mapped SoundFont can replicate these nuances via MIDI CC mapping. The Benefits of 16-Bit .SF2 Files
The SoundFont (.sf2) format is an open-standard container for virtual instruments. Using a 16-bit version specifically provides a balance between quality and performance:
Authentic Bit-Depth: Since the original TS-10 hardware operated at 16-bit, using 24-bit or 32-bit samples often just adds "air" without improving the actual tone. A 16-bit SF2 provides the exact dynamic range of the original unit.
Low Latency: SF2 files are incredibly lightweight. You can load a 16-bit TS-10 SoundFont in players like MuseScore or Sforzando and run dozens of instances without taxing your CPU.
Portability: These files are cross-platform, working on Windows, macOS, and Linux without the need for proprietary "dongles" or heavy VST installers. How to Use the TS-10 SoundFont
To get the most out of your Ensoniq sounds, follow these steps:
Find a Quality Library: Look for libraries that include the original ROM sounds (the "General MIDI" and "Program" banks). Since a specific academic paper on this conversion
Use an SF2 Player: Load the file into a dedicated sampler like Vember Audio Shortcircuit (classic feel) or TX16Wx (modern flexibility).
Apply External Effects: The TS-10's built-in effects were stellar. To mimic that "Ensoniq sheen," add a bit of 90s-style plate reverb or a chorus effect to your SF2 track.
The search query "ensoniq ts10 soundfont sf2 16" tells a very specific story about the intersection of 1990s hardware samplers and modern software emulation.
Here’s the story behind those keywords:
1. The Legendary Hardware (Ensoniq TS-10) In the early 1990s, Ensoniq released the TS-10 (and its rackmount sibling, the ASR-10). It was a powerhouse: a 16-bit, 32-voice workstation with an intuitive sequencer and, crucially, transwave synthesis (morphing between digital waveforms). Its raw, gritty, punchy sound defined countless hip-hop, R&B, and electronic records. Producers loved its warm digital filters and the unique character of its built-in ROM samples (pianos, strings, basses, drums).
2. The Problem (Hardware Fails) Fast forward 20+ years. TS-10s have failing floppy drives, dying backlit LCDs, brittle plastic, and impossible-to-find proprietary SCSI adapters. The magic sounds are trapped in aging hardware. New producers can’t afford ($1000+) or find a working unit.
3. The Solution (SoundFonts & SF2) The open SoundFont 2.0 (SF2) format emerged. It allows you to take raw PCM samples (like those from a TS-10) and map them across a MIDI keyboard with loops, filters, and envelopes.
4. The “16” Clue The number 16 likely refers to:
5. The Modern Quest (Why you’re searching) You are likely looking for an SF2 file that authentically recreates the TS-10’s ROM wave set. Unlike generic “Ensoniq” soundfonts (which often sample the cheaper EPS or Mirage), a TS-10-specific SF2 is rare. Most available “TS-10 soundfonts” are:
The real story: You want the sound of that late-80s/early-90s Ensoniq digital warmth—the grainy transwaves, the snappy filters, the slightly aliased highs—but you want to load it into sforzando, Fluidsynth, or a DAW’s SF2 player on your modern laptop. You want “Channel 16” specifically for the TS-10’s drum kits (which were famously punchy, especially the “808/909” hybrid kits).
What you’ll actually find:
The unsatisfying truth: The TS‑10’s magic isn’t just the samples—it’s the filters, envelopes, and transwave interpolation. No static SF2 can replicate that perfectly. But the search continues, because loading anything called “ensoniq ts10 soundfont sf2 16” into a free player is the fastest way to get that vintage vibe without the back pain of a 40‑lb keyboard.
In the late '90s, a young producer named Elias found an old Ensoniq TS-10
in a thrift store. It was heavy, dusty, and the screen flickered, but when he pressed a key, the sound was "magic"—warm, gritty, and alive. This was the legendary 16-bit workstation that had defined the sound of early R&B and industrial music.
Elias knew he couldn't take the massive keyboard to every late-night studio session, so he spent a week "sampling" it. He meticulously recorded every note of his favorite patches—the lush pads, the punchy drums, and the iconic "Hyper-Waves"—capturing the unique character of its 16-track sequencer and effects engine. He converted these recordings into a SoundFont (.sf2)
file, preserving that 16-bit soul in a digital format. He named the file "TS10_Legacy_16.sf2." Soon, that single file traveled through underground forums and USB drives, allowing a new generation of laptop producers to use the "Ensoniq sound" in modern lo-fi and synthwave tracks. The physical keyboard eventually stopped turning on, but its spirit lived on in thousands of hard drives, one 16-bit sample at a time.
Unlocking the Power of Music Production: A Comprehensive Guide to the Ensoniq TS10 Soundfont SF2 16
In the world of music production, soundfonts have revolutionized the way artists and producers create and manipulate sounds. One of the most iconic and sought-after soundfonts is the Ensoniq TS10 Soundfont SF2 16. In this article, we'll delve into the history, features, and applications of this legendary soundfont, exploring its significance in music production and providing valuable insights for producers and musicians.
What is a Soundfont?
Before diving into the specifics of the Ensoniq TS10 Soundfont SF2 16, let's take a brief look at what soundfonts are. A soundfont is a collection of audio samples stored in a file format that allows for efficient playback and manipulation. Soundfonts are used in music production to create a wide range of sounds, from realistic instrument emulations to unique textures and effects.
The Ensoniq TS10: A Legendary Synthesizer
The Ensoniq TS10 is a legendary synthesizer released in the 1980s by Ensoniq, a renowned manufacturer of electronic musical instruments. The TS10 was designed to provide high-quality sounds and advanced features for music production, live performance, and sound design. Its impressive sound library and robust architecture made it a favorite among musicians, producers, and sound designers.
The Ensoniq TS10 Soundfont SF2 16: A Flagship Soundfont
The Ensoniq TS10 Soundfont SF2 16 is a flagship soundfont that showcases the best of the TS10's sonic capabilities. This soundfont features a vast collection of 16-bit audio samples, meticulously crafted to deliver authentic and detailed sounds. The SF2 16 format allows for efficient playback and manipulation, making it an ideal choice for music production, live performance, and sound design.
Features and Specifications
The Ensoniq TS10 Soundfont SF2 16 boasts an impressive set of features and specifications:
Applications in Music Production
The Ensoniq TS10 Soundfont SF2 16 has numerous applications in music production, including:
Using the Ensoniq TS10 Soundfont SF2 16 in Your Music Production
To get the most out of the Ensoniq TS10 Soundfont SF2 16, follow these tips:
Conclusion
The Ensoniq TS10 Soundfont SF2 16 is a legendary soundfont that continues to inspire and influence music production today. Its high-quality audio samples, flexible sound manipulation capabilities, and vast sound library make it an invaluable resource for producers, musicians, and sound designers. Whether you're creating music for film, video games, or live performance, the Ensoniq TS10 Soundfont SF2 16 is an essential tool for unlocking your creative potential.
Additional Resources
For those interested in exploring the Ensoniq TS10 Soundfont SF2 16 further, here are some additional resources:
By exploring the Ensoniq TS10 Soundfont SF2 16 and its applications in music production, you'll unlock a world of creative possibilities and take your music to new heights.
The SF2 format, born from E-mu’s Emulator III and later standardized by Creative, is a brilliant compromise. A SoundFont contains:
The “16” in SF2-16 typically refers to: Case Study: The “VoxMorph” Pad In the graveyard
Let’s take a tour through the "16" bank. Load these, close your eyes, and you’re in 1994.
Most .sf2 files use 16‑bit PCM internally by default (44.1 kHz or 32 kHz). The TS‑10 originally used 16‑bit linear samples at 44.1 kHz? — No, TS‑10 used 16‑bit but internal rate was 32 kHz (like many 90s workstations). Modern conversions are often 44.1 kHz / 16‑bit.
