In [this article](https://www.propellerheads.se/substance/artist-stories/index.cfm?fuseaction=get_article&article=dj-khalil), Dj Khalil talks at Propellarhead about Reason and making the switch from ASR. At about one minute into the video, he says, " "So there was a point where...where basically I had got tired of the ASR, I've exhausted everything out of that piece of equipment...I basically need a change." In the accompanying article, it says, "Like many other Hip Hop producers, his former weapon of choice was the ASR-10 sampler workstation but after trying out Reason for a few months he realized how much better and richer his productions sounded and he decided to switch to software."more
The Rza talks about the Ensoniq ASR-10, the legendary board he used to create many classic songs, at 5:58, saying "...But in 1991 going on 92, Ensoniq put out the ASR-10 and when they did that...that's when I became a master producer. The whole first One Hundred Wu-Tang songs was made on ASR-10..."more
At 1:55 in this interview Dj Toomp says "ASR boom, i forgot about that, I can't forget about her. She plays a major part and when I get sounds from [Reason](http://equipboard.com/items/propellerhead-reason-6-5) and put them on my ASR, that could take the game to a whole another level too."more
> Contrary to No ID, Kanye likes to use all the equipment in the room — stomp boxes, classic samplers, and so on. He mainly uses the [Ensoniq] ASR10 and sequences that with an [Akai] MPC 2000XL. When he's done with a track, he sends it to us as an MP3, and I upload these onto two tracks in Pro Tools. In this case Jay wanted Rihanna's vocals to be edited down, so I asked for them separately, and worked with two tracks of music, two tracks of Rihanna, and then Jay cut his vocals to that. The song was originally intended to feature just Jay and Rihanna, but he also wanted Kanye on it, because he felt that it would fit the texture of the song. So one day when Kanye was in New York, he came in at 10am and in two takes he was done. Young Guru, Sound on Sound interview, 2009.more
The Grand-daddy of the Ensoniq sampler family - a family that started unpromisingly with the somewhat arcane Mirage, but then rapidly evolved with the vastly improved EPS, then the EPS16+, then the imperious ASR-10. ASR stood for Advanced Sampling Recorder, and for its time (early 1990s) it may well have been the most advanced (at least for those available at a consumer level, we will discount the sorts of ubermensch who could afford a Synclavier or Fairlight). If you were already familiar with the EPS and the 16+, the ASR was simple to use, the same architecture and layout applied, but with a ton of extra features which really opened up the sampling, sequencing and production possibilities (and a few of these were actually thanks to Ensoniq listening to customer suggestions). If you were fortunate to have all the additional bells and whistles such as the digital I/O and the SCSI expansion, you were into an early form of HDD recording as well. The ability to resample its own audio, with or without effects was also a great idea, and a shortcut to freeing up sequencer tracks if you needed to. Some people complain about Ensoniq keybed quality, but I've never had a problem with them. The ASR has always felt solid and responsive, and the poly aftertouch has never given any grief. The modulation routings on the ASR are almost without number. All in all, this sampler really kicks.
This is the #1 sampler that Kanye West, and Timbaland uses most. I own 1 and its maxed out with memory , expander, CD-rom drive and SCSI hard drive for storage...the preAMPs and Processor is what gives it a fat sound. In the nut shell you get Fat sounds right out the box when sampling and they sound radio ready. It's the best analog sampler by far with digital in/out options if you can find the card. It's like having the SSL or NEVE of Samplers. It's a Classic that sounds like a Beast...it's _AKA- The Secret Weapon...shhh don't tell...lol.