EDIT SAMPLE
S3000XL Operator’s Manual
Page 155
CROSSFADING
To avoid a sharp break in sounds when you splice them together, one sound can be
crossfaded into another. The crossfading will start before the value set in the
point
of A, the time at which crossfading starts depending on the number of samples set in the
field. This field has no effect, of course, when layering samples.
Again, you can adjust the relative volumes of A and B by up to
±
25dB, using the
parameters. However, if you set these too high, you may get a distorted sound, so use
these with care (you will be prompted if the new sample distorted during the process).
When you’ve set up the
and
points for both samples, press
. If sample
J already contains data, you will be asked if you want to overwrite it (you should press GO
or ABORT as necessary). Again, the process will take a few seconds (depending on the
length of the samples and the amount of crossfading) and when the operation is
complete, you can listen to the new sound by pressing the ENT/PLAY key.
MIXING AND LAYERING SAMPLES
It is also possible to ‘stack’ samples on top of each other. This can be an effective way of
layering sounds without eating into polyphony. The same principles apply as above.
Select sample A and B and create a new sample J (or use an unwanted existing sample).
You may set the portion you want to mix together (for example, you may want to layer the
attack of one sound directly on top of another) and also set the levels and relative
balance in the
field (please be especially careful here - because you are combining
two samples together, the levels will naturally go up. If anything, you may need to use the
scale parameters to turn them down). Once you’re happy with everything press
. If
the J sample already exists, you will be prompted and you should respond accordingly
and, after a few seconds, you will be able to play the sound from the ENT/PLAY key.
You may repeat these techniques using the J sample as the basis for a new splice,
crossfade or layer. For example, you could:
•
Crossfade a timpani strike with a deep string orchestra. Use that sample, for example,
to crossfade with a big vocal chorus chord and use the result of that to crossfade with
a large orchestral finale.
•
Crossfade a thick synth bass with a string pad. Use that to crossfade with a resonant
filter sweep sound and crossfade the result of that with some strange percussion loop.
•
Layer some strings on top of a piano. Use the new sample as the basis onto which
you layer a marimba.
•
Keep layering different synth string sounds on top of each other for a huge pad
sound.
NOTE 1. When mixing, splicing or crossfading samples in this way, any loops which were
present in the original samples (A and B) will not be played back when you play back J.
You must reset loops in J if you want them.
NOTE 2: The samples always use their base note (i.e. the note they were sampled at)
when employing any of these techniques. In other words, a string sound sampled at C3
and layered or crossfaded with a choral sound sampled at G3 would be a fifth apart. This
cannot be corrected, even through tuning it in the MORE page.
NOTE 3: It goes without saying that you need to have sufficient memory available to
create these new spliced or mixed samples. You will be reminded by the prompts if you
haven’t!
