Akai S3000XL User Manual Download

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INDEX

S3000XL Operator’s Manual

Page i

ABOUT THIS MANUAL

Analogue recording

255

APM

19 , 54

Assignable Program Modulation

19, 54

AUDIO OUTPUTS

Autopan

Compatibility,

See DATA

COMPATIBILITY

Connections

COPY

Keygroups

Programs

Samples

127

Takes

251

CURSOR KEYS

DAT Backup/Restore

240- 241

DATA COMPATIBILITY

281

Effects files

282

ME-35T

282

Multis

282

S1000/S1100 compatibility

281

Songs and Qlists

282

Sound data

281

DATA ENCODER

6, 15

DATA ENTRY

DELETE

Keygroups

Programs

Samples

30, 128

Takes

251

Deleting programs

30 , 60

DEMO DISKS

DEMO SEQUENCE

DIGITAL I/O

Digital recording

123, 256

DISK ACTIVITY LED

DISK EJECT BUTTON

DISPLAY CONTRAST

EDIT PROGRAM

Amplitude modulation

67 , 112

Amplitude shaping

Copying

Deleting programs

Edit Multi

114

Edit Multi differences

115

Edit Multi screens

115

Edit Single

Envelope 1

Envelope 2

101

Envelope 3

111

FILTER

Filter 2 modulation

106

Filter 2 resonance

105

Filter 2 types

103- 104, 105

Modulation

Resonance

Second filters

103

Tone control

109

KEYGROUP

Amplitude modulation

112

APM

Assigning samples

Assigning stereo samples

Copying

Creating

Crossfade

Deleting

FX Send

Individual output

Layering

52, 91

Level

Mapping

Mute Group

Pan

Routing to FX

Selecting

87 , 92

Tuning

Velocity crossfade

52 , 90

Velocity switch

52 , 90

Velocity to sample start

What is a keygroup

Zones

52 , 91

MODULATION

LFO1

LFO2

Pitch bend

Portamento

Soft pedal

Naming

OUTPUT

Summary of Contents for S3000XL

Page 1: ...GRAMS 30 RENUMBERING PROGRAMS 32 USING THE S3000XL IN OLD AKAI MODE 33 USING SELECT PROG PROGRAMS WITH THE SAME NUMBER 33 LAYERING PROGRAMS 33 CREATING KEYBOARD SPLITS 33 USING RENUMBERING TO CREATE MULTI TIMBRAL SETUPS 34 SINGLE VS MULTI 35 MULTI MODE COMBINING SEVERAL PROGRAMS 37 ASSIGNING PROGRAMS TO PARTS 38 SETTING A PART S MIDI CHANNEL 38 MIXING THE PARTS 38 SENDING PARTS TO THE INTERNAL EFF...

Page 2: ...3 111 KEYGROUP PITCH AMPLITUDE MODULATION 112 EDIT MULTI 114 SCREEN DIFFERENCES IN EDIT MULTI 115 SAMPLE MODE 116 WHAT IS SAMPLING 116 RECORD MODE 118 THE MAIN RECORD PAGE 120 NAMING SAMPLES FOR RECORDING 120 ADJUSTING THE RECORDING AND THRESHOLD LEVELS 122 RECORDING ON THE S3000XL 122 DIGITAL RECORDING 123 EDIT SAMPLE 125 NAMING SAMPLES COPYING AND RENAMING 127 DELETING SAMPLES 128 TRIMMING SAMPL...

Page 3: ...ROSSOVER DELAY 190 STEREO DELAY ECHO EFFECTS 191 REVERB EFFECTS 192 REVERSE REVERB 195 GATED REVERB 196 EFFECTS OUTPUT SECTION 198 EFFECTS DIRECTION 199 SOLOING THE CURRENT EFFECT 201 COPYING EFFECTS 202 SAVE MODE 204 SELECTING FLOPPY OR HARD DISK 204 SELECTING THE HARD DISK PARTITION 204 SELECTING THE HARD DISK VOLUME 204 SELECTING THE TYPE OF SAVE 204 SAVING TO FLOPPY DISK 206 SAVING TO HARD DIS...

Page 4: ... FILES 243 USING THE SMF FUNCTION 244 HARD DISK RECORDING 245 APPLICATIONS 245 FORMATTING THE HARD DISK FOR DISK RECORDING 246 CREATING NEW TAKES 251 COPYING TAKES 251 RENAMING TAKES 251 DELETING TAKES FROM DISK 251 RECORDING A TAKE 255 EDITING A RECORDING 258 PLAYING A TAKE IN THE EDIT PAGE 259 USING THE EDITING FUNCTIONS 259 PLAYING TAKES 261 USING THE PLAY PAGE 263 EDITING A TAKE FOR SYNCHRONIS...

Page 5: ... THE OPTIONS 283 INSTALLING MEMORY EXPANSION 283 APPENDIX 4 285 USING THE FXM008 FLASH ROM BOARD S 285 APPLICATIONS 286 HOW THE FLASHROM WORKS 287 SAVING DATA TO THE FLASHROM 288 WHAT TO DO NEXT 291 USING THE FLASHROM AS A FAST HARD DISK 292 EDITING SOUNDS ON THE FLASHROM 293 COPYING A FLASHROM SAMPLE TO RAM 294 FORMATTING AND ARRANGING THE FLASHROM 295 SAVING FLASHROM DATA BACK TO DISK 297 BACKUP...

Page 6: ......

Page 7: ...spare channels of reverb are also available providing a total of four reverbs Add to this the second bank of optional resonant multi mode filters and you can see that the S3000XL is a sampler that can grow with your needs Bundled with the S3000XL is a software application for the Macintosh computer that allows you to operate the sampler from your Macintosh allowing large screen operation of wavefo...

Page 8: ... multi effects processor offering two channels of simultaneous distortion three band EQ ring modulation modulation chorus phase shift flanging pitch shift autopan or rotary speaker stereo delay and reverb plus two spare channels of reverb four reverb processors in total DSP Functions Timestretch re sampling and digital EQ Filters 2 pole 12dB Octave resonant lowpass per voice Optional IB304F offers...

Page 9: ...recordings to an ordinary DAT recorder Real time digital output This digital audio output can be used to mix down digitally to DAT or any other digital recorder such as DCC MiniDisk or a hard disk recorder such as the Akai DR4d DR8 or even the S3000XL s disk recorder With the optional EB16 multi effects processor installed you may add four channels of effects processing to the mixdown OPERATING MO...

Page 10: ...ne tune output routing FX routing FX send low key range high key range note priority EFFECTS In the two multi effects channels with the EB16 effects processor installed DISTORTION distortion level EQ low gain mid gain high gain RING MODULATION frequency depth MODULATION EFFECTS chorus flange phase shift rotary speakers autopan frequency mod pitch shift with parameters as appropriate DELAY effect s...

Page 11: ...find hints and tips to help you with your sampling and programming If you are new to sampling or synthesisers some of the sections explain the basic principles behind the techniques employed in the S3000XL so if words like bandpass modulation diffusion multi timbral and sample rates etc are unfamiliar to you we hope that this manual is not just a boring explanation of functions but something you c...

Page 12: ...haracter display shows parameters and values and displays the soft keys function and graphic display of waveforms for sample editing etc CURSOR KEYS This block of keys moves the cursor up down and left and right around the screen DATA ENCODER Allows you to enter data values and for scrolling through lists etc NUMERIC KEYPAD This is used to enter data numerically MARK JUMP These keys allow you to m...

Page 13: ...t using an extreme amount of brute force To eject the disk simply press the DISK EJECT button When a disk is loading saving or formatting the DISK ACTIVITY LED will be lit It is important to remember that unlike a synthesiser the S3000XL has no means of storing sounds in an internal memory As a result it is vital that you save your work to disk before turning the power off otherwise you will lose ...

Page 14: ...ome NOTE Some checked in luggage is X rayed by quite powerful machines that are not as safe as those that check hand luggage It is probably best to take your disks as hand luggage 5 Do not leave your disks around when drinking liquids one accidental spillage could ruin a lot of work 6 Always use high quality disks Whilst cheap ones may be appealing they are prone to errors more than good ones 7 Tr...

Page 15: ...individual drums could have a separate channel on the mixer for EQ ing adding effects etc NOTE In the case of you only connecting the L MONO outpput the S3000XL only outputs the left channel signal and the left right stereo signals are not mixed at this output The old S3000 series carried a mix ed output of the left right channels In the case of wanting to play some existing sound library in mono ...

Page 16: ...cate of the MIDI IN signal thru to other modules or MIDI devices that may be connected The OUT is normally only used to transmit MIDI System Exclusive data to another Akai sampler or to a computer POWER CONNECTION This should be connected to an AC power source IMPORTANT NOTE BEFORE CONNECTING ANY AC POWER PLEASE ENSURE THAT YOUR UNIT IS DESIGNED FOR YOUR AREA S POWER SUPPLY A MISTAKE NOW COULD RUI...

Page 17: ...sampling from the many special sampling CDs that are currently available Before turning on the sampler it s a good idea to turn its volume down or to turn the volume down on the amplifier or the mixer channels as the power up thump although very slight could damage sensitive speakers especially if the amp is turned up loud Now turn on the S3000XL You will see a message in the LCD informing you of ...

Page 18: ...o return to the MIDI SONG PLAY page Select the file you wish to play and press F7 to play the selected MIDI song file Press F8 to stop playback If you have owned an Akai sampler before you may also have other sounds on CD ROM or hard disk Operation is virtually identical to the S3000 series and the S1000 S1100 To load sounds from hard disk press the LOAD key and select HARD at the top of the scree...

Page 19: ...ntally If the disk drive is at an angle even a slight one you may have unreliability problems and even data corruption If you are planning to rack mount the hard disk with the sampler it is recommended you use the padded type of rack mount adapter available from most manufacturers of rack and flight cases especially if you are likely to be travelling a lot with the set up The padding will help pro...

Page 20: ...t it can also used for layering and creating key splits by setting two or more parts to the same MIDI channel SAMPLE For making recordings EFFECTS For selecting effects to assign to single programs or to parts in a multi if the optional EB16 multi effects processor board is installed EDIT Puts the sampler into edit mode for any of the four modes described above For example EDIT SINGLE allows you t...

Page 21: ...imple fields like filter cutoff attack time MIDI channel etc that have two digits you may simply type in a two digit number i e 23 45 etc On such fields you will find that the DATA ENTRY ENCODER will cover the whole range quite quickly so you may find that more convenient The same is true of three digit fields Turning it clockwise increases numeric values and turning it counter clockwise decreases...

Page 22: ...direct entry of data When you know the exact number you want to enter this can be faster than using the DATA control but when experimenting for example when setting loop points or sample start and end times the DATA control may be faster than the numeric keypad You ll probably discover quickly what method works best for you in each situation NOTE The cursor always stays on the last currently selec...

Page 23: ...Underneath the NAME key you will see the ENT PLAY key ENT PLAY This is a dual purpose button When naming samples programs etc pressing this button will end the naming process in conjunction with COPY and REN ame as described above In other modes of operation this key will play the sound at a pitch velocity and MIDI channel as set in the GLOBAL mode The default may be freely set as you wish NOTE Wh...

Page 24: ...AX REC GAIN MIN MAX Input level for sampling is regulated using the RECORD LEVEL control and the S3000XL s overall output level is controlled not surprisingly by the MAIN VOLUME control This also governs the level of the sound appearing at the HEADPHONE OUTPUT NOTE The MAIN VOLUME control does not affect the level appearing at the individual outputs or the real time digital audio output ...

Page 25: ... to lengthen or shorten a sample without changing its pitch again we will look at this in more detail later in this manual and RE SAMPLING a technique that allows you to squeeze the optimum performance out of available memory space On the S3000XL you may also NORMALISE a sample s level for optimum signal to noise performance Once you have edited a sample you place it into a PROGRAM A PROGRAM is wh...

Page 26: ...dual output board fitted these programs may be assigned to their own output for mixing on an external mixing console Once you are happy with everything the whole thing may be saved to disk for recall at a later date One of the beauties of the Akai samplers is that there are no restrictions on what you do with samples any sample can be placed into any keygroup in any program One sample may be place...

Page 27: ...D ROM NORMALISE RE SCALE MOD WHL P BEND AFTERTOUCH VELOCITY EXT MIDI KBD AMP KEYGROUP S EDIT PROGRAM IND OUT 1 8 TUNE TUNE TUNE TUNE PER KEYGROUP ENV 2 ENV 1 ENVELOPE TEMPLATES SAMPLE 1 SAMPLE 2 SAMPLE 3 SAMPLE 4 KG PITCH FX SEND PAN PAN PAN PAN IND OUTPUT ASSIGN MODULATION SOURCES MASTER PROGRAM OUTPUT KEYSPAN VEL SW XFD ENV 1 ENV 2 LFO 1 LFO 2 12dB 8ve LOWPASS RESONANT FILTER MASTER OUTPUT LEVEL...

Page 28: ...N FX BUSS FX SEND LEVEL PRIORITY MIDI CH PER PART OUTPUT ASSIGN MULTI MODE DISTORTION EQ RING MOD CHORUS FLANGE PHASE PITCH SHIFT PAN FMOD DELAY REVERB MOD DELAY EFFECTS REVERB DISTORTION EQ MULTI EFFECTS CHANNEL x 2 REVERB REVERB REVERB ONLY CHANNEL x 2 4 CHANNEL EFFECTS PROCESSOR or or or or ...

Page 29: ...rlier Akai samplers dealt with multi timbral applications However retaining the old method as well gives you the best of both worlds in that any setups you may have using the older method can still be used plus you can avail yourself of the new functions as and when you like You may like to convert existing S1000 1100 3000 multi timbral setups into new MULTI files if you wish NOTE FOR NEW USERS If...

Page 30: ...here are actually 8 programs in memory even though only the first five are displayed It is possible to be viewing other programs whilst playing another SETTING PROGRAM LEVELS PAN FX SENDS In the MIX page of SINGLE you may view the programs in memory and set their level pan etc This is a convenient and quick way to adjust the levels of single programs en masse without having to edit each one indivi...

Page 31: ... in isolation SETTING PROGRAMS MIDI PARAMETERS Pressing F3 will display the following screen This could be regarded as a MIDI mixer as it follows a similar layout to the MIX page described above This page allows you to set various MIDI parameters for each program The parameters are This shows the number of the program 1 128 selected in the main SINGLE page although you may select another program o...

Page 32: ...kground programs to LOW If the piece of music is not overly complicated and polyphony is not going to be exceeded you may prefer just to leave the priority at the default setting of NORM This is an abbreviation of TRANSPOSE and sets the basic octave range for the program The range is 50 semitones You will note that this is not a pitch shift function as such but a MIDI transpose function this overc...

Page 33: ...Page 27 NOTE You will note that at a setting of 99 the program is at maximum level but you will not have any velocity sensitivity This sets the program s sensitivity to velocity As mentioned with set to 99 this parameter will have no effect ...

Page 34: ...ating the loading progress The other option allows you to load a program and all associated samples free memory permitting To do this highlight a program using the CURSOR keys and press The program and its associated samples will be loaded into memory If the samples required by this program already exist in memory they will be loaded anyway but they will overwrite the samples currently in memory I...

Page 35: ... more to using a hard disk than that unfortunately such as matching SCSI ID s formatting etc For details on using the S3000XL with a hard disk please refer to the section HARD DISK CONTROL in the DISK section Other disk operations like saving and formatting disks are performed in the DISK mode not from this page This page is intended purely for quick access to loading from disk ...

Page 36: ...ld press GO or ABORT as necessary If the program is the only one in memory using a particular set of samples you will receive the following prompt Press the appropriate soft key if you are sure that you want to delete the program and its associated samples If the samples contained in the program are used elsewhere in other programs you will not receive this prompt as it is assumed you don t want t...

Page 37: ... 31 NOTE Obviously is an option to be used with some caution If the programs and samples in memory have not been saved to disk deleting programs and or samples at this point will be fatal YOU WILL NOT BE ABLE TO RETRIEVE THEM Please be careful ...

Page 38: ...that set in the currently selected program For example placing the cursor on 3 BASS and setting that to 1 would renumber all the programs to program number 1 This is useful when you have loaded in a variety of sounds from different disks or hard disk volumes and wish to sequence them multi timbrally see later This causes all subsequent programs to be renumbered with an offset to the currently sele...

Page 39: ... program or within MULTI mode it is useful to be able to call up several programs together For example let s say you have a string program and brass program you want to combine As mentioned you could make up a program that combined all of these samples but an easier way is to simply give them the same program number for example renumber them both to say program 1 When you select program 1 you will...

Page 40: ... wish to sequence give them all the same program number This is done in the RNUM page and you simply give the same number to all programs using the function You should receive a display something like this when you return to the main SELECT PROG screen Here all programs are number 1 Of course you will need to assign each program to have different MIDI channels You can also use the MIX page to set ...

Page 41: ...the whole sound with one sionple action for example layering a string pad on top of itself with some detune and editing the attack of one of the parts will cause both parts to be affected You may select different programs independently on different MIDI channels i e send a program change on channel 5 to select a new string sound in part 5 You can save the multi file with a meaningful name i e BACK...

Page 42: ... effects channel may be different and so cause unpredictable results You can t name a set up and so you can t see the multi timbral setup referred to by name when you come to load it Basically there are pros and cons to both methods it s up to you to decide which you want to use depending on your application At least you have the flexibility to use either The big advantage is that you may load old...

Page 43: ... outboard effects processors Of course a combination of these is possible In one multi some parts may be on unique MIDI channels whilst others share the same channels for layering and or key splits and some parts may be routed to the internal effects processor in the S3000XL whilst others are sent out via the individual outputs for processing on the mixing console As you can see the MULTI mode is ...

Page 44: ... parts being played you need to balance their levels and pan position To do this simply move the cursor to the field to set the part s level and to the field to set its pan position You will note that even if you change the program assigned to that part the level and pan values weill stay the same SENDING PARTS TO THE INTERNAL EFFECTS Each part may be sent to one of the internal effects if the opt...

Page 45: ...function this overcomes the problem of playing back samples out of their range What this function does is introduce an offset so that with a 12 setting if you play C3 on the keyboard this is offset to play the samples on C4 it is not playing the samples on C3 an octave higher and hence introducing transposition distortion of any kind SETTING A PART S LOW AND HIGH KEYRANGES When setting key splits ...

Page 46: ...articular priority HOLD If a program s priority is set to HOLD then notes can only be stolen from this program by the same program If you are playing a complex piece of music using many programs in a multi timbral configuration it is a good idea to set important programs to HIGH or HOLD and less important background programs to LOW If the piece of music is not overly complicated and polyphony is n...

Page 47: ...dded to the programs in memory Load in something sensible For example load in a drum kit a few acoustic and electric pianos a few bass sounds and some string and or pad sounds We will use these sounds as the basis for this tutorial Assuming that you now have some programs in memory you can check this in SINGLE mode by scrolling through them with the DATA wheel press MULTI You should see something ...

Page 48: ... scroll through them trying out different ones till you find one that suits the track The same of course can be done with the string part HINT When loading the programs from disk try to load certain types together For example load all the piano sounds you think you may need one after another so that they are all grouped together in memory Similarly load all your basses one after another so that th...

Page 49: ...se the DATA control to scroll through characters Once you have completed the name press ENT PLAY to finish the naming process NOTE Because only one MULTI can exist in memory at any one time you cannot copy the multi file only rename it As such the COPY REN EXIT prompt we have seen elsewhere is not shown SAVING A MULTI You may save a multi to disk and this will save the multi and all its associated...

Page 50: ...er programs so that they are better organised for your use Select the program to be renumbered using the CURSOR keys and alter the current number to the new number using the DATA control You can also use the numeric keypad for this setting the program number to a value of between 1 and 128 these are MIDI specification limits When you have altered the number you have several options to choose from ...

Page 51: ...number the programs 1 sequentially regardless of the programs original numbers I e Once you are happy with the result of your renumbering press F7 to return you to the main MULTI screen display If you change your mind and do not wish to renumber any programs simply press without pressing F3 F4 F5 or F6 ...

Page 52: ...position to R25 you might back the level off a bit as well If you then feel that the piano sound is not the right one and want to try a different one the new sound will be in exactly the same position and at the same level in the mix If the multi always adopted the program s parameters when a sound is assigned to a part selecting a new piano sound in this example would reset the part s pan and lev...

Page 53: ...program has been layered on top of itself and detuned so that it sounds fatter and warmer Experiment with the FINE TUNE settings of each part to achieve the sound you want You may also like to experiment with the PAN settings of each part so as to achieve a pseudo stereo effect Another example may be to create a 12 string guitar out of an ordinary acoustic guitar program Place the guitar program i...

Page 54: ...e whole things I e BASS PIANO PART 1 PART 2 MIDI Ch 1 MIDI Ch 1 C 0 B 2 C 3 G 8 STRINGS PART 3 MIDI Ch 1 C 0 G 8 You could create an even more sophisticated split BASS PIANO PART 1 PART 2 MIDI Ch 1 MIDI Ch 1 C 0 B 2 C 3 G 8 PART 3 MIDI Ch 1 C 5 B 4 BRASS In this example we have bass on the bottom octaves piano between C3 and B4 with some brass on the very top octaves There are even more possibilit...

Page 55: ...ed or split multi could be assigned to separate outputs where they may be mixed and processed on an external mixing console COMBINING THESE TECHNIQUES The S3000XL s MULTI mode is so flexible that it can accommodate all of these techniques simultaneously For example PARTs 1 2 and 3 could have layered programs on one MIDI channel whilst 4 5 and 6 have parts on separate channels PARTs 7 and 8 could b...

Page 56: ...und offering the creative musician and programmer endless possibilities In short what it means is that as well as owning a superb sampler you also have a very excellent and versatile analogue style synthesiser On top of this you may set sophisticated keyboard splits and layers set velocity switching and crossfading assign samples to individual outputs and or pan them in the stereo outputs as well ...

Page 57: ...2 the other C3 G8 this would be a simple keyboard split I e KEYGROUP 1 KEYGROUP 2 The next level may be a program which has five keygroups one for each octave on a normal synth keyboard Such a program may be useful for something like piano or strings which have been sampled on the G of every octave I e KG1 KG2 KG3 KG4 KG5 After that of course it s anyone s guess what the next level may be but it c...

Page 58: ...ring sounds on top of each other In the above example four synth samples could be mapped out on the keyboard one for each octave perhaps and zone 2 of each keygroup could also contain the same sample as zone 1 and these could be panned and detuned for a fat pseudo stereo layered synth sound Of course each zone could have different synth sounds in them This type of program is also suitable for a tw...

Page 59: ...y to crossfade keygroups for an even smoother transition where one keygroup gradually fades down through the overlap whilst the other fades up thereby giving a smooth transition I e Of course you can use a combination of any of the above techniques and have crossfading velocity switched keygroups in programs alongside layered and split keyboard assignments The above diagram examples represent only...

Page 60: ...e examples You may route the mod wheel to open the filter in a brass program for swells and growls You could use aftertouch for the same effect You could route aftertouch to control the panning s LFO speed to emulate the sound of a rotary speaker speeding up and slowing down in a classic rock organ sound The multi stage envelope generator ENV2 could be routed to pitch for special effects whilst at...

Page 61: ...ING KEY SIGNAL FLOW CONTROL INPUT The sources you have at your disposal are No source It seems almost pointless explaining this one It means no modulation source is routed Modwheel This selects the modulation wheel as the control source Bend This selects the pitchbend wheel or lever as the modulation source Pressure This selects aftertouch as the control source This is channel aftertouch and not p...

Page 62: ...n any amount to virtually any source which include filter cutoff LFO 1 rate depth and delay overall program amplitude and keygroup amplitude pitch and pan position To select them you simply move the cursor to the modulation input field found on every module and scroll through the list All of these are available to be routed in any amount to virtually any source which include filter cutoff LFO1 rat...

Page 63: ...hree times in some cases to the same destination This is not an oversight but simply a way to keep things simple and open ended If you were for example to route LFO1 to filter cutoff three times at a value of 50 you would simply get three times more LFO sweep 3 As just mentioned you can route the same controller to the same destination several times Please be aware that if you assign for example L...

Page 64: ... one of the samples and then when your happy with that copy that keygroup four times and set the appropriate key span Each individual keygroup may then be refined according to the sample assigned to it Alternatively you could simply copy keygroup 1 four times and by selecting ALL edit them together The third method is where you copy keygroup 1 four times and work on each keygroup separately Our so...

Page 65: ... entering letters from the numeric keypad Alternatively in conjunction with the CURSOR keys which can be used to move the cursor around within the name you can use the DATA control to scroll through characters When you have entered your name press ENT and you will get this prompt Pressing will copy the original program use this to create a new program If the program name is an existing one the box...

Page 66: ... the prompt This is asking if you want to delete the samples contained within that program as well If the samples are used in other programs then you will not receive this prompt If you wish to lose the samples press F7 YES but if you need to keep them press F8 NO NOTE Deleting samples and programs is ultimately destructive Please ensure that you have saved them to disk before deleting in case you...

Page 67: ...n keygroups You will note that this is a global parameter that affects the whole program and so any keygroups that overlap will be subject to crossfading This special function turns the program into a monophonic program with single triggering The effect of single triggering is that if you hold one note and play another the pitch changes to the new note but the attack of the new note is not re trig...

Page 68: ...ange indeed Similarly if you trilled between C2 and C5 it would also sound quite odd but then so would a trill between C2 and C5 This is brought to your attention so that you may make allowances when playing legato across keygroups If you bear this in mind you will find this function very useful and expressive There is a way around this using the KEYGROUP MUTE function see below This field is not ...

Page 69: ...is takes you to the MIDI page where you may set the program s MIDI channel polyphony transpose and other functions This takes you to the OUTPUT page where you may set the program s overall level individual output assignment effects send level pan position and other parameters This takes you to the AUTO PAN section where you may set parameters that affect the program s auto pan functions This takes...

Page 70: ...ony of 1 voice so that the closed hi hat shut off the open hi hat With the MUTE GROUP function however see later in this section this parameter is not used so much but is retained should you load an old S1000 S1100 or early S2800 S3000 or S3200 sound library disk See below for a description of the MUTE GROUP function This allows you to specify how notes will be stolen by other programs if this is ...

Page 71: ... a MIDI transpose function this overcomes the problem of playing back samples out of their range What this function does is introduce an offset so that with a 12 setting even if you play C3 on the keyboard this is offset to play the samples on C4 it is not playing the samples on C3 an octave higher NOTE Most of the parameters in this page are retained for compatibility with data created on earlier...

Page 72: ...puts with other programs appearing only at the individual outputs This sets the overall pan position of the program You can set the parameter L50 MID R50 You will note that this may be affected by other pan settings elsewhere in the program such as when the auto pan facilities are used or when individual keygroups are panned You will note that this parameter also affects the level of the signal ap...

Page 73: ... and hard key presses will output a very loud sound A setting of 50 will give the opposite effect a hard key press will produce virtually nothing whilst a soft key press will give a loud output At first this may seem a bit strange to allow this but this does enable you to crossfade between programs using velocity i e set one program to 50 and the other to 50 NOTE You cannot select any other modula...

Page 74: ...op It is probably not suitable to simulate tremolando strings however using LFO modulation Of course it may be used for special effects Modwheel Use this perhaps instead of pressure Bend Use this instead of pressure or modwheel External Depending on the selection made in the GLOBAL MIDI page s main page you could apply footpedal volume or breath control to control the program s overall loudness Th...

Page 75: ...stereo samples out of mono ones For example with samples such as piano or marimba or vibes you could create the stereo effect of microphones being placed at either end of their keyboards to produce a panning effect This allows you to control pan position using the modulation wheel This could be put to good effect in a solo line perhaps where every time you introduce vibrato via the wheel the sound...

Page 76: ...ound according to the envelope of the sound Perhaps ENV2 is the most interesting with its multiple rates and levels Modwheel Use this and Bend or External to reposition each new note according to the position of these controller And don t forget that layering samples in zones and panning them to extreme hard left and right will cause the two samples to crossover in the stereo image when these effe...

Page 77: ...hich will be re tuned and use the DATA control to alter the tuning away from equal temperament by 25 cents one quarter tone If you are re tuning the C key for example all notes played with the C keys on the keyboard will be detuned by the amount you have set You may tune the scale to anything you want which can be very useful for enriching orchestral sounds and also for setting your own special sc...

Page 78: ... default is 2 semitones This sets the range for bending pitch down and again the range is 0 24 semitones The default is 2 semitones As well as using the pitchbend wheel or lever you may also use pressure to bend notes The range is 12 to 12 You may only bend up or down depending on the selection made unlike the bend wheel lever you cannot pitchbend both ways This is a mode select option that allows...

Page 79: ...e at zero only the notes you are holding will bend The pitchbend options on the S3000XL allow some very interesting performance techniques By setting the pitch to UP 2 and DOWN 12 with a heavy metal guitar sample you can emulate string bending up and an octave whammy bar dive bomb down Many things are possible ...

Page 80: ... held note and the modulation level set at the destination 0 SQUARE This gives stepped up and down effect When applied to pitch it can be set to give trills or large octave jumps This is a uni polar waveform that jumps between the held note and the modulation level set at the destination 0 RANDOM This gives a totally random stepped waveform and is suitable for special effects The effect that immed...

Page 81: ...ons that you will need to specifically set the depth control here This parameter sets the time it takes for the LFO1 effect to take place after a note on At 00 the effect will be instantaneous but at 99 the effect of LFO1 to take effect will be delayed I e NOTE ON The three VARIABLE fields apply to the modulation inputs of LFO1 Although not specifically named they relate to the parameters directly...

Page 82: ...te on as well you may use these to set speed depth and delay in real time as you play The parameters allow you to introduce more modulation and these have fixed assignments which are This allows you to set the level of modulation that will be introduced via the modwheel This works in conjunction with the parameter Even with set to 00 you may still use the modwheel for vibrato and other modulation ...

Page 83: ...nations and you wish to increase or reduce the level of modulation going to all the destinations you may change the modulation level to all destinations with just the one control instead of having to individually adjust every destinations modulation input level NOTE Because it is felt that LFO1 will mostly be used for vibrato effects the default in the PTCH page see later is set so that simply set...

Page 84: ... rotates around the note you are playing to give a natural vibrato effect 0 SAWTOOTH This waveform is used mostly for special effects It rises slowly and falls abruptly This is a uni polar waveform that jumps between the held note and the modulation level set at the destination It can be inverted at the modulation input stages of each destination to give downward sweeps 0 SQUARE This gives stepped...

Page 85: ... may have a very tiny pitch discrepancy In a layered string or vocal ensemble by applying this to just one of the layers you can create interesting chorus effects as each note has a slightly different detune amount Similarly when applied in small amounts this can also be used effectively on ethnic sounds such as pan pipes as the real thing is rarely perfectly in tune from one note to the next On a...

Page 86: ... incoming note on messages and will be rising and falling giving you a gradual sweep through whatever it is applied to This is particularly useful when triangle is selected and applied to the filter s as you can re create the old filter sweep effects of analogue synths There are no modulation inputs to LFO2 You may use LFO2 for a number of things As mentioned above when LFO1 is tied up doing vibra...

Page 87: ... pedal is pressed The higher the number the greater the amount of volume reduction The parameter allows you to soften the attack of the sound and affects the attack times of the envelope generators Again the higher the value the greater the effect For many acoustic instruments especially string and woodwind sounds when played quietly their attack times also change slightly so this parameter can be...

Page 88: ... analogue synths particularly monophonic ones where it was often called GLIDE and was responsible for the creation of some highly distinctive although often over used synth effects Pressing F6 in any of the MOD pages will display this screen The parameters are This can be switched ON or OFF When it is switched ON you will hear the portamento effect as you play You will note that this parameter res...

Page 89: ...d quickly set lower portamento rates Here you may select two different portamento types TIME and RATE TIME sets the portamento effect so that the speed of the effect is constant regardless of the interval played For example if the rate is set to give a glide of 1 second it will take one second to glide up a semi tone or seven octaves For example 1 sec 1 sec 1 sec 1 sec 1 sec When TIME is selected ...

Page 90: ...when playing monophonically the effect can be applied equally as effectively to samples of acoustic instruments and the effect can be switched in and out using the MIDI PORTAMENTO pedal for expressive phrasing The portamento effect is a PROGRAM parameter that is it will affect all keygroups equally When layering sounds in a multi to apply portamento to some sounds and not to others create a progra...

Page 91: ...ed SPAN page for that The and parameters allow you to send individual keygroups to the effects by overriding the main program s effects routing The default will be PRG i e the routing is using the program s effects buss selection but you may also select OFF i e the selected keygroup is not routed to the effects FX1 FX2 RV3 or RV4 The parameter allows you to set the amount of effect for each keygro...

Page 92: ... early drum machines whilst they offered maybe 8 voice polyphony each individual drum sound was sometimes monophonic This only became apparent when you tried to perform a snare roll or something similar Instead of the snare s natural decay being allowed to sound the next hit would cut the previous one dead resulting in a rather unnatural staccato effect Of course at the time this was undesirable b...

Page 93: ...ever the samples have no pronounced attack i e in the case of raw sampled synth waveforms then the transition across the keygroups will be smooth It is up to you to decide which is best If accurate transposition is more important than the samples re triggering then you should use the mute group function in conjunction with the MONO LEGATO mode If however the samples re triggering every time you cr...

Page 94: ...the basic work and then switch to ONE to individually fine tune the keygroups Below this field are the keygroups and their note ranges can be seen alongside them You may move the cursor directly down this line using the cursor keys for quick access to a particular keygroup Below these two fields are shown the lowest and highest notes for the keygroups These may be set by moving the cursor to them ...

Page 95: ...acility to input notes from the keyboard At first with the function being so fast and convenient it may seem a bit strange to want to disable it but there may be times when you need to be able to change note ranges whilst receiving data from a sequencer that is playing If was on permanently in the situation the sequencer would completely re program the key ranges This on off function should guard ...

Page 96: ... velocity ranges will play each sample accordingly allowing you to emulate the many tones available from just one note of a real bass guitar If the velocity ranges overlapped i e 0 70 63 100 and 93 127 and seen to the left of the graphic display is switched to ON then the velocity zones will crossfade giving a smoother response in some cases NOTE If you play between two overlapping ranges i e in t...

Page 97: ...others using the DATA control As always in PROGRAM EDIT you may quickly select a keygroup by holding the EDIT PROG select key and playing an appropriate note on the keyboard Here you can select to edit ONE or aALL keygroups NOTE Selecting ALL doesn t apply to assigning samples when using the DATA control Only one sample is assigned and the other keygroups remain unchanged even if ALL is selected O...

Page 98: ...er method if you record or load you samples in the order they are to be assigned then the process is even quicker This sets the low velocity range for the zones This sets the high velocity range for the zones This allows you to select between TRACK and CONST When TRACK is selected then the sample can be played across the keyboard range as normal When CONST is selected then the sample s will play a...

Page 99: ...roups The range is 50 This allows you to pan each zone in each keygroup between the main L R outputs The range is L50 MID R50 This allows you to assign each zone in each keygroup to its own output 1 8 for separate processing on an external mixing console if you wish This has a relationship with field found in the OUTPUT LEVELS page If the whole program is assigned to an individual output that outp...

Page 100: ...e sample several times and hence wasting memory to achieve the same effect The options available to you are AS SAMPLE plays back the sample exactly as set up in the MORE page in SAMPLE EDIT LP in R is the same as the LOOP IN RELEASE mode of the MORE page in SAMPLE EDIT LP til R is the same as LOOP UNTIL RELEASE NO LOOPS is self explanatory TO END is the same as the PLAY TO SAMPLE END selection in ...

Page 101: ...ffect a high key velocity will start playback later in the sample than a low key velocity This effect is particularly useful for simulating percussion instruments try it with a bass drum It can also be very effective with such instruments as a heavily bowed cello by setting a high positive value hard keystrokes will play the aggressive bowing whilst soft keystrokes will not The same could be done ...

Page 102: ...ow low frequencies to pass through unaffected whilst high frequencies are removed CUTOFF FREQUENCY HARMONICS FREQUENCY L E V E L As the cutoff frequency is moved downwards so high frequencies are gradually removed CUTOFF FREQUENCY HARMONICS FREQUENCY L E V E L This is very convenient when dealing with samples of acoustic instruments because as notes die away they tend to lose their higher frequenc...

Page 103: ... wish to edit just one keygroup or all keygroups simultaneously and of course you can select another program for editing if you wish The other fields on this page are This shows the current keygroups key range This allows you to set the filters cutoff frequency As you decrease this from 99 you will remove the upper harmonics resulting in a softer tone This can be used to great effect on acoustic i...

Page 104: ...utoff to open and close Use this for phrasing brass parts perhaps or for special synth filter effects in a bass line or lead line Bend This works like pressure and modwheel and allows you to open and close the filter by moving the pitch bend wheel or lever This can be effective when bending up into a note as the filter will open and sound brighter Pressure This may be used for expressive swells pa...

Page 105: ...a preset envelope and then edit it you will note that it immediately become ENV1 the programmable envelope You will notice that any envelope you create is not lost when you select a preset ENV1 your own envelope is always retained as you scroll through the list of available envelopes although ENV1 will be lost if you edit a preset NOTE Should you select a preset and then leave this page when you r...

Page 106: ... the Note On velocity and a negative value will shorten the release time The MIDI specification allows for Note Off velocity as well as Note On velocity Though some keyboards do not accept or transmit this assuming a mean value of 64 all AKAI keyboards provide a full implementation of this function The speed with which the key is released can be used here to affect the release rate positive values...

Page 107: ...e same principle as ENV1 s templates except that there are more of them Some of the possible envelope shapes you can create using envelope 2 are shown below The second page of envelope parameters can be accessed by pressing You will receive this screen Here we have similar parameters to ENV1 This sets how much velocity will determine the speed of rate 1 This sets how much the note on velocity will...

Page 108: ...ough you would be controlling the growl this may be preferable to the automated quality a preset envelope rate would have Of course once you are in the realm of sampling synth waveforms and processing them through the filter you are in different territory but anyone who has used an analogue synth will feel instantly at home with the S3000XL s filter and envelope section The only difference here ho...

Page 109: ... PASS plus a special EQ filter selection The lowpass filter we have already seen and offers this type of response graph HARMONICS CUTOFF FREQUENCY ROLL OFF SLOPE L E V E L FREQUENCY Here high frequency components above the cutoff frequency are removed and only lower frequency components will pass through the filter When the resonance control is increased the area around the cutoff frequency is boo...

Page 110: ...nant cut boost that can be used for a variety of different effects With the EQ selection the straight sound from Filter 1 is also passed through unaffected and you can use this EQ section to highlight specific frequencies in the sound This filter is also able to be controlled by any of the modulation sources we have seen so far and using it with a high resonance setting in conjunction with any of ...

Page 111: ... EQ is selected a value of 16 is no cut or boost Raising the resonance above 16 will boost the selected cutoff frequency and lowering it below 16 will cut the selected cutoff frequency You will therefore experience a tonal change when you switch from LP BP or HP to EQ For example if a value of 16 is set for the resonance on the other three filters this will be flat when you select EQ Similarly if ...

Page 112: ...or for special synth filter effects in a bass line or lead line Bend This works like pressure and modwheel and allows you to open and close the filter by moving the pitch bend wheel or lever This can be effective when bending up into a note as the filter will open and sound brighter pressure This may be used for expressive swells particularly on brass sounds External This can select from footpedal...

Page 113: ...he good old days of analogue synths some manufacturers used 2 pole filters others used 4 pole filters Moog synthesisers had 4 pole filters and many people attribute the classic MiniMoog s punchy bass end to this other factors are actually responsible as well as it happens Early ARP and Oberheim synths the SEM Synth Expansion Module and the Oberheim 4 Voice had 2 pole filters and yet no one accuses...

Page 114: ...ER 1 s theoretically you should set FILTER 2 s resonance to twice that of FILTER 1 s but in practice you will find that this is not strictly necessary However by setting both filter s resonance to maximum 15 and 30 respectively you can create very resonant and squelchy synth sounds especially synth basses Watch out for distortion however with such high resonance settings When using high resonance ...

Page 115: ...iagram the response would be flat but with a setting of 50 for the centre frequency parameter and 50 for the slope parameter you would have a response graph something like this L E V E L FREQUENCY CENTRE FREQUENCY CENTRE FREQUENCY 50 SLOPE 50 Here bass frequencies are attenuated whilst high frequencies are boosted Setting the parameter to 50 would reverse the angle cutting high frequencies and boo...

Page 116: ...ore bottom end to emphasise the bass instruments Of course the TONE section can also be used as a simple EQ and because it is available for each keygroup you could use it to add depth to a kick drum or snare drum or to add some top end to cymbals hi hats and snares Other sounds may benefit from some simple tonal modification in this section too Experiment The parameter allows you to switch in a 6d...

Page 117: ...anning LFO1 rate etc especially if ENV2 is busy doing other things Pressing will display this screen Because its parameters are identical to those in ENV2 please refer to the explanation ENV2 A second page of envelope parameters is also available and is accessed by pressing This will display this screen Again because the parameters are identical to ENV2 please refer to that for more information NO...

Page 118: ...eans you only have to set a value in the depth field of the LFO1 page to have a constant vibrato NOTE If you wish to use LFO1 for some other modulation application such as filter sweeps panning etc you will need to turn this value to 00 otherwise pitch will also be modulated unless of course that s what you want It is not possible to route any other controllers in this field This is a freely assig...

Page 119: ...end are the same as above Be sure to turn modulation to 00 in the field above unless you wish the bent note to also have vibrato Pressure Use this instead of either of the above The same values apply External Use this instead of the above when using the footpedal or breath control possibilities for pitchbend Velocity Use this so that differing velocities will affect pitch This may be useful on som...

Page 120: ...ms are layered on top of each other for example with detune etc for a fatter sound selecting one of them will cause both to be edited simultaneously Using the above example again if you feel the attack of the strings program layered in part 1 and 2 is too slow select one of them press EDIT and edit the attack time both programs will be affected All his differs from most other modules where SINGLE ...

Page 121: ...TI the part number and the number of active parts are shown on this page for your information Whilst nearly every function in EDIT MULTI is the same as EDIT SINGLE some screens are different For example the OUTPUT screen in EDIT MULTI looks like this Because stereo level pan output and effects assignment are MULTI parameters these are not accessible in EDIT MULTI However you can edit the loudness ...

Page 122: ...n further if you think of the very early days of film where they didn t take so many frames in a second the results were jerky and distorted The same could be said about old samplers because they sampled less that is the sampling rate was lower the sound quality was not so good In order to reproduce sound accurately you need to sample at a frequency that is at least twice the upper reaches of the ...

Page 123: ...wn an octave a percussive attack will sound quite sluggish To overcome this we need to use a technique known as MULTI SAMPLING that is taking various samples of the instrument at a variety of pitches across its range so that at any one time the sound is never transposed too much and so avoids serious munchkinisation and envelope distortion Typically you can get away with one sample per octave but ...

Page 124: ...acters Press NAME again to use the numeric keypad to enter numbers As soon as you create a new unique name you will see NEW displayed under the sample name Finally to finish naming press ENT PLAY The fields on this page are Here you may select between stereo or mono recording If you select STEREO the sample will automatically have L and R appended to both the left and right samples respectively af...

Page 125: ...is is not accessible but merely shows the amount of free memory The percentage of free memory is also displayed The F is in parentheses because this field is shown in other pages of the SAMPLE mode as an abbreviation This sets the bandwidth for the recording you are about to make and you have two choices 20kHz and 10kHz Don t be put off by the 10kHz option because you can make very respectable rec...

Page 126: ...make a recording press F2 You will see something like this screen This is the main record screen In this example we can see that a sample called STRING C4 is selected Before you can do any recording you must name the sample you are about to record If you have just switched the S3000XL on with no disk in it you will have the four synth waveforms in there Use one of these as the basis of your new sa...

Page 127: ... to give the sample its unique note identifier Once you have named the sample you are now ready to make a new recording First however let s have a quick look at the parameters on this page You may select to record in MONO or STER eo When you opt to record in stereo two samples will be created and L and R will be appended to each of them to indicate the left and right sample This sets the note on w...

Page 128: ...old level to your satisfaction you are ready to make a recording RECORDING ON THE S3000XL Assuming all your parameters are correctly set all you need do is press You will receive the following prompt This indicates that either the threshold level has not been exceeded yet or if MIDI NOTE is selected as the start type in the RECORD SETUP page that a MIDI note has not been received You may also star...

Page 129: ... no deterioration of signal or increase in noise If you own many sampling CD s as distinct from CD ROM which is a different thing altogether recording digitally is the obvious choice The digital input is selected in the RECORD SETUP page described earlier When DIGI is selected as the input source the RECORD screen looks like this This is virtually identical to recording analogue except that you ca...

Page 130: ...ing at 48kHz i e from a DAT machine You will receive the following warning if you try to record at 48kHz It is advisable not to record at 48kHz Having successfully made your recording s analogue or digital we can now move on to sample editing But first SAVE YOUR SAMPLES TO DISK NOW It is good practice to repeatedly save your work as you go all good programmers do this and it is a good habit to get...

Page 131: ... the page key again to toggle between displaying MIDI notes as numbers or as names In this page pressing SLCT will switch between sample point and millisecond displays and will display this screen NOTE The millisecond display is purely for reference you cannot actually edit in milliseconds Only two fields are available in the SLCT page allows you to monitor a sample you are making or have made or ...

Page 132: ...e This takes you to the gain normalise page where you may set the sample s level to its maximum thereby getting the best signal to noise ratio and dynamic range out of the sampler This takes you to the DIGITAL SIGNAL PROCESSING pages where you may timestretch or re sample the sample or apply EQ This offers a set of further editing functions where you may perform sectional editing that is remove se...

Page 133: ...nd keys input and to a name Pressing NAME again reverts you to entering letters from the numeric keypad Alternatively in conjunction with the CURSOR keys which can be used to move the cursor around within the name you can use the DATA control to scroll through characters When you have entered your name press ENT and you will get this prompt Pressing will copy the original sample If the sample name...

Page 134: ...es like PIANO C 3 is best this tells you the instrument and the note it is sampled on so it will be easier to set your program up later when you come to assign your samples to specific keyranges DELETING SAMPLES It is possible to delete samples using the key F8 Pressing this will give you the following prompt and you should press F7 or F8 accordingly NOTE Deleting samples is destructive Please ens...

Page 135: ... to the start point move the cursor to the 1 using the key found on the numeric keypad as you move the DATA wheel you will increment in big jumps This is good for getting someway into the sound with little effort When you are close to where you want to be move the cursor one position right using the key to edit the start point in smaller increments As you get closer and closer to the point you wan...

Page 136: ...down is LOOP 2 the next one down LOOP3 and the bottom one is LOOP 4 I e LOOP1 LOOP2 LOOP3 LOOP4 The loop points cannot be edited in the TRIM page but these will give you a clearer indication of where you are when setting start and end points for trimming If you move the start or end points into a loop you will see this screen A similar screen would be shown if you were to move the end point into a...

Page 137: ... a definite attack For example when sampling detuned synth waveforms you only really need the loop portion in the middle of the sample so audio either side of that can be discarded Similarly when sampling single cycle synth waveforms you can free a lot of space by discarding audio either side of the loop points This will discard sample data before the start point you have set manually and after th...

Page 138: ...ether you trim your samples and loop them afterwards or loop your samples and trim them afterwards is a matter for you to decide Our programmers have found in their experience that it is best to record the sample loop it and then trim it afterwards Of course if there is dead space either side of the sample these should be removed before looping but it is felt that looping first and trimming later ...

Page 139: ...ones will be ignored For example setting LOOP 3 before LOOPs 1 and 2 will cause LOOP 3 to be ignored Please bear this in mind if you are creating multiple loops This sets the length of the loop you wish to make This is expressed in milliseconds You can set a loop to last from 1mS to 9998mS This is most useful when you have multiple loops For example LOOP 1 may be set to last for 5 seconds 5000mS L...

Page 140: ...t if you adjust the point this parameter will also change This is invaluable in cases where you have found a good loop length and want to reposition it elsewhere The length field is adjustable is very fine steps to allow you to manually set very accurate loops In the right half of the display you will see another waveform display This is the point of the loop i e the point set by the parameter As ...

Page 141: ...side would have a different loop point and so go out of phase It will only look for the best loop point on the currently shown sample NOTE The crossfade function is destructive and will affect your sample permanently Be sure to have saved your work before performing a crossfade in case you donÕt like the results or you make a mistake ...

Page 142: ...his case the window to the right of the loop page would look something like this You can see the abrupt level change Setting these loop points may sound better however and the resulting sound when played would look like this This is also a longer loop and so won t sound quite so obvious when held The window to the right of the loop page would look something like this You can see a nice smooth tran...

Page 143: ...n looping will automatically look for good points of equal amplitude whilst will smudge the whole thing to eliminate glitches thumps and any other unpleasantness Long samples work best with long crossfades whilst short loops are better suited to having short crossfades Perfect results are not always possible but you ll be surprised at how easy looping can be on the S3000XL If your sample has just ...

Page 144: ...t named a new sample for the normalised version to be copied to you will receive the prompt to which you must respond accordingly by pressing GO or ABORT After a BUSY message the new sample will be displayed showing the new level To re scale a sample to a level of your own choosing simply move the cursor to the field enter a value and press Again you will receive the usual prompts if you haven t c...

Page 145: ...pe of the sound data is preserved but there is twice as much data in it causing it to play back twice as slow SAMPLE DATA BLOCKS ORIGINAL RECORDING WITH 200 TIMESTRETCH In the following diagram data has been carefully removed to make the recording play back faster ORIGINAL RECORDING 70 TIMESTRETCH You can see that the length in both of these examples changes quite drastically but the envelope rema...

Page 146: ...the length of a drumloop or breakbeat without altering the pitch in order for it to fit in with the rest of the track or you could use it to speed up or slow down a track to change the groove or feel You could even use the timestretch to overcome timing discrepancies of a live band or use it to create gradual tempo changes etc It can be used to change the length of say a backing vocal part or guit...

Page 147: ... stretch When INTELL is selected here the S3000XL makes its own decisions as it proceeds with the stretching process Be warned though Although the intelligent mode will produce better results the time taken for this operation is much longer than when the CYCLIC mode up to several minutes depending on the length of the sample and the amount of stretch Remember that to perform any of these operation...

Page 148: ...ll take more time Now set the parameter name the new sample and press If you haven t created a new sample you will receive this prompt In this case please name a new sample or select a sample you know you have no further use for as the destination sample Whilst the timestretch is processing you will receive the following display Depending on the mode you selected and the settings of the parameters...

Page 149: ...s the selected sample s sample rate This field is not accessible This allows you to set the sample rate of the new sample you wish to create This is variable between 22050Hz 22 050kHz and 65000Hz 65kHz There may seem little point in re sampling upwards but it might come in useful if you need to transfer a sample via a sample editor to a sampler that uses a higher sample rate The default for this f...

Page 150: ...quick but does depend on the length of the sample you will receive the message When the process is complete you can play the new sample by pressing the key You can use the re sampling facility to save on memory In the studio where you have time to load in new sounds this may not be so crucial but on stage you ideally need to cram as much into the S3000XL as possible Even with 32 Megabytes of RAM i...

Page 151: ...s in stereo When EQ ing stereo samples you can select MONO and EQ each side separately if you wish This selects the EQ response curve You may select LOW SHELF This offers the following response slope FREQ A frequency range below the EQ frequency setting can be cut or boosted This is good for adding or removing bass end components in a sound The next selection is BAND WIDE FREQ A wide band either s...

Page 152: ...f the EQ The effect it has depends on the setting in the field With LOW or HI SHELF selected it sets the point below or above which the cut or boost will take effect With either of the band EQ types selected it sets the centre frequency This sets the cut or boost for the selected frequency The range is 24dB 00dB being no cut or boost of course To compensate for extreme gain settings the control al...

Page 153: ...rwriting the EQ d sample you just made If the parameter was set fairly high but you did not compensate for this with the control you may get the message In which case back the control off a bit and try again USING THE EQ The EQ process is very useful for affecting the sound at source As mentioned it can be used very effectively for removing mains hum or other noises that may have crept into the re...

Page 154: ... is LOOP IN RELEASE This means that when a key is pressed the sample will play through all the loops until the first HOLD loop is reached When the key is released the HOLD loop will continue to play as the release falls away This is always selected when you make a sample LOOP UNTIL RELEASE is slightly different Again the sample will play with all loops until the first HOLD loop is reached However ...

Page 155: ... the key does not have to be held down for the whole length of the sample This allows you set a pitch shift of up to 50 cents one semitone for a HOLD loop This function is useful when you have a small short single cycle loop that has latched onto some strange discordant aspect of the sound and is slightly out of tune with the rest of it ...

Page 156: ... the PARAMETERS page when the soft key F8 is pressed the sample will be reversed Pressing it again will reverse the sample back to its original form Note that any loop points you have set will stay in the same absolute positions and will not be reversed with the sample ...

Page 157: ...intact There are many uses for these functions and you will no doubt find your own As in TRIM across the top of the waveform display you can see any loops that have been set in this example no loops are set To create a sectional edit set the start and end points as appropriate You may use the and to zoom in or out on the sample and the key toggles between the start and end of the sample As you set...

Page 158: ...the rhythm or pace should be retained For example in a vocal line where the singer accidentally knocked the mic stand or sneezed This will remove the selected area and close the gap thus created I e This is good where you want to remove something but the rhythm or the pace is not so important If you do not name a new sample you will receive the following prompt when you press Pressing GO will take...

Page 159: ...a new sample from any of the above editing procedures the original loop points will be lost and you will need to reset them You may select to edit in mono or stereo accordingly Of course this only has relevance if the sample is stereo in which case you may prefer to edit the left and right channels separately IMPORTANT NOTE ABOUT SETTING START AND END POINTS The start and end points are temporary ...

Page 160: ...d select the portions of the A and B samples which are to be combined using the and fields For example you may want to splice just the attack portion of sample A to the sustain portion of sample B or mix just parts of two samples together If you want to hear exactly what part of a sample you are going to use you can set the first and last points of A and then press this will copy sample A into sam...

Page 161: ...u 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 a...

Page 162: ...ant may take some time it s possible you may discover some new sounds along the way which weren t quite what you were expecting but could find a place in your work The type of sounds created here can be long evolving sounds which may find a place in soundtrack work as they can be very dramatic ...

Page 163: ...you agree to overwriting the original sample or have created a new one after a few seconds you will receive a display not unlike this one Here you can see the sample has fades which lead up to the points set by the start and end positions set above You may play the sample from your keyboard or the ENT PLAY key If you try to set fade times that fall within any loop zone s you will receive the follo...

Page 164: ...nual IMPORTANT NOTE ABOUT SETTING START AND END POINTS The start and end points are temporary whilst in the FADE page They are not stored anywhere If you leave FADE or select another sample these will be lost and you will have to set them again ...

Page 165: ...CTS S3000XL Operator s Manual Page 159 EFFECTS MODE If the EB16 is not installed in your S3000XL you will see this message when you press EFFECTS Please contact your local Akai dealer regarding this option ...

Page 166: ...ng rotary speaker simulations plus delay echo and reverb The other two channels are reverb only channels RV3 and RV4 giving a total of four reverbs DISTORTION EQ RING MOD CHORUS FLANGE PHASE PITCH SHIFT PAN FMOD DELAY REVERB MOD DELAY EFFECTS REVERB RV1 DISTORTION EQ MULTI EFFECTS CHANNEL FX1 REVERB REVERB REVERB ONLY CHANNEL RV3 4 CHANNEL EFFECTS PROCESSOR or or or or DISTORTION EQ RING MOD CHORU...

Page 167: ...h echo and a large room reverb whilst strings and brass could be routed to RV4 with a large hall reverb Several parts may be routed to one channel so that programs can share the same effects and each part has its own individual effects send level for setting the amount of effect on each part Furthermore individual keygroups in a program may be routed to any of the four effects so that for example ...

Page 168: ... on FX1 will automatically select reverb 12 for RV1 The same would be true for FX2 were you to select multi effects preset 25 You may change the reverb associated with an effect preset at any time but you do not need to specifically select a reverb every time you select an effect preset EFFECT 1 EFFECT 50 EFFECT 1 EFFECT 50 REVERB 1 REVERB 50 REVERB 1 REVERB 50 REVERB 1 REVERB 50 REVERB 1 REVERB 5...

Page 169: ...d for creating multi timbral setups the MIX page is probably the best place to select your effects routings Once you have selected the channel the program is routed to and set a send level press the EFFECTS mode key to select the effects you want to assign to the program You will see this screen This shows the selected effects files for all four channels To select a different effects channel for t...

Page 170: ...ween these different effects simply by selecting FX1 FX2 RV3 or RV4 in the MIX page comparing and contrasting the different effects as you like This is also used when assigning different keygroups to different effects channels in a single program for example assigning different drum sounds to different effects NOTE Please note that it is the program NUMBER that remembers the effect selection not t...

Page 171: ...to follow For example let s say that instead of having the internal effects on the S3000XL you have assigned each part to its own channel on a mixer The first thing you would do is patch in the first multi effects processor to AUX 1 on the mixer You would then patch in the second of your multi effects processors to AUX 2 You would then patch in two reverb processors to AUX 3 and AUX 4 respectively...

Page 172: ...lti effects possible including distortion EQ chorus delay and reverb to create this powerful sound So you decide to use it in a song and so you place the sound into the module s MULTI However as soon as the sound is placed in the MULTI it loses the effect and is no longer the overdriven leadline sound it was in SINGLE mode Disappointment all round On the S3000XL you do not have this limitation In ...

Page 173: ...the routing is using the program s effects buss selection but you may also select OFF i e the selected keygroup is not routed to the effects FX1 FX2 RV3 or RV4 The parameter allows you to set the amount of effect for each keygroup In this way you can for example send individual drums in different amounts to the effects Furthermore each drum could be routed to a different effect i e bass drum to a ...

Page 174: ...ts for even more flexibility For example in a mixdown you could be mixing tracks off tape whilst running the S3000XL live from a sequencer synced to a timecode track You could feed audio from tape via two of the mixer s auxilliary sends to the S3000XL MIDI TIMECODE AUX SENDs L R INPUTS To DAT Tape Cassette In this example an Akai DR8 8 track digital audio recorder editor is feeding its eight track...

Page 175: ...d sending signals to the S3000XL via auxilliary sends this is best kept at 00 but when playing a sound directly through the effects you should set an appropriate balance here you may also set the wet dry balance in the OUTPUTS page in EFFECTS EDIT see later NOTE An effects channel may share an external input AND internal sounds For example you may route some programs parts to FX channel 1 which al...

Page 176: ...erb effect This is done in the main EFFECTS page By moving the cursor to the RV3 field thus You may select RV3 s input You may select from the following options RV3 RV3 will be fed with whatever is routed to RV3 in the SINGLE or MULTI modes or in EDIT SINGLE field FX1 This will route anything routed to the FX1 buss to RV3 PATH CONTROL MOD ECHO REVERB PATH PATH DIST EQ L R outs L R outs RV3 REVERB ...

Page 177: ...everb This has several uses You can set for example a gated reverb or reverse reverb effect in FX1 and add to that normal acoustic reverb You could select gated reverb in FX1 and add to that reverse reverb in RV3 There are many possibilities and in conjunction with the PATH CONTROL and the various sections level pan controls even more things are possible and some very sophisticated multi effects c...

Page 178: ...keys will mute all four effects channels When pressed it changes to this and the four individual mute keys will change to this indicating that all effects are muted Press F8 again to un mute the effects Soft keys F4 F7 show and you may also mute the effects channels independently using these keys When these are pressed they will show according to which key you pressed Press the appropriate soft ke...

Page 179: ...ffects types to suit a variety of different purposes which we hope you find useful However with so many effects to choose from and with such a wide range of parameters and possible combinations it may be that you will need to edit these to your requirements To edit any of these presets first press EFFECTS and select the effect you want to edit Once you ve done that press EDIT NOTE Editing an effec...

Page 180: ... the sine wave oscillator and the DEPTH parameter sets the amount of ring modulation Distortion is primarily useful for emulating electric guitars but you may also find it useful on electric piano sounds and organ sounds to emulate the sound of these instruments slightly overloading an amplifier Of course you can use it on any sound and you could add a bit of dirt to a drums program by adding a sm...

Page 181: ...of each of the four bands is variable and may overlap if you wish and you may selectively boost these frequencies if you wish to enhance certain aspects of the sound Furthermore you can modulate the frequencies of either of the two mid range sections to create auto wah effects such as you find on a wah wah pedal It is also possible to create synthesiser filter sweep effects The EQ screen looks som...

Page 182: ...he parameter sets the amounts of sweep The arrows indicate which parameter relates to which frequency band the controls to the left of the parameter affect MID1 and those to the right of affect MID2 Many effects are possible using the autowah functions Effects from wah wah clavinet and guitar may be created by sweeping just one band either will do and more extreme filter sweep effects can be creat...

Page 183: ...he effects are for creating pitch shift and detune effects PITCH FBK This selects that this section of the effects are for PITCH SHIFT with the delayed feedback CHORUS PHASE SHIFT AND FLANGING EFFECTS If you select PHA FLA CHOR the screen will be as above The parameters you may set for phasing flanging and chorus are all the same but the actual algorithm used for each effect type is slightly diffe...

Page 184: ...XL s chorus however actually uses four delay lines each modulated at different phase angles of the LFO s output to produce a very broad stereo effect with little or no cyclicness DELAY3 DELAY 2 DELAY 4 DELAY 1 LFO L50 L15 R15 R50 L R Audio in Furthermore the outputs of these delays are spread across the stereo image to give a wide expansive expensive chorus sound The parameters for these effects a...

Page 185: ...er effect speeds On a proper rotary speaker because of mechanics and inertia it takes a certain amount of time for the speaker to change from the slow speed to the fast speed and vice versa This parameter allows you to set the time in seconds it will take to go from SPEED1 to SPEED 2 and vice versa This sets the depth or width of the rotary speaker effect High settings will give a wide left right ...

Page 186: ...ontrollers footswitch type controllers such as sustain etc This parameter is really only of any use when in MULTI mode Because several programs may be sharing the same effect you must designate which MIDI channel will initiate the change from SPEED1 to SPEED2 If the effect is to be used in a MULTI select the channel of the controller that will trigger the change in speed for use in SINGLE mode sel...

Page 187: ...00XL Operator s Manual Page 181 TIP You may find the sound of a rotary speaker is enhanced using just a hint of distortion in the distortion section to re create the overdrive effect commonly found on rock organ sounds ...

Page 188: ...nd crosses the central axis however the effect is of the sound rotating i e as it goes from left to right the sound becomes more distant and as it travels from right to left it becomes more up front and forward As above but in the opposite direction The sound will move from left to right but as the sound crosses the central axis the level will be constant giving the impression of it simply panning...

Page 189: ...ITCH SHIFT FBK pitch shift plus feedback in the page you will see this screen This is exactly the same as before and you may set the pitch shift interval as described above However in the PITCH SHIFT FB selection you also have access to a delay line The delay parameters allow you to set a delay time for the feedback loop This effects selection looks like this as a block diagram SHIFT LEFT SHIFT RI...

Page 190: ...p and the parameters set the amount of feedback repeats for the sound NOTE You will please note that when PITCH SHIFT FBK is selected this uses the delay line normally used for echo effects In other words the echo effects described later in this section are not available when PITCH SHIFT FBK is selected ...

Page 191: ...S The final selection in the modulation effects section is not an effect as such but bypasses the modulation section completely thereby switching it out of the effect chain Although you may move the cursor to the fields and set values they will have no effect in this BYPASS screen ...

Page 192: ... delay line s left input DELAY L DELAY R HF DAMP FBK LEFT IN MONO L R This creates mono echo and delay effects but derives its input signal from the left and right inputs to the delay line DELAY L DELAY R HF DAMP FBK LEFT IN RIGHT IN NOTE Because the stereo mod section passes through the echo section any stereo mod effects you create i e chorus flange phase rotary speaker or autopan frequency mod ...

Page 193: ... DELAY LEFT FBK R LEFT IN RIGHT IN HF DAMP HF DAMP NOTE The delay section of the effects has one large pool of memory to create the echo and delay effects When in any of the MONO modes of echo the whole memory is used to create long delays In the XOVER and STEREO modes however the pool of memory is split between the two channels and so such long delay times cannot be set ...

Page 194: ...ho gets slightly duller as the surfaces off which the sound is bouncing absorb some of the high frequencies The value shown is the frequency that will be attenuated in the feedback loop This selects where you will listen to the output of the delay and allows you to set the direction of the modulation section and the echo section You may select POST which will give the effect of echo followed by th...

Page 195: ...k again A setting of 50 will create a ping pong echo effect that goes from left to right and back again Settings in between 00 and 50 will give asymmetric or syncopated ping pong effects For example with a setting of 500mS and a of 50 the result will be equally spaced repeats of 250mS I e LEFT RIGHT IN 500mS 1Sec 1 5Sec 250mS 750mS 1 25Sec With settings of say 25 the first repeat will come after 1...

Page 196: ...left right signals with every other repeat i e left right right left left right etc Difficult to describe but fun to use The parameters are the same as for either of the MONO delays although you will note that because two delay lines are being used for the XOVER effect the maximum delay time you can set is halved With XOVER L R selected the control allows many interesting syncopated delays to be c...

Page 197: ...amping and feedback level for the left and right delay channels All parameters are identical to those explained in the MONO ECHO effects except of course that you have two separate channels of them You may set completely different values in both channels to create some wild echo and delay effects NOTE The maximum delay times for each of the two delay lines is half that of the MONO delay times we h...

Page 198: ...r those reflections Because the reflections are bouncing off the walls at many different angles the effect is that you hear the familiar reverberant smudge or ring after the initial sound In this example we can only see the one elevation but the sound will also be bouncing off the side walls as well as the walls behind you to build up a dense reverberation pattern Characteristics of the room deter...

Page 199: ...he length of the decay It is uncommon to have a very long pre delay and a very short reverb decay but is good as a special effect You may however set a long decay but have a short or non existent predelay Another quality of reverb is its diffusion i e how well the reflections smudge together Normally the sound will bounce off the wall at exactly the angle it hits it This normally gives rise to a s...

Page 200: ...M reverb on such parts is usually sufficient If you can tweak the decay time so that it doesn t hang over into adjacent notes too much Small rooms and the like are good on bass sounds You may also like to try setting the LFDAMP parameter so that only the high frequency content of the sound is reverberated This will keep the straight portion of bass end free for the bass to be heard clearly Avoid l...

Page 201: ...lected in the TYPE parameter If REVERSE is selected you will see this screen This has this effect on the sound PRE DELAY TIME In this effect the reverb decay of the sound is read out backwards The parameters are This sets the time before the reverse reverb will start sounding This sets the length of the reverse reverb This has the effect of making the reverse sound more or less grainy and echoey ...

Page 202: ...round the sound where the drum has dense space around it but the reverb doesn t hang over into the next beat The S3000XL s multi effect processor offers two variations on this effect With GATED selected the screen looks like this The first gated reverb effect GATED 1 looks like this PRE DELAY TIME The initial sound is heard and then after a time set by the PREDELAY parameter a dense reverb sound i...

Page 203: ...aking the gated sound more or less grainy and echoey Of course GATED reverb is not only suitable for drums but can be used to add space to any sound Try it on other percussion sounds such as congas or try it on rhythmic guitar parts or arpeggiated sequencer parts etc Try it also with highly rhythmic keyboard parts Generally try to set the TIME control so that the sound has its own distinctive ambi...

Page 204: ... sets the pan position balance of these effects The width control sets the stereoness of the MOD ECHO effects 00 sets that the effects will be mono i e the left and right channel will be summed as a mono signal and 99 sets that the output of this effects section will be stereo NOTE The control can be useful when you want to use a chorus type effect but don t want a wide stereo image For example yo...

Page 205: ...reverb you may have reverb followed by mod echo or you may have mod echo and reverb in parallel PATH CONTROL MOD ECHO REVERB PATH PATH DIST EQ L R outs L R outs When the is set to 00 the mod echo section and the reverb section feed the main left right outputs in parallel The display will show When set to 50 the output of the mod echo section is fed into the reverb The display will show When set to...

Page 206: ...lity in the way the effects chain is laid out with just one simple control Normally you will probably use a positive setting i e flange followed by reverb and 25 is a good setting for most occasions but to change this direction to flange the reverb for example simply set a negative value NOTE Of course the PATH CONTROL OUTPUTS screen only applies to the multi effects channels FX1 and FX2 When edit...

Page 207: ...erent effects but the other effects are clouding your judgement of the parameters you are setting in the effect you are currently editing To solo the current effects channel simply press F8 this will mute the channels not currently selected for editing Every page has this function so you may solo the current effect channel at any time When pressed it will show the current effects channel i e FX1 F...

Page 208: ... effect you are happy to overwrite press F8 The effect selected in the field will be copied to the new destination overwriting the effect shown in the field It will also carry with it the association between the effect and that channel s reverb preset However if you wish you may select another reverb preset if you wish Let s see a practical example You like effect preset 35 a crossover delay with ...

Page 209: ...rwrite in the field and use the soft keys to paste the effect into the effects file will paste in just the effects portion will paste in the reverb portion and of course will paste in both sections NOTE When editing RV3 or RV4 you may only copy reverb presets NOTE It must be said that when you have many effects reverbs to copy and paste between different effects files this can be a bit tedious Qui...

Page 210: ...o the HARD field You can move the cursor one position to the right to select the partition you wish to save to You will see something like this screen Use the DATA wheel to make your selection SELECTING THE HARD DISK VOLUME As well as being divided into partitions each partition is divided into volumes The volume is selected in the field in the above example it shows that the volume is not named s...

Page 211: ...ave ME 35T Drum settings D D SONG files called TL s take lists and BULK files i e System Exclusive data dumped into the sampler s memory from synthesisers drum machines sequencers etc using the BULK DUMP function see GLOBAL MIDI for an explanation of this OPERATING SYSTEM You may save the current operating system to disk more on this later MULTI PROGS SAMPS This will save the multi plus its associ...

Page 212: ...no floppy disk is in the drive you will be prompted accordingly Similarly if the floppy disk is write protected the S3000XL will inform you NOTES ABOUT SAVING TO FLOPPY DISK An unexpanded S3000XL is capable of holding more data than will fit onto a single MF2DD or MF2HD disk If you try to save an entire volume with many programs and samples you will have to use more than one disk However the S3000...

Page 213: ...name volumes to keep better track of things when loading see below for information on naming volumes When you have selected the one you wish to save to press F1 which will take you to the main SAVE screen for the selected volume Move the cursor to the field and use the DATA wheel to make your selection from the options listed above Now either press WIPE or GO as you wish WIPE will first erase the ...

Page 214: ...SAVE Page 208 S3000XL Operator s Manual NOTE You will also receive this message when you select under the same circumstances Setting SCSI ID s etc is discussed later in this section ...

Page 215: ...ey You will get a screen display something like this When you have entered the new name press ENT and then press to rename the hard disk volume or floppy disk or highlight a file with the CURSOR keys and press to rename the highlighted file NOTE It is good practice to name hard disk volumes as it makes life much easier when you come to load them later Give the volume a sensible name like ORCH STRI...

Page 216: ...t the volume using the parameter field on the first line There are a number of options that you can pick to determine what file s will be deleted CURSOR ITEM ONLY As its name suggests deletes only that file which is highlighted by the cursor ALL PROGRAMS ONLY This deletes all programs but not their associated samples ALL SAMPLES This deletes all samples on the current volume ENTIRE VOLUME This is ...

Page 217: ...t of MIDI channels In order for one SCSI device to talk to a hard drive their SCSI ID s must match The field sets the SCSI ID for the sampler s SCSI interface The default setting in the field is 5 This parameter must be set to match that of the drive For example if your external drive is 1 this parameter must be set to 1 You may if you wish have several drives connected and each of these must have...

Page 218: ...g i e DD or HD the process will take about a minute and the track and side number of the disk will be displayed as the operation proceeds When the operation is complete you should receive the following display This indicates that the disk has formatted correctly and is safe to use If you get an indication that there are bad blocks the disk may be unreliable The S3000XL will inform you of this If y...

Page 219: ...for changing the size of the directory of disks formatted on an S1000 or S1100 please see below NOTES ON USING S1000 AND S1100 SOUND LIBRARY Usually you must use to format a new disk for use in the S3000XL Trying on an un formatted disk will display the prompt You should use ...

Page 220: ...recording at 44 1kHz In this way one disk may hold not only sound library but disk recordings as well This is explained later in this manual in the section that explains the disk recording functions If you intend to do this it is best to check this before formatting your hard disk formatting it later in order to use the disk recording functions will erase any sound library you may have already sav...

Page 221: ...100 because the disk directory has now changed the S1000 1100 disk has to be reformatted When you perform a save if you use this process is done automatically for you If however you use instead of wipe the S3000XL will remind you You may either specifically go through the formatting procedure yourself or you may simply press The same is true of hard disk volumes Simply using the key when you try t...

Page 222: ...nd down to display all the files on the disk If the file you want is not on the disk insert another disk and press LOAD to re read the disk If you have a hard disk fitted then you can choose another volume to read When you know that you have the right disk or volume you can proceed SELECTING FLOPPY OR HARD DISK If the cursor is not already on the field move the cursor to the field and select or as...

Page 223: ...ts processor is fitted ALL PROGS SAMPLES This will load all programs and samples only The MULTI and any effects files will be ignored and not loaded ALL PROGRAMS ONLY This will load all the programs in memory but will not load the samples associated with them ALL SAMPLES This will load all the samples currently in memory CURSOR PROG SAMPLES This will load the selected program and its associated sa...

Page 224: ...e the acoustic piano sound used in the verse to an electric piano sound in the chorus those programs which are not currently in the multi at the time of saving will not be loaded Your attention is brought to this as you may load a multi and then wonder why it is not playing back correctly If you do have programs in memory for selection via the sequencer s MIDI program change use LOADENTIRE VOLUME ...

Page 225: ...ck you want to clear the memory You should make the appropriate NO or YES response Pressing will load the chosen file s into memory without deleting anything first As the disk is being loaded you will receive something like the following display to keep you aware of progress It is possible that the chosen file s will occupy more memory space than is actually available in which case the loading pro...

Page 226: ...er it is good practice to name volumes to keep better track of things when loading see SAVE RENAME for information on naming volumes When you have selected the one you wish to load from press F1 which will take you to the main LOAD screen for the selected volume In the main LOAD page move the cursor to the field and use the DATA wheel to make your selection from the options listed above Now either...

Page 227: ... name as a file on disk the disk file will still be loaded and the file in memory will be overwritten If for some reason there is a problem with the hard disk i e it is not connected or not switched on or if it s a removable medium of some sort and the disk cartridge is not inserted or write protected you will receive the message If the disk is un formatted or has become seriously damaged in some ...

Page 228: ...hat give details about saving such data from the S3000XL back onto an S1000 S1100 formatted disk should you wish to do so AUTO LOADING FROM DISK If you turn on the S3000XL with a floppy disk in the drive the contents of the disk will be loaded into memory If the disk contains a copy of the operating system and this operating system is the same or a higher version number than the ROM version this w...

Page 229: ...l search the selected partition for ALL files that have those letters in them In this example you may see a screen display such as Here several different basses from several different volumes in the partition have been found You will receive the message and you will also see at the top of the screen indicating that this is the temporary FIND volume Now select an appropriate load type in this examp...

Page 230: ...224 S3000XL Operator s Manual Once you become familiar with the FIND function you will find it an invaluable aid to quickly searching for and loading sounds NOTE The FIND function does not work with floppy disks ...

Page 231: ... first mark the files To access the tagging function press the key This will display a screen such as this To tag the files simply move the cursor to the appropriate file and press As you press you will see that the file has an asterisk placed next to it thus This indicates that this file is marked in the currently selected tag To select files from another volume to mark simply move the cursor to ...

Page 232: ...agged files successive pressing of the key will cause the scrolling to wrap around and you will be taken back to the first files tagged If you are happy with the selection press and or to load the sounds You will receive the usual displays for loading If the sounds you want are not to be found in this tag select another tag in the field When you press you will be taken to the first file s in this ...

Page 233: ... percussion and synth drums etc Bass sounds could be in one big tag that contains ALL your bass sounds whilst synth bass sounds could also be in a separate tag for synth basses as well as in a general purpose SYNTH tag In this way depending on the project you are working on you may select sounds far more quickly For example if you are working on an orchestral piece you would probably use the ORCHE...

Page 234: ...t of MIDI channels In order for one SCSI device to talk to a hard drive their SCSI ID s must match The field sets the SCSI ID for the sampler s SCSI interface The default setting in the field is 5 This parameter must be set to match that of the drive For example if your external drive is 1 this parameter must be set to 1 You may if you wish have several drives connected and each of these must have...

Page 235: ...ame field and press and or All programs that are contained in the volume will be loaded To load a single program move the cursor to the program you wish to load and press and or To load a program and all programs that follow it move the cursor to the program field and select the program you want to have as the first in the list of programs you will load Now place it at the top of the screen by usi...

Page 236: ...e FIND or adjust the loop length manually on the S3000XL The S3000XL can only read CD ROMs hard disk up to 512Mbytes CD ROMs or hard disks larger than this can be used but any data stored above 512Mbytes will be ignored The S3000XL comes supplied with 2Mbytes of RAM as standard However some manufacturer s sounds require more than this as do many Akai CD ROMs by the way so we recommend you expand y...

Page 237: ...d to disk in a full volume save There are two soft keys and in this screen display on F7 and F8 These will turn an A 440Hz audio signal on and off to the stereo output connectors and the headphones This may be used as a tuning reference for the sampler or any other instruments you have or as a test tone for checking levels etc SETTING THE MASTER OUTPUT LEVEL As well as the main volume control it i...

Page 238: ... to filter out specific MIDI information When you enter this page the cursor will be at the top left of a grid of signs in a long rectangular box You can use the cursor keys to move to any point on the screen In this grid the columns represent MIDI channels 1 16 and the rows represent MIDI information which the S3000XL will accept or filter The first row affects the S3000XL s receive capabilities ...

Page 239: ...bove with the bar graph showing incoming MIDI on the selected channel but when sequencing multi timbrally on several channels you will see a display such as This is a very useful page that allows you to track down any problems you may be experiencing when sequencing For example if a part isn t sounding you can check if the S3000XL is receiving MIDI on its channel If it is then it may be some other...

Page 240: ...equencer is playing the drum samples for example You may select to view particular channels using the field This defaults to short for OMNI so you can view all channels but you may select individual channels 1 16 if you only wish to monitor a specific channel TRANSMIT TEST PAGE SETTING THE ENT PLAY KEY Pressing the soft key F5 will display this screen In the TRANS page you can produce a test trans...

Page 241: ...e sample editing software However in this section we will always refer to the other device as a sampler The fields are as follows This does not refer to a MIDI channel but a logical channel used in System Exclusive protocol Both samplers must be set to the same channel for transfer to take place This parameter refers to what will actually be transmitted over MIDI This can be or The meanings of the...

Page 242: ...y on the S3000XL as reception of bulk data will automatically take place once a remote device initiates the dump protocol NOTE It is quite likely if not certain that sample editors will not work if you use the S3000XL protocol because the editor will not have the ability to recognise the new file header information present because of the new features in the S3000XL No doubt manufacturers of these ...

Page 243: ...ter than normal MIDI data dumps which can take an awfully long time NOTE 1 When using the Mac editing software supplied with the S3000XL this page should be set as appropriate However you needn t worry too much about this as the software seeks out the device on the SCSI chain when you open it and it will find the sampler s local SCSI ID automatically NOTE 2 If you have two samplers sharing the sam...

Page 244: ...0XL full details of the operation of the ME35T will not be given here Refer to the ME35T manual for operational details However note that to set up the MIDI Exclusive channel on the ME35T the MIDI CHAN and MIDI NOTE keys on the ME35T should be pressed simultaneously The following parameters on the ME35T may be set up from the S3000XL The name of the drum input settings may be altered by pressing N...

Page 245: ...elect from 8 different velocity curves to match your playing style Please see the ME35T manual for details of these curves As you play your pads or drums you will see something like the following display with a PPM style bargraph For more information on these parameters please refer to the ME35T s operators manual The second page of the DRUM mode is accessed by pressing This page allows you to set...

Page 246: ...backed up or restored in the process Here you may select to backup either your hard disk or just a single memory load of samples i e those in RAM at the present time Usually the selection is HARD DISK because you mostly want to use this facility to make safety copies of your hard disk however many people especially those with memory expansion boards fitted in their sampler use the back up facility...

Page 247: ...es place the number of samples programs Qlists and other items will be displayed on the screen PLEASE NOTE THE DAT RESTORE PROCESS WILL ERASE THE CURRENT MEMORY CONTENTS OR HARD DISK DATA PLEASE BE CAREFUL NOTE 1 Though backing up to DAT offers many advantages in terms of speed convenience and cost of the media Akai does not guarantee the integrity of the data backed up in this way It is therefore...

Page 248: ... DOS format floppy disks i e note on off control change etc Pressing gives something like this screen The parameters are as follows This shows the name of the currently selected song When you have some songs loaded in the sampler use the DATA wheel to select them If no songs are loaded this field will be blank This selects the bar the song will start at You may use the DATA wheel to set a range of...

Page 249: ...TE As the title of this page implies files must be on a DOS format floppy disk SMF s on floppy disks other that DOS format cannot be read If the disk is not an MS DOS formatted disk you will see the message This will occur if the disk in the floppy is a sound library disk The fields on this screen are This indicates the percentage of memory free for loading song files 100 indicates approximately 3...

Page 250: ... get to the MIDI SONG PLAY page and press to get to the LOAD page for song files 4 Select and load a MIDI song file from the file list You can load as many files as you like as long as there is enough memory space 5 Once the files are loaded press to return to the MIDI SONG PLAY page Select the file you wish to play and press to play the selected MIDI song file Press to stop playback NOTE 1 SMF so...

Page 251: ...ut Mono or stereo recording Varispeed playback of recordings from disk Disk recordings can be processed on an external mixing console by assigning them to individual outputs Disk recordings can be sent to the optional internal effects units if fitted You can make recordings onto virtually any SCSI hard disk including the Magneto Optical disk The hard disk can be partitioned to contain a certain am...

Page 252: ...u may set the number of partitions you require for sound library storage leaving the rest of the disk free for disk recording For example say you have a 300Mb hard disk you can allocate maybe 4 x 50Mb partitions for library leaving 100Mb free for disk recording This would give you 200Mb for library and around 10 minutes of stereo recording at 44 1kHz or twice that in mono You can of course set the...

Page 253: ...r example you may record a guitar solo directly to disk whilst listening to sequenced programs coming from the S3000XL Takes can be also be run sequentially in a song and in this application several takes can be butt edited to each other and caused to playback sequentially Furthermore each step in a song may be set to repeat any number of times so this can be used very effectively for the easy cre...

Page 254: ...erial and get it ready to playback It is possible to accurately set fixed delays so that these can be accommodated when triggering takes from say a MIDI sequencer and the sequencers track shifting functions can cater for this It is assumed you have a basic working knowledge of the S3000XL by now If you are at all unsure about certain functions please refer to the appropriate section in this manual...

Page 255: ... F6 or F7 as appropriate If you change your mind press to abort the naming process You may also select takes from here by typing in their names and pressing ENT but remember that the name you type must be the correct one for an existing take otherwise you will be creating a new take This will be indicated by this field displaying This allows you to see the free time left on disk or the amount of d...

Page 256: ...er in the field The field allows you to switch between the different MO formats of disk There are two 512Bytes per sector and 1kByte per sector Both offer the same storage they just have different sector sizes The S3000XL can use both and this is selected in this field The default is 512b The field sets the S3000XL s SCSI ID as distinct from the sampler s SCSI interface s ID and is used when commu...

Page 257: ...n this DD page This is done by pressing the NAME key typing in a unique name and pressing ENT PLAY followed by The process takes a little longer than actual recording RENAMING TAKES Takes may be renamed only in the DD page This is done by pressing the NAME key typing in a new unique name and pressing ENT PLAY followed by DELETING TAKES FROM DISK You may delete takes from within the DD page This is...

Page 258: ...anel or via the digital audio interface The selection choices are ANALOG or DIGITAL This selects the method by which recording will commence The options are This will cause recording to commence once a certain threshold level has been exceeded The threshold level is set in the TAKE page see below This selects that a MIDI NOTE will initiate recording The MIDI note number is set in the NOTE field de...

Page 259: ...ys be edited out and retrieved afterwards in the EDIT page This field sets the note that will initiate the recording when either or is selected in the field It also sets the note that will trigger playback after it has been recorded This may be edited after you have made the recording if you wish This is an abbreviation of CHANNEL and sets the MIDI channel for the recording when triggering from MI...

Page 260: ...where you may compile takes for sequential playback or MIDI triggering This takes you to the play page where you may play takes This takes you to the take editing display Shows the currently active page Takes you directly to the record page for recording new takes Takes you to the BACK UP LOAD page where you may restore takes backed up to DAT ...

Page 261: ...REC LEVEL control the incoming signal level will be shown in the bargraph display to the left of the LCD If you have selected to start recording using INPUT LEVEL in the page you should set the threshold level by moving the cursor to the field marked 20dB and adjusting it accordingly To initiate a recording press You will receive this screen display Here the S3000XL is either waiting for a MIDI NO...

Page 262: ...ou enter the DD RECORD page the screen will show or whatever sample rate is being received If no digital connection has been made or has become disconnected the display will tell you Please check your digital connections When recording digitally the bottom line of the display shows and the screen draws the incoming waveform envelope as it is being recorded Once a recording has been made you may us...

Page 263: ...r sequential playback or MIDI triggering This takes you to the play pages where you may play takes This takes you to the take editing display Takes you back to the RECORD SET UP page Turns the audio meter on Turns the audio meter off This puts the S3000XL into a record ready state awaiting the arrival of a suitable record start command depending on the setting of the START field in ...

Page 264: ...th of the screen display in time Here it is showing that the whole screen width is equivalent to 2 minutes As you zoom in and out this field changes to show the equivalent size of the screen This shows the name of the take selected for editing You may select another by scrolling through the available takes This allows you to adjust the start time of the take As you adjust this parameter a flashing...

Page 265: ...int shown on the left of the screen regardless of the setting of the start field Use this as a means of playing back from anywhere in the take without upsetting edit points 2 If the cursor is on the end field pressing the ENT PLAY key will cause the take to playback from the point shown at the left of the screen up to the end point You can use this facility to audition the end of an edit and use t...

Page 266: ... edit you have done is right you may wish to discard the unwanted portions in order to free up disk space IMPORTANT NOTE The discard function is destructive and non retrievable Be careful when using it HELPFUL HINT If you are recording in small sections to be compiled as a song later on please be careful when using the discard function For example you may make an edit which in isolation in the EDI...

Page 267: ...or 48kHz You may adjust this in the event that a take recorded digitally was for some reason recorded at the wrong sampling rate This allows you to set the playback rate for the selected take and may be used like a tape machines varispeed control Normally this will be 00 00 but for special effects you may wish to set a playback rate that is different to the takes sampling rate This parameter may b...

Page 268: ...e take This allows you to set the pan position of a mono recording or the left right balance of a stereo recording This sets the level of the signal that will be sent to the assignable individual outputs This sets the destination of the take The default is OFF but you may set these to any outputs you want You may also use this parameter to send takes to the internal effects The level at which they...

Page 269: ... any time to stop playback of the take You may adjust any of the parameters in the PLAY page as you wish and these are automatically saved as soon as you leave this page If the take does not play back successfully the reason is probably that the S3000XL has not received the appropriate start command as set in the field For example if is selected and C3 Channel 16 is set but for some reason the seq...

Page 270: ...t does not you will have to try again with a new value All being well however this is only likely to occur if you use a different sequencer to that which was used during the record process NOTES ABOUT SYNCHRONISING TO EXTERNAL AUDIO In most cases there should be no problems in synchronising takes to external audio material because the playback response time of the S3000XL is extremely fast and syn...

Page 271: ...a song is identical Pressing F2 in any of the disk record pages will give you this screen This shows a blank empty song file Nothing can actually be done here To create a song you must press F2 to take you to the SONG EDIT page as this is where all the work takes place Pressing F2 gives this screen display The fields across the top of the screen are as follows This is the name field for the song N...

Page 272: ...teristics in a song without affecting the raw take Soft keys F1 to F4 take you to different pages The soft keys F5 to F8 have the following functions This marks a step in the song for inserting or deleting This allows you to mark a block of cues for inserting or deleting Pressing this will insert the marked step or block at the point of the cursor on the scroll bar Pressing this will delete the ma...

Page 273: ... PLAY key the first time does not play the take You may repeat that process as many times as you like until you have created your song NOTE If you are creating a song for triggering takes from MIDI the order in which the takes appear is not important It is probably just as well to keep some semblance of order however so that it is easier for you to keep track of For example it seems pointless putt...

Page 274: ... to play back Typically a list of takes for MIDI triggering may look something like this Here we can see a typical setup for spinning in material over a sequenced backing track We can see that there are two backing vocal recordings which will trigger when they receive C1 and C 1 and a guitar solo will start to playback on C3 with a brass riff playing off C4 All the takes are on MIDI channel 16 alt...

Page 275: ... which may help in syncing up some takes Remember that you can use a combination of your sequencer s track shifting and the variable delay parameter to get takes exactly in sync For example your sequencer s track shifting functions may not offer enough resolution to obtain precise triggering of the take s In this case adjust the take s delay time in milliseconds to obtain precise sync HELPFUL HINT...

Page 276: ...riggering takes from MIDI If you stop the tape you will need to rewind it to a point before the MIDI note required to trigger the take When a take is triggered from a MIDI note when you stop the sequencer assuming your sequencer sends out a MIDI ALL NOTES OFF command the take will stop playback If however your sequencer does not issue an ALL NOTES OFF the take will continue to play but you may spe...

Page 277: ...to good effect in this way it certainly beats having to print several versions of a section onto tape and splicing them all together Crossfades are not possible in the song mode but this isn t such a big disadvantage for most remix work where the material is usually quite percussive and butt editing can be very effective Of course a good edit depends on the accuracy of the cuts you make in the EDI...

Page 278: ...E SONG MODE The numeric keypad can be used as a shortcut method of moving around the song steps You can use the cursor keys if you wish especially if you are only moving one step down but when you wish to move several steps down or up the keypad will become very useful to you The shortcuts are simple and easy to remember With the cursor on the scroll bar pressing 1 will move you one step down 2 wi...

Page 279: ...uring the cursor is on the scroll bar move the cursor to the first step in the block TAKE 1 and press Now move the cursor down two steps by pressing 2 on the numeric keypad and press This marks the three steps as one block Now move the cursor down a step press 1 on the keypad and press You will copy that block at the end of TAKE 3 You can now do one of two things to copy it twice more You can eith...

Page 280: ...ex remixes as they allow you to shift whole sections and place them anywhere you like in a song very quickly and easily It means that you can regard what are small short takes appended together as one long take which can be inserted as you wish NOTE It is only possible to mark contiguous steps as a block you cannot mark a series of steps skip a few and then mark another few steps as one block Natu...

Page 281: ...wish to wipe the disk volume as you save Of course if you wish you may also select ENTIRE VOLUME to save not only the SONG but also the samples programs multi and effects file currently in memory LOADING A SONG In the LOAD mode select CURSOR ITEM ONLY as the load type and move the cursor to the song name Press F7 or F8 depending on whether you want to clear the current contents of the memory or no...

Page 282: ...eters fade in out etc To back up takes to DAT you can either do them individually or all of them To back up a single take select the appropriate take in the take field at the top right of the screen Press RECORD on your DAT machine and then press F5 ONE This will back up only the selected take to DAT To back up all the takes on disk to DAT irrespective of the take selected in the take field press ...

Page 283: ... same name as those backed up on DAT will be overwritten and replaced with those from DAT Press OK or EXIT as appropriate IMPORTANT NOTE PRESSING OK WILL IRREVOCABLY ERASE THOSE TAKES THAT HAVE THE SAME NAME BE VERY CAREFUL IN YOUR SELECTION Immediately after you press OK the display will show This indicates that the S3200XL is receiving the digital signal through the digital interface You should ...

Page 284: ...ow This is virtually identical to the normal record page when a recording is being made and the take s waveform envelope will be displayed as it is being restored The DAT restore function is actually just another way of recording and this confidence monitoring keeps you informed of progress during the DAT restore process At any time you may press F 8 STOP to abort the restore ...

Page 285: ...sed on the S3000XL we have had reports of them causing problems The flat ribbon cables however have individual grounding for each connection and so are generally more reliable but because they are intended for use inside devices where they are separately screened they sometimes have insufficient screening which may cause data noises to appear in your audio signal path when any disk activity is goi...

Page 286: ...ts please contact your dealer who will be able to help SCSI CABLE LENGTH The SCSI specification states that the total length of the SCSI chain must not exceed 6 metres Total length means the length of the whole chain between the first and the last device and not the length of the cable between each of devices SCSI chains that are longer than the specified length may cause data errors and possibly ...

Page 287: ...ut when you save it to an S3000XL disk there are a few things you should be aware of The S3000XL allows 512 items to be saved on a floppy or hard disk on the S1000 S1100 it was 64 items for floppy and 128 for hard disk As a result the whole format of the disk directory is different If you try to save to a floppy disk that was formatted on an S1000 or S1100 because the disk directory is different t...

Page 288: ...ler for information on this if you want to use S3000XL sounds in an S1000 or S1100 The S900 or S950 cannot read S3000XL sound data If you have an S3000 or 2800 or 3200 you will be able to use S3000XL sample and program data with no special software required although it is advisable to have the latest software version for best results EFFECTS FILES If the S3000XL has the optional EB16 multi effects...

Page 289: ...e case and the smaller screw in the centre of the top of the rear panel Looking inside the S3000XL you will see something like this POWER SUPPLY DISK DRIVE EB16 socket ROM board sockets SIMMs sockets IB304F socket INSTALLING MEMORY EXPANSION The S3000XL s internal memory can be expanded to 32Mbytes giving a massive recording time of nearly six minutes The S3000XL comes with 2Meg of memory hardwire...

Page 290: ...SIMMs are installed the internal 2Meg is ignored NOTE Memory chips are sensitive to static electricity Please observe the following safety precautions Unplug the S3000XL before installing the board s The SIMMs may come with a special wrist strap to discharge static electricity We suggest you attach the strap to the S3000XL s case If a wrist strap or any other such accessory is not supplied try dis...

Page 291: ...etain data stored in it when the unit is switched off This allows you to keep your favourite sounds in FlashROM and have them available automatically when you switch the S3000XL on In this way you get all the benefits of a sampler where you can record your own samples and make your own programs with the advantage that these sounds are available without lengthy loading times much like a modern synt...

Page 292: ...ong Because the FlashROM has volumes like on a hard disk different songs may be saved to different volumes so that you may have several songs on the go at any time each one taking just a second or two to load You can use the FlashROM to expand your internal memory beyond 32Mbytes to a maximum of 48Mbytes if two boards are installed You could use the FlashROM to maintain a pallette of your favourit...

Page 293: ... FlashROM Play Save Disk CD ROM Etc The above diagram shows the signal flow of data in the S3000XL S3200XL You record a sample or load some sounds from disk or CD ROM into RAM you edit them as appropriate all the time playing them over MIDI Without the FlashROM board s you would then normally save them to disk When you need to use this data again you would of course load it from disk With the FMX0...

Page 294: ...one volume There are different types of FlashROM volumes you should be aware of These are BOOT SYSTEM In this the first FlashROM volume you may save an operating system and this will boot up automatically when you switch on the S3000XL S3200XL This has the tremendous advantage that if you receive a software upgrade in the future it may be saved to FlashROM and the new operating system will boot fr...

Page 295: ... S3000XL The ROM shipped with with Version 1 00 machines knows nothing about the FlashROM and so will not look for this on power up and so cannot perform an autoload of any description The ROM required for autoloading the o s or sounds from FlashROM has a routine in that says something along the lines of ON POWER UP CHECK TO SEE IF THE FLASHROM BOARD IS INSTALLED IF IT IS CHECK THE BOOT VOLUME TO ...

Page 296: ... samples multi and effects and the item to be saved is selected using the inner DATA wheel SYSTEM You may save the current operating system this is best saved to the BOOT SYSTEM volume Once the data is saved that s it Assuming you saved some data to the AUTOLOAD volumes this will be loaded automatically on power up As mentioned on the previous page assuming you have the correct ROM chip installed ...

Page 297: ... of the FlashROM is to be able to save an operating system to the BOOT SYSTEM volume and to have sound data saved to one or more of the AUTOLOAD volumes so that you simply need to switch on the S3000XL and have it boot the operating system and your chosen sounds There are other uses however ...

Page 298: ...ne of the AUTOLOAD volumes so that all you need to do is switch on the S3000XL and the whole setup is automatically loaded in a just a few seconds If you prefer you could save it to one of the FLASHROM volumes so that you can load it manually as and when you like The advantage to saving your song to FlashROM is of course that the load time will be just a few seconds when you choose to come back to...

Page 299: ...ct the sample Should you try these functions you will receive this prompt This is because the sample you are trying to affect is a Read Only sample and so cannot be edited in this way However functions such as fade join sectional editing timestretch and re sample that require you to create a new sample first can be used but please note that the new sample created will be RAM5 As mentioned however ...

Page 300: ...ing Pressing F8 YES will load the selected sample into RAM where it may be edited as normal with none of the restrictions described on the previous page Press F7 NO will load the sample as a FlashROM sample i e the sample will be played directly from ROM and you will not be able to perform certain sample editing functions NOTE You will only receive this second level of prompting if the selected si...

Page 301: ...IS DATA CANNOT BE RETRIEVED It is also possible to arrange the memory on the FlashROM board s If you have used the FlashROM a lot and have deleted data from it and or re written new data to it what happens is that the memory gets broken up and you have unusable gaps throughout the FlashROM s memory area This is known as fragmentation Data needs to be saved in one block to the FlashROM known as con...

Page 302: ...tiguous memory to be used The ARRANGE process is non destructive and will not affect data in any way all it does is shuffle data around the memory area to make contiguous memory available It is worth doing an ARRANGE from time to time especially if you delete a lot of sample data from the FlashROM NOTE If you delete a lot of programs from FlashROM ARRANGE is not strictly necessary as these take up...

Page 303: ...L operator s manual for more details IMPORTANT NOTES ABOUT RESTORE The contents of the a memory DAT backup cannot be restored to the FlashROM When you perform a memory restore from DAT the contents will be restored to RAM This has some implications If you only backup data from the FlashROM to DAT it will be restored to RAM You must then specifically re save it to FlashROM If you backup data from R...

Page 304: ...ains outlet Remove the top panel by unscrewing the four side screws and the small screw at the rear of the panel Keep the screws safe Remove the top panel You will see the slots where the FlashROM is to be inserted Memory chips are very sensitive to static electricity and can be destroyed if they get a burst of it To discharge any static in your body touch the casework Now carefully take the board...

Page 305: ...boards are installed the message will tell you 8MW fitted Please refer to the instructions given in this addendum for more details on how to use the FlashROM IMPORTANT NOTE Consult your AKAI Professional dealer on installation of any options including memory to the S3000XL Self servicing may cause malfunction of components or the instrument itself Akai does not guarantee against the unit s malfunc...

Page 306: ...tallation will invalidate any warranty on the FMX008 and the S3000XL Akai Electric Co cannot be held responsible for any damage to the FMX008 board the S3000XL and or any peripheral equipment disk drives mixers amplifiers recording equipment etc that may be damaged as a result of incorrect installation of the FXMoo8 Akai Electric Co cannot be held responsible for any loss of earnings income or dam...

Page 307: ...0 3F NORMAL 40 7F LEGATO 69 Hold 2 70 Sound controller 1 default Sound Variation 71 Sound controller 2 default Timbre Harmonic content 72 Sound controller 3 default Release time 73 Sound controller 4 default Attack time 74 Sound controller 5 default Brightness 75 79 Sound controllers 6 10 No defaults 80 79 General purpose controllers 5 8 84 Portamento control 85 90 Undefined 91 Effects 1 depth for...

Page 308: ......

Page 309: ...3 111 FILTER 96 Filter 2 modulation 106 Filter 2 resonance 105 Filter 2 types 103 104 105 Modulation 98 Resonance 97 Second filters 103 Tone control 109 KEYGROUP Amplitude modulation 112 APM 54 Assigning samples 90 Assigning stereo samples 90 Copying 85 Creating 85 Crossfade 53 Deleting 85 FX Send 85 Individual output 93 Layering 52 91 Level 93 Mapping 88 Mute Group 85 Pan 93 Routing to FX 85 Sele...

Page 310: ...77 Autopan FMOD 182 Bypass 185 Chorus 178 Flanging 178 Phasing 177 Pitch shift 183 Pitch shift feedback 183 Rotary speaker 179 Multi effects 173 OUTPUT 198 Levels Pan 198 Path control 199 REVERB 192 Gated reverb 1 196 Gated reverb 2 196 Reverse reverb 195 Soloing effects 201 ENT PLAY KEY 6 17 EQ Filter 2 mode 104 Sample 145 147 Expanding the memory 283 284 F FEATURES 2 FILTER 2 See EDIT PROGRAM FI...

Page 311: ...RECORDING See GLOBAL How the S3000XL works 19 I IB304F 103 INDIVIDUAL OUTPUTS 9 INSTALLING OPTIONS 283 Flash ROM 285 Memory configurations 284 Memory expansion 283 SIMMs memory 283 K Keyboard splits 33 48 KEYGROUP See EDIT PROGRAM L Layering programs 33 47 LCD 6 LCD CONTRAST 17 LFO1 See EDIT PROGRAM MODULATION LFO2 See EDIT PROGRAM MODULATION LOAD 216 Autoloading 222 Directory 225 FIND function 22...

Page 312: ... See EDIT SAMPLE S SAMPLE 116 Deleting samples 128 Naming new samples 120 RECORD Digital recording warnings 123 Duration 119 121 Input monitor 122 Input select 119 Level meter 122 Monitor select 119 Pitch 119 121 Record levels 122 Recording analogue 122 Recording digitally 123 Setup page 118 Start method 119 Stereo Mono 118 121 Threshold level 122 RECORD page 120 Renaming samples 118 Sampling rate...

Page 313: ...grams 24 SMF Song play 242 SOFT KEYS 6 14 T TAKES See GLOBAL HARD DISK RECORDING TIMESTRETCH See EDIT SAMPLE TRIMMING SAMPLES See EDIT SAMPLE TUNING Keygroups 93 Loop 149 Multi part 39 Program 71 S3000XL 231 Sample 148 Zones 93 V Velocity sensitivity 26 67 VIBRATO See LFO1 Z ZONE See KEYGROUP Zoom In Out 131 133 134 151 157 258 ...

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Akai S3000XL, User Manual

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