Akai S3200XL Operator'S Manual Download | Manualshive

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Summary of Contents for S3200XL

Page 1: ...WARNING To prevent fire or shock hazard do not expose this appliance to rain or moisture Operator s Manual MIDI STEREO DIGITAL SAMPLER s3200xl ...

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Page 3: ...on point within an equilateral triangle is intented to alert the user tothepresenceofimportantoperatingandmaintenance servicing instructions in the literature accompanying the appliance CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL THE SYMBOLS ARE RU...

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Page 5: ...s well ventilated and away from direct sunlight To avoid damage to internal circuitry as well as the external finish keep the S3200XL away from sources of direct heat stoves radiators etc Avoid using aerosol insecticides etc near the S3200XL They may damage the surface and may ignite Do not use denaturated alcohol thinner or similar chemicals to clean the S3200XL They will damage the finish Modifi...

Page 6: ...suit the AC outlet This should be fused at 5 Amps If a plug without a fuse is used the fuse at the distribution board should NOT BE GREATER than 5 Amp PLEASE NOTE THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE SHOCK HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET ELSEWHERE The wires in this mains lead are coloured in accordance with the following code GREEN and YELLOW EARTH BLUE NEUTRAL ...

Page 7: ...ETEURS CANADIENS DU S3200XL Le présent appareil numérique n ément pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la Class B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada 27 F This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus se...

Page 8: ... shall not be liable for any injury loss or damage direct or consequential arising out of use or inability to use the product The warranty provides only those benefits specified and does not cover defects or repairs needed as a result of acts beyond the control of AKAI including but not limited to 1 Damage caused by abuse accident negligence AKAI will not cover under warranty any original factory ...

Page 9: ...E 35 USING SELECT PROG PROGRAMS WITH THE SAME NUMBER 35 LAYERING PROGRAMS 35 CREATING KEYBOARD SPLITS 35 USING RENUMBERING TO CREATE MULTI TIMBRAL SETUPS 36 SINGLE VS MULTI 37 MULTI MODE COMBINING SEVERAL PROGRAMS 3 9 ASSIGNING PROGRAMS TO PARTS 40 SETTING A PART S MIDI CHANNEL 40 MIXING THE PARTS 40 SENDING PARTS TO THE INTERNAL EFFECTS 40 ASSIGNING PARTS TO THE INDIVIDUAL OUTPUTS 41 TUNING AND T...

Page 10: ...ADJUSTING THE RECORDING AND THRESHOLD LEVELS 125 RECORDING ON THE S3200XL 125 DIGITAL RECORDING 126 EDIT SAMPLE 1 2 8 NAMING SAMPLES COPYING AND RENAMING 130 DELETING SAMPLES 131 TRIMMING SAMPLES 132 LOOPING 136 LOOP AUTO FIND AND CROSSFADE LOOPING 137 MAKING A GOOD LOOP 139 LEVEL NORMALISATION 141 DSP FUNCTIONS TIMESTRETCH RE SAMPLING AND EQ 142 TIMESTRETCH 142 PERFORMING A TIMESTRETCH 145 RE SAM...

Page 11: ...LUME 206 SELECTING THE TYPE OF SAVE 206 SAVING TO FLOPPY DISK 208 SAVING TO HARD DISK 209 RENAMING FILES 211 DELETING ITEMS FROM DISK 212 HARD DISK CONTROL 213 FORMATTING A FLOPPY DISK 214 FORMATTING A HARD DISK 216 NOTES ON USING EXISTING S1000 S1100 SOUND LIBRARY 217 LOAD MODE 2 1 8 SELECTING FLOPPY OR HARD DISK 218 SELECTING THE HARD DISK PARTITION 218 SELECTING THE HARD DISK VOLUME 219 SELECTI...

Page 12: ...CTIONS 261 PLAYING TAKES 263 USING THE PLAY PAGE 265 EDITING A TAKE FOR SYNCHRONISED PLAYBACK 266 NOTES ABOUT SYNCHRONISING TO EXTERNAL AUDIO 266 USING THE SONG MODE 267 CREATING A SONG 267 TRIGGERING TAKES FROM MIDI 270 USING MIDI TRIGGERING 270 USING THE SONG MODE TO CHAIN TAKES 273 USING THE NUMERIC KEYPAD IN THE SONG MODE 274 BLOCK EDITING IN SONG MODE 275 NAMING SONGS 277 SAVING A SONG 277 LO...

Page 13: ...E LENGTH 292 APPENDIX 2 2 9 3 DATA COMPATIBILITY ISSUES 293 SOUND DATA 293 EFFECTS FILES 294 MULTIS 294 ME 35T DRUM SETTINGS 294 SONGS AND QLISTS 294 APPENDIX 3 2 9 5 INSTALLING EXTRA MEMORY 295 INSTALLING MEMORY EXPANSION 295 APPENDIX 4 2 9 7 S3200XL SYNTHESISER PANEL 297 APPENDIX 5 2 9 8 MIDI CONTROLLER LIST 298 S P E C I F I C A T I O N S 3 0 3 S3200XL MIDI IMPLEMENTATION CHART 3 0 4 ...

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Page 15: ...ng auto panning and rotary speaker effects plus delay and reverb Two spare channels of reverb are also available providing a total of four reverbs Also included is a second bank of multi mode resonant filters for sophisticated tonal processing Bundled with the S3200XL is a software application for the Macintosh computer that allows you to operate the sampler from your Macintosh allowing large scre...

Page 16: ... waveform editing Digital I O Digital audio input output Effects 4 channel multi effects processor offering two channels of simultaneous distortion four 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 Fil...

Page 17: ...or disk 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 S3200XL s disk recorder Using the internal multi effects processor you may add four channels of effects processing to the mixdown OPERATING MODES SI...

Page 18: ...uting FX routing FX send low key range high key range note priority EFFECTS In the two multi effects channels DISTORTION distortion level EQ low gain mid 1 gain mid 2 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 select mono stereo ping pong delay times feedba...

Page 19: ... will 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 S3200XL 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...

Page 20: ...ed function but change according to the page currently displayed on the screen LCD The 40 x 8 character 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 list...

Page 21: ... SOFT PEDAL GROUND Both require a press to open type of switch DISPLAY CONTRAST Sets the viewing angle for the LCD You will note that pressing this control in switches off the LCD s backlight thus preserving the life of the LCD think of it like a screen saver on a computer MO DRIVE SLOT You may install a 3 5 Sony 650Mbyte Magneto Optical MO drive here please consult your dealer about this option F...

Page 22: ...drive the metal protective cover slides back exposing the actual disk inside this makes the disk susceptible to picking up dust which may cause read errors 3 Do not leave your disks in a hot car 4 Do not place your disks next to any magnetic sources such as speakers amplifiers televisions etc Also try to avoid X ray machines At airports it is sometimes possible to ask for your disks to be inspecte...

Page 23: ...ging musician Heavy duty metal camera cases are ideal and some flight case manufacturers now make special heavy duty disk flightcases 10 Even if you are using a hard disk of any sort please make sure you have backed up your work to floppy disks It can be time consuming but it will be worth it if you ever have a problem with your hard disk ...

Page 24: ...gue inputs are connected in parallel When inputting an analogue signal use only one pair of them Associated with the analogue inputs is a 3 position slider switch LOW MID HIGH used for matching the level of the input source to the recording amplifier of the S3200XL Fine adjustment should be carried out with the REC LEVEL control on the front panel Ideally you should set the REC GAIN so that the RE...

Page 25: ...can sometimes occur in complicated setups where a lot of equipment is connected L R OUTPUTS There are two LEFT RIGHT connections available one set is a pair of unbalanced jack sockets the other a pair of balanced XLR connectors for outputting the main stereo mix from the S3200XL When connecting to two channels of a mixing console remember to pan the mixer channels hard left and right to enjoy the ...

Page 26: ...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 RUIN YOUR WHOLE DAY NOT TO MENTION ...

Page 27: ...or 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 S3200XL You will see a message in the LCD informing you ...

Page 28: ...ss F1 to 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 th...

Page 29: ... horizontally 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 h...

Page 30: ...ch part to a different MIDI channel but it can also be 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 EDIT Puts the sampler into edit mode for any of the four modes described above For example EDIT SINGLE allows you to edit single programs ...

Page 31: ...ING PARAMETERS AND ENTERING DATA You move around the screen using the CURSOR KEYS and data is input either from the DATA ENTRY ENCODER or from the NUMERIC KEYPAD You may move around within digit fields using the and keys found on the numeric keypad CURSOR DATA 1 W 0 Z 8 R 5 U 2 X 9 S 6 V 3 Y 7 Q 4 T On simple fields like filter cutoff attack time MIDI channel etc that have two digits you may simpl...

Page 32: ...RY ENCODER The best way to learn how this works is to practise after a short time it should become second nature On signed fields that is fields that have a or a before them the and will do two things Pressing the key will move the cursor left within the field and when it reaches the furthermost left digit you may use it to switch between and depending on the selection you wish to make The key wil...

Page 33: ...bers using the DATA control When actually entering names pressing the NAME button will switch the function of the numeric keypad between letters and numbers The CURSOR keys moves the cursor around inside the name field when naming a sample or program When entering names in letter mode the and buttons work as backspace and space bar buttons respectively when in number mode they enter the and charac...

Page 34: ...and this switch can help prevent this The switch should be pushed in to switch the backlight off and pushed in again to switch it back on RECORD LEVEL MAIN VOLUME HEADPHONE OUTPUT Above the numeric keypad you will find the RECORD LEVEL and MAIN VOLUME controls REC LEVEL MIN MAX MAIN VOLUME MIN MAX Input level for sampling is regulated using the RECORD LEVEL control and the S3200XL s overall output...

Page 35: ...ws you 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 S3200XL 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...

Page 36: ...ividual outputs 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 placed into a ...

Page 37: ...RE SCALE LFO 1 LFO 2 MOD WHL P BEND PRESSURE VELOCITY EXT MIDI KEY POS 12dB 8ve RESONANT FILTER 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 TO INT EFFECTS PAN MASTER OUTPUT AUTO PANNING ENV 1 ENV 2 ASSIGNABLE PROGRAM MODULATION SOURCES MASTER PROGRAM OUTPUT KEYSPAN VEL SW XFD PAN PAN PA...

Page 38: ...EVEL PAN 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 39: ...y earlier 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 USER...

Page 40: ... 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 individually in EDIT PROGRAM To access this press and yo...

Page 41: ... number of the program 1 128 selected in the main SINGLE page although you may select another program or group of programs in this field This allows you to set the MIDI channel for any program and the range is OM omni through 1 16 This parameter allows you to layer programs together by setting two or more programs to the same program number and setting their MIDI channels the same in this field It...

Page 42: ...background 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 ov...

Page 43: ...r the program and affects the level appearing at the main left right outputs the individual outputs and the real time digital audio output It will also affect the level going to the internal effects 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 thi...

Page 44: ...s of the disk press You will be asked if this is what you really want to do Make sure that you either do not want the programs and samples in memory or that they are saved to disk before you proceed As the disk is loading you will receive this display indicating the loading progress The other option allows you to load a program and all associated samples free memory permitting To do this highlight...

Page 45: ...k By moving the cursor to where it says after you may select different partitions to choose other volumes Loading is done in the manner described above press to load the entire volume and to load a particular program and its associated samples NOTE There is more to using a hard disk than that unfortunately such as matching SCSI ID s formatting etc For details on using the S3200XL with a hard disk ...

Page 46: ...ou should 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...

Page 47: ...00 Page 33 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 48: ...ber as 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 current...

Page 49: ...hin one 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 y...

Page 50: ...ams you 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 ...

Page 51: ...sound with one simple 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 TRACK 3 or...

Page 52: ...h that 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 lo...

Page 53: ...rocessors 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 S3200XL whilst others are sent out via the individual outputs for processing on the mixing console As you can see the MULTI mode is very flexible NOTE ...

Page 54: ...nel so that they will play together MIXING THE PARTS Once you have several 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 will stay the same SENDING PARTS TO THE INTERNA...

Page 55: ...spose 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 s...

Page 56: ...stolen from this program 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 polyphon...

Page 57: ... added 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 somethin...

Page 58: ...ce plays 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...

Page 59: ... can use 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 asso...

Page 60: ...to renumber 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 cho...

Page 61: ...ply renumber 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 62: ...e pan 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 a...

Page 63: ...e one 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 pro...

Page 64: ...o the 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 possib...

Page 65: ...uts where they may be mixed and processed on an external mixing console COMBINING THESE TECHNIQUES The S3200XL 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 be set to the same MIDI channel but have key splits s...

Page 66: ...ansform any sound 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 ou...

Page 67: ...ge C0 B2 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 b...

Page 68: ...or layering 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 f...

Page 69: ...acility 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 represen...

Page 70: ... 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 ENV3 could be routed to pitch for special effects whilst at the same time LFO1 whose rate may separately be being co...

Page 71: ...3 IND OUTPUT ASSIGN 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 afte...

Page 72: ...he current position of the selected external MIDI controller at the point of note on as the modulation source These are selected in the MIDI mode All of these are available to be routed in any amount to virtually any source which include filter 1 and 2 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...

Page 73: ...ce or three 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 ex...

Page 74: ...hen when you re happy with that copy that keygroup four times assign the other samples to each one 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 edit them simultaneously by selecting to edit ALL keygroups The third method is where you copy keygroup 1 four times and w...

Page 75: ...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 program use this to create a new program If the program name is an existing one t...

Page 76: ...receive 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 F8 YES but if you need to keep them press F7 NO NOTE Deleting samples and programs is ultimately destructive Please ensure that you have saved them to disk before deleting in c...

Page 77: ...between 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 r...

Page 78: ...ry strange 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 i...

Page 79: ...ons This 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...

Page 80: ...y 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 A description of the MUTE GROUP function is given later in this section This allows you to specify how notes will be stolen by other progr...

Page 81: ...uch but 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 ...

Page 82: ... R outputs 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 sig...

Page 83: ... 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 modulation source in this field This is one of only two fixed assignments in the APM sy...

Page 84: ...ng 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 any MIDI controller to control the program s overall loudness The breath option will be very popular with owners of the Akai EWI MIDI wind controller Th...

Page 85: ...ld 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 pans around the stereo image You may set a value of 50 NOTE Due to limitations with the panning h...

Page 86: ...ps ENV2 or 3 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 effects are applied Layering two programs and se...

Page 87: ...ctave which 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 spe...

Page 88: ...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 you to c...

Page 89: ... only the notes you are holding will bend The pitchbend options on the S3200XL 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 90: ... 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 immediately springs to mind of course is the classic sample and hold eff...

Page 91: ... 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 to their left i e and The default for these parameters is so that you may affect speed depth and delay according to keyboard position thereby emulating the fact that for example high violins vibrato is often slightly faster deep...

Page 92: ...ed 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 With set at anything other than 00 this will set a basic level of modulation that will be present in the sound all the time and the modwheel will introduce mo...

Page 93: ...l destinations 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 sim...

Page 94: ...m that 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 s...

Page 95: ...ch note 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 ne...

Page 96: ...ignore 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...

Page 97: ...e affected when the 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 th...

Page 98: ...ynths 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 responds to th...

Page 99: ...have is over 30 seconds You will note that if this parameter is set high but you play notes quickly the portamento effect may be so slow that your notes never hit the right pitches If you anticipate playing a particular sound 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 constan...

Page 100: ...course 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...

Page 101: ...assisted 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 ...

Page 102: ...n these 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 undesi...

Page 103: ... If however 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...

Page 104: ...o all 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...

Page 105: ... the facility 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 ...

Page 106: ... those 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 ...

Page 107: ...o select others using the DATA control As always in PROGRAM EDIT you may quickly select a keygroup by holding the EDIT select key and playing an appropriate note on the keyboard Here you can select to edit ONE or ALL 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 selecte...

Page 108: ...r either method if you record or load your 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...

Page 109: ...ssign 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 output will be shown here i e if the program is set to appear at output 1 then 1 will be shown for every keygroup here You may change this per keygrou...

Page 110: ...y 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 the MORE page in SAMPLE EDIT The ability to reset the playback parameters of a sample allows you a lot of flexibility the same sample can be used ...

Page 111: ...osite effect 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 b...

Page 112: ...w 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 frequency...

Page 113: ...ish 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 ins...

Page 114: ...he filter cutoff 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 expressiv...

Page 115: ...select 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 whe...

Page 116: ...tive to 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...

Page 117: ... on the 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 velocit...

Page 118: ...t although 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 S3200XL s filter and envelope section The only difference h...

Page 119: ...ICS 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 boosted to give synthesiser effects The band pass selection offer this type of response slope HARMONICS CUTOFF FREQUENCY ROLL OFF...

Page 120: ...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 these modulation sources you may create interesting sounds not unlike phase shifting The response slope for ...

Page 121: ...w 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 a value of 0 is set on the other three filters this will cause the cutoff frequency to be cut when you select EQ This parameters allows you t...

Page 122: ... 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 one of the 128 MIDI controllers for control of the second filter s cutoff Key Although selectable as a...

Page 123: ...hesisers 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 them of lacking any punch Some synths offered a switch to choose the cutoff frequency s response slope However...

Page 124: ...tice 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 settings you may find it necessary to switch in the 6dB pad in the field you may even need to ba...

Page 125: ... 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 boosting ...

Page 126: ...ples more 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 i...

Page 127: ...ng you wish Typically it may be used to control FILTER 2 separately but may also be used to control pitch panning 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 ...

Page 128: ...e 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 assignable modulation input and any source may be selected here ENV2 is selected as the default again as means of ensuring compatibility b...

Page 129: ...e vibrato Pressure Use this instead of either of the above The same values apply External Any of the 128 MIDI controllers may be used to control pitch Useful ones that immediately spring to mind are footpedal or breath Velocity Use this so that differing velocities will affect pitch This may be useful on some percussive sounds which have a different pitch for each note for example an African talki...

Page 130: ...l be affected All this differs from most other modules where SINGLE and MULTI are two totally separate modes and the EDIT SINGLE key refers to editing the single sound and the EDIT MULTI key refers to editing or setting up the multi mode s parameters On the S3200XL the MULTI mode is always active for setting up parts and EDIT MULTI is used for editing the programs assigned to the parts On most syn...

Page 131: ... these are not accessible in EDIT MULTI However you can edit the loudness and the loudness modulation parameters as these are program parameters The MIDI page also differs Parameters such as the program s MIDI channel key range priority and transpose are omitted as these are MULTI parameters set within each part of the multi file Apart from these differences however EDIT SINGLE and EDIT MULTI are ...

Page 132: ...even 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 t...

Page 133: ...utes which do not transpose well Similarly the sound s envelope will change transposed down 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 munchkini...

Page 134: ...o 12 characters Press NAME again to use the numeric keypad to enter numbers As soon as you create a new unique name you will see 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 respective...

Page 135: ...u are sampling will be heard through the S3200XL At the end of recording it will automatically switch this through signal out so you can hear your new sample The other option OFF switches the through signal off completely although this may be overridden in the REC page if you wish This is used when monitoring the signal you are sampling through a mixer NOTE If you are sampling from a mixer it is p...

Page 136: ...erating system to floppy disk go to SAVE move the cursor to type of load and select OPERATING SYSTEM Now press WIPE and or GO This will save your personal record parameters to disk From now on when you boot up with this floppy in the drive these record parameters will always be set for you If you have a particular way of working this may be invaluable and a great time saver If you have several dif...

Page 137: ...ters to numbers and you will receive this prompt You may press NAME again to access the numeric keypad s letters When in the numbers mode the and 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 thro...

Page 138: ...of them to indicate the left and right sample This sets the note on which the new sample will be placed when you record it The default is C 3 but you may set any note you like You will note that you can set the note by specifically moving the cursor to this field and using the DATA wheel or you may set it by playing the note on your MIDI controller i e keyboard NOTE To set the note from a MIDI con...

Page 139: ... you are ready to make a recording RECORDING ON THE S3200XL 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 If FOOTSWITCH is selected as the record start t...

Page 140: ...ffers excellent sound quality with 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 rec...

Page 141: ...s difficulty recording 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 ...

Page 142: ...o press 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 m...

Page 143: ... sample 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 rem...

Page 144: ...e the and 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 samp...

Page 145: ...n t Names 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 Ple...

Page 146: ...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 want to set you can use finer incrementation until with the cursor on t...

Page 147: ...nd one 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...

Page 148: ...uned 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 the end of the last active loop This area retained...

Page 149: ...rds 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 is safest ...

Page 150: ...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 LOOP 2 for 1 second 1000mS and LOOP 3 for 3 seconds 3000mS If you set 9999mS this...

Page 151: ... cases where you have found a good loop length and want to reposition it elsewhere The length field is adjustable in 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 you change loop length or adjust the position this area will display the wavefo...

Page 152: ... each 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 don t like the results or you make a mistake ...

Page 153: ...d In this 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 smoot...

Page 154: ...llies in 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 S3200XL If your sample ha...

Page 155: ...have not 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 ha...

Page 156: ...f 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 remains ...

Page 157: ...rder 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 guitar solo so that it can be played back at a different pitch and so acc...

Page 158: ... 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 operations you will need to have enough free memory This sets a leve...

Page 159: ...lues will 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 par...

Page 160: ...is shows 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...

Page 161: ...ple you will receive the message When the process is complete you can play the new sample you have created by pressing the key F8 and you can make very fast comparisons by pressing and the ENT PLAY key alternatively 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 ...

Page 162: ... samples 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 e...

Page 163: ...ency of 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 cont...

Page 164: ...ain overwriting 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...

Page 165: ...at 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 when the key is released the loop...

Page 166: ... 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 167: ...LES In 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 168: ...sample 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 ...

Page 169: ...where 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 wil...

Page 170: ...reate 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 temp...

Page 171: ... should 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 in...

Page 172: ...ou may need to use the scale parameters to turn them down Once you re happy with everything press If the J sample already exists you will be prompted and you should respond accordingly and after a few seconds you will be able to play the sound from the ENT PLAY key You may repeat these techniques using the J sample as the basis for a new splice crossfade or layer For example you could Crossfade a ...

Page 173: ...E S3200XL Operator s Manual Version 1 00 Page 159 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 174: ... to If 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 th...

Page 175: ...0 Page 161 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 176: ...ing 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 CHOR...

Page 177: ...ct with 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 ex...

Page 178: ...ect 25 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 RE...

Page 179: ... method 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...

Page 180: ...ch between 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...

Page 181: ...easier to follow For example let s say that instead of having the internal effects on the S3200XL 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 respe...

Page 182: ...the multi 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 S3200XL you do not have this limitati...

Page 183: ...G 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 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...

Page 184: ...a mixdown you could be mixing tracks off tape whilst running the S3200XL 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 S3200XL 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 tracks into the mixer providing the non MIDIable ...

Page 185: ...iary 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 also has an external input routed to it This ...

Page 186: ...se reverb 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 R...

Page 187: ...verb reverb 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 eff...

Page 188: ...e soft 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 ...

Page 189: ...ulti effects 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...

Page 190: ...ency of 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 addi...

Page 191: ...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 something like thi...

Page 192: ...ts 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 created by sweeping ...

Page 193: ... 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 different and so yields a different sounding eff...

Page 194: ...s 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 are This se...

Page 195: ... 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 sweep lower settings will give a narrower sweep Thi...

Page 196: ...ay 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 select the same MIDI channel as the program s MIDI channel NOTE 1 In practice it is likely that only one sound will be routed to a multi effects cha...

Page 197: ... as the sound crosses the central axis the level will be constant giving the impression of it simply panning left to right The sound will move from left to right As the sound 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 t...

Page 198: ... 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 FBK 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 RIGHT DELAY L DELAY R Audio in FBK L FBK R The signal fro...

Page 199: ... 1 00 Page 185 NOTE You will please note that when PITCH SHIFT FB 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 FB is selected ...

Page 200: ...EFFECTS 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 201: ...gh the 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 frequenc...

Page 202: ... FBK L 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 203: ... the echo 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 followe...

Page 204: ...nd back 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 a...

Page 205: ...ap the 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 ...

Page 206: ...ency damping 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 time...

Page 207: ... we hear 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 roo...

Page 208: ...rease the 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...

Page 209: ...ce ROOM 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 A...

Page 210: ... be selected 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 ec...

Page 211: ...ience around the sound where the drum has dense space around it but the reverb doesn t hang over into the next beat The S3200XL 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 ...

Page 212: ...t of making 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 distinctiv...

Page 213: ...ds and 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 exam...

Page 214: ...ed by 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 ...

Page 215: ...flexibility 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 Wh...

Page 216: ...to different 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 ...

Page 217: ... copy it to another destination so that you can add some chorus or whatever Move the cursor to the FX TO field and select an effect preset you are happy to overwrite for example effect preset 10 Press XOVER DELAY will be copied to 10 and effect 10 will have associated with it reverb preset 4 LARGE HALL Now when you select effect preset 10 it will be XOVER DELAY with LARGE HALL You may now add the ...

Page 218: ...EFFECTS EDIT Page 204 S3200XL Operator s Manual Version 1 00 NOTE When editing RV3 or RV4 you may only copy reverb presets ...

Page 219: ...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 220: ...program a sample or a multi You may also save effects files ME 35T Drum settings D D SONG files called TL s take lists and Qlists 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 associated programs and their associated samples It will also save the effects file NOTE If you have programs in memory that you cal...

Page 221: ...st If no floppy disk is in the drive you will be prompted accordingly Similarly if the floppy disk is write protected the S3200XL will inform you NOTES ABOUT SAVING TO FLOPPY DISK An unexpanded S3200XL 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...

Page 222: ...ice to 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 era...

Page 223: ...SAVE S3200XL Operator s Manual Version 1 00 Page 209 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 224: ...ou 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 STRINGS or POP BRASS 1 so that volumes can be easily recognised...

Page 225: ...ere 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 the most drastic erasing all data on the volume OPERATING S...

Page 226: ...hanging the ID number 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 S3200XL can use both and this is selected in this field The default is 512b The field sets the S3200XL s SCSI ID as distinct from the sampler s SCSI interface s ID and...

Page 227: ...e using 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 S3200XL will inform you of thi...

Page 228: ...format 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 S3200XL Trying on an un formatted disk will display the prompt You should use ...

Page 229: ...d leave 100Mb free for disk recording giving you 10 minutes of stereo 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 rec...

Page 230: ...0 or S1100 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 S3200XL 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 yo...

Page 231: ...oll up and 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 sele...

Page 232: ...with them ALL SAMPLES This will load all the samples currently on disk CURSOR PROG SAMPLES This will load the selected program and its associated samples only CURSOR ITEM ONLY This will load the selected individual item be it a program a sample or a multi You may also load effects files You may also load ME 35T Drum settings D D SONG files called TL s take lists and Qlists OPERATING SYSTEM This wi...

Page 233: ... to check 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 load...

Page 234: ...e number 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 ...

Page 235: ...e same 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...

Page 236: ...tion that give details about saving such data from the S3200XL back onto an S1000 S1100 formatted disk should you wish to do so AUTO LOADING FROM DISK If you turn on the S3200XL 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 ...

Page 237: ...XL will 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...

Page 238: ...200XL Operator s Manual Version 1 00 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 239: ...ou must 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 cur...

Page 240: ...worth giving your tags useful names to avoid confusion at a later date NOTES ON USING THE TAGGING SYSTEM The tagging system is very powerful and can save you a lot of time searching for files and this is especially useful if you have a busy deadline to meet or are working in an expensive studio or whatever For example you may tag all orchestral sounds including strings brass woodwind orchestral pe...

Page 241: ...LOAD S3200XL Operator s Manual Version 1 00 Page 227 straight for the SYNTH BASS tag so as to only be presented with synth basses and not be distracted by electric or acoustic basses ...

Page 242: ...hanging the ID number 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 S3200XL can use both and this is selected in this field The default is 512b The field sets the S3200XL s SCSI ID as distinct from the sampler s SCSI interface s ID and...

Page 243: ...een Move the cursor to the volume field and press and or This will load the program shown at the top of the list and all those shown below it NOTE If any programs below the select program are off screen these will also be loaded For example if in the above example you want to load BRIGHT GRAND and all programs after it move the cursor to BRIGHT GRAND scroll it to the top of the list using the DATA...

Page 244: ...standard MIDI song files see GLOBAL SMF is overwritten when another manufacturer s sound is loaded from CD ROM In other words any SMFs you may have loaded will be erased should you load sounds from another manufacturer s CD ROM It is best therefore to load your sounds first and then load your MIDI song files It must be said that whilst the S3200XL can use sounds made for other samplers the way eac...

Page 245: ...e saved 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 contro...

Page 246: ...ws you 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 S3200XL will accept or filter The first row affects the S3200XL s receive capabil...

Page 247: ...shown above 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 S3200XL is receiving MIDI on its channel If it is then it may be som...

Page 248: ... the sequencer 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...

Page 249: ...opriate 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 ...

Page 250: ...ive key on the S3200XL 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 S3200XL protocol because the editor will not have the ability to recognise the new file header information present because of the new features in the S3200XL No doubt manufacturers of ...

Page 251: ...ch faster than normal MIDI data dumps which can take an awfully long time NOTE 1 When using the Mac editing software supplied with the S3200XL 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 t...

Page 252: ...ere 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 S3200XL The name of the drum input settings may be altered by pressing NAME typing in the name followed by ENTER The parameters on this pa...

Page 253: ...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 up MIDI parameters for up to two ME35T units Parameters which you can set...

Page 254: ... been 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 fa...

Page 255: ...on takes 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 the...

Page 256: ...rmat 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 1 999 ...

Page 257: ...he title of this page implies files must be on a DOS format floppy disk SMF s on floppy disks other than 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 300kB fr...

Page 258: ...ess to 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 ...

Page 259: ...an fade in fade out 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 internal effects unit 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 amoun...

Page 260: ...er 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 disk up as you li...

Page 261: ...ke place whilst ordinary programs are also being played via MIDI and so in this way you could for example be sequencing several multi timbral programs as a backing track whilst simultaneously spinning in backing vocals brass riffs solos breakbeats etc from disk Note It is also possible to record a take whilst sequencing programs For example you may record a guitar solo directly to disk whilst list...

Page 262: ...s a delay in the take playing back This is due to disk access time i e the speed with which the disks heads can find the audio material 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 knowl...

Page 263: ...y press 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 amou...

Page 264: ...nct from the sampler s SCSI interface s ID and is used when communicating between samplers or computer editors over SCSI If you have the optional SONY HS D650 3 5 inch magneto optical drive fitted internally in the S3200XL the field allows you to turn this off in software Three options are available The first is which leaves the MO drive operating at all times However because the drive can be nois...

Page 265: ... indicated in the display COPYING TAKES You may copy takes only within 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...

Page 266: ...gue inputs on the front panel or via the digital audio interface The selection choices are ANALOG or DIGITAL When DIGITAL is selected you may select ELEC electrical i e the jack sockets or OPTI the optical input on the digital I O 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 thres...

Page 267: ...me left on disk Here you may set the length of the recording you wish to make If you are unsure of the length of the recording you are about to make simply set a long record time Wasted disk space can always 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 trigge...

Page 268: ...s Manual Version 1 00 mix the take out of the stereo outputs and so it will only appear at the individual outputs selected here At any time you can audition an existing take by pressing the ENT PLAY key which will cause it to play back ...

Page 269: ...G mode 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 270: ... panel 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 S3200XL is either waiting for a ...

Page 271: ... when you 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...

Page 272: ...kes for 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 S3200XL into a record ready state awaiting the arrival of a suitable record start command depending on the setting of the START field in ...

Page 273: ...the width 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 f...

Page 274: ...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 the ZOOM IN OUT as a variable pre roll function USING THE EDITING FUNCTIONS The editing functions have...

Page 275: ...pace 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 EDIT or PLAY pages sounds fine but glitches slightly and needs adjustment when playing back to back with...

Page 276: ...corded i e 32kHz 44 1kHz 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 ...

Page 277: ... field allows you to set the playback level of the 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 The level at which they will appear at the i...

Page 278: ...STOP at 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 S3200XL 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 ...

Page 279: ...es if it 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 S3200XL is extremely fast ...

Page 280: ...eating 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...

Page 281: ... characteristics 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...

Page 282: ...the ENT 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 pointle...

Page 283: ...hem 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 ...

Page 284: ...elay 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 ...

Page 285: ...e and triggering 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 ...

Page 286: ... used 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 t...

Page 287: ... IN THE 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 dow...

Page 288: ...his Ensuring 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 c...

Page 289: ...g complex 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 blo...

Page 290: ...er you 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 memor...

Page 291: ... parameters 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 ...

Page 292: ...at have the 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 ...

Page 293: ...will show 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 294: ...effect on C3 in the GUNSHOT program at 12 seconds with a MIDI velocity of 127 You may have any number of programs in one cue list and these programs can contain any number of samples in keygroups on specific note numbers You may layer two or more samples on top of each other within any one keygroup and these will be played simultaneously when the appropriate MIDI note number is sent from the cue l...

Page 295: ...ow an event and this is used to mark events for copying insertion or deletion You may also use this cursor to play the cue list from any point In the cue list edit mode there is an indicator at the top of the screen to show the current event number the cursor is placed on GETTING AROUND THE CUE LIST THE NUMERIC KEYPAD When you are in the cue list the numeric keypad has a slightly different functio...

Page 296: ...le cue list can be offset forwards by pressing the key when the cursor is in this field or backwards by pressing the key when the cursor is in this field This allows you to set the time by which you want to slip a block of events in time and data is input using the data wheel or the numeric keypad You may slip a block of events forwards using the key when the cursor is in this field or backwards u...

Page 297: ...ime on the screen but to make things clearer for yourself you may want to place them in strict time order so that they follow consecutively on the screen display When you first enter the EDIT CUE page you will always be presented with one cue This is a MIDI note ON cue set at 00 00 00 00 0 with no program assigned I e The default MIDI note is C3 note number 60 and the default velocity setting is 1...

Page 298: ...take is specified twice but one is specified as which indicates that at 00 00 14 05 1 the take will stop playing In this way you can set exactly how long a take is to play for regardless of any edits made to that take within the D D pages You may at any time change a take cue into a program cue simply by changing to and vice versa If you try to start playback of a Qlist midway through where a take...

Page 299: ...using the S3200XL as the master controller When the cue list is playing the cue list will scroll through the cue list and a small highlight appears to the left of the cue to indicate that the event has played The current cue playing is always the middle cue in the screen except when playing the first three cues at the start of a cue list This is an abbreviation of CONTINUE INTERNAL and pressing th...

Page 300: ...of 127 but this may be changed by changing the parameters set in the TRANS page of the main MIDI mode please refer to the section that explains the MIDI mode for more details on this function For either way of inputting cues in real time the GRAB soft key has two functions If you press GRAB whilst the S3200XL is NOT playing a small G appears at the top of the screen next to the time field When thi...

Page 301: ... 30 fps and 30 drop fps It is important that this be set to match incoming external timecode otherwise you may find that certain cues misfire This field shows the SMPTE time currently being sent There are four soft keys associated with the reception and transmission of SMPTE These are This switches the S3200XL s SMPTE reader generator to receive external SMPTE EBU timecode When this is switched on...

Page 302: ...save then press F8 GO This will save the cue list to disk Any number of cue lists can be saved to a disk although only one can exist in the S3200XL at any one time LOADING CUE LISTS When a disk is inserted into the S3200XL s disk drive on power up the cue list file will be loaded along with the programs and samples This also applies if ENTIRE VOLUME is specified as the load type Loading an individ...

Page 303: ...CSI or SAVE LOAD SCSI pages If the other sampler is not an S3200XL please refer to its operator s manual If the s are the same on both samplers you will notice difficulty in accessing the disk drive for loading or saving data Both samplers must be terminated in the above example please see next page TERMINATION 3 Please be aware of certain backwards compatibility issues regarding using S3200XL dat...

Page 304: ...ey 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 going on especially if your audio connections run parallel with the SCSI lead However if this is not a problem for you and in a studio it may not be these cables are usually very good and usually perform much more reliably In a live situati...

Page 305: ... 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 corruption of data S3200XL Hard disk MO drive CD ROM 6 metres total ...

Page 306: ...sk there are a few things you should be aware of The S3200XL 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 the S1000 1100 disk has to be re form...

Page 307: ... compatibility Please contact your Akai dealer for information on this if you want to use S3200XL sounds in an S1000 or S1100 The S900 or S950 cannot read S3200XL sound data If you have an S3000 or 2800 or 3200 you will be able to use S3200XL sample and program data with no special software required although it is advisable to have the latest software version for best results EFFECTS FILES The S32...

Page 308: ... ROM board sockets SIMMs socket Floppy disk drive SCSI Connector for optional MO drive Effects processor O S ROM INSTALLING MEMORY EXPANSION The S3200XL s internal memory can be expanded to 32Mbytes giving a massive recording time of nearly six minutes The S3200XL comes with 16Meg of memory hardwired and there is an extra slot in which you can install SIMMs chips Installation is fairly simple The ...

Page 309: ...being able to install up to 32Mbytes of RAM Random Access Memory you may also install a further 16Mbytes of FLASH ROM giving the S3200XL a total of 48Mbytes of memory Normally ROM being read only cannot be used to save data and the data contained in ROM is usually blown into it at the factory However the contents of the ROM are retained when you turn the power off RAM on the other hand allows you ...

Page 310: ...ION OSCILLATOR 1 OSCILLATOR 2 LOWPASS FILTER AMPLITUDE MODULATION KEYRANGE OSCILLATOR 3 OSCILLATOR 4 MULTI MODE FILTER TONE TRI SQUARE SAW RAND WAVE RATE DEPTH DELAY WAVE RATE DEPTH DELAY RATE 1 RATE 2 RATE 3 RATE 4 MODWL PRESS VELO EXTRA LFO1 MODULATION OUT OUT OUT LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 RATE DEPTH DELAY LFO1 MOD INPUTS ATT DEC SUST REL RATE 1 RATE 2 RATE 3 RATE 4 OUT LEVEL 1 LEVEL 2 LEV...

Page 311: ...ch vv 00 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 de...

Page 312: ... Edit Multi 116 Edit Multi differences 117 Edit Multi screens 117 Edit Single 60 Envelope 1 101 Envelope 2 103 EDIT PROGRAM cont Envelope 3 113 FILTER 98 Filter 2 modulation 108 Filter 2 resonance 107 Filter 2 types 105 106 107 Modulation 100 Resonance 99 Tone control 111 KEYGROUP Amplitude modulation 114 APM 56 Assigning samples 92 Assigning stereo samples 92 Copying 87 Creating 87 Crossfade 55 D...

Page 313: ... 191 Stereo echo 189 193 XOver echo 188 192 EQ 177 MODULATION EFFECTS 179 Autopan FMOD 184 Bypass 187 Chorus 180 Flanging 179 Phase shift 179 Pitch shift 185 Pitch shift feedback 185 Rotary speaker 181 Multi effects 175 EFFECTS cont OUTPUT 200 Levels Pan 200 Path control 201 REVERB 194 Decay time 194 Gated reverb 1 198 Gated reverb 2 198 Reverse reverb 197 Soloing effects 203 ENT PLAY KEY 6 19 EQ ...

Page 314: ...67 Pan 267 Parameters 267 Playing a song 273 Step repeat 268 Take level 267 Using the DD functions 250 Master output level 232 ME 35T programming 239 240 GLOBAL cont MIDI functions 233 238 SMF Loading SMF s 244 Playing SMF s 244 Song play 243 Using the SMF function 245 Tuning the S3000XL 232 H HARD DISK RECORDING See GLOBAL HF Damping 190 How the S3000XL works 21 I INDIVIDUAL OUTPUTS 11 INSTALLING...

Page 315: ...17 O Output level 6 20 232 P Phasing effect 179 PHONES OUTPUT 7 Ping pong echo effects 191 PITCH BEND See EDIT PROGRAM MODULATION Pitch shift effects 185 PORTAMENTO See EDIT PROGRAM MODULATION Power connection 12 POWER SWITCH 7 PROGRAM EDIT See EDIT PROGRAM R REAR PANEL 10 Analogue inputs 10 Digital I O 11 Gain switch 10 L R outputs 11 MIDI 12 SCSI 11 SMPTE i o 11 RECORD See SAMPLE RECORD LEVEL 6 ...

Page 316: ...30 Load from hard disk 31 Loudness Velocity 29 MIDI parameters 27 Old Akai SELECT PROG mode 25 35 Keyboard splits 35 Layering programs 35 Multi timbral setups 36 Program level pan FX send 26 Renumbering programs 34 Selecting programs 25 Single Vs Multi 37 Viewing programs 26 SMF Song play 243 SMPTE I O 11 SOFT KEYS 6 16 Stereo echo effects 189 193 Synth panel 297 T TAKES See GLOBAL HARD DISK RECOR...

Page 317: ...haracters 240 x 64 graphic LCD Diskette drive 3 5 dual density drive 2HD 2DD Connectors REC IN 2 x XLR balanced 2 x 1 4 inch phone balanced STEREO OUT 2 x XLR balanced 5 0 dBm 600 Ω 2 x 1 4 inch phone unbalanced 5 0 dBm ASSIGNABLE OUTS 8 x 1 4 inch phone unbalanced 7 5 dBm HEADPHONES 1 x 1 4 inch stereo phone FOOTSWITCH 1 x 1 4 inch phone MIDI 3 x DIN5P IN OUT THRU SCSI Interface 1 x 25P D sub AES...

Page 318: ...esolution Control 1 X O Modulation wheel Change 2 X O EWI Breath controller 1 4 X O Foot switch controller 1 7 X O Volume 64 X O Sustain pedal 67 X O Soft pedal Program Change X 1 128 True No by Preset number Value System Exclusive O O AKAI ID 47H S3200XL ID 48H System Song position X X Common Song select X X Tune X X System Clock X X Real time Commands X X Aux Local ON OFF X X Messages All Notes ...

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