Akai S5000 Operator'S Manual Download Page 28 | Manualshive

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Akai S5000 Operator'S Manual Download Page 28

18

Version 1.21

INTRODUCTION

s5000

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s6000

POP-UP WINDOWS

Throughout the user interface, you will encounter various ‘pop-up’ windows and prompts. These
override the current page’s functions (which become ‘greyed out’ in the background) and use
further function keys to decide the outcome. There are ‘alert’ and ‘warning’ prompts. For example...

And there are ‘dialogue’ prompts:

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Summary of Contents for S5000

Page 1: ...WARNING To prevent fire or shock hazard do not expose this appliance to rain or moisture Operator s Manual s5000 s6000 STEREO DIGITAL SAMPLER Software version V1 21 ...

Page 2: ...fessional M I Corp and may not be quoted or reproduced in any form without written permission from the company LIMITED SOFTWARE WARRANTY POLICY All the software provided with or purchased especially for AKAI professional products has been tested for functionality AKAI professional M I Corp will make its best efforts to correct reported software defects for future releases subject to technical prac...

Page 3: ... S6000 disconnect the power and call your dealer Make sure that the unit is well ventilated and away from direct sunlight To avoid damage to internal circuitry as well as the external finish keep the S5000 S6000 away from sources of direct heat stoves radiators etc Avoid using aerosol insecticides etc near the S5000 S6000 They may damage the surface and may ignite Do not use denatured alcohol thin...

Page 4: ...SIBLE 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 BROWN Live As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug please proceed as follows The wire which is coloured...

Page 5: ...épassant 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 set out in the Radio Interference Regulations of the Canadian Department of Communications 27 En VEN...

Page 6: ...sional 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 professional including but not limited to 1 Damage caused by abuse accident negligence AKAI professional will not cover unde...

Page 7: ...EYS 21 NAMING 21 MARK JUMP KEYS 22 USER KEYS S6000 ONLY 22 STRUCTURE TERMINOLOGY 23 S6000 STRUCTURE 23 VOICE ARCHITECTURE 26 ASSIGNABLE PROGRAM MODULATION APM 27 LOAD 29 LOAD FOLDER 30 LOADING MULTIS 31 LOADING PROGRAMS 31 LOADING SAMPLES 32 AUTOLOAD 33 GET INFO 33 OPEN CLOSE FOLDER 34 AUDITION SAMPLE 34 SELECTING DISKS 35 DISK TOOLS 36 DISK INFO 36 CLEAR MEMORY 36 VIEW ITEMS 36 MULTI 37 SELECTING...

Page 8: ...89 LFO 2 91 KEYGROUP 95 SELECTING KEYGROUPS 97 KEYGROUP ZONES 98 ZONE LEVEL WINDOW 101 PAN BALANCE WINDOW 101 FINE TUNE WINDOW 102 PLAYBACK WINDOW 103 SELECTING AND EDITING ZONES 104 KEYSPAN 105 KEYGROUP CROSSFADE 106 KG PITCH AMP 107 FILTER 108 AMP ENVELOPE 122 AMP ENVELOPE WINDOW FUNCTIONS 123 FILTER ENVELOPE 124 AUX ENVELOPE 125 AUX ENVELOPE WINDOWS 126 CREATING PROGRAMS 127 CREATING COPYING KE...

Page 9: ...HORUS 196 FLANGE 196 PHASE 197 ROTARY SPEAKERS 198 FREQ AMP MOD 200 PITCH SHIFT 201 PITCH FEEDBACK 202 MODULATION EFFECTS TEMPLATES 203 DELAY FX 204 MONO LEFT 204 MONO L R 205 XOVER L R 206 STEREO DELAY 206 DELAY EFFECTS TEMPLATES 206 REVERB EFFECTS 207 OUTPUT MIX MULTIFX1 AND 2 ONLY 210 EFFECTS TOOLS 212 COPYING EFFECTS 213 SAVE 216 SAVE 216 NOTES REGARDING SAVE 218 UTILITIES 219 UTILITIES 219 SY...

Page 10: ...250 APPENDICES APPENDIX A 251 MIDI CONTROLLER LIST 251 S5000 S6000 MIDI IMPLEMENTATION CHART 252 APPENDIX B 253 NOTES ON USING HARD DISK DRIVES 253 SCSI CABLES 253 TERMINATION 253 SCSI IDs 254 SCSI CABLE LENGTH 254 APPENDIX C 253 TRANSFERRING DATA BETWEEN THE S6000 AND A PC 255 TRANSFERRING DATA BETWEEN THE S6000 AND A MAC 257 USING WINDOWS 95 ON THE MAC 260 SHARING DISKS BETWEEN AN S6000 AND A MA...

Page 11: ...s with 64 x oversampling 5th order Delta Sigma 20 bit DACs with 128 x oversampling Delta Sigma with 8 x digital filter on all outputs SPDIF or AES EBU digital I O on balanced jacks or optical EB20 4 channel 20 bit multi effects processor optional on S5000 PS2 QWERTY keyboard input for easy naming 2 x MIDI IN OUT THRU for 32 channel multitimbral operation 2 x SCSI ports for easy connection to disk ...

Page 12: ...n even route controllers to controllers Stereo phase coherent timestretch sample processing New off line stereo pitch shift and BPM matching sample editing algorithms 3 band off line digital EQ New QUICKLOAD functions allow you to get sounds into the sampler quickly and easily Icon based DISK system makes navigation simple Sounds are stored in folders and folders can contain further sub folders fo...

Page 13: ...u will probably do is load some sounds The next thing you will probably do is create a multi using those sounds The next thing you may do is edit the programs in that multi and after that you may edit the samples in those programs You may try to record something yourself After all that you may try to save your work So the running order after the description of the basics and getting to know your w...

Page 14: ...evel of the main L R outputs outputs 1 2 Outputs 3 4 15 16 are not affected by this control PHONES LEVEL This sets the level of the main L R outputs outputs 1 2 on the headphone output The level of the headphone output is not affected by the MAIN VOLUME setting PHONES This allows you to insert a pair of stereo headphones to monitor the main L R output outputs 1 2 NOTE Sounds assigned to outputs 3 ...

Page 15: ... EDIT PROGRAM This is where you edit programs mapping samples out across the keyboard range as appropriate Programs are the basic sounds used in a MULTI RECORD This is where you record your own samples These are subsequently edited in EDIT SAMPLE and then mapped out across the keyboard in EDIT PROGRAM UTILITIES This is where you can set certain parameters that affect the S6000 as a whole SAVE Here...

Page 16: ...n Version 1 20 of the operating system EXIT This takes you out of the currently selected function and back to the screen you were in previously ENT PLAY This allows you to audition the currently selected sound MARK JUMP These allow you to mark a page go to another page and then jump back and forth between them USER KEYS These allow you to assign the pages and functions you use most often for quick...

Page 17: ...ase one or both of them are still attached to the main case To attach the panel simply do the reverse REMOVABLE PANEL CABLE LENGTH The S6000 is supplied with a short cable for packing and transportation purposes This allows the S6000 to be used immediately with the removable panel attached to the main chassis If you wish to use a longer cable you need a simple 9 pin 9 pin female to female extensio...

Page 18: ...000 All outputs are polyphonic NOTE Outputs 13 16 are also used as the sampler s internal effects sends Therefore any sounds routed to the effects channels FX1 FX 2 RV3 and or RV4 will appear at outputs 13 14 15 and or 16 respectively If you wish to utilise all 16 outputs you should not use the internal effects Similarly if you are using the internal effects you should avoid using outputs 13 16 as...

Page 19: ...ON when the S6000 is the last device in a SCSI chain If the S6000 sits somewhere in the middle of a SCSI chain it should be switched off Failure to observe the correct switching of SCSI termination may result in unpredictable results OPTION SLOTS These are provided to allow future expansion One such board is the optional ADAT digital I O which offers 16 digital outputs ideal for interfacing with s...

Page 20: ...S5000 omits the USER KEYS Another difference is that the S5000 does not have rear panel analogue audio inputs so the ones found on the front of the S5000 are the main analogue record inputs It is also not possible to install an optional removable drive on the S5000 s front panel S5000 REAR PANEL Again the S5000 s rear panel is almost identical except that there are no balanced XLR inputs or output...

Page 21: ...d separately The digital I O can be connected to any similarly equipped digital audio device such as DAT recordable CD MiniDisk or the channels of a digital mixer The above diagram shows a fairly simple setup When used with a sequencer assuming it has two or more MIDI outputs connect one to MIDI IN A and the other to MIDI IN B In this way you can achieve 32 channel multi timbral sequencing Another...

Page 22: ...y If the disk drive is at an angle even a slight one you may have unreliability problems and even data corruption If you are planning to rack mount the hard disk with the sampler it is recommended you use the padded type of rack mount adapter available from most manufacturers of rack and flight cases especially if you are likely to be travelling a lot with the set up The padding will help protect ...

Page 23: ...You will see the following LCD screen as it boots up The icons appearing at the bottom of the screen indicate what hardware is installed The icons are Shows the sampler s polyphony4 Shows the amount of memory installed Shows whether the EB20 multi channel effects board is installed Shows whether the optional ADAT digital I O is installed Indicates that an external ASCII keyboard is connected Those...

Page 24: ...OM Your S6000 is now ready to use Press any of the mode keys to continue You can check that the S6000 is receiving MIDI data by looking at the front panel the selected mode s key will flash on and off whenever a note on off is received 5 The exact time depends on how many drives you have attached and also the speed of those drives Of course the more you have the longer the scan will take and if yo...

Page 25: ...e for editing and the whole range of the parameter 0 100 can be set in about three complete turns of the DATA wheel However if you wish to make larger changes to the value more quickly you can use the CURSOR key to move the cursor to the tens or hundreds field Whilst this not may save a lot of time with two or three digit numbers moving the cursor around the parameter is useful when the value is a...

Page 26: ...nly used functions immediately available but with further functionality hidden away by way of the WINDOW function For example the PART LEVEL window looks like this The parameters shown in the window may be edited in much the same way simply by touching the key alongside them and tweaking the DATA wheel The window may be closed by pressing CLOSE WINDOW Another type of parameter is this This is a mo...

Page 27: ...p key This is used to move up through a list This is a typical scroll down key This is used to move down through a list This is a typical select up key This is used to move up through a list and select the currently highlighted item This is a typical select down key This is used to move down through a list and select the currently highlighted item SELECT and SCROLL UP DOWN keys are context sensiti...

Page 28: ...nterface you will encounter various pop up windows and prompts These override the current page s functions which become greyed out in the background and use further function keys to decide the outcome There are alert and warning prompts For example And there are dialogue prompts ...

Page 29: ...u can cancel the process at any time if you want Also all off line processing displays end with this screen This allows you to audition the new processed version and the original so that you can compare the two You are also offered the opportunity to keep the new one and discard the original or keep the original and discard the new one or you can choose to keep both You may also choose to overwrit...

Page 30: ... and will show details of the selected item F12 will always take you to a list of the selected item type multi program sample F13 is always QUICKLOAD which allows you to quickly load items relevant to the selected mode i e load multis programs samples F14 is always QUICKSAVE which allows you to quickly save items relevant to the selected mode i e save multis programs samples F15 and F16 s function...

Page 31: ...SP functions such as timestretch EQ etc You may also name samples at the time of recording A typical naming prompt looks like this This pops up when creating a new multi Pretty much the same pop up would be seen when creating or copying a program and or sample An autonaming process is used throughout the operating system and you may be happy to stick with the autonamed version of the name However ...

Page 32: ... to MULTI Now pressing JUMP will take you straight back to ENVELOPE 1 and pressing JUMP again would return you immediately to MULTI And so on In this way you can toggle between two pages with a single key press The MARK and JUMP keys can be used to switch between any two pages in any mode USER KEYS S6000 ONLY These allow you to assign the pages and functions you use most often for quick convenient...

Page 33: ...p to four stereo samples Keygroups allow you to map out a collection of samples across the keyboard range a technique known as multi sampling A keygroup has its own keyspan and a program can contain as many as 99 keygroups mapped out across the keyboard range as you want or at the other extreme can have just one keygroup spanning the entire keyboard range Some typical examples would be as follows ...

Page 34: ...ay find it easier to layer sounds in the multi simply by assigning the appropriate sounds to parts and playing them all on the same MIDI channel Each keygroup has four ZONES where samples may be layered on top of each other and or switched between using velocity Different programs may share samples for example you could use the same kick and snare drum in a variety of different drum programs As we...

Page 35: ...as sixteen keygroups samples each assigned to their own separate notes whilst the program HIRES MINI BASS Multi Part 2 has three keygroups samples MELLOTRON CHOIR Multi Part 3 has ten keygroups samples whilst TRAD E PF Multi Part 4 contains just five LEGATO VLNS Multi Part 5 has seven keygroups samples mapped out across C1 C6 whilst JAZZ GUITAR Multi Part 6 like TRAD E PF uses five samples In this...

Page 36: ...nd then through an amplifier The keygroups are then mixed and fed through a final output section that controls overall level and pan balance The keygroup s pitch filter and amplifier and the final output section all have assignable modulation inputs allowing them to be controlled by any of the controllers the filter and amplifier also have their own dedicated ADSR envelope generator Two Low Freque...

Page 37: ...ade vibrato in and out in a controlled way over time The possibilities are enormous One way to consider APM is as a matrix MOD WHEEL PITCH BEND AFTERTOUCH EXTERNAL MIDI VELOCITY KEYBOARD LFO 1 LFO 2 AMP ENV FILTER ENV AUX ENV MOD WHEEL PITCH BEND EXTERNAL AMP 1 2 PAN P AMP A 1 2 FILTER LFO1 LFO2 1 2 3 1 2 3 R D DL R D DL OUTPUT KEYGROUP This resembles the patch pin matrix used by an early make of ...

Page 38: ...eir right and use the DATA wheel to set a value between 100 To assign another controller simply press the appropriate key again This will place the cursor on the actual controller field You may now use the DATA wheel to select any of the controllers you want One other useful feature is the GOTO SOURCE found on F16 on any page that has modulation inputs Pressing this will take you directly to the s...

Page 39: ...on F15 F16 or via the DATA wheel Once you have selected a folder if you know what s in it you can load its entire contents into memory by pressing F14 LOAD FOLDER If you need to look inside a folder it can be opened using F11 OPEN FOLDER If the folder contains sub folders you may see something like this Here there are nested folders within the selected folder The operation described above applies ...

Page 40: ...ame name as items in the main folder the items being loaded from the sub folder s will overwrite those that have already been loaded from the main folder So for example if the main folder and a sub folder both have a sample called SNARE 1 first SNARE 1 will be loaded from the main folder but will overwritten when the other SNARE 1 is loaded from the sub folder Back in the main LOAD page if a folde...

Page 41: ...u can if you wish select all multis in the current folder if you wish and or you may choose to load the multi s with or without the associated programs and samples LOADING PROGRAMS When a program is selected F14 changes to LOAD PROGRAM and if you press this you will receive this pop up prompt window You may choose to load just the selected program or all programs in the current folder You may also...

Page 42: ...the two choices In this way you can select that maybe a long sample which you recorded as a normal RAM sample is loaded as a virtual sample or alternatively you may want to load a virtual sample into RAM in its entirety to facilitate easier sample editing NOTE You cannot overide the type for ALL SAMPLES If OVERIDE TYPE is checked and you select ALL SAMPLES OVERIDE TYPE will be disabled Similarly i...

Page 43: ...will then do a quick search to see if it can find the AUTOLOAD folder If it does it will automatically load its contents including the contents of any sub folders as normal At the end it will automatically take you to MULTI mode with the first multi in memory automatically selected and ready to play In this way you can turn up at your gig set up switch on and be ready for action after the autoload...

Page 44: ...eck it prior to loading This function is only available when a sample is selected you cannot audition programs or multis Should you try to audition anything other than a sample you will get this prompt When you press AUDITION SAMPLE there will be a small delay as the sample is found on disk and played out You should press and hold the AUDITION SAMPLE key until the sound is played NOTE If the sound...

Page 45: ...ply by touching the key to its left or using the SCROLL KEYS on F15 16 or using the DATA wheel and pressing SELECT DISK F8 This will select the disk and automatically return you to the LOAD page where you will see its contents TIP You can select a disk very quickly simply by double clicking the key to its left VERY IMPORTANT NOTE If you have removable disks of any kind Zip Jaz CD ROM etc and chang...

Page 46: ...formation on the currently selected drive For example CLEAR MEMORY It is possible to clear the contents of memory using this key the same function also appears at the LOAD prompt VIEW ITEMS These keys allow you to view file sizes or the date and time they were saved in the file list For example with DATE TIME selected To keep clutter on the screen to a minimum however you may prefer to view NAME O...

Page 47: ...n the multi7 More than one part may be routed to any one of the effects channels so that parts may share effects and each part has its own effects send level Effects settings are stored with each multi so that as you select different multis so the correct effects are recalled However you may prefer to use your sampler with external effects processors using a mixing console To accommodate this each...

Page 48: ...ing like this If you have more than one multi loaded they are selected using F1 and the DATA wheel or can be selected in the MULTI LIST Down the left hand side in a large easily read font are the programs assigned to the first six parts However you may select to view more parts if you wish by pressing VIEW 12 PARTS found on F8 ...

Page 49: ...Version 1 21 39 s5000 s6000 MULTI Or you may view 18 parts And you may revert back to 6 parts ...

Page 50: ...in pairs Press the function key once to select the first part of the pair then again to select the second When viewing 18 parts the function keys select the parts in threes Press the function key to select the first of the three parts again to select the second and again to select the third When the cursor is on the number field as shown on the preceding page press the CURSOR key to move to the pa...

Page 51: ...part box is highlighted In this situation you can use the SCROLL UP DOWN keys to select another part if you wish to edit the same parameter for that part For example if in the above screen shot you wanted to balance the levels for Parts 6 7 8 etc you could use SCROLL DOWN very effectively ...

Page 52: ...he DATA wheel or more conveniently using an external QWERTY keyboard Whether you stick with the default name or enter a name of your own choosing for example BACKING TRACK 1 you have a choice of whether you want to create a multi with 32 64 or 128 parts using F14 F16 Pressing one of these will display the new empty multi The new multi is initialised and Parts 1 16 are assigned to MIDI channels 1A ...

Page 53: ...ntil the one you wish to assign to the part is selected For example It could be that you only want to play the one sound in isolation and so this may be all you need to do However to add more sounds to the multi simply select another part and repeat the process described above TIP Once on the program name field you may use the SCROLL UP DOWN keys to move up and down that column TIP You may cancel ...

Page 54: ...assignment tuning effects send MIDI channel etc We will use the following multi as our example Let s imagine we want to edit Part 1 First select Part 1 by pressing the key to its left It will become highlighted Down the right hand side of the screen are the most commonly used parameters you may want to edit These are selected and edited simply by touching the keys to their right and turning the DA...

Page 55: ...is still a BALANCE parameter even though the signal is effectively mono Setting it to L50 means you will only hear the left channel through the single output Likewise setting it to R50 means you will only hear the right channel Setting it to MID will allow you to hear both channels equally though summed in mono though the selected single output NOTE 1 On the S5000 unless the optional output expand...

Page 56: ...n are the key parameters for the parts To edit them simply select the part you want to edit then select the parameter and turn the DATA wheel TIP Once you have selected a parameter to edit you can use the SCROLL UP DOWN keys to set the same parameter for other parts For example to set the levels of parts select one part select and set the LEVEL parameter and then use the SCROLL keys to set LEVEL f...

Page 57: ...ART LEVEL parameter OUTPUT This is a duplication of the main OUTPUT parameter described on the previous page and is included here for convenience PAN BALANCE This allows you set the pan position of mono programs or the stereo balance of stereo programs If an individual output is select e g 1 2 3 4 etc this parameter has no effect MUTE PART This allows you to mute a part without having to disrupt m...

Page 58: ...also use this function This is mentioned here simply because you may load a sound assign it to a part set the effects channel and send level in this window but get unpredictable results For example you may load something route it to RV4 but find that multiFX1 is applied The reason for this will almost undoubtedly be that the original programmer assigned the program s keygroups to multiFX1 in EDIT ...

Page 59: ...uce 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 LOW NOTE HIGH NOTE This sets the low and notes for a part allowing you to create keysplits To create a keysplit you would normally assign two programs to two parts assign them ...

Page 60: ... PART This is slightly different to EDIT PROGRAM When using EDIT PART all editing is done within the context of the current multi and as you edit the program you can also hear the other parts playing You could use EDIT PROGRAM if you wanted to but the program would be heard in isolation and out of context making adjustment potentially difficult To edit a part at the program level first select the ...

Page 61: ...n the multi name i e press F1 pressing MULTI TOOLS on F9 shows this The functions are GET INFO Shows how many multis and programs are currently in memory and how memory is used available The current operating system version number is also shown as the time and date ...

Page 62: ...you only see multis To load them simply select them and press LOAD MULTI F14 You will receive this prompt Using the checkboxes on F6 and F7 you may select whether you want to load just the selected multi or all the multis in the current folder You may also select whether you want to load the programs and samples associated with the multi s The default for this is checked however you may override t...

Page 63: ... NAMES switched OFF checked files of the same name will automatically be overwritten without prompting you The defaults are sensibly chosen to save just the selected multi and all its programs and samples though to save time if you have previously saved all the programs and samples and are happy that they are ok and or haven t been edited or changed in any way you can disable PROGS SAMPS and just ...

Page 64: ...ode key The multi you have highlighted in the MULTI LIST page will become the currently active multi You may also rename copy delete create and renumber multis in this page RENAME MULTI Pressing RENAME will pop up this prompt You may enter a new name in the usual manner using the cursor keys and the DATA wheel or more conveniently from an external QWERTY keyboard If you are entering the name from ...

Page 65: ...f any programs in the selected multi are used in one or more multis in memory those programs will not be deleted as this would corrupt the other multis However if the programs and or samples are not used by any other multis they will be deleted You may also select to delete all multis in memory NOTE Deleting ALL MULTIS and also selecting to delete the programs and samples is the equivalent of clea...

Page 66: ...r to select multis remotely via MIDI For example in a live situation you may wish to use MIDI program change to select multis remotely from your keyboard or sequencer Multis may be given a number 1 128 or OFF To renumber a multi simply move the cursor to the multi you want to renumber and use the DATA wheel to set the appropriate number or switch it to OFF for example GIG FOLDER When you come to l...

Page 67: ...IDI program number is sent to the sampler the first multi with that number will be selected NOTE The numbers assigned here apply equally to bank numbers should you choose to select multis using BANK SELECT in UTILITIES MIDI SETUP MULTI SELECT see below TIP If you are using this function for live work to set the multis in some sort of sensible logical order load each one individually in the order y...

Page 68: ...gram change commands received on that channel will cause the appropriate multi to be selected NOTE The MIDI channel designated for receiving MIDI program change commands for remote multi selection is automatically disabled for selecting programs via MIDI program change commands Therefore be sure to set a MIDI channel that you know won t be required for selecting programs The MULTI SELECT parameter...

Page 69: ...s further functionality Pressing it displays this The functions are PROGRAM LIST This takes you to a page where you may see the programs currently loaded into memory This is not unlike MULTI LIST and you may rename copy delete and create programs RENAME PROGRAM This pops up a prompt and you may rename the program You can name the program in the usual way ...

Page 70: ...our own DELETE PROGRAM You may delete the selected program The SAMPLES checkbox on F14 allows you to select whether you also want to delete the samples associated with the selected program With it checked the samples will be deleted NOTE If any samples are used by any other programs currently in memory those particular samples will not be deleted CREATE PROGRAM You may create a new program ...

Page 71: ...w drums programs to see which one you like Once you have settled on the one you want to use all the others are redundant Rather than deleting each one manually you can use PURGE to get rid of these and make more memory available Whilst the PURGE function is useful for clearing orphan programs and their samples from memory it could be that you have programs outside the multis that are intended to b...

Page 72: ...xamine the program and convert each L R sample into a single stereo file It will remove the original samples from the program but not from memory and will also make the appropriate adjustments to the keygroup zones to which they are assigned i e instead of two mono zones panned hard left and right you will end up with one stereo zone panned centrally If the process is successful you will be return...

Page 73: ...essary adjustments Alternatively you can try again but this time switch OVERIDE to ON i e checked This will run the process but will automatically copy the parameters from the left channel to the right channel Please note however that this may upset the loop on the right channel which may cause clicks or other loop related glitches In this case you are advised to re loop the new S stereo sample cr...

Page 74: ... or in the case of layering programs would share the same MIDI channel Thus you may have 1 DRUMS 1 MIDI 1 1 GR PIANO MIDI 2 1 E PIANO MIDI 3 1 SLAP BASS MIDI 4 1 BIG STRINGS MIDI 5 1 BASS SYNTH 4 MIDI 6 Etc Although the concept of multis was introduced on the S2000 S3000XL and S3200XL for the sake of legacy this feature was retained and indeed some people continued to use it despite the convenienc...

Page 75: ...n in the prompt i e S1 3K MULTI 1 The multi will now contain all programs of the same number and the MIDI channels levels pan position output assignments tuning etc used in the old multi layer will automatically be set and the new format multi should play pretty much the same as the original would on an S1000 S3000 or whatever NOTE The function is not foolproof For example you may load in an old S...

Page 76: ...nto memory in that for example the STEREO PIANO sound you loaded could have MIDI program number 1 and the ELECTRIC PIANO sound could be program 6 or they could both be program 1 or OFF or whatever depending on where they were loaded from In other words in order for them to be selected correctly via MIDI program change you need to renumber them to the correct MIDI program numbers Another potential ...

Page 77: ...ffected by MIDI program change When you press SET ALL TO OFF you will receive a prompt asking you to confirm that you wish to proceed Respond accordingly KNOWN PROBLEMS WITH MIDI PROGRAM CHANGE This scheme is far from foolproof and there are some problems associated with program change Some are unique to samplers whilst others are common to all sound modules These are listed here If two programs s...

Page 78: ...Version 1 21 MULTI s5000 s6000 If you try any of the above routines and no programs are loaded you will receive this prompt You are offered the option to create one To cancel the prompt simply press NO F8 ...

Page 79: ...sting multi First we need to select Part 7 Next press PART TOOLS followed by QUICKLOAD You will see this screen display Here you are taken to a variation of the main LOAD mode In this example we are in the root directory of a disk called S5000 DISK Let s imagine we want to load in something from the folder SWM STUFF First press SELECT DOWN F16 to select the folder ...

Page 80: ...t because you cannot load samples or multis into a part you only see the programs in the selected folder You need to select the sound you wish to load for example VOXY PAD Now press LOAD INTO PART F14 You will receive this prompt If you change your mind press F8 CANCEL LOAD but assuming you wish to proceed press EXECUTE ...

Page 81: ...Version 1 21 71 s5000 s6000 MULTI As the program and its samples are being loaded you will see a progress display You will see the program and its associated samples being loaded in turn ...

Page 82: ... you have settled on a sound you like if you return to the main MULTI page either by pressing EXIT F13 followed by CLOSE TOOLS or more directly by pressing the MULTI mode key you would see this You can see the new sound in the selected part If you want to build up more parts into your multi you can repeat the above procedure However another feature of QUICKLOAD is that you do not necessarily have ...

Page 83: ...til you have loaded all the sounds programs you want into the various parts In this way you can build up complex multis quickly and easily without having to leave QUICKLOAD When you have loaded all the parts you want you can return to the main MULTI page Of course when using QUICKLOAD it could be that sounds you want are contained on another disk To select another disk press DISK LIST F8 You will ...

Page 84: ...ge select the part you wish to QUICKLOAD into Now press PART TOOLS followed by QUICKLOAD Select the sound you want to load and press LOAD INTO PART Because you have not yet created the multi you will receive this prompt first Pressing CREATE NEW will pop up the name prompt You should create the multi after which you can proceed with QUICKLOAD as described ...

Page 85: ...ged in any way you can disable SAMPLES and just save the selected program which will be very quick Press EXECUTE to save CANCEL SAVE to abort NOTE The folder the program s will be saved to is shown If this is not the right one you should press CANCEL SAVE and use the actual SAVE function to navigate your way to the folder where you want the program to be saved The full SAVE function is described i...

Page 86: ...grams you can simply use EDIT PROGRAM if you prefer Using a multi to play a single program does give you greater flexibility however especially regarding the use of effects and outputs USING MULTI MODE TO PLAY LAYERED PROGRAMS An extension of single playback by assigning several programs to a multi with each part set to the same MIDI channel you may play layered programs Here several sounds are pl...

Page 87: ...ee each part has its own MIDI channel VIEW 18 PARTS is shown here to make the example clearer Each sound may be mixed and panned and routed to different outputs either as pairs or to individual outputs They may also be tuned and transposed and may also be routed to any one of the four effects channels the EB20 is optional on the S5000 However when using the S6000 in this way certain parts may be s...

Page 88: ...neously and or allows you to quickly switch between sounds without having to mess around with program changes By connecting one keyboard to MIDI input A and the other to MIDI input B you may effectively use your S6000 as two samplers For example In this example one keyboard would play the GRAND PIANO sound whilst the other plays the huge layered pad combination In such a situation you might benefi...

Page 89: ...e on specific MIDI channels to change sounds within individual parts However having only one multi in memory at any one time restricted the MULTI mode s ability to be used live Furthermore there was a limit of 16 parts and 16 MIDI channels The S6000 s new MULTI mode embraces the benefits of both ways or working as well as overcoming each one s restrictions and offers the best of all worlds as well...

Page 90: ...g any of the keys takes you directly to that section We will look at these in turn The program you wish to edit is selected by pressing F1 and turning the DATA wheel EDIT PART It is also possible to edit a program within the context of a multi by pressing EDIT PART F8 in the multi mode First select a part to edit you will see something like this Then press EDIT PART You will see this screen ...

Page 91: ...GRAM F16 allows you to create a new program if you want to build up a program from scratch In EDIT PART the program in the selected part is automatically selected for editing if you press EDIT PROGRAM the correct program may not necessarily be selected and you will have to select the program separately EDIT PROGRAM therefore is where you can edit and create any program whilst EDIT PART is where yo...

Page 92: ...ay be varied in conjunction with the VELOCITY SENSITIVITY parameter according to your playing technique and or the velocity sensitivity you require VELOCITY SENS This sets the amount of effect velocity will have over the overall output level of the program 020 is about average but you may set this to any value you like according to your playing technique You may also invert this for special effect...

Page 93: ...ler field and will show this Here you may use the DATA wheel to scroll through the various controllers This principle applies to all modulation inputs throughout EDIT PROGRAM press once to set level press again to select the controller This type of operation is signified by the icon in the corner of the parameter field To do the same for the other AMP MOD input repeat the above PAN MOD 1 2 3 These...

Page 94: ...rsor is on either mod input field controller or level of any of the modulation inputs for example Pressing GOTO SOURCE will take you directly to that controllers page In the above example you would go straight to LFO2 Here you may tweak and edit the LFO 2 parameters ...

Page 95: ...ected or the cursor is on say the program name and you press GOTO SOURCE you will receive this pop up dialogue prompt Similarly if the mod source is one of the MIDI controllers pitchbend modwheel keyboard etc in other words a controller that has no parameters associated with it you will receive the same prompt NOTE The GOTO SOURCE DEST operation is common for all mod input functions in all pages t...

Page 96: ...a variety of different tuning templates such as EVEN TEMPERED ORCHESTRAL WERKMEISTER etc You may also set your own tuning template by selecting USER which you may freely edit in the EDIT USER page KEY Sets the key signature for the tuning template The normal Western EQUAL TEMPERAMENT allows you play in any key you like which is why it was developed but the other tunings can only be used in certain...

Page 97: ... screen Here you may tune each semitone To return to the MIDI TUNE page press F16 To return to the main EDIT PROGRAM page press MAIN F8 If you edit the tuning of each semitone in this page you will see the changes in the graphic representation of the keyboard in the MIDI TUNE page ...

Page 98: ... release stage By selecting the HELD mode of pitchbend ONLY THE KEY S YOU ARE CURRENTLY HOLDING DOWN WILL BEND and all those notes you are not playing but which may be fading through their release stage will remain unchanged If you release your finger from the key with the pitchbend up or down as the note dies away if you let the pitchbend return to zero that last note s pitch will not change If y...

Page 99: ...fade in DEPTH Sets the initial depth of the modulation This should be set to a value if you want LFO1 modulation permanently on the sound if you only want to introduce vibrato or other modulation effects via the modwheel however this parameter should be set to 0 and the MODWHEEL parameter see below should be set to a suitable value WAVEFORM Nine modulation waveforms are available These are SINE A ...

Page 100: ... signals LFO SYNC When set to ON all 128 LFOs10 one per voice run together at the same rate When switched to OFF they each run at a slightly different speed to create a more ensemble effect on sounds such as strings brass pads etc RATE MOD You may modulate LFO 1 s rate with this parameter and here you may select a controller and set the amount of rate modulation Press the key once to set the mod a...

Page 101: ... F7 Pressing this will show this screen The parameters are RATE Sets the speed of the LFO The range is very slow at a setting of 0 it takes over a minute to complete a full cycle to very fast around 100Hz An average vibrato rate setting is around 45 DELAY This sets the time it takes for the modulation to fade in DEPTH Sets the initial depth of the modulation This should be set to a value if you wa...

Page 102: ... note you are playing RANDOM Gives out completely random control signals LFO RE TRIGGER Here you can set whether or not LFO2 will re trigger with every new note on or not With RETRIGGER set to ON each note you play will reset the cycle of the selected waveform to its leading edge For example with the triangle wave selected you would get this result MIDI NOTE ON This is useful for certain types of ...

Page 103: ...tion press again to select the controller DEPTH MOD You may modulate the LFO s output level here The same principle applies press once to set the depth mod amount press again to select the controller MIDI CLOCK This check box allows you to switch MIDI clock sync on or off When it is switched on the LFO will only run when the sampler receives MIDI clock signals CLOCK DIVISION This sets how many bea...

Page 104: ... tempo will be 120BPM until such time as the sampler actually receives actual MIDI clock This is so that you can use and set LFO 2 without having to hook up your sequencer and load the sequence and have it running Once the sampler has received MIDI clock at any given rate that is the rate at which the programs LFOs will free run when no MIDI clock is being received So for example when you switch o...

Page 105: ... where sometimes you want a sample to stop playing when another is played For example you would want a closed hi hat to stop an open hi hat To do this simply assign all the relevant keygroups to the same Mute Group For example if all your hi hats are in keygroups 3 6 assign those keygroups to say Mute Group 1 All other keygroups will be unaffected but all those in mute group 1 will be mutually exc...

Page 106: ...tead of the snare s natural decay being allowed to sound the next hit would cut the previous one dead resulting in a rather unnatural staccato effect Of course at the time this was undesirable but the dictates of musical fashion now say that this effect is quite popular in some music styles By assigning your snare drum into a mute group you may re create this effect For example SNARE DRUM ROLL WIT...

Page 107: ...UPS In the top right hand corner of every keygroup page is the keygroup selector Touch F9 and use the DATA wheel to select the keygroup you wish to edit This key also has a drop down menu that allows you to switch between editing just single individual keygroups or ALL keygroups The selection is shown clearly in the keygroup select key You may still select individual keygroups using the DATA wheel...

Page 108: ...cally selected for editing Furthermore if something other than RAW SAMPLE is selected in the MONITOR parameter in EDIT SAMPLE the pro gram you are working on will also be automatically selected NOTE Keygroups that have virtual samples assigned to them have a polyphony of 1 voice and you cannot play chords with virtual samples However apart from this restriction they can be treated much like normal...

Page 109: ...how the sample plays back This overides the sample s own playback parameters The options are AS SAMPLE The sample will play according to the PLAY MODE set in EDIT SAMPLE LOOP IN REL The sound will continue to loop during the release phase of the envelopes LOOP TIL REL The sound will loop as you hold a note down but will play the rest of the sample after the loop end during the release phase of the...

Page 110: ... first example there are four distinctly different bass samples played with different styles and these can be switched between using MIDI velocity Play soft and you ll hear the sample SOFTBASS play a bit harder and you ll hear THUMBBASS but really hit your keyboard hard and you ll hear PULL BASS If the velocity ranges overlap as shown in the second example you can use ZONE XFADE F16 so that the zo...

Page 111: ...nts over previous Akai samplers especially for drum programs On previous Akai samplers it was not possible to have some drum sounds coming out of the individual outputs with others appearing only at the stereo outputs This is easily achieved on the S6000 For example your kick snare hi hats and tambourine keygroups can be routed to individual outputs 1 2 3 and 4 respectively with your stereo mix of...

Page 112: ...OARD TRACK to OFF for all keygroups They will now play back at exactly the pitch they were sampled at In this way you don t have to worry about setting notes when sampling and then trying to match them up in EDIT PROGRAM Other non pitched samples such as sound effects breakbeats drum loops etc can be treated the same way SEMITONE TUNE This allows you to tune the zone in semitone increments FINE TU...

Page 113: ...back will start relative to the key velocity i e a high key velocity will start playback earlier in the sample A negative number has the opposite effect a high key velocity will start playback later in the sample than a low key velocity Played with a high velocity and a setting of 1000 the sample starts at the beginning allowing the attack to be heard Played with a low velocity and a setting of 10...

Page 114: ...utes even synth sounds that have a pronounced attack It is also recommended to use this with the VELOCITY ATTACK parameter found in the AMPLITUDE ENVELOPE see later in this section PLAYBACK As per the main ZONES page SELECTING AND EDITING ZONES This is not unlike the MULTI mode where you first select a part using the soft keys on the left and then editing them using the parameter keys on the right...

Page 115: ...jump to each low and high note in the list This is a very fast way to set up keygroup note spans and a whole program can be set up in seconds The other way to set note ranges is manually First select the keygroup you want to set using F9 Now press SET HIGH LOW NOTE to select the low or high note and use the DATA wheel to enter a note Now press SET HIGH LOW NOTE again to select the low or high note...

Page 116: ...eygroups for a smooth transition between the keygroups E g KEYGROUP 1 KEYGROUP 2 C0 C4 D 3 G8 In this simple example two keygroups have been set to overlap When played the region between D 3 and C4 will crossfade NOTE If there is a tuning discrepancy between the keygroups samples you may experience a chorus effect in the overlap crossfade region Be sure to tune the samples precisely to overcome th...

Page 117: ...r However the KEYGROUP LEVEL is useful when you have maybe used ATTENUATION on the filter the KEYGROUP LEVEL can be used to bring the attenuated signal back up PITCH MOD 1 2 Here you may set pitch modulation levels for the selected keygroup You may also select a controller for the two pitch mod inputs by pressing the soft key again to move the cursor to the controller field Use the DATA wheel to s...

Page 118: ... totally transform a sound especially with 26 to choose from So before we look at the various parameters what is a filter A filter is a device that selectively removes attenuates or boosts part of the sound and lets other parts pass through unaffected Almost every sound is made up of a series of very simple sine waves at different frequencies There is a fundamental frequency i e the pitch of the n...

Page 119: ... harmonics or overtones In the case of a sawtooth wave the first harmonic is twice the pitch or frequency of the fundamental the next is three times the next four then five six etc Each harmonic is proportionally lower in level In other words the sound contains an equal spread of odd and even harmonics A true square wave such as you d find on any synth comprises only odd numbered harmonics i e the...

Page 120: ...s high frequencies usually have less energy and therefore die away faster than low frequencies As such you can use an envelope generator applied to a lowpass filter to gradually remove high frequencies throughout the duration of a note Also the harder you play an acoustic instrument the more you will excite the higher harmonics so the sound will not only be louder but also brighter in tone Thus yo...

Page 121: ...undamental filtered out A BANDPASS filter lets a band of frequencies pass through unaffected whilst harmonics either side of that band are removed or attenuated FREQUENCY L E V E L In the case of the BANDPASS moving the cutoff frequency moves the band up or down the frequency range thus lowering the cutoff would give this FREQUENCY L E V E L Another type of filter is the NOTCH filter FREQUENCY L E...

Page 122: ... manually from say a modwheel or automatically from an LFO or envelope generator instead of the brassy waa sound you get with low resonance you now get a characteristic weeeoow sound as each harmonic is emphasised and then attenuated through the filters frequency range The same would be true of a highpass filter FREQUENCY L E V E L In the case of a BANDPASS filter increasing resonance tends to mak...

Page 123: ...e lowpass filter FREQUENCY L E V E L Cutoff A 4 POLE or 24dB Octave lowpass filter Although the cutoff frequencies in both diagrams are the same the roll off on the 4 POLE is slightly steeper The effect is that the 2 POLE filter is a little fizzier sounding than the 4 POLE as extra harmonics are passing through because its roll off is less severe In the good old days of analogue synths some manufa...

Page 124: ...quencies are attenuated more dramatically giving what some people refer to as a punchier sound compared with the slightly fizzier sound of the 2 POLE lowpass filter 2 POLE LP This is another 12dB Octave lowpass filter but with enhanced resonance 2 POLE BP This is a resonant bandpass filter with a 6dB Octave roll off slope either side of the band 4 POLE BP This is a resonant bandpass filter with a ...

Page 125: ... to 100 2 POLE HP A 12dB Octave resonant highpass filter similar to the 1 POLE HP but with a steeper roll off 1 POLE HP This offers a 12dB Octave highpass filter but with enhanced resonance LO HI A resonant filter that is lowpass at the lower end of the frequency spectrum and highpass at the upper end LO BAND A resonant filter that is lowpass at the lower end of the frequency spectrum and bandpass...

Page 126: ...reases the depth of the notches and narrows their width WIDE NOTCH Another dual notch filter with one notch in the upper frequencies and the other in the lower frequencies Resonance has the same effect as the other notch filters BI NOTCH A dual notch filter based on NOTCH 1 in which modulation sweeps the notches in opposite directions As one moves up through the frequency range the other moves dow...

Page 127: ...sonance increases the intensity of the peaks WIDE PEAK Another dual peak filter with one peak in the upper frequencies and the other in the lower frequencies BI PEAK A dual peak filter based on PEAK 1 in which modulation sweeps the peaks in opposite directions as one moves up through the frequency range the other moves down and vice versa NOTE The differences between the five peak filters are subt...

Page 128: ...ER 2 A phase shifter created with a notch and peak filter with offset frequencies that has a slightly swirlier sound as the frequency is modulated Resonance increases the intensity of the peak and the depth of the notch BI PHASE A phase shifter based on PHASER 1 in which modulation sweeps the peak and notch in opposite directions as one moves up through the frequency range the other moves down and...

Page 129: ...R EE AH and OO AA OO EH OO OW with certain settings see the examples below NOTE Because of the way that the FILTER ENVELOPE interacts with the filter and the special way the VOWELISER works it is recommended to set FILT ENV DEPTH to 000 Two examples of vowel filters to produce vowel articulations as described in their program names The modwheel controls the effect ...

Page 130: ...s These can range from subtle timbral changes on an acoustic piano sound by routing a small amount of velocity control On the other hand you could mix LFO1 whose rate is being controlled by say the modwheel in with LFO 2 whose depth is being controlled by say the AUX ENVELOPE and whose rate is being controlled by velocity and also an inverted version of the AMP ENV for outrageous synthesiser effec...

Page 131: ...er types have their own very distinctive characteristics you may have to adjust CUTOFF RESONANCE and MOD INPUT settings as you switch from filter to filter to get the best results When switching between certain filter types you may hear little or no difference at all between them whilst switching between others will yield very distinct differences Experimentation is the name of the game here ...

Page 132: ... note is released The graphic representation of the envelope shape is animated and updates in real time as you change these four parameters KEYSCALE This allows you to vary the envelope shape according to key position i e higher notes can have a faster shorter envelope than lower notes in order to simulate the natural characteristics of certain sounds such as piano for example ENV TEMPLATE This al...

Page 133: ...heavy keystrikes making the attack time faster and light keystrokes making the attack time slower Negative values set here will produce the opposite effect In the RELEASE window the parameters are ON VEL REL This allows you to use note on velocity to control the release time of a sound Setting a positive value here will result in heavy keystrikes making the release time faster and light keystrokes...

Page 134: ...ave no effect on the filter or on anything else it may be routed to in the APM modulation matrix NOTE If you are using the FILTER ENVELOPE as a mod source elsewhere in the APM modulation matrix for example if the filter envelope is being used to control say pitch a value other than 000 needs to be set here otherwise you will not hear the pitch sweep effect However because this parameter also sets ...

Page 135: ...TE 2 Sets the time it takes for the envelope to get to LEVEL 2 RATE 3 Sets the time it takes for the envelope to get to LEVEL 3 RATE 4 Sets the time it takes for the envelope to get to LEVEL 4 LEVEL 1 Sets the level for RATE 1 LEVEL 2 Sets the level for RATE 2 LEVEL 3 Sets the level for RATE 3 This is also the level at which a note will sustain when you hold a note LEVEL 4 Sets the level for RATE ...

Page 136: ...er and light keystrokes making the RATE 1 slower Negative values set here will produce the opposite effect The parameters in the RATE 4 window are KEYBOARD R2 R4 This will set how much key position will affect RATE 2 and RATE 4 VEL RATE 4 This sets how much note on velocity will affect the speed of RATE 4 Setting a positive value here will result in heavy keystrikes making R4 s time faster and lig...

Page 137: ...nt in the usual fashion either by using the CURSOR keys and the DATA wheel or more conveniently with an external QWERTY keyboard CREATING COPYING KEYGROUPS When in the KEYGROUP pages it is possible to create or rather copy keygroups In the KEYGROUP pages pressing COPY KEYGROUP F15 will pop up this prompt The selected keygroup will be copied You may then use this as the basis for a new keygroup If ...

Page 138: ... Version 1 21 EDIT PROGRAM s5000 s6000 PROG TOOLS MENU Pressing PROG TOOLS shows this drop down menu The functions are GET INFO This shows the sampler s current status regarding memory and items loaded etc ...

Page 139: ... you may see the programs currently loaded into memory Here you may rename copy delete and create programs as well as perform other program related functions These functions are RENAME PROGRAM This pops up a prompt and you may rename the program You can name the program in the usual way ...

Page 140: ...process or you may enter your own DELETE PROGRAM You may delete the selected program The SAMPLES checkbox on F14 allows you to select whether you also want to delete the samples associated with the selected program With it checked the samples will be deleted NOTE If any samples are used by any other programs currently in memory those particular samples will not be deleted ...

Page 141: ...Version 1 21 131 s5000 s6000 EDIT PROGRAM CREATE PROGRAM You may create a new program This is the same as the CREATE PROGRAM function found on the main EDIT PROGRAM page ...

Page 142: ...a few drums programs to see which one you like Once you have settled on the one you want to use all the others are redundant Rather than deleting each one manually you can use PURGE to get rid of these and make more memory available Whilst the PURGE function is useful for clearing orphan programs and their samples from memory it could be that you have programs outside the multis that are intended ...

Page 143: ...ll examine the program and convert each L R sample into a single stereo file It will remove the original samples from the program but not from memory and will also make the appropriate adjustments to the keygroup zones to which they are assigned i e instead of two mono zones panned hard left and right you will end up with one stereo zone panned centrally If the process is successful you will be re...

Page 144: ... necessary adjustments Alternatively you can try again but this time switch OVERIDE to ON i e checked This will run the process but will automatically copy the parameters from the left channel to the right channel Please note however that this may upset the loop on the right channel which may cause clicks or other loop related glitches In this case you are advised to re loop the new S stereo sampl...

Page 145: ...channel or in the case of layering programs would share the same MIDI channel Thus you may have 1 DRUMS 1 MIDI 1 1 GR PIANO MIDI 2 1 E PIANO MIDI 3 1 SLAP BASS MIDI 4 1 BIG STRINGS MIDI 5 1 BASS SYNTH 4 MIDI 6 Etc Although the concept of multis was introduced on the S2000 S3000XL and S3200XL for the sake of legacy this feature was retained and indeed some people continued to use it despite the con...

Page 146: ...e cursor to program sharing the same program number and pressing CONVERT OLD MULTI You will receive this prompt Press ADD TO CURRENT to add the selected program number to the currently selected multi or press CREATE NEW to create a new multi to add the program s to If you create a new multi its name will be that shown in the prompt i e S1 3K MULTI 1 ...

Page 147: ...scribed below RENUMBER This takes you to a new page where you may change the MIDI program number of the programs Pressing RENUMBER will show something like this screen Programs may be given a number 1 128 or OFF MIDI program numbers are used in order to select programs within a part remotely via MIDI For example you may have a stereo acoustic piano sound in Part 2 MIDI channel 2 that you want to u...

Page 148: ...handful of programs you need to change within a multi using MIDI program change The RENUMBER screen allows you to renumber those programs that will be required to be changed via MIDI program change whilst switching those that don t to ignore such changes To renumber a program or programs move the cursor to the program you want to renumber and use the DATA wheel to set the appropriate number or swi...

Page 149: ...rogram change command is sent on that channel all parts will select the one sound which will appear in all four parts If a program is renumbered perhaps because another program has that program number you will need to change the program change number on the sequencer If SAVE MULTI PROGS SAMPS is used programs outside the multi that are intended for remote selection via MIDI will not be saved and s...

Page 150: ...ELECT press LOAD PROGRAM and follow the on screen instructions To leave the page press EXIT QUICKSAVE This allows you to quickly save the selected program The currently selected program is selected to save You see its name and the folder it will be saved to if any Using the check boxes you also have the option to save all the programs in memory if you prefer or just the currently selected one with...

Page 151: ...or a virtual sample that will play from disk The sample s original note is also shown here in this case C5 The MEMORY box shows the contents of the sampler MONITOR This allows you to monitor the raw sample i e in isolation with no processing by the program it is in or you can monitor edit the sample within the context of the program it assigned to For example let us say you have made a snare drum ...

Page 152: ...his may be changed here SEMITONE TUNE Here you may tune the sample in semitone steps FINE TUNE This allows you to fine tune the sample MAKE MONO This will convert a stereo sample into a mono sample by merging the left and right channels into one mono sample that is half the size of the original This may be useful in non critical situations where stereo is not important i e live gigging Converting ...

Page 153: ...ll show this progress display A progress bar will move left to right and a percentage of progress is also shown An animated waveform processing icon is also used to further indicate sample processing activity At the end of the process you will receive this prompt ...

Page 154: ...ses As such it is not specifically described for each sample editing function but is simply referred to as the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt RE SCALE LEVEL This sets the level for the RE SCALE function and allows you to turn the level of a sample up or down This is an off line function and will show the Processing sample progress display described above followed by the PLAY KEEP OR...

Page 155: ...above to make a big change to the start point move the cursor to the 3 of 33989 using the CURSOR key As you move the DATA wheel you will increment in big jumps This is good for getting some way into the sound with little effort When you are close to where you want to be move the cursor one position right using the CURSOR key to edit the start point in smaller increments As you get closer and close...

Page 156: ...ld level at which to find the start or end point The above example is probably not a good one but in the case of a drum sound with a lot of dead space such as the following FIND START and FIND END is very useful By setting an appropriate THRESHOLD you can automatically set START and END points to aid you with your editing ...

Page 157: ...s displays the full sample regardless of the zoom factor The waveform display style LOG or LIN is shown between the keys see later SAMPLE TOOLS NOTE Either the START or END points need to be selected for the zoom function to work TRIM SAMPLE This displays the following pop up menu The options are DISCARD This will discard audio before the TRIM start point and after the TRIM end point LOOP START EN...

Page 158: ...for the edit NOTE If the sample has a loop you cannot move the START and or END point within the loop PLAY REGION Allows you to play the region marked by the START END points PLAY TO FROM Plays to or from the selected edit point With START selected PLAY TO will play up to the start point PLAY FROM will play from it With END selected PLAY TO will play up to the end PLAY FROM will play from the end ...

Page 159: ...ple For example this may be used to extract a snare drum or kick drum from a drum phrase For example you may have this drum phrase Set the START and END points on the snare you want to extract Pressing EXTRACT will remove the snare drum and create a new sample Pressing ERASE will remove the area marked by the START and END but will keep the gap Original After ERASE ...

Page 160: ...riginal After CUT CANCEL will of course abort the action Pressing EXTRACT ERASE or CUT will initiate the selected function You will see the usual Processing sample progress display followed by the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt13 13 The process may be so fast that you may not see a progress display especially on shorter samples ...

Page 161: ...ection causes the sample to play without loops for as long as the key is held down If the sound is not long enough it will finish even though you are holding down a note If the sample is still sounding however as soon as the key is released the sound will stop ONE SHOT This will cause the sample to be played in its entirety regardless of how long the key is pressed This is useful for triggering dr...

Page 162: ...ese further parameters The parameters are LOOP LOCK Once you have set a good loop you may lock its length and slide it around the sample to see if it sounds better in a different position PLAY MODE The PLAY MODE parameter duplicated here for convenience LOOP DIRECTION You may set FORWARDS or ALTERNATING Original with loop start end settings Playback with FORWARD loop Playback with ALTERNATING loop...

Page 163: ...the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt You should respond accordingly to the final prompt according to the results of the XFADE function PLAY LOOP This key will play only the looped portion of the sound you have set This is a fast and convenient way to hear the loop without having to also hear the rest of the sample particularly useful for long samples However a feature of this key is t...

Page 164: ...be easy and this restriction would not apply However because samples need to be transposed up and or down several octaves in order to maintain high quality interpolation and to preserve smooth loops during such transpositions a headroom of 15 samples is required This is not a contravention of the de facto WAV standard in fact the S5 6000 adheres to this very strictly but due to the fact that the S...

Page 165: ...points However having said that you may be able to cure this using an ALTERNATING loop This may still produce a noticeable loop however due to the dips in level Setting the loop points as below using a FORWARD loop type may give better results Because the levels are better matched a smoother loop is created However matching overall level is one thing you also need to keep an eye on the right hand ...

Page 166: ...crossfade of a few hundred samples can often do the trick For more serious thumps and glitches such as you would have with Example 1 above you might need to set longer crossfade values NOTE Sometimes when crossfading the end and the start of the loop because the end may be slightly out of phase with the start you may sometimes get a dip in level where they cancel each other out This is not a fault...

Page 167: ... with or without a crossfade The parameters are SAMPLE A B FROM These parameters allow you to set the start point for the two samples SAMPLE A B TO These parameters allow you to set the end point for the two samples SAMPLE A B LEVEL These parameters allow you to set the level of both samples JOIN A B JOIN B A These two check boxes allow you to select whether sample Ais followed by B or sample B is...

Page 168: ...urve The choices are LINEAR LOG and SINE Pressing JOIN SAMPLES F16 will pop up the usual progress display followed by the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt However you will note a slight difference in the keep prompt The options are basically the same and you can compare the new sample with the originals but because there are two originals with this process you have the opportunity to ...

Page 169: ...ble to join two samples that have different sample rates If you do you will receive the following prompt There is nothing that can be done to overcome this Even if you try to re sample one of them to a different sample rate and try JOIN again you will be prompted ...

Page 170: ...hese parameters allow you to set the level of both samples PLAY SAMPLE A B These two keys allow you to audition the two samples A and B prior to committing the join function MAKE STEREO This allows you to make a stereo mix out of two mono samples and will place Sample A on the left and Sample B on the right Pressing it will show the usual off line processing display followed by this prompt Because...

Page 171: ... as with MAKE STEREO because there are two originals with this process you have the opportunity to play each one before deciding to keep or discard them If in doubt press KEEP ALL and decide what to do with the originals afterwards You can rename the sample if you want NOTE As with Join it is not possible to use the MAKE STEREO or MIX functions with samples recorded at different sample rates Shoul...

Page 172: ...es within the loop FADE CURVE There are two FADE CURVE parameters one for FADE UP and one for FADE DOWN and both allow you to select from a choice of fade curves LINEAR LOG and SINE These give the following results Linear Fade Up Log Fade Up Sine Fade Up You may zoom in and out of the waveform for detailed editing Pressing FADE SAMPLE will show the usual Processing sample progress display followed...

Page 173: ...s 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 removed to make the recording play back faster ORIGINAL RECORDING 70 TIMESTRETCH Unfortunately however perfect results using timestretch are sometimes difficult to achieve It is not a limitation of software or hardware but due to the fac...

Page 174: ...et absolutely perfect results and there may be occasional side effects especially with extreme settings of stretch Over smaller ranges however you will find the timestretch on the S6000 yields excellent results and will become an invaluable tool in your work whatever application you are working in The S6000 uses the same timestretch algorithms as the highly acclaimed Akai DD1500 Digital Audio Work...

Page 175: ... controls the idea is that you simply select a preset the description of which largely fits the material you are trying to process and you press STRETCH SAMPLE If the results are not that good simply select another preset and try again Timestretch Presets 1 FEM VOX 10 STACCATO 2 MALE VOX 11 LFREQ SLOW 3 LOW MALE VOX 12 MUSIC 1 4 VOCAL 13 MUSIC 2 5 HFREQ RHYTHM 14 MUSIC 3 6 MFREQ RHYTHM 15 SOFT PER...

Page 176: ...ve values will help in improving bass notes So for example if the timestretched sample has a lot of percussive transients which are flamming try setting a positive value to improve things This may however cause lower frequency sounds especially sustained bass parts to wobble slightly Conversely if the bass end is more important and the processed version exhibits any wobble try setting a negative v...

Page 177: ...ample in the right key in the song you will have to play D3 With AUTO TUNE set to ON however in the same example after the sound has been processed when you play C3 it will automatically play 2 semitones higher in the key of D You may prefer that after processing the sample it automatically transposes to the new pitch However it could be that you find it odd playing the note C3 when the song is no...

Page 178: ... trying to process and press MATCH NEW BPM You will see the usual Processing sample progress display followed by the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt Using the PLAY NEW and PLAY ORIGINAL you will hear the tempo change You can decide whether you want to keep it or not Of course the whole BPM MATCH process relies on you knowing the tempo of the sample you are trying the process and the ...

Page 179: ...r processing PRESET This allows you to select from a variety of preset re sampling frequencies e g 1 2 3 4 1 3 2 3 etc Pressing SET NEW FREQ will initiate the process You will see the usual Processing sample progress display followed by the PLAY KEEP ORIGINAL NEW BOTH and RENAME prompt Respond accordingly 15 In theory you would think that the resolution parameter would enable you to re create the ...

Page 180: ...ntrols With extreme gain boost on the frequencies be sure to reduce OUTPUT LEVEL to prevent distortion with extreme cut values set on the three frequencies be sure to boost the OUTPUT LEVEL by an appropriate amount or use NORMALISE after the EQ processing to bring the sample s level back up to optimum The rule of thumb is quite simple if you boost a frequency by XdB reduce the OUTPUT LEVEL by the ...

Page 181: ...0 s6000 EDIT SAMPLE SAMPLE TOOLS In all pages except JOIN and MIX F9 shows SAMPLE TOOLS Pressing this pulls down a menu of further options The functions are GET INFO This shows information about the currently selected item ...

Page 182: ...me is shown as is the folder in which it will be saved You may save just the selected sample all samples in memory or the entire contents of memory NOTE If the folder to be saved to is not the correct one cancel QUICKSAVE and use the normal SAVE function to select the correct folder The CHECK NAMES key allows you to disable the file checking with it ON checked if a multi of the same name exists in...

Page 183: ...ing but the problem is that low level signals are sometimes not seen Thus in the linear display above there is no indication of the low level reverb between each beat however you do see the beats more clearly defined The log waveform display whilst not being a true representation of the envelope does show quiet signals more clearly and this can be useful when editing to ensure that you don t accid...

Page 184: ...n the loop view box to the right of the waveform overview is very small making precise looping difficult if not impossible However select LOG as the waveform display and you would see this As you can see even though the waveform display is not a true representation of the sound s envelope the loop view is greatly enhanced allowing far more detail when looping ...

Page 185: ...This pops up a prompt and you may rename the sample in the usual fashion COPY SAMPLE This pops up a prompt and you may copy the selected sample You may use the name automatically generated by the copy process or you may enter your own DELETE SAMPLE You may delete the selected sample PURGE SAMPLES This useful function deletes all samples not currently being used by any programs that may be loaded t...

Page 186: ...ny difference in start times loop length or position will result in the stereo imaging being inaccurate If the process finds a stereo pair of samples that do not match exactly you will be prompted accordingly You should press OK and make the necessary adjustments to one or other leg of the two samples Alternatively you can try again but this time switch OVERIDE to ON i e checked This will run the ...

Page 187: ...s are shown thus NOTE 1 Stereo samples use two voices of the S6000 Thus if ALL samples are stereo polyphony is halved to 64 voices on the S6000 32 on an unexpanded S5000 However it is possible to use a combination of mono and stereo samples simultaneously so exact figures regarding polyphony cannot be given NOTE 2 S1000 S1100 S2000 and S3000 and XL series stereo samples i e those appended with L R...

Page 188: ...ing will start once the threshold level on either the left or right channel is exceeded THRESHOLD L Recording will start when the input to the left channel exceeds the threshold THRESHOLD R Recording will start when the input to the right channel exceeds the threshold AUTO L R Recording will start once the threshold level on either the left or right channel is exceeded It will automatically stop r...

Page 189: ...AT 1 2 7 8 If the optionalADAT board is installed you may record via this The paired numbers actually refer to the connected ADAT output i e you can record ADAT tracks 1 2 3 4 5 6 or 7 8 LENGTH MIN SEC This sets the length of the recording you are about to make It is shown in minutes and seconds ORIGINAL NOTE This sets the note the recording will appear on i e the note on which the recording will ...

Page 190: ...TICAL or the ADAT inputs if the optional ADAT board is installed RECORD LEVEL also has no effect when recording OUTPUTS 1 2 i e re recording the outputs of the sampler back into itself as this is also a digital signal NAMING RECORDINGS Recordings are automatically given a name and when you enter record a new unique sample name is always created to prevent accidentally recording over an existing sa...

Page 191: ... to exceed the threshold level or receive a MIDI note on You may start recording using MANUAL START if you prefer Whichever method is used to start recording you will see this record progress display At the end of the recording you will receive this prompt The new recording s waveform will be shown and you may use PLAY NEW to audition it If you like it press KEEP NEW if you don t press DISCARD ...

Page 192: ...If you press DISCARD the recording will be abandoned and you will return to the main RECORD page with the previous name still shown NOTE If the sample clipped during record you will receive this warning at the end of the record process You should respond accordingly If you press OK you will be taken to the keep discard screen shown on the previous page DISCARD will take you back to the main RECORD...

Page 193: ...f you press NO the process will be aborted and the existing sample will remain intact and unaffected If you press YES you will be taken to the WAITING FOR THRESHOLD prompt NOTE If you press YES this deletes the original sample As a result even if you press CANCEL in the WAITING FOR THRESHOLD prompt the damage has been done and the sample will have been already overwritten Please proceed with cauti...

Page 194: ...ts to re record and set the RECORD parameters as described To select the sounds to re record simply set up the sound s in your chosen mode EDIT PROGRAM or MULTI and then press the RECORD key For example if you wish to re record a single program simply set up or select the appropriate program in EDIT PROGRAM and then press RECORD Likewise if you wish to re record a multi set that up as appropriate ...

Page 195: ...his dialogue You should either record via the analogue inputs or connect the appropriate digital device If the sampler is synchronised to external wordclock in UTILITIES SYSTEM SETUP but the wordclock is missing you will see this dialogue You should either set SYNC SOURCE in UTILITIES SYSTEM SETUP to INT 44 1kHz or INT 48kHz or connect the wordclock source ...

Page 196: ...tions plus delay echo and also 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 CHORUS FLANGE PHASE PITC...

Page 197: ...ng it very flexible Furthermore RV3 and RV4 can take as their input source their own effects send or can be fed from the two multiFX channels The effects are stored in the multi so that switching between multis recalls the correct effects settings and configurations Pressing FX shows this screen The currently selected multi name is shown on F1 if you want to edit the effects for another multi you ...

Page 198: ...en no multi is created i e immediately after power up you will see this prompt You cannot access the FX pages without there being a valid multi For S5000 owners if you press the FX key when the EB20 is not installed you will receive this pop up dialogue Says it all really ...

Page 199: ...section of FX1 will be routed to RV3 DIST RMOD EQ MODULATION FX DELAY REVERB RV1 FX 1 REVERB RV3 FX1 MOD ECHO The output of the MOD ECHO section in FX1 will be routed to RV3 DIST RMOD EQ MODULATION FX DELAY REVERB RV1 FX 1 REVERB RV3 FX1 REVERB The output of FX1 s reverb will be routed to RV3 DIST RMOD EQ MODULATION FX DELAY REVERB RV1 FX 1 REVERB RV3 Using this facility it is possible for one sou...

Page 200: ...hown above it The multiFX are fully programmable and you can set anything you want to achieve the desired effect combination However to assist you in setting up effects chains each effect type except for the RING MOD DISTORTION effect has a series of templates offering a wide range of popular effect settings In this way it is extremely quick and easy to set up complex chains of effects by selectin...

Page 201: ...Of course one could argue that simply increasing the number of presets from 50 to would overcome this problem However flaws were also found in the previous system of having 50 preset chains of effects in that if you were after a particular combination of effects for example slow deep flange followed by ping pong delay and a hall reverb chances are you d probably not find it You might find somethin...

Page 202: ...ill be a tremolo effect At frequencies of 100Hz or so you can produce the famous dalek voices and other robotic metallic effects on speech At high frequencies the results are rather unpredictable and largely depend on the audio input signal but basically they can best be described as discordant and clangourous The parameters are RMOD FREQUENCY This sets the frequency of the sine wave modulation si...

Page 203: ... four band EQ offering lowpass control over a low frequency two bandpass mid frequencies and a highpass high frequency control I e LP BP1 BP2 HP GAIN GAIN GAIN GAIN You may set the centre frequency and the gain for each of the four channels on the two mid frequency ranges you may also set the width of the EQ effect FREQUENCY G A I N LOW BP1 BP2 HI ...

Page 204: ...kHz HF GAIN Sets the high frequency gain The ACTIVE switch on F10 allows you to bypass the EQ effect For the two mid range frequencies you may also set the width of the EQ via their WINDOW function Larger values set a wider width whilst lower settings produce a narrow width WID 99 WID 00 With narrow WID th settings you can accentuate certain frequencies more tightly whereas with higher width setti...

Page 205: ...weep effects can be created by sweeping both High Q settings on the selected mid band i e a tighter bell accentuates the effect and with very high Q settings very pronounced synth filter sweep effects can be achieved The fact that both LMID and HMID bands can be independently controlled by their own LFOs running at different rates further expands the possibilities The phase shifter option in the M...

Page 206: ...s effect The parameters are RATE Sets the speed of the chorus effect DEPTH Sets the depth of the chorus effect FEEDBACK Sets the amount of signal that will be routed back to the chorus processor s input Higher feedback levels accentuate the effect and can be used to create flanging effects The feedback level may be inverted for different effects FLANGE The next modulation effect is FLANGE This use...

Page 207: ...entical to those found in the CHORUS and FLANGE effects However please note that stronger phase effects are created with the DEPTH parameter set to low values Higher settings of the DEPTH parameter give effects more like simple flanging Also as mentioned in the description of EQ phasing can be augmented by sweeping one of the EQ s mid bands at the same rate as the phaser ...

Page 208: ... 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 INIT SPEED This parameter sets which of the speeds will be the initial speed when you select this effect It also allows you to listen to the speed parameter you may be adjusting For example when setting speed 1 select SPEED 1 and when setting speed 2 selec...

Page 209: ...mended for switch action controllers footswitch type controllers such as sustain etc MIDI CHANNEL Because several parts may be sharing the same effect you must designate which MIDI channel will initiate the change from SPEED1 to SPEED2 NOTE 1 In practice it is likely that only one sound will be routed to a multi effects channel producing a rotary speaker effect typically an organ sound in a multi ...

Page 210: ... 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 R L As above but in the opposite direction PAN The sound will move from left to right but as the sound crosses the central axis the level will be constant giving the impression of it simply panning left to right TREMOLO The output of the autopan...

Page 211: ...channel s tuning Whilst the PITCH SHIFT effect can be used for special effects by tuning each channel to wide semitone intervals one of the most useful applications is to use just a hint of detune using the LEFT RIGHT FINE parameters This gives a rich chorus or ensemble effect but without the inherent cyclicness imposed by the LFO modulation found in chorus effects NOTE As with all but the most ex...

Page 212: ...delay the pitch shifted sound is fed back into the pitch shifter where it is further pitch shifted After a delay it is fed back again after the delay and shifted again The amount of feedback and the delay time for each channel is separately variable and this gives rise to all sorts of weird and wonderful arpeggio effects The parameters are LEFT SEMITONE Sets the left channel s pitch shift in semit...

Page 213: ...e not available when PITCH FEEDBACK is selected Attempting to access the DELAY FX in the main MULTIFX page in this case will pop up this dialogue If you want to use the delay effects please select another modulation effect type In all the modulation effects types the ACTIVE switch on F10 allows you to bypass the selected effect from the chain of effects MODULATION EFFECTS TEMPLATES A wide variety ...

Page 214: ...elay line This will increase the number of repeats in the effect HF DAMPING This sets the high frequency damping The HF DAMP parameter filters out some of the high frequency components in the sound in the feedback loop This is to simulate the effect that in real life each repeat of the echo gets slightly duller as the surfaces off which the sound is bouncing absorb some of the high frequencies The...

Page 215: ...be equally spaced repeats of 250mS I e LEFT RIGHT IN 500mS 1Sec 1 5Sec 250mS 750mS 1 25Sec With a PING PONG setting of say 25 however the first repeat will come after 125mS the second after 500mS the third after 625mS etc depending on the amount of feedback I e RIGHT IN 500mS 1Sec 1 5Sec LEFT 125mS 625mS 1 125Sec MONO L R This sums the left and right outputs of the modulation section into a mono d...

Page 216: ...ono and crossover delays except that you have independent control over both channels delay time feedback and HF damping The PING PONG parameter is not available in this delay effect type As with the crossover delay effect because two delay lines are used for this effect the maximum delay time for each channel is 335mS In all the delay effects types the ACTIVE switch on F10 allows you to bypass the...

Page 217: ...accessed in the main FX page by pressing REVERB 1 F10 or REVERB 2 F11 or via the main MULTIFX page RV3 and RV4 are two spare reverb only channels accessed in the main FX page on F12 and F13 respectively However you access the reverb page you will see something like this As you can see apart from the block diagram of the multiFX chain both reverb screens are almost identical ...

Page 218: ... the amount of agitation the direct sound will have on the reverb decay and this has an effect on our perception of how close we are to the direct sound High settings give the impression of being closer to the original sound whilst lower settings gives an enhanced sense of distance ACTIVE Allows you to bypass the reverb effect REVERB LEVEL Sets the output level of the reverb REVERB PAN Sets the pa...

Page 219: ...Y Sets the length of the gated reverb effect DIFFUSION Sets the density of the gated reverb effect REVERB LEVEL and REVERB PAN serve the same function as for the other reverb types but the gated reverb types do not have LF or HF damping or the NEAR parameter NOTE The same parameters are available for RV3 and RV4 of course When the REVERSE reverb type is selected a slightly different screen is show...

Page 220: ...DTH Sets the width of the stereo image At a value of 100 maximum stereo is obtained but set lower than that and the sound becomes gradually narrower At a value of 0 the output from the MODULATION DELAY section is mono REVERB LEVEL This sets the level of the reverb in the multiFX chain REVERB PAN This sets the stereo balance of the reverb in the multiFX chain NOTE REVERB LEVEL and REVERB PAN are du...

Page 221: ... the PATH CONTROL You may have mod echo followed 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 PATH CONTROL is set to 00 the mod echo section and the reverb section feed the main left right outputs in parallel When set to 50 the output of the mod echo section is fed into t...

Page 222: ...editing effects as it allows you to hear the effect you are working on in isolation by muting the other channels To mute an effects channel simply press the appropriate mute key When muted a diagonal line will appear through the speaker icon as shown for FX2 RV2 in the above screen shot EFFECTS TOOLS is available in all effects and reverb pages allowing you to quickly mute effects channels at any ...

Page 223: ... in another multi On the main FX page F16 shows COPY EFFECTS This allows you to copy all four channels of effects to another multi Pressing COPY EFFECTS will pop up this prompt The currently selected multi will be selected by default as the destination multi using the DATA wheel you should choose the multi you want to copy the effects to and press YES or CANCEL if you change your mind ...

Page 224: ... may also copy individual channels For example in the main MULTIFX page F16 shows COPY MULTIFX1 or 2 depending on the selected channel Pressing this will show this prompt You should select the multi you wish to copy the multiFX chain to and press YES or CANCEL if you change your mind ...

Page 225: ...e to copy individual reverbs from one multi to another F16 in all the reverb pages shows COPY REVERB n Pressing this will pop up this prompt You should select the multi you wish to copy the selected reverb to and press YES or CANCEL if you change your mind ...

Page 226: ...ected to save Had you been working on a sample or a program the appropriate item would be shown to be saved The window shows the current contents of memory and you may select another item to save if you prefer To save the selected item press F14 This key s label changes according to the item selected i e multi program sample If you want you can save the entire contents by pressing F8 Also shown is...

Page 227: ... copy of the item and retain the original on disk or in case you used an autoname and want to give it a more meaningful name The selected folder where the item will be saved to is shown beneath the item s name If it is the wrong destination press CANCEL and select the correct folder Using the usual checkboxes you can select what will be saved In this case you can choose to save just the selected m...

Page 228: ... name is found in the folder you will receive the same prompt again However pressing YES TO ALL will replace all items that may have the same name without you receiving any further prompting If in any doubt at all press CANCEL SAVE and re appraise the situation before you save to prevent accidentally overwriting anything valuable on disk NOTES REGARDING SAVE You may only save to an MS DOS formatte...

Page 229: ...ch For example if you transpose the S6000 up by 2 semitones using this parameter when you play C3 a 2 semitone offset will be added to that and you will actually play the sample on D3 In this way you may transpose the overall tuning of the sampler without any munchkin pitch distortion SEMITONE TUNE This also tunes the sampler in semitone increments This however is a true tuning function and physic...

Page 230: ...ameter to 0dB so that you put out the same level as you recorded SYSTEM SCSI ID This sets the SCSI ID of the S6000 s CPU The default is 6 NOTE It is vital that the SCSI ID set here does not conflict with any other devices on the SCSI bus or unreliable operation may occur SYNC SOURCE This sets the sampling rate and or external digital wordclock sync options These are INT 44 1kHz Sets the internal c...

Page 231: ...ered this page is captured in the centre of the screen the actual time the sampler was previously set to keeps ticking away in the top left corner You should set the various parameters accordingly to set the time and date and at an appropriate moment press SET F16 to actually set the time The clock is used to date stamp files when you save them ...

Page 232: ...screen display You may have white lettering on a blue background NORMAL or blue lettering on a white background INVERTED SCREEN SAVER This turns off the LCD s backlight at timed intervals in order to preserve it If the function is enabled the backlight will switch off after n minutes of inactivity To re activate it press any key KEY REPEAT DLY This sets the delay time before certain keys such as S...

Page 233: ...the RENUMBER MULTI page If BANK is selected the same MIDI program numbers are used Thus sending a command to change to bank 2 will cause the multi with MIDI program number 2 to be selected MULTI SLCT CH This sets the channel for the reception of program change commands for remote selection of multis Of course this parameter has no effect if MULTI SELECT is not switched on NOTE When MULTI SELECT is...

Page 234: ...ftertouch in this parameter you will get no aftertouch at all This is because the MIDI commands for channel aftertouch are not recognised by polyphonic aftertouch and are therefore ignored At the bottom of the screen are 32 1 16A and 1 16B PPMs meters that allow you to monitor incoming MIDI This can be useful for troubleshooting Also shown above these is whether or not MIDI clock is being received...

Page 235: ...e RECORD LEVEL until the margin is as close to 0dB as possible If the maximum headroom is exceeded by too loud a signal the clip indicator will illuminate and an exclamation mark will appear above it If this happens reduce RECORD LEVEL press RESET MARGIN F9 and try again EXT IN LEFT RIGHT These two parameters allow you to select which of the four effects channels the external inputs will be routed...

Page 236: ...ws you to delete the selected item RENAMING ITEMS ON DISK To rename an item move the cursor to the item you want to rename and press RENAME You will get this prompt You should enter a new name and press F16 or press F8 CANCEL if you change your mind If you proceed and a file of that name already exists in the location you will be prompted You should press OK F16 and try again with a new name ...

Page 237: ...DING DELETE FOLDER If your sampler is connected to a hard disk that has PC data on it for example a removable drive that has been used to store W95 8 or Mac folders whilst you are able to see these folders in the sampler s disk list if you open these folders it is quite possible that you will not see anything in them This is because the sampler does not recognise any non Akai files word processor ...

Page 238: ...on F8 You will see this prompt You should select whether you want to perform a QUICK FORMAT or a FULL FORMAT using the check boxes on F6 and F14 FULL FORMAT is required if the disk is brand new or has maybe been used with some other device for example a disk that may have been used on an older Akai sampler The FULL FORMAT takes much longer of course but sets the disk up properly QUICK FORMAT can b...

Page 239: ...pops up this prompt You should respond with caution as appropriate WARNING PRESSING YES AT THIS STAGE WILL CAUSE ALL DATA ON ALL PARTITIONS ON THE DISK TO BE COMPLETELY ERASED Please proceed with caution and abort now press NO if you have the slightest doubt ...

Page 240: ...sk flashing or if it is fitted internally you should hear some disk activity as the process takes place Because a half formatted disk would be totally unusable and may not even be able to be re formatted the S6000 does not offer an abort function during format you ll just have to sit it out IMPORTANT NOTE DO NOT SWITCH THE SAMPLER AND OR DRIVE OFF DURING THE FORMAT PROCESS AS THIS COULD DAMAGE THE...

Page 241: ...e selected drive into 2Gbyte partitions Thus if you try to format a 4Gb drive it will have two x 2Gb partitions It is not possible to set the partition size or name the disk or partitions in this version of software Also the S5000 6000 formats the disk to FAT16 This is chosen as FAT32 does not allow the use of removable drives which are very popular for sound library storage If you require more so...

Page 242: ...ely You should press OK and in EDIT SAMPLE identify the virtual samples in memory and delete them Once all the virtual samples from the selected disk are deleted you can eject the disk as usual from its own front panel NOTE REGARDING USING VIRTUAL SAMPLES WITH REMOVABLE DRIVES Many removable drives have an automatic sleep action where the unit spins down into a dormant phase if unused for some tim...

Page 243: ...vice engineers for diagnostic purposes but you may find it useful to check how much memory is in your S6000 especially if you have just installed some SIMMs and want to check they are correctly seated and recognised by the system If a slot doesn t have a SIMM installed it will show NOT AVAILABLE if there is a problem with a SIMM the appropriate slot will show FAULTY ...

Page 244: ...ng like this screen After which At a glance you can see how many voices are available to you how much memory is installed whether the effects processor EB20 is installed S5000 only whether the ADAT option is fitted whether the keyboard is attached and what drives are connected Those items shown with a cross through them indicate that they are not installed attached ...

Page 245: ...Pressing this puts out a 1kHz sine wave test tone at nominal level through all outputs Again this is mostly for diagnostic purposes for service engineers to check that all the outputs are working and are at the correct level but you may find it useful for checking audio connections and or for setting levels on an external mixer NOTE Because of the way audio is internally routed through the sampler...

Page 246: ...em settings and preferences to FlashROM or floppy disk Pressing SAVE O S will pop up this prompt By saving to FlashROM your sampler will boot with your settings every time Pressing SAVE TO FLASH will show a progress display This is slightly different to the normal progress displays Followed by ...

Page 247: ...ROM A series of dots fill up the prompt line by line and the display will scroll up the prompt window as the O S is written to FlashROM At the end you will be returned to the original SAVE O S prompt IMPORTANT NOTE ABOUT SAVING TO FLASHROM ONLY USE SAVE O S IN UTILITIES IMMEDIATELY AFTER INSTALLING AN OPERATING SYSTEM OR IMMEDIATELY AFTER SWITCHING THE SAMPLER ON I E WHEN THERE IS NO DATA IN MEMOR...

Page 248: ...contain valuable sound library or other data As the OS is being saved to floppy disk you will see this display At the end of the OS save you will be returned to the SAVE TO FLOPPY prompt shown above Press NO CANCEL to abort When you boot from this disk start up will be slower as the O S is loaded from floppy disk it will take about a minute to boot up At the end you will see the usual Searching fo...

Page 249: ... a new operating system as they are released To load an operating system with the sampler switched off simply insert the floppy disk into the disk drive and power on The screen will be blank and all the mode keys will illuminate You will also see the floppy disk drive working After about 35 seconds you will see this screen The sampler is setting up the SCSI bus After this is done you will receive ...

Page 250: ...u will see a series of dots move across the display followed by OK Then the O S will be written to FlashROM A series of dots fill up the prompt line by line and the display will scroll up the prompt window as the O S is written to FlashROM At the end you will be returned to the main UTILITIES page As it is not possible to load just part of the O S there is no ABORT function ...

Page 251: ...t disk safe Do not eject the disk whilst the O S is loading this may result in an incomplete O S which may render your sampler unusable though you should be able to re boot and re install in this case Ejecting the disk during load may also damage the disk AKAI professional frequently release new versions of the S5 6000 operating system These are available upon request from your local AKAI professi...

Page 252: ...CKING TRACKS If you use DAT or some other means of playing pre recorded stereo backing tracks live you could record these as virtual samples place them in programs as appropriate and trigger them from the S6000 Not only does this give you immediate playback of the backing tracks but the running order of your set can be changed on the fly FOR SPINNING IN They can be used to play spin ins such as ba...

Page 253: ...disk as you can from normal samples played from RAM Another problem is that samples are often transposed in pitch as you play them sometimes some considerable distance from their original pitch In this case a virtual sample recorded on C3 but played at C4 means the drive is having to work literally twice as hard and so polyphony will be even more restricted Add pitch bend and or vibrato to that an...

Page 254: ...isk performance may suffer even more How you play the virtual samples is also a crucial factor in this and the above guidelines are based on playing virtual samples at their nominal pitch i e the pitch they were recorded at If any of these is transposed in any way especially if any are transposed up in pitch the disk is having to work much harder For example if you play a virtual sample recorded o...

Page 255: ...you need to select where on the disk you are going to record to This is done in D D SETUP F14 which will display something like this screen You can use the SELECT keys F15 16 in conjunction with OPEN and CLOSE FOLDER to navigate your way around the folders in the filelist to select where the new disk recording will be recorded to Alternatively you can create a new folder to record to ...

Page 256: ...ompts However please note that due to the slowness of disk drives and depending on the length of the disk recording you made you will find that the display of the new recording s waveform at the end of the record process takes some time Much of this will depend on the speed of your drive faster drives will give a better performance of course and the length of the recording IMPORTANT NOTE You can o...

Page 257: ...tual or RAM However if you check the OVERIDE key by pressing F14 F15 also changes LOADAS VIRTUAL is shown as the default and you may change this if you want simply by pressing F15 which will toggle between LOAD AS VIRTUAL or LOAD AS RAM In this way you can choose to load a virtual sample as a RAM sample you may find it more convenient to edit the virtual sample as a RAM sample see EDITING VIRTUAL ...

Page 258: ...will show LOAD AS VIRTUAL the default Pressing EXECUTE will cause the RAM sample to be loaded as a virtual sample If you wish this can be saved in this format you can change it back to a RAM sample by using OVERIDE TYPE in subsequent loads It can be useful to load and save a long RAM sample to conserve memory or in the case where you accidentally recorded to RAM when you perhaps meant it to be a v...

Page 259: ... The actual amount of time it takes depends on the length of the virtual sample NOTE These delays may be made worse if your drive has a default sleep function In this case you may also have to wait for the drive to wake up after periods of inactivity You cannot play chords when editing virtual samples You cannot loop virtual samples and so you may only select NO LOOPING or ONE SHOT in the PLAY MOD...

Page 260: ...eo phone balanced STEREO OUT 2 x XLR balanced S6000 only 6dBm 600Ω 2 x 1 4 inch phone unbalanced 6dBm ASSIGNABLE OUTS 16 S6000 8 S5000 x 1 4 inch phone unbalanced 6dBm HEADPHONES 1 x 1 4 inch stereo phone MIDI 6 x 5 pin DIN IN OUT THRU x 2 SCSI Interface 2 x 50 pin high pitch SCSI AES EBU digital IN OUT 2 x 1 4 inch stereo phone balanced and Optical input output Word clock input BNC 75Ω term ON OF...

Page 261: ...ootswitch 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 Effec...

Page 262: ...ue Voice Note ON Note OFF Key s Channel 0 1 7 10 64 0 127 True Song Pos Song Sel Tune Clock Commands All Sound Off Reset Controllers Local ON OFF All Notes OFF Active Sensing System Reset REMARKS Memorized disk Multi Mode Program Sample Mode A 1 G8 A 1 G8 Selectable as KEY or CHANNEL 24 Semitones Bank Select Multi Modulation Wheel Volume Pan Sustain Pedal Via EXT CONT in APM Shown as 1 128 By pres...

Page 263: ...most certainly cause severe problems and potential loss or corruption of data The S6000 has a switch on the rear panel that allows you to switch termination on or off very conveniently If the S6000 is at the end of a SCSI chain termination should be switched on If the S6000 is positioned anywhere else in the SCSI chain termination should be switched off Disk drives and CD ROMs can usually be termi...

Page 264: ... have fixed SCSI IDs which cannot be changed Again please consult the documentation that came with your device The S6000 s SCSI ID is set in UTILITIES SYSTEM SETUP using the SYSTEM SCSI ID parameter SCSI CABLE LENGTH The SCSI specification states that the total length of the SCSI chain must not exceed 6 metres Total length means the length of the whole chain between the first and the last device a...

Page 265: ... several folders of orchestral sounds on your S6000 e g a STRINGS folder a BRASS folder a FLUTE folder a CLARINET folder an OBOE folder and an orchestral PERCUSSION folder In Explorer you could create a new folder called ORCHESTRAL and drag these folders into it so that all your orchestral sounds are in one convenient folder Furthermore within the ORCHESTRAL folder you could create another called ...

Page 266: ...your PC NOTES REGARDING TAKING DISKS TO A PC In order to transfer sounds between the S6000 and a PC and vice versa you will of course need to install a suitable SCSI board in your PC You will need to have installed the appropriate drivers for your disk drive In order to play the WAV files on your PC you will need to have a suitable soundcard installed Whilst it is possible to move and copy files a...

Page 267: ...o take S6000 disks and hook them up to an Apple Macintosh You could have something like this on your Mac desktop Here a disk containing S5000 sound library has been taken to a Mac and opened on the desktop This contains a variety of folders that contain multis programs and samples Sound libraries may be organised in the usual way on the Mac simply by dragging files into their respective folders on...

Page 268: ...folder called TRASH which will contain any multis programs and samples you may have dragged to the wastebasket They can still be loaded into the sampler in the normal way NOTE Of course if you delete the items in the wastebasket on the Mac then the TRASH folder will be empty when you take it to the sampler Similarly if you move the samples on the desktop back to another folder the DESKTOP FOLDER w...

Page 269: ... characters Ideally as mentioned MacOS8 1 is recommended However please be aware that even when using S5 6000 disks with PC EXCHANGE 2 2 there is a known incompatibility where several files all share the same first eight characters These will not be recognised correctly by the Mac and what happens is that all the files whose first characters are identical are renamed to the same name For example i...

Page 270: ...INDOWS 95 ON THE MAC If your Mac has a PC card or a W95 emulator such as Virtual PC17 or SoftWindows you may also use those PC environments to manage your sound library if you prefer although this will be much slower than organising your sound library on the Mac desktop If you do choose to use a PC card or emulated PC environment you will need to have the appropriate drivers for your disk drive in...

Page 271: ...n to exchange data between your sampler and your PC Mac IMPORTANT NOTE WHEN SWAPPING A REMOVABLE CARTRIDGE SUCH AS JAZ ZIP ETC AS SOON AS YOU INSERT THE CARTRIDGE INTO THE S5 6000 IT IS ESSENTIAL TO PRESS THE UPDATE KEY IN LOAD DISK LIST FAILURE TO DO SO MAY CAUSE DISK ERRORS AND UNRELIABLE OPERATION PCs and Macs always update automatically when you insert a cartridge Of course if budget is tight ...

Page 272: ... peripherals such as disk drives CD ROMs etc for example you would not network PCs or Macs together using SCSI There are also other known problems when using a single disk shared by two SCSI initiators as shown above These are not unique to sharing an S5 6000 with a Mac PC but can occur on any SCSI system that has two initiators for example two Mac PCs sharing the same SCSI drive When a disk is se...

Page 273: ...e C If you edit a sample using a Mac PC wave editor and save that sample back to the disk the sampler will not automatically know these changes have even taken place For example if you chop a 1Mb sample in half on a Mac PC wave editor the Mac PC s disk cache is updated and it knows the new filesize The sampler on the other hand has no idea that these changes have taken place as far as it s concern...

Page 274: ...ble data corruption As such Should you choose to share a disk drive between your sampler and your Mac PC via a direct SCSI connection as described on the previous pages please be aware that you do so at your own risk and AKAI professional M I Corp cannot be held liable for any problems you may have on your PC Mac and or S5000 6000 or for any damage to equipment or loss of data that may result if a...

Page 275: ...on i e the process that defines the quality of pitch transposition Thus if you load a sound from a previous Akai sampler where excessive pitch transposition is used it will sound different in the S6000 better in fact due to the higher quality interpolation The output arrangement on the S6000 is also different All previous samplers had a stereo out and 8 mono outputs The S6000 has 8 stereo outputs ...

Page 276: ...likely to be rare Because it is not possible to remove individual keygroups from the stereo mix outputs on previous generation Akai samplers the combination of output assignments shown above is a bit meaningless For example if the original program was setup in this way with some sounds routed to the individual outputs for external processing and mixing with others intended to be heard via the ster...

Page 277: ... ensure loops are played correctly without glitches over that range 15 samples are required after the loop end For example Sample Start Loop Start Loop End Sample End 15 samples The S6000 takes care of this automatically and leaves 15 samples between the two end points but WAVs that have been edited on another system so that the sample end and the loop end are the same or where the sample end is l...

Page 278: ...e smaller screw in the centre of the top of the rear panel Looking inside the S5 6000 you will see something like this Analogue Outputs Option Slots Voice Card Slots SIMM Slots 1 2 4 3 Power Supply Disk Drives The S6000 s internal memory can be expanded to 256Mbytes The S6000 comes with 8Mb of memory hardwired and there are four slots in which you can install SIMMs Installation is fairly simple Th...

Page 279: ...ing example only 25 of the 64Mb board in Slot 2 would be addressed giving a total of 104Mb Slot 4 64Mb Slot 3 8Mb Slot 2 64Mb Slot 1 8Mb Plus 8Mb hardwired memory NOTE The maximum memory the S6000 can address is 256Mb total Thus when 4 x 64Mb SIMMs are installed the 8Mb of hardwired memory is ignored However please note that even when only 3 x 64Mb boards are installed in Slots 4 3 and 2 the hardw...

Page 280: ... handling the boards Always handle the memory board by its edges avoid touching the components on the board To minimise static electricity avoid carpeted areas especially synthetically carpeted areas and low humidity areas Under no circumstances should you force the boards into their slots Should you do so you could damage the memory boards and or the sampler s motherboard Please note that user in...

Page 281: ... at a frequency that is at least twice the upper reaches of the sound s frequency range In other words if a sound contains frequencies that extend to say 15kHz you need to sample at 30kHz at least Instruments such as cymbals which are very bright and contain many overtones need to be sampled at 40kHz A bass drum however which has very few upper harmonics could feasibly be sampled at 20kHz The S600...

Page 282: ... across its range so that at any one time the sound is never transposed too much and so avoids serious munchkinisation and envelope distortion Typically you can get away with one sample per octave but some difficult instruments with strong formants need more The saxophone voice and piano are two instruments that spring to mind and which are notoriously difficult to capture The ideal multi sampling...

Page 283: ...nd transpose your samples But you may be asking why have programs Why not just play samples from EDIT SAMPLE A good question The reason we have programs is because raw samples however much you may have trimmed looped crossfaded stretched and otherwise mangled them are only half the story In EDIT SAMPLE you can only play one sample at a time spanning the entire keyboard range whereas in a program y...

Page 284: ... zone 1 of each keygroup to a velocity range of 0 90 and setting zone 2 to 91 127 you could for example switch between a thumbed bass and a slapped bass or a normal snare hit and a rim shot using velocity This kind of program is also suitable for 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 o...

Page 285: ...o edit all keygroups simultaneously or to copy keygroups Key ranges can be conveniently set by playing your MIDI keyboard if you wish and within a short time you will be making programs very quickly and easily Of course once you have a number of programs in memory either ones you have loaded or ones you may have made yourself you may want to play a number of them simultaneously This is done in the...

Page 286: ...can be EQ d mixed panned and effected using your favourite outboard effects processors Of course a combination of these is possible and some parts may be on unique MIDI channels whilst others share the same channels for layering and or key splits Similarly some parts may be routed to the internal effects processor in the S6000 whilst others are sent out via the individual outputs for processing on...

Page 287: ...ing Reverbs 215 Create Multi 42 55 Create Program 60 127 131 Crossfade Keygroups 106 Crossfade Loop 153 CURSOR KEYS 6 21 Cutoff Frequency Filter 120 D Data Wheel 6 Decay Amp Env 122 Delay LFO 1 89 DELAY FX Page 204 Delay LFO 2 91 Delay Mod LFO 1 90 Delay Mod LFO 2 91 Delete Multi 55 Delete Program 60 131 Delete Sample 175 Deleting Disk Items Disk Utils 227 Depth LFO 1 89 Depth LFO 2 91 Depth Mod L...

Page 288: ... 98 Keyscale Amp Env 122 KEYSPAN Page 105 KG PITCH AMP Page 107 L L R Direct Signal FX 225 Length min sec Record 179 Level 1 4 Aux Env 125 Level Window Zones 101 LFO1 Page 89 LFO2 Page 91 LFO MIDI CLOCK SYNC 91 LIN Waveform 173 LOAD 29 Load Folder 30 Load Multi 31 Load O S 239 Load Program 31 Load Sample 32 LOG Waveform 173 Loop Crossfade 152 Loop Crossfade Window 153 Loop Direction 152 Loop Displ...

Page 289: ... 148 Play Sample A B Join 157 Play Sample A B Mix 160 P Play To From Chop 148 Play To From Trim 146 Playback Mode 104 Playback Modes Zone 99 Playback Window Zone 103 POP UP WINDOWS 18 PREFERENCES Page 222 Preset BPM Match 168 Preset Pitch Shift Edit Sample 107 Preset Re Sample 169 Preset Timestretch 165 PROG TOOLS MENU 128 Program Change MIDI Setup 223 Program List 59 129 Program Number 66 86 137 ...

Page 290: ...ing Keyspan 105 Setup D D Record 180 SHOW HARDWARE Page 234 Single Play Key 235 Solo Part 47 Source Tempo BPM Match 168 Start End Chop 148 Start End Loop 151 Start End Trim 146 Stereo Delay FX 206 Stereo Mono Samples 177 Stretch Amount Timestretch 165 Sustain Amp Env 122 Sync LFO 1 90 SYSTEM SETUP Page 219 T Templates Amp Env 122 Templates Delay 206 Templates EQ 194 Templates Mod FX 203 Terminatio...

Page 291: ...Version 1 21 281 s5000 s6000 INDEX Z Zone Level 99 101 Zone Xfade 100 Zones 102 Zones 1 2 3 4 98 Zoom In Out Chop 148 Zoom In Out Fade 154 Zoom In Out Loop 151 Zoom In Out Trim 147 ...

Page 292: ...000922 4 APC Printed in Japan 1 3 Hiranuma 1 chome Nishi ku Yokohama Japan ...

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