ADVANCED APPLICATIONS
© 1985, 1986, 1987 E-mu Systems, Inc. Page 197
Here are some thoughts about the use of various types of signal processors when
recording samples.
External Preamp:
If you need to pre-amplify the signal being sampled, set the Sample
section GAIN SET to 00 dB and use an external, high-quality mic preamp to increase the
signal level going into the Emulator II. The Emulator II preamp noise level, while
acceptable, is sometimes not as quiet as an external mic preamp.
Limiting Dynamic Range:
Limiting the signal being sampled can put a higher average
signal level into the Emulator II, thus improving the already excellent signal-to-noise
ratio. Also, the limit point can be set just under the Emulator II overload point, which
makes level setting less critical.
Equalization:
If using EQ gives a better instrument sound, then use it. You want the
best possible sound going into the Emulator II, and if a little EQ is indicated, it’s best to
add it while recording rather than having to think about it during playback.
Flanging & chorusing:
There will be no problem using time delay effects with unlooped
sounds, but looped sounds are another story. The worst case is that the time-delay
processing creates such a complex, non-repetitive signal that it becomes virtually
impossible to find a good splice point for the loop. The best case occurs if the effect is
used to give cyclical sweeps, since you can often loop one sweep of the LFO with good
results. Remember too that the Emulator II can add chorusing effects all by itself; simply
replicate a Preset, de-tune the Voices in the replicated Preset slightly, then overlap the
original and replicated Presets on the keyboard.
Compression:
Compression can be helpful when looping sounds since it evens out
level changes, thus making it easier to find an equal-level splice point. If appropriate, use
the Emulator II’s VCA and ADSR to restore the original signal dynamics.
Audio “exciters”:
To brighten up a sampled signal, use a device such as an Aphex
Aural Exciter or EXR Projector. Both of these devices add a high-end “sheen” without
adding the stridency encountered with excessive high-frequency equalization.
Using noise reduction:
A number of single-ended noise reduction units (such as the
MicMix Dynafex or Rocktron Hush) are now available; these do not require that the noisy
signal have been previously encoded, as is the case with Dolby and dbx. If your source
signal is noisy, one of these devices can help to greatly clean up the overall sound
quality as you sample.
SAMPLING FROM TAPES
Maintaining sample quality via VCR recording:
One excellent way to sample involves
using a VCR and digital audio adapter (such as the Sony PCM-F1) for recording different
sounds. Compared to using conventional reel-to-reel tape recorders, this approach
offers several advantages:
Digital-quality fidelity. A VCR/audio adapter combination adds virtually no
degradation to the signal being sampled. Signal-to-noise ratio, wow, flutter, and
dynamic range exceed that of all but the very finest analog recorders. These
tapes of source sounds can serve as “master” library disks.
Содержание EII+
Страница 11: ...INTRODUCTION 1985 1986 1987 E mu Systems Inc Page 11 INTRODUCTION ...
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Страница 26: ...THE GUIDED TOURS 1985 1986 1987 E mu Systems Inc Page 26 THE GUIDED TOURS ...
Страница 84: ...VOICE DEFINITION MODULE 1985 1986 1987 E mu Systems Inc Page 84 Fig VDEF 8 Fig VDEF 9 ...
Страница 118: ...PRESET DEFINITION MODULE 1985 1986 1987 E mu Systems Inc Page 118 ...
Страница 168: ...ENTER MODULE 1985 1986 1987 E mu Systems Inc Page 168 ENTER MODULE ...
Страница 170: ...SEQUENCER MODULE 1985 1986 1987 E mu Systems Inc Page 170 SEQUENCER MODULE BACKGROUND EXT CLOCK SETUP EDIT ...
Страница 214: ...SMPTE SUPPLEMENT 1985 1986 1987 E mu Systems Inc Page 214 SMPTE SUPPLEMENT OVERVIEW PROTOCOL ...