ADVANCED APPLICATIONS
© 1985, 1986, 1987 E-mu Systems, Inc. Page 203
3. Now you get into the actual rhythm of sampling, which goes something like...
Arm sampling and play the first (lowest) note to be sampled. Shortly after
the note reaches the sustained section, stop sampling. Play the keyboard
to see if the Voice sounds okay. If the sample is good, de-activate
sampling; Voice V01 now contains the first sample.
Similarly sample the next Voice. This becomes V02 and replaces V01 on
the keyboard. After sampling, check that the Voice sounds okay then
proceed.
Record a total of six Voices as described above. These will cover an
octave more than the keyboard, but the extra Voice will come in handy if
we decide to double octave related Voices for a thicker sound. The lowest
Voice is 01, the highest 06.
4. Create a Preset to see what the Voices sound like together, and assign the
Voices to that Preset.
5. Loop the newly recorded Voices (specifying one Voice at a time as the Current
Voice) by setting the Loop Length to 000000 and adjusting Sliders A & B until the
sound goes just a little bit past where the complex attack cuts off. Now adjust
sliders C & D for a short sample length -- say, 100 samples. Sounds terrible
when it loops, eh? Press YES for Autoloop and it should sound better. If not, set
C & D for a somewhat longer length, and keep pressing YES to invoke Autoloop.
When the sample is looping properly, change the Current Voice and loop the
next Voice.
6. If all Voices to be looped are not assigned to a Preset, temporarily assign any
additional Voices to a temporary Preset and loop them. After all the Voices have
been looped, name them by copying them to themselves (PRESET DEFINITION
12), then save the raw, looped versions of each Voice to the Library disk so that
these sounds will be readily available when making up future Presets.
7. Modification time...since we want a percussive Voice rather than a sustained
one, we’ll activate VCA/LFO and add decay to all Voices in the Preset. Or how
about a Chorus sound? De-tune a replicated set of Voices (as described earlier
in this section), overlay them with the existing Voices, and voila -- instant
chorusing.
Part of the fun of the Emulator II is that you can really expand the boundaries of
your creativity. For instance, there’s no law that says you have to assign notes
like a normal keyboard; you could sample major chords into one octave, minor
chords into another octave, seventh chords into yet another octave, and so on.
Содержание EII+
Страница 11: ...INTRODUCTION 1985 1986 1987 E mu Systems Inc Page 11 INTRODUCTION ...
Страница 20: ...INTRODUCTION 1985 1986 1987 E mu Systems Inc Page 20 ...
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 ...