User manual AKAI S6000

[. . . ] s5000/ s6000 STEREO DIGITAL SAMPLER Software version V1. 21 WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture. Operator's Manual Important Notice The material in this document is copyright to AKAI professional 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. will make its best efforts to correct reported software defects for future releases subject to technical practicabilities. [. . . ] 2-POLE LP+, 2-POLE BP+ and 1POLE HP+ can be so severe that even an ATTENUATION setting of -30dB may not be enough to reduce distortion. In this case, back off the resonance a little or try other means of level reduction. 120 Version 1. 21 s5000/ s6000 GOTO SOURCE EDIT PROGRAM This will take you directly to the selected controller's page. Of course, a mod input needs to be selected for this. Because each of the filter 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! Version 1. 21 121 EDIT PROGRAM s5000/ s6000 AMP ENVELOPE This is an ADSR envelope that is used to control overall amplitude: The parameters are: ATTACK This sets the attack time of the envelope. This sets the time it takes for the amplitude to fall to the SUSTAIN level (see below). This sets the level the sound will sustain at when holding a note down. This sets the time it takes for the sound to die away after the note is released. DECAY SUSTAIN RELEASE 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). This allows you to choose from a variety of preset envelope shapes. ENV TEMPLATE NOTE: If you choose one of the templates and edit it in any way (tweak the attack or whatever), it will revert to USER. GOTO DEST This pops up a window and allows you to go directly to any places where the AMP ENVELOPE may be routed. 122 Version 1. 21 s5000/ s6000 EDIT PROGRAM AMP ENVELOPE WINDOW FUNCTIONS As always, behind certain parameters is access to lesser used functions: In the ATTACK window, parameters are: ATTACK VEL>ATTACK Reproduced in the ATTACK window for convenience This allows you to use velocity to control attack time. Setting a positive value here will result in 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 making the release time slower). Negative values set here will produce the opposite effect. RELEASE This parameter is duplicated here for convenience. Version 1. 21 123 EDIT PROGRAM s5000/ s6000 FILTER ENVELOPE Pressing FILTER ENVELOPE in either the MAIN or KEYGROUP page will show this screen: The parameters and window functions are identical to the AMP ENVELOPE described on the pervious pages except. . . . Set to +000, it will have 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 the level for the `hardwired' link to the filter, setting a value appropriate to the pitch sweep effect you want will also affect filter modulation which may or may not be what you want. 124 Version 1. 21 s5000/ s6000 EDIT PROGRAM AUX ENVELOPE Pressing AUX ENVELOPE will show something like this screen: The parameters are: RATE 1 RATE 2 RATE 3 RATE 4 LEVEL 1 LEVEL 2 LEVEL 3 Sets the time it takes for the envelope to get to LEVEL 1 Sets the time it takes for the envelope to get to LEVEL 2 Sets the time it takes for the envelope to get to LEVEL 3 Sets the time it takes for the envelope to get to LEVEL 4 Sets the level for RATE 1 Sets the level for RATE 2 Sets the level for RATE 3. This is also the level at which a note will sustain when you hold a note Sets the level for RATE 4. LEVEL 4 Version 1. 21 125 EDIT PROGRAM s5000/ s6000 AUX ENVELOPE WINDOWS RATE 1 and RATE 4 have window functions: The parameters in the RATE 1 window are: RATE 1 VEL>RATE 1 RATE 1 is duplicated here for convenience. Setting a positive value here will result in heavy keystrikes making RATE 1 faster (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 VEL>RATE 4 This will set how much key position will affect RATE 2 and RATE 4. Setting a positive value here will result in heavy keystrikes making R4's time faster (and light keystrokes making R4's time slower). This is duplicated here for convenience. RATE 4 126 Version 1. 21 s5000/ s6000 EDIT PROGRAM CREATING PROGRAMS In the main EDIT PROGRAM page, F15 is CREATE PROGRAM where you may create a brand new, empty program. [. . . ] This is usually fine for most applications but there are sometimes occasions where the abrupt transition between one keygroup and another can be a bit obvious. For example, in a strings program where you maybe have five string samples each at the G of every octave, the transition between B2 and C3 may sound a little strange. The reason for this will normally be that the G2 sample is transposed up by four semitones at B2 and so sounds a little brighter whilst the G3 sample is being played 7 semitones down so it may sound a little duller. As a result, when played next to each other, especially when playing a scale, the crossover point is not even. [. . . ]