A5000/A4000/SU700/SU200 Your Guide to the World of Yamaha Samplers WIN & MAC CD EXTRA Included $8.
CONTENTS Part 1 Introduction to Sampling The birth and evolution of sampling ………………1 Basic sampling concepts …………………………2 Basic sampling techniques …………………………2 Looping …………………………………………2 Multi-sampling ……………………………….
Part 1 Introduction to Sampling ◊ The Birth and Evolution of Sampling Part 1 Introduction to Sampling The Birth and Evolution of Sampling A digital sampler is a general term for an electronic musical instrument that uses digital audio technology to produce all kinds of sounds using recordings of the sounds themselves as the sound source.
Part 1 Introduction to Sampling ◊ Basic Sampling Concepts ◊ Basic Sampling Techniques ◊ Sampler Parameters For example, let’s consider sampling the sound of a piano. Of course, reproduction quality would be best if we could sample the entire duration—from the moment the note is struck until it completely fades away—but this would quickly use up the sampler’s wave memory.
Part 1 Introduction to Sampling ◊ Sampler Parameters ◊ Break Beats ■ Loop Start Point (Loop Start Address)/ Loop End Point (Loop End Address) ■ Original Key When a sample is set to play as a scale across the keyboard, the key that generates the original pitch of the recorded sound is called the Original Key. Changing the setting of the Original Key lets you raise or lower the pitch of the entire keyboard, thus this parameter has a close relationship with other pitch-related parameters (Figure 11).
Part 1 Introduction to Sampling ◊ Break Beats ◊ Producing “Good Sound” note intervals. The segments should sound the same as the original sample. Now try varying the tempo of the sequencer slightly. The samples should sound as if they were synchronized to the tempo of the sequencer (Figure 15). Re-triggering during a measure By re-triggering (restarting the sample from the beginning) on the back end of the second beat (see Figure 13), you can create a rhythm pattern different from the original sample.
Part 2 Part 1 Introduction to Sampling ◊ Enriching People’s Lives throughout the World ◊ Producing “Good Sound” Sound processing section Samplers are different from recorders; their design is based on the assumption that multiple notes will be played back at the same time. To ensure that the sound does not distort internally when a large number of notes are being played at once, the playback volume for each note is kept to a minimum.
Part 2 Yamaha Musical Instruments ◊ History of Yamaha Musical Instruments [1977] In this year, Yamaha introduced six new synthesizer models designed for live performance. Two of these models are described below. CS-10 Monophonic Synthesizer ■ FM Synthesizers ■ VL Synthesizers [1981] GS1 Digital Keyboard The GS1 is an 88-key, 16-voice polyphonic FM keyboard with initial touch and aftertouch. Each voice consisted of 8 operators, which could function as two separate 4operator elements.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Interface ◊ Internal Structure ◊ Samples Part 3 Yamaha Samplers So what are samplers? Moreover, what samplers has Yamaha developed with its over 100 years of experience in manufacturing musical instruments? A sampler is a dedicated piece of electronic equipment designed specifically for sampling. It can also refer to a synthesizer or tone module that has sampling capability, but, generally speaking, it refers to a dedicated machine.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Samples Here, we’ll touch on the Loop Remix function that was introduced in the section “Break Beats — A New Music Production Technique Brought About by Samplers” (p. 5). Operation is simple: just set the Type/Variation on the EDIT - LoopRmx screen and push Knob 2 . When processing is complete, the result of the slicing/ rearranging is graphically displayed on the right of the screen.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Samples ◊ Sample Banks ◊ Programs Sample parameters for up to six sets of samples can be controlled in real-time using MIDI Control Change or other control methods. Settings are simple and easy— just set Device (what will be used to do the controlling), Function (what it is to be controlled), Range (how much control), and Type (how it will be controlled).
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Programs “ ” indicates samples already being used in the program that is currently selected for sound playback. To add a sample to a sample bank, use Knob 2 or Knob 3 to select the sample bank and Knob 5 (or Knob 4) to select the sample to be added. Press Knob 5 to add the sample (the “➞” symbol will appear next to the sample).
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Programs ◊ Convenient Functions in EDIT/PLAY Mode F5: SETUP This mode sets preferences related to LFO S/H (Sample & Hold) speed and A/D input (external input). When the LFO Wave parameter on the sample side is set to S/H, the LFO speed is not set on the sample side, but rather it is set on the program side, enabling the speed to be changed for each program.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Convenient Functions in EDIT/PLAY Mode ◊ RECORD Mode ■ LIST Display Parameters that have “LIST...” displayed above the knob (at the very bottom of screen) such as MIDI control function, pitch bend type, effect type, etc., can be displayed as a pop-up list. Press the knob to display the list. You will be able to view multiple selection items simultaneously and search for the desired setting simply and easily (Figure 31).
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ RECORD Mode ◊ Waveform Processing ■ Auto Normalize This setting causes the A4000/5000 to automatically normalize (optimize the level of) each new sample after recording it. Setting is done from the REC-Process screen. ■ Recording Hints When recording using the default settings, the sample parameter settings are: MIDI receive channel……Channel 1 Original Key…………….
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Saving and Loading Data Saving and Loading Data The A4000/5000 differ from PCM synthesizers that have “hardwired” preset waveforms. All programs and samples are erased from the A4000/5000’s memory when the power is turned off. You will want to be sure to save all data to disk before turning the power off. ■ Format Use this disk-mode command to format floppy disks, hard disks, ZIP disks, etc.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Import-Compatible Data ◊ Other Unique Features Import-Compatible Data ■ Other Formats Other Unique Features ■ Yamaha Formats …………………………………………………………… A7000…… Normal voices, drum voices, samples TX16W…… Samples EX series… Voices, samples SU700…… Samples …………………………………………………………… Notes: 1) The Yamaha A7000 is available in the Japanese market only. 2) Files saved using the Yamaha A3000/3000 ver.
Part 3 Yamaha Samplers — Professional Samplers A4000/5000 ◊ Paying Attention to Sound Quality ◊ Computer Compatibility Paying Attention to Sound Quality We often hear about how sound quality can vary from manufacturer to manufacturer and between different models of samplers. What exactly causes these “variations”? The Memory List lists the programs, sample banks and samples loaded in the A4000/5000’s memory according to type (Figure 36).
Part 3 Yamaha Samplers — Sampling Unit SU700 ◊ Independent Control of BPM and Pitch ◊ Track and Pad Configuration ◊ Knob Functions phrases from records and CDs for sampling. Chances are the BPM will be different for each one, and there’s nothing more troublesome than trying to make their tempos all match. The SU700, however, automatically adjusts these different tempos—instantly. You no longer have to deal with cumbersome procedures; the SU700 lets you concentrate on creating music.
Part 3 Yamaha Samplers — Sampling Unit SU700 ◊ Ribbon Controller ◊ Pad Function ◊ Scene Memory ◊ Sampling ◊ Effects ◊ Expandability 3. Ribbon Controller The ribbon controller on the right side of the operation panel lets you “scratch” samples by sliding your finger up and down on it. You can also assign it a function parameter, such as filter cutoff, for slider-like control over the sound.
Part 3 Yamaha Samplers — Sampling Unit SU200 ◊ Loop Track Play ◊ Carefully Selected Effects ◊ Effect Type List ◊ Special Functions for Live Performance The sampler is a dream instrument, which allows you to capture literally any available sound element and put it in your music. When sampling break beats, however, BPM becomes an obstacle because different break beats can have different BPMs (naturally).
Part 4 Reference Part 3 Yamaha Samplers — Sampling Unit SU200 ◊ Interview with the R&D Staff ◊ Playing the Pads ◊ Sampling ◊ Storage • Tap This is one method of setting the BPM. Tap the Tap button a few times to the desired tempo. This function is convenient for synchronizing the SU200 with an external rhythm source such as a turntable.
Part 4 Reference ◊ The Complete SU200 Operation Guide The Complete SU200 Operation Guide This guide will show you step by step how to operate the SU200 Sampling Unit and explore its amazing features. All the samples used in the examples have been loaded into the SU200 at the factory. As there is no backup of these samples, we recommend that you save them on a SmartMedia™ card (sold separately) in case you should accidentally erase them.
Part 4 Reference ◊ The Complete SU200 Operation Guide Tech Modulation Tech Modulation adds a distinctive modulation and metallic tonality to the sample. Knob 1 controls the amount of modulation and Knob 2 controls the modulation speed. 1. 2. 3. 4. 5. 6. Play back only Pad 1. Press the other pads to stop them from sounding. Press the [TECH MOD] button. The [TECH MOD] button lights up. Turn Knobs 1 and 2 fully to the left. This applies a quavering effect to the original sample.
Part 4 Reference ◊ The Complete SU200 Operation Guide Step 4: Loop Track Play Let’s try creating a mix in Loop Track Play mode using the samples in Bank B with the effects you tried out in step 2. Setting Each Effect First, let’s set the control knobs for each effect. [LOOP TR PLAY] should be turned off. 1. Select [BANK B]. 2. Press [PAD 1] while holding down the [HOLD] button. Placing the SU200 in hold will prevent the sample from changing should you accidentally press another pad. 3.
Part 4 Reference ◊ The Complete SU200 Operation Guide Technique 3: Effective Use of Effects Activate all three samples in Pads 1, 2 and 3. All effects should be turned off. 1. Press [PAD 2] while holding down the [HOLD] button. Press [DIST/LO-FI] at the beginning of a measure to apply Distortion/Lo-fi to the sample in Pad 2. Apply this effect to just one measure, and press [DIST/LO-FI] again at the beginning of the next measure to turn it off.
Part 4 Reference ◊ Specifications ■ A4000/A5000 Specifications Tone Generation Method AWM2 tone generator Maximum Polyphony 126 notes (A5000)/64 notes (A4000) Multitimbral Parts 32 parts (A5000)/16 parts (A4000) A/D Conversion 20 bit, 64 times oversampling D/A Conversion 24 bit, 8 times oversampling Digital I/O Input/output (only when AIEB1 I/O expansion board is installed) Input frequency Output frequency Sampling Frequencies Wave Memory Sampling Time Standard Maximum Maximum sample leng
◊ Index A A/D converter …………………………………… 7, 35 A4000/5000 Editor ………………………………… 30 A4000/5000 samplers ………………………………12 All (Wipe) ……………………………………………26 AllEdited … …………………………………………26 AllPgms (Wipe)………………………………………26 AllSamples………………………………………….. 26 amplitude EG………………………………………3, 15 analog synthesizers ………………………………. 1, 9 ARRANGE…………………………………………… 22 ASSIGNABLE key …………………………………. 29 attack time ……………………………………… 15, 23 AUDITION key…………………………………… 13, 29 Auto normalize ………………………………… 24, 25 B backup ……………………………………….....
CD-ROM Contents Utility Software Adobe Acrobat Reader 4.0 PDF Data Owner’s Manual for the A4000, A5000, SU700, SU200 Brochure for the A4000, A5000, SU700, SU200 Demo Song Data A4000/5000 A4000/5000 Demo (Programming: Takashi Morio) SU700 1. Enjoy Demo (Programming: Takashi Morio) 2. Drum and Bass Demo 3. Minimal Techno Demo 4. Industrial Drum and Bass Demo 5. Xtrance (Programming: Peter Krischker) CS6x/CS6R 1. All Right (Programming: Takashi Morio) 2.
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