Akai S900

15
PAGE
071
LOUD
SAMPLE
RANGE
ASSIGNMENT
~jg!7
Loud *
s a m
p
I
e *Low K g
y
*KGI
TONEI
C0 24
«h K«
y
G8
I
27
Keyboard
assignment
determines the
range
(from lowest
note
to
highest
note)
covered
by
a sample.
Example:
If you have
a
sample
recorded
at
C3 (MIDI
note
60)
and
wanted
to transpose
it
plus and
minus
one
octave, the
low note would
be
C2
(MIDI
note
48)
and
the high
note would
be C4 (MIDI
note
72).
If there is
no loud
sample,
which
is the
case if
velocity threshold
= 1
28
(thus
precluding
the
use of
a
loud
sample;
see Page
04),
the
LCD will
say "No
loud
sample, vlcty
thrsh
=
1
28."
1
.
Point arrow
at
"sample."
Use CONTROL
to select the
sample
to
be
assigned
to
a
given
range of the
keyboard.
2. Point
arrow
at "Low
key."
Adjust
CONTROL
to select the
desired
note, or
enter the
three-digit
MIDI note
number with
theO—
9
keys.
3. Point
arrow
at "High
key." Adjust
CONTROL to
select the
desired
note,
or enter the
three-digit
MIDI
note number
with
the 0—9
keys.
PAGE08i
LOUD
SAMPLE
LOUDNESS,
FILTER,
TRANSPOSE,
AND FINE
PITCH
*0B
L *LoudneS5
*Fi I
t«r
*Transpos8
*
f i
*KGI
+
00 99 +00
+00
This
page edits four
hard
sample
parameters.
LOUDNESS
(hard
sample level
adjust)
Each sample
level
can be
adjusted by itself
(Edit
Sample Page
03)
or as
part of
a keygroup,
as
in
this
case. Different
sections
of
the
keyboard
can play
at different
levels if
desired, or
samples
with unequal
levels
can be
balanced
out for uniform
keyboard
re-
sponse.
Point
arrow
at
"Loudness."
Use
CONTROL
to vary loudness
from
+50 above the
nominal
+00 point
(louder)
to
—50
below
the
nominal
+00
point (softer).
Note: These
figures
represent
ar-
bitrary
volume units,
not
deciBels.
FILTER
(hard
sample high
frequency
response)
Low pass filtering
passes low frequency
sounds
and attenuates
high
frequency
sounds. The
frequency
at
which the filtering
action occurs is
adjustable.
One application
is
to clean up noisy
samples
by removing high
frequency hiss;
also, filtering
inter-
acts with filter
velocity
sensitivity
(see PAGE
10).
Point
arrow at "Filter."
Use CONTROL
to set the initial
filter fre-
quency or
enter
a two-digit
number with
the
0—9
keys.
The
lower the
number,
the lower
the cutoff
frequency.
TRANSPOSE
(hard
sample
transposition)
Point arrow
at
"Transpose."
Use CONTROL or the
+,
—
, and
0—9
keys
to vary
transposition
amount in
semitones
from
50
semitones up
(+50) or 50 semitones
down (—50).
+00 gives no
transposition.
Note: Not all
samples
are capable of being
transposed over
the
full
range.
FINE
PITCH
(hard sample
pitch)
Point arrow
at "fine."
Use
CONTROL
or the
+,
—
, and number
keys to
fine-tune the
sample
pitch
up
to just over a
flatted
fifth
(
+
99) or
an
equivalent
amount
in
the
downward direction
(—99).
+00 gives no pitch change.
PAGE
091
KEYGROUP
ENVELOPE
SETTINGS
-M9
ENV
*Attack
*
KG
I
* O a c a
y
tSustiin
tRiliin
80
99
30
Sounds are often looped to create
continuous
sustain. This
saves memory but
unfortunately
sacrifices
the
natural
dynamics
of
a sound.
The envelope function
allows
dynamics
to be put
back in to
a
sound,
and can
also be used
to
create
special ef-
fects—super percussive piano sounds,
for
example,
or
guitar
notes with the attack
characteristics
of
a woodwind
instead of
plucked instrument.
There are
four
adjustable
parameters,
as summarized
below.
Decay
Attack
.Sustain
level
Release
Key down
Key up
ATTACK
Attack is
the
envelope
generator's first phase,
and
sets the
amount
of time required
for
the keygroup
sound level
to
go
from
full
off to full on. Short
attacks are characteristic
of plucked
instruments;
longer
attacks
are characteristic of
woodwind
and
some bowed instruments.
Point arrow
at
"Attack." Use
CONTROL or enter
a two-digit
number (00—99) with the
0—9
keys. Higher
numbers
give
longer attack
times.
DECAY
Decay is the
envelope
generator's
second phase,
and
sets
the
time the
keygroup sound
level
takes to fall
from
the
maximum
sound
level attained during
the attack phase to an
arbitrarily-set
sustain
level (see next
heading).
Point
arrow
at "Decay."
Use
CONTROL
or enter
a
two-digit
number
(00—99) with
the
0—9
keys.
Higher
numbers
give
longer
decay
times.
SUSTAIN
Sustain, the envelope
generator's
third
phase,
sets the
keygroup
sound
level during the
time
the key
is held
down.
A looped
sound will
remain
at
this
level
until
the key is released.
Point arrow
at "Sustain."
Use
CONTROL
or
enter
a two-digit
number
(00—99) with
the
0—9
keys.
Higher
numbers
give
higher
sustain levels.
RELEASE
Release,
the envelope
generator's
fourth phase,
starts
upon
releasing
a
key and sets
how
long it
takes for
the
keygroup
sound level
to fall from
the
sustain
level back to zero.
Completion
of the
release phase terminates
the envelope
generator
cycle.
Point
arrow
at "Release."
Use
CONTROL
or enter
a
two-digit
number
(00—99) with
the
—
9
keys.
Higher
numbers
give
longer
release
times.