Page 1 EMULATOR II+ OWNERS MANUAL By Craig Anderton OS Version 3.1 and 3.1 HD © 1985,1986,1987 E-mu Systems, Inc., Scotts Valley, CA ▪ All Rights Reserved Restored by the Emulator Archive ▪ www.emulatorarchive.com...
Page 2: Table Of Contents
CONTENTS CONTENTS INTRODUCTION ..................11 WHAT’S AN EMULATOR II? ..................... 12 WELCOME TO THE EII+ and EII+HD ...................13 MANUAL RESTORATION NOTES ....................13 SEND IN YOUR WARRANTY CARD NOW! ..............14 HOW TO USE THIS MANUAL ................... 17 DEFINITIONS: HOW THE EMULATOR II ORGANIZES SOUND ........18 Sampling Basics ..........................18...
Page 3 CONTENTS FILTER FUNCTION 1: CHANGING CUTOFF FREQUENCY, Q, and ENVELOPE ......36 FILTER FUNCTION 2: LFO AMOUNT AND KEYBOARD TRACKING .........37 FILTER FUNCTION 3: ADSR SETTINGS ..................37 VCA/LFO FUNCTION 1: ADSR SETTINGS ..................38 VCA/LFO FUNCTION 2: LFO SETTINGS ..................38 GUIDED TOUR #4: REAL TIME CONTROL and VIBRATO DEPTH......... 39 BACKGROUND..........................39 SELECTING A CONTROL SOURCE and CONTROL DESTINATION .........40 REAL TIME FUNCTIONS ......................40...
Page 4 CONTENTS Labeling Disks ..........................56 Write-Protecting Disks ........................57 Single-drive vs. Dual-drive Emulator Il’s..................58 Inserting the Disk in the Drive ......................58 Always have a Disk in the Top Drive!.....................58 6 - SELECTING REAL TIME CONTROL FUNCTIONS............59 7 - CATALOGUING......................60 8 - KEYBOARD NUMBERING PROTOCOL ..............61 MASTER CONTROL MODULE ..............62 DYNAMIC ALLOCATION ....................
Page 5 CONTENTS 13 - FORWARD/REVERSE LOOP..................87 14 - SPLICE ........................89 About Autosplicing..........................91 15 - SOUND LENGTH......................93 21 - VELOCITY ASSIGNMENT TO LEVEL and ATTACK..........94 22 - VELOCITY ASSIGNMENT TO FILTER............... 96 23 - VIBRATO DEPTH ....................... 98 24 - VOICE ATTENUATE/TUNE ..................
Page 6 CONTENTS 21 - CREATE PRESET ....................114 22 - ASSIGN VOICE ......................115 23 - EDIT ASSIGNMENT ....................117 24 - DE-ASSIGN VOICE ....................119 25 - VELOCITY SWITCH ....................120 26 - VELOCITY CROSSFADE ..................121 27 - POSITIONAL CROSSFADE ..................122 28 - NONTRANSPOSE ....................
Page 7 CONTENTS 4 - COPY DISK ........................ 142 5 - CATALOG VOICE....................... 144 6 - ERASE VOICE......................144 7 - SAVE BANK ....................... 146 8 - FORMATTING A PERFORMANCE OR LIBRARY DISKETTE ........147 HARD DISK SUPPLEMENT..............149 BACKGROUND : WHY HARD DISKS................150 THE HARD DISK PERSONALITY ...................
Page 8 CONTENTS CONTROL 4 - Function: LFO to PITCH................164 CONTROL 5 - Function: LFO to FILTER Fc..............165 CONTROL 6 - Function: LFO to LEVEL................. 165 CONTROL 7 - Function: ATTACK RATE ............... 166 FOOTSWITCH 0 - Function: OFF ................... 166 FOOTSWITCH 1 - Function: SEQ CTRL ................
Page 9 CONTENTS SETUP 5 - Function: SMPTE START ................186 SETUP 6 - COUNTDOWN ....................186 RECORD, PLAY and STOP..................... 187 Record ............................187 Playback ............................187 Stop ..............................187 SELECT SEQUENCE ...................... 188 EDIT 1 - ERASE TRACK ....................189 EDIT 2 – PUNCH-IN......................190 EDIT 3 –...
Page 10 CONTENTS CREATING A “MIDI PRESET” WITH THE EMULATOR II ..........211 FINDING OUT ABOUT OTHER SYNTHESIZER’S MIDI CAPABILITIES ......212 DEALING WITH “MIDIOSYNCRACIES” ................. 213 SMPTE SUPPLEMENT ................214 SMPTE OVERVIEW......................215 SMPTE PROTOCOL......................215 APPENDICES..................217 APPENDIX A: GLOSSARY OF TERMS ................218 APPENDIX B: EMULATOR II FUNCTIONS, DEFAULT SETTINGS, and CONTROL RANGES ..........................
Page 12: What's An Emulator Ii
INTRODUCTION WHAT’S AN EMULATOR II? The Emulator II is a responsive, surprisingly easy-to-use musical instrument with staggering creative possibilities. It’s also a sound effects designer’s dream come true, a composer’s personal orchestra, a recording studio’s chance to have hundreds of acoustic and electronic instruments “on call”...
Page 13: Welcome To The Eii+ And Eii+Hd
MANUAL RESTORATION NOTES This manual is a collation of all the known User Instructions for the EII, EII+ and EII+HD. It includes information on all operating systems release up until the final OS 3.1 and OS 3.1 HD versions of late 1987.
Page 14: Send In Your Warranty Card Now
INTRODUCTION SEND IN YOUR WARRANTY CARD NOW! It is vital that you send in your warranty card so that we can notify you of enhancements, new features, and (nobody’s perfect) software bugs & cures. Sending in the warranty card also entitles you to a free one-year subscription to “The Emu-Letter”, a bi-monthly company bulletin carried in Electronic Musician (formerly Polyphony) magazine.
Page 15 INTRODUCTION INSTANT GRATIFICATION! If you just can’t wait another second before hearing the Emulator II, we understand. Follow the directions below EXACTLY as given and get ready to hear some great sounds. (Incidentally, in case you make a mistake or run into problems, don’t worry. This process is described in greater detail in Guided Tour #1.) 1.
Page 16 INTRODUCTION 11. To try out Presets from other factory disks, open the latch, remove the existing disk, and insert another factory disk. Close the latch. Now, find the portion of the front panel labeled “DISK” (towards the lower-right hand corner). Press its switch, and its LED will light up. Now press 1 on the keypad.
Page 17: How To Use This Manual
INTRODUCTION HOW TO USE THIS MANUAL The Emulator II is not an instrument that can be mastered in a few days. Therefore, this manual is organized so that you can take “guided tours” of different sections of the Emulator II and learn at your own pace.
Page 18: Definitions: How The Emulator Ii Organizes Sound
INTRODUCTION DEFINITIONS: HOW THE EMULATOR II ORGANIZES SOUND Forget everything you’ve ever learned about voices, presets, and channels: The Emulator II does things differently from traditional keyboard instruments. Sampling Basics The Emulator II is conceptually like a tape recorder in that it records sound. However, the recording process is very different since the Emulator II is recording into computer memory.
Page 19: The Emulator Ii "Map
INTRODUCTION The Emulator II “Map” Sure, you’re anxious to start coaxing wonderful sounds from the instrument -- but like ground school for pilots, the following is a necessary part of learning how to play the Emulator II. It is important to understand how the Emulator II organizes sounds in order to make best use of the instrument in the shortest possible time.
Page 21: The Bank
INTRODUCTION The Bank The Bank contains all of the Emulator II’s memory (where, among other things, the sounds are recorded), plus a high-performance Central Computer. The Bank is the central storehouse for all of the Emulator II’s data. Although the memory is volatile, meaning that the data disappears when you turn off power, the Bank data can be saved permanently on disk to keep a record of your work.
Page 22: Voice Processing
INTRODUCTION 3. Choose from a number of options that further define the Preset, such as assigning Voices to partially or fully overlap other Voices (thus producing doubling effects), assigning dynamic control to individual Voices in a Preset, erasing Presets you don’t like, cataloguing Presets, cataloguing the Bank Voices to see what’s available for making up a Preset, adding arpeggiation, setting up MIDI parameters, etc.
Page 23: The Disk Archives
INTRODUCTION keyboard (unless you specify otherwise), and over-write the previous Voice assignment (although as mentioned in the end of the last paragraph, the sampled Voices themselves remain in memory). The Disk Archives So far, we’ve loaded a bunch of Voices into the Bank, created some Presets containing those Voices, and done some Voice processing.
Page 24: The Keyboard
INTRODUCTION The Keyboard Note the two paths coming from the keyboard in Figure 2; the LFO, VCA, VCF, and ADSR Analog Signal Processors are tied to keyboard dynamics (for example, playing harder can alter the loudness, attack time, filter cutoff, etc.), as are some Preset assignment characteristics (i.e. playing louder assigns a different Voice to a particular key).
Page 25: Other Definitions
INTRODUCTION OTHER DEFINITIONS Booting the Emulator II is not a repair technique; rather, it is a computer term that means “putting a disk in the disk drive after you first turn it on, and having the computer read software necessary for its operation from that disk”. (It’s easy to see why this was shortened to “booting”.) To boot, insert a Performance or Library disk in the drive before, or just after, you turn on the Emulator II.
Page 27: How To Use The Guided Tours
THE GUIDED TOURS HOW TO USE THE GUIDED TOURS Occasionally during a tour you will be told to refer to something like PRESET DEFINITION 11, DISK 8, SAMPLE 2, or some other name. This means that you will find more information in the specified section of the manual’s Reference Section.
Page 28: Guided Tour #1: Meet The Emulator
THE GUIDED TOURS GUIDED TOUR #1: MEET THE EMULATOR This tour covers how to: Care for diskettes Load a Bank from a Performance disk when first turning on power Select different Presets from the Bank Load additional Performance disks Tune the Emulator II to other instruments Transpose the keyboard ...and also discusses the Emulator II’s “modular”...
Page 29: The Emulator Ii's "Modular" Philosophy
THE GUIDED TOURS THE EMULATOR II’s “MODULAR” PHILOSOPHY The Emulator II front panel is divided into modules. Each module will be discussed in detail later on; the following is intended mostly as background information. Each module affects a certain area of the Emulator II’s operation. Refer to the map (Fig. INTRO-2) to see how some of these modules fit into the Emulator II’s overall structure.
Page 30: Activating And De-Activating Modules, Selecting Functions
THE GUIDED TOURS Special. This module mostly contains test routines. However, because of its computer-based nature, the Emulator II can be updated easily. This module will also access any new functions dreamed up by the wizards at E-mu. Calling up its Catalog will tell you what special functions are present.
Page 31: Tuning The Emulator Ii To Other Instruments
THE GUIDED TOURS Note: You can have different Performance disks in both drives, and load a Bank from either disk (but not both simultaneously) by using the appropriate command (GET BANK DISK 1 or GET BANK DISK 2). Loading in a new Bank will erase any currently loaded Bank. Loading instructions for single-drive Emulator II: 1.
Page 32: Guided Tour #2: Specifying The "Current Voice
THE GUIDED TOURS GUIDED TOUR #2: SPECIFYING THE “CURRENT VOICE” BACKGROUND The Emulator II has three main Voice processing modules: 1. Filter varies a Voice’s harmonic content via a four pole, low pass filter and associated ADSR envelope generator. 2. VCA/LFO varies the Voice’s LFO parameters as well as the amplitude attack, decay, sustain, and release characteristics.
Page 33 THE GUIDED TOURS case, before proceeding, to step 2 initiate the CHANGE CURRENT VOICE function by keying in 00 if the Voice Definition module is active, or 0 if the Filter or VCA/LFO module is active. Note: We hereby formally apologize that the Voice Definition CHANGE CURRENT VOICE function (00) is not printed on the front panel label.
Page 34 THE GUIDED TOURS 4. The display now asks: V01 Piano Addl Voices? Y/N * or Voice to be modified There are two possible choices. To make this single Voice the Current Voice, press NO to tell the Emulator II you want no additional Voices; when you select a processing module, it will process only this Voice.
Page 35 THE GUIDED TOURS 8. If all is well, the display should look something like: Module Identifier * Voice numbers you just assigned 9. The assigned Current Voice will remain as is until you change the Current Voice assignment, change Presets, or load another Bank. If you switch between modules, the Current Voice remains as assigned.
Page 36: Guided Tour #3: The Filter And Vca/Lfo Module
THE GUIDED TOURS GUIDED TOUR #3: THE FILTER and VCA/LFO MODULE BACKGROUND The filter module contains eight 24dB/octave low pass filters (one per channel) that vary a sound’s high frequency content. The VCA/LFO module contains eight VCA’s that control a sound’s amplitude envelope, and eight LFO’s that provide modulation to the filters or VCA’s.
Page 37: Filter Function 2: Lfo Amount And Keyboard Tracking
THE GUIDED TOURS FILTER FUNCTION 2: LFO AMOUNT AND KEYBOARD TRACKING 1. Follow the instructions in FILTER 2. When it describes how sliders A and B affect the sound, vary these sliders while playing the keyboard to hear the results. As mentioned previously, slider-setting changes will not affect the note(s) being held down;...
Page 38: Vca/Lfo Function 1: Adsr Settings
THE GUIDED TOURS VCA/LFO FUNCTION 1: ADSR SETTINGS 1. Assuming that you have the same Current Voice as specified during the previous part of the tour, the display’s top line will give the Module Identifier and the bottom line will list the Voices that make up the Current Voice.
Page 39: Guided Tour #4: Real Time Control And Vibrato Depth
THE GUIDED TOURS GUIDED TOUR #4: REAL TIME CONTROL and VIBRATO DEPTH BACKGROUND Ever wanted to add vibrato to a grand piano? Or bend its pitch? The Real Time Control module can do this, and lots more. Incidentally, for future reference GENERAL INSTRUCTIONS 6 (“Selecting Real Time Control Functions”) contains a short form version of the material presented in the first part of this tour.
Page 40: Selecting A Control Source And Control Destination
THE GUIDED TOURS MIDI Controls 4,5 and 6 are described more fully in PRESET DEFINITION 30, “MIDI Setup”, and in the Advanced Applications section of this manual. Each of the destinations printed in the lower right-hand column (0 - 5) can be controlled by sources 7 and 8.
Page 41: Programming Vibrato Depth
THE GUIDED TOURS that some sounds lend themselves to these functions better than other sounds, so feel free to experiment with loading different disks to experience the full range of real time control options. PROGRAMMING VIBRATO DEPTH While real time control is invaluable for such applications as adding expressiveness to solo lines, for those times when you want to add a pre-programmed (constant amount) of vibrato (i.e.
Page 42: Guided Tour #5: The Dynamic Keyboard
THE GUIDED TOURS GUIDED TOUR #5: THE DYNAMIC KEYBOARD BACKGROUND The Emulator II not only delivers polyphonic dynamics, but for maximum expressiveness also allows for dynamic control over several other parameters. The following steps set up the synthesizer sound so that any changes in dynamics are very noticeable.
Page 43: Guided Tour #6: Basic Sampling
THE GUIDED TOURS GUIDED TOUR #6: BASIC SAMPLING Sampling does not just involve sticking a microphone in front of something; sampling is an art. As a result, we’ve devoted a whole section to the art of sampling in the Advanced Applications section of this manual.
Page 44 THE GUIDED TOURS Disk”), and then create additional room by erasing all memory (see PRESET DEFINITION 16, “Erase Bank”). 9. Remember, this Guided Tour is intended simply as an overview to give you a “feel” for the sampling process. Later on, we will learn how to organize these Voices in a musically useful way.
Page 45: Guided Tour #7: Digitally Processing Samples
THE GUIDED TOURS GUIDED TOUR #7: DIGITALLY PROCESSING SAMPLES Digital processing allows for radically altering Voices stored in the Bank. In this Guided Tour, we’ll learn -- among other topics -- how to truncate, loop, reverse, splice, and mix samples. First, though, we need to take a couple of samples with which we can practice.
Page 46: Playing A Voice Backwards
THE GUIDED TOURS The display now identifies this Voice as NEW VOICE V02. If you want to call it by a different number, you could do so by pressing the appropriate numbers of the keypad; but for now, V02 is just fine. Press ENTER. Press 7 to arm sampling, and begin talking.
Page 47: Looping A Voice
THE GUIDED TOURS LOOPING A VOICE 1. Activate the Voice Definition module if it is not already, and assign V01 as the Current Voice. 2. Refer to VOICE DEFINITION 12 to graphically see how looping affects a sample. Experiment with looping different parts of the sample; try looping individual words or sentence fragments.
Page 48: Guided Tour #8: Other Voice Definition Functions
THE GUIDED TOURS GUIDED TOUR #8: OTHER VOICE DEFINITION FUNCTIONS We will now cover the remaining Voice Definition functions. Begin by selecting the Bass + Synth disk, inserting it in Drive 1, activating the Disk module, and pressing 1 to load the disk into the Bank.
Page 49: Guided Tour #9: Managing The Bank
THE GUIDED TOURS GUIDED TOUR #9: MANAGING THE BANK These are Preset Definition functions that don’t necessarily do glamorous things, but are very useful. This Guided Tour acquaints you with these utilitarian functions. Begin by loading a Performance disk (see DISK 1 or DISK 2). WHAT’S IN THE BANK? 1.
Page 50: Guided Tour #10: Creating Presets And Library Disks
THE GUIDED TOURS GUIDED TOUR #10: CREATING PRESETS and LIBRARY DISKS In the following tour, we’ll make up a Preset from Voices. We recommend that you sample four or five Voices, use these to create a Preset, then save them to disk. Alternately, you can load a Performance disk and use those Voices to create Presets;...
Page 51: General Instructions
GENERAL INSTRUCTIONS GENERAL INSTRUCTIONS 1 - SELECTING THE CURRENT PRESET 2 - ASSIGNING THE CURRENT VOICE 3 - EXITING A FUNCTION 4 - LIBRARY DISKS 5 - DISK HANDLING 6 - REALTIME FUNCTIONS 7 - CATALOGUING 8 - KEYBOARD NUMBERING PROTOCOL ©...
Page 52: Selecting The Current Preset
GENERAL INSTRUCTIONS 1 - SELECTING THE CURRENT PRESET This function chooses one of the available Bank Presets. 1. With no modules active, the display will show the Current Preset name and number. The blinking cursor will appear under the first digit of the Preset number. 2.
Page 53: Assigning The Current Voice
GENERAL INSTRUCTIONS 2 - ASSIGNING THE CURRENT VOICE The processing modules (Filter, VCA/LFO, and Voice Definition) can process each Voice in a Preset, as well as groups of Voices in the Preset, individually. Therefore, it is necessary to specify the Voice, or group of Voices, to be processed. This Voice or group of Voices is called the Current Voice.
Page 54 GENERAL INSTRUCTIONS There are two choices. To select this one Voice as the Current Voice, press NO to tell the Emulator II you want no additional Voices; the display will return to the Module Identifier and the Current Voice assignment process is complete. When you select a processing module, it will process only this Voice.
Page 55: Exiting A Function
GENERAL INSTRUCTIONS 3 - EXITING A FUNCTION After modifying a Current Voice or Preset by adjusting any of its parameters, you have three options on how to proceed. 1. Press ENTER. You will remain in the currently selected module, ready to select another function.
Page 56: Disk Handling
GENERAL INSTRUCTIONS 5 - DISK HANDLING Disks represent the sum total of your experience with the Emulator II, and should be handled with care. Common Courtesy for Disks Disks should never be: Bent or sat on Exposed to strong magnetic fields (TV’s, speakers, etc.) Subjected to temperature extremes Left out in the sun Touched where any of the inner plastic disc is exposed...
Page 57: Write-Protecting Disks
GENERAL INSTRUCTIONS Write-Protecting Disks Write-protecting a disk turns off the disk drive’s ability to record on to the disk, thus preventing accidental erasure. To write-protect a disk, fold a small adhesive tab (usually supplied with the disk) over both sides of the disk so that the write-protect notch (see Fig. GENINS-1 is completely covered (see Fig.
Page 58: Single-Drive Vs. Dual-Drive Emulator Il's
GENERAL INSTRUCTIONS Single-drive vs. Dual-drive Emulator Il’s A dual-drive Emulator II offers more convenience than a single-drive Emulator II, particularly for copying disks. In this manual, we will assume a dual-drive Emulator II (with the top drive = Drive 1 and the lower drive = Drive 2) except where noted. Inserting the Disk in the Drive Referring to Fig.
Page 59: Selecting Real Time Control Functions
GENERAL INSTRUCTIONS 6 - SELECTING REAL TIME CONTROL FUNCTIONS Real time functions are designed for fast, easy selection while playing live. Each Preset can have its own unique set of pre-programmed real time functions. 1. Activate the Real Time Control module. 2.
Page 60: Cataloguing
GENERAL INSTRUCTIONS 7 - CATALOGUING Several commands allow you to catalog the Voices, Presets, and Sequences in a Bank. For example, when erasing a Voice, you can catalog the Voices to make sure you are erasing the right one. In each case, cataloguing occurs by moving Slider A. The slider motion corresponds to moving a list of Voices, Presets, or Sequences underneath the display window (see Fig.
Page 61: Keyboard Numbering Protocol
GENERAL INSTRUCTIONS 8 - KEYBOARD NUMBERING PROTOCOL Several functions reference particular keyboard keys. E-mu numbers the keyboard keys as follows. The left-most (lowest) C is C1. The next highest note is C#1, then D1, D#1, E1, etc. through to B1. After B1, the next higher C is C2. Notes proceed upwards from C2 (C#2, D2, D#2, E2, etc.) until the next higher C, which is C3.
Page 62: Master Control Module
MASTER CONTROL MODULE MASTER CONTROL MODULE DYNAMIC ALLOCATION TUNE TRANSPOSE DOUBLE MEMORY © 1985, 1986, 1987 E-mu Systems, Inc. Page 62...
Page 63: Dynamic Allocation
MASTER CONTROL MODULE DYNAMIC ALLOCATION This function bypasses existing Voice to Output Channel assignments, and makes all Voices available at all Channels (as if all Voices were assigned to Channels 1 – 8, refer to PRESET DEFINITION 22, “Assign Voice”). Application: Audition all Voice sounds without having to listen to specific Channels.
Page 64: Transpose
MASTER CONTROL MODULE TRANSPOSE This function transposes the keyboard in half-step intervals up to ± one octave. Applications: Use one key’s fingerings in a different key. Modulate to a different key without having to use different fingerings. 1. Press and hold TRANSPOSE; its LED will light. The display says: TRANSPOSED C2 PLAY A KEY 2.
Page 65: Double Memory
MASTER CONTROL MODULE DOUBLE MEMORY The Emulator II+ is available in three models: a single-disk drive version, a dual disk drive version, and a hard disk version. Each model is equipped with a feature we call “Double Memory”. This function allows you to load and access two floppy disk sound banks in the machine’s memory, by switching from one bank to the other.
Page 66: Double Memory Hard Disk Saves
MASTER CONTROL MODULE DOUBLE MEMORY HARD DISK SAVES Hard disk EII+ owners have the option of also saving each Double Memory sound bank to hard disk for quick access. Follow the procedure for saving to the floppy disk drive: 1. Select the Bank to be saved, 2.
Page 67: Filter Module
FILTER MODULE FILTER MODULE 0 - CHANGE CURRENT VOICE 1 - FREQUENCY, Q, ENVELOPE AMOUNT 2 - LFO AMOUNT, KEYBOARD AMOUNT 3 - ADSR SETTINGS © 1985, 1986, 1987 E-mu Systems, Inc. Page 67...
Page 68: Change Current Voice
FILTER MODULE 0 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. 1. To change the Current Voice, with the module active, key in 0. 2. The display’s top line lists which Voices make up the current Voice. If more than five Voices have been assigned, the display shows the first five assigned Voices and a + symbol.
Page 69: Lfo Amount, Keyboard Amount
FILTER MODULE 2 - LFO AMOUNT, KEYBOARD AMOUNT This function determines the extent to which the LFO modulates the filter cutoff frequency, and also sets keyboard tracking between 0.00 (minimum) and 1.87 (maximum). Application (Keyboard Tracking): With no tracking, a sound will become progressively less bright as you play higher on the keyboard.
Page 70: Adsr Settings
FILTER MODULE 3 - ADSR SETTINGS This function sets the attack, decay, sustain, and release characteristics of the filter ADSR envelope generator. Application: Change the filter cutoff frequency dynamically with respect to time. 1. With the module active, Current Voice assigned (see GENERAL INSTRUCTIONS 2), and the ENTER LED either lit steadily or off, key in 3.
Page 71: Lfo/Vca Module
LFO/VCA MODULE LFO/VCA MODULE 0 – CHANGE CURRENT VOICE 1 – ADSR SETTINGS 2 – LFO PARAMETERS AND VCA AMOUNT © 1985, 1986, 1987 E-mu Systems, Inc. Page 71...
Page 72: Change Current Voice
LFO/VCA MODULE 0 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. 1. To specify the Current Voice, with the module active key in 0. 2. The display’s top line lists which Voices make up the current Voice. If more than five Voices have been assigned, the display shows the first five assigned Voices and a + symbol.
Page 73: Lfo Parameters And Vca Amount
LFO/VCA MODULE function found on standard synthesizers. The sound will continue to sustain unless you play more notes that there are available channels, in which case previously assigned channels will be assigned to newly played notes. 2. To exit to another function, see GENERAL INSTRUCTIONS 3 (“Exiting a Function”). 2 - LFO PARAMETERS AND VCA AMOUNT This function sets three LFO parameters (initial rate, delay before onset of LFO modulation, and LFO variation), and also determines the extent to which the LFO...
Page 74: Voice Definition Module
VOICE DEFINITION MODULE VOICE DEFINITION MODULE 00 - CHANGE CURRENT VOICE 11 - TRUNCATE START AND END OF SAMPLE 12 - SET LOOP START AND LOOP LENGTH POINTS 13 - FORWARD/REVERSE LOOP 14 - SPLICE 15 - SOUND LENGTH 21 - VELOCITY ASSIGNMENT TO LEVEL AND ATTACK 22 - VELOCITY ASSIGNMENT TO FILTER 23 - VIBRATO DEPTH 24 - VOICE ATTENTUATE/TUNE...
Page 75: Change Current Voice
VOICE DEFINITION MODULE 00 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. A special prize will be awarded to any Emulator II owner who finds this function printed on the front panel label. 1. To change the Current Voice, with the module active, key in 00. 2.
Page 76: Truncate Start And End Of Sample
VOICE DEFINITION MODULE 11 - TRUNCATE START and END of SAMPLE Truncation shortens a Voice’s length by trimming off parts of the beginning and/or end. Applications: Cut off unneeded portions of a Voice to conserve memory. Change instrument characteristics (i.e. remove the attack from a plucked string note). Cut off long decay (i.e. simulate noise-gated reverb effect on drums).
Page 77 VOICE DEFINITION MODULE Note that samples are truncated in groups rather than one sample at a time, even with the fine truncation slider. Also note that activating Slider B may alter Slider A’s initial setting; readjust Slider A to compensate. Go back and forth between these two controls until you find the ideal start truncation point.
Page 78 VOICE DEFINITION MODULE As with start truncation, samples are truncated in groups rather than one at a time, even with the fine truncation slider. Also, activating Slider D may alter Slider C’s initial setting; readjust Slider D to compensate. Go back and forth between these two controls until you find the ideal end truncation point.
Page 79 VOICE DEFINITION MODULE Loop Start Percussive Sound Envelope Loop Length Time in Seconds Fig. VDEF- 3 © 1985, 1986, 1987 E-mu Systems, Inc. Page 79...
Page 80: Set Loop Start And Loop Length Points
VOICE DEFINITION MODULE 12 - SET LOOP START and LOOP LENGTH POINTS “Looping” lets you mark off a section (called a loop) of a Voice with a Start point and loop Length (see Fig. VDEF-3). When you press a key, the Voice plays normally until it reaches the end of the loop.
Page 81 VOICE DEFINITION MODULE S000004 LXXXXX AutoLp:Press Yes ...and the ENTER light flashes. S is the Start point of the loop, and L is the loop Length in samples. Initially, S is set to the beginning of the Voice (approximately 000000) and L equals the length of the sample. 3.
Page 82 VOICE DEFINITION MODULE Hint: It is good practice to move sliders A through D all the way down before looping. This sets the Start point to the beginning of the sample and the loop Length to 000000. With a loop Length of 000000, there is nothing to loop; therefore, when you press a key, the sample will stop playing as soon as it encounters the loop.
Page 83: About Autolooping
VOICE DEFINITION MODULE Before proceeding, study following background information about Autolooping. About Autolooping Looping performs an electronic “cut and paste” (splice) which sometimes produces annoying glitches. Here’s why. Refer to Fig. VDEF- 8, which shows the waveform where a sample is to be looped.
Page 85 VOICE DEFINITION MODULE Fig. VDEF-10 6. After finding good loop S and L points, see if Autoloop can produce an even better loop. Press YES at any point during the looping process to invoke Autoloop. Note: The Emulator II is very intelligent, but not quite as hip as a human. So, sometimes it will choose the correct splice point from a technical standpoint, not a musical one.
Page 86 VOICE DEFINITION MODULE 7. To try for another splice point, move the sliders and press YES again for Autoloop. Continue moving the sliders in small increments and pressing YES until you end up with a glitch-free loop. Note: Sometimes it will be impossible for you or the computer to find a perfect splice point.
Page 87: Forward/Reverse Loop
VOICE DEFINITION MODULE 13 - FORWARD/REVERSE LOOP See VOICE DEFINITION 12 for a description of standard looping. With forward/reverse looping, upon reaching the end of the loop the loop plays “backwards” to the loop Start point, then forwards to the end of the loop, then backwards to the loop Start point, etc.
Page 88 VOICE DEFINITION MODULE changes to show the loop End point. This is more appropriate since the loop begins its repeat from the End point. Because of the display change, while in VOICE DEFINITION 12 you can easily tell whether the loop is forward/reverse or normal --just check whether the second set of digits begins with E or L.
Page 89: Splice
VOICE DEFINITION MODULE 14 - SPLICE Splicing marks an End point in one sample and a Start point in a second sample, then joins the end of the first sample to the start of the second sample. Portions of the samples not used in the spliced version are discarded, and any loops are ignored.
Page 90 VOICE DEFINITION MODULE 1. With module active, assign Current Voice (see GENERAL INSTRUCTIONS 2). This Voice provides the first part of the spliced sound. 2. After assigning the Current Voice (the ENTER LED will be off), key in 14. The display asks: Splice with V__ Use Slider A...
Page 91: About Autosplicing
VOICE DEFINITION MODULE Before proceeding, study the following background information On Autosplicing. About Autosplicing Splicing two Voices together can sometimes produce an annoying glitch at the splice point. Consider Fig. VDEF-13, which shows two samples being spliced together; note the discontinuity at the “splice point”. This can produce an annoying ticking or popping sound.
Page 92 VOICE DEFINITION MODULE 6. After finding good E and S points, see if Autosplice can produce an even better splice. Press YES at any point during the splicing process to invoke Autosplice. Note: Sometimes the Emulator II will choose the correct splice point from a technical standpoint, not a musical one.
Page 93: Sound Length
VOICE DEFINITION MODULE 15 - SOUND LENGTH This function lets you know the length of the specified Voice. Applications: Check Voice length to make sure it will fit in the space remaining on a Library disk. Compare different Voice lengths when sampling. 1.
Page 94: Velocity Assignment To Level And Attack
VOICE DEFINITION MODULE 21 - VELOCITY ASSIGNMENT TO LEVEL and ATTACK This function ties overall dynamics (level) and/or VCA attack time to how forcefully you play the keyboard. Application: Sample sounds from an instrument (i.e. older synthesizers) without dynamics, and assign dynamics. Application: Keyboard-controlled VCA attack is excellent for string and horn sounds, where bowing or blowing softly produces a slower attack than rapid bowing or blowing, which produces a much faster attack.
Page 95 VOICE DEFINITION MODULE Keyboard Dynamic Range is a function of slider setting Slider Setting Fig. VDEF-16 © 1985, 1986, 1987 E-mu Systems, Inc. Page 95...
Page 96: Velocity Assignment To Filter
VOICE DEFINITION MODULE 22 - VELOCITY ASSIGNMENT TO FILTER This function ties the filter cutoff frequency and/or filter ADSR attack and/or filter Q to how forcefully you play the keyboard. Application: Acoustic instruments often sound brighter when played forcefully. The Emulator II can simulate this effect by tying filter cutoff to keyboard dynamics.
Page 97 VOICE DEFINITION MODULE The extent to which filter cutoff changes according to keyboard dynamics as a function of slider setting. Fig. VDEF-17 © 1985, 1986, 1987 E-mu Systems, Inc. Page 97...
Page 98: Vibrato Depth
VOICE DEFINITION MODULE 23 - VIBRATO DEPTH This function determines the extent to which the LFO (vibrato) signal modulates the Current Voice pitch. 1. With module active, Current Voice assigned (see GENERAL INSTRUCTIONS 2), and the ENTER LED either lit steadily or off, key in 23. The display says: Vibrato Depth 00 Slider A determines the extent to which the LFO modulates the Current Voice...
Page 99: Solo Mode
VOICE DEFINITION MODULE 25 - SOLO MODE This function provides the playing action of a monophonic synthesizer with single triggering and last-note priority. With single triggering, you must lift your finger off a key to initiate a new envelope. Application: Produce more realistic effects when working with monophonic instrument sounds (i.e.
Page 100: Backwards Mode
VOICE DEFINITION MODULE 27 - BACKWARDS MODE This function reads the Voice out of memory in the reverse order from which it was stored. .derots saw ti hcihw morf redro esrever eht ni yromem fo tuo ecioV eht sdaer noitcnuf sihT Applications: Backwards tape effects simulation.
Page 101 VOICE DEFINITION MODULE How a loop plays in backwards mode Length Start Fig. VDEF-18 Hint: If backwards mode doesn’t appear to work, make sure that the sample doesn’t have a loop towards the end of its decay. Consider Fig. VDEF-19. Playing this sample backwards will give a low-level, continuously repeating sound that is probably not what you had in mind.
Page 102: Combine Voices
VOICE DEFINITION MODULE 28 - COMBINE VOICES Combining Voices mixes one sample with another, thus producing a more complex Voice. The combined Voice ignores any looping, tuning, or level changes programmed in the individual Voices; it works solely on the original digital Voice information.
Page 103: Control Enable
VOICE DEFINITION MODULE 29 - CONTROL ENABLE This unique function allows you to exempt specific Voices from certain Real Time control functions. Application: Exempt bass notes with long release times from pitch bending by disabling pitch bend for the bass Voices. You may then bend pitch in the upper range without affecting the bass notes.
Page 104: Save Voice To Disk
VOICE DEFINITION MODULE 30 - SAVE VOICE TO DISK This function lets you save an individual Voice to a Library disk. 1. Check that there is sufficient space on the Library disk to hold the Voice by inserting a formatted Library disk in one of the Emulator II drives, then referring to DISK 3.
Page 105: Preset Definition Module
PRESET DEFINITION MODULE PRESET DEFINITION MODULE 11 - GET VOICE 12 - COPY/NAME VOICE 13 - ERASE VOICE 14 - ERASE SEQUENCE 15 - ERASE PRESET 16 - ERASE BANK 17 - CATALOG VOICES 18 - CATALOG SEQUENCES 19 - CATALOG PRESETS 20 - MEMORY REMAINING 21 - CREATE PRESET 22 - ASSIGN VOICE...
Page 106: Get Voice
PRESET DEFINITION MODULE 11 - GET VOICE This fetches the specified Voice from a Library disk and loads it into the Bank. Application: Before creating Presets, you must load the Voices that make up the Preset(s) into the Bank. 1. With the module active, key in 11. The display says: Get Voice __ (01 –...
Page 107: Copy/Name Voice
PRESET DEFINITION MODULE 12 - COPY/NAME VOICE This function copies a Voice, assigns a new Voice number, and allows for renaming the Voice. The original Voice remains intact. Applications: To make a “back-up” copy of a Voice in the Bank before permanently altering it. To create a modified version of an existing Voice without altering the original.
Page 108: Erase Voice
PRESET DEFINITION MODULE 13 - ERASE VOICE This command erases a specified Voice from the Bank. Caution: Once erased, a Voice will be gone from any Preset in which it appears. Application: Erase an improperly sampled or unneeded Voice, or free up more memory. 1.
Page 109: Erase Sequence
PRESET DEFINITION MODULE 14 - ERASE SEQUENCE This command erases a specified Sequence from the Bank. Application: Erase an unneeded Sequence, or free up more memory space. 1. With the module active, key in 14. The display says: Erase Seque (01- 99 )/Slider A ...and the ENTER light will be flashing.
Page 110: Erase Preset
PRESET DEFINITION MODULE 15 - ERASE PRESET This command erases a specified Preset from the Bank. 1. With the module active, key in 15. The display says: Erase Preset (01 - 99)/Slider A ...and the ENTER light will be flashing. Either use the keypad to specify the Preset to be erased, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Bank Presets.
Page 111: Erase Bank
PRESET DEFINITION MODULE 16 - ERASE BANK This procedure clears out the Emulator II’s memory Bank. Application: Allows for fresh start when creating new Banks and Presets from Library disks, or when sampling. 1. With the module active, key in 16. The display says: Erase ALLMemory Press Yes or No and its LED will be lit steadily.
Page 112: Catalog Sequences
PRESET DEFINITION MODULE 18 - CATALOG SEQUENCES This command lists the Sequence number and name of every Sequence in the Bank. 1. With the module active, key in 18. The display says: To Catalog Use Slider A ...and the ENTER light will be lit. 2.
Page 113: Memory Remaining
PRESET DEFINITION MODULE 20 - MEMORY REMAINING How close are you to filling up the Bank with Voices and Presets? This command lets you put a dipstick into the memory and find out. Application: When sampling, to check whether there is sufficient memory to hold a sample of a particular length (also see SAMPLE 5).
Page 114: Create Preset
PRESET DEFINITION MODULE 21 - CREATE PRESET You must first number and name a Preset, as provided by this function, before assigning Voices to it. 1. With the module active, key in 21. The display says: Create & Select New Preset __ Specify the Preset number with the keypad.
Page 115: Assign Voice
PRESET DEFINITION MODULE 22 - ASSIGN VOICE This function assigns a selected Voice to a specific keyboard range within the Current Preset. 1. With no module active, select the Preset number to which you want to assign the Voice. Caution: Always check that you have selected the proper Current Preset before assigning Voices.
Page 116 PRESET DEFINITION MODULE Specify the Channel, or group of Channels, by entering a pair of numbers where indicated by the cursor. When the display confirms your choice, press ENTER. Examples: Cnls 3 - 3 The Voice plays monophonically, with the single note output appearing at Channel 3.
Page 117: Edit Assignment
PRESET DEFINITION MODULE 23 - EDIT ASSIGNMENT This function lets you examine and/or change the Orig, Lo, Hi, and output Channel parameters of a previously assigned Preset Voice. 1. With the module active, key in 23. The display says: Edit Assignment Play a Key ...and the ENTER light will be flashing.
Page 119: De-Assign Voice
PRESET DEFINITION MODULE 24 - DE-ASSIGN VOICE This function de-assigns (deletes) a specific Voice from a Preset. 1. With the module active, key in 24. 2. The display says: De-Assign Voice Play a Key ...and the ENTER light will be lit. Play the keyboard until you locate the Voice to be de- assigned;...
Page 120: Velocity Switch
PRESET DEFINITION MODULE 25 - VELOCITY SWITCH Where two Voices overlap, Velocity Switch lets you select one or the other Voice by how hard you strike keys in the overlap range. Hitting the key(s) softly selects one Voice; hitting hard selects the other Voice (see Fig. PDEF-1). Application: Change a note’s timbre by hitting it harder;...
Page 121: Velocity Crossfade
PRESET DEFINITION MODULE 26 - VELOCITY CROSSFADE Where two Voices overlap, Velocity Crossfade lets you control a crossfade between them by how hard you strike keys in the overlap range. One Voice will become louder as you play harder and softer as you play softer, while the other Voice will become louder as you play softer and softer as you play harder (see Fig.
Page 122: Positional Crossfade
PRESET DEFINITION MODULE 27 - POSITIONAL CROSSFADE Where two Voices overlap, Positional Crossfade alters the level balance (mix) between the two Voices depending on where you play within the overlap range. Rather than spend a lot of time explaining this in words, please refer to Fig. PDEF-3. Application: Transposing a sampled sound lower usually produces a more muffled sound than the original sample, and transposing upwards usually produces a thinner, brighter sound.
Page 123: Nontranspose
PRESET DEFINITION MODULE 28 - NONTRANSPOSE Nontranspose lets a Voice play throughout its assigned keyboard range but at its original pitch only -- there will be no transposition. Application: To determine the original note at which a Voice was recorded. Or, if you’re playing drum parts on the keyboard, you might want to assign the bass drum to the entire left-most octave of the keyboard so that it makes an easy target compared to hitting one key.
Page 124: Arpeggiator
PRESET DEFINITION MODULE 29 - ARPEGGIATOR You’re going to love this arpeggiator: It does a lot and it’s easy to set up. Best of all, arpeggiation settings are stored with the Preset so that different Presets can have totally different arpeggiation characteristics. Also, arpeggiation can be assigned to any range of the keyboard or the entire keyboard.
Page 125 PRESET DEFINITION MODULE Range: C1 to C1 Play a Key This is the default setting and indicates that arpeggiation will only play in the range C1 to C1(one note). Press the key corresponding to the lowest note in the range you want arpeggiated (after which the cursor will move to the second note in the display), then play the key corresponding to the highest note in the range you want arpeggiated.
Page 126: Midi Setup
PRESET DEFINITION MODULE 30 - MIDI SETUP MIDI is a way of exchanging musical information between various electronic music instruments. If you are not familiar with MIDI, read the “MIDI Supplement” section before continuing. Please remember that MIDI was devised with analog synthesizers in mind, and that the Emulator II voice is not like a standard analog synthesizer voice.
Page 127 PRESET DEFINITION MODULE 4. Moving Slider A upwards gives this display: Preset ch OK: yes Press Y/N MIDI also carries patch change information from one synthesizer to another. Press YES if you want the Emulator II to respond to this information (or to change presets in other synthesizers from the Emulator II), and NO if you want to select Presets on the Emulator independently of other MIDI instruments.
Page 128 PRESET DEFINITION MODULE 7. Moving Slider A upwards gives the following display: Lt Wheel > #XX Use Slider D You may now assign a controller number to the Left Wheel. Moving Slider D presents the following options: = no controller number assigned 00 through 31 = assigns the controller number shown in the display = assigns the Left Wheel to the standardized controller...
Page 129 PRESET DEFINITION MODULE This step of the set-up procedure lets you assign a number to the MIDI control source that matches up with the number of the controller “transmitting” data from a MIDI unit into the Emulator II. (For more information on controller numbers, see the MIDI supplement.) Moving Slider D presents the following options: = no controller number assigned 00 through 31...
Page 130: Copy/Rename Preset
PRESET DEFINITION MODULE 31 - COPY/RENAME PRESET This function copies a Preset to another Preset number. Since the second Preset is an exact duplicate of the original Preset, changing a Voice parameter in the copied Preset will change that Voice in the original, and vice-versa. To copy a Preset and renumber the Voices at the sane tide, thus allowing for independent Voice modification, see PRESET DEFINITION 32.
Page 131: Replicate Preset
PRESET DEFINITION MODULE 32 - REPLICATE PRESET This function copies a Preset to another Preset number and copies and renumbers all the Preset’s Voices as well. Therefore, the copied Presets Voices may be altered without affecting the Voices in the original Preset. To copy a Preset without copying and renumbering the Voices, see PRESET DEFINITION 31.
Page 132: Sample Module
SAMPLE MODULE SAMPLE MODULE 1 - VU MODE 2 - DEFINE VOICE 3 - GAIN SET 4 - THRESHOLD SET 5 - SAMPLE LENGTH 7 - ARM SAMPLING 9 - FORCE SAMPLING 0 - STOP SAMPLING © 1985, 1986, 1987 E-mu Systems, Inc. Page 132...
Page 133: Vu Mode
SAMPLE MODULE 1 - VU MODE This function sets the proper level for sounds being recorded into the Emulator II. 1. Activating the SAMPLE module automatically puts the Emulator II in VU mode (SAMPLE 1). (If you select another SAMPLE function at some point, entering the data for that function usually returns you automatically to VU mode.) The display shows: Voice V01...
Page 134 SAMPLE MODULE Place High key Onto Keyboard 4. Play the highest desired note of the range (cannot exceed one octave above the original pitch). The display says: NEW VOICE VXX PRES (01 – 99) ...where XX represents the Voice number. The Emulator II will automatically assign the lowest available Voice number (as shown in the display) for the new Voice you are about to sample.
Page 135: Gain Set
SAMPLE MODULE 3 - GAIN SET The Emulator II has a built-in mic preamp with three gain ranges (00 dR, +20 dB, and +40 dB). This function chooses the desired amount of gain. 1. With the module active, key in 3. The display says: INPUT GAIN+00dB USE SLIDER A 2.
Page 136: Sample Length
SAMPLE MODULE 5 - SAMPLE LENGTH Once sampling is initiated, the Emulator II will normally sample until it runs out of memory or is stopped (see SAMPLE 0, the “stop sampling” function). However, this function let’s you program a particular sample time; after this time has elapsed, the Emulator II will stop sampling.
Page 137: Force Sampling
SAMPLE MODULE 9 - FORCE SAMPLING Force sampling lets you initiate sampling manually as an alternative to threshold- sensitive sampling. This is useful for situations where the signal to be sampled is more or less continuous (continuous signals greatly complicate the threshold- setting process described in SAMPLE 4).
Page 138: Disk Module
DISK MODULE DISK MODULE 1 - GET BANK DISK 1 2 - GET BANK DISK 2 3 - SPACE REMAINING 3 - DISK IDENTITY 4 - COPY DISK 5 - CATALOG VOICE 6 - ERASE VOICE 7 - SAVE BANK 8 - FORMATTING A DISK ©...
Page 139: Get Bank Disk 1
DISK MODULE 1 - GET BANK DISK 1 A Performance disk stores one Bank of Presets (plus the Voices that make up the Presets). Loading the Bank into the machine lets you play with the Presets and Voices that make up the Bank. When the machine is first turned on, simply inserting and latching a Performance disk into Drive 1 will initiate loading a Bank.
Page 140: Get Bank Disk 2
DISK MODULE 2 - GET BANK DISK 2 A Performance disk stores one Bank of Presets (plus the Voices that make up the Presets). Loading the Bank into the machine lets you play with the Presets and Voices that make up the Bank. When the machine is first turned on, simply inserting and latching a Performance disk into Drive 2 will initiate loading a Bank.
Page 141: Space Remaining
DISK MODULE 3 - SPACE REMAINING The Emulator II can store about 500,000 “bytes” (a byte is a unit of computer memory) on each double-sided, double-density floppy disk. The “Space Remaining” function helps you avoid situations where you try to record more into the disk’s memory than it can hold (this won’t cause any damage, but it can be frustrating to run out of space in the middle of a hot sampling session).
Page 142: Disk Identity
DISK MODULE 3 - DISK IDENTITY If you forgot to label a disk, you might not know whether it is a Performance or Library disk. The SPACE REMAINING function can also identify the type of disk. 1. Insert and latch the disk to be checked into either drive, or check two disks by inserting and latching a disk into each drive.
Page 143 DISK MODULE 4. Confirm that the source disk (the one to be copied) is in Drive 1 and the destination disk (the one being copied to) in Drive 2, then press the flashing ENTER button. The display tells you that: This Will Take A While After completing the copy, the display returns to the Module Identifier.
Page 144: Catalog Voice
DISK MODULE 5 - CATALOG VOICE This function lists the Voices and associated file numbers (see GENERAL INSTRUCTIONS 4, “Library Disk Voice Numbering Protocol”) on a Library disk. 1. Insert and latch a Library disk in either drive. If you accidentally insert a Performance disk, the display will say: Insert Libr Disk And Press Enter...
Page 145 DISK MODULE 3. Either use the keypad to specify the Voice number to be erased, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Library disk Voices. When the display shows the Voice number to be erased, press ENTER. 4.
Page 146: Save Bank
DISK MODULE 7 - SAVE BANK After you’ve developed a great Bank, this function saves it to a Performance disk. Remember -- Save whenever you have something you don’t want to accidentally lose. 1. Insert and latch a previously formatted Performance disk in either drive. If the disk already contains a Bank, saving a new Bank will erase the old Bank.
Page 147: Formatting A Performance Or Library Diskette
DISK MODULE 8 - FORMATTING A PERFORMANCE OR LIBRARY DISKETTE Before a new disk can record (store) any data, it first must be told how to record this data (called formatting the disk). Run the following formatting procedure on any new disk, or on “recycled” disks previously used with other systems (such as home computers) since these will not be formatted correctly for the Emulator II.
Page 148 DISK MODULE ...depending on whether you are formatting a Performance (Pert) or Library (Libr) disk. This is your last chance to stop the formatting process; remember, formatting erases EVERYTHING on a disk, so think twice before pressing YES. (If you press NO, the display returns to the Module Identifier.) After pressing YES, the display says: Formatting in Progress .
Page 149: Hard Disk Supplement
HARD DISK SUPPLEMENT HARD DISK SUPPLEMENT BACKGROUND: WHY HARD DISK THE HARD DISK PERSONALITY POWER-ON WITH HARD DISK MODEL HARD DISK SECTION NOTES © 1985, 1986, 1987 E-mu Systems, Inc. Page 149...
Page 150: Background : Why Hard Disks
HARD DISK SUPPLEMENT BACKGROUND : WHY HARD DISKS The standard Emulator II comes with two floppy disk drives for saving and loading Bank information. Replacing the second floppy drive with a Hard Disk drive offers two big advantages: Greater storage. The Hard Disk holds 46 Banks, the floppy 1 Bank. Faster access time.
Page 151: Power-On With Hard Disk Model
HARD DISK SUPPLEMENT in the Emulator II’s Hard Disk software diskette (supplied with the Hard Disk upgrade). Should additional errors occur over time, the disk’s error log can be updated to include these new errors, and the computer instructed not to write over the bad bytes. Like a floppy disk, the Hard Disk must be formatted initially to accept data.
Page 152: Disk 2 - Getting A Bank From Hard Disk
HARD DISK SUPPLEMENT DISK 2 - GETTING A BANK FROM HARD DISK This function loads Banks from the Hard Disk into the Emulator II. 1. GET BANK DISK 1 reads a Bank from the floppy drive. To get a Bank from the Hard Disk, enter the Disk module and key in 2 (GET BANK DISK 2).
Page 153: Disk 7 - Saving A Bank To Hard Disk
HARD DISK SUPPLEMENT DISK 7 - SAVING A BANK TO HARD DISK This function saves a Bank from the Emulator II onto the Hard Disk. 1. While in the Disk module, key in 7 with the keypad. The display then asks whether you want to save to floppy or Hard Disk: Save Bank (01) or (02 - 47)
Page 154: Disk 8 - Formatting Floppies In A Hard Disk System
HARD DISK SUPPLEMENT DISK 8 - FORMATTING FLOPPIES IN A HARD DISK SYSTEM As with a dual floppy Emulator II, selecting DISK 8 (the formatting function) formats the floppy disk. However, you may load formatting software from either the Hard Disk or the floppy. 1.
Page 155: Hard Disk Special Functions
HARD DISK SUPPLEMENT HARD DISK SPECIAL FUNCTIONS If the operating system currently in memory is Hard Disk compatible (which it will be if you booted from the Hard Disk, or from a floppy with Hard Disk operating system software), the Special module will contain a number of functions that relate specifically to the Hard Disk.
Page 156 HARD DISK SUPPLEMENT 2. Enter 22 via the keypad. The display says: Format Hard Disk DESTROYS ALL!Y/N DESTROYS ALL! Does not mean that Godzilla will appear outside your window, but rather, that any data on the Hard Disk will be erased during the formatting process. Press NO if you want to exit this function;...
Page 157: Important Note: Errors
HARD DISK SUPPLEMENT 4. If you answered NO at the beginning of step 3, the display tells you that the Emulator II is... Saving All Banks As Null Presets ...which fills up the Hard Disk with null Presets. This operation takes about two minutes, so you have enough time to dust off the Emulator II keyboard, tidy up the studio a bit, or make a quick phone call.
Page 158: Special 21 - Show Hard Disk Error Location
HARD DISK SUPPLEMENT SPECIAL 21 - SHOW HARD DISK ERROR LOCATION This function pinpoints where an error has occurred on the Hard Disk. 1. To locate where an error has occurred, after formatting is complete load each Bank from the Hard Disk into the Emulator II memory. As soon as a problem occurs when loading a Bank, select SPECIAL 21 (Show HDErrLoc) to pinpoint the source of the error.
Page 159: Special 20 - Error Scan
HARD DISK SUPPLEMENT SPECIAL 20 - ERROR SCAN This function causes the Hard Disk to go out and seek errors, and this information is used for updating data logs. 1. Enter the Special module and key in 20. The display asks: Use Floppy Disk Error Log? Y/N If you enter YES, the Emulator II assumes that all errors already listed on the floppy log...
Page 160: Special 19 - Enter Error List
HARD DISK SUPPLEMENT SPECIAL 19 - ENTER ERROR LIST This is not a common operation, except at the factory where an error log is created for the first time. However, if a catastrophic disk crash occurs where the error log list has been lost, this procedure is necessary for re-creating the error log.
Page 161: Special 18 - Auto Hard Disk Backup
HARD DISK SUPPLEMENT 3. After all errors have been noted, press ENTER. The display now says: Write Error Log to Hard Disk? (Y/N) If you’re next operation is to format the Hard Disk, which happens 90% of the time, press NO.
Page 162: Realtime Control Module
REALTIME CONTROL MODULE REALTIME CONTROL MODULE Wheels 0 - OFF 1 - PITCH 2 - FILTER FC 3 - LEVEL 4 - LFO to PITCH 5 - LFO to FILTER Fc 6 - LFO to LEVEL 7 - ATTACK RATE Footswitches 0 - OFF 1 - SEQUENCER CONTROL...
Page 163: Control 0 - Destination: Off
REALTIME CONTROL MODULE CONTROL 0 - Destination: OFF 1. To turn off (disable) the control source (selected as per GENERAL INSTRUCTIONS 6), key in 0. CONTROL 1 - Destination: PITCH 1. To assign pitch bend to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 1.
Page 164: Control 3 - Function: Level
REALTIME CONTROL MODULE CONTROL 3 - Function: LEVEL 1. To assign overall level to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 3. Application: Probably the most common use is to assign LEVEL to the footpedal, thus giving footpedal-controlled volume.
Page 165: Control 5 - Function: Lfo To Filter Fc
REALTIME CONTROL MODULE CONTROL 5 - Function: LFO to FILTER Fc 1. This function controls the extent to which the LFO modulates the filter cutoff frequency. To assign this destination to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 5. (To change the LFO rate and LFO variation, refer to sections VCA/LFO 2A and 2C.) Application: This destination is most often assigned to the Right wheel;...
Page 166: Control 7 - Function: Attack Rate
REALTIME CONTROL MODULE CONTROL 7 - Function: ATTACK RATE 1. ATK RATE controls the VCA attack rate. To assign this destination to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 7. Application hint: When assigned to the Right wheel, rotating the wheel away from you increases the attack time.
Page 167: Footswitch 3 - Function: Release
REALTIME CONTROL MODULE FOOTSWITCH 3 - Function: RELEASE 1. For footswitch-controlled release, select the desired footswitch (as per GENERAL INSTRUCTIONS 6) then key in 3. Any note played while the footswitch is pressed will play through its entire length, whether or not you continue to hold down a key. Looped sections are not repeated unless you hold down the key.
Page 169: Enter Data
ENTER MODULE ENTER DATA ENTER is a module that the Emulator II, rather than you, activates. Just as you can activate a module to tell the Emulator II something you want to do, The Emulator II can activate this module to tell you something it wants you to do. Sometimes the display will ask you for data (i.e.
Page 170: Sequencer Module
SEQUENCER MODULE SEQUENCER MODULE BACKGROUND EXT CLOCK SETUP EDIT © 1985, 1986, 1987 E-mu Systems, Inc. Page 170...
Page 171: Background
SEQUENCER MODULE BACKGROUND The Emulator II eight-track Sequencer not only records up to eight tracks of Presets from the Emulator II, but can sequence up to eight MIDI instruments via the MIDI OUT port. Sequences are saved on a Performance disk as part of the Bank. Each Sequencer track can polyphonically record the notes you play from any one Preset in the Emulator II’s Bank.
Page 172: Activating And De-Activating The Module
SEQUENCER MODULE human timing errors, programming an optional countdown and metronome (available at the MET OUT jack), and monitoring (cuing) the previously recorded tracks you want to hear. 4. RECORD the Sequence, then PLAY it back and STOP it at any time (the “tape recorder”...
Page 173: Setup Protocol
SEQUENCER MODULE Since you expect to play only one bass note at a time, assign all the bass Preset Voices to Output Channel 1 (see PRESET DEFINITION 23, “Edit Voice” or PRESET DEFINITION 22, “Assign Voice”). Let’s also suppose that you don’t expect to play more than three notes at a time with the strings;...
Page 174: Sequencer Ext Clock
SEQUENCER MODULE SEQUENCER EXT CLOCK The Emulator II can synchronize to one of several different tempo references: Internal clock, external click track, MIDI timing messages, or SMPTE time code. It can also generate (write) a click track or SMPTE time code signal on tape. Once recorded, these signals can feed the Emulator II during overdubs to maintain synchronization with the original tempo.
Page 175 SEQUENCER MODULE 3. Move Slider A upwards to the next step in the Ext Clock setup routine, which determines the click rate when reading a click track. Slider D chooses the options. The display initially gives the default value: Click Rate: 24pqn Use Slider D With this setting (24 pulses-per-quarter note), a quarter note occurs for every 24 clock pulses received at the SMPTE IN jack.
Page 176 SEQUENCER MODULE When finished, press ENTER to stop writing. Note: Writing activity “locks up” the Emulator II. In order to proceed with other functions, de-activate the module. To continue the Slider A setup procedure, re-activate EXT CLK. Hint: After recording a click track, play it back into the Emulator II via the SMPTE IN jack and play a Sequence (see SEQUENCER PLAY) to make sure that the click track was recorded at the right level and that there are no drop-outs or other problems.
Page 177 SEQUENCER MODULE 7. Move Slider A upwards to the next step in the Ext Clock setup routine. The display says: Write SMPTE Trk? Press Yes To generate a SMPTE time code signal at the SMPTE OUT jack suitable for recording on tape, press YES; the Emulator II will output SMPTE time code from the SMPTE output jack, starting at SMPTE start point 00:00:00:00 with a 30 frames-per-second rate (unless you specified a different frames-per-second rate in step You may specify a different SMPTE start point (this must be done prior to...
Page 178: Define 1 - Function: Create Sequence
SEQUENCER MODULE DEFINE 1 - Function: CREATE SEQUENCE This function lets you create, number, and name a Sequence. It is conceptually similar to creating a Preset. 1. Activate the DEFINE sub-module. The display shows the Module Identifier: Seq Define (1 – 3) 2.
Page 179: Define 2 - Function: Time Signature
SEQUENCER MODULE DEFINE 2 - Function: TIME SIGNATURE This function sets the time signature for the Sequence. 1. With the DEFINE module active, key in 2. The display shows the default 4/4 time signature: Time Sign 04/04 Use Sliders A&B ...unless the Sequence has already been recorded, in which case the lower line will say “Seq Is Not Empty”.
Page 180: Define 3 - Function: Sequence Length
SEQUENCER MODULE DEFINE 3 - Function: SEQUENCE LENGTH Not too surprisingly, this function sets the Sequence length. 1. With the DEFINE module active, key in 3. The display shows the default Sequence length: Length: 002 Meas SlidrA(001-999) ...unless the Sequence has already been recorded, in which case the lower line will say “Seq Is Not Empty”.
Page 181: Define 4 - Supermode
SEQUENCER MODULE DEFINE 4 - SUPERMODE This function allows the EII to receive MIDI Information over 8 different channels, and sound them through 8 different presets simultaneously! To use Supermode, you must first create a Supermode map which routes the MIDI channels to specific presets.
Page 182 SEQUENCER MODULE Notes on EII Supermode Supermode is off when the EII Sequencer is running. Realtime controller data is not received over Supermode. Sending real-time controller data to the EII while in Supermode will slow the MIDI response by clogging the MIDI input. While in Supermode;...
Page 183: Setup 1 - Function: Select Track
SEQUENCER MODULE SETUP 1 - Function: SELECT TRACK Before recording or punching-in, use this function to specify the track on which you want to record or punch. 1. With the SETUP sub-module active, key in 1. If you are calling up this function for the first time, the display gives the default track record assignment: Tracks: 1 Record ^...
Page 184: Setup 2 - Function: Tempo
SEQUENCER MODULE SETUP 2 - Function: TEMPO This function sets the Sequence tempo. Tempo may be changed at any time; therefore, you can record a complex part at a slower tempo, and then bring the speed up to normal during playback. 1.
Page 185: Setup 4 - Function: Cue
SEQUENCER MODULE 3. Slider B selects one of the following metronome values: quarter note 1/4 t quarter note triplet eighth note 1/8 t eighth note triplet 1/16 sixteenth note 1/16 t sixteenth note triplet click A 24 pulses-per-quarter note click track is send from the MET OUT jack. 4.
Page 186: Setup 5 - Function: Smpte Start
SEQUENCER MODULE SETUP 5 - Function: SMPTE START You can start a Sequence by pushing PLAY (see SEQUENCER PLAY), or have the Sequence start automatically at a specific frame of the SMPTE time code. In this case, you would select SMPTE time code as the External Clock, and press PLAY (the PLAY LED will flash).
Page 187: Record, Play And Stop
SEQUENCER MODULE RECORD, PLAY and STOP You can think of these three switches as the “tape recorder controls” since they act very similarly to the equivalent controls on a multi-track tape recorder. Record To record a Sequence, first press RECORD to put the Sequencer in “record ready” mode.
Page 188: Select Sequence
SEQUENCER MODULE SELECT SEQUENCE This function lets you select any of the Bank Sequences for playback and/or additional recording. 1. To select a Sequence, first press SELECT. The display shows the Current Sequence number: Select Seq# XX SXX (name) ...where XX is the Current Sequence number. Either use the keypad to specify a Sequence number, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7, “Cataloguing”) the available Bank Sequences.
Page 189: Edit 1 - Erase Track
SEQUENCER MODULE EDIT 1 - ERASE TRACK This function erases any track from a Sequence. 1. With the EDIT sub-module active, key in 1. The display says: Erase An Entire Track Y/N To erase an entire track, including any stored controls assigned to that track, press YES and proceed to step 2.
Page 190: Edit 2 - Punch-In
SEQUENCER MODULE EDIT 2 – PUNCH-IN You can fix mistakes, or do spot overdubs, with the punch-in function. 1. First select the track (as described in SEQUENCER SETUP 1) on which you want to record the punch-in. Note that when you record a track, the Sequencer remembers the Current Preset assigned to that track;...
Page 191: Edit 3 - Bounce Tracks
SEQUENCER MODULE EDIT 3 – BOUNCE TRACKS With this function, you may bounce tracks assigned to one Preset to any other track assigned with the same Preset (including one of the tracks being bounced -- i.e., bounce tracks 1, 2, and 3 into 1). To bounce a track that has a different Preset from the other tracks being bounced, reassign the track Preset so that it is the same as the other tracks being bounced (see SEQUENCER EDIT 5, “Reassigning Presets”).
Page 192: Edit 4 - Store Controls
SEQUENCER MODULE EDIT 4 - STORE CONTROLS This function lets you store control source changes along with a track. You may store as many control source changes as desired with a track, however, the same control source cannot be assigned to more than one track. For example, if you store control source 1 (pitch bend) on one track you cannot store pitch bend information on any other track.
Page 193: Edit 5 - Reassign Preset
SEQUENCER MODULE EDIT 5 – REASSIGN PRESET You may re-assign a different Preset to a previously recorded track at any time with this command. 1. With the EDIT module active, key in 5. The display says: Track Presets Use Sliders A&D 2.
Page 194: Advanced Applications
ADVANCED APPLICATIONS ADVANCED APPLICATIONS THE ART OF SAMPLING TAKING THE BEST POSSIBLE SAMPLE MANIPULATING THE SAMPLE COMBING SAMPLES INTO PRESETS CREATING MULTI-INSTRUMENT PRESETS © 1985, 1986, 1987 E-mu Systems, Inc. Page 194...
Page 195: The Art Of Sampling
ADVANCED APPLICATIONS THE ART OF SAMPLING Recording good samples is not always easy; creating a really super set of Presets requires patience, practice, and skill. Sure, you can get musically useful results within a few days after working with the Emulator II, but as you learn your craft the quality of your samples will improve dramatically.
Page 196: Part 1: Taking The Best Possible Sample
ADVANCED APPLICATIONS PART 1: TAKING THE BEST POSSIBLE SAMPLE What comes out of the Emulator can only be as good as what you put in: Strive for maximum fidelity when sampling. Here are some ways to increase sample quality. GENERAL TIPS Live sampling: Sample “live”...
Page 197: Sampling From Tapes
ADVANCED APPLICATIONS 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.
Page 198: Part 2: Manipulating The Sample
ADVANCED APPLICATIONS Lower tape costs. VCR cartridge tape is very inexpensive; you can record hours and hours of samples for only a few dollars. Portability. Using a portable VCR and battery powered audio adapter makes for a very compact and portable package. Although splicing is not easy with VCR-based audio systems, you can generally do the required signal splicing and manipulation within the Emulator II.
Page 199: Tips On Manipulating Synthesizer Samples
ADVANCED APPLICATIONS five octaves, record the “re-synthesized” sample from C5 on tape running at 7.5 IPS. Play back the tape at 15 IPS, and record that sample at C6 (low note CS, high note C6). Minimizing timbre differences between adjacent samples: There are several ways to minimize timbre differences as you play across the keyboard.
Page 200 ADVANCED APPLICATIONS Pitch transposer with regeneration: To make a Voice sound as if it is being pitch- shifted downward and regenerated, hit three or four adjacent keys from the same sample at the exact same time (try this with a sampled sentence for an obvious example of how the effect works).
Page 201: Part 3: Efficiently Combining Samples Into Presets
ADVANCED APPLICATIONS PART 3: EFFICIENTLY COMBINING SAMPLES INTO PRESETS Part of creating a good Preset is to get into a “rhythm” where you’re punching up parameters as if the whole process was second nature. The following example shows the flow of a typical sampling session from start to finish. I.
Page 202: Sampling The Voices
ADVANCED APPLICATIONS For an example of how to use more than 5 Voices, load the piano disk, pick one of the Presets, and call up Preset Definition 23 (Edit Voice) to see how the Voices are assigned. Hint: It is good practice to, if possible, sample an additional Voice or Voices an octave above and/or below the intended sampling range.
Page 203 ADVANCED APPLICATIONS 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.
Page 204: Part 4: Creating Multi-Instrument Presets
ADVANCED APPLICATIONS PART 4: CREATING MULTI-INSTRUMENT PRESETS In many cases, you will want the Sequencer to sequence several instrument sounds simultaneously. There are three ways to do this: Create “MIDI Presets” (described in the MIDI/SMPTE supplement) that allow you to sequence MIDI instruments from the Sequencer;...
Page 205 ADVANCED APPLICATIONS The first step towards creating either a bunch of Individual Instrument Presets or a Multi- instrument Preset is to store the desired Voices in the Bank. If you have a good collection of Library disks, clear the Bank then load the desired Voices from the various disks into the Bank.
Page 206 ADVANCED APPLICATIONS track, and use the Sequencer’s cue function to select the particular version to which I wanted to listen. Also, sometimes I would record a lead synth or horn part in another track for practicing “dual lead” parts; again, recording different solos in different tracks, and selecting the tracks to be auditioned with the cue function, saves you from having to listen to the same solo over and over again.
Page 207: Midi Supplement
MIDI SUPPLEMENT MIDI SUPPLEMENT BASICS TYPICAL MIDI APPLICATIONS CREATING A MIDI PRESET ABOUT MIDI CONTROLLERS ABOUT OTHER MIDI SYNTHESIZERS DEALING WITH MIDI © 1985, 1986, 1987 E-mu Systems, Inc. Page 207...
Page 208: Basics: Questions And Answers About Midi
MIDI SUPPLEMENT BASICS: QUESTIONS AND ANSWERS ABOUT MIDI MIDI is causing a certain amount of confusion among musicians. Fear not -- it’s not all that difficult to understand, and the Emulator II makes it particularly easy to deal with MIDI. For those of you who aren’t that familiar with MIDI, we’ll first answer some common questions.
Page 209: How Does Midi Differentiate Between Different Midi Instruments
MIDI SUPPLEMENT How does MIDI differentiate between different MIDI instruments? MIDI provides 16 independent channels of information suitable for driving up to 16 polyphonic synthesizers or other MIDI devices. There are three modes that determine how each MIDI instrument responds to these channels. In Omni mode, the Emulator II (or any other MIDI keyboard) listens to all channels at once.
Page 210: Typical Midi Applications
MIDI SUPPLEMENT First, Synth A would have to tell Synth B whenever a key was hit (“hey Synth B, play F#!”). We’ll call this the NOTE ON word. This turns on the keys just fine, but now we need a way for Synth A to tell Synth B when a note is over so it can turn the key back off again.
Page 211: Creating A "Midi Preset" With The Emulator Ii
MIDI SUPPLEMENT CREATING A “MIDI PRESET” WITH THE EMULATOR II The Emulator II Sequencer is designed to drive MIDI instruments via the MIDI OUT connector. In many cases, you will want to create a Preset that doesn’t play any notes on the Emulator II, but only sends note data from the Sequencer out to other MIDI equipment.
Page 212: Finding Out About Other Synthesizer's Midi Capabilities
MIDI SUPPLEMENT 1. The other MIDI synthesizer will typically include several controllers, each transmitting data over its own controller “channel”. For example, Synth X might send out vibrato data over controller 01 and overall level data over controller 07. Hopefully this kind of information will be given in the manual.
Page 213: Dealing With "Midiosyncracies
MIDI SUPPLEMENT DEALING WITH “MIDIOSYNCRACIES” There are certain compatibility problems between MIDI gear from different manufacturers; however, many problems are created by operator error and/or a lack of understanding how MIDI works. If you transmit information on one channel and have the “receiver” set up for a different channel, forget it.
Page 214: Smpte Supplement
SMPTE SUPPLEMENT SMPTE SUPPLEMENT OVERVIEW PROTOCOL © 1985, 1986, 1987 E-mu Systems, Inc. Page 214...
Page 215: Smpte Overview
SMPTE SUPPLEMENT SMPTE OVERVIEW The Society of Motion Picture and Television Engineers adopted SMPTE time code in order to synchronize audio to video. Basically, SMPTE is a digital code that is recorded on audiotape or videotape, or “burned into” film. This code outputs time information as hours, minutes, seconds, and “frames”...
Page 216 SMPTE SUPPLEMENT Although fast-forwarding is not instantaneous, if it seems inordinately long you probably have the start point or the tape in the wrong place. Press STOP to stop the fast-forwarding process, and then check the SMPTE start time. Playing back and recording using SMPTE: During Sequence playback, you may stop, fast forward, rewind, and restart the tape arid the Sequence will start playing again, chasing if necessary.
Page 217: Appendices
APPENDICES APPENDICES A: GLOSSARY B: FUNCTIONS C: ERROR MESSAGES EMULATOR II CREDITS © 1985, 1986, 1987 E-mu Systems, Inc. Page 217...
Page 218: Appendix A: Glossary Of Terms
APPENDICES APPENDIX A: GLOSSARY OF TERMS ADSR: Acronym for Attack/Decay/Sustain/Release, a particular type of envelope generator. Analog synthesizer: A type of musical instrument that synthesizes sounds from component parts rather than via sampling. Arpeggiator: A circuit that plays notes sequentially for as long as they are held down. Bounce: When recording or sequencing, to “bounce”...
Page 219 APPENDICES Loading: To transfer data from one data storage medium to another (i.e. from disk to semiconductor memory or vice-versa). Low pass filter: A filter whose frequency response remains flat up to a certain frequency, then rolls off (i.e. attenuates signals appearing at its input) above this point. Memory: The part of a computer responsible for storing data.
Page 220: Appendix B: Emulator Ii Functions, Default Settings, And Control
APPENDICES APPENDIX B: EMULATOR II FUNCTIONS, DEFAULT SETTINGS, and CONTROL RANGES When you first turn on the machine or clear the Bank, the Emulator II functions will assume the following default settings shown under the Default column. Controls cover the range given in the Range column.
Page 221 APPENDICES Filter Default Range 1A Frequency 000 to 120 1B Q00 00 to 99 1C Envelope Amount -50 to +50 2A LFO Amount 00 to 15 2B Keyboard Tracking 1.00 .00 to 1.87 3A Attack 01 to 32 3B Decay 01 to 32 3C Sustain 01 to 32...
Page 222 APPENDICES Level yes-no Attack yes-no 30 Save Voice to Disk 00 Change Current Voice * Preset Definition Default Range 11 Get Voice 12 Copy/Name Voice 13 Erase Voice 14 Erase Sequence 15 Erase Preset 16 Erase Bank 17 Catalog Voices 18 Catalog Sequences 19 Catalog Presets 20 Memory Remaining...
Page 223 APPENDICES 5 Sample Length Available Bank Up to overload point Memory 7 Arm Sampling 9 Force Sampling 0 Stop Sampling Disk Default Range 1 Get Bank Disk 1 2 Get Bank Disk 2 3 Space Remaining 4 Copy Disk 5 Catalog Voice 6 Erase Voice 7 Save Bank 8 Format Disk...
Page 224: Appendix C: Emulator Ii Error Messages
APPENDICES APPENDIX C: EMULATOR II ERROR MESSAGES If you ask the Emulator II to do something it doesn’t want to do, it will give an error message in the display. If you encounter one of the following, it will be for the reason given. All Tracks Empty: This occurs if you refer to a Sequencer track but none has been recorded.
Page 225 APPENDICES Sample Overload: The sample exceeded the Emulator II’s dynamic range. Seq Is Not Empty: If you try to set the time signature or measure length of a previously recorded Sequence, this will be the reply. Snd For (Greater Than) 1 Voice: A sample cannot be spliced to another sample used in the same Voice.
Page 226: Emulator Ii Credits
APPENDICES Emulator II Credits Hardware Design Dave Rossum Tom Moxon Dana Massie Mechanical Design Ken Provost Technical Support Terry Shultz Wes Swift Steve Davies Brian Monahan Jim Charleton Software Design Dave Rossum Donna Murray Tom Moxon Alan Goldwater Dana Massie Sound Processing Dana Massie Kevin Monahan...

E-Mu EII+ Owner's Manual

Introduction

The Guided Tours

Guided Tour #2: Specifying the “Current Voice”

General Instructions

Master Control Module

Filter Module

Lfo/Vca Module

Voice Definition Module

28 - Combine Voices

Preset Definition Module

Sample Module

Disk Module

Hard Disk Supplement

Realtime Control Module

Enter Module

Sequencer Module

Advanced Applications

MIDI Supplement

Creating a “MIDI Preset” with the Emulator II

Smpte Supplement

Appendices

Appendix A: Glossary of Terms

APPENDIX B: EMULATOR II FUNCTIONS, DEFAULT SETTINGS, and CONTROL

Appendix C: Emulator II Error Messages

Quick Links

Related Manuals for E-Mu EII+

Summary of Contents for E-Mu EII+