E-Mu Classic keys Operation Manual page 88

86
STEP-BY-STEP
Now your song will play perfectly every
time using the proper presets, volumes
and pan positions. In addition, presets,
volumes and pan positions (or anything
else for that matter) can be adjusted in
realtime during the song. Note: If the
wrong presets are being selected, check
the MIDI Program -> Preset Map.
To carry the pre-sequence setup even
further, you can even include preset data
for each preset used in the sequence. See
page 30 for details.
USING THE 32 CHANNELS
As stated earlier, Classic Keys has 32
independent audio channels which are
utilized as needed. With 32 channels and
512 presets, you have a universe of sonic
textures at your disposal. But you have
probably noticed that many of the best
sounding presets in Classic Keys are
linked with other presets or have chorus
applied to them in order to make them
sound larger. While this is fine when the
preset is played solo, you may begin to
run out of channels when Classic Keys is
played multi-timbrally. Linking and
chorusing cause twice as many channels
to be used by the preset. Learn to "bud-
get" your output channels for maximum
efficiency.
CHANNEL RIPOFF
When Classic Keys uses up all its 32
channels and needs more, it steals a
channel from the key that has been held
the longest. This is commonly known as
"channel ripoff ". You will most com-
monly encounter this ripoff when using
Classic Keys in multi-timbral mode. To
eliminate ripoff you must either, play
fewer notes, use simpler sounds, turn off
doubling (pri/sec, chorus, or linked
presets), or use MIDI overflow to another
Classic Keys.
INSTRUMENT DEFINITION
If your sequence has an instrumental
section using numerous chords it may be
advantageous to use a basic preset with-
out links or chorus. A preset will sound
much different alone than when com-
bined with an ensemble. Try to resist the
temptation to make every sound as fat as
possible or you can wind up with "MIDI
Soup", a huge, stifling sound with every
possible audio frequency filled. A solo
saxophone in a band isn't chorused and it
sounds great. Each voice in your compo-
sition should have it's own identity. Save
the monster sounds for solos or dramatic
effects.