Akai s2000 Owner's Manual
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Akai s2000 Owner's Manual

Midi stereo digital sampler
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  • Page 2 WARNING!! To prevent fire or shock hazard, do not expose this appliance to rain or moisture. 1-En CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
  • Page 3 • Do not put, or allow anyone to put any object, especially metal objects, into the S2000. • Use only a household AC power supply. Never use a DC power supply. • If water or any other liquid is spilled into or onto the S2000, disconnect the power, and call your dealer.
  • Page 4 Always keep the unit's chassis at least 10 centimeters from any other objects. 31C-En This equipment conforms to No.82/499/EEC, 87/308 EEC standard. 3A-En CONFORME AL D.M. 13 APRILE 1989 DIRETTIVA CEE/87/308 3B-It S2000 Operator’s Manual - Version 1.30...

  • Page 5: Fcc Warning

    17B-G COPYRIGHT NOTICE The AKAI S2000 is a computer-based device, and as such contains and uses software in ROMs. This software, and all related documentation, including this Operator’s Manual, contain proprietary information which is protected by copyright laws. All rights are reserved. No part of the software or its documentation may be copied, transferred or modified.
  • Page 6 If the warranty is valid, AKAI will, without charge for parts or labor, either repair or replace the defective part(s). Without a valid warranty, the entire cost of the repair (parts and labor) is the responsibility of the product's owner.

  • Page 7: Table Of Contents

    FRONT PANEL ......................6 THE DISK DRIVE ...................... 7 TAKING CARE OF YOUR DISKS ..............8 REAR PANEL ......................9 SETTING UP THE S2000 ..................11 GETTING STARTED - CONNECTIONS ............11 PLAYING THE DEMO SEQUENCE .............. 12 MOUNTING THE S2000 ................14 GETTING AROUND THE S2000 ................
  • Page 8 CONTENTS SINGLE MODE ........................45 NOTES REGARDING ‘OLD AKAI’ METHOD ............46 RENUMBERING PROGRAMS .................. 47 DELETING PROGRAMS ................... 48 LAYERING PROGRAMS IN SINGLE MODE ............50 CREATING MULTI-TIMBRAL SETUPS IN SINGLE MODE ........51 SINGLE VS MULTI ..................52 MULTI MODE ........................
  • Page 9 SINGLE EDIT SCREENS ..................123 NAME/DELETE/COPY SCREENS ................128 MULTI EDIT SCREENS .................... 129 SAMPLE MODE ........................130 SAMPLING - RECORDING INTO THE S2000 ............130 WHAT IS SAMPLING? ....................130 MAKING A RECORDING ..................132 NAMING SAMPLES ....................132 SETTING RECORD PARAMETERS .................
  • Page 10 COPYING EFFECTS BETWEEN DIFFERENT EFFECTS FILES ......199 GLOBAL MODE ........................200 TUNING THE S2000 ....................200 SETTING THE S2000’S OUTPUT LEVEL ..............200 SETTING THE SINGLE MODE’S PROGRAM CHANGE CHANNEL ....... 200 SELECTING THE EXTERNAL MIDI CONTROLLER ..........201 MONITORING INCOMING MIDI CHANNELS ............
  • Page 11 INSTALLING MEMORY EXPANSION ............218 INSTALLING THE FMX008 FLASH ROM BOARDS ........219 APPENDIX 4 .......................... 220 THE S2000 OPERATING SYSTEM ................220 BOOTING UP FROM FLOPPY DISK ............220 BOOTING UP FROM HARD DISK ..............220 SPECIFICATIONS ......................... 221 S2000 MIDI IMPLEMENTATION CHART ................

  • Page 13: Introduction

    S2000 is a sampler that can grow with your needs Bundled with the S2000 is a software application for the Macintosh™ computer that allows you...

  • Page 14: Features

    • Portamento Polyphonic and monophonic portamento. • Sound library Fully compatible with Akai S900, S950, S1000, S1100, S2800, S3000, S3200, S3000XL and S3200XL . It can also re ad d at a f ro m...
  • Page 15 MULTI Part select, program select, MIDI channel, level, pan, transpose, fine tune, output routing, FX routing, FX send, low key range, high key range, note priority. S2000 Operator’s Manual - Version 1.30 Page 3...
  • Page 16 Effect select (large hall, small hall, large room, small room, reverse, gated, etc.), decay time, HF damping, LF damping, pre-delay, diffusion. A multi-effects channel may also be routed to its ‘neighbouring’ reverb channel for dual reverb multi-effects. Page 4 S2000 Operator’s Manual - Version 1.30...

  • Page 17: About This Manual

    “sample rates”, etc., are unfamiliar to you, we hope that this manual is not just a boring explanation of functions but something you can refer to for information beyond the scope of the S2000. Even if you’re a seasoned programmer, we hope that there is information in this manual that you find useful.

  • Page 18: Front Panel

    L/MONO input is connected, mono recording is possible. PHONES This stereo jack socket allows you to monitor the L/R (stereo) output of the S2000 through stereo headphones. The level is regulated using the MAIN OUTPUT LEVEL control (see below). MAIN OUTPUT LEVEL...

  • Page 19: The Disk Drive

    DISK ACTIVITY LED will be lit. It is important to remember that, unlike a synthesiser, the S2000 has no means of storing sounds in an internal memory. As a result, it is vital that you save your work to disk before turning the power off otherwise you will lose your work and, unless previously saved or backed up, it will be gone for ever.

  • Page 20: Taking Care Of Your Disks

    Even if you are using a hard disk of any sort, please make sure you have backed up your work to floppy disks. It can be time consuming but it will be worth it if you ever have a problem with your hard disk! Page 8 S2000 Operator’s Manual - Version 1.30...

  • Page 21: Rear Panel

    CD or DAT or any other digital audio source. The digital output also carries a digital clone of the main stereo outputs so you may also mixdown digitally from the S2000 to any digital audio recorder such as DAT or a hard disk recorder/editor such as the Akai DR4 or DR8 thereby ensuring the highest quality audio during mixdown.
  • Page 22 ** IMPORTANT NOTE ** BEFORE CONNECTING ANY AC POWER, PLEASE ENSURE THAT YOUR UNIT IS DESIGNED FOR YOUR AREA’S POWER SUPPLY. A MISTAKE NOW COULD RUIN YOUR WHOLE DAY NOT TO MENTION YOUR S2000!!! Page 10 S2000 Operator’s Manual - Version 1.30...

  • Page 23: Setting Up The S2000

    You will also see a message in the LCD informing you of what is going on. After 30 seconds or so, your S2000 is ready for use. Turn the volume up on the sampler, amplifier or mixer.

  • Page 24: Playing The Demo Sequence

    F1 (CLEAR) to clear the memory and load the entire floppy disk into the S2000. You will see some activity going on as the S2000 loads the sounds (the disk activity LED will light and a quick look at the LCD will show a “LOADING..” message). After about 40-50 seconds, this will stop - you may now play the S2000 by selecting the SINGLE mode.
  • Page 25 S2000. As long as you don’t press the SAVE key and accidentally overwrite your floppy disk or hard disk volume, you can’t damage your sounds permanently or come to any harm (you can’t damage a CD-ROM as it’s a read only device).

  • Page 26: Mounting The S2000

    If you are using the S2000 with a hard disk device of any kind, the disk drive MUST be mounted horizontally. If the disk drive is at an angle, even a slight one, you may have unreliability problems and even data corruption.

  • Page 27: Getting Around The S2000

    INTRODUCTION GETTING AROUND THE S2000 In order to bring you the S2000 at the best possible price, the user interface has been re- designed. Instead of the larger (and more costly) LCD found on more expensive samplers, the S2000 uses a 2 x 16 LCD with a ‘page driven’ operating system. On each ‘page’, parameters are shown and you may edit these using the inner data wheel.

  • Page 28: The Page And Group Keys

    F1 - ARM. Three key presses to get a new sample in - the same as on any Akai sampler with a large LCD. Granted, not all operations are so slick but we hope that the compromises made to bring the S2000 to you at such a fabulous price do not hamper you enjoying it to the full (and remember, if you have a Macintosh™...

  • Page 29: The Data/Select Wheel

    SELECT wheel? The outer SELECT wheel is sprung (i.e. it always returns to its centre position) but you may also hold it down in either direction to ‘scroll’ through its functions. S2000 Operator’s Manual - Version 1.30 Page 17...

  • Page 30: The Select Wheel In Edit Program

    Now flick the outer wheel clockwise to select the next part: This process can be repeated to assign programs to each of the parts in the MULTI. Page 18 S2000 Operator’s Manual - Version 1.30...

  • Page 31: The Select Wheel In Edit Sample

    In this way, you can flick between coarse sample editing and fine sample editing without hardly moving your hand. Of course, the same technique can be used when setting loops, end times, crossfade lengths or any other sample parameter that has many, many digits. S2000 Operator’s Manual - Version 1.30 Page 19...

  • Page 32: The Play Key

    INTRODUCTION THE PLAY KEY Sometimes you may find that you are programming and setting up the S2000 away from a MIDI controller and you need some way of triggering the S2000. This may seem unusual but it does allow you to do some simple programming without having to set up an extensive MIDI rig. The PLAY key allows you to audition sounds without the need for a MIDI controller to be connected.

  • Page 33: How The S2000 Works

    INTRODUCTION HOW THE S2000 WORKS Despite its versatility, the S2000 is very straightforward and once you have a basic grasp of the flowcharts shown on the next pages, things will make more sense. Basically, you can have SAMPLES. These are the pieces of raw digital audio that are always the basis of any sound in the S2000.

  • Page 34: S2000 Flowcharts

    Once you are happy with everything, the whole thing may be saved to disk for recall at a later date. One of the beauties of the Akai samplers is that there are no restrictions on what you do with samples - any sample can be placed into any keygroup in any program. One sample may be placed into a variety of different programs, each of which impose different envelope or filter settings to create a wide range of possibilities from very little.
  • Page 35 SAMPLE 4 KG PITCH VEL SW/XFD MASTER PROGRAM OUTPUT ENV 2 ENV 1 ENVELOPE TEMPLATES KEYSPAN MODULATION SOURCES ENV 1 ENV 2 LFO 1 LFO 2 MOD.WHL P.BEND PRESSURE KEY.POS VELOCITY EXT.MIDI S2000 Operator’s Manual - Version 1.30 Page 23...
  • Page 36 PRIORITY OUTPUT ASSIGN 4-CHANNEL EFFECTS PROCESSOR MULTI-EFFECTS CHANNEL x 2 DISTORTION/EQ MOD/DELAY EFFECTS REVERB CHORUS FLANGE PHASE DISTORTION RING MOD DELAY REVERB PITCH SHIFT PAN/FMOD REVERB ONLY CHANNEL x 2 REVERB REVERB Page 24 S2000 Operator’s Manual - Version 1.30...

  • Page 37: Load Mode

    Loading data from hard disk is virtually identical to loading from floppy disk but before we look at how to load from hard disk, a few basics on how the S2000 organises data on a hard disk. By ‘hard disk’, we refer to any SCSI device such as hard disk, CD-ROM, Magneto Optical (MO) disk, removable cartridge, etc..

  • Page 38: Scsi, Scsi Id, Volumes, Partitions, Etc

    SCSI ID 5. A hard disk formatted for the Akai S2000 is organised is by way of ‘volumes’. If you have used a computer, an S2000 volume is a bit like a folder on a Macintosh™ computer or a directory on a PC and is where you store your programs, samples, multis, etc..
  • Page 39 When loading from hard disk, you can select the partition and then select the volume you want to load from. You may load the entire volume or just parts of it as you like. S2000 Operator’s Manual - Version 1.30 Page 27...

  • Page 40: Selecting To Load From Floppy Disk Or Hard Disk

    Press F2 and use the inner DATA wheel to scroll through the list of volumes. NOTE: If there is some kind of problem with the connection between the S2000 and the hard disk (or the hard disk is not switched on or the SCSI IDs don’t match), you will receive the message: The message will disappear after a short while but you may clear it by pressing SKIP (F2).
  • Page 41 GLOBAL pages for more information on formatting hard disks. From now on, whether you are loading from floppy disk or hard disk (or CD-ROM, etc.), the process is exactly the same and so both methods are explained together. S2000 Operator’s Manual - Version 1.30 Page 29...

  • Page 42: Loading The Entire Volume

    If you have the effects board installed, you may wish to load the effects file from another floppy or hard disk volume to use with the programs and/or multi you have just loaded. Such things are possible on the S2000 thanks to its flexible disk handling routines.

  • Page 43: Loading Only The Programs And Their Samples

    LOADING ONLY PROGRAMS To load only the programs and ignore all samples, multis and effects files, press PAGE DOWN until you see this screen: S2000 Operator’s Manual - Version 1.30 Page 31...

  • Page 44: Loading Only Samples

    You will also see M (MULTI) or X (EFFECTS) which can also be loaded individually. Once you have arrived at the item you wish to load, as always, press GO and respond accordingly to the CLEAR/LOAD prompt by pressing F1 or F2 as appropriate. Page 32 S2000 Operator’s Manual - Version 1.30...

  • Page 45: Loading An Operating System

    It is also possible to boot an operating system from a hard disk. In this case, the operating system MUST be in volume 1 of the drive on SCSI ID 5. When you power up the S2000, it will first ‘look’ to see if there is a floppy disk in the drive with a valid operating system.

  • Page 46: Loading From Other Manufacturer's Cd-Roms

    When you enter the LOAD mode and press HDSK to load from hard disk, the S2000 will search for a valid hard disk. If the hard disk is an Akai formatted hard disk, you will be able to load Akai sound library from hard disk or CD-ROM. If however, the hard disk/CD-ROM is one formatted for another manufacturer, you will be able to access that and load the manufacturer’s sounds.

  • Page 47: Notes Regarding Loading Other Manufacturers' Sound Library

    Layered programs using several ‘presets’ or those made using several ‘patches will be loaded as a single ‘preset’ or ‘patch’ into the S2000. In this case. load all the single ‘elements’ (i.e. presets or patches) and layer them in the MULTI mode.

  • Page 48: Load Mode Screens

    LOAD LOAD MODE SCREENS SELECT F1 or F2 PAGE UP/DOWN PAGE UP/DOWN GROUP UP/DOWN If the connected drive uses another manufacturer's format, you will see these screens when you press HDSK Page 36 S2000 Operator’s Manual - Version 1.30...

  • Page 49: Save Mode

    Here, you must select whether to save to floppy disk or hard disk. NOTE: Unlike synthesisers which store their sounds in ROM, the S2000 does not retain the contents of its memory when you switch it off. It is essential, therefore, that you save your work before turning the S2000 off.
  • Page 50 OFF! If the floppy disk is write protected, you will see the message: If you try to save to a cartridge or MO that is write protected, you will see the message: Page 38 S2000 Operator’s Manual - Version 1.30...

  • Page 51: Notes On Saving Data

    Be very careful not to accidentally overwrite a floppy disk or hard disk volume when you save. It’s very easy to work quickly on the S2000 and to press SAVE, GO, WIPE without thinking but, when saving data, it’s worth being careful. If you have any doubts at all about the contents of a floppy disk or hard disk volume you are about to save to, press LOAD to check the contents first.

  • Page 52: Saving Other Items To Disk

    S2000’s flexible disk filing system allows this. SAVING A MULTI One very convenient aspect of the S2000’s disk filing system is the ability to save a multi with any programs associated with it and the samples associated with those programs. If the optional effect board is fitted, effects files are also saved.

  • Page 53: Saving All Programs Only

    This indicates that the item chosen is an effects file As usual, you should press F2 - GO - to initiate the save process and respond as appropriate to the WIPE/SAVE? prompt you receive. S2000 Operator’s Manual - Version 1.30 Page 41...

  • Page 54: Saving Operating Systems

    NOTES ON SAVING THE OPERATING SYSTEM TO DISK As the S2000 has no operating software in EPROM, the O/S is always loaded from floppy disk. Make sure to always have this when using the S2000. YOU ARE STRONGLY ADVISED TO MAKE BACKUPS OF THIS FOR SAFE KEEPING.

  • Page 55: Deleting Items From Disk

    Press F1 to delete the file or F2 to cancel the procedure. NOTE: If you are deleting something a floppy disk, Syquest cartridge or MO disk, the write protect must be off in order to delete the item. S2000 Operator’s Manual - Version 1.30 Page 43...

  • Page 56: Save Mode Screens

    S A V E SAVE MODE SCREENS SELECT F1 or F2 PAGE UP/DOWN Page 44 S2000 Operator’s Manual - Version 1.30...

  • Page 57: Single Mode

    Pressing SINGLE will display this screen: If you have just turned the S2000 on, you will see the default program called TEST PROGRAM here. The number to the right indicates the program number 1 - 128. On the bottom line, you will see the message ? PROGS ACTIVE.

  • Page 58: Notes Regarding 'Old Akai' Method

    S1000, S1100, S2800, S3000 or S32000 with absolutely no compatibility problems whatsoever (if you wish to ‘convert’ them into the new S2000’s MULTI, that’s up to you but we are sure you will appreciate the benefits once you start to use MULTI mode).

  • Page 59: Renumbering Programs

    SINGLE mode. If you are a long-time Akai user, you may continue to use this method but, for multi- timbral sequencing, the MULTI mode is recommended. We are sure you will appreciate the benefits of convenience and speed for setting up multi-timbral assignments in the MULTI mode.

  • Page 60: Deleting Programs

    Press F1 to delete the program or F2 to cancel to procedure. NOTE: Please be careful here. If the programs you are deleting are not saved, they will be lost forever should you proceed and press F1 (GO). Page 48 S2000 Operator’s Manual - Version 1.30...
  • Page 61 O.K. to delete those as well. You should press F1 or F2 as appropriate. As always, if these samples have not been saved, these samples will be lost forever should you delete them. S2000 Operator’s Manual - Version 1.30 Page 49...

  • Page 62: Layering Programs In Single Mode

    These can be recalled simply by sending the appropriate MIDI program change commands to the S2000 or by selecting them using the DATA wheel. NOTE: If you want to layer two identical programs on top of each other (for example, layer a strings program on top of itself with some detune for a richer sound), you will need to copy the strings program with a unique name.

  • Page 63: Creating Multi-Timbral Setups In Single Mode

    SINGLE mode is mostly retained for compatibility with earlier Akai samplers so that you can load such sound library and play it immediately without any conversion process. When creating new multi-timbral setups in the S2000, we imagine you will probably use the MULTI mode.

  • Page 64: Single Vs Multi

    As mentioned, you may achieve similar results in the MULTI mode where you can create multi- timbral setups, key splits, layered programs (and combinations of these) very quickly and easily. The advantages MULTI has over the ‘old Akai’ methods are •...
  • Page 65 As mentioned, whether you choose to convert older Akai sound data into S2000 ‘format’ using the MULTI mode is up to you depending on your application. S2000 Operator’s Manual - Version 1.30...

  • Page 66: Multi Mode

    S2000 whilst others are sent out via the individual outputs for processing on the mixing console.

  • Page 67: Setting Up A Multi

    This is showing us that the multi currently in memory is called MULTI FILE 1, the default name given to a multi when you power up the S2000 (you can rename it to something more suitable as we shall see later). Now, let’s imagine we want to arrange our multi as follows:...

  • Page 68: Modifying The Multi

    Now you have set up a simple multi. You can record your sequence. MODIFYING THE MULTI The beauty of the S2000’s MULTI mode is that, as the sequencer is playing back your song, you can interact with the parts, assigning different programs to parts ‘on the fly’ within the context of the sequence (you can also edit program parameters such as envelope and filter settings, etc., within the context of your tune as we shall see later).

  • Page 69: Setting A Part's Midi Channel

    Use the SELECT wheel to select the part. NOTE: The S2000 can detect the presence of the optional output expander board and so, if the individual output board is not installed, this page will not be shown.

  • Page 70: Fine Tuning A Part's Pitch

    MULTI MODE NOTE: The S2000 can detect the presence of the multi effects board. If it is not installed, the EFFECTS page will not be shown. Also, you will need VERSION 1.30 or higher to access the effects' functions. FINE TUNING A PART’S PITCH You will sometimes need to fine tune a part.
  • Page 71 PART 1 to PART 15, because the SELECT wheel takes a little time to get going, you may prefer to move the cursor to the PT field and whizz through the parts with a quick rotation of the inner DATA wheel. S2000 Operator’s Manual - Version 1.30 Page 59...

  • Page 72: Important Notes About Multi Parameters

    The way the multi works means that once you have set the parameters for any of the parts, they remain constant regardless of which sound you place in them and you do not have to keep resetting them manually all the time. Page 60 S2000 Operator’s Manual - Version 1.30...

  • Page 73: Naming A Multi

    MULTI MODE NAMING A MULTI When you power up the S2000, a default name is given to the empty multi in memory. You may rename this to something more suitable if you wish. This is done in the main MULTI page: To rename the multi, press F2 - RENAME.

  • Page 74: Multi Mode Screens

    MULTI MODE MULTI MODE SCREENS If IB-208P is installed If EB16 is installed Page 62 S2000 Operator’s Manual - Version 1.30...

  • Page 75: Using Multi Mode For Layering Programs

    In the case of layering three sounds, polyphony will be cut to around ten voices. If you’re mad enough to try layering 16 programs, polyphony will be reduced to one voice! S2000 Operator’s Manual - Version 1.30 Page 63...

  • Page 76: Using Multi Mode To Set Keyboard Splits

    2, detune it and pan it hard left and hard right to create a pseudo stereo detuned synth bass sound in the bottom octaves. The possibilities are almost endless (up to the 16 part limit in fact)! Page 64 S2000 Operator’s Manual - Version 1.30...

  • Page 77: Combining These Techniques

    COMBINING THESE TECHNIQUES The S2000’s MULTI mode is so flexible that it can accommodate all of these techniques simultaneously. For example, PARTs 1, 2 and 3 could have layered programs on one MIDI channel whilst 4, 5 and 6 have parts on separate channels.

  • Page 78: Program Edit

    (LFOs), ADSR and multi-stage envelope generators, resonant filters, panning and more, the S2000 can radically transform any sound offering the creative musician and programmer endless possibilities. In short, what it means is that as well as owning a superb sampler, you also have a very excellent and versatile analogue style synthesiser.

  • Page 79: What Is A Keygroup

    A KEYGROUP is precisely that - a group of keys which have a particular note range on the keyboard. The simplest program you can have is with one keygroup in it that spans the entire MIDI range on C0-G8. The TEST PROGRAM that always boots up into the S2000 is just such a program. I.e: KEYGROUP 1 Perhaps the next level up is to have a program with two keygroups.

  • Page 80: Keygroup Zones

    The ultimate program, would be for each key to have its own keygroup with each keygroup containing four samples using a four way velocity switch! Page 68 S2000 Operator’s Manual - Version 1.30...

  • Page 81: Overlapping And Crossfading Keygroups

    If you have already owned an Akai sampler, then you will probably be familiar with a lot of what we have just seen but, if this is your first time with an Akai sampler, it is worth taking the time to get a fairly good understanding of these principles and the concept of keygroups if you are going to get the best out your sampler.

  • Page 82: Assignable Program Modulation

    Gamelan orchestra but, when the need arises to create that special sound or when your synthesiser just isn’t up to it, the S2000 will oblige you willingly - in fact, you may get so used to the S2000’s versatility as a synthesiser that some of your current synth(s) may be in the...
  • Page 83 This selects the modulation wheel as the control source. Bend This selects the pitchbend wheel or lever as the modulation source Press This selects pressure (or aftertouch) as the control source. This is channel aftertouch and not polyphonic aftertouch. S2000 Operator’s Manual - Version 1.30 Page 71...
  • Page 84 Using a MIDI merger on your keyboard would allow you to merge a breath controller with your keyboard and users of the Akai EWI MIDI wind synthesiser will no doubt be able to use this function to great effect when playing the S2000 directly from the EWI and selecting BREATH.

  • Page 85: Important Notes About Single Edit And Multi Edit

    MULTI and check it there. Of course, if the sound is still not quite right, you must repeat the whole process again. Not so on the S2000 - simply select the appropriate part and press EDIT to adjust the sound within the context of the multi.

  • Page 86: Editing In Single Mode

    In this case, you may want to renumber them. You may also wish to change the program’s MIDI channel which may also be done in this page. Page 74 S2000 Operator’s Manual - Version 1.30...

  • Page 87: Monitoring Other Programs

    Similarly, when using a multi-timbral setup created using the ‘old Akai’ mode, you may want to hear the other programs in the setup. This is achieved on the next page down: Here, you may select between SINGLE and ALL.
  • Page 88 S2000 without any compatibility problems. If you have used earlier Akai samplers before, then you may continue to use this method on the S2000 if you wish and so these functions are retained for your convenience (although the MULTI mode is recommended for layering and multi-timbral work as it is much quicker and easier to use).

  • Page 89: Keygroup Crossfade

    Keygroup crossfade is useful when the tonal qualities between adjacent keygroups are a bit abrupt (for example, on a strings program where you have several samples multi-sampled across the keyboard range, keygroup crossfade could be used to smooth the transition between the multi-samples). S2000 Operator’s Manual - Version 1.30 Page 77...

  • Page 90: Mono Legato Playback

    It is almost essential when playing synth bass sounds as it emulates the classic monophonic synth keyboard. You will find it useful too, when playing leadlines of any kind. Owners of the Akai EWI wind synthesiser will find this function invaluable in obtaining better expression and phrasing.

  • Page 91: Tuning A Program

    +50 and the other to -50. Use F1 to select LOUD(ness) and set the value using the DATA wheel and press F2 to select VEL(ocity) and use the DATA wheel to set its value. S2000 Operator’s Manual - Version 1.30 Page 79...

  • Page 92: Assigning A Program To An Individual Output

    The default is OFF and you may also select 1-8 using the DATA wheel. You will note that these outputs are polyphonic and can use the full 32-voice polyphony of the S2000. The LEVEL parameter sets the level of the signal appearing at the output selected in the INDIV field.

  • Page 93: Editing In Multi Mode

    Here, you may set the program’s overall sensitivity to velocity. The value is set using the DATA wheel. From now on, all pages are identical in both edit modes. S2000 Operator’s Manual - Version 1.30 Page 81...

  • Page 94: Loudness Modulation

    As an example, you could layer a distorted guitar program and a distorted feedback program and introduce the feedback element of the sound using aftertouch or modwheel to create a powerful heavy metal guitar sound. Page 82 S2000 Operator’s Manual - Version 1.30...

  • Page 95: Pan Modulation

    Sound with a high frequency content will mask this but you may hear it on mellower sounds. Please be aware of this when setting pan modulation. S2000 Operator’s Manual - Version 1.30 Page 83...

  • Page 96: Copying And Deleting Keygroups

    The number of keygroups in the program is shown on the top line of the display. When you press F1 to delete a keygroup, you will receive the prompt: You should respond accordingly. Page 84 S2000 Operator’s Manual - Version 1.30...

  • Page 97: Notes Regarding Keygroup Selection

    Please take care to observe that ALL is not selected when you wish to change just one keygroup’s parameters. S2000 Operator’s Manual - Version 1.30 Page 85...

  • Page 98: Setting A Keygroup's Key Range

    KG field and use the DATA wheel to select the keygroup. NOTES ON SETTING KEYSPAN RANGES Setting a keyspan range is the key to multi-sampling on the S2000. Most sounds you sample cannot be transposed over an infinite range for several reasons. Firstly, the sample speeds up...
  • Page 99 As you can see, setting the keygroups’ SPAN offers a lot of flexibility for assembling samples and setting how you want to play them. On the S2000, any sample taken at any pitch can be assigned to any keygroup and any keyspan you like can be set (although you will have to re- rune the samples so they play at the correct pitch - for example, taking a sample at C3 and then assigning it to C2 will require you to tune it up an octave).

  • Page 100: Assigning A Keygroup To A Mute Group

    Of course, at the time, this was undesirable but the dictates of musical fashion now say that this ‘machine Page 88 S2000 Operator’s Manual - Version 1.30...
  • Page 101 If, as mentioned, the samples do not have a pronounced attack, then a combination of mono legato and the mute group function will give you a smooth transition across the keygroups. S2000 Operator’s Manual - Version 1.30 Page 89...

  • Page 102: Velocity Crossfade/Switch

    The next page lets you select whether you will switch between samples or crossfade: The velocity ranges are set within the keygroup zones themselves but yopu can use the DATA wheel to switch velocity crossfade ON or OFF. Page 90 S2000 Operator’s Manual - Version 1.30...

  • Page 103: Assigning Samples To Keygroups

    NOTE: You will note that if the master loudness parameter in the OUT page (see below) is set to 99, this control will only have effect downwards (i.e. when setting a negative value). S2000 Operator’s Manual - Version 1.30 Page 91...

  • Page 104: Assigning A Zone/Keygroup To An Individual Output

    Even if the O/P field is set to OFF, you may route individual keygroups to separate outputs. This may be useful in a drum program where things like toms, cymbals and some percussion appear at the S2000’s stereo outputs whilst important drums like bass drum and snare are assigned to appear at individual outputs.

  • Page 105: Switching The Keyboard Off

    This eliminates the need for copying the same sample several times (and hence wasting memory) to achieve the same effect. The options available to you are: AS SAMPL This plays back the sample exactly as set up in the EDIT SAMPLE. S2000 Operator’s Manual - Version 1.30 Page 93...

  • Page 106: Setting Velocity To Sample Start Time

    ASSIGNING STEREO SAMPLES TO A PROGRAM When you make a stereo sample, the S2000 automatically appends ‘-L’ and ‘-R’ to the end of the name (i.e. BIG STRING-L and BIG STRING-R) with L and R being the left and right legs of the stereo sample.

  • Page 107: Layering Stereo Samples

    HINT: If you are not using ZONEs 2, 3 or 4, instead of wading through all their pages to get to the envelopes and filters, etc., use the GROUP DOWN keys to bypass these pages. S2000 Operator’s Manual - Version 1.30 Page 95...

  • Page 108: Env1 - Shaping Amplitude

    You can use the DATA wheel to call up a series of preset envelope templates that have been set within the software of the S2000. You can use these to get close to the type of envelope you are after and then maybe fine tune them afterwards if needs be. ENV1 is the ‘manual’...
  • Page 109 OFF, the envelope will continue along the set values, regardless of loop settings. I.e: Loop Loop Decay Attack HOLD: ON Sustain Attack S2000 Operator’s Manual - Version 1.30 Page 97...

  • Page 110: Setting Amplitude Modulation For Keygroups

    (as an example, one keygroup could have a strings sound and the other a choir sound and you could crossfade between them in real-time as a performance parameter). There are many possibilities. Page 98 S2000 Operator’s Manual - Version 1.30...

  • Page 111: The Filters

    PROGRAM EDIT THE FILTERS The next group of pages deals with the S2000’s filters. The S2000 is equipped with 12dB/octave lowpass resonant filters as found on many analogue synthesisers. As well as using them for the tonal modification of acoustic samples, they also allow you to totally transform a sound.
  • Page 112 PROGRAM EDIT the S2000, especially with certain sounds. As a result, take care to watch levels. The distortion produced by digital circuitry is not as pleasant as that produced by the old synths (unfortunately!!) so we can’t expect the pleasant overdriven sound from a sampler - if you are after that sound, use the multi-effects distortion! Let’s now have a look at the filter’s parameters.
  • Page 113 This can be used on samples of acoustic sounds, of course, but when you take a ‘raw’ analogue synth waveform as your sample, the S2000 can be used as a powerful analogue style synthesiser, processing the synth waveform in exactly the same way as the original analogue synth the sound was taken from.

  • Page 114: Env2 - Shaping The Filter

    Use the DATA wheel to set the velocity level. Use the SELECT wheel to select the keygroup you wish to affect or move the cursor to the KG field and use the DATA wheel to select the keygroup. Page 102 S2000 Operator’s Manual - Version 1.30...
  • Page 115 DATA wheel is used to set the parameters’ value. Use the outer SELECT wheel to select the keygroup you want to affect. Alternatively, move the cursor to the KG field and use the DATA wheel to select the keygroup. S2000 Operator’s Manual - Version 1.30 Page 103...

  • Page 116: Using The Filter And Envelope Generators

    ‘raw’ waveforms and apply all the other synth processing in the S2000. There are several ways this can be done - you could either sample multiple detuned oscillators and use these on their own or you could sample individual oscillators and then layer them in the S2000 to recreate the effect of multiple, detuned oscillators.

  • Page 117: The Second Filters

    PROGRAM EDIT THE SECOND FILTERS If the IB304F filter bank is installed in your S2000, the next group of pages gives access to the second bank of filters and the third envelope generator Pressing PAGE DOWN or GROUP DOWN from the ENV2 pages will display the following screen: NOTE: If the IB304F is not installed, these pages will not appear.
  • Page 118 The first of the FILT 2 pages is as follows: The MODE parameter sets the filter mode and the GAIN parameter allows you to cut the overall level by -6dB. The GAIN parameter is useful in overcoming excessive level increases (and Page 106 S2000 Operator’s Manual - Version 1.30...
  • Page 119 LFO2 may be used for filter sweep effects such as flute tremolando or dramatic, resonant synth effects. The third modulation input is on the next page down: the default selection for this modulation input is the third envelope generator that is available with the IB304F. S2000 Operator’s Manual - Version 1.30 Page 107...
  • Page 120 For example, instead of ENV3, you may see this: This may be changed by moving the cursor to the controllerfield and selecting another controller of your choice. Page 108 S2000 Operator’s Manual - Version 1.30...

  • Page 121: The Tone Page

    Setting a higher FREQ value with a negative slope value may produce something like this: CENTRE FREQUENCY FREQUENCY CENTRE FREQUENCY=75 SLOPE=50 Here, bass frequencies and some mid range components are boosted whilst high frequencies are cut. S2000 Operator’s Manual - Version 1.30 Page 109...
  • Page 122 Other sounds may benefit from some simple tonal modification in this section too. Experiment!! Page 110 S2000 Operator’s Manual - Version 1.30...

  • Page 123: Env3

    NOTE: The descriptions of FILTER 2, the TONE page and ENV3 are only relevant if the optional IB304F filter bank LSI is installed in the S2000. If the IB304F is not installed, you will not see these pages. If you are interested in more advanced and dramatic tonal processing, the IB304F is highly recommended.

  • Page 124: Modulating Pitch

    These inputs apply to all four zones in a keygroup equally and it is not possible to modulate the pitch of zones independently. If you do wish to modulate the pitch of some samples in the program but not of others, please place the samples in separate keygroups. Page 112 S2000 Operator’s Manual - Version 1.30...

  • Page 125: The Low Frequency Oscillators

    The next page down looks something like this: In this page, you may set the depth of LFO1 modulation and the modulation delay time (i.e. how long the vibrato takes to be effective after note-on). S2000 Operator’s Manual - Version 1.30 Page 113...
  • Page 126 Setting DEPTH to something other than 00 will set a basic level of modulation that will be present in the sound all the time and the modwheel (or aftertouch) will introduce more again. Page 114 S2000 Operator’s Manual - Version 1.30...

  • Page 127: Notes Regarding Setting Lfo1 Modulation Depth

    LFOs will be generating a slightly different vibrato speed and depth across the keyboard range thereby enhancing the ensemble effect enormously. S2000 Operator’s Manual - Version 1.30 Page 115...
  • Page 128 Again, the default is KEYBOARD and setting a value here will cause delay times to vary across the keyboard range. These default assignment can be changed simply by moving the cursor to the controller field and selecting another of your choice. Page 116 S2000 Operator’s Manual - Version 1.30...

  • Page 129: Lfo2 - The Auxiliary Lfo

    S2000 Operator’s Manual - Version 1.30 Page 117...
  • Page 130 Here, you can set whether or not LFO2 will re-trigger with every new note-on or not. With RE- TRIGGER set to ON, each note you play will reset the cycle of the selected waveform to its leading edge. Page 118 S2000 Operator’s Manual - Version 1.30...
  • Page 131 This is particularly useful when triangle is selected and applied to the filter(s) as you can re-create the old filter sweep effects of analogue synths. S2000 Operator’s Manual - Version 1.30 Page 119...

  • Page 132: Setting Pitch Bend Parameters

    Press F1 to select AFT and set the amount aftertouch will bend the note using the DATA wheel. Press F2 to select TYPE and use the DATA wheel to select NORM or HELD. Page 120 S2000 Operator’s Manual - Version 1.30...

  • Page 133: Adding Portamento

    1 second, it will take one second to glide up a semi-tone or seven octaves. For example: 1 sec 1 sec 1 sec 1 sec 1 sec When TIME is selected S2000 Operator’s Manual - Version 1.30 Page 121...

  • Page 134: Notes On Using Portamento

    PORTAMENTO pedal for expressive phrasing. If the RATE parameter is set high but you play notes quickly, the portamento effect may be so slow that your notes never hit the right pitches! Page 122 S2000 Operator’s Manual - Version 1.30...

  • Page 135: Single Edit Screens

    PROGRAM EDIT SINGLE EDIT SCREENS GROUP UP/DOWN PAGE UP/DOWN When IB-208P is fitted When EB16 is installed S2000 Operator’s Manual - Version 1.30 Page 123...
  • Page 136 PROGRAM EDIT ZONES 2, 3 AND 4 AS FOR ZONE 1 Page 124 S2000 Operator’s Manual - Version 1.30...
  • Page 137 PROGRAM EDIT S2000 Operator’s Manual - Version 1.30 Page 125...
  • Page 138 PROGRAM EDIT Page 126 S2000 Operator’s Manual - Version 1.30...
  • Page 139 PROGRAM EDIT S2000 Operator’s Manual - Version 1.30 Page 127...

  • Page 140: Name/Delete/Copy Screens

    PROGRAM EDIT NAME/DELETE/COPY SCREENS Page 128 S2000 Operator’s Manual - Version 1.30...

  • Page 141: Multi Edit Screens

    PROGRAM EDIT MULTI EDIT SCREENS GROUP UP/DOWN PAGE UP/DOWN After these pages, all the functions are the same as when editing a program in SINGLE mode. S2000 Operator’s Manual - Version 1.30 Page 129...

  • Page 142: Sample Mode

    SAMPLING - RECORDING INTO THE S2000 So far, we have seen how to load sounds into the S2000, place them in a MULTI for multi- timbral sequencing, layering, etc., and how to edit the programs you have loaded. Being a sampler, of course, you may also make your own recordings and create programs out of those.
  • Page 143 On the S2000 we have four velocity zones that allow us to use playing technique to switch between these different samples so that you could, for example, use velocity to switch between a slow legato viola and an aggressively bowed viola.

  • Page 144: Making A Recording

    Press F1 to overwrite the sample or F2 to abort the process, return to the NAME screen and start again with a new, unique name. NOTE: Sample names must be unique in the S2000. It is not possible to have samples of the same name in memory at the same time.
  • Page 145 ‘ready’ state waiting for the signal to exceed a certain threshold level whereupon the S2000 will start recording. However, you may wish to initiate sampling from a MIDI note-on message (very handy when sampling sounds from another keyboard because playing the sound also initiates the recording).

  • Page 146: Notes About Stereo Recording

    If the outputs from the S2000 are also connected to your mixer (quite likely - why else would you have a mixer!), make sure that the sampler’s mixer channels are not also being sent via the aux/effects send otherwise you will get ‘howl around’...

  • Page 147: Useful Tip To Drum Samplists

    If the signal is constantly ‘lighting up’ the rightmost block, you may find that the sound is distorted. If not enough signal is being recorded, you are not achieving the optimum dynamic range of the S2000. S2000 Operator’s Manual - Version 1.30 Page 135...

  • Page 148: Making The Recording

    - ARM. You will see this screen: The screen tells you the S2000 is about to record. If THRESH is selected as the means to start recording, the S2000 is waiting for the signal to exceed the threshold level you have set. If you selected MIDI as the means to start recording, this is indicating that the S2000 is waiting for a MIDI note.

  • Page 149: Input Select

    With the optional output expansion board fitted, you may record digitally from digital audio sound sources such as CD or DAT or a hard disk recorder such as the Akai DR4, DR8 or DD1000, etc., through the digital input. Recording digitally means that analogue circuitry is bypassed ensuring the highest recorded sound quality with minimal noise and no degradation of signal.
  • Page 150 F2 (EXIT) and attend to your connections. If you are recording from a DAT machine at 48kHz, you will see this message: The S2000 has difficulty recording at 48kHz and it is not recommended. Page 138 S2000 Operator’s Manual - Version 1.30...

  • Page 151: Sample Screens

    SAMPLE MODE SAMPLE SCREENS GROUP UP/DOWN PAGE UP/DOWN S2000 Operator’s Manual - Version 1.30 Page 139...

  • Page 152: Sample Edit

    If the sample is a mono one, you should select MONO - you can select STEREO if you wish but it will still only edit in mono. The next page down is this: Page 140 S2000 Operator’s Manual - Version 1.30...

  • Page 153: Tuning A Sample

    This allows you to bring the level of the sample up to its optimum level. Normalising is a technique where the S2000 analyses the loudest part of a signal and then adjusts the whole sound to be at its optimum level - i.e. the loudest part of the signal is at the unit’s maximum level before distortion and the rest of the sound is brought up in level proportionately.

  • Page 154: Trimming A Sample

    NOTE: If you require waveform editing, you should use the Macintosh™ editing software supplied with the S2000. Page 142 S2000 Operator’s Manual - Version 1.30...

  • Page 155: Looping A Sample

    The sound will start playing from the start and through to the AT point at which point it will loop back to a point set by the LENGTH parameter on the next page: This sets the length of the loop. S2000 Operator’s Manual - Version 1.30 Page 143...

  • Page 156: Setting The Loop Hold Time

    If a sample created on an S1000, S1100, S3000, S2800, S3200, S3000XL or S3200XL is used on the S2000, the first four loops will be used but you have no access to edit loops 2, 3 and 4. In practice, this is not a big restriction as the majority of sound library available created on these samplers uses only one loop, LOOP 1.

  • Page 157: Tuning The Loop

    Tuning the loop is just like tuning any other parameter on the S2000. Simply play the note and adjust the DATA wheel to bring the loop into tune with the rest of the sample (you will have to repeatedly play the sample to compare the looped portion’s tuning with the start of the...

  • Page 158: Using At And Length

    Whilst perfectly acceptable loops can be created ‘by ear’ and trial and error on the S2000, if you own a Macintosh™ computer, you will find the bundled editing software invaluable for creating loops as you can actually see the sound.
  • Page 159 Also, when working with very short loops of just a few hundred samples or less, you can move the loop around the sample to see (hear?) which is the best place for it. S2000 Operator’s Manual - Version 1.30 Page 147...

  • Page 160: Reversing Samples

    Alternatively, make a copy of the sample first. In both screens, use the outer SELECT wheel to move the cursor around the large numeric field and the DATA wheel to set values. Page 148 S2000 Operator’s Manual - Version 1.30...

  • Page 161: Notes On Using Fade Up/Down

    S2000 Operator’s Manual - Version 1.30 Page 149...

  • Page 162: Re-Sampling - Optimising Memory

    SAMPLE EDIT RE-SAMPLING - OPTIMISING MEMORY As we have seen, only two sampling rates exist on the S2000 - 44.1kHz and 22.050kHz. 44.1kHz, the same sampling rate as used on CDs, offers the best recorded quality but, samples taken at that rate do use up more memory. High sampling rates and bandwidths are all well and good but if the sound doesn’t have a high harmonic content, what’s the point of...
  • Page 163 S2000 as possible. Even with 32 Megabytes of RAM installed, there will be occasions where you need to squeeze that little bit more out of the sampler’s internal memory. In this respect, the re-sampling functions are ideal - in fact, given that listening conditions at a gig are nowhere near as critical as in the studio, you could afford to make special ‘gig disks’...

  • Page 164: Timestretch

    The timestretch on the S2000 works by making a copy of the original. It is necessary to make a copy for two reasons - firstly, the S2000 needs the original data to get the data to insert. Secondly, in the event of a stretch going wrong, you still have the original to revert to.
  • Page 165 There are two ways in which you can stretch a sample and these are selected in the TYPE field. CYCLIC uses a fixed cycle time at which the S2000 will stretch. When INTELL(igent) is selected here, the S2000 makes its own decisions as it proceeds with the stretching process.
  • Page 166 DATA wheel to set values. You can press F1 (AUTO) to have the S2000 help you find the right sample length and, each time F1 is pressed, you will see the new cycle length shown in the CYC LENGTH field.

  • Page 167: Sample Edit Screens

    SAMPLE EDIT SAMPLE EDIT SCREENS GROUP UP/DOWN PAGE UP/DOWN S2000 Operator’s Manual - Version 1.30 Page 155...
  • Page 168 SAMPLE EDIT Page 156 S2000 Operator’s Manual - Version 1.30...

  • Page 169: Effects Mode

    E F F E C T S EFFECTS MODE With the optional EB16 installed, the EFFECTS key gives access to the S2000’s internal effects. The S2000’s effects processor is a 4 channel effects processor. Two channels (FX1 and FX2) offer multi effects that include distortion, ring modulation, EQ, modulation effects such as flanging, chorus and phasing, stereo pitch shift, autopanning, rotary speaker simulations plus delay/echo and reverb.
  • Page 170 NOTE: A single program, part or keygroup cannot be sent to more than one effects channel. In this way, the S2000 becomes almost a complete studio in one box and you could mix down a complete multi-timbral musical performance through the stereo outputs. You can also mix down digitally through the S2000’s optional digital output to DAT or any other digital...

  • Page 171: Organisation Of Effects Files

    R V 4 REVERB 50 Unlike most other sound modules, the S2000 makes no distinction between effects in SINGLE mode or MULTI mode. This means that effects used with sounds in SINGLE mode can just as easily be used the same in MULTI mode. For example, if effect preset #23 sounds good with a string sound in SINGLE, when in the MULTI mode, route that same string part to a suitable effects channel and select effect #23 for that channel.

  • Page 172: Assigning Effects To Single Programs

    5 but you renumber this to program 7 and a strings program to program 5, the guitar sound will use the effects selection for program 7 whilst your string section will turn into the violinists from hell!! Page 160 S2000 Operator’s Manual - Version 1.30...

  • Page 173: Assigning Effects To Multi Parts

    For example, let’s say that instead of having the internal effects on the S2000, you have assigned each part to its own channel on a mixer. The first thing you would do is patch in the first multi effects processor to AUX 1 on the mixer.

  • Page 174: Note About Effects Selection In Multi

    SINGLE mode. Disappointment all round! On the S2000, you do not have this limitation. In this case, let’s imagine the same scenario - you have a guitar program in SINGLE mode to which you have added an effect that offers distortion, EQ, chorus, delay and reverb (let’s say it’s effect #10) that you want to use in a...

  • Page 175: Assigning Effects To Individual Keygroups

    SEND level. The effects you wish to have assigned to those keygroups are selected in the SINGLE mode (i.e. when in SINGLE mode, press EFFECTS). S2000 Operator’s Manual - Version 1.30 Page 163...

  • Page 176: Processing External Sound Sources Through The Effects

    ‘non-MIDIable’ parts such as vocals, guitar, etc.. It is also running timecode to a sequencer which, in turn, is ‘playing’ the S2000 ‘live’ in the mix. The mixer’s aux sends are also being fed to the S2000’s inputs so that tracks from the DR8 may be processed Page 164 S2000 Operator’s Manual - Version 1.30...

  • Page 177: Routing External Sounds Through The Effects

    An extention of this may be to also be sequencing older synths that have no effects such as MIDI’d up analogue synths or FM synths, etc.. Of course, you needn’t be sequencing the S2000 during mixdown and it can just be used as a stand-alone two channel effects processor if you like ROUTING EXTERNAL SOUNDS THROUGH THE EFFECTS External sounds are routed via the I/O page in the EFFECTS pages.

  • Page 178: Chaining Effects

    This allows you to send one sound (internal or external to two reverbs. FX1 DIST/EQ The output of the distortion/EQ section of FX1 will be fed to RV3: MOD/ECHO L/R outs PATH DIST/EQ PATH CONTROL PATH L/R outs REVERB L/R outs RV3 REVERB Page 166 S2000 Operator’s Manual - Version 1.30...
  • Page 179 The choices are identical to those described above for RV3 except that RV4 takes as its input FX2. Please refer to the above description for details. NOTE: RV4 cannot take as its input FX1. S2000 Operator’s Manual - Version 1.30 Page 167...

  • Page 180: Effects Edit

    NOTE: Of course, if RV3 or RV4 (the so-called ‘reverb only’ channels) are selected in the EDITEFFECTpage, all the effect pages are not seen and you will be taken directly to the SEL/NAME REVERB page: Page 168 S2000 Operator’s Manual - Version 1.30...

  • Page 181: Ring Modulation/Distortion

    Press F1 to select the DEPTH parameter and use the DATA wheel to set the value and press F2 to select the ATTEN parameter and use the DATA wheel to set the value. S2000 Operator’s Manual - Version 1.30 Page 169...
  • Page 182 By boosting this low frequency, you can add ‘bottom’ to a sound to enhance its bass end. The next page down gives access to the first of the bandpass filters: Page 170 S2000 Operator’s Manual - Version 1.30...
  • Page 183 BP2 sets the modulation parameters for BP2. The parameters are RATE (the speed of the sweep) and DEPTH (which sets the amount of sweep). The parameters are selected using F1 and F2 respectively and values are set using the DATA wheel. S2000 Operator’s Manual - Version 1.30 Page 171...
  • Page 184 EQ applied) by setting the LOW and HIGH bands to 500Hz and 00dB and the two MID sections’ level to (the mid bands’ frequencies have no effect when is set). Page 172 S2000 Operator’s Manual - Version 1.30...

  • Page 185: Modulation Effects

    This gives a ‘swooshing’ effect. It uses a very short delay time which is modulated by an LFO. FLANGE This also gives a ‘swooshing’ effect but, because it uses a slightly longer basic delay time, the effects are more pronounced and more ‘metallic’. S2000 Operator’s Manual - Version 1.30 Page 173...
  • Page 186 LFO. This gives a very ‘cyclic’, repetitive sound. To overcome this, some chorus units use two delay lines or two LFOs. The S2000’s chorus, however, actually uses four delay lines each modulated at different phase angles of the LFO’s output to produce a very broad stereo effect with little or no ‘cyclicness’.

  • Page 187: Rotary Speaker Effects

    The slow speed gave a smooth undulating effect whilst the fast setting gave a kind of tremolo-cum- vibrato effect. On the S2000, this page sets the speed for the slow rotary speaker effect and the fast rotary speaker effect.
  • Page 188 TIP: You may find the sound of a rotary speaker is enhanced using just a hint of distortion in the distortion section to re-create the overdrive effect commonly found on rock organ sounds. Page 176 S2000 Operator’s Manual - Version 1.30...

  • Page 189: Autopan And Frequency Modulation Effects

    PAN and the FM parameters. You should normally set the RATE controls for the PAN and FM sections of this effect to be the same. Setting the FM rate to twice that of the PAN rate also gives good doppler effects. S2000 Operator’s Manual - Version 1.30 Page 177...

  • Page 190: Stereo Pitch Shift Effects

    After a delay, it is fed back again after the delay and shifted again. The amount of feedback and the delay time for each channel is separately variable and this gives rise to all sorts of weird and wonderful arpeggio effects. Page 178 S2000 Operator’s Manual - Version 1.30...
  • Page 191 NOTE: You will please note that when PITCH+FBK is selected, this uses the delay line normally used for echo effects. In other words, the echo effects described later in this section are not available when PITCH+FBK is selected. S2000 Operator’s Manual - Version 1.30 Page 179...

  • Page 192: Bypassing The Modulation Effects

    This allows you to disable the modulation section without upsetting any parameters you may have set and so serves as a useful way of quickly comparing an effect with and without the modulation effect. Page 180 S2000 Operator’s Manual - Version 1.30...

  • Page 193: Delay And Echo Effects

    SHIFT effect, you will only hear echo on one or other of the pitch shift channels. Similarly, when using AUTOPAN, only one channel will be echoed. To apply echo to both channels of the modulation effects, use the MONO L+R or STEREO selection. S2000 Operator’s Manual - Version 1.30 Page 181...
  • Page 194 When in any of the MONO modes of echo, the whole memory is used to create long delays. In the STEREO mode, however, the pool of memory is split between the two channels and so such long delay times cannot be set in STEREO mode. Page 182 S2000 Operator’s Manual - Version 1.30...

  • Page 195: Mono Delay/Echo Effects

    NOTE: Be careful with high FBK settings as you can cause the delay line to go unstable and cause ‘howl around’. The parameters are set using F1 and F2 as cursor keys to move to the parameters and their values are set using the DATA wheel. S2000 Operator’s Manual - Version 1.30 Page 183...

  • Page 196: Ping Pong Echo Effects

    Please note that because the stereo mod section passes through the echo section, any stereo mod effects you create will be ‘monofied’ when mono delay effects are selected. To enjoy stereo modulation effects with echo, please choose the stereo delay option (see below). Page 184 S2000 Operator’s Manual - Version 1.30...

  • Page 197: Crossover Delay

    XOVER effect, the maximum delay time you can set is halved. With XOVER L&R selected, the L/R OFFS(et) control allows many interesting ‘syncopated’ delays to be created that pan across the stero field. S2000 Operator’s Manual - Version 1.30 Page 185...

  • Page 198: Stereo Delay/Echo Effects

    You may set completely different values in both channels to create some wild echo and delay effects. The parameters are selected by moving the cursor around using F1 and F2 and their values are set using the DATA wheel. Page 186 S2000 Operator’s Manual - Version 1.30...

  • Page 199: Bypassing The Echo/Delay Effects

    This allows you to disable the echo/delay section without upsetting any parameters you may have set and so serves as a useful way of quickly comparing an effect with and without echo. S2000 Operator’s Manual - Version 1.30 Page 187...

  • Page 200: Reverb Effects

    Graphically, reverb ‘looks’ a bit like this: PRE-DELAY DECAY TIME SOUND REVERBERATION Page 188 S2000 Operator’s Manual - Version 1.30...
  • Page 201 ‘acoustic obstructions’ (i.e. a gymnasium with bars on the walls), can cause the sound to bounce off at random angles and this can impart an ‘echoey’ quality to the sound where you S2000 Operator’s Manual - Version 1.30 Page 189...

  • Page 202: Some Tips On Using Reverb

    (for example, gated on the bass drum, large hall on the snare, medium hall on the toms, small room on selected percussion, etc.) although in a multi-timbral setup this will use up all available effects channels. Page 190 S2000 Operator’s Manual - Version 1.30...

  • Page 203: Reverse Reverb

    PREDELAY sets the time before the reverse reverb will start sounding. TIME sets the length of the reverse reverb. DIFFUSE has the effect of making the reverse sound more or less ‘grainy’ and ‘echoey’. S2000 Operator’s Manual - Version 1.30 Page 191...

  • Page 204: Gated Reverb

    TYPE page and its parameters are: PREDELAY sets the time before the reverb is heard after the direct signal. TIME sets the length of the effect. DIFFUSE makes the effect denser or more ‘grainy’ Page 192 S2000 Operator’s Manual - Version 1.30...
  • Page 205 TIME control so that the gated reverb effect does not hang over into the next note/beat wherever possible so that each note/chord/beat has its own distinctive ambient space around it. S2000 Operator’s Manual - Version 1.30 Page 193...

  • Page 206: Effects Output Section

    WID to 00 - this will give you the full effect of the chorus but will ‘monofy’ the effect so that it doesn’t occupy a wide image in the stereo mix. Page 194 S2000 Operator’s Manual - Version 1.30...

  • Page 207: Effects Direction

    CONTROL to +25 indicates that some of the mod/echo section is being fed to the reverb whilst also going direct to the L/R outputs. Similarly, a setting of -25 would send some reverb to the mod/echo section whilst some reverb is going direct to the main outputs. S2000 Operator’s Manual - Version 1.30 Page 195...
  • Page 208 NOTE: Of course, the EQ and MOD/ECHO level/pan and the PATH CONTROL pages only apply to the multi-effects channels FX1 and FX2. If RV3 or RV4 are selected in the EDIT CHANNEL page, these pages will not be seen. Page 196 S2000 Operator’s Manual - Version 1.30...

  • Page 209: Switching Out The 'Direct' Signal

    (i.e. the effect will be whizzing back and forth between left and right but the ‘direct’ signal will still be heard in the centre detracting from the effect). Likewise, autopan and distortion should not allow the direct signal through. S2000 Operator’s Manual - Version 1.30 Page 197...

  • Page 210: Copying Effects

    EQ, whatever. Select the CHORUS+DEL effect as the ‘source’ (it probably will be already selected), Page 198 S2000 Operator’s Manual - Version 1.30...

  • Page 211: Copying Effects Between Different Effects Files

    However, if there is just the occasional effect and/or reverb from another effects file that want to copy between effects files, we hope the copying to clip method satisfies your needs. S2000 Operator’s Manual - Version 1.30 Page 199...

  • Page 212: Global Mode

    SETTING THE S2000’S OUTPUT LEVEL As well as the main volume control, it is also possible to set the master level for the S2000 in the next page down: The primary benefit of this function is to set the output level to match different mixers’...

  • Page 213: Selecting The External Midi Controller

    Normally, it ‘plays’ C-3 on MIDI channel 1 with a velocity of 127. However, on the next page, you can change this: Use F1 and F2 to move the cursor between the three fields and use the DATA wheel to set values for each parameter. S2000 Operator’s Manual - Version 1.30 Page 201...

  • Page 214: Setting The Scsi Interface's Id

    0 - 7 (it’s similar to the concept of MIDI channels). In order for one SCSI device to ‘talk’ to a hard drive, their SCSI ID’s must match. The SCSI ID field sets the SCSI ID for the S2000’s SCSI interface.

  • Page 215: Formatting Disks

    GLOBAL MODE FORMATTING DISKS Before a disk (floppy or hard) can be used with the S2000, it must be formatted. The next page down allows this. FORMATTING FLOPPY DISKS The DISK FORMAT screen looks like this: To format a floppy disk, press F1.

  • Page 216: Formatting Hard Disks

    F2 if you wish, but it is suggested that you let it run its course as it will be safer in the long run. Once the bad blocks have been maeked in one position, the S2000 will Page 204 S2000 Operator’s Manual - Version 1.30...
  • Page 217 At the end of the formatting procedure, you will see this screen: Press any key to exit this display. When you begin the format procedure, if, for some reason, there is a problem with the S2000 communicating with the hard disk drive, you will see the message: Please check SCSI connections and SCSI IDs, etc..

  • Page 218: Dat Backup/Restore

    DAT machine) and, ensuring that the DAT is actually recording, press EXEC. The S2000 will backup to DAT. As it is being backed up, so you will see the names of programs, samples, etc., as they are transferred to the DAT machine. When backing up the contents of your hard disk to DAT, 2 Megs of data takes about 100 seconds.
  • Page 219 NOTE 1: Though backing up to DAT offers many advantages in terms of speed, convenience and cost of the media, Akai does not guarantee the integrity of the data backed up in this way. It is therefore strongly recommended that for archive purposes you also backup to floppy disks.

  • Page 220: Smf Playback

    GLOBAL MODE SMF PLAYBACK The S2000 is able to load Standard MIDI Files (SMF’s) into its memory and play them as MIDI sequence files. Of course, you cannot edit these sequence files but this function allows you to use the S32000 as a sequence data filer so that, if you are playing live and require backing tracks or whatever, you can do so without the inconvenience of taking your sequencer with you.

  • Page 221: Using The Smf Function

    GO (F1). Now select the next song you wish to load using the DATA wheel and press GO (F1) to load it. Repeat this process until all the songs you require are loaded into memory. S2000 Operator’s Manual - Version 1.30 Page 209...
  • Page 222 ‘old Akai’ method. The SMF function is very useful if you play live as it allows the S2000 to be a sequencer as well as a sound module. Instead of lugging your sequencer or fragile computer to every gig, you can save your sequenced backing tracks as Standard MIDI Files and play them from the S2000 itself.

  • Page 223: Setting The S2000'S Scsi Id

    NOTES ABOUT SAMPLE DUMPS To perform a MIDI data dump, you must make a MIDI loop (MIDI OUT of the S2000 connected to MIDI IN of the other device and MIDI OUT from the device to the MIDI IN of the S2000).

  • Page 224: Global Mode Screens

    GLOBAL MODE GLOBAL MODE SCREENS Page 212 S2000 Operator’s Manual - Version 1.30...
  • Page 225 GLOBAL MODE S2000 Operator’s Manual - Version 1.30 Page 213...

  • Page 226: Connecting An External Hard Disk Drive

    SCSI devices when you buy them. The S2000’s SCSI interface is terminated. It is most likely that the S2000 will be at one end of the chain and so must be left terminated. Any disks in between the S2000 and the last SCSI device in the chain must be un-terminated (this can be done by physically removing the resistors or sometimes via a DIP switch on the back of the unit - please check the unit’s documentation).

  • Page 227: Cable Length

    SCSI chains that are longer than the specified length may cause data errors and possibly corruption of data. S2000 Hard disk 6 metres total MO drive CD-ROM S2000 Operator’s Manual - Version 1.30 Page 215...

  • Page 228: Data Compatibility Issues

    The S2000 allows 512 items to be saved on a floppy or hard disk (on the S1000/S1100 it was 64 items for floppy and 128 for hard disk). As a result, the whole format of the disk directory is different.

  • Page 229: Effects Files

    The S900 or S950 cannot read S2000 sound data. If you have an S3000 (or 2800 or 3200), you will be able to use S2000 sample and program data with no special software required (although it is advisable to have the latest software version for best results).

  • Page 230: Installing The Options

    Remove the top of the case by undoing the two large screws either side of the case and the smaller screw in the centre of the top of the rear panel. Looking inside the S2000, you will see something like this:...

  • Page 231: Installing The Fmx008 Flash Rom Boards

    The SIMMs may come with a special wrist strap to discharge static electricity. We suggest you attach the strap to the S2000’s case. If a wrist strap or any other such accessory is not supplied, try discharging any static by touching an earthed metal object before handling the boards.

  • Page 232: The S2000 Operating System

    To boot up the operating system from a hard disk, the operating system MUST be in volume 1 of the drive on SCSI ID 5. When you power up the S2000, it will first ‘look’ to see if there is a floppy disk in the drive with a valid operating system.

  • Page 233: Specifications

    SPECIFICATIONS SPECIFICATIONS Model Name : MIDI Stereo Digital Sampler S2000 Sampling Data format : 16-bit linear encording Sampling rates : 44.1 KHz (20 Hz~20 KHz audio band width) 22.05 KHz (20 Hz~10 KHz audio band width) Sampling time : 22.28 seconds - mono Fs=44.1 KHz...

  • Page 234: S2000 Midi Implementation Chart

    Mode 2 : OMNI ON, MONO O : Yes Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No (*1) Use external Modulation. S2000 Operator’s Manual - Version 1.30 Page 222 S2000 Operator’s Manual - Version 1.30...

  • Page 235: Index

    Loading individual items 32 FLOPPY DISK DRIVE 6 , 7 Loading individual programs and their Formatting disks 160 samples 31 Formatting floppy disks 160 Loading only programs 31 Formatting hard disks 161 S2000 Operator’s Manual - Version 1.30 Page 223...
  • Page 236 Notes about SINGLE and MULTI EDIT 73 Naming a program 74 Overlapping keygroups 69 Naming a sample 132 , 140 Pan modulation 83 Naming disk volumes 42 Pitch bend 120 Portamento 121 Page 224 S2000 Operator’s Manual - Version 1.30...
  • Page 237 Selecting programs 45 Trimming a sample 142 Single Vs Multi 52 Trimming the end point 142 SINGLE EDIT 73 Trimming the start point 142 SMF Song play 165 Tuning the loop 145 S2000 Operator’s Manual - Version 1.30 Page 225...
  • Page 238 Loops 145 Multi parts 58 Program 79 S2000 157 Samples 141 Velocity crossfade 90 , 92 Velocity switching 90 , 92 , 131 What is sampling? 130 Zones 1-4, See PROGRAM EDIT Page 226 S2000 Operator’s Manual - Version 1.30...

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