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Edison ED!SON WaMi Box Manual

Instrument editor
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Instrument Editor
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Summary of Contents for Edison ED!SON WaMi Box

  • Page 1 ED!SON Instrument Editor English manual...

  • Page 2: Table Of Contents

    Contents Contents............................2 Ed!son – Instrument Editor.........................4 Preface.............................4 About these instructions.........................5 Part 1: Basics ............................6 1.1 Not as tough as it looks: Synthesizer & sampler crash course..........6 Subtractive synthesis ......................6 Audio signal generation ......................8 Signal shaping.........................8 Modulators ..........................11 Splits and multi-samples .....................12 Sample loops ..........................13 1.2 Ed!son for advanced users......................14 1.3 The WAMI BOX instrument architecture................15...
  • Page 3 Creating multi-samples .......................29 Parallel editing of multi-samples..................31 Creating velocity splits ......................32 Part 3: Reference..........................34 3.1 Parameter reference .........................34 OSC............................34 FILTER............................36 OUTAMP..........................37 LFO 1 / LFO 2 ........................38 EG 1 / EG 2 / EG 3 .........................39 KBT............................41 Other parameters and controls ..................42 3.2 Menu reference........................44 File............................44 Edit............................45...

  • Page 4: Ed!Son - Instrument Editor

    Ed!son – Instrument Editor Preface Ed!son turns your WaMi Box into a powerful sampler. This offers a huge advantage: You're no longer stuck with prefabricated soundsets or general-MIDI pidgeonholes, but you can now finally develop your own instrument sounds. Classical choirs, screaming-guitar meltdowns, or technoid synth - it's all possible, and much more.

  • Page 5: About These Instructions

    About these instructions This documentation is based on the assumption that you have read the WaMi Box manual, so that you are familiar with MIDI fundamentals and the basic operation of your WaMi Box. The following section contains a digression into the world of synthesizers and samplers for beginners.

  • Page 6: Part 1: Basics

    Part 1: Basics 1.1 Not as tough as it looks: Synthesizer & sampler crash course Ed!son transforms your WaMi Box into a sampler, allowing you to play wave files (also known as samples) as MIDI instruments. As you know, anything which is audible can be recorded as a wave audio file using the WaMi Box and a sample editor such as the Ed!son Wave.
  • Page 7 depending on the filter setting. Next, a given volume progression is assigned to the signal. Ed!son –Instrument Editor...

  • Page 8: Audio Signal Generation

    Volume Signal shaping Volume Audio signal generation Filter The voice architecture of the WAMI BOX is based on subtractive synthesis. Audio signal generation Before you can hear a sound, it has to be generated. As you already know, the WAMI BOX's instrument sounds are based on wave files. Playing a wave file is not an art form - the cheapest sound cards will do the job.
  • Page 9 referred to as Cutoff in the Ed!son. Lowering the Cutoff will result in a duller sound or an emphasis of the bass. The second important filter parameter is the resonance, referred to in the Ed!son as Q. Resonance is a form of feedback, in other words, a specified amount of the output signal of the signal is returned to the filter input.
  • Page 10 The OUTAMP section contains the Ed!son volume parameters. Ed!son –Instrument Editor...

  • Page 11: Modulators

    Modulators Audio signal generation Signal shaping Volume Output signal Filter Frequence Filter modulation Volume modulation modulation The synthesizer of our WAMI BOX can generate audio signals, shape them with the aid of a filter and control their volume. So far, we have only been dealing with static parameters - once set, they change the basic signal, but otherwise sound fairly stiff and boring.

  • Page 12: Splits And Multi-Samples

    In the WAMI BOX, four time and level parameters are available for each envelope for the construction of complex modulation progressions. Pitch, filter or volume: Ed!son provides individual envelope generators for each section. Each of the three synthesizer sections, for example the filters, has its own modulators.

  • Page 13: Sample Loops

    In Ed!son, the individual samples (and their keyboard zones) are referred to as splits. A further use of splits is the realization of drum kits, i.e. a collection of various drums and other percussion instruments. Strictly speaking, a drum kit is nothing more than a multi-sample, several samples distributed across the keyboard within an instrument sound.

  • Page 14: Ed!Son For Advanced Users

    1.2 Ed!son for advanced users At the risk of telling you, as a power user, things that you already know about the capabilities of the WAMI BOX and Ed!son team: In principle, the MIDI audio signal generation of the EWS synthesizer corresponds to that of a sampler with subtractive voice architecture.

  • Page 15: The Wami Box Instrument Architecture

    1.3 The WAMI BOX instrument architecture The WAMI BOX instrument architecture consists of three levels. The bottom level is the sample, based on a file in wave audio format. The recording and audio processing of samples is not performed in Ed!son, but in Ed!son Wave or another sample editor.
  • Page 16 BOX simultaneously. In other words, look upon Ed!son mainly as a tool for the development of new soundsets. A few more points: TTI and TTS files contain the complete audio data in addition to the parameters. This is especially practical if you would like to exchange TTI/TTS files with other WAMI BOX users, or make them available via the Internet.

  • Page 17: A Word About Priorities

    1.4 A word about priorities To summarize the terms instrument, program, bank, variation, soundset and priority, we'd like to explain the relationships of these terms to one another. SoundSet Bank/Variation Priority-level A soundset consists of a field with a maximum of 128 * 128 = 16384 instruments. The individual positions of the instruments within this field are clearly defined by the program number and the bank or variation number.
  • Page 18 replace a number of instruments in a GS set with your own, you can do this by simply adding the program and bank numbers of the instruments to be replaced to the instruments in your own set. Next, use the Set Manager to load both sets into the WAMI BOX and increase the priority of your own set.

  • Page 19: Part 2: Operation

    Part 2: Operation 2.1 The Ed!son user interface The Ed!son user interface corresponds to the appearance of an analog synthesizer. This is a good analogy, since Ed!son's fundamental architecture is basically identical to that of a synthesizer. Instrument sounds are created and edited on a single Ed!son screen.

  • Page 20: General Notes For The User

    It's no coincidence that the Ed!son user interface is modeled after a synthesizer. General notes for the user As the Ed!son is equipped with specially-designed controls, we would like to give you a few general hints for working with the program as efficiently as possible. Nearly every parameter has a so-called sandwich button, which is generally used to set numerical values.
  • Page 21 For coarse adjustments, click the sandwich button with the right mouse button. By the way, sandwich buttons can also be operated with the Microsoft IntelliMouse (or any Microsoft-compatible wheel mouse). If you would like to adjust parameters with the mouse wheel, please single-click onto the control first. A control is ready for input from the mouse wheel when a light gray frame surrounds the mouse wheel.

  • Page 22: Playing Sounds In Ed!Son

    Playing sounds in Ed!son A conspicuous feature of the user interface is the keyboard at the lower edge of the screen, which can be used to play the currently active instrument sound with the mouse or the PC keyboard. The mouse only permits playing single sounds, while the PC keyboard can be used for polyphonic playing.

  • Page 23: First Steps And Procedures

    MIDI channel under CHANNEL. The same applies to the OUT field under DEVICE in which you can select the MIDI driver to accept the incoming MIDI data (Ed!son thus provides a thru function). If you select the Auto setting, the data will be forwarded to the MIDI Mapper.
  • Page 24 Important: If you would like to load a different wave file, please ensure that the length of a mono file may not exceed 512 KB (stereo: 1024 KB). Once the sample is loaded, enter its original pitch, the so-called root key, into Ed!son.

  • Page 25: Setting Parameters

    The OSC section contains the parameters for setting the root key and fine tuning. Everything OK? Congratulations, you've just built your first EWS instrument. Now you can start tinkering with the synthesizer parameters... Setting parameters The following is an example of how we can expand our instrument with a simple LFO filter modulation.

  • Page 26: Adding Splits

    These settings will result in a simple filter modulation via LFO. Adding splits If you would like to construct a multi-sample or drumkit, it will be necessary to add additional samples to the instrument. This can optionally be done via a context menu.

  • Page 27: Editing Splits

    the right mouse button and assign a new wave file to the selected keyboard zone with Change wave file. Next, adjust the root key of each individual sample. Editing splits The following contains additional user information pertaining to splits: If an instrument contains more than eight splits, a small slider will appear on the right-hand edge of the split display to permit scrolling through the split list.

  • Page 28: The Special Case Of Stereo Samples

    The special case of stereo samples As the DSP synthesizer of the WaMi Box can only import mono files, Ed!son applies a small trick to permit the playback of true stereo samples. If Ed!son encounters a wave file in stereo format during an import, it automatically splits it into two mono samples and positions them as overlapping splits over the same keyboard range.

  • Page 29: Creating Multi-Samples

    Creating multi-samples If you know in advance that you would like to create a multi-sample or a drumkit, a much more elegant method to apply multiple samples to an instrument can be found in the File menu. Click the menu item Open Sample(s). A variety of parameters for the semiautomatic compilation of multi-samples are available in the lower section of the file selection box.
  • Page 30 Assign the number of keys that will apply to the sample under Keys per Sample. Each sample receives a single key if the setting Keys per Sample = 1 is selected. This is the ideal setting for the creation of drumkits, Adlib vocal banks or effect sets.

  • Page 31: Parallel Editing Of Multi-Samples

    First key and Last key set the upper and lower limits of the samples to be imported. All of the parameters covered here can be set for the most common import situations by a mouse click via four presets. The following presets are available: Presets help with importing samples.

  • Page 32: Creating Velocity Splits

    This button permits several splits to be processed at the same time. As it would be better to invest this time in your music, the Ed!son developers came up with the Multi-edit button. If this button is activated, it is possible to edit the parameters of all selected splits at the same time.
  • Page 33 Each split can be assigned to an individual velocity range. In other words, The sample will only be played if the key velocity is within the specified range. A piano sound is also a useful example for this function: Sample a piano not only at a variety of pitches, but also at different key velocities, and use Ed!son to assign these samples to varying velocity splits.

  • Page 34: Part 3: Reference

    Part 3: Reference 3.1 Parameter reference The following section contains a short description of all parameters to be found in the main Ed!son screen. Important: Changing the synthesizer parameters always affects o nly the currently selected split. To change the parameters of several splits at the same time, switch on the Multi-edit mode (see above).
  • Page 35 at the same pitch by all keys. In the Normal position, the sample can be played over the set tonal range. In the FixKbd:1 position, the pitch is influenced by the setting of keyboard table 1. Pre Amp. determines the basic volume of the sample. LFO1 Amt.

  • Page 36: Filter

    FILTER The tone-shaping parameters cutoff frequency and resonance are set here. In addition, you can determine whether, and with which modulator, and the degree to which the filter will be modulated. Keyb. Table determines which keyboard table will control the cutoff frequency of the samples.

  • Page 37: Outamp

    Slope Q determines the slope of the touch dynamics for the filter resonance. A positive value will cause the resonance to increase with an increase in velocity; a negative value will cause it to drop. Offset adds a constant value to the cutoff frequency. The Offset can be toggled with the button on the right.

  • Page 38: Lfo 1 / Lfo 2

    Slope determines the slope of the touch dynamics for the output volume. A positive value will cause the volume to increase with an increase in velocity; a negative value will cause it to drop. Offset adds a constant value to the volume. The Offset can be toggled with the button on the right.
  • Page 39 EG 1 / EG 2 / EG 3 The WAMI BOX has three permanently assigned envelope generators. EG 1 controls the pitch, EG 2 the filter, and EG 3 the volume. Each envelope is constructed using four level and four time parameters. The envelope generators can be edited in two different ways: Firstly, by clicking and sliding the square anchor points within the envelope generator graphic.
  • Page 40 R (Release) is the fade phase of an envelope after the release of the key. A good example for this is a crash cymbal, which decays for a fixed time regardless of the length of the attack. Attack L e v e l Sustain L e v e l D e c a y...

  • Page 41: Kbt

    Note: Envelope parameters are hard to describe in words. It's best to simply try out which envelope parameters affect which modulation characteristics. Try experimenting with the volume envelope EG 3 in conjunction with a wave file with a sample loop such as our demo file SAWTOOTH.WAV. Don't forget to activate the EG3 button in the OUTAMP section first.

  • Page 42: Other Parameters And Controls

    The characteristic curve of a keyboard table can be constructed by either clicking and moving an anchor point in the characteristic curve graphic or by adjusting the individual Key and Level parameters. A total of four key positions are available per keyboard table.
  • Page 43 of a sampler, the DSP contained in the WAMI BOX has the peculiarity of linking the two parameters. The following algorithms are available: Algorithm Filter characteristic Sample loop characteristic 12 dB noise 12 dB/octave low-pass The sample is replaced by noise. 12 dB F 12 dB/octave low-pass Sample loop forwards...

  • Page 44: Menu Reference

    RAM shows the status of the WAMI BOX's memory. The dark blue cross- hatched section shows the used memory, the light blue section represents the total amount of sample RAM installed on the card. Depending on the organization of the soundsets and instruments, you may find that the EWS will still have unused memory, despite the fact that it's not possible to load even the smallest sample.

  • Page 45: Edit

    Open Instrument(s) [Shift + O] opens an instrument in TTI format. Open Sample(s) [Ctrl + O] opens one or more wave format samples. Save Set [Ctrl + Shift + S] saves a soundset in TTS format. Save As... [Ctrl + S] saves a soundset or instrument, prompting for a file name. Save Instrument [Shift + S] saves an instrument in TTI format.

  • Page 46: Midi

    The instrument list provides details regarding the structure and author of a soundset. Optimize Size checks a soundset for identical samples and deletes redundant audio files. Although Ed!son checks samples for differences before deleting them, you should always make it a point to clearly name samples for 100% safety. MIDI [Ctrl + P] ...calls up the Ed!son MIDI Settings dialog.
  • Page 47 Ed!son –Instrument Editor...

  • Page 48: Part 4: Appendix

    Part 4: Appendix 4.1 Glossary Attack designates the starting or attack phase of an >envelope generator or >LFO. A long attack time means that the envelope or LFO oscillation increases slowly. Decay is the time in which the envelope falls to the >sustain level. DSP is an abbreviation for Digital Signal Processor.
  • Page 49 Program Change is a MIDI command to change instrument sounds. Release is the term for the fade phase of an envelope. The release phase starts when the keyboard is released. Root key designates the original pitch of an instrument sample. Sample is another term for an audio file used in a sampler.

  • Page 50: Other Keyboard Shortcuts

    4.2 Other keyboard shortcuts Note The keyboard shortcuts for the menu commands can be found in Section 3.2, Menu reference. The prefix "Num" indicates that the appropriate key on the numerical keypad must be used. Add Instrument Delete Instrument Select next Instrument Pg Up Select previous Instrument Pg Dn...
  • Page 51 Shift Range end down Num 3 Shift RootKey up Num . Shift RootKey down Num 0 Panic Ed!son –Instrument Editor...

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