Table of Contents
Advertisement
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.
Record lots of samples ("multi-sampling"). This only becomes practical with relatively
short samples.
Overlap samples and use positional crossfade. This can help even out the sound to
a great extent; refer to PRESET DEFINITION 27 ("Positional Crossfade") for further
information.
Carefully adjust filter tracking. When recording the sample, add some extra
brightness via equalization. When adjusting the Voice filter parameters on playback,
set the filter tracking for about 0.50 and adjust the filter cutoff for the desired overall
timbre. This helps keep an even timbre across the entire Voice. After assigning the
Voices to a Preset, "tweak" the settings (if necessary) to insure consistent timbre
from sample to sample.
TIPS ON MANIPULATING SYNTHESIZER SAMPLES
Looping synthesizer oscillators: When sampling synthesizer sounds, it is not always
necessary to sample the entire sound. You may simply sample the synthesizer's
oscillators, and use the Emulator II's VCF, VCA, and LFO to alter the raw waveform. To
sample an oscillator, use as short a loop as possible (sometimes this can even be less
than 100 samples long), and a starting point as close to the beginning of the sound as
possible. Use AUTOLOOP often, since it can choose short sample splice points much
more easily than a human can.
Non-standard tunings: There is a renewed interest in non-standard tunings, such as just
intonation. It is possible to record a separate, short, just-intoned sample for each key; if
you keep the samples short enough, it is possible to cover at least two or three octaves
of notes. Or, record sounds in quarter-tone even-tempered intervals if that's your thing,
or...
"SIGNAL PROCESSING" WITH THE EMULATOR II
Chorusing: The Emulator can give chorusing effects for a specific Preset. First,
replicate the Preset to be chorused. This creates a new set of Voices. Now, make these
replicated Voices the Current Voice, and detune all of them about -07 cents. Finally,
overlap the Voices from the original Preset with the Voices of the replicated Presets. The
slight detuning will give a chorusing effect without any of the noise or other signal
degradation sometimes associated with outboard signal processors.
Flanging: Follow the same procedure as above, but after making the replicated Voices
the Current Voice, do not detune the replicated Voices but instead add some slow-speed
vibrato with a fair amount of vibrato depth. The vibrato rate determines the rate of the
"flange", while the vibrato depth sets the depth of the flange.
© 1985, 1986, 1987 E-mu Systems, Inc.
Page 199
Advertisement
Table of Contents
