Page 1 MIDI STEREO DIGITAL SAMPLER WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture. Operator’s Manual...
Page 3 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 5 • Do not put, or allow anyone to put any object, especially metal objects, into the S3200XL. • 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 S3200XL, disconnect the power, and call your dealer.
Page 6 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 S3200XL Operator’s Manual - Version 1.00...
Page 7: Fcc Warning
17B-G COPYRIGHT NOTICE The AKAI S3200XL 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 8 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 9: Table Of Contents
LOADING FROM HARD DISK.................. 31 DELETING PROGRAMS ..................32 RENUMBERING PROGRAMS ................. 34 USING THE S3200XL IN ‘OLD AKAI’ MODE! .............. 35 USING SELECT PROG - PROGRAMS WITH THE SAME NUMBER ...... 35 LAYERING PROGRAMS ................35 CREATING KEYBOARD SPLITS..............35 USING RENUMBERING TO CREATE MULTI-TIMBRAL SETUPS......
Page 10 NAMING SAMPLES FOR RECORDING ..............123 ADJUSTING THE RECORDING AND THRESHOLD LEVELS .......... 125 RECORDING ON THE S3200XL................125 DIGITAL RECORDING................... 126 EDIT SAMPLE ................. . 1 2 8 NAMING SAMPLES - COPYING AND RENAMING ............
Page 11 GLOBAL MODE ................. 2 3 2 TUNING THE S3200XL ..................232 SETTING THE MASTER OUTPUT LEVEL..............
Page 12 PERFORMING A MIDI SAMPLE DUMP............237 MIDI VIA SCSI ..................238 ME35T DRUM SETTINGS ..................239 DAT BACK-UP AND RESTORE ................241 PERFORMING A DAT BACK UP..............242 PERFORMING A DAT RESTORE ..............242 STANDARD MIDI FILE - MIDI SONG FILE PLAY............243 LOADING STANDARD MIDI FILES ...............
Page 13 S3200XL MIDI IMPLEMENTATION CHART ........
Page 15: Introduction
Certain new functions are introduced in the S3200XL In software, the new MULTI mode of operation simplifies multi-timbral sequencing and layering. The S3200XL also includes a multi-...
Page 16: Features
Single trigger playback to emulate old monophonic synths and solo instruments’ playing styles. • Portamento Polyphonic and monophonic portamento. • Sound library Fully compatible with Akai S900, S950, S1000, S1100, S2800, S3000, S3200, S2000 and S3200XL. The S3200XL Page 2 S3200XL Operator’s Manual - Version 1.00...
Page 17 This digital audio output can be used to mix down digitally to DAT or any other digital recorder such as DCC, MiniDisk or a hard disk recorder such as the Akai DR4d, DR8 or even the S3200XL’s disk recorder. Using the internal multi-effects processor, you may add four channels of effects processing to the mixdown.
Page 18 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 S3200XL Operator’s Manual - Version 1.00...
Page 19: About This Manual
“multi-timbral” and “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 S3200XL. Even if you’re a seasoned programmer, we hope that there is information in this manual that you find useful..
Page 20: Front Panel
Sets the record level for the analogue inputs. MAIN VOLUME The MAIN VOLUME control sets the main output level of the L/R stereo outputs (this control does not affect the level of Page 6 S3200XL Operator’s Manual - Version 1.00...
Page 21 POWER SWITCH Applies power to the S3200XL. PHONES This stereo jack socket allows you to monitor the L/R (stereo) output of the S3200XL through stereo headphones. The level is regulated using the MAIN VOLUME control (see above). FOOTSWITCH The FOOTSWITCH input is actually two switch inputs using a stereo jack.
Page 22: Taking Care Of Your Disks
It is important to remember that, unlike a synthesiser, the S3200XL 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, it will be gone for ever.
Page 23 10 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! S3200XL Operator’s Manual - Version 1.00 Page 9...
Page 24: Rear Panel
Note also, that recording at too low a level will not allow you to make full use of the S3200XL’s dynamic range and signal to noise figures. NOTE 1: When making a sample, you may not immediately notice any clipping that may have resulted from incorrect level settings and it may only become apparent when playing back samples lower than the original pitch at which they were sampled.
Page 25 INTRODUCTION NOTE 2: If you set the level too low, the S3200XL’s EDIT SAMPLE pages have a GAIN NORMALISE function that allows you to restore the sample to its optimum level for full use of the sampler’s wide dynamic range.
Page 26 ** 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 S3200XL!!! Page 12 S3200XL Operator’s Manual - Version 1.00...
Page 27: Setting Up The S3200Xl
Now turn on the S3200XL. You will see a message in the LCD informing you of what is going on. After 15 seconds or so, your S3200XL is ready for use. Turn the volume up on the sampler, amplifier and/or mixer.
Page 28: Loading The Demo Floppy Disks
S3200XL. 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 29: Mounting The S3200Xl
If you are using the S3200XL 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 30: Getting Around The S3200Xl
DATA wheel or numerically from the numeric keypad. OPERATING MODES The S3200XL has various modes in which it works and these are selected using the eight large mode keys found beneath the floppy disk drive. Each key is illuminated to indicate the sampler’s current status.
Page 31: Selecting Parameters And Entering Data
DATA encoder selects and stores it into the S3200XL’s memory. Our sound programmers at Akai usually use a combination of the numeric keypad and the DATA WHEEL for speedy input of parameter values.
Page 32 2’s depth parameter. MARK AND JUMP KEYS These two grey buttons to the right of the number keypad are used in conjunction with each other. MARK/# JUMP/. Page 18 S3200XL Operator’s Manual - Version 1.00...
Page 33: Naming Files - The Name Key
Pressing the MARK/# button when the cursor is on a field will cause the S3200XL to remember the position of the cursor, and pressing JUMP/. will take the cursor back to the MARK(ed) position from any other page. Pressing JUMP/. again will take you back to the page and function you were at before you JUMP(ed).
Page 34: Record Level, Main Volume, Headphone Output
NOTE: To preserve the life of your LCD, this control also has a switch which you can use to turn the backlight of the LCD on or off. At times when you are not actively using the S3200XL’s front panel for programming (i.e. when actually sequencing or recording to tape, for example, or when using the sampler live on stage), you might like to switch this off.
Page 35: How The S3200Xl Works
This is something of an art and a science and something we won’t delve into here in great detail. To make looping as easy as possible, the S3200XL has FIND and CROSSFADE functions to help you set good loops.
Page 36: S3200Xl Flowchart
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 37 ENV 3 ENV 2 ENV 1 MASTER PROGRAM OUTPUT KEYSPAN ENVELOPE TEMPLATES ASSIGNABLE PROGRAM MODULATION SOURCES ENV 1 ENV 2 ENV 3 LFO 1 LFO 2 MOD.WHL P.BEND PRESSURE KEY.POS VELOCITY EXT.MIDI S3200XL Operator’s Manual - Version 1.00 Page 23...
Page 38 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 S3200XL Operator’s Manual - Version 1.00...
Page 39: S I N G L E M O D
MULTI mode as this is more in keeping with how other sound modules work these days. You can use the SINGLE mode for playing single programs. With that in mind, you may like to skip a lot of this section as it really refers to the ‘old method’ of using earlier Akai samplers. SELECTING PROGRAMS...
Page 40: Viewing Programs
One useful feature of the S3200XL is that it is possible to be playing one program whilst another is being selected. For example, whilst holding down a low string note you could select, say, a brass sound. The strings will continue to sound and you may now play the brass part.
Page 41: Setting Programs' Midi Parameters
This is an abbreviation of POLYPHONY and allows you to limit the polyphony of a program. S3200XL Operator’s Manual - Version 1.00 Page 27...
Page 42: Single Mode
If you have used Akai samplers before, you may continue to work in this way, of course, but, as mentioned, the new MULTI mode may be more convenient Page 28 S3200XL Operator’s Manual - Version 1.00...
Page 43: Setting Program Loudness And Velocity
NOTE: You will note that at a setting of 99, the program is at maximum level but you will not have any velocity sensitivity. This sets the program’s sensitivity to velocity. As mentioned, with set to 99, this parameter will have no effect. S3200XL Operator’s Manual - Version 1.00 Page 29...
Page 44: Loading From Floppy Disk
If there is not enough memory to load a program and its samples, the message will be displayed. In this case, you will have to delete some existing programs and/or samples to free up some memory space. Page 30 S3200XL Operator’s Manual - Version 1.00...
Page 45: Loading From Hard Disk
NOTE: There is more to using a hard disk than that, unfortunately, such as matching SCSI ID’s, formatting, etc.. For details on using the S3200XL with a hard disk, please refer to the section HARD DISK CONTROL in the DISK section.
Page 46: Deleting Programs
This, of course, is the most drastic of these three options. If you answer GO and YES to the questions regarding released samples, then all programs, (except for an S3200XL generated program - TEST PROGRAM) and samples will be deleted. Deleting samples and rearranging memory space may take a little time, so be patient while this takes place.
Page 47 If the programs and samples in memory have not been saved to disk, deleting programs and/or samples at this point will be fatal - YOU WILL NOT BE ABLE TO RETRIEVE THEM. Please be careful. S3200XL Operator’s Manual - Version 1.00 Page 33...
Page 48: Renumbering Programs
S3200XL programs with the patch numbers on your synthesiser, you may want to renumber the programs, so that selecting a brass sound on the S3200XL will call up a similar (or complementary) patch on a remote synthesiser module. To do this, press the key.
Page 49: Using The S3200Xl In 'Old Akai' Mode
THE industry standard sampler the world over, there is a lot of data out there that was created on Akai samplers. For compatibility (and to be considerate to our customers!), the ‘old Akai’ way of working is retained. The following explanations, therefore, refer to this method of operation should you wish to work in this way or if you have existing sound library that uses this method.
Page 50: Using Renumbering To Create Multi-Timbral Setups
Using the S3200XL live, you may have several multi-timbral setups in memory at any time (memory allowing, of course!). In this way, you may have sets of programs for each song recalled from a MIDI program change from your sequencer (this is one advantage of using this method over MULTI - you may only have one multi file in memory at any one time).
Page 51: 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 many and are: •...
Page 52 As mentioned, whether you choose to convert older Akai sound data into S3200XL ‘format’ using the MULTI mode is up to you depending on your application. Page 38...
Page 53: Multi Mode - Combining Several Programs
S3200XL whilst others are sent out via the individual outputs for processing on the mixing console.
Page 54: Assigning Programs To Parts
SENDING PARTS TO THE INTERNAL EFFECTS Each part may be sent to one of the internal effects and because the S3200XL’s multi-effects offers no less than four channels of effects processing, you can have up to four completely separate reverbs at once (two channels also offer multi-effects).
Page 55: Assigning Parts To The Individual Outputs
MIDI channel and then set an appropriate keysplit (i.e. Part 1: C0-B2 and Part 2: C3-G8). More details on setting up key splits is given later in this section. S3200XL Operator’s Manual - Version 1.00 Page 41...
Page 56: Setting A Part's Priority
(any fiied will do) and press F6 ( ) in any of the MULTI pages. This will reset all the parameters described above to their default values and will clear the program name field, leaving it blank. Page 42 S3200XL Operator’s Manual - Version 1.00...
Page 57: Setting Up A Multi
This is showing us that the multi currently in memory is called MULTI FILE, the default name given to a multi when you power up the S3200XL (you can rename it to something more suitable as we shall see later). It is also showing us that PART 1 has the default TEST PROGRAM assigned to it.
Page 58: Modifying The Multi
MODIFYING THE MULTI The beauty of the S3200XL’s MULTI mode is that, as the sequencer is playing back your sequence, you can interact with the parts, assigning different programs to parts ‘on the fly’...
Page 59: Naming A Multi
F8 and/or F7. This will load the selected multi and any programs associated with it plus the samples used in those programs. S3200XL Operator’s Manual - Version 1.00 Page 45...
Page 60: Renumbering Programs
CURSOR UP/DOWN keys to select the program you wish to renumber, set the new number using the DATA wheel or the numeric keypad and press . Only that program will be renumbered. Page 46 S3200XL Operator’s Manual - Version 1.00...
Page 61 Once you are happy with the result of your renumbering, press F7 to return you to the main MULTI screen display. If you change your mind and do not wish to renumber any programs, simply press without pressing F3, F4, F5 or F6. S3200XL Operator’s Manual - Version 1.00 Page 47...
Page 62 You will note that the above does not apply when setting up a multi-timbral set of programs in the SINGLE mode (i.e. using the ‘old Akai’ method). In SINGLE mode, as you select new programs and renumber them, so the program’s parameters will be used. This may or may not be an inconvenience depending on the way you want to work.
Page 63: 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! S3200XL Operator’s Manual - Version 1.00 Page 49...
Page 64: Using Multi Mode To Set Keyboard Splits
PART 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 50 S3200XL Operator’s Manual - Version 1.00...
Page 65 COMBINING THESE TECHNIQUES The S3200XL’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 66: Program Editing
- this can be overcome in a program. Furthermore, because of powerful synthesiser functions, the S3200XL can be used to play and process samples much like an analogue synth. With two low frequency oscillators (LFOs),...
Page 67: 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 S3200XL is just such a program. I.e: KEYGROUP 1 Perhaps the next level up is to have a program with two keygroups.
Page 68: 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 54 S3200XL Operator’s Manual - Version 1.00...
Page 69: 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 70: 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 S3200XL will oblige you willingly - in fact, you may get so used to the S3200XL’s versatility as a synthesiser that some of your current synth(s) may be in the classifieds sooner than you think! You may like to refer to Appendix 4 which shows what the S3200XL would look like if it was laid out traditionally like a synth.
Page 71 GLOBAL - MIDI page. This can be any of the 128 defined MIDI controllers. Using a MIDI merger on your keyboard would allow you to merge, say, a breath controller with your keyboard. Users of the Akai EWI MIDI wind synthesiser will S3200XL Operator’s Manual - Version 1.00...
Page 72 - if you are not into programming you can largely forget about it and just use the defaults. Similarly, if you do not like synthesisers and prefer instead to use the S3200XL for the reproduction of high quality samples of acoustic instruments again, you need not concern yourself with these functions.
Page 73 EDIT PROGRAM - SINGLE NOTES ABOUT ASSIGNABLE PROGRAM MODULATION 1. When loading S1000 or S1100 library disks (which do not have APM), the S3200XL loads the assignments of the S1000/S1100 - i.e. the fixed assignments. Again, as a result, you need not worry about having to set these assignments yourself.
Page 74: Edit Single
EDIT PROGRAM - SINGLE EDIT SINGLE EDIT SINGLE is used to create programs. In the S3200XL, we always use another program as the basis for a new one. There are several ways you can work this. You can use an existing program from your sound library that closely resembles the one you wish to create.
Page 75: Naming Programs - Copying And Renaming
NAME immediately followed by ENT and make your choice again. S3200XL Operator’s Manual - Version 1.00 Page 61...
Page 76: Deleting Programs
NOTE: Deleting samples and programs is ultimately destructive. Please ensure that you have saved them to disk before deleting in case you want to come back to them at a later date. Page 62 S3200XL Operator’s Manual - Version 1.00...
Page 77 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. S3200XL Operator’s Manual - Version 1.00...
Page 78 OFF, you will be able to monitor any other programs that share the same number. NOTE: This function is only really of relevance of you are using the ‘old Akai’ method to sequence programs sharing the same program number.
Page 79 We will now look at the functions of these pages. We will skip for the moment and look at the function of first as these affect the program as a whole. S3200XL Operator’s Manual - Version 1.00 Page 65...
Page 80: Midi Page
The notes which will be stolen are determined by this parameter - either the OLDEST note will stop playing when a note is stolen or the QUIETEST one. Page 66 S3200XL Operator’s Manual - Version 1.00...
Page 81 MULTI’s parameters. However, if you are using the ‘old Akai’ method for multi-timbral sequencing, you will want to set the parameters shown above (although they may be more easily set in the SINGLE mode on the MIDI page).
Page 82: Output Levels Page
OUTPUT LEVELS page where you can control the audio output of the program from the S3200XL. You will receive this screen display: At the top right of the screen is the currently selected program name - in EDIT SINGLE, this may be changed and another selected for editing by scrolling with the DATA control.
Page 83 As an example, you could layer a distorted guitar program and a distorted feedback program and introduce the feedback element of the sound using pressure to create a powerful heavy metal guitar. S3200XL Operator’s Manual - Version 1.00 Page 69...
Page 84 NOTE 1: You will note that if the parameter is set to full (i.e. 99) the output level of the S3200XL is at maximum and so you will not hear any effect if one or more modulation sources are applied.
Page 85: Pan Page
‘zipper noise’. Please be aware of this when setting pan modulation. As with all control inputs on the S3200XL, any combination of controllers can be mixed together. Here are a few suggestions: Bend Use this instead of modwheel perhaps.
Page 86 Layering two programs and setting the modulation amounts to opposite values can also yield some interesting panning effects. Page 72 S3200XL Operator’s Manual - Version 1.00...
Page 87: The Tune Page
Those, then, are the master pages for the program where you can set parameters that affect the program as a whole. In any of the pages described, you may always directly access another from the soft keys. S3200XL Operator’s Manual - Version 1.00 Page 73...
Page 88: Modulation Pages
As usual, you may select a program for editing at the top right hand of the corner. The pitch bend on the S3200XL allows you to set a different range for bend up and down as well as use pressure and a special mode is also available to make it more flexible. The...
Page 89 The pitchbend options on the S3200XL allow some very interesting performance techniques. By setting the pitch to UP: 2 and DOWN:12, with a heavy metal guitar sample, you can emulate string bending up and an octave ‘whammy bar dive bomb’...
Page 90: Lfo1
ON, all the LFO’s are not synchronised and so give a rich texture to ensemble sounds when being used for vibrato. When is set to OFF, all LFO’s are in sync. This latter option is probably more suited to Page 76 S3200XL Operator’s Manual - Version 1.00...
Page 91 + 50. Assigning it to depth will cause the effect of LFO1 to whatever destination it is applied to increase and decrease at a rate set by LFO2. Applying LFO2 to delay will only have an effect at the point of note-on. S3200XL Operator’s Manual - Version 1.00 Page 77...
Page 92 This allows you to use note-on velocity to introduce LFO1 modulation. With a positive value set here, playing a note hard will introduce a level of modulation which may be augmented using the modwheel or pressure. Page 78 S3200XL Operator’s Manual - Version 1.00...
Page 93: Setting Lfo1 Modulation Depth
LFO1 parameter in the PTCH page to 00 unless you really want the sound of an American police siren! Once you have set the LFO1 parameters, you may return to the main program edit page by pressing S3200XL Operator’s Manual - Version 1.00 Page 79...
Page 94: Lfo2
Like LFO1’s RANDOM waveform, it can be used to create the classic ‘sample and hold’ effect found on analogue synthesisers. However, the random waveform provided by LFO2 has some other possibilities. Page 80 S3200XL Operator’s Manual - Version 1.00...
Page 95 This sets the delay between a note-on occurring and the effect being introduced. At 00 the effect will be instantaneous and at 99 the effect will take some 5 or 6 seconds to be introduced. I.e. NOTE ON S3200XL Operator’s Manual - Version 1.00 Page 81...
Page 96 LFO2 to slightly modulate LFO1 thereby affecting the vibrato very subtly so as to eliminate the inherent ‘cyclicness’ of LFO modulation. No doubt you will find variations of your own. Page 82 S3200XL Operator’s Manual - Version 1.00...
Page 97: Setting Up The Soft Pedal
Pressing will display this screen: This final page in the modulation section allows you to set the response of the S3200XL to the soft pedal (The FOOTSWITCH input and MIDI controller 67). This can be very useful in obtaining better expression for piano sounds. The parameters are very simple and are as follows.
Page 98: Portamento
This may be useful when you wish to play a sound normally but only apply portamento to a few notes. For example, when playing a trombone sample, you may play normally and then switch portamento on to create the slide Page 84 S3200XL Operator’s Manual - Version 1.00...
Page 99 For example: 1 sec 2 secs 4 secs 8 secs 16 secs When RATE is selected You may use these two portamento modes to create a range of different musical effects. S3200XL Operator’s Manual - Version 1.00 Page 85...
Page 100 Alternatively, you may layer programs in this way and set different portamento rates for each one so that they all slide around at different speeds! Page 86 S3200XL Operator’s Manual - Version 1.00...
Page 101: Keygroup Parameters - Creating Keygroups
Mute Group 1. All other keygroups will be unaffected but all those in mute group 1 will be mutually exclusive - that is, if one is sounding when another is played, it will be cut. S3200XL Operator’s Manual - Version 1.00 Page 87...
Page 102 SNARE DRUM ROLL WITH MUTE GROUP OFF In this example, each snare hit is allowed to decay naturally. SNARE DRUM ROLL WITH MUTE GROUP ON In this example, each hit is cut short by the next one. Page 88 S3200XL Operator’s Manual - Version 1.00...
Page 103 TIP: A very quick way of selecting keygroups on the S3200XL is to press and hold the EDIT key and play a note on the keygroup. This will select that note’s keygroup. For example, in a program with five keygroups spanning C0-B1, C2-B2, C3-B3, C4-B4, C5-G8, playing G3 will select keygroup 3 - i.e.
Page 104: Mapping Out Your Keygroups - Setting Keyspan
ALL notes equally. Pay attention because you could seriously affect your program’s keyspan with one slip. You will note that this does not apply when inputting notes from the keyboard and is on. Page 90 S3200XL Operator’s Manual - Version 1.00...
Page 105 To exit this page and to access other pages, press - this will give you access to other keygroup functions - or press to return you to the main PROGRAM EDIT page and the master program functions. S3200XL Operator’s Manual - Version 1.00 Page 91...
Page 106: Assigning Samples To Keygroups And Zones - Smp1
N O T E : If you play between two overlapping ranges (i.e. in the above example, if you play at a velocity of 96), you will actually be playing two voices out of the possible 32. With such generous polyphony, this shouldn’t be a problem unless you are driving the S3200XL particularly hard.
Page 107 This shows the sample(s) currently assigned to the zone(s). If a sample name is assigned but it does not exist in the S3200XL’s memory, a “?” will appear alongside it to indicate that it is missing. To assign a sample, simply move the cursor to this field and scroll through the available samples in memory with the DATA control.
Page 108 PROGRAM. Other non-pitched samples such as sound effects, breakbeats, drum loops, etc., can be treated the same way. As mentioned before, there is a small box to the left of the screen that displays graphically the status of the four zones’ velocity ranges Page 94 S3200XL Operator’s Manual - Version 1.00...
Page 109: Smp2
This may be useful in a drum program where things like toms, cymbals and some percussion appear at the S3200XL’s stereo outputs whilst important drums like bass drum and snare are assigned to appear at individual outputs.
Page 110 SAMPLE EDIT. The ability to reset the playback parameters of a sample allows you a lot of flexibility - the same sample can be used in different ways in different programs. Page 96 S3200XL Operator’s Manual - Version 1.00...
Page 111: Smp3
In all of the sample pages, you may select between them via the three SMP soft keys. To return to the keygroup screen to access the other keygroup functions, press and to return to the main PROGRAM EDIT screen to access the ‘global’ program functions, press S3200XL Operator’s Manual - Version 1.00 Page 97...
Page 112: The Filters
From this page press the key to take you to the filter page: The S3200XL 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 113 S3200XL, 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...
Page 114 This and the other “!” controllers allow you to control the opening and closing of filter cutoff at the point of note on. They don’t have any effect if these controllers change through the course of the note but only when the note is pressed. Page 100 S3200XL Operator’s Manual - Version 1.00...
Page 115: Env1 - Shaping Amplitude
The other parameters are: This calls up a series of preset envelope templates that have been set within the software of the S3200XL. 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.
Page 116 The MIDI specification allows for Note Off velocity as well as Note On velocity. Though some keyboards do not accept or transmit this, assuming a mean value of 64, all AKAI keyboards provide a full implementation of this function. The speed with...
Page 117: Env2 - Shaping The Filter
4. This sets how much velocity will control the modulation output of ENV2. This parameter can be used very effectively in regulating dynamics through key velocity. All parameters’ ranges are +/-50. S3200XL Operator’s Manual - Version 1.00 Page 103...
Page 118: Using The Filter And Envelope Generators
‘raw’ waveforms from the synth and apply all the other synth processing in the S3200XL. There are several ways this can be done - you could either sample multiple detuned oscillators or you could sample individual oscillators and then layer them in the S3200XL. This might be preferable in a way as single waveforms can easily be looped and take up virtually no memory space (*).
Page 119: The Second Filters
As the resonance amount is increased, so the width of the response slope gets narrower so that individual harmonics are emphasised. S3200XL Operator’s Manual - Version 1.00 Page 105...
Page 120 The parameters across the top of the page follow the usual convention and allow you to select the keygroup for editing, select whether you wish to edit just one keygroup or all keygroups simultaneously and, of course, you can select another program for editing if you wish. Page 106 S3200XL Operator’s Manual - Version 1.00...
Page 121 A/B comparisons. NOTE 1: With this parameter set to ON, the polyphony of the S3200XL is restricted to 30 voices. If OFF is selected, the second filter and tone section are bypassed, and the S3200XL may operate with 32 voices.
Page 122 This and the other “!” controllers allow you to control the opening and closing of filter cutoff at the point of note on. They don’t have any effect if these controllers change through the course of the note but only when the note is pressed. Page 108 S3200XL Operator’s Manual - Version 1.00...
Page 123: Creating 24Db/8Ve 4-Pole Lowpass Filter
However, it must be said that for certain sounds, particularly bass synth sounds, a 24dB/Octave, 4-pole filter is better. On the S3200XL, it is possible to create a 4-pole filter with a 24dB/Octave cutoff slope using the second bank of filters. To do this, select LP as the filter type in FILTER 2 and set FILTER 2’s parameters identically to FILTER 1.
Page 124 Watch out for distortion, however, with such high resonance settings. When using high resonance settings, you may find it necessary to switch in the -6dB pad in the field - you may even need to back the programs output level off as well. Page 110 S3200XL Operator’s Manual - Version 1.00...
Page 125: The Tone Page
EDIT PROGRAM - SINGLE THE TONE PAGE The S3200XL also features a simple tone control which is accessed via F8 - . Pressing this will display this screen: The TONE section can best be described as ‘spectral tilt’. If you imagine a see-saw, the bench...
Page 126 FILTER 2 page. The converse is also true - switching them on or off in the FILTER 2 page will have the same effect in the TONE page. Page 112 S3200XL Operator’s Manual - Version 1.00...
Page 127: Env3
. This will display this screen: Again, because the parameters are identical to ENV2, please refer to that for more information. S3200XL Operator’s Manual - Version 1.00 Page 113...
Page 128: Keygroup Pitch/Amplitude Modulation
Unlike virtually every other modulation input we have seen so far, this one is fixed in order to maintain compatibility between other Akai samplers. It is also done to allow ease of use when setting up vibrato. The range for this parameter is +/-50 allowing inverted pitch effects to be created (especially useful when using square and sawtooth waves) and the default for this parameter is +50.
Page 129 Env1 Use this to create pitch sweeps that vary according to the sounds overall level. ! Modwheel Use this and the other “!” controllers to affect pitch at the point of note-on. S3200XL Operator’s Manual - Version 1.00 Page 115...
Page 130: Edit Multi
Of course, if the sound is still not quite right, you must repeat the whole process again. Not so on the S3200XL - simply select the appropriate part and press EDIT to adjust the sound within the context of the multi until it’s just right.
Page 131 EDIT PROGRAM - MULTI Whilst nearly every function in EDIT MULTI is the same as EDIT SINGLE, some screens are different. For example, the OUTPUT screen in EDIT MULTI looks like this: Because stereo level, pan, output and effects assignment are MULTI parameters, these are not accessible in EDIT MULTI.
Page 132: Sample Mode
40kHz. A bass drum, however, which has very few upper harmonics, could feasibly be sampled at 20kHz. The S3200XL samples at 44.1kHz, the same as compact disc so you can be sure you are getting CD quality sound from your sampler.
Page 133 On the S3200XL 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 134: Record Mode
STEREO is selected and you are using INPUT LEVEL to start recording (see below - . When MONO is selected, this field defaults to LEFT but, when STEREO is selected you may set which input channel you want to trigger recording. Page 120 S3200XL Operator’s Manual - Version 1.00...
Page 135 This is used when monitoring the signal you are sampling through a mixer. NOTE: If you are sampling from a mixer it is possible to get ‘feedback’ if the S3200XL is also connected to that mixer, set to ON and its channels are open..
Page 136 You will note that you cannot save several operating systems on one disk - you will need a separate disk for each system you save. Please refer to the SAVE section for more information on saving files. Page 122 S3200XL Operator’s Manual - Version 1.00...
Page 137: The Main Record Page
Before you can do any recording, you must name the sample you are about to record. If you have just switched the S3200XL on with no disk in it, you will have the four synth waveforms in there. Use one of these as the basis of your new sample.
Page 138 The page also shows what percentage of memory is free, the current sample rate (44100) and the size (expressed as a percentage of available memory) of the sample you are about to make. Page 124 S3200XL Operator’s Manual - Version 1.00...
Page 139: Adjusting The Recording And Threshold Levels
If FOOTSWITCH is selected as the record start type, this screen indiactes that the S3200XL is waiting for to hit the footswitch. You may also start manually by pressing GO. If you change your mind when this prompt is displayed (i.e. because you suddenly realise that continuing with the recording is going to overwrite a valuable existing sample, for example), you may press EXIT.
Page 140: Digital Recording
This indicates that the digital audio signal is not getting to the S3200XL. Please check your connections carefully - it could be that the cable has become disconnected. Also, check that the DAT machine or CD player is switched on.
Page 141 SAM PLE If you press GO or when the threshold is exceeded, the MIDI note is received or the footswitch is pressed, the S3200XL will start recording and you will get a display something like the following: This indicates that the S3200XL is recording digitally. As with analogue recording, the display fills with the incoming sound’s waveform.
Page 142: Edit Sample
The field allows you to select whether your editing will be in MONO or STEREO. This may be set here and in other pages if you wish. Page 128 S3200XL Operator’s Manual - Version 1.00...
Page 143 (that is, remove sections from samples), join, splice, mix, tune and reverse samples and set fades. This allows you to delete samples from memory. We will come to these in a moment. S3200XL Operator’s Manual - Version 1.00 Page 129...
Page 144: Naming Samples - Copying And Renaming
NAME immediately followed by ENT and make your choice again. Page 130 S3200XL Operator’s Manual - Version 1.00...
Page 145: Deleting Samples
F7 or F8 accordingly. NOTE: Deleting samples is destructive. Please ensure that you have saved them to disk before deleting in case you want to come back to them at a later date. S3200XL Operator’s Manual - Version 1.00 Page 131...
Page 146: Trimming Samples
You can check if there is a delay by playing the sample a few octaves down as this will exaggerate any delay that may exist. Page 132 S3200XL Operator’s Manual - Version 1.00...
Page 147 Once you have set the start and end points, press F8 - - to discard the unwanted audio either side of the start and end point. You will receive this screen display: S3200XL Operator’s Manual - Version 1.00 Page 133...
Page 148 In the case where more than one loop is used, the S3200XL will automatically work out where the end of the last loop is and where the cut will be made.
Page 149 Of course, if there is ‘dead space’ either side of the sample, these should be removed before looping but it is felt that looping first and trimming later is safest. S3200XL Operator’s Manual - Version 1.00 Page 135...
Page 150: Looping
EDIT SAMPLE LOOPING Looping is one of the trickiest areas of sampling but not impossible and the S3200XL makes it as easy as it can with some functions to help you make good loops. In either the SLCT page or the TRIM page, press the key to access the looping page.
Page 151: Loop Auto Find And Crossfade Looping
The key looks for points of equal amplitude. Repeated pressing of this will make the S3200XL try and try again and you must judge if the loop is acceptable or not. The key is invaluable in creating loops.
Page 152 NOTE: The crossfade function is destructive and will affect your sample permanently. Be sure to have saved your work before performing a crossfade in case you don’t like the results or you make a mistake. Page 138 S3200XL Operator’s Manual - Version 1.00...
Page 153: Making A Good Loop
Of course, there may well still be some glitches but this can be overcome using the crossfade key. Pressing that in this case may create something like the following: Here, the crossfade function has smoothed the whole thing out to create a more uniform amplitude. S3200XL Operator’s Manual - Version 1.00 Page 139...
Page 154 NOTE: Sometimes when crossfading, because part of the area chosen for crossfade may be slightly out of phase with the loop area, you may sometimes get a dip in level where they cancel each other out. This is not a fault of the S3200XL but something that cannot be avoided. Using are probably your best allies in looping.
Page 155: Level Normalisation
Setting, for example, a rescale value of +15dB to bring the level up to maximum will also boost the noise level by 15dB. Please bear this in mind when using these functions. S3200XL Operator’s Manual - Version 1.00 Page 141...
Page 156: Dsp Functions - Timestretch, Re-Sampling And Eq
The timestretch on the S3200XL works by making a copy of the original. It is necessary to make a copy for two reasons - firstly, the S3200XL needs the original data to get the data to insert.
Page 157 - of course, these side effects can be put to good use for the creation of special effects!! Over smaller ranges, however, you will find the timestretch on the S3200XL yields excellent results and will become an invaluable tool in your work, whatever application you are working in.
Page 158 Remember that to perform any of these operations, you will need to have enough free memory. This sets a level of intelligence for the S3200XL to work with when performing an intelligent timestretch. It sets the number of decisions it will make as it works its way through the sample.
Page 159: Performing A Timestretch
If you are happy with the sound of the stretched sample, you can proceed to edit, trim and loop it, just as if it was a freshly-recorded sample. S3200XL Operator’s Manual - Version 1.00 Page 145...
Page 160: Re-Sampling
This is done automatically for you and this field is not accessible. Page 146 S3200XL Operator’s Manual - Version 1.00...
Page 161: Performing A Re-Sample
S3200XL 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 samplers internal memory.
Page 162 EDIT SAMPLE The S3200XL is also equipped with an EQ (equalisation) DSP function. This allows you to add EQ, affecting the tone of the sample. Pressing in any of the DSP pages will give this screen display: In the EQ, you may select from four different EQ types and apply cut and boost of gain at specific frequencies.
Page 163 +24dB, set a volume cut of -24dB to compensate). When cutting frequencies, you may like to use the control to boost overall level slightly (although this may also be accomplished by re-normalising the sound). S3200XL Operator’s Manual - Version 1.00 Page 149...
Page 164: Eq'ing A Sample
If you need to EQ more than one frequency, select the source sample and set the EQ for that and process it. When that’s done, select the EQ’d sample as the source sample, set the next frequency you want. Repeat the process again on the second EQ’d sample. Page 150 S3200XL Operator’s Manual - Version 1.00...
Page 165: Further Editing Functions
ME35T and the like. Like the previous setting, no loops are played, but an instantaneous trigger signal or key press will play the whole of S3200XL Operator’s Manual - Version 1.00 Page 151...
Page 166 HOLD loop. This function is useful when you have a small, short, single cycle loop that has latched onto some strange, discordant aspect of the sound and is slightly out of tune with the rest of it. Page 152 S3200XL Operator’s Manual - Version 1.00...
Page 167: Reversing Samples
Pressing it again will reverse the sample back to its original form. Note that any loop points you have set will stay in the same absolute positions, and will not be reversed with the sample. S3200XL Operator’s Manual - Version 1.00 Page 153...
Page 168: Sectional Editing
They are: This will exit this screen and return you to the main SECTIONAL edit screen without having any effect on the sample. Page 154 S3200XL Operator’s Manual - Version 1.00...
Page 169 If you change your mind, press Whilst the S3200XL is processing the data, you will receive a ‘busy’ prompt. After a few seconds, the new sample will be shown which may be played in the usual way.
Page 170 EDIT SAMPLE As with TRIM, the S3200XL is very considerate and won’t let you ruin good loops and if you move the start or end points into any loop zone (shown above the waveform) you will receive the warnings: In this case, whatever editing action you perform will be ignored.
Page 171: The Join Page
(you should press GO or ABORT as necessary). After a few seconds (depending on the length of the samples), you can hear the fruits of your labours by pressing the ENT/PLAY key. S3200XL Operator’s Manual - Version 1.00 Page 157...
Page 172: Crossfading
Though the process of creating the sound you want may take some time, it’s possible you may discover some new sounds along the way which weren’t quite what you were expecting, but Page 158 S3200XL Operator’s Manual - Version 1.00...
Page 173 The type of sounds created here can be long evolving sounds which may find a place in soundtrack work as they can be very dramatic. S3200XL Operator’s Manual - Version 1.00 Page 159...
Page 174: Setting Digital Fades
Page 160 S3200XL Operator’s Manual - Version 1.00...
Page 175 FADE page They are not stored anywhere. If you leave FADE or select another sample, these will be lost and you will have to set them again. S3200XL Operator’s Manual - Version 1.00 Page 161...
Page 176: Effects Mode
E F F E C T S EFFECTS MODE The EFFECTS key gives access to the S3200XL’s internal effects. The S3200XL’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 177 NOTE: A single program, part or keygroup cannot be sent to more than one effects channel. In this way, the S3200XL 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 S3200XL’s digital output to DAT or any other digital...
Page 178: Organisation Of Effects Files
R V 4 REVERB 50 Unlike most other sound modules, the S3200XL 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 179: Assigning Effects To Single Programs
You may find the MIX page slightly easier to use, especially when setting effects for several programs at once. Also, if you are using the ‘old Akai’ method for creating multi-timbral setups, the MIX page is probably the best place to select your effects routings.
Page 180 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 166 S3200XL Operator’s Manual - Version 1.00...
Page 181: Assigning Effects To Multi Parts
For example, let’s say that instead of having the internal effects on the S3200XL, 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 182 SINGLE mode. Disappointment all round! On the S3200XL, 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 183: Assigning Effects To Individual Keygroups
To set this, select the keygroup in the field (or press and hold the EDIT key and play the appropriate note) and route that keygroup as appropriate and set a suitable level. S3200XL Operator’s Manual - Version 1.00 Page 169...
Page 184: 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 S3200XL ‘live’ in the mix. The mixer’s aux sends are also being fed to the S32000XL’s inputs so that tracks from the DR8 may be Page 170 S3200XL Operator’s Manual - Version 1.00...
Page 185: 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 anaolgue synths or FM synths, etc.. Of course, you needn’t be sequencing the S3200XL 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 main EFFECTS page.
Page 186: 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 172 S3200XL Operator’s Manual - Version 1.00...
Page 187 The same may be done with RV4 using FX2. 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. S3200XL Operator’s Manual - Version 1.00 Page 173...
Page 188: Muting Effects
When these are pressed, they will show according to which key you pressed. Press the appropriate soft key again to un-mute the effects channel. Page 174 S3200XL Operator’s Manual - Version 1.00...
Page 189: Effects Edit
However, if for the purposes of the guitar sound, you add distortion and EQ and change the chorus to a flange setting, if there is another program in memory that uses that effect preset (for example, a strings program), it too will be affected. S3200XL Operator’s Manual - Version 1.00 Page 175...
Page 190: Distortion/Ring Modulation
This is useful when you want to switch this section of the effects out but don’t want to upset the control settings. Page 176 S3200XL Operator’s Manual - Version 1.00...
Page 191 6k3Hz represents a setting of 6.3kHz. You will note that the values for these fields cannot be set using the numeric keypad. Only the DATA control may be used. This sets the level of the four frequencies. S3200XL Operator’s Manual - Version 1.00 Page 177...
Page 192 You may also ‘flatten’ the EQ (i.e. set the parameters so that there is no 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 178 S3200XL Operator’s Manual - Version 1.00...
Page 193: Modulation Effects
DELAY L These effects are chosen in the field and are as follows: PHASING This gives a ‘swooshing’ effect. It uses a very short delay time which is modulated by an LFO. S3200XL Operator’s Manual - Version 1.00 Page 179...
Page 194 LFO. This can sometimes produce a very ‘cyclic’, repetitive sound. To overcome this, some chorus units use two delay lines or two LFOs. The S3200XL’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 195: Rotary Speaker Effects
S3200XL simply toggles between SPEED1 and SPEED2. This sets the second of the rotary speaker effect speeds.
Page 196 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 182 S3200XL Operator’s Manual - Version 1.00...
Page 197: Autopan And Frequency Modulation Effects
NOTE: Because the stereo mod section passes through the echo section, any stereo mod effects you create here will be ‘monofied’ when mono delay effects are selected. As a result, you cannot effectively use autopan with mono echo. S3200XL Operator’s Manual - Version 1.00 Page 183...
Page 198: Stereo Pitch Shift Effects
(repeats) for the sound. Page 184 S3200XL Operator’s Manual - Version 1.00...
Page 199 NOTE: You will please note that when PITCH SHIFT+FB 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 SHIFT+FB is selected. S3200XL Operator’s Manual - Version 1.00 Page 185...
Page 200: Bypassing The Modulation Effects
Although you may move the cursor to the fields and set values, they will have no effect in this BYPASS screen. Page 186 S3200XL Operator’s Manual - Version 1.00...
Page 201: Delay And Echo Effects
This is a ‘pseudo-stereo’ delay effect that uses the two delay lines the feedback path of which crosses over: DELAY RIGHT LEFT IN DELAY LEFT RIGHT IN This gives rise to many interesting panning echo effects. S3200XL Operator’s Manual - Version 1.00 Page 187...
Page 202 When in any of the MONO modes of echo, the whole memory is used to create long delays. In the XOVER and STEREO modes, however, the pool of memory is split between the two channels and so such long delay times cannot be set. Page 188 S3200XL Operator’s Manual - Version 1.00...
Page 203: Mono Delay/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). S3200XL Operator’s Manual - Version 1.00 Page 189...
Page 204: Ping Pong Echo Effects
500mS, the third after 625mS, etc. (depending on the amount of feedback). I.e. LEFT 125mS 625mS 1.125Sec RIGHT 500mS 1Sec 1.5Sec parameter is set to ±50, the closer the first echo will be to The closer the the value set in the parameter. Page 190 S3200XL Operator’s Manual - Version 1.00...
Page 205: Crossover Delay
XOVER effect, the maximum delay time you can set is halved. With XOVER L&R selected, the control allows many interesting ‘syncopated’ delays to be created that pan across the stero field. S3200XL Operator’s Manual - Version 1.00 Page 191...
Page 206: Stereo Delay/Echo Effects
NOTE: The maximum delay times for each of the two delay lines is half that of the MONO delay times we have seen so far. Page 192 S3200XL Operator’s Manual - Version 1.00...
Page 207: Reverb Effects
- this is called the PRE-DELAY time and the larger the acoustic environment, the longer the pre-delay time (usually!). Graphically, reverb ‘looks’ a bit like this: PRE-DELAY DECAY TIME SOUND REVERBERATION S3200XL Operator’s Manual - Version 1.00 Page 193...
Page 208 ‘boomy’ and can be effective on bass instruments that you may be feeding through the reverb as it helps to ‘separate’ the reverb from the main sound thereby making the source sound more distinct. Page 194 S3200XL Operator’s Manual - Version 1.00...
Page 209 (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. S3200XL Operator’s Manual - Version 1.00 Page 195...
Page 210: Reverse Reverb
This sets the time before the reverse reverb will start sounding. This sets the length of the reverse reverb. This has the effect of making the reverse sound more or less ‘grainy’ and ‘echoey’. Page 196 S3200XL Operator’s Manual - Version 1.00...
Page 211: Gated Reverb
‘space’ around it but the reverb doesn’t hang over into the next beat. The S3200XL’s multi- effect processor offers two variations on this effect. With GATED selected, the screen looks like this: The first ‘gated’...
Page 212 Try it on other percussion sounds such as congas or try it on rhythmic guitar parts or arpeggiated sequencer parts, etc.. Try it also with highly rhythmic keyboard parts. Generally, try to set the TIME control so that the sound has its own distinctive ambient space around it. Page 198 S3200XL Operator’s Manual - Version 1.00...
Page 213: Effects Output Section
In this case, 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. S3200XL Operator’s Manual - Version 1.00 Page 199...
Page 214: Effects Direction
Many multi-effects processors don’t allow this, however, and you are limited to just one path as depicted above. The S3200XL’s effects processor allows you to set the path of the effects with one simple control, the .
Page 215 NOTE: Of course, the PATH CONTROL & OUTPUTS screen only applies to the multi-effects channels FX1 and FX2. When editing RV3 or RV4, the OUTPUT screen looks like this: You only have access to the level and pan/balance of the reverb, of course. S3200XL Operator’s Manual - Version 1.00 Page 201...
Page 216: Soloing The Current Effect
Every page has this function so you may solo the current effect channel at any time. When pressed, it will show the current effects channel (i.e. FX1, FX2, RV3, RV4) depending on which one you are editing. Press it again to hear the other channels. Page 202 S3200XL Operator’s Manual - Version 1.00...
Page 217: Copying Effects
S3200XL Operator’s Manual - Version 1.00 Page 203...
Page 218 EFFECTS EDIT NOTE: When editing RV3 or RV4, you may only copy reverb presets: Page 204 S3200XL Operator’s Manual - Version 1.00...
Page 219: Save Mode
DATA wheel. SELECTING THE HARD DISK PARTITION When a hard disk is formatted on the S3200XL, it is divided into sections called partitions (see later for details on formatting disks). This makes disk management slightly easier. Depending on the number of partitions on your disk, the partition is shown as a letter A - ? next to the HARD-: field.
Page 220 If you do have programs in memory for selection via the sequencer’s MIDI program change, use SAVE ENTIRE VOLUME. Page 206 S3200XL Operator’s Manual - Version 1.00...
Page 221: Saving To Floppy Disk
NOTES ABOUT SAVING TO FLOPPY DISK An unexpanded S3200XL is capable of holding more data than will fit onto a single MF2DD or MF2HD disk. If you try to save an entire volume with many programs and samples, you will have to use more than one disk.
Page 222: Saving To Hard Disk
You will also receive this message if you try to save to a CD-ROM which, of course, is a read- only medium. Page 208 S3200XL Operator’s Manual - Version 1.00...
Page 223 S A V E NOTE: You will also receive this message when you select under the same circumstances. Setting SCSI ID’s, etc., is discussed later in this section. S3200XL Operator’s Manual - Version 1.00 Page 209...
Page 224: Renaming Files
Once set, you may turn this on and off freely in the field. On receipt of a Program Change message, the S3200XL will scan all the hard disk volumes for a number set in this page which corresponds to the Program Change number in the MIDI message.
Page 225: Deleting Items From Disk
NOTE: In order to delete a file or files from a floppy disk, removable cartridge or Magneto Optical disk, write-protection must be off, of course. At any time, press F1 - SAVE - to return to the main SAVE screen. S3200XL Operator’s Manual - Version 1.00 Page 211...
Page 226: Hard Disk Control
NOTE: If your external drive’s ID is something other than 5 and uses a IkBytes/sector disk, you may set the appropriate settings here and, by saving the operating system to floppy disk and powering up with it in the drive, the S3200XL will default to the SCSI ID and sector size of your drive.
Page 227: Formatting A Floppy Disk
S A V E FORMATTING A FLOPPY DISK Before a floppy disk can be used with the S3200XL, it must be formatted. To format a floppy disk, insert the disk in the drive, and press . You will see this screen display: There are two types of floppy disk available - DD (double density) or HD (high density).
Page 228 S1000 or S1100 (please see below - NOTES ON USING S1000 AND S1100 SOUND LIBRARY). Usually, you must use to format a new disk for use in the S3200XL. Trying on an un-formatted disk will display the prompt:...
Page 229: Formatting A Hard Disk
Arranging is a faster operation than a full format (it simply initialises directories into a format suitable for use by the S3200XL). Make sure that there is no data which is only stored on the hard disk which you want to keep.
Page 230: Notes On Using Existing S1000/S1100 Sound Library
Please check your SCSI cables and that the drive is switched on (it does happen!). Also, please check the SCSI ID settings of both the drive and the S3200XL. You will also get this message if a removable type of hard disk is being used and the disk is not inserted in the drive.
Page 231: Load Mode
DATA wheel. SELECTING THE HARD DISK PARTITION When a hard disk is formatted on the S3200XL, it is divided into sections called partitions (see SAVE - FORMATTING for details on formatting disks). This makes disk management slightly easier.
Page 232: Selecting The Hard Disk Volume
. If you do have programs in memory for selection via the sequencer’s MIDI program change, use LOAD ENTIRE VOLUME. Page 218 S3200XL Operator’s Manual - Version 1.00...
Page 233: Loading From Floppy Disk
If no floppy disk is in the drive, you will be prompted: If the disk is un-formatted (or has become seriously damaged in some way) the S3200 will tell you: You should format the disk (see SAVE - FORMATTING). S3200XL Operator’s Manual - Version 1.00 Page 219...
Page 234: Loading From Hard Disk
You should make the appropriate NO or YES response. Pressing will load the chosen file(s) into memory without deleting anything first. As the disk is being loaded you will receive something like the following display to keep you aware of progress: Page 220 S3200XL Operator’s Manual - Version 1.00...
Page 235 If the disk is un-formatted (or has become seriously damaged in some way) the S3200XL will tell you:...
Page 236: Loading S900/S950 Samples And Programs
AUTO LOADING FROM DISK If you turn on the S3200XL with a floppy disk in the drive, the contents of the disk will be loaded into memory. If the disk contains a copy of the operating system and this operating system is the same or a higher version number than the ROM version, this will be loaded.
Page 237: Searching For Files - Using The Find Function
When using the FIND function, it is not necessary to name the whole file. For example, if you want to search for a bass sound, simply type in BASS - the S3200XL will search the selected partition for ALL files that have those letters in them. In this example, you may see a screen display such as: Here, several different basses from several different volumes in the partition have been found.
Page 238 Once you become familiar with the FIND function, you will find it an invaluable aid to quickly searching for and loading sounds. NOTE: The FIND function does not work with floppy disks. Page 224 S3200XL Operator’s Manual - Version 1.00...
Page 239: Using The Tag Directory System
USING THE TAG DIRECTORY SYSTEM On the S3200XL, it is possible to ‘tag’ files. This is much the same as placing it in a special sub- directory. In this way, certain files in a partition can be categorised according to type or any other category you wish.
Page 240: Naming Tags
Similarly for bass. In a rock track, you would probably use your BASS tag that contains electric basses but, in a dance track, you may head Page 226 S3200XL Operator’s Manual - Version 1.00...
Page 241 LOAD straight for the SYNTH BASS tag so as to only be presented with synth basses and not be distracted by electric or acoustic basses. S3200XL Operator’s Manual - Version 1.00 Page 227...
Page 242: Hard Disk Control
NOTE: If your external drive’s ID is something other than 5 and uses a 1kBytes/sector disk, you may set the appropriate settings here and, by saving the operating system to floppy disk and powering up with it in the drive, the S3200XL will default to the SCSI ID and sector size of your drive.
Page 243: Importing Sounds From Other Manufacturer's Cd-Roms
LOAD IMPORTING SOUNDS FROM OTHER MANUFACTURER’S CD-ROMS On the S3200XL, as well as having access to a vast range of Akai sound library, you may also import sounds from CD-ROMs made for certain samplers made by other manufacturers thereby giving you access to even more sounds. This is done in the SCSI page.
Page 244 It is best, therefore, to load your sounds first and then load your MIDI song files. It must be said that whilst the S3200XL can use sounds made for other samplers, the way each of these samplers work is different and so you may find that some ‘tweaking’ will be necessary to optimise the sound for your requirements.
Page 245: Global Mode
SETTING THE MASTER OUTPUT LEVEL As well as the main volume control, it is also possible to set the master level for the S3200XL in this page. The primary benefit of this function is to set the output level to match different mixers’...
Page 246: Midi Functions
MIDI channel used when in SINGLE mode and in SAMPLE mode (in MULTI mode, the S3200XL responds to all 16 MIDI channels and each part has its own channel). This parameter is shown in the SINGLE mode for your information.
Page 247: Ppm Page - Monitoring Midi
GLOBAL By using this filter, you can control the response of the S3200XL to MIDI events. By filtering out aftertouch on a percussion program where it is not needed, for instance, you can improve the response of the S3200XL when a lot of MIDI data is received.
Page 248: Transmit Test Page - Setting The Ent/Play Key
If the information is not displayed on this monitor, the information is not reaching the S3200XL. Check your connections or the output channel of the transmitting equipment. If the information appears to be correct, but no sound or unexpected sounds are being produced, then the fault may lie in the MIDI setting of the program(s).
Page 249: Midi Sample Dumps
Samples can be transferred between the S3200XL and other samplers via MIDI and this is done in the EXCL page: To perform a MIDI data dump, you must make a MIDI loop (MIDI OUT of the S3200XL connected to MIDI IN of the other sampler, and vice versa). This is necessary because of the way in which MIDI sample dumps are performed (in computer terms, a handshake protocol with error detection/correction).
Page 250: Performing A Midi Sample Dump
NOTE: It is quite likely (if not certain) that sample editors will not work if you use the S3200XL protocol because the editor will not have the ability to recognise the new file header information present because of the new features in the S3200XL.
Page 251: Midi Via Scsi
The final soft key in this mode, F7, calls up the SCSI screen: On this page you can enable or disable MIDI bulk data transmission along a SCSI buss, rather than the MIDI connections, and set the SCSI IDs for both the S3200XL ( and the other SCSI device ( ).
Page 252: Me35T Drum Settings
Since this is a manual for the S3200XL, full details of the operation of the ME35T will not be given here. Refer to the ME35T manual for operational details. However, note that to set up the MIDI Exclusive channel on the ME35T, the MIDI CHAN and MIDI NOTE keys on the ME35T should be pressed simultaneously.
Page 253 DRUM mode by pressing the GLOBAL mode select key again - this will return you to the main GLOBAL page. Once you have set the ME-35T settings, they can be saved to floppy disk in the SAVE mode and subsequently loaded in the LOAD mode. S3200XL Operator’s Manual - Version 1.00 Page 239...
Page 254: Dat Back-Up And Restore
NOTE: The selection made here also affects the format of the audio as it appears in real-time at the digital audio output (i.e. the digital ‘clone’ of the main L/R outputs). Page 240 S3200XL Operator’s Manual - Version 1.00...
Page 255: Performing A Dat Back Up
This too is simple. Find the point on the DAT where your backup is, press on the S3200XL and PLAY on your DAT - the contents of the S3200XL’s memory or hard disk will be restored. Please note that when performing a restore, it is not possible to do a partial restore - i.e. when restoring into memory, you cannot selectively restore one snare drum, for example, and when restoring to hard disk, you cannot selectively choose a single volume.
Page 256: Standard Midi File - Midi Song File Play
MIDI sequence files. Of course, you cannot edit these sequence files but this function allows you to use the S3200XL 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 257: Loading Standard Midi Files
In the MIDI SONG PLAY screen, pressing F2 - - will display this screen: The S3200XL will read the floppy disk and list the song files that it contains. NOTE: As the title of this page implies, files must be on a DOS format floppy disk. SMF’s on floppy disks other than DOS format cannot be read.
Page 258: Using The Smf Function
USING THE SMF FUNCTION To use SMF data on the S3200XL, follow the procedure below. One of the disks supplied with the sampler contains a demo sequence - you can use this to check out the SMF functions.
Page 259: Hard Disk Recording
GLOBAL HARD DISK RECORDING The S3200XL is capable of recording audio to a hard disk. You may record audio whilst sequencing ordinary programs and samples allowing you to effectively overdub onto disk. This may be useful for laying down vocal parts or guitar, saxophone solos and the like over sequenced backing tracks.
Page 260: Formatting The Hard Disk For Disk Recording
Before you can use the disk record functions, it is necessary to format your hard disk. The S3200XL allows you to allocate a certain part of your hard disk for sound library and a certain part for disk recordings. In this way, you may conveniently have takes and sound library on one disk which is particularly useful if you plan to use the disk record functions to ‘spin in’...
Page 261 There are some important things to note when using the disk record functions, however. In order to achieve the disk record functions, the process uses 6 of the S3200XL’s voices reducing polyphony in this case to 26 voices when recording to or playing back from disk.
Page 262 It is assumed you have a basic working knowledge of the S3200XL by now. If you are at all unsure about certain functions, please refer to the appropriate section in this manual for more information.
Page 263 This shows how much space is left on the disk for recording. This shows how many takes are on disk. When you use the disk record functions for the first time or use a freshly formatted disk, this field will show 0. S3200XL Operator’s Manual - Version 1.00 Page 249...
Page 264 S3200XL. As soon as the smple has been recorded, the drive switches back on immediately. The other option is which, as the function implies, turns the drive off completely.
Page 265: Creating New Takes
. The display will prompt you: Pressing YES will delete the take from disk. Pressing EXIT will cancel the deletion. Be very careful using this feature as deleted takes cannot be retrieved. S3200XL Operator’s Manual - Version 1.00 Page 251...
Page 266 NOTE field described below. - This selects that a MIDI SONG START command will initiate recording. This allows you to set an offset for the MIDI note reception when is selected in the field. Page 252 S3200XL Operator’s Manual - Version 1.00...
Page 267 (for example, when sequencing programs in the S3200XL). The DELAY field is of use in that you can set the S3200XL to start recording after a certain delay when it receives a MIDI note-on. This same note-on can then be used to playback the take in sync with other material.
Page 268 At any time, you can audition an existing take by pressing the ENT/PLAY key which will cause it to play back. Page 254 S3200XL Operator’s Manual - Version 1.00...
Page 269 Shows the currently active page Takes you directly to the record page for recording new takes Takes you to the BACK-UP LOAD page where you may restore takes backed up to DAT. S3200XL Operator’s Manual - Version 1.00 Page 255...
Page 270: Recording A Take
. You will receive this screen display: Here, the S3200XL is either waiting for a MIDI NOTE or a SONG START command or for the input level to exceed the threshold level. This all depends on the type of START you have selected in .
Page 271 When recording digitally, the bottom line of the display shows: and the screen draws the incoming waveform envelope as it is being recorded. Once a recording has been made, you may use the ENT/PLAY key to play it back. S3200XL Operator’s Manual - Version 1.00 Page 257...
Page 272 Takes you back to the RECORD SET-UP page Turns the audio meter on Turns the audio meter off This puts the S3200XL into a ‘record ready’ state awaiting the arrival of a suitable record start command depending on the setting of the START field in Page 258...
Page 273: Editing A Recording
ZOOM keys to set a value close to this in the field and press the ENT/PLAY key. You may quickly switch between the start and end fields by pressing the key. S3200XL Operator’s Manual - Version 1.00 Page 259...
Page 274: Playing A Take In The Edit Page
When the cursor is on the END field, pressing the ENT/PLAY key will cause the take to play back from the left side of the screen only. In this way, by Page 260 S3200XL Operator’s Manual - Version 1.00...
Page 275 It is unlikely that such an edit will be particularly precise but you can zoom in for more precise editing. The same thing can be done when editing the END point. S3200XL Operator’s Manual - Version 1.00 Page 261...
Page 276: Playing Takes
GLOBAL PLAYING TAKES There are a number of ways you can play a take within the S3200XL’s DD functions: You can play a take in ANY page using the ENT/PLAY key You can assign a series of takes to a SONG for sequential playback or for triggering from MIDI.
Page 277 Takes you directly to the record page for recording new takes Takes you to the BACK-UP SAVE page where you may archive takes to DAT via the digital audio interface. This primes the take for immediate playback from within this page S3200XL Operator’s Manual - Version 1.00 Page 263...
Page 278: Using The Play Page
PLAY page as you wish and these are automatically saved as soon as you leave this page. If the take does not play back successfully, the reason is probably that the S3200XL has not received the appropriate start command as set in the field.
Page 279: Editing A Take For Synchronised Playback
In most cases, there should be no problems in synchronising takes to external audio material because the playback response time of the S3200XL is extremely fast and sync accuracy is in the region of a few milliseconds. Also, the take editing and parameter adjustments described above should overcome any discrepancies you may encounter.
Page 280: Using The Song Mode
PAN - This sets the pan position of the take if it is a mono recording or sets the left/right balance if it is a stereo recording. FADE IN - This sets the fade in time for the take and is variable up to 9999mS (10 seconds) Page 266 S3200XL Operator’s Manual - Version 1.00...
Page 281 You will have to excuse the somewhat cryptic and abbreviated nature of these field descriptions on the S3200XL’s screen but it was felt better to design the screen this way and have all these useful functions available within one page rather than you having to keep switching back and forth between various pages when trying to compile your takes - this would have been highly inconvenient as you can imagine.
Page 282 You will also want to refer to the section USING THE KEYPAD TO GET AROUND THE SONG which appears later in this section. For the time being, practice the above until it becomes a natural process. Page 268 S3200XL Operator’s Manual - Version 1.00...
Page 283: Triggering Takes From Midi
This powerful function of the S3200XL’s disk recording capabilities allows you to simultaneously playback audio from the hard disk whilst sequencing programs in the S3200XL. To set up a list of takes for MIDI triggering, press the SONG key (F2 in all disk record pages) to get the following screen: This shows a blank, empty song or take list.
Page 284 You can then use the S3200XL’s MIDI delay to offset the triggering time.
Page 285 S3200XL front panel using F8 - STOP. Because the S3200XL can only play one take at a time, crossfading between takes is not possible. Also, if one take is playing while another is triggered, the new take will take priority although please note that there will be a short gap between the one take finishing and the next take starting.
Page 286: Using The Song Mode To Chain Takes
The simplest method of using the song mode is to ‘top and tail’ an entire recording (i.e. record an entire song into the S3200XL and edit its start and end points) and have it play back from within the SONG mode. At a more advanced level, you could use the SONG mode to play back a whole series of entire songs recorded and edited this way and the SONG mode can be a convenient method of sequencing the tracks on an album.
Page 287: Using The Numeric Keypad In The Song Mode
ONLY WORK WHEN THE CURSOR IS ON THE SCROLL BAR. Using them when the cursor is on a parameter field in the S.ED page will cause them to input a numeric value. S3200XL Operator’s Manual - Version 1.00 Page 273...
Page 288: Block Editing In Song Mode
TAKE 3 once - and you wish to insert this just before the BREAK in your extended mix. Move the cursor to TAKE 1 and press . Press 2 on the numeric keypad to take you to TAKE 3 and press Page 274 S3200XL Operator’s Manual - Version 1.00...
Page 289 NOTE: It is only possible to mark contiguous steps as a block - you cannot mark a series of steps, skip a few and then mark another few steps as one block. Naturally, this block editing function can be used to delete blocks of steps as well. S3200XL Operator’s Manual - Version 1.00 Page 275...
Page 290: Naming Songs
If you saved the song as ENTIRE VOLUME or MULTI+P+S, you will probably want to load it using this selection so that any programs, samples, multis and effects that may be associated with this song are also loaded. Page 276 S3200XL Operator’s Manual - Version 1.00...
Page 291: Backing Up Takes To Dat
(i.e. a single take or all takes are being backed up), you will receive the following display: This shows the current take being backed up. At any time, you may abort the procedure by pressing F8 - S3200XL Operator’s Manual - Version 1.00 Page 277...
Page 292: Restoring Takes Back From Dat To Disk
BE VERY CAREFUL IN YOUR SELECTION Immediately after you press OK, the display will show: This indicates that the S3200XL is receiving the digital signal through the digital interface. You should now start your DAT machine. If the display shows WAITING FOR CARRIER, this indicates that the correct digital connection has not been made.
Page 293 ‘confidence monitoring’ keeps you informed of progress during the DAT restore process. At any time, you may press F-8 STOP to abort the restore. S3200XL Operator’s Manual - Version 1.00 Page 279...
Page 294: Smpte Page - Using Cue Lists
As you have already discovered in EDIT SAMPLE, there are many different ways you can play back a sample in the S3200XL. A sound can be looped or it can simply play to the end of the sample. If the sound has no looping set in it, then it is not necessary to set a MIDI note OFF command to it when it is triggered in the cue list and so all that is required is a MIDI note ON event for such samples.
Page 295: Blocks
When you are in the cue list, the numeric keypad has a slightly different function to the other modes in the S3200XL as it allows you to move the cursor up and down the cue list scroll bar. Pressing 0 always takes you to the start of the cue list.
Page 296: Cue List Modes
This is where you play a cue list and this mode has several ‘transport’ controls for a variety of different playback functions. This is where you can edit and/or create a cue list. This where you set the S3200XL SMPTE receive/transmit parameters. CREATING AND EDITING CUE LISTS...
Page 297 This allows you to sort a cue list’s events into chronological order. The S3200XL will play events in the right sequence even if they appear out of time on the screen but, to make things clearer for yourself, you may want to place them in strict time order so that they follow consecutively on the screen display.
Page 298 You may now copy and insert either single events or blocks of events as you wish until the cue list is complete. At any time, to hear the results of your efforts, press F1 - - to take you to the QPLAY screen. You will receive this display: Page 284 S3200XL Operator’s Manual - Version 1.00...
Page 299 This is an abbreviation for PLAY EXTERNAL and plays the cue list but only when it is receiving incoming SMPTE from an external source. If the external source stops, then the S3200XL will stop. If the external source is ‘rewound’ to another location, the S3200XL will pick up on...
Page 300: Grabbing Times
For either way of inputting cues in real-time, the GRAB soft key has two functions. If you press GRAB whilst the S3200XL is NOT playing, a small ‘G’ appears at the top of the screen next to the ‘time’ field. When this is displayed and any of the PLAY functions are used, you can input cues in real-time (using the GRAB function or by ‘playing’...
Page 301: Smpte Page
GLOBAL SMPTE PAGE This page is where you set the parameters for the S3200XL’s internal SMPTE reader/generator. Pressing will give you this display: This field shows the current time being fed to the SMPTE reader from an external source. It will also detect the frame rate used on the external source and this is displayed underneath the ‘f/s’...
Page 302: Saving Cue Lists
S3200XL at any one time. LOADING CUE LISTS When a disk is inserted into the S3200XL’s disk drive on power up, the cue list file will be loaded along with the programs and samples. This also applies if ENTIRE VOLUME is specified as the load type.
Page 303: Connecting An External Hard Disk Drive
‘thru’ to other SCSI devices such as CD ROM or another hard disk drive, etc.. CONNECTING TWO SAMPLERS TO ONE HARD DISK DRIVE It is possible for two Akai samplers to share one drive. These may be two S3200XLs or even an S3200XL and an S1000/S1100 , S3000, S2000 , whatever.
Page 304: Notes On Using Hard Disk Drives
SCSI devices when you buy them. The S3200XL’s SCSI interface is terminated. It is most likely that the S3200XL will be at one end of the chain and so must be left terminated. Any disks in between the S3200XL 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 305: Scsi Cable Length
SCSI chains that are longer than the specified length may cause data errors and possibly corruption of data. S3200XL Hard disk 6 metres total MO drive CD-ROM S3200XL Operator’s Manual - Version 1.00 Page 291...
Page 306: Data Compatibility Issues
S3200XL is converting the 12-bit samples from the S900/S950 format into 16-bit sample data the S3200XL can use. An S1000/S1100 disk can be read with no problems but when you save it to an S3200XL disk, there are a few things you should be aware of.
Page 307: Effects Files
The S900 or S950 cannot read S3200XL sound data. If you have an S3000 (or 2800 or 3200), you will be able to use S3200XL sample and program data with no special software required (although it is advisable to have the latest software version for best results).
Page 308: Installing Extra Memory
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 S3200XL, you will see something like this:...
Page 309 The SIMMs may come with a special wrist strap to discharge static electricity. We suggest you attach the strap to the S3200XL’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 310 APPENDIX 3 If you are familiar with analogue synthesisers, you may like to visualise your S3200XL as a large and sophisticated modular synth. As you can see, it’s pretty impressive! LFO 2 LFO 1 ENVELOPE 3 ENVELOPE 2 ENVELOPE 1...
Page 311: Midi Controller List
Effects 5 depth (formerly Phaser Depth) Data increment Data decrement Non-Registered Parameter Number LSB Non-Registered Parameter Number MSB Registered Parameter Number LSB Registered Parameter Number MSB 102-119 Undefined 120-127 Reserved for Channel Mode messages S3200XL Operator’s Manual - Version 1.00 Page 297...
Page 312 APPENDIX 5 Envelope 3 113 FILTER 98 ABOUT THIS MANUAL 5 Filter 2 modulation 108 Analogue recording 257 Filter 2 resonance 107 APM 21 , 56 , 297 Filter 2 types 105 - 106 , 107 Assignable Program Modulation 21 , 56 Modulation 100 Assigning effects, See EFFECTS Resonance 99...
Page 313 Soft keys 6 Bypass 187 FX1, FX2, RV3, RV4 See EFFECTS Chorus 180 Flanging 179 Phase shift 179 Pitch shift 185 Pitch shift+feedback 185 Rotary speaker 181 Multi-effects 175 EFFECTS (cont) OUTPUT 200 S3200XL Operator’s Manual - Version 1.00 Page 299...
Page 314 APPENDIX 5 GLOBAL (cont) MIDI functions 233 - 238 GAIN SWITCH 10 GETTING AROUND 16 Loading SMF’s 244 Entering data 17 Playing SMF’s 244 Mark/Jump keys 18 Song play 243 Operating modes 16 Using the SMF function 245 Selecting parameters 17 Tuning the S3000XL 232 GLIDE See PORTAMENTO GLOBAL 232...
Page 315 Output level 6 , 20 , 232 Deleting from disk 212 FORMAT Floppy disk 214 hard disk 216 Phasing effect 179 Hard disk control 213 PHONES OUTPUT 7 Renaming files 211 Ping-pong echo effects 191 SAVE (cont) S3200XL Operator’s Manual - Version 1.00 Page 301...
Page 316 DISK 30 , 31 Load from floppy 30 Load from hard disk 31 Loudness/Velocity 29 MIDI parameters 27 Old Akai SELECT PROG mode 25 , 35 Keyboard splits 35 Layering programs 35 Multi-timbral setups 36 Program level/pan/FX send 26 Renumbering programs 34...
Page 317: Specifications
Operator’s Manual ..........1 Optional Accessories FMX 008 : 8 Mbyte flash memory board HS-D650 : 3.5-inch MO disk drive set for S3200XL * Above specifications are subject to change without prior notice. S3200XL Operator’s Manual - Version 1.00 Page 303...
Page 318: S3200Xl Midi Implementation Chart
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No (*1) Use external Modulation. Page 304 S3200XL Operator’s Manual - Version 1.00...

Akai S3200XL Operator's Manual

Introduction

S I N G L E M O D

Multi Mode - Combining Several Programs

Program Editing

Edit Multi

Sample Mode

Edit Sample

Effects Mode

Effects Edit

Save Mode

Load Mode

Global Mode

Appendix 1

Appendix 1

Appendix 2

Appendix 2 Data Compatibility Issues

Appendix 3

Appendix 3 Installing Extra Memory

Appendix 5

Appendix 4

Appendix 4 MIDI Controller List

Specifications

S3200Xl MIDI Implementation Chart

Quick Links

Related Manuals for Akai S3200XL

Summary of Contents for Akai S3200XL