CONTENTS

INTRODUCTION.... 1

WELCOME.... 1 KEY FEATURES.... 1 USER INTERFACE.... 3 ABOUT THIS MANUAL.... 3 S6000 FRONT PANEL.... 5 MAIN PANEL.... 5 REMOVABLE PANEL (S6000 ONLY)... 5 REMOVING THE PANEL (S6000 ONLY).. 7 REMOVABLE PANEL CABLE LENGTH... 7 S6000 REAR PANEL.... 8 S5000 FRONT PANEL.... 10 S5000 REAR PANEL...11 CONNECTING THE S6000...11 MOUNTING THE S6000.... 12 SWITCHING THE S6000 ON.... 13 KEY CONVENTIONS.... 15 POP-UP WINDOWS... 18 TOOLS MENUS.... 20 NUMERIC KEYPAD.... 21 CURSOR KEYS.... 21 NAMING.... 21 MARK/JUMP KEYS.... 22 USER KEYS (S6000 ONLY)... 22
STRUCTURE/TERMINOLOGY.... 23
S6000 STRUCTURE.... 23 VOICE ARCHITECTURE.... 26 ASSIGNABLE PROGRAM MODULATION (APM)... 27

LOAD.... 29

LOAD FOLDER.... 30 LOADING MULTIS.... 31 LOADING PROGRAMS... 31 LOADING SAMPLES.... 32 AUTOLOAD.... 33 GET INFO.... 33 OPEN/CLOSE FOLDER.... 34 AUDITION SAMPLE... 34 SELECTING DISKS.... 35 DISK TOOLS.... 36 DISK INFO.... 36 CLEAR MEMORY.... 36 VIEW ITEMS.... 36

MULTI.... 37

SELECTING PARTS... 40 CREATING A MULTI... 42 ASSIGNING PROGRAMS TO PARTS... 43 EDITING PARTS.... 44 WINDOW FUNCTIONS... 47 PART LEVEL WINDOW.... 47 OUTPUT WINDOW... 47 EFFECTS SEND WINDOW... 48 FINE TUNE WINDOW.... 49 EDIT PART..... 50 MULTI TOOLS.... 51 GET INFO..... 51 QUICKLOAD.... 52 QUICKSAVE.... 53 MULTI LIST.... 55
SELECTING MULTIS REMOTELY VIA MIDI... PART TOOLS MENU.... PROGRAM LIST... QUICKLOAD.... QUICKSAVE.... USING MULTIS.... USING MULTI MODE TO PLAY SINGLE PROGRAMS.. USING MULTI MODE TO PLAY LAYERED PROGRAMS.. USING MULTI MODE TO PLAY KEYSPLITS... USING MULTI MODE MULTI-TIMBRALLY... PLAYING LIVE OVER A SEQUENCED BACKING TRACK.. USING THE S6000 AS TWO SAMPLERS... 78 78

EDIT PROGRAM.... 80

EDIT PROGRAM..... 80 EDIT PART..... 80 OUTPUT.... 82 MIDI/TUNE..... 86 EDIT USER.... 87 PITCHBEND.... 88 LFOS.... 89 LFO 2.... 91 KEYGROUP.... 95 SELECTING KEYGROUPS.... 97 KEYGROUP ZONES.... 98 ZONE LEVEL WINDOW.... 101 PAN/BALANCE WINDOW... 101 FINE TUNE WINDOW.... 102 PLAYBACK WINDOW.... 103 SELECTING AND EDITING ZONES... 104 KEYSPAN.... 105 KEYGROUP CROSSFADE... 106 KG PITCH/AMP..... 107 FILTER.... 108 AMP ENVELOPE.... 122 AMP ENVELOPE WINDOW FUNCTIONS... 123 FILTER ENVELOPE.... 124 AUX ENVELOPE.... 125 AUX ENVELOPE WINDOWS... 126 CREATING PROGRAMS.... 127 CREATING (COPYING) KEYGROUPS.... 127 PROG TOOLS MENU.... 128 GET INFO.... 128 PROGRAM LIST.... 129 QUICKLOAD.... 140 QUICKSAVE.... 140

SPECIFICATIONS.... 250

APPENDICES

APPENDIX A..... 251

MIDI CONTROLLER LIST.... 251 S5000/S6000 MIDI IMPLEMENTATION CHART... 252

APPENDIX B..... 253

NOTES ON USING HARD DISK DRIVES... SCSI CABLES.... TERMINATION.... SCSI IDs.... SCSI CABLE LENGTH.... 254

APPENDIX C..... 253

TRANSFERRING DATA BETWEEN THE S6000 AND A PC.. TRANSFERRING DATA BETWEEN THE S6000 AND A MAC.. USING WINDOWS 95 ON THE MAC... SHARING DISKS BETWEEN AN S6000 AND A MAC/PC.. 260 261

APPENDIX D..... 253

CONNECTING THE SAMPLER TO A MAC/PC VIA SCSI.. 262

APPENDIX E..... 265

SOUND LIBRARY COMPATIBILITY.... 265

APPENDIX F..... 265

INSTALLING EXTRA MEMORY (To Service Technicians).. 268 NOTES ON BUYING MEMORY... 269

APPENDIX G..... 271

WHAT IS SAMPLING?... 271

INDEX.... 277

INTRODUCTION

WELCOME

Congratulations on purchasing your new Akai sampler. The S5000 and S6000 represent the next generation of Akais already industry standard samplers with brand new technology, a unique and innovative new user interface and new functionality. Some of its key features are: Unique removable panel allows you to place the S6000 functionality away from the rack and into your work area. 128-voice polyphony on the S6000 S5000.
and 64-voice polyphony (expandable to 128) on the
Expandable to 256Mbytes using SIMMs. 16 outputs configurable as 8 x stereo pairs or 16 individual mono outs (S5000 has 8 outputs expandable to 16). Optional ADAT digital audio interface giving 16 digital outputs 320 x 240 backlit LCD. 44.1kHz/48kHz sampling frequencies. 18-bit stereo ADCs with 64 x oversampling 5th order Delta Sigma 20-bit DACs with 128 x oversampling Delta Sigma with 8 x digital filter on all outputs. SPDIF or AES/EBU digital I/O on balanced jacks or optical. EB20 4-channel 20-bit multi-effects processor (optional on S5000). PS2 QWERTY keyboard input for easy naming. 2 x MIDI IN/OUT/THRU for 32-channel multitimbral operation. 2 x SCSI ports for easy connection to disk drives. Wordclock input allows you to easily integrate the S5000 and S6000 into an all-digital environment. Flash ROM programmable operating system.WAV sample format allows access to a huge range of sounds from PCs or the Internet. DOS disk format allows connection of the samplers disk drive to PCs. Icon based operating system and GUI (graphical user interface). Virtual Sample function allows you to play long samples direct from disk within a program for easy integration of disk recordings in a multi timbral environment.

Some S6000 configurations in the USA may differ. Please consult your dealer for information.
26 powerful resonant filter types. 2 x Low Frequency Oscillators (LFOs) each offering 9 control waveforms. 2 x hardware ADSR envelope generators allow ultra fast and accurate shaping of sounds. A multi-stage auxiliary envelope can be used to create more complex envelope shapes. Assignable Program Modulation allows you to route the LFOs, envelope generators, MIDI controllers, etc., to up to 17 different destinations - you can even route controllers to controllers! Stereo phase coherent timestretch sample processing. New off-line stereo pitch shift and BPM matching sample editing algorithms. 3-band off-line digital EQ. New QUICKLOAD functions allow you to get sounds into the sampler quickly and easily. Icon based DISK system makes navigation simple. Sounds are stored in folders and folders can contain further sub-folders for efficient organisation of sound library. Responds to channel or polyphonic aftertouch. Compatible with S1000 and S3000 series samplers2

And much, much more.

Due to the radical new developments in the S5000 and S6000, some old sound library may need tweaking.

USER INTERFACE

Perhaps the most physically obvious feature of the S6000 is its large LCD and 16 soft keys giving rise to a unique new user interface. Using what we at AKAI professional affectionately call Touch and Tweak, parameter access is usually just one button press away - simply touch the key alongside the parameter you wish to change and tweak its value with the DATA wheel! Not only does this make operation fast, simple and intuitive but in most circumstances, completely eliminates the need for awkward cursor movement. It also has the directness of a touch screen but with the reliability and tactile feedback of physical switches. The user interface also makes much use of graphics and icons and pop-up windows and prompts are used throughout making the user experience more like that of a Mac or Windows computer.

ABOUT THIS MANUAL

This operators manual has been written to allow you to get the best out of your new sampler. Please take the time to read it to gain a full understanding of its features, functions and operations. It is written in the order you are most likely to work when you first use your sampler - i.e. the first thing you will probably do is load some sounds. The next thing you will probably do is create a multi using those sounds. The next thing you may do is edit the programs in that multi and after that, you may edit the samples in those programs. You may try to record something yourself. After all that, you may try to save your work. So the running order (after the description of the basics and getting to know your way around your new sampler) is: LOAD > MULTI > EDIT PROGRAM/PART > EDIT SAMPLE > RECORD > SAVE. After that, we delve into the FX and UTILITIES modes and other issues. Of course, if this is not the order in which you will use your new purchase, feel free to skip to each appropriate section as you like/ Whatever, please try to find the time to read this operators manual as it is designed to help you get the most from your investment. You will note that both the S5000 and the S6000 are described in this manual. In most respects, the two samplers are functionally identical except that the S6000 comes with the full complement of options3 already installed and has the extra USER KEYS. By producing just one manual, we can make a small contribution to the environment by saving paper and also, of course, it saves on printing costs allowing us to bring you the new samplers at the best possible price. All references will be to the S6000 except where specified.

S6000 REAR PANEL

INPUT L/R
These are the duplicates of the L/MONO IN and RIGHT IN inputs of the front panel - S6000 only. The inputs on the front panel override these inputs. These are the duplicates of the main stereo L/R outputs (Outputs 1/2) S6000 only. They both output the same signal. These are the S6000s outputs. They can be used as 8 x stereo pairs or as 16 individual outputs or any combination of the two (e.g. you could have stereo sounds appearing at outputs 1/2 and 3/4 with, say, bass appearing at output 5 and kick drum, snare drum and hi-hat appearing at outputs 6, 7 and 8 respectively). Output 1/2 is regarded as the main stereo output for the S6000. All outputs are polyphonic.

MAIN OUTPUT L/R

OUTPUTS 1-16
NOTE: Outputs 13-16 are also used as the samplers internal effects sends. Therefore, any sounds routed to the effects channels FX1, FX 2, RV3 and/or RV4 will appear at outputs 13, 14, 15 and/or 16 respectively. If you wish to utilise all 16 outputs, you should not use the internal effects. Similarly, if you are using the internal effects, you should avoid using outputs 13-16 as individual outputs. This is a hardware restriction that cannot be overcome in software.
DIGITAL I/O This offers two balanced jacks for AES/EBU digital audio in and out (this can be switched to SPDIF in the UTILITIES mode if you prefer). An optical I/O is also provided. Either digital input can be used to record digitally and both outputs carry a stereo mix of the main L/R outputs (outputs 1/2). Sounds assigned to outputs 3-8 (or 3-16 if the optional output expander is installed for S5000) do not appear at the digital outputs.

WORDCLOCK

This BNC connector is used to synchronise the sampler to a studios house sync. This would be used in a predominantly digital studio to ensure that all digital devices (mixer, hard disk recorder, effects, etc.) are running at a common sampling frequency. The terminator switch should be ON when the S6000 is the last digital device in the wordclock chain. Otherwise, it should be OFF. Failure to observe the correct switching of wordclock termination may result in unpredictable results.
Two 50-pin high-pitch SCSI connectors are provided. One is simply a thru of the other and is used when connecting the S6000 to a SCSI chain. This should be switched ON when the S6000 is the last device in a SCSI chain. If the S6000 sits somewhere in the middle of a SCSI chain, it should be switched off. Failure to observe the correct switching of SCSI termination may result in unpredictable results. These are provided to allow future expansion. One such board is the optional ADAT digital I/O which offers 16 digital outputs, ideal for interfacing with suitably equipped digital mixing consoles. The ADAT I/O also allows you to record from a digital source equipped with an ADAT output.

SCSI TERMINATOR

OPTION SLOTS

MIDI IN/OUT/THRU

Two completely separate MIDI busses A and B are provided offering 32channel operation (1-16A and 1-16B). Each MIDI THRU passes on the data received at their respective MIDI inputs.

MAINS INPUT

This should be connected to a suitable mains outlet using the supplied cable. This can be used to reduce ground loops by connecting it to a common earthing point.

SIGNAL GROUND

S5000 FRONT PANEL
Although laid out differently to accommodate the ergonomics of the S5000s 3U panel, the keys and controls on the S5000 are almost identical to the S6000s except that the S5000 omits the USER KEYS. Another difference is that the S5000 does not have rear panel analogue audio inputs so the ones found on the front of the S5000 are the main analogue record inputs. It is also not possible to install an optional removable drive on the S5000s front panel.

S5000 REAR PANEL

Again, the S5000s rear panel is almost identical except that there are no balanced XLR inputs or outputs and outputs 9-16 are optional.

CONNECTING THE S6000

Main L/R outputs (Outputs 1/2) SCSI Outputs 3-16
HARD DISK, CD-ROM, MO, Jaz, Zip, etc.
MIDI IN DIGI I/O MIDI OUT

mx1000

Connect the MIDI output of your MIDI controller (in this example, an Akai MX1000 master keyboard) to MIDI IN A of the S6000. Connect outputs 1/2 to a stereo amplifier, a stereo input channel on a mixer (or to two mono channels of a mixer remembering to pan each channel hard left and right to take full advantage of the S6000s stereo outputs). Outputs 3-16 (or 3-8 on the S5000 without the optional expander board) should be connected to channels of your mixer where they may be mixed, EQd and processed separately. The digital I/O can be connected to any similarly equipped digital audio device such as DAT, recordable CD, MiniDisk or the channels of a digital mixer. The above diagram shows a fairly simple setup. When used with a sequencer, assuming it has two or more MIDI outputs, connect one to MIDI IN A and the other to MIDI IN B. In this way, you can achieve 32-channel multi-timbral sequencing. Another option may be to connect one output from your sequencer to MIDI IN A and the output of your MIDI keyboard to MIDI IN B. This way, you can have some sounds being sequenced whilst you play certain other sounds from the keyboard. This might be a good setup for live applications where the sequencer provides the backing tracks and you play live over the top of that. There are many permutations and no doubt you will find your own according to your set-up and/or application.

NOTE: The folder the multi(s) will be saved to is shown. If this is not the right one, you should press CANCEL SAVE and use the actual SAVE function to navigate your way to the folder where you want the multi to be saved. The full SAVE function is described in a separate chapter.

MULTI LIST

Once you have some multis loaded, you may view them in MULTI LIST:
The currently active multi is highlighted. You may select multis to play from this page. Simply scroll down to the multi you want using F15/ F16 and either press CLOSE LIST or press the main MULTI mode key. The multi you have highlighted in the MULTI LIST page will become the currently active multi. You may also rename, copy, delete, create and renumber multis in this page.

RENAME MULTI

Pressing RENAME will pop-up this prompt:
You may enter a new name in the usual manner using the cursor </> keys and the DATA wheel or more conveniently from an external QWERTY keyboard. If you are entering the name from the front panel, you may find the DELETE and SPACE keys a convenient way to delete characters or add spaces.
COPY MULTI Pressing COPY MULTI will pop-up this prompt:
The multi is given a default autoname but you may enter a new name if you prefer in the normal way. DELETE MULTI Pressing DELETE MULTI will pop-up this prompt:
You can use the check boxes to select whether or not the programs and samples associated with the multi will also be deleted.
NOTE: With the PROGS/SAMPS checkbox ticked, if any programs in the selected multi are used in one or more multis in memory, those programs will not be deleted as this would corrupt the other multis. However, if the programs and/or samples are not used by any other multis, they will be deleted.
You may also select to delete all multis in memory.
NOTE: Deleting ALL MULTIS and also selecting to delete the programs and samples is the equivalent of clearing the memory completely
Pressing DELETE will initiate the delete function. CANCEL will close the prompt. CREATE MULTI This allows you to create multis. The function is identical to CREATE MULTI in the main multi page.
EXPAND MULTI This allows you to change the number of parts in a multi. Pressing this will pop-up a prompt and you have the option to expand the currently selected multi to 64- or 128-parts (or to cancel). If the multi already has 64- or 128- parts, you will be prompted accordingly. This is useful in the event of you accidentally creating a 32-part multi when in fact you wanted a 64- or 128-part multi or in cases where you reach the limit of the current multi and need to add more parts. RENUMBER MULTI This takes you to a new page where you may change the MIDI program number of the multis in memory. Pressing RENUMBER will show something like this screen:
MIDI program numbers are used in order to select multis remotely via MIDI. For example, in a live situation, you may wish to use MIDI program change to select multis remotely from your keyboard or sequencer. Multis may be given a number 1-128 or OFF. To renumber a multi, simply move the cursor to the multi you want to renumber and use the DATA wheel to set the appropriate number (or switch it to OFF). for example, GIG FOLDER). When you come to load that folder prior to your gig, they will load in the correct order 1-XXX. Pressing RENUMBER 1-XXX (F13) will renumber all the multis in memory sequentially 1-128 (or whatever the upper limit is of the number of multis in memory). The multis will be renumbered in the order in which they appear in the list. For example:

VELOCITY SENS

AMP MOD 1/2
These two parameters allow you to set the level for the controllers assigned to these inputs. It is also possible to assign any of the samplers controllers (MIDI controllers, LFOs, envelopes, etc.) to the two amplitude modulation inputs. To set the modulation amount, simply touch the key to the right of the parameter you want to adjust and use the DATA wheel to set the value. The controller is selected by double clicking the key alongside the parameter. For example, pressing it once will show this:
Here, you may set the modulation level. Pressing the key again will move the cursor to the controller field and will show this:
Here you may use the DATA wheel to scroll through the various controllers. This principle applies to all modulation inputs throughout EDIT PROGRAM - press once to set level, press again to select the controller. This type of operation is signified by the icon in the corner of the parameter field. To do the same for the other AMP MOD input, repeat the above. PAN MOD 1/2/3 These parameters allow you to create a variety of autopan effects. The most obvious of these, perhaps, would be to assign a slow LFO to one of the PAN MOD inputs so that the sound moves backwards and forwards across the stereo image. However, you could use velocity or aftertouch or you could use an envelope so that the sound pans with every note. Operation is identical to the AMP MOD inputs - press once to set level, press again to select the controller.
When the cursor is on either mod input field (controller or level) of any of the modulation inputs - for example:

GOTO SOURCE

Pressing GOTO SOURCE will take you directly to that controllers page. In the above example, you would go straight to LFO2:
Here, you may tweak and edit the LFO 2 parameters.

GOTO DEST

Pressing GOTO DEST in this page will pop up this window:
You may return to the OUTPUT page (or any other destination) immediately. If the cursor is not on a valid modulation input (for example, if the LOUDNESS parameter is selected or the cursor is on, say, the program name) and you press GOTO SOURCE, you will receive this pop-up dialogue prompt:

Pressing STRETCH SAMPLE will initiate the timestretch. You will see the usual Processing sample progress display followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. Respond accordingly.
NOTE: When timestretching a sample that has loops, you may find that the processed versions loop points are slightly disrupted and exhibit clicks. To overcome this, visit the LOOP page and try AUTO FIND and/or a CROSSFADE - this should restore the loop fairly easily. However, a bit of work may be necessary to get a perfect loop again.

PITCH SHIFT

Pressing PITCH SHIFT will display this screen:
This process is a variation on timestretch. However, the stretch factor in PITCH SHIFT is described in terms of transposition. For example, if you have a sample in the key signature of C which you want to use during a key transposition of a song where everything is transposed up a tone to the key of D, set a SEMITONE TUNE value of +02 semitones. Similarly, if you have a sample that is slightly out of tune, use the FINE TUNE parameter to bring it back into tune by an appropriate amount. The AUTO TUNE function allows you to set whether the new sample will automatically be transposed. For example, lets imagine you have a set of backing vocals sampled on C3 in the key of C that you want to transpose so that they can be used during a 2 semitone key change in the song. With AUTO TUNE set to OFF, after the pitch shift process is complete, if you press C3, the sound will not be transposed - it will still play in the key of C on the physical key C3 only slower. In order to play the processed sample in the right key in the song, you will have to play D3. With AUTO TUNE set to ON however, in the same example, after the sound has been processed, when you play C3, it will automatically play 2 semitones higher in the key of D. You may prefer that after processing the sample, it automatically transposes to the new pitch. However, it could be that you find it odd playing the note C3 when the song is now in the key of D so you may prefer to leave AUTO TUNE off and actually play the note D3 to hear it at the correct pitch and speed. As with the TIMESTRETCH page, a series of presets optimised for certain sounds is provided. The ADJUST parameter is available via the PRESET parameters WINDOW function. Pressing RETUNE SAMPLE will initiate the pitch shift. You will see the usual Processing sample progress display followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. Respond accordingly.

GET INFO, QUICKLOAD and QUICKSAVE are duplications of the functions found in the SAMPLE TOOLS menu described on preceding pages.

STEREO AND MONO SAMPLES

There is little or no distinction made between mono or stereo samples on the S6000 and stereo samples are treated as one file thus you dont even really need to know what you are editing most of the time. Mono and stereo files have an indicator after their name in all EDIT SAMPLE pages. Mono samples are indicated thus:
A single speaker icon is shown. Stereo samples are shown thus:
NOTE 1: Stereo samples use two voices of the S6000. Thus, if ALL samples are stereo, polyphony is halved to 64 voices on the S6000 (32 on an unexpanded S5000). However, it is possible to use a combination of mono and stereo samples simultaneously so exact figures regarding polyphony cannot be given.
NOTE 2: S1000, S1100, S2000 and S3000 and XL series stereo samples (i.e. those appended with -L/-R) will be treated as mono files on the S6000 and will require individual editing. If this is inconvenient, you should convert such samples into a single stereo.wav sample using the CONVERT -L/-R function described on the previous page.
Pressing RECORD will show something like this screen:
The parameters are: RECORD LEVEL This sets the record level. This is a software control which is used instead of a front panel control. You will note the icon in the parameter. Pressing the RECORD LEVEL key again allows you to set the gain sensitivity of the input and the choices are MIC, LINE and PRO. Use MIC to record low level signals from microphones; use LINE to record line level signals from keyboards or typical mixing consoles, etc.; use PRO when recording from high level equipment running at +4dB. Here you may select what will initiate recording. The choices are: THRESHOLD L/R Recording will start once the threshold level on either the left or right channel is exceeded. Recording will start when the input to the left channel exceeds the threshold. Recording will start when the input to the right channel exceeds the threshold. Recording will start once the threshold level on either the left or right channel is exceeded. It will automatically stop recording if the signal falls below the threshold. Recording will start when the input to the left channel exceeds the threshold. It will automatically stop recording if the signal falls below the threshold. Recording will start when the input to the right channel exceeds the threshold. It will automatically stop recording if the signal falls below the threshold. Recording will start when a MIDI note-on is received on the channel specified in the MIDI TRIG CHAN (See below).

RECORD TRIGGER

THRESHOLD L

THRESHOLD R

AUTO L/R

AUTO L

AUTO R

MIDI NOTE-ON

THRESHOLD MIDI TRIG CHAN

RING MOD/DISTORTION

Pressing RING MOD/DISTORTION in the main MULTIFX page will show this screen:
A ring modulator is a device with two inputs and one output. One input carries the audio source and the other a sine wave signal of variable frequency. The two signals are modulated to produce sum and difference frequencies. For example, if one input is a sine wave of 500Hz and the other is a sine wave of 750Hz, the output will carry the original signals AND the sum (1250Hz) and the difference (250Hz). The result is enharmonic and clangy sounds. With harmonically rich sounds fed to the ring modulator, the sounds can be even more discordant. Other effects are also possible. If the modulating oscillators frequency is low, the effect will be a tremolo effect. At frequencies of 100Hz or so, you can produce the famous dalek voices and other robotic, metallic effects on speech. At high frequencies, the results are rather unpredictable and largely depend on the audio input signal but, basically, they can best be described as discordant and clangourous. The parameters are: RMOD FREQUENCY This sets the frequency of the sine wave modulation signal. It is variable from 1Hz - 5000Hz Sets the depth of the ring modulation effect.

RMOD DEPTH

The distortion processor offers variable distortion from mild clipping to heavy metal filth! The parameters are: DISTORTION OUTPUT LEVEL Sets the amount of distortion Sets the output level of the distortion processor. This can be used to compensate for the high gain you get with high DISTORTION levels.
The ACTIVE switch on F10 allows you to bypass the RMOD/DISTORTION effect. You may return to the main FX page using F8 or you may return to the multiFX page using F7.
Pressing EQ in the main MULTIFX page will show this screen:
The EQ section of the two multi-effects channels is a four band EQ offering lowpass control over a low frequency, two bandpass mid frequencies and a highpass high frequency control. I.e.:

LP BP1 BP2 HP

GAIN GAIN GAIN GAIN
You may set the centre frequency and the gain for each of the four channels (on the two mid frequency ranges, you may also set the width of the EQ effect).

G A I N LOW BP1 BP2 HI

The frequency of each of the four bands is variable and may overlap if you wish and you may selectively boost these frequencies if you wish to enhance certain aspects of the sound. Furthermore, you can modulate the frequencies of either of the two mid range sections to create auto-wah effects such as you find on a wah-wah pedal. It is also possible to create synthesiser filter sweep effects. The parameters are: LOW FREQ LF GAIN LMID FREQ LMID GAIN HMID FREQ HMID GAIN HIGH FREQ HF GAIN Sets the low frequency. This is variable from 16Hz - 500Hz. Sets the low frequency gain. Sets the low mid frequency. This is variable from 40Hz - 6.3kHz. Sets the low mid gain. Sets the high mid frequency. This is variable from 40Hz - 6.3kHz. Sets the high mid gain. Sets the high frequency. This is variable from 500Hz - 16kHz Sets the high frequency gain.

MOD/ECHO PATH DIST/EQ PATH CONTROL PATH REVERB

L/R outs

When the PATH CONTROL is set to 00, the mod/echo section and the reverb section feed the main left/right outputs in parallel. When set to +50, the output of the mod/echo section is fed into the reverb. When set to -50, the output of the reverb is fed into the mod/echo section. When set to values in between, this means that part of the signal is going to the reverb or the mod/echo section whilst also feeding the L/R outputs directly. For example, setting the PATH CONTROL to +25 indicates that some of the mod/echo section is being fed to the reverb whilst also going direct to the L/R outputs. Similarly, a setting of -25 would send some reverb to the mod/echo section whilst some reverb is going direct to the main outputs.

EFFECTS TOOLS

F9 of every effects page shows FX TOOLS. Pressing F9 will show this drop down menu:
Here you may selectively mute the effects channels. This can be useful when editing effects as it allows you to hear the effect you are working on in isolation by muting the other channels. To mute an effects channel, simply press the appropriate mute key. When muted, a diagonal line will appear through the speaker icon (as shown for FX2/RV2 in the above screen shot). EFFECTS TOOLS is available in all effects and reverb pages allowing you to quickly mute effects channels at any time.

COPYING EFFECTS

It is possible to copy effects from one multi to another. In this way, if there is a particular effects combination you like, it can be used in another multi. On the main FX page, F16 shows COPY EFFECTS:
This allows you to copy all four channels of effects to another multi. Pressing COPY EFFECTS will pop up this prompt:
The currently selected multi will be selected by default as the destination multi - using the DATA wheel, you should choose the multi you want to copy the effects to and press YES (or CANCEL if you change your mind).
As well as copying all four channels of effects, you may also copy individual channels. For example, in the main MULTIFX page, F16 shows COPY MULTIFX1 (or 2 depending on the selected channel):
Pressing this will show this prompt:
You should select the multi you wish to copy the multiFX chain to and press YES (or CANCEL if you change your mind).
Similarly, it is possible to copy individual reverbs from one multi to another. F16 in all the reverb pages shows COPY REVERB n:
Pressing this will pop-up this prompt:
You should select the multi you wish to copy the selected reverb to and press YES (or CANCEL if you change your mind).
Once you have done work on multis, programs and samples, you will no doubt want to save them. This is done using the SAVE key. Depending on what you are working on, pressing SAVE will show something like this screen:

DISK UTILS

Pressing DISK UTILS will show this screen:
This is not like LOAD to look at except that F13 allows you to rename the selected item and F14 allows you to delete the selected item.

RENAMING ITEMS ON DISK

To rename an item, move the cursor to the item you want to rename and press RENAME. You will get this prompt:
You should enter a new name and press F16 (or press F8 - CANCEL - if you change your mind). If you proceed and a file of that name already exists in the location, you will be prompted:
You should press OK (F16) and try again with a new name.

DELETING ITEMS FROM DISK

To delete something from disk, move the cursor to the item you want to delete. F14 is used to delete the item and, like load and save, its label changes according to the item selected. So, for example, if the cursor is on a folder, the key will be labelled DELETE FOLDER and if its on a MULTI, it will be labelled DELETE MULTI. The same would be true for programs and samples. Pressing F14 pops up this prompt:
You should proceed (with caution!) as appropriate. If the folder contains any data, to prevent accidental deletion, you are warned:
You should delete the contents first before finally deleting the folder.
**** IMPORTANT NOTE REGARDING DELETE FOLDER **** If your sampler is connected to a hard disk that has PC data on it (for example, a removable drive that has been used to store W95/8 or Mac folders), whilst you are able to see these folders in the samplers disk list, if you open these folders, it is quite possible that you will not see anything in them. This is because the sampler does not recognise any non-Akai files (word processor documents such as.txt, graphics files such as.jpg or.bmp, etc.). As a result, you could have a situation where you go to delete a particular folder that appears to be empty but which, in fact, contains non-Akai data. In this case, you will receive the prompt shown above and you will not be able to delete that folder on the S6000. If such folders exist on your samplers disk drive, they should be deleted either on a PC or on a Mac that has PC Exchange installed or which uses a W95/8 emulator.

FORMATTING DISKS

It is possible to format hard disks to MS-DOS format in the DISK UTILS page in DISK LIST:
To select the disk to format, press the soft key alongside it. Now press FORMAT DISK (do not press SELECT DISK on F8). You will see this prompt:
You should select whether you want to perform a QUICK FORMAT or a FULL FORMAT using the check boxes on F6 and F14. FULL FORMAT is required if the disk is brand new or has maybe been used with some other device (for example, a disk that may have been used on an older Akai sampler). The FULL FORMAT takes much longer of course but sets the disk up properly. QUICK FORMAT can be used if you are re-formatting an existing MS-DOS disk.

The kind of real-world things that can go wrong are. A.
You delete some files on the disk using the sampler - they are deleted, the samplers disk cache is updated, the files dont appear in the LOAD filelist and everything is fine. However, the Mac/PCs disk cache has not been updated and so it doesnt know anything about these changes - as far as its concerned, the files are still there and so it will still display the deleted or renamed items. This isnt a problem in itself but if you try to do anything with them, because they have been deleted, the system may get confused, the SCSI bus might crash and the system could lock up with a disk error and its possible that the Mac/PC could cause the disk directory to be corrupted causing irreparable disk failure.
NOTE: The same could happen when renaming files.
You move some items from one folder to another on the Mac desktop or in Windows Explorer in an attempt to organise your sound library more logically. You will see the changes on the Mac/PC (of course). However. The sampler knows nothing about the changes you made on your Mac/PC because its disk cache has not been updated so as far as its concerned, the files are still where they originally were. In the LOAD page, should you attempt to load these files, because they have been moved elsewhere and dont actually exist in the folders shown on the sampler anymore, you may get a disk error, possibly a SCSI crash and maybe even a directory corruption rendering the disk unusable.
C. If you edit a sample using a Mac/PC wave editor and save that sample back to the disk, the sampler will not automatically know these changes have even taken place. For example, if you chop a 1Mb sample in half on a Mac/PC wave editor, the Mac/PCs disk cache is updated and it knows the new filesize. The sampler, on the other hand, has no idea that these changes have taken place - as far as its concerned, its still a 1Mb sample because thats the information it has in its disk cache. Should you try to load this sample into the sampler.. Thats right - the sampler is looking for a 1Mb file stored in a particular place on the drive, it doesnt find it so there will be a disk error, probably a SCSI crash and possibly even damage to the disk. D. The worst of all scenarios! You have the same sample loaded into your sampler AND your Mac/PC wave editor (maybe intentionally or accidentally). You save it on the sampler and, at the same time you save it on the Mac/PC. You now have two initiators trying to write different data to the same point on the disk. You may as well throw the disk in the bin! Its a potentially ugly situation! And these are just four situations where things can go wrong. Bring into the equation SCSI ID mismatches, incorrect termination, etc., and you have a disaster waiting to happen! None of this is due to limitations in the S5/6000 or the Mac/PC but is due to the fact that SCSI was not really intended to be used in this way, as a means of networking devices (thats why networks of computers normally use Ethernet or something similar like AppleTalk). You can now begin to see why sharing a disk between a Mac/PC and an S5/6000 is not recommended - its possible but there are too many risks associated with it.

s5000/ s6000

STEREO DIGITAL SAMPLER
Software Version V2.10 Addendum

WARNING

To prevent fire or shock hazard, do not expose this appliance to rain or moisture.

Operators Manual

CONTENTS
IMPROVEMENTS TO DATA SORTING.... 1 IMPROVEMENTS TO ROLAND SOUND LIBRARY COMPATIBILITY... 1 IMPROVEMENTS TO EMU SOUND LIBRARY COMPATIBILITY... 1 IMPROVEMENTS TO THE SMF PLAYER... 2 BUG FIXES..... 2 OTHER CHANGES..... 2
All trademarks and trade names used in these release notes are the property of their respective owners.

02/19/2001

O/S UPDATE
The Version V2.10 of the S5000/6000 Operating System introduces some new functions and improvements as well as fixing some bugs reported.
NOTE 1: V2.10 is required to successfully use ak.Sys V1.50. NOTE 2: ak.Sys V1.00 should not be used with V2.10 of the S5000/6000 Operating System. If you have ak.Sys, you should upgrade it to V1.50 when you upgrade your sampler to V2.10.
IMPROVEMENTS TO DATA SORTING
Data in the sampler can now be sorted/viewed alphabetically. Prior to V2.10, data appeared in the order it existed in memory. However, in V2.10, you can optionally select that data is sorted (shown) alphabetically using the LIST SORTING function available in UTILITIES/PREFERENCES/F12:
With this switched ON, data in the samplers memory and MULTI/PROGRAM/SAMPLE lists are automatically sorted in alphabetical order whenever items are created/copied/renamed. One big benefit of this is that when using off-line sample editing process and selecting OVERWRITE, the processed version will remain in the same position in memory (otherwise, the new processed sample would be added to the end of the data list). *** IMPORTANT NOTE *** If you start off with LIST SORTING disabled (i.e. switched OFF) and then you enable LIST SORTING (i.e. you switch it on), it is not possible to then disable LIST SORTING and have the data revert to its previous sorting status. Also, should you disable LIST SORTING after having enabled it and then record/load/create new items, they will be added to the end of data/lists. However, the data will be sorted alphabetically, when you re-enable LIST SORTING after this.
IMPROVEMENTS TO ROLAND SOUND LIBRARY COMPATIBILITY
It is now possible to display/load individual patches (i.e. S5000/6000 programs) in a Roland folder.
NOTE: It is not possible to see the samples associated with the programs but if you load a patch/program with its samples and save it back in the S5000/6000s native format, the samples will then be shown.
IMPROVEMENTS TO EMU SOUND LIBRARY COMPATIBILITY
EMU Soundsprint folders can now be seen in version 2.10.

Version 2.10

IMPROVEMENTS TO THE SMF PLAYER
The Tempo Mode and Manual Tempo are now stored for each song. This means that you can have songs at different manual tempos, and different songs in MANUAL or FILE tempo mode, and the settings will change as each song is selected. Also, SETLISTS can now be deleted in the SONG LIST page on F12.

BUG FIXES

Some bugs have also been fixed in V2.10. These include (amongst others): Fixed bug where the last 1 second of a sample would not be affected by modulation controllers (LFO, modwheel, etc.) in the program. Fixed the SCSI problem that disabled the access to the hard drives, after installing the V2.0 update, when there is another Akai sampler S3000 V2.00 running at the end of the SCSI chain. Fixed the problem when Standard MIDI files with long filename are used. Fixed the problem of phase coherency getting lost between zones when pitchbend or modulation is used. For example, when using older Akai -L/-R in separate zones or when layering stereo.wavs in separate zones, whilst phase coherency is ok at note-on, it is lost if pitchbend and/or other modulation is used. Fixed the problem of KEYGROUP CROSSFADE in certain programs being ignored when loading sounds using LOAD FOLDER (this does not happen when loading programs individually). If a virtual sample is assigned to a program with a long release in the AMP ENV and either the Play mode in EDIT SAMPLE was set to Play -> Retrig or the Playback type in the keygroup zone was set to Ply->Rtrg, the sample playback would skip in the release phase when the second note-on was received. This is fixed in V2.10.

OTHER CHANGES

Many other changes have taken place to enhance and improve the performance and functionality of ak.Sys with the S5000/6000.
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