Akai S5000, size: 3.2 MB
Akai S5000 Software Version V1.21
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STEREO DIGITAL SAMPLER
Software version V1.21
To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
The material in this document is copyright to AKAI professional M.I. Corp., and may not be quoted or reproduced in any form without written permission from the company. LIMITED SOFTWARE WARRANTY POLICY All the software provided with, or purchased especially for, AKAI professional products has been tested for functionality. AKAI professional M.I. Corp. will make its best efforts to correct reported software defects for future releases subject to technical practicabilities. AKAI professional M.I. Corp. makes no warranty or representation either expressed or implied with respect to the system's performance or fitness for a particular purpose. In no event will AKAI professional M.I. Corp. be liable for direct or indirect damages arising from any defect in the software or its documentation. Further, AKAI professional M.I. Corp. will not accept any liability for any programs, sounds, audio recording or sequences stored in or used with AKAI professional products, including the cost of recovery of such data. The warranties, remedies and disclaimers above are exclusive and take precedence over all others, oral or written, express or implied, to the extent permitted by law in the geographical area of the product's use. No employee of AKAI professional M.I. Corp., agent, distributor or employee of an agent or distributor is authorised to offer any variation from this policy.
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.
THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.) The lightning flash with arrowhead symbol , within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure; that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intented to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.
Lithium battery This product uses a lithium battery for memory backup. The lithium battery should only be replaced by qualified service personnel. Improper handling may cause risk of explosion.
WARNING: WHEN USING ELECTRIC PRODUCTS, BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED, INCLUDING THE FOLLOWING: WARNING The S5000/S6000 is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your S5000/ S6000 meets the power requirements in your area. If in doubt, consult a qualified electrician or AKAI professional dealer. 120 VAC @ 60 Hz for USA and Canada 220~240 VAC @ 50 Hz for Europe 240 VAC @ 50 Hz for Australia PROTECTING YOURSELF AND THE S5000/S6000 Never touch the AC plug with wet hands. Always disconnect the S5000/S6000 from the power supply by pulling on the plug, not the cord. Allow only an AKAI professional dealer or qualified professional engineer to repair or reassemble the S5000/S6000. Apart from voiding the warranty, unauthorized engineers might touch live internal parts and receive a serious electrical shock. There are no serviceable parts inside. Do not put, or allow anyone to put any object, especially metal objects, into the S5000/S6000. 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 S5000/S6000, disconnect the power, and call your dealer. Make sure that the unit is well-ventilated, and away from direct sunlight. To avoid damage to internal circuitry, as well as the external finish, keep the S5000/S6000 away from sources of direct heat (stoves, radiators, etc.). Avoid using aerosol insecticides, etc. near the S5000/S6000. They may damage the surface, and may ignite. Do not use denatured alcohol, thinner or similar chemicals to clean the S5000/S6000. They will damage the finish. Modification of this equipment is dangerous, and can result in the functions of the S5000/ S6000 being impaired. Never attempt to modify the equipment in any way. Make sure that the S5000/S6000 is always well-supported when in use (either in a speciallydesigned equipment rack, or on a firm level surface). When installing the S5000/S6000 in a 19 rack system, always allow 1U of ventilated free space above it to allow for cooling. Make sure that the back of the rack is unobstructed to allow a clear airflow. In order to assure optimum performance of your S5000/S6000, select the setup location carefully, and make sure the equipment is used properly. Avoid setting up the S5000/S6000 in the following locations: 1. 2. 3. 4. 5. In a humid or dusty environment In a room with poor ventilation On a surface which is not horizontal Inside a vehicle such as a car, where it will be subject to vibration In an extremely hot or cold environment
SAMPLE TOOLS.... 171 GET INFO.... 171 QUICKLOAD.... 172 QUICKSAVE.... 172 W/FORM..... 173 SAMPLE LIST.... 175 STEREO AND MONO SAMPLES... 177
RECORD.... 178 RECORD.... 178
SETTING RECORD LEVELS.... NAMING RECORDINGS.... MAKING A RECORDING.... OVERWRITING AN EXISTING SAMPLE... RE-RECORDING THE SAMPLERS OUTPUTS... RECORD ERROR MESSAGES... 184 185
FX..... 186 FX..... 186 RING MOD/DISTORTION... 192 EQ.... 193 EQ TEMPLATES.... 194 EQ MODULATION... 195 MODULATION EFFECTS... 196 CHORUS.... 196 FLANGE..... 196 PHASE.... 197 ROTARY SPEAKERS... 198 FREQ/AMP MOD.... 200 PITCH SHIFT.... 201 PITCH+FEEDBACK.... 202 MODULATION EFFECTS TEMPLATES... 203 DELAY FX.... 204 MONO LEFT.... 204 MONO L/R.... 205 XOVER L+R.... 206 STEREO DELAY.... 206 DELAY EFFECTS TEMPLATES.... 206 REVERB EFFECTS.... 207 OUTPUT MIX (MULTIFX1 AND 2 ONLY)... 210 EFFECTS TOOLS.... 212 COPYING EFFECTS.... 213 SAVE..... 216 SAVE..... 216 NOTES REGARDING SAVE.... 218
UTILITIES.... 219 SYSTEM SETUP.... 219 SET CLOCK.... 221 PREFERENCES.... 222 MIDI SETUP.... 223 MIDI FILTER.... 224 FX IN/OUTS.... 225 DISK UTILS.... 226 RENAMING ITEMS ON DISK... 226 DELETING ITEMS FROM DISK.... 227 FORMATTING DISKS.... 228 UNLOCK DISK... 232 MEMORY TEST..... 233 SHOW HARDWARE.... 234 SET PLAY KEY.... 235
TEST TONE.... SAVE O/S TO FLASHROM... SAVE O/S TO FLOPPY DISK.... LOADING OPERATING SYSTEMS... 238 239
VIRTUAL SAMPLES.... 242
VIRTUAL SAMPLES.... 242 TO PLAY BACKING TRACKS... 242 FOR SPINNING IN... 242 FOR MASTERING... 242 HOW DOES IT WORK?.... 243 RECORDING VIRTUAL SAMPLES... 245 LOADING VIRTUAL SAMPLES.... 247 CONVERTING SAMPLE TYPES.... 248 EDITING VIRTUAL SAMPLES... 249 WORKING WITH VIRTUAL SAMPLES IN A PROGRAM.. 249
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
REMOVING THE PANEL (S6000 ONLY)
To remove the S6000 front panel, turn the two chrome thumb screws found top left and right of the panel counter clockwise until they feel very loose. Using the recessed finger grips either side of the panel, with a gentle but firm action, pull the top of the panel forward:
Try not to use too much force. Now lift the panel up and out of the recess. If the panel does not come away, check the thumbscrews in case one or both of them are still attached to the main case. To attach the panel, simply do the reverse.
REMOVABLE PANEL CABLE LENGTH
The S6000 is supplied with a short cable for packing and transportation purposes. This allows the S6000 to be used immediately with the removable panel attached to the main chassis. If you wish to use a longer cable, you need a simple 9-pin > 9-pin (female to female) extension lead. These are readily available in most computer stores. The maximum recommended length is 10 metres. If you use a cable longer than this, you may experience unreliable operation. If you have any difficulty obtaining such a cable, please contact your AKAI professional dealer.
S6000 REAR PANEL
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
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.
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.
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.
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.
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.
OUTPUT KEYGROUP P/AMP FILTER AMP PAN LFO1 LFOA 3 R DL D R DL D MOD WHEEL PITCH BEND AFTERTOUCH EXTERNAL MIDI VELOCITY KEYBOARD LFO 1 LFO 2 AMP ENV FILTER ENV AUX ENV MOD WHEEL PITCH BEND EXTERNAL
This resembles the patch pin matrix used by an early make of British analogue synthesiser where pins are inserted into a board to make a connection. Down the left are the modulation sources and across the top are the destinations (or modulation inputs) they can be routed to and in the above example, the MODWHEEL is routed to amplitude and panning. AFTERTOUCH is also routed to the second amplitude modulation input. As you can see, LFO 2 is routed to control panning and also filter cutoff frequency. In this example, the AUX ENV is controlling the depth of LFO 2s output whilst the MODWHEEL is controlling LFO 2 rate. As you can imagine, there are many permutations and possibilities.
NOTE: A modulation input may only have one control source routed to it so it is not possible, for example, to route LFO2 and the MODWHEEL to, say, FILTER mod input 1. However the same effect can be achieved by routing MODWHEEL to filter input 1 and LFO 2 to filter input 2.
Routing controllers to destinations on the S6000 is easy. Down the right side of many of the EDIT PROGRAM pages, you will see the modulation inputs. For example, the FILTER:
OUTPUT, KG PITCH/AMP and the LFOs are similarly laid out for consistency between pages. In this example, VELOCITY is routed to MOD INPUT 1, LFO2 to MOD INPUT 2 and the AMP ENV to MOD INPUT 3. To set these controllers levels, simply press the soft key to their right and use the DATA wheel to set a value between +/-100. To assign another controller, simply press the appropriate key again. This will place the cursor on the actual controller field:
You may now use the DATA wheel to select any of the controllers you want. One other useful feature is the GOTO SOURCE found on F16 on any page that has modulation inputs. Pressing this will take you directly to the selected controllers page where you may set its parameters. In the controllers page, you will find an equivalent GOTO DEST (i.e. destination) to return you back to where you came from. In this way, it is easy to interact with the control source and the destination.
Probably the first thing you will want to do after booting up your sampler is to load some sounds (if you wish to record your own sounds first, then skip to the section that describes recording). When you press LOAD, you will see something like this screen:
Here, you see a list of folders (or directories). These contain sounds or can contain further subfolders containing more sounds, etc. Folders are selected using the SELECT keys on F15/F16 or via the DATA wheel. Once you have selected a folder, if you know whats in it, you can load its entire contents into memory by pressing F14 - LOAD FOLDER.
On the S5000, the EB20 is optional.
Assuming you have loaded a multi and its associated programs, pressing MULTI will show something like this:
If you have more than one multi loaded, they are selected using F1 and the DATA wheel (or can be selected in the MULTI LIST). Down the left hand side in a large, easily read font are the programs assigned to the first six parts. However, you may select to view more parts if you wish by pressing VIEW 12 PARTS found on F8:
Or you may view 18 parts:
And you may revert back to 6 parts:
Parts are selected simply by pressing one of the function keys F2-F7 alongside it. For example, pressing F2 would select Part 1 - DRUMS 1:
The parts parameters appear down the right hand side of the screen where you may set level, output assign, FX send level, etc. The logic for selecting parts is as follows: When you press any F key 2-6, the parts number field is always selected so that you can scroll through parts in the multi quickly and easily using the DATA wheel. You may also use the SCROLL UP/DOWN keys to step through each part though this may be a slow way to move through a multi with 128 parts!
NOTE: When viewing 12 parts, the function keys select the parts in pairs. Press the function key once to select the first part of the pair, then again to select the second. When viewing 18 parts, the function keys select the parts in threes. Press the function key to select the first of the three parts, again to select the second and again to select the third.
When the cursor is on the number field as shown on the preceding page, press the CURSOR > key to move to the part name field to assign a program to that part:
You can use CURSOR < to move back to the number field if you wish or you can just hit the F key again. When the part name field is selected as shown above, using the SCROLL DOWN/UP keys keeps the cursor in the name field for every part. In this way, you can assign programs to parts very quickly. For example, first press F2 to select Part 1 then press CURSOR > to select the name field and assign the program. Now press scroll down, assign program, scroll down, assign program, etc.).
When a part parameter is selected (e.g. LEVEL), the whole part box is highlighted:
In this situation, you can use the SCROLL UP/DOWN keys to select another part if you wish to edit the same parameter for that part. For example, if, in the above screen shot, you wanted to balance the levels for Parts 6, 7, 8, etc., you could use SCROLL DOWN very effectively:
As well as butting keygroups end to end, you may also set keyspan overlaps. Sometimes, when mapping samples out across the keyboard range, there can be abrupt tonal changes from one sample/keygroup to another. In such circumstances, you may overlap adjacent keyspan ranges. The S6000 will automatically crossfade the two keygroups for a smooth transition between the keygroups. E.g.:
C0 - C4 KEYGROUP 1
D#3-G8 KEYGROUP 2
In this simple example, two keygroups have been set to overlap. When played, the region between D#3 and C4 will crossfade.
NOTE: If there is a tuning discrepancy between the keygroups samples, you may experience a chorus effect in the overlap/crossfade region. Be sure to tune the samples precisely to overcome this. Also, please note that in the overlap region, two voices are used (four if they are stereo samples) and so you will find that polyphony is reduced in the overlap/crossfade region.
Pressing KG PITCH/AMP in either the MAIN or KEYGROUP pages will show something like this:
The parameters are: SEMITONE TUNE FINE TUNE KEYGROUP LEVEL This allows you to tune the keygroup in semitone steps. This allows you to fine tune the selected keygroup. This sets the overall level of the keygroup. The range is +/-30dB. You will note that this level control is after the filter and so cannot be used to reduce level to the filter to prevent distortion if high resonance is used. For that, use the filters ATTENUATION parameter. However, the KEYGROUP LEVEL is useful when you have maybe used ATTENUATION on the filter - the KEYGROUP LEVEL can be used to bring the attenuated signal back up. PITCH MOD 1/2 Here you may set pitch modulation levels for the selected keygroup. You may also select a controller for the two pitch mod inputs by pressing the soft key again to move the cursor to the controller field. Use the DATA wheel to select the controller. Here you may set amplitude modulation levels for the selected keygroup. You may also select a controller by pressing the soft key again to move the cursor to the controller field. Use the DATA wheel to select the controller. This will take you directly to the selected controllers page. Of course, a mod input needs to be selected for this.
NOTE: If you are using the FILTER ENVELOPE as a mod source elsewhere in the APM modulation matrix (for example, if the filter envelope is being used to control, say, pitch), a value other than +000 needs to be set here otherwise you will not hear the pitch sweep effect. However, because this parameter also sets the level for the hardwired link to the filter, setting a value appropriate to the pitch sweep effect you want will also affect filter modulation which may or may not be what you want.
Pressing AUX ENVELOPE will show something like this screen:
The parameters are: RATE 1 RATE 2 RATE 3 RATE 4 LEVEL 1 LEVEL 2 LEVEL 3 Sets the time it takes for the envelope to get to LEVEL 1 Sets the time it takes for the envelope to get to LEVEL 2 Sets the time it takes for the envelope to get to LEVEL 3 Sets the time it takes for the envelope to get to LEVEL 4 Sets the level for RATE 1 Sets the level for RATE 2 Sets the level for RATE 3. This is also the level at which a note will sustain when you hold a note Sets the level for RATE 4.
AUX ENVELOPE WINDOWS
RATE 1 and RATE 4 have window functions:
The parameters in the RATE 1 window are: RATE 1 VEL>RATE 1 RATE 1 is duplicated here for convenience. This allows you to use velocity to control RATE 1s time. Setting a positive value here will result in heavy keystrikes making RATE 1 faster (and light keystrokes making the RATE 1 slower). Negative values set here will produce the opposite effect.
The parameters in the RATE 4 window are: KEYBOARD>R2/R4 VEL>RATE 4 This will set how much key position will affect RATE 2 and RATE 4. This sets how much note-on velocity will affect the speed of RATE 4. Setting a positive value here will result in heavy keystrikes making R4s time faster (and light keystrokes making R4s time slower). Negative values set here will produce the opposite effect. This is duplicated here for convenience.
In the main EDIT PROGRAM page, F15 is CREATE PROGRAM where you may create a brand new, empty program. Pressing this pops up this screen:
An auto numbered name is automatically assigned using the currently selected program name as a seed. You may, however, rename this if you want in the usual fashion either by using the CURSOR </> keys and the DATA wheel or more conveniently with an external QWERTY keyboard.
This sets the level for the RE-SCALE function and allows you to turn the level of a sample up or down. This is an off-line function and will show the Processing sample progress display described above followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. This initiates the RE-SCALE process. Pressing this will show the Processing sample progress display described above followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. This allows you to bring a samples level up to optimum. Pressing this will show the Processing sample progress display described above followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. This allows you to reverse a sample. Pressing this will show the Processing sample progress display described above followed by the PLAY/KEEP ORIGINAL/NEW/BOTH and RENAME prompt. This returns you to the main EDIT SAMPLE page.
Pressing TRIM will show something like this screen display:
Here, you can set start and end points and discard audio either side of them. The waveform display is slightly different to that shown in the MASTER page in that the upper waveform shows an overview of the sample with the loop area highlighted whilst the main lower waveform display allows you to zoom in on it for a finer resolution:
The parameters are: START/END These set the start and end points of the region you wish to edit. Use the CURSOR keys to move around the field and the DATA wheel to adjust the value. For example, in the screen shot shown above, to make a big change to the start point, move the cursor to the 3 of 33989 using the CURSOR < key. As you move the DATA wheel, you will increment in big jumps. This is good for getting some way into the sound with little effort. When you are close to where you want to be, move the cursor one position right using the CURSOR> key to edit the start point in smaller increments. As you get closer and closer to the point you want to set, you can use finer incrementation until, with the cursor on the furthest right field, you are editing to a resolution of individual sample accuracy. You can use ZOOM IN to see the waveform with greater accuracy. You will hear the results in real-time as you play your MIDI keyboard or use the ENT/PLAY key and adjust the START or END times.
NOTE: If the sample has a loop, you cannot move the START and/or END point within the loop.
This is the next and final modulation effect.
It is pretty much the same as PITCH SHIFT except that there is a delay line in the feedback path:
FBK L DELAY L SHIFT LEFT Audio in DELAY R SHIFT RIGHT FBK R
The signal from the pitch shifter is fed back into itself via a delay line. If you can imagine it - the sound goes through the pitch shifter and, after a delay, the pitch shifted sound is fed back into the pitch shifter where it is further pitch shifted. After a delay, it is fed back again after the delay and shifted again. The amount of feedback and the delay time for each channel is separately variable and this gives rise to all sorts of weird and wonderful arpeggio effects. The parameters are: LEFT SEMITONE LEFT FINE LEFT DELAY LEFT FEEDBACK Sets the left channels pitch shift in semitone increments. Allows you to fine tune the left channels tuning. Sets the delay time for the left channels feedback. Sets the amount of feedback for the left channel.
RIGHT SEMITONE RIGHT FINE RIGHT DELAY RIGHT FEEDBACK Sets the right channels pitch shift in semitone increments. Allows you to fine tune the right channels tuning. Sets the delay time for the right channels feedback. Sets the amount of feedback for the right channel.
NOTE: When PITCH+FEEDBACK is selected, this uses the delay line normally used for delay/ echo effects (you will note that the DDL section in the multiFX block diagram is also highlighted when PITCH+FEEDBACK is selected to indicate this). In other words, the delay/echo effects described next are not available when PITCH+FEEDBACK is selected. Attempting to access the DELAY FX in the main MULTIFX page in this case will pop up this dialogue:
If you want to use the delay effects, please select another modulation effect type.
In all the modulation effects types, the ACTIVE switch on F10 allows you to bypass the selected effect from the chain of effects.
MODULATION EFFECTS TEMPLATES
A wide variety of templates are offered that cover the whole range of modulation effects from mild chorus to thick flanging to rotary speakers, autopan, tremolo, pitch shift and many other special effects. These can be used as is or can be edited and used as the basis for your own effects. Simply select a template that is close to what you want and make the necessary tweaks to it for your own requirements.
*** IMPORTANT NOTE ABOUT SAVING TO FLASHROM *** ONLY USE [SAVE O/S] IN UTILITIES IMMEDIATELY AFTER INSTALLING AN OPERATING SYSTEM OR IMMEDIATELY AFTER SWITCHING THE SAMPLER ON (I.E. WHEN THERE IS NO DATA IN MEMORY)
SAVE O/S TO FLOPPY DISK
You may also use SAVE O/S to create a boot disk so that starting the sampler up with this in the floppy drive will boot the sampler up with your personalised settings. Creating a boot disk may be useful to back up your settings but also if you are likely to be using another S6000 or S5000 and you want it to have the same system settings and preferences as yours. When you press SAVE TO FLOPPY, you will get this prompt:
As the prompt informs you, all data on the floppy disk will be destroyed - ensure that the disk in the floppy disk drive does not contain valuable sound library or other data. As the OS is being saved to floppy disk, you will see this display:
At the end of the OS save, you will be returned to the SAVE TO FLOPPY prompt shown above. Press NO/CANCEL to abort. When you boot from this disk, start-up will be slower as the O/S is loaded from floppy disk (it will take about a minute to boot up). At the end, you will see the usual Searching for disks. and the AKAI professional welcome screen after which you will be taken to a prompt that asks if you want to write the operating system to FlashROM. If you respond NO, you can run the S6000 from the O/ S loaded from floppy disk. If you respond YES, you will see the progress displays the screens shown on the previous page as the O/S is programmed into the FlashROM (this process is described on the next page).
LOADING OPERATING SYSTEMS
There will be occasions when you want to install an operating system. This may be to re-install a backup O/S created using SAVE O/S described on the preceding page or to install a new operating system as they are released. To load an operating system, with the sampler switched off, simply insert the floppy disk into the disk drive and power on. The screen will be blank and all the mode keys will illuminate. You will also see the floppy disk drive working. After about 35 seconds, you will see this screen:
The sampler is setting up the SCSI bus. After this is done, you will receive this prompt:
You should respond accordingly.
If you respond YES, you will see this sequence of screens and progress displays:
As the FlashROM is erased (to make room for the new O/S), you will see a series of dots move across the display followed by OK.
Then the O/S will be written to FlashROM:
A series of dots fill up the prompt line by line and the display will scroll up the prompt window as the O/S is written to FlashROM. At the end, you will be returned to the main UTILITIES page. As it is not possible to load just part of the O/S, there is no ABORT function.
Internal Memory Polyphony Filter Envelope generators L.F.O. Display Diskette drive Connectors REC IN STEREO OUT ASSIGNABLE OUTS HEADPHONES MIDI SCSI Interface AES/EBU digital IN/OUT Word clock input ASCII Keyboard input REC GAIN Power Requirements
Dimensions Weight Accessories
Optional Accessories VOX64 EB20 IB-1616A IB-S56USB S6SM64
* Above specifications are subject to change without prior notice.
MIDI CONTROLLER LIST
The following is a list of the controllers that may be used as an EXTERNAL controller within a program. The selected controller is set in EXT APM CONT field in the MIDI page in UTILITIES. 14-15 16-19 20-31 32-75-79 80-85-102-119 120-127 Bank Select Modulation wheel or lever Breath controller Undefined Foot controller Portamento time Data entry MSB Main volume Balance Undefined Pan Expression controller Effect control 1 Effect control 2 Undefined General purpose controllers (#1-4) Undefined LSB for values 0-31 Damper pedal (sustain) Portamento ON/OFF Sostenuto Soft pedal Legato footswitch (vv = 00-3F: NORMAL, 40-7F: LEGATO) Hold 2 Sound controller 1 (default: Sound Variation) Sound controller 2 (default: Timbre/Harmonic content) Sound controller 3 (default: Release time) Sound controller 4 (default: Attack time) Sound controller 5 (default: Brightness) Sound controllers 6-10 (No defaults) General purpose controllers (#5-8) Portamento control Undefined Effects 1 depth (formerly External Effects Depth) Effects 2 depth (formerly Tremolo Depth) Effects 3 depth (formerly Chorus Depth) Effects 4 depth (formerly Celeste (Detune) Depth) 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 Undefined Reserved for Channel Mode messages
S5000/S6000 MIDI IMPLEMENTATION CHART
Version : V1.20 FUNCTION. BASIC CHANNEL Default: Changed: Default: Messages: Altered: True Voice: TRANSMITTED X X X X ********** X ********** X X X X X 64 0-127 True #: X X X X X X X ********** O RECOGNISED 1-16 1-16 MODE 3 MODE 1 Date : June, 1999 REMARKS
Here, we have five keygroups, each using the four zones. This may be for a four way velocity switch or for layering four samples together. 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.
So far we have seen keygroups side by side. This is usually fine for most applications but there are sometimes occasions where the abrupt transition between one keygroup and another can be a bit obvious. For example, in a strings program where you maybe have five string samples each at the G of every octave, the transition between B2 and C3 may sound a little strange. The reason for this will normally be that the G2 sample is transposed up by four semitones at B2 and so sounds a little brighter whilst the G3 sample is being played 7 semitones down so it may sound a little duller. As a result, when played next to each other, especially when playing a scale, the crossover point is not even. To overcome this, we can overlap keygroups simply by setting their key ranges accordingly. When keygroups are overlapped in this way, the S6000 will automatically crossfade keygroups for a smooth transition where one keygroup gradually fades down through the overlap whilst the other fades up. I.e.:
Of course, you can use a combination of any of the above techniques and have crossfading, velocity switched keygroups in programs alongside layered and split keyboard assignments. The above diagram examples represent only part of the flexible program editing and multi-sampling potential of the S6000. If all this seems very confusing, dont worry! There are many easy routines in EDIT PROGRAM that allow you to edit all keygroups simultaneously or to copy keygroups. Key ranges can be conveniently set by playing your MIDI keyboard if you wish and, within a short time, you will be making programs very quickly and easily. Of course, once you have a number of programs in memory (either ones you have loaded or ones you may have made yourself), you may want to play a number of them simultaneously. This is done in the multi mode. Multi mode is where you can combine programs together so that they may be played simultaneously. The MULTI mode has up to 128 parts - slots into which programs may be assigned and typically, this is used to sequence several programs multi-timbrally20 by setting each part to be on a different MIDI channel (i.e. Piano on Channel 1, Bass on Channel 2, Drums on Channel 3, Strings on 4, etc.). However, it is also possible to set parts to the same MIDI channel so that you can layer programs. Furthermore, you may set low and high keyboard ranges for each part so that sophisticated keyboard splits may be created.
STEREO DIGITAL SAMPLER
Software Version V2.10 Addendum
To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
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.
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.
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.
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.
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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