1 Option slot This slot is for installing optional interface cards. 2 DIGITAL I/O IN (optional on Z4) This phono connector is used to input S/PDIF format digital audio signals, typically from CD players, DAT decks, or any audio device with S/PDIF format digital I/O. See Sampling on page 22 for more information. 3 DIGITAL I/O OUT (optional on Z4) This phono connector is used to output the MAIN OUT signals as S/PDIF format digital audio. 4 WORDCLOCK IN (optional on Z4) This BNC connector is used to receive external wordclock signals. 5 Wordclock TERMINATOR switch (optional on Z4) This switch is used to terminate the external wordclock signal connected to the WORDCLOCK IN.
6 MAIN OUT These two 1/4-inch balanced phone jacks are the main analog audio outputs. They are wired as follows: tip = hot, ring = cold, sleeve = ground. 7 REC IN These two 1/4-inch balanced phone jacks are used to input analog audio signals and are wired as follows: tip = hot, ring = cold, sleeve = ground. See Sampling on page 22 for more information. 8 MIDI IN x 2 The Z8s two MIDI IN ports support 32 MIDI channels, referred to as 1A to 16A (MIDI IN A) and 1B to 16B (MIDI IN B). See Assigning Programs to Parts on page 69 for more information. 9 MIDI OUT/THRU x 2 These MIDI ports transmit MIDI data received at the respective MIDI IN port (A or B). MIDI Song data can also be transmitted. See General Utilities on page 89 for more information. 10 USB port (Slave) This USB port is used to connect the Z8 to a PC or Mac for use with AKAI professional Akai ak.Sys software, which allows le transfer between the Z8 and the computer, and remote editing of Programs and Multis. See Connecting USB Devices on page 12 for more information. 11 SCSI port This is a 50-way SCSI connector that supports the SCSI standard. It can be used to connect additional storage devices, including hard disk, CD-ROM drives, and removable media drives. See Connecting SCSI Devices on page 12 for more information. 12 AC inlet The supplied AC power cord is connected here. See Getting Started on page 11 for more information.

Getting Started

3 Getting Started
This chapter explains how to get the Z8 up and running, including connecting, switching on, navigating the user interface, and some operating basics.

Installation

If the Z8 is rack mounted, 5 cm of space should be left above and below it to provide adequate ventilation. Do not mount the Z8 directly above equipment that produces a lot of heat, such as a power amplier. If the Z8 is to be free standing, ensure that it is placed on a sturdy, level surface, and that its ventilation grilles are not obstructed.

Hookup Example

Microphone Synthesizer CD player
MIDI keyboard MIDI sequencer

MIDI OUT MIDI IN

MIDI OUT

Z8 (rear panel)

Headphones
To AC outlet Monitors Amplifier

Chapter 3Getting Started

Connecting USB Devices
There are two USB ports on the Z8. The rear panel (slave) port is for connection to a PC or Mac equipped with a USB port, for remote operation of the Z8 using Akai professional ak.Sys software. The front panel (host) port is for connecting USB storage devices, such as oppy disk drives, hard disks, CD-ROM drives, and removable media drives. A USB keyboard can also be connected for quick name entry. The USB ports are hot-pluggable, which means devices can be connected or disconnected even while the Z8 is on. Supported devices are recognized automatically. If a device is not supported, the Z8 simply ignores it.
USB Keyboard USB Hard disk

USB Floppy disk drive

USB CD-ROM drive

USB cable

Connecting SCSI Devices
The Z8 features a SCSI port on the rear panel for connecting SCSI storage devices, including hard disks and removable media drives. The Z8 and your SCSI devices must be switched off before they are connected. Up to seven SCSI devices, each with its own unique SCSI ID, can be connected to the Z8. The last device on the bus must be terminated correctly. See your SCSI devices manual for details.
SCSI terminator SCSI connector
SCSI device 1 (Default SCSI ID: 6) (SCSI ID: 0)
SCSI device 2 (SCSI ID: 1)
Note: Never assign an external SCSI device to the same SCSI ID as that of the Z8. See page 89 for information on setting the Z8 SCSI ID (The factory default ID number is 6). Occasionally, depending on the type and number of SCSI devices connected to the bus, you may nd that errors occur when trying to access devices, or there are problems operating the Z8. In this case, try the following: Ensure that no two devices have the same SCSI ID. Disconnect or disable the terminator, or change the order of the connected devices. Check the SCSI cables. Use the highest quality shielded cables you can nd, and choose the shortest practical length. For information on the drives that can be used with the Z8, please contact your Akai dealer or Akai Professional M.I. Service Department.

Using the Clipboard

Samples, Programs, and Multis can be stored temporarily in the Clipboard. By copying a Sample, Program, or Multi to the Clipboard before editing, you can use the Clipboard to compare your edits with the original. The Clipboard can also be used as an Undo function. There are separate Clipboards for Samples, Programs, and Multis. 1 To copy a Sample, Program, or Multi, to the Clipboard, select the desired Sample, Program, or Multi, then press the CLIPBOARD button. The Clipboard window appears, as shown below.
The selected item appears in the Selected Item parameter, and the item currently stored in the Clipboard appears in the Clipboard parameter.
2 Press COPY to copy the current Sample, Program, or Multi to the Clip-
board. The name of the item in the Clipboard appears at the top of the window. While the Clipboard window is open, you can play the Sample, Program, or Multi in the Clipboard by pressing the PLAY button, or by pressing a key on a connected MIDI keyboard. When the Clipboard window is closed, you can play the current Sample, Program, or Multi, allowing you to compare it with the Clipboard contents.
3 To load the Clipboard Sample, Program, or Multi back into memory, over-
writing the Sample, Program, or Multi with the same name, press RELOAD.
The Warning window appears. This works just like an Undo function. If the original Sample, Program, or Multi cannot be found (e.g., its been deleted or renamed), the Clipboard item is copied into memory as a new Sample, Program, or Multi.

4 Press OK to load.

This works just like an Undo function. If the original Sample, Program, or Multi cannot be found (e.g., its been deleted or renamed), the Clipboard item is copied into memory as a new Sample, Program, or Multi.
5 To erase the contents of the Clipboard, press CLEAR.

Entering Names

Samples, Programs, Multis files are named and renamed by using the Name window, shown below, which appears when the JOG dial is rotated while a nameable parameter is selected. Names can be up to 16 characters long, including spaces.
Use the Left and Right CURSOR buttons to move the CURSOR within the name. Use the Up and Down CURSOR buttons to select uppercase and lowercase characters respectively. To enter a space, while holding down the SHIFT button, press the Right CURSOR button. To delete, while holding down the SHIFT button, press the Left CURSOR button. You can copy and paste the name entry by using the COPY and PASTE buttons. Press ENTER when you have nished. Press CANCEL to cancel the Name window. A USB keyboard can be connected to the front panel USB port for quick name entry.

Chapter 4Loading

These les can be loaded using the same procedure as for Z8 les. When Samples that were created for other instruments are loaded, differences may be heard in the sound output. This is due to the different designs and capabilities of the instruments that the sounds were created for. Practical differences arise due to the use of different looping techniques, lter types, the range and types of FX available, and sound output assignments that are not supported. More le types will be supported in the near future.
Chapter 5Recording Samples

5 Recording Samples

This chapter explains how to record Samples, plus Auto Sampling and sampling with FX.

Sampling

Youll need to connect a sound source to the Z8 in order to record. To record from microphones or analog devices, use the REC IN jacks. To record digital signals from CD players or DAT decks, connect to the DIGITAL I/O IN jack. If an optional IB-4ADT interface has been installed, you can also record signals input at the ADAT IN jack. 1 Press the RECORD button. Its indicator lights up showing that Record mode has been selected, and the following page appears.
2 Select the Input parameter and set the input source to one of the follow-
ing options: ANALOGUE: Selects the REC IN as the input source. DIGITAL: Selects the DIGITAL IN as the input source. (digital inputs are optional on the Z4.) ADAT (1/2, 3/4, 5/6, 7/8): Selects a pair of ADAT inputs as the input source (requires optional IB-4ADT interface). MAIN OUT: Selects the Z8s MAIN OUT as the input source, allowing you to record the output from a Multi.
3 Press the WINDOW button to access the Bit rate, Pre-recording time,
and Auto normalize parameters. The Recording Setup window appears. (If the Time parameter was selected, the Sample memory window appears instead.)
System sampling rate: The system sampling rate can be viewed only here. The sam-
pling rate is set in Utilities mode. See Setting the System Clock & Digital Out Sync on page 90 for more information. Bit-rate: (16 or 24 bit) This sets the bit rate used for recording. Recording in 24-bit offers broader dynamic range, but requires more memory. Pre-recording: (0999 ms) This sets the prerecording time, which allows you to start recording up to 999 ms before the point at which recording is actually triggered, or started manually, ensuring that the beginnings of your Samples are captured in full. Auto normalize: (YES/NO) When Auto normalize is set to YES, the Z8 automatically adjusts the level of the entire Sample to an optimum level after recording.

4 Set the Recording Setup options as required, and then press the WINDOW
button or CLOSE to return to the Record page.
5 Select the Mode parameter, use the JOG dial to select one of the follow-
ing: STEREO: Record a stereo Sample using the left (L) and right (R) input signals. MONO L: Record a mono Sample using the left (L) input signal. MONO R: Record a mono Sample using the right (R) input signal.
6 Select the Monitor parameter, then use the JOG dial to select either: ON: The input source can be monitored via the MAIN OUT and headphones. OFF: The input source is not monitored via the MAIN OUT and headphones. 7 While playing the sound source to be recorded, use the REC
GAIN control to set the recording level. Note that the recording level cannot be set when the input source is set to DIGITAL, ADAT, or MAIN OUT in Step 2. Set the recording level so that the loudest peaks push the LEVEL METER indication across to the far right. If the indication lls the display, or the signal sounds distorted, back off the REC GAIN control. The Peak Hold function is convenient for checking signal peaks, which are indicated by the following indicator( ). You can reset the Peak Hold function by pressing RESET PEAK.
The Margin parameter displays the amount of headroom available before overload.
8 Select the Time parameter, then use the JOG dial to set the recording
time. The Time parameter determines the length of the Sample in hours, minutes, and seconds. Recording stops automatically when the specied recording time has elapsed. Note that you can also stop recording manually by pressing STOP before the end of the specied recording time is reached.
9 To check the available recording time, select the Time parameter, then
press the WINDOW button. The Sample memory window appears.
10 Press CLOSE to return to the Record page. 11 Select the Original parameter.
The Original parameter sets the note that will play the Sample at its original pitch.
12 Select the Threshold parameter, then use the JOG dial to set the record

start trigger:

0 to 63: Recording starts automatically when the level of the input signal exceeds this
threshold. The specied threshold is indicated on the LEVEL METER by the following indicators.

Threshold indicators

Peak hold indicators
OFF: Recording is started by pressing RECORD. MIDI: Recording starts when a MIDI Note On message is received. 13 Press RECORD.

The Start key parameter determines the key to which the rst Sample is assigned. Subsequent Samples are assigned to white keys in ascending order.
4 Select the Sample name parameter and rotate the JOG dial.
The Name window appears. See Entering Names on page 17 for more information. The name that you enter here is applied together with a number to each Sample recorded. For example, if you enter the name METAVIBE, the rst Sample is named METAVIBE 1, the second Sample METAVIBE 2, and so on. If you want to create a new Program, press NEWpgm.

5 Press DO IT.

The message Waiting for input signal. appears at the bottom of the page, and **AUTO SAMPLING** appears in place of LEVEL METER.
6 Start the sound source that is to be sampled.
Recording starts automatically when the level of the input signal exceeds the specied threshold, and the message Recording. appears, as shown below. (Recording can also be started by pressing START.)

Sampling with Q-FX

Recording stops automatically after the level of the input signal falls below the specied threshold, and the message Waiting for input signal. appears, as shown below. (Recording can also be stopped by pressing STOP.)
Recording starts and stops automatically each time the input signal exceeds and falls below the specied threshold until you stop it.
7 Press FINISH to end Auto Sampling.
You can record Samples with FX as follows.
1 On the Record page, press Q-FX.
The Quick FX window appears.
2 Select the Mode parameter, and use the JOG dial to select a mode. OFF: No Q-FX. COMMAND: Use Q-FX, as shown. In this mode you can apply one or two Q-FX while
recording mono or stereo Samples.
FX: In this mode you can apply up to four FX while recording mono Samples (top win-
dow); two when recording stereo Samples (bottom window).
3 If you chose COMMAND, select the Q-FX in the 1: and 2: parameters.
The following Q-FX are available.
Q-FX POWER SWELL DISTORT CRISP GROW DRUM MASSIVE DR WHIRL DISTANCE COSMO RUMBL ROBOT UNDERSEA Threshold Rate Depth Depth Tune Tune Rate Wide Rate Time Delay Rate Parameters (10 to +10) Attack Feedback Tone Tone Depth Depth Feedback Shape Depth Depth Depth Depth
4 If you chose FX, use the JOG dial to select the FX and set the Wet|Dry
and Effect parameters, or press EDIT to edit the selected FX processor. See Editing FX on page 81 for more details.
5 Press CLOSE to return to the Record page, and continue recording as nor-
mal. When Q-FX is enabled for recording (i.e., set to COMMAND or FX), a tick appears in the Q-FX button, as shown below.

Editing Samples

6 Editing Samples

A, B: In these parameter, select Samples to merge. Level: Sets each Sample level.
NORMALIZE The Normalize function adjusts the Sample level to maximum.
Normalizing all Samples 1 Press ALL to normalize all Samples in memory. The Normalize All Samples window appears.
2 Press DO IT to execute.
The KEEP or RETRY window does not appear when all Samples are normalized.
Normalizing tagged Samples 1 Press TAGGED to normalize all Samples in memory. The Normalize Tagged Samples window appears.
The KEEP or RETRY window does not appear when tagged Samples are normalized.
Note: After the Normalize function is executed, the level of Samples changes. Therefore, when you normalize all Samples, the Programs level balance may change. RE-SCALE The Re-scale function enables you to change the level of a Sample.
When MAX is pressed, the Z8 scans the entire Sample and automatically calculates the maximum amount of gain that can be applied before saturation. The calculated value appears at the Level parameter.
TIME STRETCH The Time Stretch function enables you to change the speed of Samples without affecting their pitch.
Amount: This sets the amount of speed to be changed as a percentage.
The Preset and Adjust parameters are the same as those for the Pitch Shift function.
STEREO TO MONO The Stereo To Mono function enables you to convert stereo Samples to two mono Samples.
Name the L channel and R channel Sample names by using the New Left Name and New Right Sample parameters.
MONO TO STEREO The Mono To Stereo function enables you to convert two mono Samples to create a new stereo Sample.
Select an L-channel Sample for the L source parameter and an R-channel Sample for the R source parameter, then enter a name for the new stereo Sample in the New ST name parameter.

Resampling with Q-FX

You can resample a Sample with Q-FX, creating a new Sample in the process. 1 On the TRIM page, press Q-FX. The Quick FX Resampling window appears.
The Quick FX Resampling function offers two modes: COMMAND and FX.
2 Select the Mode parameter, then use the JOG dial to set the mode.

COMMAND mode

You can apply Q-FX by using intuitive command names, such as POWER and SWELL. The parameters settings for the selected Command appears on the display. The following Q-FX types are available:
In Command mode you can apply two Q-FX simultaneously. 1 Press >FX to audition the processed Sample, or press >ORIG to listen to the Sample without any Q-FX.

Slicing Regions

You can slice a Sample into Regions and make them new individual Samples. 1 On the Region page in Sample mode, press EDIT to display the Sample Edit window.
2 Select the Edit parameter, then use the JOG dial to select SLICE.
3 Select the parameters, then use the JOG dial to set them as required. End margin: This parameter species how the End point of the Region is treated. When it is set to zero (0), the End point of the Sample created from the Region is the same as the Region End point. When it is set to any number other than zero, the End point of the newly-created Sample is located after the Regions End point, by the amount specied by this parameter. This extra padding prevents interruptions or gaps between the Samples when you sequence the sliced Samples and play them from a sequencer with a slow tempo. Assign to program: This parameter species whether or not the created Sample is assigned to a Program. 4 To assign the newly-created Sample to a Program, select YES for the
Assign to program parameter in the Sample Edit window, then press DO IT. The Assign to Program window appears.
5 Select the parameters, then use the JOG dial to set them as required. Add to: Species a Program to which you wish to assign the new Sample. You can create a new Program by pressing NEWpgm. Start key: Species the key note to which the rst Sample is assigned. The rest of the Samples are automatically assigned to the next highest notes in order. Sample name: Species the name of the new Sample. When you turn the JOG dial on this parameter, the Name window appears. See Entering Names on page 17 for more information. The name you enter here, plus an instance number, is applied to the created Samples. For example, if you entered METAVIBE as the Sample name, the rst Sample is named METAVIBE 1, the second Sample is named METAVIBE 2, and so on. 6 Press DO IT to assign the Samples to the Program.

BPM Tempo Matching

You can adjust the tempo of a Sample in two ways, as follows. 1 On the REGION page, press B.P.M. The BPM Match window appears. You can adjust the tempo by tuning or stretching.
2 Select the Edit parameter, then use the JOG dial to select TUNE (PITCH
CHANGED) or STRETCH (NO PITCH CHANGE). TUNE (PITCH CHANGED)
The tempo of a Sample is adjusted by changing its pitch.
STRETCH (NO PITCH CHANGE)
The tempo of a Sample is adjusted without changing its pitch by the Time Stretch function.
3 Select the Current tempo parameter, then use the JOG dial to set the cur-
rent tempo. If you dont know the current tempo, you can use the Tempo Calculator, shown below. You can access the Tempo Calculator by pressing TEMPO.
Select the parameters, then use the JOG dial to set them. Section: Species the length of a section for use with the tempo calculation. Beat: This parameter should be set to the number of beats per bar of the phrase. Current tempo: The Tempo Calculator calculates the tempo based on the Section parameter and Beat tempo parameter. The calculated tempo is displayed here.

Press DO IT. All Samples in memory are deleted. If you pressed TAGGED, the Delete Tagged Samples window appears, as shown below.
Press DO IT. Only the tagged Samples in memory are deleted.
Adding Samples to Programs
Samples selected in the Sample window can be added to Programs as follows. 1 While the Sample name is selected in the Sample window (page 46), press TO PGM to open the Add to Program window. See Adding Samples to Programs on page 47 for information on using the Add to Program window.

Chapter 7Using Programs

7 Using Programs

About Program Mode

This chapter explains how to create and edit Programs in Program mode. In Program mode you can play only one Program at a time. In Multi mode you can play many Programs simultaneously. See page 67 for information on using Multi mode.

Selecting Programs

Programs can be selected for playing and editing as follows. 1 Press the PROGRAM button. The PROGRAM button indicator lights up and the MAIN page appears. The MAIN page for Keygroup Programs is shown below.
The MAIN page for Drum Programs is shown below.
2 Select the Program name, and then use the JOG dial to select a Program.
Only Programs already in memory can be selected. To select a Program stored on a storage device, you must load it rst. See Loading on page 18 for more information. New Programs, or Programs that have been edited, have an asterisk next to their name if they have not yet been saved, as shown below.
See Saving on page 84 for information on saving Programs. You can edit multiple Programs simultaneously by tagging them. To tag a Program, select the Program name in the upper-left corner, press and hold the SHIFT button, and then press TAG, as shown below.

Configuring Programs

Tagged Programs have a tick next to their name, as shown below.
To untag a Program, press and hold the SHIFT button, and then press TAG again. You can untag all Programs by pressing ALL CL. Programs can also be tagged on the Tag List window, shown below, which is accessed by pressing LIST.
Use the JOG dial or Up and Down CURSOR buttons to select Programs, and press TAG to tag or untag the selected Program. Tagged Programs have a tick next to their name. Press ALL CL to untag all tagged Programs.

Conguring Programs

Keygroup and Drum Programs can be congured as follows. 1 Press the PROGRAM button. The PROGRAM button indicator lights up and the MAIN page appears.
2 Select the Program name, and then use the JOG dial to select a Program. 3 Select the parameters, and use the JOG dial to set them as required. Monitor: (OMNI or MULTI) This parameter determines how the selected Program responds to MIDI data in Program Mode. When this parameter is set to OMNI, the Program can be played via any MIDI Channel. When it is set to MULTI, you can monitor the currently-selected Multi. Level: (60.0 to +6.0) This sets the output level of the Program. Transpose: (36 to +36) This can be used to transpose incoming MIDI note messages. Tune: (36.00 to +36.00) This sets the pitch of the Program in semitone and cent steps. Program No. (1128 or OFF) This parameter determines the MIDI Program Change that will select the Program. When set to OFF, the Program ignores MIDI Program Change messages. Pressing the WINDOW button while the Program No parameter is selected opens the Program List window, shown below, which can be used to assign Program Change numbers to Programs.

Configuring the LFOs

Conguring the LFOs
The LFO1 and LFO2 of each Keygroup, or Drum sample note, can be congured as follows. 1 Select a Program as explained on page 48, press KGRP (ASSIGN for Drum Programs), and then press LFO. The LFO page appears, as shown below.
2 Select the LFO parameter, and use the JOG dial to select LFO1 or LFO2.
Alternatively, press LFO to toggle between LFO1 and LFO2. The page layout and parameters for LFO1 and LFO2 are the same.
3 Select the Kg parameter, and use the JOG dial to select a Keygroup.
For Drum Programs, instead of the Kg and Kg edit parameters, you can select individual drum Sample notes. You can edit the LFO1 or LFO2 of individual Keygroups or all Keygroups simultaneously by setting the Kg edit parameter. When set to ONE, edits apply to only the selected Keygroup. When set to ALL, edits apply to all Keygroups absolutely. So if the Delay of one Keygroup is set to 10, the Delay of all Keygroup are set to 10. When set to ADD, edits apply to all Keygroups relatively. So if Keygroup #1 has a Delay of 50, and Keygroup #2 has a Delay of 30, increasing the Delay of any Keygroup by 10 will change the Delay of Keygroup #1 to 60, and that of Keygroup #2 to 40.
4 Select the parameters, and use the JOG dial to set them. Depth: (0100) This determines the LFO depth. Rate: (0100) This determines the LFO speed. When the Midi Sync parameter is set to ON, the rate is synchronized to the incoming MIDI Clock information and this parameter can be used to set the number of oscillator cycles per beat: 1/8, 1/6, 1/4, 1/2, or 164. Delay: (0100) This determines the LFO delay time. Wave: (TRIANGLE, SINE, SQUARE, SAW UP, SAW DOWN, RANDOM) This
selects the LFO waveform. The current waveform is displayed graphically. Phase: (0360) This determines the start phase of the LFO waveform, 360 being one complete cycle. The current start phase is displayed on the waveform by a vertical dotted line. Shift: This offsets the center of the LFO waveform. Re-Trigger: (ON, OFF) This determines how the LFO is retriggered when subsequent notes are played. When set to ON, the LFO restarts each time a new note is played. When set to OFF, the same LFO waveform is applied to subsequent notes. Lfo Sync: (ON, OFF) When set to ON, the LFOs of all voices are synchronized. all LFOs are synchronized. Midi Sync: (ON, OFF) When set to ON, the LFO speed is synchronized to the incoming MIDI Clock information, and the Rate parameter can be used to specify the number of oscillator cycles per beat. You will need to congure Program Modulation for controls via the LFOs. Press the WINDOW button while a parameter other than the Program name is selected to open the Program Modulation window. See Conguring Program Modulation on page 58 for more information.

Conguring the Filters

The Filter of each Keygroup, or Drum Program note, can be congured as follows. 1 Select a Program as explained on page 48, press KGRP (ASSIGN for Drum Programs), and then press FILTER. The FILTER page appears, as shown below.
2 Select the Kg parameter, and use the JOG dial to select a Keygroup.
For Drum Programs, instead of the Kg and Kg edit parameters, you can select individual drum Sample notes. You can edit the Filters of individual Keygroups or all Keygroups simultaneously by setting the Kg edit parameter. See Conguring the LFOs on page 63 for more information.
3 Select the parameters, and use the JOG dial to set them. Filter type: The following Filter types can be selected: OFF, 2-POLE LP, 2-POLE LP+, 4-POLE LP, 4-POLE LP+, 6-POLE LP, 2-POLE BP, 2-POLE BP+, 4-POLE BP, 4-POLE BP+, 6-POLE BP, 1-POLE HP, 1-POLE HP+, 2-POLE HP, 2-POLE HP+, 4-POLE HP, 4-POLE HP+, 6-POLE HP, LO< >HI, LO< >BAND, BAND< > HI, NOTCH 1, NOTCH 2, NOTCH 3, WIDE NOTCH, BI-NOTCH, PEAK 1, PEAK 2, PEAK 3, WIDE PEAK, BI-PEAK, PHASER 1, PHASER 2, BI-PHASE, VOWELISER, TRIPLE. The Filter types marked with a + feature enhanced resonance. Cutoff freq: (0100) This sets the cutoff frequency of each Filter. Resonance: (064) This sets the resonance of each Filter. Attenuation: (030) This allows you to adjust the headroom of the Filter Amps in order to reduce the risk of distortion when resonance is applied. When Filter type is set to TRIPLE, three 2-pole lters can be congured individually, as shown below.
4 Select the parameters, and use the JOG dial to set them. Freq: This sets the cutoff frequency of each Filter. Reso: This sets the resonance of each Filter. Type: The following Filter types can be selected: 2LP, 2HP, 1HP, 1BP, NOTCH, EQ,

EQ+, or OFF.

Att: This allows you to adjust the headroom of the Filter Amps in order to reduce the risk
of distortion when resonance is applied.
Configuring the Amp, Filter & Aux Envelopes
Conguring the Amp, Filter & Aux Envelopes
The envelopes for each Keygroup, or Drum Program note, can be congured as follows. 1 Select a Program as explained on page 48, press KGRP (ASSIGN for Drum Programs), and then press ENVELP. The ENVELP page appears, as shown below.
For Drum Programs, instead of the Kg and Kg edit parameters, you can select individual drum Sample notes. You can edit the Envelope for individual Keygroups, or for of all Keygroups simultaneously by setting the Kg edit parameter. See Conguring the LFOs on page 63 for more information.
3 Select the ENV parameter, and use the JOG dial to select the Envelope.
Alternatively, press ENVELP to toggle between the Envelopes. There are three types of Envelope: Amp (mainly used for level controls), Filter (mainly used for Filter Envelopes), and Aux (mainly used for pitch Envelopes). The parameters for each Envelope are explained below.

Input Output Input Output

FX1 FX2 FX3 FX4

Note: While Sample recording is in progress, FX4 does not feed its output signal to any of the outputs. However, if its used in series, its output signal is fed to the subsequent FX processor. In the following example, FX1 and FX2 apply distortion and reverb in series to the signal routed from Send A. The output of FX1 is set to OFF. The input source for FX2 is set to FX1. Samples routed to Send A are processed by FX1 (distortion), whose output is fed to the input of FX2 (reverb), the output of which is fed to L-R.

Configuring FX Outputs

Conguring FX Outputs
The output of each FX processor can be set as follows. 1 Press the FX button. The FX button indicator lights up and the PATCH page appears.
2 In the Output column, select the Output parameter of the FX processor
whose output you want to congure, and use the JOG dial to select one of the following options. OFF, L-R, 1-2, 3-4, 5-6, 7-8, L, R, or 18: The output of each FX processor can be fed to the MAIN OUT, an individual left or right MAIN OUT (L-R), a pair of individual outputs (if IB-48P installed), or a single individual output (if IB-48P installed). When OFF is selected, the FX processor output is not fed to any of the outputs, which is useful when FX are connected in series. In the following conguration example, FX3 and FX4 provide delay and reverb in series. The input source for FX4 is set to FX3. Samples routed to FX Send B are processed by FX3 (delay), whose output is fed to both L-R and the input of FX4 (reverb), the output of which is also fed to L-R.

Selecting FX Types

The FX type for each FX processor can be selected as follows. 1 Press the FX button. The FX button indicator lights up and the PATCH page appears.
2 In the FX Type column, select the FX processor for which you want to set

the FX type.

3 Rotate the JOG dial.
The Select Effect window appears, as shown below.
4 Use the JOG dial to choose an FX type, and then press SELECT to select it.
See page 82 for a complete list of available FX types.

Linking FX

FX1 and FX2, or FX3 and FX4 can be linked together for use with stereo Samples. Normally each FX processor has a mono input and stereo output. Linked FX, however, have a stereo input and stereo output. 1 Press the FX button. The FX button indicator lights up and the PATCH page appears.
2 To link FX1 and FX2, select the Input or Output parameter of FX1 or FX2

Monitoring MIDI Activity

You can monitor MIDI activity at the MIDI IN A and B ports as follows. 1 Press the UTILITIES button, then select the MIDI page shown below.
When a MIDI message is received, a square indicator appears above the corresponding port and MIDI Channel number, useful for troubleshooting MIDI setups.

Initializing the Z8

All parameters inside the Z8 can be reset to their factory defaults as follows. 1 Press the UTILITIES button. The UTILITIES button indicator lights up and the GLOBAL page appears.

2 Press INIT.

The Initialize ALL PARAMETERs window appears, as shown below.
All parameters are reset to their factory defaults.

Erasing Entire Memory

You can erase the Z8 memory as follows. 1 Press the UTILITIES button, then select the MEMORY page, shown below.
The MEMORY page includes the following information. Memory Fitted: Indicates the installed memory size. Wave Memory Free: Indicates the available Wave memory size. CPU Memory Free: Indicates the available CPU memory size. The number of les that can be stored in the Z8 is determined by the CPU memory size. Multis, Programs, Samples, Songs: Indicate the number of Multis, Programs, Samples, and Songs in memory. 1 Press CLEAR to open the CLEAR MEMORY window, shown below.
2 Select the Do parameter, then use the JOG dial to select CLEAR MEM-

ORY (DELETE ALL).

The Warning window appears for conrmation.
4 Press YES to erase all data in memory.
You can also select PURGE UNUSED SAMPLES, or PURGE UNUSED PROGRAMS for the Do parameter. These functions are the same as PURGE SAMPLES and PURGE PROGRAMS in the Program window in Program mode. After selecting one of these functions, press DO IT to open the Warning window, then press YES to execute the function.

Testing Memory

You can test the memory inside the Z8 by pressing TEST on the MEMORY page. When you press TEST, the Z8 automatically starts the memory test. When the test is complete, the result is displayed.
Defragmenting the Memory Space
When you load, record, or delete Samples frequently, unnecessary space is created between data in memory. You can re-arrange the data to free up memory space by pressing COMPACT on the MEMORY page. When the process is complete, press EXIT to return to the GLOBAL page.

CORRECTION

Thank you for buying AKAI professional Z4/Z8 Sampler. After the printing of Z4/Z8 User Guide, some incorrect descriptions have been found in the guide. We apologize for the mistake and ask you to correct it accordingly. In the description of Loading Folders on page 21, the Emu EIII files is listed in the list of files that can be loaded other than WAV format sample files. However, the Operating System software version V1.03 does not support this type of files. The Resampling with Q-FX function described in the page 38 of Editing Samples Chapter is not supported by the Operating System software version V1.03. The Emu EIII format file and Resampling with Q-FX function will be supported by the subsequent release version of Operating System software.
As with any complex software-based product, the Z4/Z8 is constantly evolving, hopefully in a positive way that can satisfy your requirements. Please make sure to check out our web site (http://www.akaipro.com/) for the regular updates and improvements to your Z4/Z8s Operating System. We would like to take this opportunity to thank you once again for choosing the Z4/Z8 and we hope that it will give you many years of pleasurable music-making experiences.
2002 AKAI professional M.I. Corp.