Emulator<x3 STREAMING SAMPLING SYNTHESIZER smReference Manual =E-MU' EmulatorXx3 STREAMING SAMPLING SYNTHESIZER Reference Manual © 2006 E-MU Systems All Rights Reserved Version 3.0 E-MU World Headquarters E-MU Systems 1500 Green Hills Road Scotts Valley, CA 95066 USA Asia Pacific, Africa, Middle East Creative Technology Ltd 31 International Business Park Creative Resource, Singapore 609921 SINGAPORE Europe Creative Labs (Ireland) Ltd Ballycoolin Business Park Blanchardstown, Dublin 15 IRELAND Japan Creative Media K. K. Kanda Eight Bldg., 3F 4-6-7 Soto-Kanda Chiyoda-ku, Tokyo 101-0021 JAPAN Emulator X3 Reference Manual Table of Contents 1 - Introduction & Installation ........cccccesseeeeseeeeeeeeeeeeeeeeeees 15 INTOCUCH ON fiis. heb sal sential din seen eiteenececish bith naitthinsucsiaacea iin aedisdin melee 15 Emulator.X3!Reaturesc.icsnca la hvvediot tied detaen alnee Shee ee Aen 15 Stream nG isc. su sete eines casein dl beta aid a sa aetna 15 SaMplinGians etnias a8 Sat ae, Stel tlt eed a a 15 SVN TNSSIZOR ss 23 -fovt ssc tecpasestueh sds esbese eb chien dic ateatsacseestsen vata cana Leeeae hd nadl 16 Before Vou Begin i....5. 2.5 sie ees Gea ee no aa eal Waitin 16 Notes, TiS AN WarNiNS .....eeeeecteeseseeeeeeeteeeeseeeeeeecaeseaeneeecasaeseneeesseeeeneseeaseenesananaeees 16 TUTON Al LISE s.2:00 State aati el eee a Gata peta tet evista deh he eared tenia 16 Watt S'N OWI X25. s Seas estes tzsceteenzescdhueay sce cedesdgndsdedss aeaflessdeatnaieedt ech eaapeeens thst de seuraeenieey. 17 NOQWiIN:XS seston Yes went ani de wal teh i Sea a an ieee 17 Minimum System REQuire@Nent .....ceecccecsececeeeeeseseseeeeeeecseaeseaesecaeseseneeesaeseneeeteeaeeetanasaeaeees 18 Software install at OM. 2.0:..f2.c. see eect eietbde tee evetecdee wureiee dead tebe eden 18 Programs Install led! «:.2:..sci.0c .cfvcceseeetivosschcesesoes dean uascd deatvads,ctatecss vdeo de Sessateeg, Seveer 18 Running the Application for the First THM... ceecesesseeeecseeeeeeeeceeeceeeeeseeeteneseeneeesataeaesees 19 Sating'up YOUR AUCIO Ns a )4.ei ip esi alaaiieteise ged olanaiadal awed 20 Setting Up the Preferences ......eececesesseseecseseeeseeseseseseseesseeesseassenaeecaesesenecesseseseaeeeeeseeesataeaeeeas 21 AUdIO:Preferen GOs cece dnc ee es eeleeeetintenti nok ead ctaetee tegen ateeseastaste dete 22 StPeaM UN Quai. ie weenie decieiheeeletn eee edeneecnedeneieen aeaienaielitinds 22 AUCIO/SEIUID een auitivit a deen nie se Ae Bee es Monente aan as 23 MIDI (icuwtaraeastetnecesiaie einen a eee nleie Wael. dnbenieee aint 26 MUD TA UTS iiics coscesenecetictinetice lecteccacca cause vaugu ven sgueage theses dhsadesleusayseds ous Rt cat cas cardeenusteeevinenses 26 MILDI RESPONSE cievesiacisiian inti atedteitinidad oth, oe tectucuans on deedeen sen denaeatiedediaendedeatinlen, 27 Controllers win hiaenchean dha Adidiiniiirh ion ied te beicien eaw de. ain eles 28 Appearance Settings 1 WiINCGOWS one. eeeeeceeereeeesesesseeeeesaeseeeeeeesieeneneeeeeetesatanieneteeas 29 OMGR SETUINGS see siece eect nite a aeacd open g uastes Sete diss ieee seapetee 29 2 - Emulator Architecture ........sccccesseeeeeeeeeeeeeeeeeeeeseeeeeeeeees 31 Organization of the Emulator X MOCUIES .0....cccesesetetseeeeeeeeeeeeeeeeeeeeneeseeetetetasaeaeneeetaeaeaes 31 A:Modular Systeniv:ncni. strani eS eet ade il cde et Ast at a 32 Bank. disicitsssccebeeveststaiasaiohs tei cate te tatte site tie Ae ati ee les kde adideheveeetietl 32 SAVING elalet ieee di Retreat ithe etal ae in lendatettg 32 WINGO) REGO! asescescezesdcasveedevt Gece ean ases tedden vin Gathseeiesnetetidiiatice: Shee eetie 32 MUNG SETUP acs 23 tek tess cer vaste We cos ces ace aaa saeia ea acta ote Oe OTE hd vend eee 34 PLOSEE sisstcsciattontccheciainai baits hota tecrastaacndiacchcshadi adi cabectiataviavsdundniediaal cgeesnateacts ieacsdedt ita 34 VOl Cent lente tint hy, Slash atliatatatiin sete Wate il ae ee 34 Salle setites:actecadiactstteeart asta suetrees tel sbary chen duninnttveastinniaadrdee aaa 35 Flexible Architecture... .0 sauce ARG ae ea ee EA Li ee 35 Preset Diagranmi\:A.iAniietiie tan ocigid Pah sate taininiite iin is. atdeeiene 36 VOICES sehen att iatee did tee ee ted ately be Neate 36 MUItISAMPIE VOICES «0... eeeeeesereeeeeeseseseseeeeseseseseeeeetseseseeaeaeaeeecataeseaeaeeetseseaeeeseteeeetatataaaeees 37 The Samples. ..c64 ate ehes lela ween de ene eis Aen dedi 38 ‘LWIStALO OP!) ntihasilGin ence nate ent ated niin. tana ais Araa 39 E-MU Systems 3 - Getting Started ....cccccccscceeseceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeneeeee 41 Exploring the Tee ss.s4Ach Gesiniaiieidn alanine eitetad Mid ea ited 41 Multisetup Page: ..i.a220. ive wiih ide ani ade edn eae at 42 Changing Presets (from SINGle ViGW) oo. eeceeeeeseseteteeessescseeeeecaeseseeeeesieeeeeaseeeetenataeaetetataees 43 Multi }Ghannel ViGWs.st.26:0iseehiatt atieeteatet ioleetheale d dana tiabedadn dni tata ainda 44 Changing Presets (from the Multichannel! ViGW) .......cccscessecssesssesssseesessssesrseseseseseres 45 Adjusting the CONtrOllers oo. eceesecsececeeesesceseceeeeeeeeeeesesseetecasseseaeeeeesaeseneneseeesenatasaeeetetaes 45 Create Your OWN CUStOM Bank .......ccceseeeeeeeeseseeeeeeesatsesesenenecaeaeseneeesesaeseneneseseeeetatanasaeeses 47 Oa aN GW Bai KescttiedscessYovscaesiehesecenty tv elielialiealecelethvctesiediatatiot reset esta stesedeerareegedeetes 49 Opening a: Preset. jciasaine nial al alae Aisne eniananiiad Mth eaes 49 EXamine@a:VOi Ce rnsralahista ws nceaniitinienlieneaenedanon darken in nmaran nada ait 52 Wipethe Slate 2 is.Anetentaic ne tntiiidiia iat yterauih eat ia. o.niiideeniiiey 53 Examine the Samplesvis:iiiie ss deities dette deb hen een ne ventdies a due elennien 54 USING DSP ic Sasdsn the edentaeeteus cases hair ttiat oh agree aint a dase 55 Experiment) a ceeceteviestecteth estes aieedianeenedieheoe deed ars weetisive we iarsceteviartavteriadn caienecne 57 Save‘anidl SaVEAS: svi: ai tnnsia divans esi vaiele ini din ai See eaves tases 57 Emulator X Bank Structure ....c.ecccccceeeseseseeeeeeseseseneeesaeaeacseceeesaesenesesesseeneneseeeetesanaeeneneeaes 57 Building a Preset from the Ground UD......cecceseeeseeseteeeteeeeecaeeeeeeeesseneeeeeseeeesetaeseetesaeasaeaes 58 Emulator X Advanced Applications GUIde oo... eeceeeceeteteeseeeeeeeeseseeeseeesataeetetetaeaeees 65 TVG EAA Ve sos secasceaaeei essa each cases: eraczevten tevin Oh ete da vases cts Sasesedieunatiatn Ads stansadan Tetaaeea tanvtaeeaeis 66 4 - Multisetup / Preset Global .......cccccsccessceeeeeeeeeeenenenseens 69 WRG Ml SEM ass can38 cadet sates le epee lect ebt at ei enveil diaslinatne le taghachecled seen iddaccts ot eaeed aaa! 69 Changing Presets (from SINGle ViGW) ....eseeeeeteseteeeeseseeeeeecaeseeeeesseeneeseeeeetenatatietetataees 70 MUlti CHanne! ViGW .......cccccsceccssessssssssessesessescseescsessesecsesesseseseesaseesavsesassesessesasaesesaesesensesess 71 The Current MIDI Channel ........cccccccssssesssessssssssecsssecsecessesessesessesassesassnsasesasenseseesess 72 MUD UCGHaninel §2..:dshscececcsvenwescccucendehceluvsecesussabcut ccs sdcutvsiuaaseasageveccdasdaudvaueds adadeeedettemdas 72 Preset ASsi QNIMGNT ssct05 salsa aite cei ie face Sia re ernie eeete 72 Channel VolUMe@ sieves casas actenitlnidhielieh fsiaiantisieiavin daa aca catia cateelecintiseds 72 GIMP tatcc sete IE tastes tiene ext echeve haces eat toca teatectet steal Punt tea facgucee tus eee cs te tant Meatitcs 72 OUT DULASSIONIMENE sce. eeccecececeeoe pact eee dine Sinan tesnseecede cine dies alaheeetaneac: 72 QutputView Buttons: cece ca 8 ed 73 AUX FX VIEW BULEONS .......cceccsesessssssscsssessesecsececsesesseseseesarsesassesassesaseesaseesessesessesersesarsess 73 Aux Send! On/ Ott ai) cade tithe A Ahan lah alee eae ial 73 Preset EX: Emalolesy ss ttecscsczcceccctccdeseceesacitarsctvasiassdcadens coieeaaasvaeeseveentardesgeasdas csdeceeseceastesas 73 Seleck Effect. wescohttntst ate aniaeeighdantiwte tom citi a eA one dds 73 TWIStTALOOP OVEITIDG woes eeeccetesseceseeeseseececeeeseseeaeaeseaeeecaeaeaeneceeesaeaeseaeeeneseeensnasseaeeetataes 73 Global: COMMONS: s2:20:242.06 Sewer enced. onion iniat een An ee cee 74 Master Volume Control & VU MEK? .....cccccecssesccssescessescsecsessesseseesaesassaesasanseesansansaeeas 74 Tempo" GoOntroll csiseseeterccd Messe iat tedliteir stacy facaidin a eaaislestde ade adel ete nndaliatdeiess 74 Mieaster TUM sie iasicsscacsecunteccvicaccsvescs cas cused letietae died celui sisslasiseassitsaetascdevdaciden sor csbeds hed tats 74 MasterTransp0Se. iii ve. itech Adee lien ae AY ween ss 74 LIMITER Ss cscts cso Satie antici to G. Sina tetera al alaiiataielian tal cas aa tentied asaasaie 74 Aux © UtpUtS s,s iiale le dels Malia scletedattedtea ste tedhatieh nid atlas ieaineialdiicid anes 75 Using the Emulator Sessions in PatcNMix DSP oo... eccecseeeeeeeeseseeeeeceesetetetesaeeneees 75 Filter OVert ec aerceask Nuh vesty ssentnes isatateale Wire citoncecas Rtas PN SUL eae es 77 MIDI Controllers & Scribble Strip ....cceceeeeesceeeeeeeceeteeeeeeeseneneseseeeeteteeeeeesanaeaeaes 77 Pre-rolliR AM “USCG) vstcociearstestesteeeseeledthetyev teeter hdecatel ctvelde stead Hades tacates si ndaratearedlelisls 77 GPU Mi Chien ri vastad a tanceazcecae cs casteteacct ccs ccseberhseatadhuatias tnt acseriacnge ied dedeas ces cneeohate teas 77 Number of Samples PLAYING ee ceeceeeceseseeeeeeecseseseeetecaeaessneeesesseeneeeseeeesenasaeaetesatanieaes 77 Current, CHanine seas ctscsveesis tent oi saad ccsedli dadedicaseasdaaastisseassansveds thes toensin te adesemeauecdettace 77 Working With MUItiSCtups........ccccsescsesecseseeeeeeecseseeeaeeecaeaeacseeecesasaeseneeesesieeeneseseeeesananaeaees 78 Saving FX & MUItiSCtUDS oo. ce eeeeeteteceeeeeeeeeecetaeaeaetececaeaeseneeeeesieseneneseseetesatanasaeeeees 78 VSTIsMUNI SEIU S vss .cteleveeeecsetetae afer rur eet dh aides needed elie liie ne delielntatiattes 78 Emulator X3 Reference Manual Preset GloBalS #236. 2.048 tate oi de ld eet eee iediots a she hv Sexceuc te havin ei eae 80 Transpose & VOLUN .....eeeeesescsceseecsesesesseeeeesesceceeeeesseeeaeaeseeeecasseseneeeeesaeseneeseeseeeetatataseteeaes 81 (nitial:ControllarsiAcP *.. 2.cc.64s aati nae Ren Aci Seen edd dean 81 Capture MIDI Controllers 0... ccecessscscsesesseecceeesesceceeeeseeeeaeaeseeesecaesenecesesaesenenasesaaeetataeaees 82 TwistaLOOp LOCK TO TQNDO o....eeeeesecececetetseceseeeeeeeeseseseaeeecaeaeaeseeesesaeaeseesesesienenetasaeaeeetatas 82 [nitial TEMpo ©. ai. ccfeee esha tn ee eeeeeeeieeide nee ceet ny eeestntineaeeriern eeetieneeeeetns 82 TONING ables sieve, Acti stan entree ina shasta aren san ade deladivts a aeetaeerta Beha 83 Key CC WINdOW: s.:esicie5. 4 etna eeeeiecer teal et neveenereeeeles dblndeetne aterm 85 PresetMOdUI@tOIS it. crete Gees cece encesentat ata can thctsshieeemen tata dst eens 85 Chamnne|l] Lag 1 & 2 Rate on. eeccecesssseceseeeeeeeeseeeeeeecaeseseneeeeseseseneeesaeaeseeaeeseeeetataseeetatanes 85 Poly: Key TIM@? ssice.cicualihe al deci enlateininls AN as Sec ie ae os 86 Channel Ramp’ setesssunsiie acces ceeds inated) a nvatelvieinereii nineteen 86 Preset PatchCords../.3: 4. se..cwiia tia sisi aad dadinisn eeneati aie nasal aes 87 TOM ate ieee. sts teens ceteeesieiiiiea ties tideelerteceetevieedle eee ceccnetveeeeratvieeneans ar eevee teanteensneeiiene 87 5 - Voices & Sample ZONES .....ccccccesceeeeeeeeeeeeeeeeeeeeeeeeeneeeeene 89 VOICES ANA ZONES PAGES... seeececsceceeeeesesceseseeesesceeeeeeseeecaeacseneeecaeaasenecesaeseseaeeeeeseeeeaneeaseesatas 90 MSTA Gores sSesces tcect scsczeeseeestcte tty cc ete ace- Sheds edasbabe at gael tian oagsaceerteasse iauiacead, Shoe nena aekee 90 Key WIN ae. thee eeeeet as ale een ale ee en te eed 90 Vel WIR ain okt daa ee dior as iia ap aria aati sie 90 RWI often PG eta ated Si eae Bade at ea 90 CE Win Dns .tiAatistth atatateiatedier ee) bh eh chaat uit ianenineccn fl teseeleaia hoedesteetests 90 REGION: 2a cher es eet See A een 90 Details ststrtatcete lathe teiatateGe on case sadtacdie bebe tes atte rai nie diteereteetiney 90 Voice Select on iitticcvisA Abii adv iia aaa danas Al enn eed 91 Manipulating VOICES .2... eee eeesesseceseeeseseeceeeeeececeseneaeeeeatseacseeecaeseseneeeeesseseeeeneseeeesatanieeetetaes 91 Working With MUIti ple VOICES oo... ecceteeceseeeteeeceeseeeeeeecaeaeaeneeeeesaeseseneeeseeeetetaeaeaetesataees 91 Samples & MUItISAMPIOS oo... eee ececseteeeeeceeeeecseeeseeenesaeaeeeaeeecaeaeseseneeesaeseneseeaseenesanaeaaaeees 92 GOUPS #sstsictn se sefetec tere A Wien aoteaned emt RNS Ga red olsce ea eeeeEEN 93 SOrtING VOICES AN ZONES o...eseeseesesseeeeesescsceceeeseeeeseaeseeetaeaeseneeecaeaeseseeesseseseeaeeseseenetatasaeees 93 The Keyboard Display... ccccccseseeseseeeteceeseseeeeeseeseaesenececaeseneseeesaeseeneseseteneseeaseenesatats 94 OVEIVIOW SOCE OM srscssecsecadesectetecendeetactacsdesesedtediaslesvucseyladnesiessateteneeses avenseed ated eta dacdisetiesensheile 95 Sample Controls cuss. 8A eh at estes tee Nate ead Malas 95 Sea Siserss case ceseckactactet, acpen (cel favartedesds tageby bh ehaatt abe enitusasstesessacnses st devdee seas de feettenaataste 95 Original Key saedeieiete ree eedeee dein wei sieina il Winer anennie 95 GROUP: Pevsissenuraztatseendeta ian. a iid miniiete dias wadein ila aaah aetna 95 DirectiOn. s.i:scicieeevag iri dhehetcdeeiene quect een reveeninaneeg eieeatane deinen 95 MixdTune Controls: wc: cis wikiiahen nadie halla edi entice ivi deddete ane 96 MULES ie tcenina tet can vetivedeeeeitnte hn Aieaties een te cenr eas anecuaas eaervuadied ecient fevveaveevensecien fee 96 050) 0 Ren eee Pree cer agora ce rence rrr ere eeer ey pete et recrer eer reer eee rarer rere eer 96 VOLUIMG oitecheits taeeiecie ci teareates iecereneaetcdeeteeeetiea eee erected eeeviantieaned a eteenrbaeeatinvlesanes 96 PMV recites catiteeies Susi catawan tui ates Sus tades tus diva savas the thet edusie cls SRGOUGANGIE adh dle tuderustacttaseie carseat 96 FING TUNG. ecivtncienieieWintes eerie indeed cianaveinemainen ai etareneesininia 96 COarSe TUNG Serre sated lite. des aan ete nanaat tet dlesdetht ge da ai al enabal arate: 96 TRANSDOSG si setaci ev tveciaiaiiatlin tone aieaay Midi cen deiteedeen aan abate detected teres 96 Key Win, Velocity Win, RT Win, and CC Win Controls 0.0... ceeceeeseeeseteteeeeetieeteteeaes 96 DiP@CON. sissirevcl weviedievieeh ieee nein eins este eeende ile dine iaceiedineierh 97 Adding Samples AN VOICES... eeeeseceesseeeeeeeseteteeeeeeseeeceeseaeeeeecaeaeseneeesesaeseeeesieetenesseaeeenesataes 97 MUX/ TUNG Page. visevsccietieesiies in ieee set baeeetieovigsdelon delet ceaneeni ete weereteaesdenrnediadeen th steelneceiene 99 Key WINGOW PaQe uu... eeeseseseeeeseesseseseeeecaesesenececaeseseueceeessesesanseaeaeeecaeaeaesenesesaeaeeenseeeaseenesananieses 99 Using Values to Define Key Window ParaMeters .......cceececeteeeeseseeeeeeeseetetettaeteteees 102 Velocity WiIMGOW PaQe......sseecessecssseceecseeeeseseeeseeenseseseaeeesaeaeacseeesaeseueneseseseeenaseseeeetanatanaeses 103 Using Values to Define Velocity WiNdOW Parameter .......cecseseeeeeesestseeeeteteteteteees 104 Realtime WiINGOW PaQe......c.ccceceseseesesesetseeeecseseseeeceeeeseeeceeaeaeaeeesaeaeaesenesasaeeeeseseseesenanasiaaees 105 E-MU Systems Using Values to Define Realtime Window Parameters ........eccececeseeeeeeseteeeeetteteeeees 107 Continuous Controller WiINGOW PaQes.......cccsececcseesseeeeeteteeeeeeeetecseeeeeteeesaeaeaeeesataeeteeees 108 Keyboard CC WINdOW.......ccecesesseseeeeseseeseeeeesescceesseseeeaeasseetecaeaeaesesesaeseseaeesaeeesaseeaseeeeeas 109 Cycle Group vvieedinine enti deeinns div hoa deren ieee nici deetene 111 Using Values to Define CC Window Parameters ......cceececeseeseeeeeeeeeeetetseeetesetetaeneeetas 114 Region: Page s:sAu.dnaints Sanhacnintisaseiersail nanan act eteneteies 115 Creating Or Editing & REGION... eeeteeeeeseseteeeeeceeneeeeeeseseeeeeseseeeeeesseseeteeaeaeenenetataees 116 Region View Control ss: cisc.ceccsccccceck sgedestiheaieed thes sdeadssdeniestsedi-ceagedse di eteestas ee teesdereeghedie 116 Sample ZOOM and Scroll CONOINS .....eeeeeeeeeeeeeeeeeeeeecseseeeeeaeseeeeeeeeeeeeeneseeaeeesataeaees 116 Sensitivity. ase ot acai alg Gio a vein atten ara aes ae eee sees 116 SMap Settings ANG Markel oe eseeeeeeeceseeeeeeeeseeeseeeeetecaeseeeeesaeaeseneneeeseeeeneseeaeeenetaeaees 117 Region XplOde@ ss) vac aiditeisciheee ashen eatin matsassceeattatdlaaiatealcheeheld ister 117 More ADOUE REGIONS aso a A ene ae ee 118 Doeteal |S Paceishs sissiceecss sci: seas acstseseaseves tycaeecesesesdests tea iedts atizs dentssbasacsecaestas te tvasieagcesenhenieche taste 119 Voice & Sample Zone Utilities occ ceeeeeeeeeseeeeeecaeseneeecaeaeseneeeeesseeneseeaeeesatanaeeesaeass 120 OPE VOICES si zsskiclat abt ets eeedeccetieers dh neha de neantie acai eavaita dies ahaeebee 120 Open Samplescasceterew eae nen a Oe ee 120 NOW VOICE. A ceiver teeta Seelctede th Sarah pte ies tet toes trades 120 Dele VOICES Aci asiiie et Ade he keel teeta ie eee 120 Duplicate VOI GOS. 3: cc.sse lave Ghg Seeketlah in dindiea dn daisaegeietees sendda iets ode 120 COMING VOICES) c.22-6: 78 toda Wades drei anionic aes Cele ie 120 Expand Voie .sis5-5: Acaamaiiiechidad cai ahiiineratehe. cag me ieee 121 N@W Sample ZONG ......eeeeesesseseeesesesceeeeesesesceeeesseseseeaeasaeeeeecaeseneseeesseseseneeeseeeeeasaeeeesas 121 Delete Sample ZOMES o....eeessesessccsesesseseeeeeesceceseseseeecaeaeaeeesecseseseneeesesseeenetassseeeesatanaeaes 121 Duplicate Sample ZONES ..... ce eseeceesecseseseeeeeeeeseseseeecataeseseeeeesaeseseneeeeateesanaeaeaetesatananees 121 Sone VOICES 2 rshites otha ai diets sine tatatin acticin 121 SOM-ZONGS t2..2.tictheheded nid ava Rebii apres niatiaidiniie ahah ind atrerided 121 NOW: GROUP: di ccessahesscesscscascscenses desuahesissescedevcentetvaievhansatt sags deadesivagasduegsageatnusesnsededs cabeaet 121 Sel ec GhOU Ps ecntiesratease Vat Waar Sneed eel te ee ees 121 Clear All SOLOS ANG MUtCS ooo. eeeceeececeeseeeeeeeseseaeseteeecaeseseeesaeseseeneseeeeesetaeeeaeeesaeasaees 121 Edit Menu Utilities - Cut, Copy & Paste... .eececceseseeseetseseeseeseneeeeeeeseessesseeeetesanaseneees 122 MEWS: chests eset lo watarazi ces scazsbsensetesegine caesedevdaglsfuatvad eta cfieatetnasacsanseeeas uta eds sc, seheneacetedaes 123 LINK UTNHES see tan niet laNed adenine dene dee a ended 124 SubsumING LINKS jis acaie ie leceedadidiealatavie dna oiaend etna cau cica aii 124 Mix/TUne WiNndOW 1.2.80 alicia dedi ntirnwnriiedes Gene As dideeditiee hese 125 BOY WI OW “esses cts Soee sstea techies seteeds lobe sbeete chedein etn fled ad tesaceeeazeite tee atdas cede deateeh ante 125 Velocity: WindOW ia.tcvaw ciate Bid Ba ee ais 125 CO WINdOW'sicehcbadiniteet tin atiaidiets vedi fe PARRA ieee a elite ceseeren 126 6 - VOICe PrOCeSSING ...ccccseeseceseeneeeeeeeeeeeeeeeeneeeeeesenseeneeenes 127 Simplified Emulator X Signal Path .........ccecceceessesesereeeeecseseeneeesaeeneeeeeseeeceneeeeeeeeeaeasiees 127 Overview of the Voice Processing WiMGOW......eseeccecseceeeecteteeeeeeeteeetstseeeteeataeaeaeeetataeaees 128 Templates acini Gia anaiaS ana etic Gil eatin hint atacades anateniiies 128 Oscillator teen eoror AA at e ee se aeiaes 129 Piteh.Bend'RanGe-s3s:5.cacentccsacieieti i trat arn iiadih italia sg atiiiniaiele, 129 TwistaLoop:ControlS:.3.:.ctei ddd ieee aed ntisbvles dele eater ne 129 Sed icss cesses da dass cheshasncn hezaezeattcaee ces cade seensetavha ne ehythans dhaiisze, aca etetietatnica weet esea tse 129 L0op:(%: Or NUMDEN) ssicensi ital abc ant aianath Matin AL ite ina 129 StartAt LOOps sAstiivanhiiene ne ahead dtarnunaiaban ain: annie 129 TUNING CONWONS .s..1.!s.00h Set batt atariin Be Pae addin didaliieiediaase gies 129 TR ANSP OSC iasciccidsintiteteeteetecssnsiestastacetietiesagsaietuiatiassdsdedsedseaateasdeadeasaasaaitassaieaediest diets 129 Coarse TUNING itso ie ee Ne. BS es ee a 129 BING TUNING ssc oo Sas eigee ete ENE ae fn aie teehee, 130 Fixed! Pitch MOd@ i221 g diene Riedie hth ee tite edad ete 130 Emulator X3 Reference Manual Chorus Amount 23 to is8 hike et Rn hid cen teh clavate vie ates ee 130 Tips Tor USING CNOMUS weccecieccsecceeeen Held epesnneed de de aeeeirrtenge teeta eat siteetenavieriavncvienss 130 Glide: Rate’ & Curves j.5ie cis sain sitie neha aa Sed aan 131 Key ContolS .:vi0.sicesieiniede ch ecianeevinieie dy deharaidenniea atta speyanineest 131 Delay. concesianctatsers ine ds dead nen nal abide ew aes 131 Sample Offset. .eleteevetasiarieestaneae tienen dee ceeeeteanenteneeseenveviens ei naeeceoneeeeenettecees 131 Sample Start'O fiset:: 3 can tain tainieg denial nly aster agaadi ia de adiiaaelen aia 131 Amplifier, Filter & Auxiliary ENV O65... ccececceseseteeeceeteeeeesseeeseeeeeeeseesetaeaeeenesanataeees 132 Adjusting the Envelopes .......cececcsscsssseseteessseseseeececaeseseseeeeesseseseeaeesaeeenatasseeetesatanaeaes 132 Envelope Mode: Repeat ........csesssscescesesseceseseseseeseseeeeeeecaeaesenececesaeseaeeesaeeenasseaeeesas 133 Envelope Mode: COMPIELE ou... ceeceeeseceseeeeeteeeeseseseeetecaeseneeesassesenseeteseeeesenasaenenesaeaees 134 Time-based and BPM Envelopes .........cceccseseeesseseeeeeeeecseseeeeeceeseseeneeeseeenanaeaeeenesananaeees 134 BPM‘ ERVAO Pes avila nciedicheaeaetie seit Sete en arated oh ete 134 BPM Tempo Chart :.:..0cctii deeds dei eeonrevien din deasdide viens 135 Bl OL Sal =o areecrerenrceren reeerp re rere ere er area eetere re rree tee ererrer reer re rere eee reer ert ety 136 EP OQUGNCY sisinttciiviande de duansiasecattanenetts deceit ats a ddeivecatiau aun duateesanenielia caters 136 De@laytia.. nie ester cnwes in dade di iie eae oi aoe A ase ae 136 Shape ss acesivieeeenieie tai eeeviinte ted cianeilennieiginn i wasarenkeestnio 136 VarlallOn i sate totes sted ite te dead ea ae aides Rita ah eee 136 SWING sees lobszsdiedt beak aves tinea ibcdae enattedaeds Gilde araneane eis td atest aan senenea etaalgaleee 137 BPM) vce, aces cd aeenta Hie Aviat e oie Valin wets eee tenuis dition anes 137 LFO Tricks & TIPS? wv: a eiindeeste de tev ete eeeipieaeiendeti aise rien tniels 138 EAGIPLOCESSOMS: VG 2 ics sesvccessatct titi ast aslo the caadageditvgs das taste stascasdasth seasteyhieherende date laded 138 Extra SUMMING AMPS x. cccieee eeeeeerareaeetiae weet ieadesierieviiviediedien iadeieliares 138 Function Generatorsi...4.. kaki Bina ene Wak ae 139 Function Display AN GIid ..... cc eecceeeeeseseeeeeeeeeeseseneeeeecaeseneeesesseeenenaeeeeetesaeaenetenetaees 139 Function Generator Main Controls ........ccecccceccceseseeeeeeeeeeeeeeeeeeeeneeeeeseeeesenaeaeeenesatanes 141 Modulation DeStinations oe. cceecccccsesceeetecseseseeeeeeeceeseseeecaeseseseeeeseeeeeneeeseeeesanaeieas 143 FUNCtON Generator |COAS oe. eee eeeecteececsceeeteteseeseseeeeesaeseseneeecaeseseseneeesseseeenseaeeetetataees 143 Filter COntONS: iis: sevceeiiieeie ete edeiinie taihnd elenrneiee 145 Filter DD @SCr1 Pt OI ez2 cece sshes ces ee san dece leas eeeth eset ape Sead Sate cet gvevencnineaascaedeede starts ste stiveetiaatare 145 Programmable Morphing Filters ........eceeeseeeeeeseeeseseeeeeeecseeeeeeeseceneneseeeesatanaeaeeeeas 149 Morph Designer cc00c.80id.u dai iniee aie te Bae 4. atacand 149 Dual: EQ’ MOnph ceive eis ceetseeeiets ates eta ee asa veeininnde dasareneeestinion 151 Dual EQ Morph +EXpression .......ccceseeceteeseseseeeeeeesaeseseneeecasseseneeeseeeneteseeaeeenesatanes 152 QZEQ -FLOWPaSS MOMPN :iesiecsseteeteleecceteeteetheceaneedtenvseesettias inset ea seecesareveetierecvedeeatetees 153 Peak/Shelf. Morph: a:ives ni detnciet evn ana. tite evi dee es 153 AMplitler: COMTOIS f.42.55c. 2.25; c04 seareteeteccariectenteoserherted aiethaisiaticsaceita aetna 154 VO) UNG seseerss reiterate 154 az O1ALOLS Pacer csr erreeererrrrsereer Ee rere trinee reser rerriren steric ete tere 154 Amp Envelope Dynamic Range .......:ceeccceseteeseseseseeeetecseseseeeeesaeseeneeesnenenenaeaetenesaeanaeees 154 RESPONSE ccecsececcuceiestansaesdesdedaestecdenta sats seu dds eu sedeeteelaafaabatiauedsadsedesdnaguddateansvesussedsseeedeeeeeees 154 EX: Wel) Diy statis cece steed ays eased elie ec eee a aoe 154 VOICE EMOct SENS oes c.:sesseeecieciecd ehootesteaiediedl dhistatasleschectadohata ahd aabhini sad 155 Modulation Cords: 1.233... : ats f edie itd dnd elas dies deed eee 156 Pitan Amount: Chat)... cct feed cc coesesecheads Scat seadeatea tie cgyaespeeie teenies ae tied: ideete eetea hie 158 Modulation Source Polarity 2... ccccecccesescsseseseeecseseseseseeecaeaeaeseneeesaeseseneneseseeeesananaeeeteas 160 SUMMIUNGN OdES. seaside ean eae ces aad daninnbinnniah ave. ddeee 161 PatchGord Lore s.2.8.55 fest nts ie gh i Peete il addi de athena 161 Sample LOOP MOCUIatiOn oo. eeececeeeeseeseseseeeeeeeceeaeseneseeecaeaesenenesesieeneneseeeetenesataeaees 161 ASSIGN: GROUPS siitehie Ae Wie et ed teed oe ee 164 Output Assion Groupsis.c:s2cssccifa sla dal esas nies Seta cides sedeetie 164 Poly Key Assign: GrOUDS ws. gsc: niiite detain tii deeded ie wiviet attest 165 Kenya M OCS ccc ec. nce scat ccs sdvcsca ec des deb des eeSceaa da uieahiessdacsaeteadantcedieeniescesée te diedaesvapdeecele 166 Latch MOdC i. 1...0 450 as Aan Sa deities a a aoe 167 E-MU Systems 7 - Editing a Sample .......cc:ccssceseeneeeseenseneeneeeseessenseeneenenes 169 Sample ECitor WiMGOW .....eeeeeeeessesetsteeeeecseeeeeeeeseeeceneeseeeeecaeaesenenesaeasseeseseenetesseaeeenesatiaas 169 Exporting & Importing SAMples .......cececcececseseteeeeeseseseseeesaeseseseeeeesseeneeeseseetenstaeeeeesaeaes 171 Exporting & TEMPO Mapu... eesessesessssssesesesseseeeeeesceeeeeaesesataeseaesecsesesenaeesesaeseeaseseetetatatasaeaes 171 Tips for Exporting TEMPO Maps ......ceeececeseeesesesceeeecseseseseeeeecseseseeesesseeenenseeeeesetanaeaeneees 172 Importing A TEMPO Track to A SCQUENCEL oo. eccecstseeeeeteteeeeeeeteeeeeseeeeeetstateetetatanaeaeees 173 Display:M enul Items? ss cce easel eo a rl ae eet ea 174 ZOOM I (Page WO) fasedtecs cactceceedesssdasdtscst fai cat vclassivsaatasastaiasaeshsthe choc ua taceadeazcseseehise 174 ZOOM Out (PAGE DOWN) .....ccecsssssesesssscssssceeceesecesseseeseseesassesecsusecseaseesesaesereesaneesarsass 174 ZOOM IN (Ctrl PAGE UP) ou... cesesesssessesssssscsecsessceseecseseseeseeeesecsesecsesesaesecaeseseseneesareess 174 ZOOM Out (Ctrl +PAaGEe DOWN) .......seessssessescsseececeeseeeceeseesesessesessesessesecseseseesessesesenss 174 ZOOM TO Selection (FLO) woe ceccccecccscsscssscssscsscsesssuseessessseeseeseesseesassesseesseusenseesseesees 174 ZOOM TO: All CELT) 6 sick ccsteivcitestenvasiee fee deadiuvdaats ohcvisbactlica faaduatasdaotetuydundes dencareatialvarwend 174 ZOOM TO SaMPle (FIZ): siscscascataceazessesicascescecvscencandeasevdasidiccassesedvesdaseaienieadaastasetendeaises 174 Display Time in SAMples ou... eceesecseeeeeeceeeeeseeeeeeeeeeeeseacaenecaeaeaeseeesesseeeneneseeeeeesanatae 174 Display Time in SQCOMS .0..eeseeseseesetesceceeeeeeeeeeeeeeeeaeeecaeaeseneceeesseseseeeeeeeseeeetatasenetee 174 Display Time in Bar:Beats .......ccccecccesecseseseeeeeeeeeeeeeeseeesaeaeseeeeeeeseeeeneseeaseesananaeeeeee 174 Display Level in POPC w.eeeeeeessecsesesceseeeeesesceceeeeeeseeeaeaeacseeesesaeseseseeeneseeetenaeseaeeetaes 174 Display Level in D@CiIM Al oo... eeeeeceecetseeeeeeeteeeeeeseeeneeetaeaesenenecaeaeseneeeeeseeeenenaeesaeeesatae 174 Display Level (-dB=.4:3i.8cAraiaieninidiieclanaini inion arash aniie 174 SNOW Note Marker .0.. eee eccsesesssseceeesesceseeeeeeseeseseseaeeecaeseneseeeeseseseeesesesaeeeneneseeeesetataey 175 Show Loop: Markers ).::::.cc:.ccceseceecteestseicce sees cddecateeeteacacshdevieatnstagde dass dardaeiatgeeseateche 175 Show Zero Crossing THreSNOIG 0u....ceesesececeeeeeeeeseeeeeeeeceeseeeeesaeseseneneseeeeeeneeeeaeeesanaeaees 175 Vertical Win itS..cc hss aren ates eat atetediele Grab utn is anual alebstin a. aieSisivee 175 HOP Zontal! Wits: 2) tected denen Ahead aticsaieine dear ee eens 176 Transport/LOOp CONtIOIS ......ceeeceseseseeeeeeeseeeeeececseeceeseseaeeetesaeacaeeeceeesaeseneeesesetenanataeeeteas 177 Play (POM: CUSON) cic. sa leedileatescdccsbeiteassvinrte cde Sails ddvedssisveativeadsstasassdeenreatdeeaelardises 177 Play Ton Start sss cschsiss sete testes dace peer ti etaeireeedh dh aatestteacsecsecperenvtet tes talead beets 177 SUOP) artic tt det eA en ts ee 177 LOOP: Play iio Anial ete aig clearer tte pe lee tls sta Ries 177 Go: to Sample Start 2.05.8 eeseetitcedeledenide al aieibevin elie elation 177 Goto: Sample End i.e cisceiciceecheletheiaah at glesdnnatn datssactace bien event eae wheat fae 177 GO:to' LOOP Stark «iste cena ie in ani inti eae GA an Aaa 177 GO to LOOpIENG ii. sik Shea cans ara cinlndali diatatnl anaene otadainien ee 177 Move Start to PreviOUS ZEVO o....eseecseceeeseeseseseseeeseeseaeeeeesecaeseseneeesaeseneeeseseeesananaeeeteeas 177 Move Start to N@xt Zero .0...ceececceecceceeeseeeeseeeeseeseeeesceeeseeeeaeeesaeeeseseessesaeseeaeseeaseeeeseseess 178 Move End to PrevioUS ZEV0 oo... eececceeseseeeseeceseseeeeeeesaeaeeeeenecaesenenecesaeseneneseseeesananaeeeteas 178 Move End to PrevioUs/Ne@Xt Zer0 oe. eeeecescsseeeeeeeseeeseeeeeeecaeseneeeeessenenenaeaenetanananaeteses 178 Autocorredate LOOP s3:.12- cecil ante eadentind a tntenlaedieivien whl earns 178 Cut, Copy, Paste & Delete oe ececeececesesetesseseseseeeeecaeaeneeeeecaesenenesesaesenenesesieeesanasaeeenesataeaeas 179 Undo and, REO: ii. :..iih ee ieceeteecnetetice die aetete teeta wecsiaiiauned nd idiaesietaitielens 179 Typical. Applications: sininici 4s acwlieien sianiannahaes aldiiieiaeeeaniat 179 Cut Section: s.0.cacseeseiiniei sine Gece in eie eeaiiveerdn en dion ayarenieie 180 COpy SCHON 3s a necceeeds Sed. Cain anh dadadddegoe edhe detec eee 180 Paste SeCh OM wees selesiereriteves dieu aeeeeegescetes dh deed there eeeetenv ae eeiaued hati vt ner angaveesievateectes 181 Sample Edit Tools... .c.4nsa cane ted ait a ae cae hae ete 185 MIDI AUCItION oi seccctetetersite eet nceceeenietics (ieee desi ene eecetentieet we ctiedaavieeinneerns 185 MPU GS a ac sei cases esa alea shea dish wah dae sais ac nda desea sds chu Shaun GhaGDRs tgs bas atasnbadestesaendvavteesar aie 186 FadG ieccrdiuste sed deviaeveedi ine sahetetnaeeeedieaniedin de dahaba vedanta avin abaeereniveist 186 NOMMMAIIZ6 secncnscacecycerey. eareetts mine tise dade alae 187 AGjUSU GAIN (gcc eiaiiiecitiead a eeeidineadadine cet net ne eectneunnnet edd aeeiceneeriieieans 187 DG Filters2c8. fed i ad athncaen iis wnateataeninaeti il ad chan isieaiia §. Siete 188 REVEISG vacith tees aenentin tebe ba tn bvccwlenaneniendeinaiy apap teatemuriaalevidineantecciiehahecteals 189 Swap L-R Channe! So... eecesseseesesescseeeceeseseeceeesesececeaeeseeeecaeasaeeecaeseseneneeesaeeseeaeeseeeesatasaees 189 Emulator X3 Reference Manual Bit REGUCH ON 4c Aetecet oe eR ev eet anon decnet tev hasine teh ee 190 TIME COMPMeSSION +2. sescecteciesocnateeecesies eeceteceeeeene dene cee seeneeeet reeveeiniere need necnletezieets 190 Pitch: SAI Pts ett sties everest vie ashes inch dead ee ees A cori, aed sini 192 Transform :M ulti ply taccvnsnkaiecescenciede nated deebaidenniee dt atat eaeaniees 193 Convert tO MONO OF SUCPeO oo. eeeeeeeceesseeeeeeeeeeeeeeeecsesaesesaesecaeseeassesesaeseseeseseesaeeataneataeeans 194 Sample Rate Convert icici. seichectiectes te ested ceazeecene eeeeereieeeeeuens ced neaeeceeeneedienedteceee 195 PRU ACO Me wseeat se cucu su taaciu ene win via Wi Cab eabiuvshesuese ev utvile Atcbausutedus Waar caivat sha abtaaiaascueatveewivteus 196 Vocal or Instrument I solation/EliMiMation eee eee ee eteeeeseeeeeeeeeeeteeeeeseaeasees 198 A Visual Mix Anal ySis 0... cceccceceeeeseseseseeecseseseseeecaeaeaeneeecesaeseneeesessesenenaeaseesenasasaeeeneas 200 Batch) ProcessiinOivei:sswids iti diedielasie teu die vedanta ies ceadiereeeentiaieeiens 202 LOOPING AN LOOP PrOCESSING ......:sseseeeceeseeeeseeeeeeeceeeeseeeaeeeseeaeaeseneeecaeseseeeneeeseeeetanataeeeteeas 203 Crossfade LOOPING .s.ivis.ecisieien ited eet diend od neeesieeenieh niniedineeernt 204 Truncate after LOOP ....ccescsceseesesesseeeeeseeneeeeeeseseneseeeasseseeaeaeseneeesaeaeseneesaeeesetataeeneeeas 204 LOOp COMPpressION:: wiviivs ee uaie adds neeeeiieee Heddcneeareenneueneniierdan dedeietiaeietls 204 LOOp SGML NGS $B siitist anew aad bani ea el al seen ee 205 LOOP: BULLON iiss teineat tte ceniate titi educts credaeereevesiia id docdenbadedtede can niricevenaeiceseese 205 LOOP iN Release BULCON ou... eeeesetsteeecteeeeeeeeeseeeteceeeeaeeeeetesaeasaeeenecesseseneseseseetenenatateenesas 205 LOOP: Sel Oth ves: eteet ee tive iene aeenivaen ieee iedieennv aeecntiiaeo en dette 205 LOCK: BUTLON: ssaci vet vievies. 4 Avner iae ited lok enlets oheanatee ata iv a cree 205 Select LOOP it isisnnis sian elie thle eeeieeie init een ieledintin aide 205 Select All ict Rice avawlenninas as dad Art ectentated hati aii ghaen tata eens aia less 205 NO Snap. dik hennnavitaidiadn viens Haloadiueetaneat nederdel adatedatadinlnt he 205 Snap-To: Marker ses .cih adenine ne ed ini as Secret 205 Snap To Zero-CrossindS :.i:.0..iieweeedi inte nee de veaiaivieininite swine 206 Background: Zero Crossing THreShOld o....ceeseeecsssseseeeteeeeseeeeeeeseeeeeeaeeetstasseeesanananaeees 206 Delete UNUSed SAMples oes eeccsetesseceseeetesseseeeseeeeeseaeseeeeecaeseneceeesaasenesaeesesetaneeaseeeeas 206 How: to: Loop:a Samples. n.csacues nai atinitvendin aa. ceatonevalids dea cahidwen 207 ZEO: CROSSING sis abe hace ance iiisid: aia lala nis eit atatatars aati 208 8 - TWIStALOOP 1... ccceeeceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee 209 [MtrOGUCTION seccicted oy eeoereee niin etd ele edie ee eennedecneen inden iwieeenelenls 209 Analyzing Beats In the Sample Edit WiINGOW.......ceeeseeeeeeseseeeeeteeeeseeeseeetatatsetetesataeaeees 209 RUNNING Beat ANALYSIS ......cceeeeeseseceeeeeeeeeeeeeeeeeeeseaeaeaeeecaeaeseeeeesaesenenesesesesenasaseeeesananaaaeees 209 TEMPO RANGe (BPM) qu... cscsessssssssssssssceeseseesessesesscsessssesessessesavsesavscsessnsaseesesaesessesesess 210 T@Mpo: Variati ON: s:csiecascedeciecdaeeteediedes ee diese. cteteareneenereeanieenec en deennemeneninevienns 210 BOSS POR: Bal 5. ces cavzicesacsvacwasus ieeuzebsa vet saeed rie caress svcaedscHecdardGadslgeshecbever sis abtdhtaciuscctdats 210 Meter cade tad sahara. ative eeeenneiie ean neeaiarenie iain anielertanae 211 Create note Markers .o..eeseeesesessssssceesesseseeeeseeeeeeeaeseaeeecaeaesesecesaeseseneeeeesesenenasseaseetatats 211 Create beat Markers ice cececctesesceieeens ietdeetesiadeeds necveenteee reeset eet setennervavtaaierieveevecins 211 Viewing Your Analyzed Sample .......cscecececeeeeecseseseseeeeetaeseseneeeeesaeseneeseseseenenanaseeaeeatanaes 211 Markers sictsivtad fied dein Win aeeaceeedniiieie Wadena edema nt tarp aeraninist 212 The Triplet: Button ss... asa cwine agin ina. andeddirapce ee Ariane ates 212 Sen Siti VILY ss hecevessceeeceieheeeiesiatiint siieececaneieetenees deedeeet eee aneeni rece eee seteneen en eweaeeeeiereceeenedredtay 212 Fine-Tuning Your AnalyZed Sample ........ccececceeeseseseteeeeecseseseceeeesaeseneneneseeeeeesatanaeeeteeas 213 Shifting the Beats wsitiesn iene vi eite wen rnvernaricivains eile 213 Beal PArAriGlens a cectisitucdecdeesesuse cae abe suneealiguusuesuede ont ole ote gutedcaatevedseDsetientaataattaetustardaraneevs 213 Bar NUMberiNG CHANGES .......cseeceeeeeseceseeeeeeeeseseneeecaeaeaeseeesaeseneneeesesseeetetaseeeetanasatieees 214 Beats Per Bar'Changes sici.ci:.aven aii Wai as a Serene oid danas 214 Tempo Granularity Changes .......ceeeeceeeeseseseseeeecseaeaeseeeeesaeseseceeesesenetateeeesanataeaeees 214 Creating Loops from Your AnalyZe@d SAMple .......::eececseseeeeeeecseeeeeeeeeeeeeteeeeeeaeetanataes 215 Tips for Making Selections for LOOPS .0......eceseseseseseteeeeseseseseeeeesaeseeneeeseeeeeetatataeeeneas 216 USING LOOPS): winks cad daiAihe wen deka aetna asat net aiArinraie Ginie dra ales 217 Playing Back LOODS os. sii wisinsteaedieieledenneeeen lindane seeneserenetiiensn ed ertieiedavients 217 Loop:Speed and Tempo: 24.6 4cenade annie we cenit 219 E-MU Systems Changing Loops Using a COntinUOUS CONtKON EL... ecscescssessseeesseeeseeseeersesrsessneees 219 LOOP Select (CONTINUOUS) ......cesecssesssssscececeeseesecseseseesesesassesscecassesaseesaesesaesesessaserses 220 LOOP SA ECE (URN): corset reteset tena at eoeanesiece, 1 i aol avs hs he deere tide 221 Other Ways to Change LOOPS .......ccecsccseeeeseseeeeeeeeeeseseseeecaeaeseeeeecaeeeseeeseseenenenseeeaeeananaes 222 SYNCHrONIZING!LOOPS i. n24 tite fede eve eee chery dtdeenede eo ie eset eet ne 222 Multisample Voices ANd LOOPING ........ccscescsceseseeeeeeeecseseeeeeeesseseneneeeeeeeesenateteeeetananaeteees 223 The Speed! Kn tect Alani aia ded Anabaena eee 224 Changing a LOOP’S SPCC 0... eeeeeeeceseseseeeteeecsesesceeeeenseneneeaeseecatacaeseseseeesaeseeaneeesaeeatatats 224 Nudging'the Tanpo sass kane dik eel cetera adda 224 Using Regions of AnalyZed Samples ........cceceseeceeseeeeeeecseeteeecesseseseeeeeeeesenstaeaeeetatananaeees 226 Using the RT Win With REGIONS ........ccceceseeeeeseteteeecseseseeeeecaeseseseeesesaeeeneseeeeeetatanasaeteees 227 TWOUDIESNOOU NG zacsscsecschcusscsndeseecieag sot plone Hesteed ad ahs saesasgechic at eae egteg; ts a heth ale 228 Beat Analysis Doesn’t Find the Right Beats o.....eecccsseeeeseteeseseeeteteeseeeeeetetataeaees 228 LOOPING DOESIN’t OCCUN one. ceseeeeeeseteteeseseseeeeesesesceceaeeeseecataeassenececaeseseaeeenaseeeetasaeaees 228 Loops Don’t SynchroniZe to TAN Po ou... eseeeseeeeeeseseeeeeeeseeseseeeeeeesaeseeeeeeeaseeeetaeaeaees 229 De EGGGCUS ic vosuceedeseucausansewengenesasegeuaseetsens wacawacudwensaeereucaaee 231 OVEN OW Sec oiiasciia cyte tte neath teehee is ded eteee ole aad eit, 231 Programming Effects..i..:cessn aiwiee nti ehh eieaeneeieiadivitin wi iedcneeteniicies 232 Adding an Aux Effect in the MUItiSCLUD oo. ceeeeteeeeeeteteteeeeeeseteeseeeeeaeeetetasaetetesatanneees 232 Adding an Effect to & Preset ....eeecccssesseseceeeeseseseseseeesaeaeseneceeeeseseneeesesaeenenasaseetataeataeaes 233 Block Diagram of the Effects ROUtING ou... ceeeeeseseeeeeeteeeeeeeeeseeteeeeeeeeeetetaeaetenetaeaees 234 Block Diagram of the Effects Screens 0... ceeceseeeteeeeecieseeeeeeesseeeneeeeeeeeeesatasseetetaeaees 235 Effects Overhead csicc eeciesiss ate Sapa idan dn ai ariat aee eee 236 Typical. Effects 'U Sage v.cscscccecce vests tuetaacssnereaneenbeneseetge et bargent vhaeeeedavesveesteveteteetecbeates 236 ASIO*@ UlDUIS Seto nia duiiintian al ret ae aetna a Peddie dee 236 Main Output Window w.ii.4.cccheteeeteretidis etd dete eeeeievieetesneed nd ineeneteerietedeee 237 Main OUtpUt WINGOW ose eeeeeeetceeeecteteeeeeeseeeeeeeseeeeeeecaeaeseseeesasaeseneeesieeeeneseeaeeenetatanes 237 Proteus X Composer FX TeMpl ate.......ccccececesceesceeeeeeeseeseeeececseseneeeeeeeseesensseeeenesanananaeees 238 Key:POlntS si sfc ierh built a inicase eve iad ad. ae nete auton daar a aia ees 238 VOICE viet aie seein Gee teed lined st ese deed imine ncdnecideerare 238 PRESEU svtetn vst tdetnnneis dss: Oe utuevettanuth lod Arline ale divas dete detente 238 MUltiSSQp s..tsstescreciitetin iets ie cceesivereeeteinedd dhveeceteetearedhneuivieeeier an viaeiadiniylells 238 Controlling the Preset Effect AMOuNt froM the VOICE ose eeeeeteteeeeeeeeteeeeeeeeeeetetaeae 239 AUX'EX SCr@QN aiiaaivtietniad be dniiie aie in nanan anid dntndiiatal vbeieenealg nls 240 AUX Effects =: snc. as SiGu wari neee dal eee transit binr a datareader 240 Aux FX Send AMOuIntS iccciceccestds ieee ve innrneeiereeertniideinediieeedeeteciniicies 240 Preset FX SChEGN yceccnanae ASS anita ae as rast Py tee 241 Preset Effects :\. tii tess tate eddie Seiichi ee te cr alacant 241 Preset FX Modulation Parameters oo... cecececcceceeeeeeseseseeeeeaeaeseeeeeesseseneneneseseeeesatanaeeeteeas 242 Creating and Deleting Tap ates oo... eecccesetesseseseneeeceeseseeeecaeseeeeeeseseesenseeeaeeesaeas 242 Ephects: EISH MG r..47102.2: sethanstelte 0G sieves at dete Soe eibiaees te de eae ate 243 Effects Descriptions: ii.iiuiait in sis eee arya abn ine ol auicdiety 243 Background :;REVEND 5. ii.cssitietedeedeti ieee ne nsaeie deadline deve neeieetendentedteteets 243 PREACH ID as cached ists cvhstazy tgtacshgsussseezersstad¥eapianscagebeenes Nehithaatectuantnasesaenas ov eeeoe daceetaaadeterheste 244 Early Reflections ROVE‘ oo... ccecsccsesssseceseeeeceeeseseseeecaeaescsenecaeseseneeeeessesenenaeesensetatataaeees 244 REVERD Lite (MONO) wxseia sacs ce ccecizcvscadaddachacatada conach sasscahaataaisesaedenaedgetadvarevancaabend sotadsaaien 245 CHORUS. «2.8602. ee etches 1A a ete nit ete ee nate fe 246 Background: CHOMIS s. 27.5. ccsccdocrdn Giiestiai blicacetientiaseianditaseascadeetetestt ene 246 Chorus/ Delays ae ee re es eee at 247 COMPI@SSOR sie be has iiniie Suid ieetietiadtisa ii aba lg ais naar alae de teds teeta ed 248 Basi¢ COnWOIS:. tiie tthe Adel dailies hl eatin 248 DSU AY sso eecses sa sdedect is haat testes tases Gescast dite cceacs calarbedleiedhcteateassa deaaeszean bee beaseelearennscaeecheeteth: 250 Background: Delay waist edie aie See Se a Sa eds 250 10 Emulator X3 Reference Manual BBY Ko’ = = Ro 0 = = © ee a PC 250 PING PONGStEPO iss ecite tei ieteeceeeteateees diedinenieth ede diets eecetnntieenead ew eee ad wieedanaueeene 251 Ping:Pong, MONG. L7aR a. snot weie ie Wal Soeeniiaieih annie 251 Delay: (BRM) Sint atacisinanuseivaiwsdserasintitain is daamenndannnann i ivsatardeniates 253 Early Reflections iv. s.60,.404..0 dst innit At ntian etnies 254 1-Band Para EQ: visciiessieucsieebietiseseedes tite ested neat elev eeeretearaneed od enone ecneeeeetnen tis 254 4-Band EQ: sin sesso iia deAiiateastasie ithe th ied ee dreteedtaian as genie 255 FLAN QE? cst taieitidilh aetdeeteaeeetiiive deel draveeeennnle ne acu netendeies 256 Planigen (BPM ))* sits. siedislascavestas veces ceavea sats czenseadasbatadi stetervebestanbevacant acini sdastestactvevaetrabettiravies 257 GOW sie. ce ii die teaeendieehenaaiet ene eecslsceiteeeteeline ated eretivtnnees adie iteetedavieviathe 258 LiMiter said peek Sites ANA ae in nite BNE Ne Scere ie i ed 259 PROSEF sisted iesieiveviehie neice naeeedi nial a aiatavsdnaniea aide aeaeraniiedts 260 Pitch SHIFTER (MONO): Sissies vecvesveacsbos vis ate ve dca estas tats te sSeavanateatada nti thes av tach abesanvesvenveaa tie 261 Ring: Modulator 3.00. tia.ccis audience nnenin aiedtdieesienaeeniiresa ee eienainents 262 SPL2-UlaLOR sacar evils Av eel Gale avaviie Vol iat cn tien algeaw 2 a gain tlh 263 Tremul ator BPM) i..:ceiie na tei eect nie ceded dete naniiiiaa aeeecneriieetls 264 TUDE esters restate etter ce oe os Guat bstn weet fa Ard edness este sta sth te eee 266 TW giscticdevtececeecgits dies evandivle do iaie ae siareaecuateeeens ete dnelvatennanitiee gan aneviactatanivielns 267 £0] COMEGONS jaceneees cece seaesecau cece tnns aiceueun ee mecweucnweunsesaeceananen 269 THe: TOO|DarSi2.0:. 28004. 12s Peattee tide els ead ia ies det enna ee ts 269 Viewing and Hiding the TOOID ars... .eeeeecseseteeeeeceteeeeeeeseneeeeeeeeeecenaeeeaeeetataeeeeetaes 270 DiAG8e DIOP as iasi. Bees eivtvzstzeadtict anes an fenderdvelv etiedbocrebhe ators alist leeds desae vere nerennieetedl 270 Floating Keyboard) is...s:.acas. ac ckathdledleai disc ARIA as aint dea Meeting. 270 Changing Settings .s.:-sssiieianviaiaieiein din ei din inie es eniiaeiaeeeie: 271 Entering NUMETIC VAlUCS ..... ce eeeeeeeeeeteeseeeeeeeeeceeseaeseeecaeaeacnececesaesesesesesieeenenaeaseesatanaeaeneees 271 ACjUStING RANGES & FACES... .sceeeecstseceeeseteeeeeeeeseceeseseeeesaeaeaeseeecesaeseuesesesieeenenaseseenetatasaeeeees 272 Selecting Voices using your MIDI K@ybOard ou... eeeteseteeeeesetceeeeeeeteteeeeeeeeeeteteeeeaeeeteeas 273 Adjusting Enve 0peSiiw.s. ac aint eetinivi aol aidineerirneertieiein 274 BPM MOde & TOMO .....esesecesescssesesesenseeeeesesesceceasseseseeaeseaeeecaeaeseaeaesaeseseaaeeneseeeeeataeaees 274 Cut, Copy & Paste s.cccceus isan ietivitacidhinile ude sense section inentninl whiners 274 VIEW Mens 2.0) gin vi oni ui aed dicate nena apeetei ve eel are 275 List Display Vie@W «..:ccetesnicie weenie te inlet cree einiinie dee wernaniecis 276 Creating a Text List of Presets ANd SAMPLES ....... cece eeeseteeeeeeeeeteeeeeeeeteteteeeeetetaeaes 276 TRE Vi GW ciecectetestelieareancagieresd egetiansnnceonescevertieeoieds atta dh eeaseentavieetaaetians at veneer sneeeits 277 Tree Navigation Using the KeyDOard oo... eeeeeeceeeeseteteeeeeteeeeeeeeeeeeeeeeaeeetaeaeaeeenesanaeneees 277 CUISOF Ke@YSi0i) ti dententiidiveniate dnaltasenaidinin lead nderen ities en Dee 277 PINGIITEMNS: 2. hss Retetees acti de eee aaa see Adee ccna ended stn ease ee ae 278 Tree Navigation Using the TOOI Dar oo... eeeeeetesseseteeeeeeeeteeeeeseeeeeeeeetetenstaeseeeeesaeanneees 278 Refrest (ES) sstciiacciaviuadselisadh ineieinie Sis Seared ie ae ie ea al 278 Context Sensitive MONUS o...ceseecesessscseceenseeeeeeeseseseeaesseeaeaeaeseeenecaeseseseeeeeseeetanseaeeetatas 278 All Sound Off (Ctrl +Pa@USe) ooo. .cccccccccsccsscsscssssscsescessseeseuseessesseesseuseusesseusseuseessensensans 278 Templatesecnuiaincke ai hei se ratag aac hadi as Sardides adn 279 Creating and Recalling Templates ........cccceceseeeeeeseseteeeseeseseeeeesaeseeeneeeseseeneneseeeeetaeats 279 OrganiZiNg TEMP] ates oo... eeeceseeccseceeceeeeeeeteceeeeeeeeeeceeseseaeeecaeaeaeeeeesaeseeeneseseetenanasaeaeeesas 280 E-MU Systems 11 - From Sample to Preset .......ccccesscceecceeseeeseeeeseeenseenene 281 Acquire (SamplinG)s6his4 ated det tielala vata dithneneinacdat dae intetiaed 281 IMPUE COMMTOIS s':.2 04 ih eis teeiedt atedeehte ne Bee Bee ea no a ee 281 Recording AUCIO (SAMpliNG) .......ecceceeeeeeeteeeeseseseeeeeeecaeseseeeeesaeseeeeseseetenstasaeeetetaeaeaeees 282 Record AUdIO CONKIOIS .....eceteteeeesetetseeesesesceceeeeeseseeeaeseseeacaeaesenecesaeseseaeesesenetatseaees 283 Gating:the Samples: ss).c:i7o.5 acidic sith sani ii ertiig a. anita 284 Gating Displays iii. thas eet eee te aie adele be aes 284 Gate) Chop:Control' ui cccites ceases ditieie dniniccssasie nde tindientaen, Series 284 Region: List Display «at Wwacdeai a aseate-g teas fe anhieiie eeAs SAN ities 285 Region: List Conttols: «2... .cauhidaiidiheadanciihitiennhsdnebarniad nines 286 SAVING YOUP SAMI ......eeececeseeeesesescsceeeecseseseseeesaeseseeeaesaeenecseasseaeeeeesseseseeeeeneseeeetaeaeaees 288 Save to Sampler CONTrOIS oo... ceeeeseseseeeeeeeseseeeeeeecaeseseseeececaeaeseneeesesaeeceneseeaseenesaeaenees 289 SyNthSwipers:c. Aes. aed ea iaiteilenieine hhhnede dl fet elviatlead ane teenie Gels 290 Tips for Saving SynthSwi pe RECOrINGS ........esesceeseeceeeseteteeeeeeeeeeteeeeeeaeeetetatatateeteeas 293 RESAMTINDI ING 82:22 itech settee cea telte chet entender Pat ed iadiat die ened 293 Importing Other Sample FOrmats .......ccececccseseeeeeeseseseteeeeecaeseeeeesaeseseneneseseeeesaseeaseenesataees 294 Sel Oniginal KeySia.5:<4./).cedred ea teeta ae needed det ele ieee tet 295 Original Key AIQOrith .0.... cc ceeeceecceceeeeeeeceeeeseeeeeeesaeaeaeeeeesasseseneseseseeeneseteeeetanatats 295 Sample'O ptions sain vw tay Wane an ed ate detested ay eaten nieces 296 Bulld Preset © ptl0ns:.::2.4.06sacciieisi Sadia tl aun MARA ara ene 297 12 - Synthesizer Basics ......sccssceseeeeeeseeneeeeeeeseeeenseeeeeneeneee 299 Emulator X Advanced Applications Guide 0... cceecceeecseseeteeeeseseeeeteteeeteteteanaees 299 EGItING:PreSetS 8. iictce een ile arnt ed adel ete A anand teenie eats 299 MOdUIatiOn si: dscccgeienn Severin re i dleaeeciedninie ya aeedivinlee sa nai awanninien 299 Modulation Sources ¥:...4.cscncs indies e natin en eae aerate 300 Keyboard Key otis ccevevieiieatn isis ieeeedivieene vied ce caeee ene eeeeneiereanend nearness 300 Key VElOOLY: cisisecee ies isin nee iatied len ea lad Seen ae ciel 300 Release VeloCity s.scccccnsiiiie neds ditieees tisha steoeddeveevnieeenenaeandeets 300 GANS cc, asia aati des wanes eats. stutetnarsacttuatiod Settee hate ateenvar esti ha noes eee 300 Key Glide waste tients din haeeineeeeieieteecdee eters aeeeirietiene erin naratnviens 300 Pitch ANd MOd WhEENS ooo. eeeeeeccseseessceceeetesceceseeeeeeeeaeseaeseeecaeseseneeeeesaeseeeaseseeeetatanaeaeees 300 Keyboard Pressure (MONO aAftErtOUCH) ......cessesesssscscsscseesceeeeseeseseesessesecsesessesesaeseters 300 Pedal wctcce ae tes atin eid vnyeten asta adds de Altai ate 300 Miscellaneous Controllers A-P o..ceeecesesseeeseseeeeecseseeceeeeesseseneeeeesesenenaeeseeeesanasaeeeees 301 Low Frequency Oscillators (2 Per VOICE) oo. eeeceecseeeeseteeseeeeeteteeeeeeeeeetataeaetetetatataeees 301 Envelope Generators (3 Per VOICE) ......ceccsesssesssserceseseeseceeseseesessesessesessesesaesesaesaters 301 Function Generators (3 Per VOICE) .....cccecscessessesessessssssseessesecseeeseeeeseesasensasensasensess 301 Noise & Random Gene rat0l ou... ceeeeeccceceeeeseseseseseeecaeseeeeececaeseneeeesesesetaseeeeeesanananaeees 301 T-SWItCH ANC FOOCSWITCNES oo. see cecseeeeeeeteeseseeeeeeetaeaeaeseneeesaeneneeesessesenatateeeesatanaaneees 301 Modulation Cords «. wiscscascestaie cies aiineeiiinie deed sieeve dn aievieeanagaeh 301 Envelope Generators: accc.sta ieee oat iin a ec en a ein 302 REMI GQGEN NG urs f: ssa Gta cataracts iets avid eee a aide easels 302 Complete MOde@ ars icieledciderhch etetdied SE eaten i ene siete 302 Low Frequency Oscillators (LFOS) .......:cscssssssssscssessesesseseeseeseesesessesecsesessesesseseseasarsesassneas 303 Random: -SOUrCeS s.:.iata ta Aiierteen iia hacemos a iene 304 Clock ModulatiOns.:)sie.iec.cten stench heheeniesl ahielaineiadaetidedag atid aie aue fark 304 SYNCING AN LFO tO the CIOCK ....ceeccceeesessseeeteeeeeeseseeecesaeseseneeesesieeneeeseeeesetasaeenetaeaees 304 PUNCH ON Generators: . es cesciiece: cee eseet habeas actin antics fasseinacgeeds davtaseg, he ederiecietheste 305 Modulation Destinations ......ccceeccccsetseseeseeeecseseseeeseeecaeaeseeesecasaesenesesesaeseneneseseetananasaeteaes 306 MOdul ation ProCeSSOIS.........:cccccsssessseesseeeeceeseceeeeseeeaeeesaeaeseeececaeseaeaeeesesseeeneneseseesananasaeeses 307 Modulation Processor Examples ......ccceecsceseeseeceseseeeeeecaeseeeeeesesseeenseasaeeesanasanseeeeeaees 308 Dynamic Filters:ccn. corns ened eh eta dns dda eee ed 309 12 Emulator X3 Reference Manual What Sa Eitan? oo ec cote. foe tee Bek cee ecea ti ezcoatiee « tagte dade aaceused tov asdasvactucdigencSaceatisenetes 310 Parametric Filters weiiecsiniei ie ieecnieteneretitdeeeecteth eeeertietienetiertanvieianeviens 312 The:Z-Plane Filter ccc haw sais ane eve ial ets os Ses catninas oh aun ate 313 MIDI Channels & Real-time COntrolS........ceeccecseseseeeeesseseeeeeecaeseneeeeesseeneseseeesananaeaeneas 314 Assigning MIDI Controller KnODS.........cccecccceseeessetecseeesceseeceeeeeeeeeceeseesaeeesataeaeeenesatanneees 316 MIDI Program Change Commands. .......ccccccccccceeseseeecesesseeeeeesaeseeeeseseeenenseeeeetesananieeeses 317 MIDI Bank Select COMMAS ou... eeeeceeceseteeeeeeseseseeeeecaeseneeeeesaeseneesesseeenenasaseetesanasaeeees 317 Background: Bank Select COMMANAS .......scecseeeceseteteeeeeeeeeteeeeeeeeceeseseaetesaeaeaeaeeeteeas 317 MI DIsMoOde5isn.0.3. 8. aihitin is fe iwi atatal fehl ibiii died hee 317 13 - APPCNIX .....cceeeeeeeeceeee eee eee eee 319 Translator Emulator X CONVEItEl oo. cceececseseseeeeeeseseeeseeecaeaeaceeeecaeseseseeeseseseneeeeeeeetananasieees 319 Supported File TYP6S ..v.sicscrcieeie ce steneeeeeeeeed deen eeeenitiienen nenienaniedirieel: 319 Emulator X:VSTI f.c.o8. nile en i A ee eee at eee 320 Launching the VSTi AppliCation oo... cececetecsseeneeseseeeeeecseaessseeecesaeseneneseseeenenaeaeaeeetetas 320 1.= Setting up: Cubase LE4: «cine een ete ede eens 320 2- Recording a MIDI Track USING EMUIAtOr X3 oe. eee ee eteeeeeeeeeeeeeeeeeeeeeteteeeeeetetaeaees 322 ONYOUR OWN sd iacdcavstivin lela begun ern iA faa aie oases tit 325 Multisetup is Saved in the Recording Application .......cccccseceeeseeseseseteeeeeestteeeeeees 325 Checklist for Launching Emulator X VSTi oe. eeeeeeeecseseeeeeeeeteeeeeseeeceeeeeeeseenstaeeeeeeas 326 Cubase LE + .:siseneiectivieaieeieieniline ed dsiaeeednenrnceen staid annie teins 326 If you're USING PatCNMix DSP... ..eceeeccseteeeeseseseeeeeeecseaeseseeeeecaeseseesesseeeneneseeaeeeteas 326 Keyboard Shortcuts. csi ated iiedei diated ene et pees reneeeetins des at sdeesececneieetereense 327 Drag S DIO iccnicatctetcieea nica it tied athena ieee te atenadeiteerh dad ded arene 328 Toolbar FUMCHONS iseciecsclisceseteaetieediedes eel te db ete aces een eevee visti) svnaedeedanneelaeticeetenerateaeee 331 MIDI Key Number to Note Chart... cceccecsesesecseseseeeeeeecaeseseeesaeaeseeneseseeesenesaeeenesanatiaes 332 Frequency Range of COMMON INStrUMENES ....... eects eeeeeseteeeeeeeeteeeteeeeeeeetetaeeeaetetetaees 333 MIDI Implementation Chart 2.0... ccceccccsseeeeeeeeecseseseseeeceeaesesececaeaesenenesesseeeneseseeeeeesanaeaees 334 Received Channel Command o......ceccececeseeeeeseeneeeeecseeeeeecaeseeneeeseseeeeeeseeaeeenesanaees 339 Special NOES! 222s Serchlite datidatereye Bier Hilti ie fed aul iat da tea oe 339 Optimizing Your Computer for EMUIatOr X oe. eee ccceeteeeeeeeeteceeeeeeeeeeeeeeeeeeetetaeaeteeeee 340 SCSI and IDE Drive Tips and Considerations... eeeeecteceeeeeeeeeeeeeseeeeeteestaeaetetesaeaees 340 WAGON iccccarceecacswscecsnersdecsceuseesanewateseeeeseceseceueareeaesenenneenet 341 E-MU Systems Emulator X3 Reference Manual 1 - Introduction & Installation Introduction Congratulations on your purchase of the Emulator X3 Streaming Sampling Synthe sizer—the most powerful and complete software instrument in the world, built on E-MU’s 35 years of synthesis experience. The Emulator X3 features the Xstream™ streaming sound engine with up to 192kHz sampling, and playback, an arsenal of automated sampling/beat analysis/editing tools and almost unlimited sound manipu- lation. Emulator X3 Features Streaming e Xstream™ 24-bit/192 kHz Streaming Engine, featuring E-MU’s patented pitch interpolation and precision 32-bit floating point processing for unmatched sound quality. ¢ 32-bit and native 64-bit applications included (32-bit: Windows XP and Vista; 64-bit: Windows x64 and Vista) ¢ Optimized for Multi-coreand Multi-Threaded processors to intelligently balance the processing load across all available resources for exceptional performance. ¢ Standalone (64 MIDI channels) or VSTi (16 MIDI channels per instantiation) operation. Sampling ASAP™ Automated Sampling and Placement ¢ Sample, Chop and Place ¢ Load, Chop and Place ¢ SynthSwipe™ automated hardware and software instrument sampling Integrated Sample Editor ¢ Auto-Correlation Looping * Crossfade Looping ¢« Comprehensive DSP Tools including Transform Multiply ¢ External Editor Link Beat/Loop Tools ¢ Beat Analysis and Markup ¢ TwistaLoop™ non-destructive audio manipulator ¢ Xplode™ beat slicer with MIDI and Tempo Map Export E-MU Systems 1 - Introduction & Installation Introduction 1 - Introduction & Installation Introduction Synthesizer ¢ Advanced Modular Synthesis and FX Engine (from your initial sample’s tempo through Emulator X3’s entire synthesis and FX architecture, all time-based parameters syncable to BPM clock). ¢ Over 50 types of Z-Plane™ Morphing Filters (2nd order to 12th order), including the Morph Filter Designer e Multi-Function Generators/Arpeggiators (can be programmed to modulate pitch, filters, volume, retrigger samples, or LFOs, change tempo or trigger other events) ¢ Virtual PatchCord Modulation Matrix (over 100 modules) ¢ [Integrated Modulation FX engine (23 core effects), including SP12ulator, Tremulator, Reverbs, Delays and many more ¢ Comprehensive sound format support, including EOS, EII!, GigaSampler, MP3, REX2, .AIFF, SoundFont 2.1, .WAV and more. Before you Begin... You should havea good working knowledge of your computer's operating system. For example, you should know how to use the mouse, standard menus and commands. You should also know how to cut, copy, paste, open and close files. Notes, Tips and Warnings Items of special interest are presented in this document as notes, tips and warnings. e Notes provide additional information related to the topic being discussed. Often, notes describe the interaction between the topic and some other aspect of the system. H Tips describe applications for the topic under discussion. V Warnings are especially important, since they help you avoid activities that can cause damage to your files, your computer or yourself. Tutorial List Although this document is primarily intended as a reference manual, it does contain quite a few step-by-step tutorials that you may find helpful. A few are listed below. = Tip: Please refer to the “Index” for a complete list of all Emulator X tutorials. Tutorial Tutorial Page Adding an Aux Effect Function Generator 140 Adding an Effect to a Preset Creating Sequencer Tempo Tracks | 173 Building a Preset from Scratch Layering Presets 124 Change Loops with a Controller Looping 207 Conserving Polyphony Morph Designer 150 Control FX Parameters via MIDI Sampling 282 Create a Custom Bank Program Change Commands ole Creating ADSR Envelopes Setting up your Controller Knobs 28 Crossfade between two Loops SynthSwipe 290 Examine a voice or sample VSTi 20 Emulator X3 Reference Manual What's New in X2 Support for 64 MIDI channels (page 70) Three 64-stage Function Generators per voice (page 139) Morph Designer allows you to design custom morphing filters (page 149) TwistaLoop loop analysis and manipulation tools (page 209) User interface changes =» New Region Page (page 115) = New Detail Page with Voices and Zones info (page 119) « Improved Keyboard Display (page 99) « Floating Keyboard (page 270) « Tabs in Voice Editor (page 89) = Envelope Mode Settings (page 132) = Sample Display/Overview (page 169) » Sample Root Note shown with Red Bar (page 99) Key CC Window Controls (page 108) Cycle Groups in CC Window provide more natural sound by cycling through different samples on repeated key presses. (page | 11) Poly Key Groups allow you to limit polyphony per key (page 164) New modulation sources for patch cords: (page 156) = Function Generator (+,~,<,) = Function Generator (gate, trigger) New modulation destinations for patch cords: (page 159) = Function Generator Rates/Retrigger/Length/Direction = Key Timer Rate = Lag Rates 1 &2 = Loop Select: ContinuousJump = Sample Retrigger (+, -) = TwistaLoop Oscillator Speed New Effects =" Compressor (page 248) « Limiter (page 259) « Tremulator BPM (page 264) = Flanger BPM (page 257) New Tuning Tables: al-Farabi 12, 22-Tone, 24-Tone, 36-Tone (page 83) More templates (XML based) Capture MIDI Controllers to preset initial settings (Dage 82) Voices and Zones can be sorted according to different criteria (page 121) New Preference Settings: Select edited preset for multisetup, Expand tree items when selected, Knob tracking (page 29) New MIDI Setting: Preset Tempo Channel (page 27) More Undo Levels and greater control over undo behavior (page 30) Effects Overhead dialog box (page 236) New in X3 Xstream™ 24-bit/1 29kHz Streaming Engine—32-bit and native 64-bit applications optimized for Multi-core and Multithreaded processors. Vista compatible. Xplode Region can now create companion MIDI files (page 117) Export Tempo Map from Beat Analyzed samples (page 171) Xtractor tool selectively processes audio based on stereo position (page 196) Librarian improvements - Faster operation with large libraries (page 66) E-MU Systems 1 - Introduction & Installation Introduction 1 - Introduction & Installation Minimum System Requirements Minimum System Requirements To use Emulator X you will need at least: e Pentium IV 1.5 GHz or equivalent CPU (2.4 GHz or faster recommended) ¢« CD-ROM Drive e 512 MB RAM (2 GB DDR or greater recommended) ¢ Windows XP, Windows x64, Windows Vista, or Windows Vista x64 * Onboard Sound or Audio Interface Software Installation @ No Hardware Requirement: As of Programs installed: software version 3.0 Emulator X3 no longer ¢ Emulator X3 Streaming Sampling Synthesizer application requires that a piece of : E-MU hardware be ¢ Emulator X VSTi connected to your ¢ Emulator X Factory Sound Banks computer system. 1. Insert the CD labeled “Emulator X3 - Software/Manual/Sounds Installation CD” into your CD-ROM drive. If Windows AutoPlay mode is enabled for your CD-ROM drive theCD starts running automatically. If not, navigate to the CD and double-click on Setup.exe. 2. Follow theinstructions on the screen. 3. You will be asked to choose the Destination Folder for the program. The default location is: “Program Files\ Creative Professional\ Emulator X.” 4. You will beasked to choosethe Destination Folder for the VST plugins. The default location is: “Program File\ Steinberg\ VstPlugins” 5. Theprogram will be installed. Click Finish to complete the installation (when prompted) then remove the Emulator X application disk from the CD drive 6. Theincluded CDs contain the following Emulator X sound banks: ¢ X Produce’......... E-MU General MIDI, Hip Hop Producer, Proteus X Composer, Saint Thomas Strings ¢ Studio Grand..... A stunning 1.4 GB grand piano bank ¢ Beat Shop 1....... ATC, Buju, Head Nod, Homage, IDA, Modern Kit, Rock Kit, Seattle, Studio Kit ¢ Xperience........... Breakdown, Filters and Functions, Guitar Wah Bazaar, Jam Session, Jazz Drummer, Transform Tool Kit, Transformed, Twista Mania ¢ Xtreme Lead-1...The complete set of presents and samples from the Proteus Xtreme Lead-1 sound module 7. Follow the onscreen instructions to install the banks on your hard disk. The Factory Sound Banks are installed inside “Program Files\ Creative Profes- sional\ Emulator X\ Production Sound Banks” by default. 8. You may install the sound bank disks now or at a later time. 18 Emulator X3 Reference Manual 1 - Introduction & Installation Running the Application for the First Time Running the Application for the First Time 1. Launch the Emulator X program by double clicking the Emulator X icon on the desktop or by selecting the Emulator X item from the Start menu. 2. You will be asked to activate your copy of the software by entering the serial number included with your master CD-ROM. Activate your E-MU Product You must activate the software in 15 days. Enter Serial Number. EM | The Serial Number can be found on the red Activation Card that shipped with your product. [Sasa |] This computer is not connected to the Activate By Email Internet via another computer Activate Later 3. Activation can be verified via the internet or by email. If your computer is connected to the internet, activation will be automatic. 4. |f you are NOT connected to the internet, you can register via email using another computer (such as a friend’s house, or public library). Click the “Activate by email via another computer” button. The following dialog box appears. Activate By Email Please send an email to “emu.support@customercare.creative.com" with your serial number and the following request code. Request Code 55370246162082845996 74906431 When you receive your reply, type or paste the response code into the box below. Response Code | Please note: anything that looks like a '0' is the digit zero. _Actvate Later] Cancel Email Activation 5. Contact E-MU by email at: emu.support@customercare.creative.com. Be sure to include your Serial Number (from your Activation Card) and the Request Codein the email message. You will reca've a return email with your authorization code. 6. When you receive the response code enter it in the box above and click “Activate”. 7. Continue on to “Setting Up Your Audio” on the following page. E-MU Systems 19 1 - Introduction & Installation Setting up your Audio Setting up your Audio Before you can start making music, you have to establish a connection between Emulator X and your audio output hardware. This is done by selecting a software driver that makes this connection between hardware and software. 1. In the Options menu of Emulator X, select Preferences. The following screen appears. Preferences Audio | mip | Controllers | Other Settings | IV Streaming Audio Pre-oll (seconds) [0.5 —2 Type [E-mu AsIO “| SIO Control Panel Sample buffers | 64 44 IV Use Optimal Buffer Size |” Ultra-High Precision Interpolation > CPU cap (%) | 60 oh Sample rate [44.1 kHz ¥]| Headroom / Boost (dB) | -7 = |¥ Use Multiple Processors Number of Processors | 2 | In the Audio section of the menu, select E-MU ASIO if using an E-MU Digital Audio System. Select ASIO E-MU USB| 0202, ASIO USB| 0404 or ASIO E-MU Tracker Pre] USB if usingan E-MU USB interface. If you’re using another brand of audio interface, select the appropriate driver. You can verify that the Emulator X is producing audio by clicking on theff™ icon in the toolbar. This calls up the Floating Keyboard. Play the floating keyboard with your mouse and you should be hearing sound and seeing activity on the Emulator X main mix meters. After running Emulator X, you may want to adjust the Audio Preferences for optimum performance on your computer system. If for Some reason you want to use hardware that doesn’t support ASIO, select the DirectSound driver. For Emulator X to communicate with your sound card, you need to have Microsoft DirectSound installed on your computer and there must be a DirectSound driver installed for your audio hardware. Please go to page 22 for complete explanations of the Audio Preferences. 20 Emulator X3 Reference Manual Setting up the Preferences The preferences dialog box contains a variety of important controls used to configure Emulator X for your audio hardware and to customize the controls to suit the way you work. To get the best possible performance from your computer, you’! need to spend alittle time adjusting the Audio Preferences such as Pre-roll, Sample Buffers, CPU Cap and ASIO Buffer latency. These parameters interact with each other and you may have to experiment to find the settings that work best on your unique computer system. » To Access the Preferences Dialog Box 1. In the Options menu, select Preferences. The following screen appears. Preferences Audio | mt | Controllers | Other Settings | IV Streaming Audio pre-roll (seconds) [0.5 =] | Twre [EMuASIO =| _—_ASIO Control Panel Sample buffers fea =] |¥ Use Optimal Buffer Size [~ Ultra-High Precision Interpolation [= 440 (10.0 msec v] cPucap (%) [60 =] Sample rate lag.ikHz =| Headroom / Boost (dB) [7 = |¥ Use Multiple Processors Number of Processors | 2 | 2. The preferences dialog box is divided into four main groups. Click on the tab heading to select one of the four sets of controls. Disk Streaming Controls, Sample Rate, Audio Hardware Setup & Audio Pitch Shift Algorithm Selection, Multiple Processor Support, ASIO Control! Panel. MIDI Input Channels 1-64, IntelliEdit, and Receive/Ignore Program MIDI Changes, Internal/External Tempo Source select, Velocity Curve, Volume Curve, Volume Sensitivity, Preset Tempo Channel. This section allows you to set up the MIDI Continuous Controllers ntroller. . controllers you want the Emulator X to receive. This group contains several miscellaneous controls: Load last bank at startup, Select preset on active channel when editing in multimode, Other Clear clip indicators after 10 seconds, Expand tree items when selected, Knob tracking, Recording Directory, External Audio Editor, Undo settings. E-MU Systems 1 - Introduction & Installation Setting up the Preferences 21 1 - Introduction & Installation Setting up the Preferences Audio Preferences Preferences Audio |mip1 | Controllers | Other Settings | |¥ Streaming Audio Pre-roll (seconds) fos 4 Type |E-MU ASIO = Sample buffers [64 —2 |¥ Use Optimal Buffer Size [~ Ultra-High Precision Interpolation CPU cap (%) | 60 Sample rate [ag.ikHz >| Headroom / Boost (dB) [7 = Number of Processors 2 = ASIO Control Panel | JV Use Multiple Processors I eee Streaming When you load an Emulator X bank (with Streaming on), you are not actually loading the sample files themselves into your computer’s RAM. Only the preset information and the first few seconds of each sample are loaded. The rest of the sample data is taken directly from the hard disk when needed. This streaming technique makes fast loading times possible even when using huge banks that would clog a RAM-based sampler. Multi-layer, minute-long, stereo samples on each key are no problem for Emulator X. Sample streaming technology is not new. It was originally developed in the 1980's for hard disk audio recorders so that fast punch-ins and punch-outs could be achieved. You have the option to enable or disable streaming audio. If streaming is turned off, Emulator X loads (or attempts to load) the entire bank into RAM. If streaming is so great, why would you ever want to turn it off? Well, if you’re using your computer as an audio workstation, performing multiple simultaneous functions, sooner or later, you'll exceed your computer’s CPU, memory or disk access resources. Sample streaming makes very heavy demands on your hard disk. If you’re recording other audio tracks, using multiple software plug-ins and playing Emulator X with alot of voices, you may run into a disk access bottleneck. By disabling streaming and loading the bank into your unneeded RAM, your hard disk can be reserved for more critical operations. Pre-roll (seconds) This important control allows you to set how many seconds of each sample should be loaded into RAM when the bank is loaded. This setting greatly influences the perfor- mance of Emulator X when streaming is on. The setting you choose depends on: the number of samples you want to use and the amount of RAM you want to dedicate to Emulator X. The smaller the pre-roll, the more disk access will be required for sustained sounds. Frequent disk access may overtax your computer system, depending on its speed and the number of other disk dependent applications you have running. Large pre-roll times improve polyphony and performance at the expense of system RAM and slower bank loading. If you set the pre-roll high enough, the entire bank will be loaded into RAM and no disk streaming will occur. 22 = Tip: If you get an error message when trying to open a file, the file may be too large to fit into RAM. Turn streaming on. = Tip: Decrease Pre-roll time for fast load times when auditioning sounds and creating new banks. Increase pre-roll time when your'e playing many notes or dense sequences. Emulator X3 Reference Manual Sample Buffers This control allocates the amount of RAM that will be set aside for Emulator X (in other words, the number of the largest complete samples in the bank that can be kept in the RAM cache). As samples are played, they are streamed from the hard disk into RAM. If you play those samples again and they are already in RAM, they don’t have to be rdoaded. This control sets the size of the RAM cache that will be kept and lowers disk access at the expense of RAM. > Optimize the Performance and Polyphony of your System The polyphony of the Emulator X is dependent on a variety of factors including: ¢ The Pre-roll setting (if streaming is enabled) ¢ The Sample Buffers setting (if streaming is enabled) ¢ TheCPU Cap setting—the amount of CPU resources available to the Emulator X The bit depth of your samples —16 or 24 bits (24 bits =fewer voices) The sample rate of the audio hardware —44.1kHz, 48kHz, 96kKHz. Lower sample rates use fewer CPU resources. Ultra-High Precision Interpolation and the use of high-order filters can reduce polyphony. The speed of your computer —CPU speed, number of CPUs, speed and size of RAM, as well as hard disk access time Cost of Filters on Voice Count No Filter No additional CPU load. 2nd Order Additional CPU load comparable to playing another 1/2 sample. 4th Order Additional CPU load comparable to playing another 3/4 sample. 6th Order Additional CPU load is comparable to playing 1 more sample. (maximum polyphony is divided by 2) 12th Order | Additional CPU load comparable to playing 2 more samples. (maximum polyphony is divided by 3) Synthesizer parameters also use CPU resources. When creating presets, feel free to use modulation cords as needed, but don’t leave cords half connected if you aren’t using them, since these patch settings waste CPU cycles. Turn off both the source and destination of unused cords. Audio Setup These controls let you set audio quality parameters related to Emulator X and your sound card. Type You havea choice to use either Direct Sound or ASIO audio drivers. If you have another high quality sound card installed in your system, it will be shown in this field. ASIO (Audio Stream Input/Output) is a cross-platform, multi-channd audio transfer protocol. ASIO is fast and supports 16-bit and 24-bit data width. Select E-MU ASIO if using an E-MU Digital Audio System. Select ASIO E-MU USB| 0202, ASIO USB| 0404 or ASIO E-MU Tracker Pre| USB if using an E-MU USB interface. If you’re using another brand of audio interface, select the appropriate driver. E-MU Systems 1 - Introduction & Installation Setting up the Preferences = Tip: Adding RAM is a relatively cheap and easy way to improve EX3 performance. With more RAM available, you can turn up the Pre-roll and Sample Buffers to reduce disk access. 23 1 - Introduction & Installation Setting up the Preferences Sdecting Direct Sound uses the audio output device specified in the control panel of your computer. In general, using Direct Sound is NOT RECOMMENDED because of low transfer rate and high latency issues. Buffer Size This control sets the number of sample periods between updates of the synthesizer parameters. The buffer size can be adjusted according to the speed of your computer’s CPU. A faster CPU can handle a lower buffer size. An asterisk (*) next to a buffer size in the drop-down menu indicates the optimal buffer size for your ASIO Buffer Latency settings. Use Optimal Buffer Size When this box is checked, the Emulator X will choose the best buffer size based on the ASIO Buffer Latency setting (located in the ASIO control panel). You should normally leave this feature enabled for best audio performance. In certain rare cases you may want to manually set the buffer length to improve MIDI or synth performance. Sample Rate This control sets the output sample rate of the Emulator X, and will always match the sample rate of your sound card. The default setting is 44.1kHz. CPU Cap This control sets the maximum percentage of CPU resources that can be used by Emulator X and consequently the maximum number of samples that can be played at the same time. (Depending on the design of each preset, playing a single note on Emulator X may cause multiple samples to play simultaneously.) The maximum setting is 80% CPU usage. If you hear notes being “stolen” in your sequence or as you play the keyboard, or if the disk meter readout at the bottom of the window frequently goes into the red, increase the value of this control. If you have other applications running, you may want to reduce the setting of this control to free up more CPU for them. Headroom/Boost Headroom is the amount of dynamic range renaining before clipping occurs. The amount of headroom is adjustable from 12 dB to -30 dB in 1 dB increments. A headroom setting of 12dB provides the hottest output level, (and the highest signal to noiseratio) but may produce “clipping” if too many notes are played at once. The default headroom setting is -7 dB, which maintains an excellent signal to noise ratio while keeping a reasonable amount of headroom in reserve. If you hear the signal clipping or breaking up, make the headroom value more negative. In practice, you can think of this control as adjusting the control range of the Master Volume control. Ultra-High Precision Interpolation This button allows you to select between E-MU’s ultra-high precision pitch shifting algorithm or a lower quality pitch shifting scheme which uses fewer CPU resources. If you are using presets with a sample placed on every key, as is the case on many banks, you can switch high precision off to free up CPU with no penalty in audio quality. No pitch shifting is occurring anyway. High quality pitch interpolation is only needed when you are playing presets which have a few samples mapped across the entire keyboard. In this case, Emulator X shifts the pitch of the available samples to fill in the keyboard. 24 Vv Warning: Sounds with long release times will exhibit “voice stealing” more than short percussive sounds. Emulator X3 Reference Manual ASIO Control Panel This button brings up the E-MU ASIO control panel which allows you to set the ASIO buffer latency in milliseconds. This important setting determines how fast notes will sound after you play them. If this time is too long, (>LOmS) the keyboard response will feel slow and sluggish. If set too fast, however, you will hear the sound break up and crackle when you play too many notes. Experiment to find the setting that gives the best performance on your computer. Use Multiple Processors This option allows the processing load of the Emulator X to be divided among several CPUs or multi core processors. You can also set the Number of Processors (up to 4) to utilize the latest quad-core processors for significant performance gains. You can even use the 2 processor option if you have a hyper-threaded CPU since it can run 2 simula taneous threads. If your computer is also serving as your DAW, recording audio tracks and running VST plug-ins, simply assigning all your available processors to the Emulator X may not always be the best approach. Since your computer is running many other processes besides the Emulator X, you want to balance the workload between your available cores for most efficient results. For example, if you havea screaming fast quad-core system you might assign the Emulator X to use 3 of the 4 available CPUs for a significant performance gain without crowding out your DAW. On the other hand, if you have a computer dedicated to the Emulator X you might want to give it all the available CPUs. DAW Software When running multiple audio software applications, its usually best to balance the workload between the available CPU cores. Balancing the workload between the available CPUs is the key to maximizing the performance of your system. If you have a multi core machine and Multiple Processor modeis OFF, you can probably turn up the CPU Cap (try 80%) for a performance gain, since the multiple CPUs are sharing the overall task load. VST Output Buses This control is only activein the Emulator X VSTi application. This setting allows you to add additional VST buses (stereo pairs). Emulator X channel outputs can be assigned to VST buses in the Multisetup, Output field. These outputs are sent to the VST Mixer in your recording application. You must restart the VSTi for the changes to take effect. E-MU Systems 1 - Introduction & Installation Setting up the Preferences = Tip: To find out how many logical processors your computer supports check the “Performance” tab in the Windows Task Manager (Ctrl-Alt-Delete or “Processors” in the Device Manager. 25 1 - Introduction & Installation Setting up the Preferences MIDI This group of preferences allows you to set up the MIDI inputs, adjust the master MIDI volume and velocity curves and turn the “Intel liEdit” feature on or off. Preferences a, Audio | MIDI MIDI Inputs Ch. 1- 16 fe-0sP MIDI Port [FDCO} Vv! | Controllers | Other Settings | MIDI ‘Response Receive Program Changes (J External Tempo Source Ch. 17-32 | <None> Preset Tempo Channel 1 3 if Ch, 33 - 48 inate Velocity curve Volume curve Curve 2 Ch, 49 - 64 | <None> IntelliEdit |E-DSP MIDI Port [FDCO] |Linear ¥) [31 alll (Ce Cee) Cer MIDI Inputs Channels 1-16, 17-32, 33-48, 49-64 Emulator X can respond to 64 MIDI channels. Since there can be only 16 MIDI channels per MIDI cable (or input), four inputs are provided. Set the MIDI inputs to match up to four outputs from your MIDI interface or sequencer. If you don’t need 64 channels you can turn any input off. IntelliEdit This control allows you to set the MIDI device for IntelliEdit. Selecting “None” disables the feature. When editing sample key ranges or editing voices it is convenient to select the key position by simply playing your MIDI keyboard. IntelliEdit lets you selectively edit key ranges using the keyboard when you need to, but blocks keyboard editing when you may not want it, such as when your keyboard is playing in the background. > To Use IntelliEdit: 1. Make sure IntelliEdit is set to the same MIDI port your keyboard is using. 2. In oneof the Voices and Sample Zones screens such as “Key Window”, position the cursor inside one of the Key Range fields (Low or High). =T = — — a GS Es I" AAALAC 44 Waite cote ns 221 | 4. >|[ 50541 Bottle Blow A3 - ——- 34 (42) 50542. Botsle Blow AS 3. Press and hold, Ctrl+Alt on your computer keyboard. 4. Play your MIDI keyboard. The key range will be edited. 5. In the Voice Edit window, holding Ctrl +Alt lets you select voices for editing. If more than one voice is assigned to the key, the voices will cycle around with repeated pressing of the same key. 6. To sdect multiple voices, you must use the Group feature. See Groups on page 93. 26 Emulator X3 Reference Manual 1 - Introduction & Installation Setting up the Preferences Receive Program Changes This check box selects whether or not MIDI Program Change messages from your MIDI controller or sequencer will be received or ignored by Emulator X. Place an X in the check box to receive program changes. External Tempo Source This check box selects between internal tempo clock or MIDI clock as the tenpo Vv. Important! source. Emulator X uses a global master tempo for Tempo-based Envelopes, Tempo- If External Tempo Source based LFOs, clock modulation and TwistaLoop. When this check box is sdected, MIDI is set to external, the clock will be used for the global tempo and the tempo control in the Multisetup tempo control in the window will be disabled. Voice Processing window will be “greyed-out” and Preset Tempo Channel non-functional. The tempo of Emulator X can be specified in the preset so that selecting a preset ona specific MIDI channel changes the tempo. See Initial Tempo on page 82. This option selects the MIDI channd whose preset will be used for Tempo Control. This allows the proper tempo to be set when a Tempo-based or Twistaloop preset is selected. For example, suppose you have this field set to channel 1 and the preset on MIDI channel 1 has its Tempo Control set to 122.22 BPM. When the bank is loaded, the Tempo will beset to 122.22 BPM. If you changethe preset on channel 1, thetenpo will change to follow the “Set Global Tempo” setting in the new preset. If the preset on the Preset Tempo channel hasits Tenpo Control set to “Off”, (or if this option is set to “Off”) no tempo change occurs when the preset is selected. MIDI Response These controls allow you to customize the MI DI response of Emulator X to match your MIDI Controller or other instruments. Velocity Curve Incoming velocity values can be scaled by one of 24 curves to better adapt to your playing style or MIDI controller. Selecting “linear” leaves incoming velocity data unaltered. The shape of the selected curve is displayed in the window. Select the curve that works best for you. Volume Curve This is an adjustment to help match MIDI controller #7 volume response to other manufacturers’ equipment. Three curves are provided: Linear, Inverse Square or Logarithmic. The action of this control is displayed in the window. Volume Sensitivity This control allows you to modify the response curve for MIDI continuous controller #7 (Volume). This allows you to match Emulator X's response to other manufacturers’ equipment. Low numbers compress the volume control range, raising the volume level at lower controller #7 values. E-MU Systems 27 1 - Introduction & Installation Setting up the Preferences Controllers This is where you set up which MIDI Continuous Controllers Emulator X will receive. Match these controls to the MIDI continuous controller numbers that your keyboard or sequencer transmits. What the controllers actually do is programmable in each preset. See Modulation Cords on page 156. Preferences ; —— == | Audio | MIDI_| Controllers | Other Settings atte W}021 (Undefined) v Ctrl I |070 (Sound Variation) ¥ i Pitch Wheel Ctrl B |022 (Undefined) ¥ | CtrlJ |071 (Harmonic Content) ¥ 001 (Mod Wheel) Ctrl C |023 (Undefined) CtrlK |072 (Release Time) v Channel Pressure Ctrl D |024 (Undefined) CtrlL | 073 (Attack Time) v 004 (Pedal) Ctrl E |025 (Undefined) CtrlM |091 (Reverb Depth) v i 064 (Sustain) Ctrl F | 026 (Undefined) Ctrl N |093 (Chorus Depth) v i 065 (Portamento) Ctrl G | 027 (Undefined) Ctrl O | 082 (Gen'l Purpose 7) i 066 (Sostenuto) CtrlH | 028 (Undefined) Ctrl P | 083 (Gen'l Purpose 8) Use Defaults As you can see, MIDI Continuous Controller numbers are assigned to letters (A-P) or labels (Pitch, Mod, Pressure, Pedal, etc.) in this screen. When programming a preset, these letter or name labels can be assigned to control various parameters such as filter frequency or attack time. The name labels such as pitch and mod whed's are so commonly used that they have @ For more information their own assigned name, but these can also be freely assigned in any way you choose. on MIDI Controllers... If you’re just getting started, it’s probably best to use the default settings. Press the see MIDI Channels & “ ” f Real-time Controls on Use Default” button to restore the default settings shown above. eae Sia. Controller Knob Assignment Wolke Brovesstiig cords Preferences (Options, Preferences Controllers) (crea MIDI Keyboard ee SS Cr jeacee lucene] Controller ca Knob data [uc | = it 1. Select the CC Continuous controller numbers 2. Assign the controller numbers you are assigned Letters (A-P) letters to Synth wish to receive. & Labels (mod wheel, etc.) destinations. The Controllers screen determines which CC numbers (knob controller data) the Emulator X will receive. What the knobs actually do to change the sound can be programmed differently for each preset (Voice Processing). 28 Emulator X3 Reference Manual Appearance Settings in Windows Adjust the “Performance Options” in Windows to make the Preference buttons much easier to read and increase smoothness when dragging windows around the screen. > To Improve the Appearance Settings: 1. Open the Windows Control Panel. (Start, Settings, Control Panel) 2. Select System. 3. Select the Advanced Settings tab. 4. Under Visual Effects, select Adjust for Best Performance. 5. Click OK. Other Settings Preferences Audio || MIDI || Controllers | Other Settings Startup Interface Select preset on active channel when editing in Multi mode Load last bank (clear dip indicators after 10 seconds Knob tracking Expand tree items when selected Rotary Paths Undo Recording and temp file directory ae C:\DOCUME~ 1\jjessee \LOCALS~1\Temp\ [ | r J || (=o External audio editor C:\Program Files \Steinberg\WaveLab\WaveLab.exe i) (| Clear history when saving Startup ¢ Load last bank - This feature automatically loads the last bank you had loaded whenever you start the Emulator X application. Interface ¢ Select preset on active channel when editing in Multimode - When checked, selecting a preset for editing in the Tree selects that preset on the active channel in the multisetup. This is what you want if you’ re editing a preset and playinga MIDI keyboard. If you’ re playing back a multi-timbral sequence and want to make a quick edit to a preset, you might want this feature Off so as not to alter your multisetup. Clear clip indicators after 10 seconds - This feature automatically clears the main output meter clip indicators. If this function is set to Off, the clip indicators will stay on until you manually click on them. Expand tree items when selected - If this option is checked, selecting presets from the Tree will automatically open the selected preset for editing. When unchecked, selecting presets from the Tree will select the preset for playing, but not open it for editing. Knob Tracking - This control allows the rotary knobs to be manipulated with either Rotary, Horizontal, or Vertical motion. The setting affects all rotary controls. E-MU Systems 1 - Introduction & Installation Setting up the Preferences 29 1 - Introduction & Installation Setting up the Preferences Paths ¢ Recording and temp file directory - This option allows you to choose the location where new samples will be stored when sampling. ¢ External audio editor - This option allows you to set the location of an external audio editor. The External Audio Editor is selected from the Sample Edit menu or the toolbar. fia] When the External Editor is selected, the current sample opens in the editing application you have selected. When you Save the edited samplein the external editing application, it is automatically transferred back to the Emulator X. You even have the option to Undo the external edit. Undo ¢ History size - The maximum number of stored undo steps. ¢ Clear history when saving - Clears all undo history when you savea bank. If you have this box unchecked, you can undo even when you save and re-open a bank. ¢ Clear now - Clears the undo history immediate y. 30 Emulator X3 Reference Manual 2 - Emulator Architecture Organization of the Emulator X Modules 2 - Emulator Architecture This chapter contains important background information about the organization of the various modules of Emulator X. Although this chapter doesn’t contain any hands- on tutorials, this information is vital to your understanding of this ultra powerful instrument. Read This! ASAP Organization of SAMPLING ° Load the Emulator X e Sample e SynthSwipe Modules LOOPING FILE-BASED INTEGRATED OOS DSP BEAT SAMPLE e Auto-Correlate == e Xtractor — ANALYSIS EDITOR e Crossfades e Pitch Change Sample Markup © Multiple Loops © Reverse, etc. LOAD e Translator Tools & BROWSE e Librarian LIBRARIES ¢ Audition from Disk e Xplode e 128 Layers © Crossfades e CC Windows e Key Switching e RT Windows e Cycle (flex) e Region Editor e Groups VOICES & ZONES e PatchCords © Envelopes e LFOs VOICE e Function Gens PROCESSING e Morph Filters e Tuning/Amp e Templates e FX Sends PRESET © Preset FX e Tuning Tables GLOBALS e Controller Setup e 64 Chan Mixer e@ Aux FX © TwistaLoop e Tempo MULTISETUP OUTPUT E-MU Systems 31 2 - Emulator Architecture A Modular System A Modular System You can think of Emulator X as a collection of sound organizing modules, all contained within the current bank. The following is a brief description of the five main elements of Emulator X’s hierarchy starting from the largest element, the Bank. Bank Before you can play Emulator X, you load a Bank of presets. The bank contains all the sounds you wish to usein a particular sequence or performance. If you need additional sounds, they can be added by simply dragging and dropping them into the bank from the system or library. Unneeded sounds can likewise be removed from the bank. When loading a bank, Emulator X only loads a small portion of the digital samples so bank load time is greatly reduced. Saving A bank's data is retained only for as long you have the program open. Saving the bank to disk permanently stores the bank so you can access it next time you use the program. IF YOU DO NOT SAVE A BANK, ANY CHANGES YOU HAVE MADE WILL BE LOST WHEN YOU OPEN A NEW BANK, OR CLOSE EMULATOR X! Do not wait until the end of a session to save. Save your work periodically in case of power failure or some other unforeseen circumstance that might exit the program. Hard disks and computers are not infallible. All hard disk banks should be backed up periodically to another hard disk or other media. Should you improve the preset or sample later, you can always replace the original with the revised version. And if something goes wrong, the original will still be available to save you the ordeal of starting from scratch. When you choose Save, (as opposed to Save As) only the edited presets, voices and samples will be written, saving time and memory. When you choose Save As from the File menu, the entire bank—presets, voices and samples—are re-written to the hard disk as new files. This method, although somewhat wasteful of memory, ensures that all your samples remain bound with your bank. When you save, you might be prompted with a dialog box telling you have unused samples. Choosing to delete the unused samples removes them from your hard drive, saving space and memory. This dialog occurs any time you have samples in your sample pool that are not assigned to any voices. Undo/Redo Almost every action you do with Emulator X can beundone. You can undo up to 500 actions and this number is selectable under Preferences in theO ptions menu. See page 30. Select Undo or Redo from the Edit menu or press Ctrl4Z (Undo) or Ctrl-+¥ (Redo) from the keyboard. 32 vV_ Whenever you have done enough work that you would hate to lose it, BACK IT UP! Use Save As... and rename the bank file to avoid losing valuable data. Emulator X3 Reference Manual Emulator X Bank 2 - Emulator Architecture A Modular System E-MU Systems "MIDE MIDE MIDE MDE IDE MID ! Chi Ch2 Ch3 Ch4 Ch 32 Ch 64 ! Multr- : | Setup | = | EEL EEE EEE EEE Preset ~—“"™ : Multisample ee Voice Crossfade, CC X-Switch Multi-Sample Voice (Multisample) zi Filter Amp Single Sample Voice Voices Sample _ Filter Amp Samples __ ||| |{iinm | [li | iim] | i || iii Sample Sample Sample Sample Sample Sample 01 02 03 04 05 06 33 2 - Emulator Architecture A Modular System Multisetup A Multisetup is like a map which assigns a preset, volume, pan position and output routing to each of the 64 MIDI channels. Aux FX and effect bypass controls are also included in a Multisetup. Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset. ié On| 100000000000000 evieviaviay ey < (al (ey jay fy [Al a ee Sian SSE a = en ———_,~ SoS SSS , i, =" a’ a , = Preset @ APreset is the same A Preset is one complete keyboard setup controlled by one MIDI channel. Presets are as a MIDI Program. composed of multiple voices. The assignment of voices to keyboard keys is completely flexible. Voice A Voice is one complete sound, containing one or more samples with keyboard and velocity mappings and all programmable synthesizer parameters. Voices can be assigned to asingle note on the keyboard, or transposed to cover a wider keyboard range. Od rd Es Eres Es WI 34 Emulator X3 Reference Manual Sample A Sample is an individual digital recording with aname, sample rate and looping information. Flexible Architecture Emulator X allows you great flexibility in the way you construct presets. Consider this —you can assign multiple samples to the keyboard inside a voice or assign single sample voices to the keyboard. Unless you specify otherwise, only one sample is assigned per voice. In this case you would assign voices (and the single sample each one contains) to the keyboard and create presets. On the other hand, you may want to create multisample voices before you start designing presets and treat the voice as your finished sound. In this case, the Preset can crossfade, layer or switch between multiple complex voices. E-MU Systems 2 - Emulator Architecture A Modular System 35 2 - Emulator Architecture A Modular System Preset Diagram The diagram below illustrates the concepts of a preset and voice. Preset A complete keyboard layout with unlimited voices. Voice A complete synth sound containing a single sample or a Multisample. Sample An individual digital recording with loop information. Preset KYBD Range KYBD Range KYBD Range Velocity or Realtime Crossfade, CC X-switch 2 Voice Sample Loop info. Sample Rate Morph Filter Q Frequency Pitch Glide Start Offset Loop Retrigger Chorus ! add s Envelope : | Velocity | | Gate Gen (x3) Voices A voiceis a complete sound that can be assigned to a range of the keyboard. A sample is the part of a voice that generates the actual sound. You can think of avoiceasa complete instrument consisting of one or more samples, which can then be used as a building block in constructing more complicated presets. A voice consists of one or more samples, a dynamic filter, adynamic amplifier, three 6-stage envelope generators, three 64-stage function generators, two multi-wave LFOs and up to 36 modulation routings called “Cords” to connect everything together. 36 Emulator X3 Reference Manual When you record asample into the Emulator X, a new voiceis typically created for each new sample. In this case, each sample will have its own complete set of synthesizer parameters. Multisample Voices In another scenario, you might record several samples of an instrument (such asa piano), then place them into the same voice in order to share the same set of synthe. sizer parameters. If a voice contains more than onesample, this multiple sample object iscalled a “Multisample.” A diagram of amultisample voice is shown below. Multisample Voice TE, Each Sample: ~ Orig. Key Tune Volume Pan f 1 Key Range/Fades | : Velo Range/Fades ? Positional ? Crossfade Velocity Crossfade Loops, Samp Rate Loops, Samp Rate Multisample voices are designed to arrange groups of samples into one manageable entity. The window below shows an opened multisample. The key range of the multisample can be used to limit the keyboard range of the samples contained within it. A multisampled voice is treated just like a single sample voice. Normally these samples would be placed side by side on the keyboard asin the diagram above. You assign the sample to a range by setting the original key, (which is usually the original pitch of the sample) a high key and alow key. The number of samples needed for a realistic emulation varies with the instrument, but in general, “more is better.” E-MU Systems 2 - Emulator Architecture A Modular System m Avoice can contain a single sample or multiple samples, whichever you prefer. 37 2 - Emulator Architecture A Modular System When asample is taken, it can be automatically placed into a voice with one sample. You could also manually place the voice (and its sample) on the keyboard if you wish. If more than one voice is assigned to the same range, then pressing a key in that range plays all the voices assigned to that range. Voices assigned to the keyboard can be cross- faded by their position on the keyboard, or the key stroke velocity. Voices can also be switched or faded depending on the value of a realtime controller such asa modulation wheel, an LFO or an envelope generator. The Sample Loadingin any sound, in mono or stereo, creates a sample, the raw material with which the Emulator X works. The term sample commonly means two different things: * A digital recording of a complete sound, or # Each snapshot of the sound that makes up the complete sample. In this manual, we'll assume sample means the complete recorded sound unless indicated otherwise. You can modify a raw sample in several ways. A sample can be transposed up or down in pitch to cover a particular range of the keyboard making it unnecessary to record a sample for every key. Sample editing might consist of Looping a sample (allowing even short samples to play indefinitely), Truncating (cutting off unneeded parts of asample), or any of anumber of digital processes that actually change the raw sample data. The Original Key assignment determines the pitch at which the sample will be played back. Therefore it’s important to map your samples to the proper original key. 4 ) ee Orig } High, 4 LOY , Orig } High 1 Low Original High s. Key Key Key y ! : 1! 1 ¢ ~ ¢ ~ You can also name samples. It’s usually a good idea to include the original pitch in the name so that you can place it on the keyboard later at the proper pitch. You can have any number of samples in a bank. The number of possible samples is only limited by the size of your computer's hard disk. 38 Emulator X3 Reference Manual 2 - Emulator Architecture A Modular System TwistaLoop™ TwistaLoop is a tool that automatically analyzes a sample by dissecting it into its rhythmic components, making it easy to select multipleloop points and regions. Twist- aLoop offers total control over tempo, using real-time audio time expansion/ compression. You can play back analyzed samples at a custom speed, or in time with Emulator X’s clock (or an external clock source). Once you create loops from an analyzed sample, you can use them in a variety of ways: ¢ Change the playback speed of any loop. ¢ Choose which loops are repeated when played back. e Set up a continuous controller to change in real time which loop plays. ¢ Sync your loops to Emulator X’s master tempo, or to an external tempo source, such as a VST host. Play different beats or bars from the same sample. E-MU Systems 39 2 - Emulator Architecture A Modular System 40 Emulator X3 Reference Manual 3 - Getting Started Exploring the Tree 3 - Getting Started Exploring the Tree In this section you'll learn how to navigate around Emulator X using the Tree. Don’t worry if you don’t know what everything does just yet. Everything will be explained later on. 1. With the Emulator X application running, a bank is loaded by selecting Open from the File menu. Click on the Presets Folder in the Tree and a screen, similar to the one shown below, appears. Toolbars Sampler e St Wee Pere Cotes Bank +- ace Presets Folder Open Preset Presets Samples Folder List View Multisetup Folder Sampler/System/Library Tabs The Tree is the section shown on the left of the screen. There are three tabs at the Vv £4/E3 CDs use a bottom of the Tree labeled Sampler, System and Library. proprietary format and can only be read using SCSI/ATAPI drives. They Sampler Allows you to see the contents of the current Emulator X bank. cannot be read using firewire and USB drives. This tab gives you access to your entire computer system: PC, hard disks, CD-ROM drives, network, etc. Presets, Samples and Multisetups can be ovate browsed, then Merged into the current Bank. Load Emulator 4 banks from this tab. The Library shows you all Emulator X and related files, wherever they Library may be located on hard disks, CD-ROM or network. Presets, Samples and Multisetups can be browsed in the Library, then Merged into the current Bank. E-MU Systems 41 3 - Getting Started Multisetup Page Multisetup Page The Multisetup is the top level of the Emulator hierarchy and is the place where you choose and assign presets to each of the MIDI channds. A multisetup assigns a preset, volume, pan position and output routing to each of the 64 MIDI channels. Multisetups can be saved and recalled for use with a particular song or sequence so that all the MIDI channels play the proper preset. Click on the Emulator X icon to display the Multisetup page. There are five views of the Multisetup page. The Multisetup View buttons change the current view. The Single channd view is shown below. ¢ Single...............0. Displays the preset for the currently sd ected MIDI channd. ¢ Channels 1-16....... Displays the preset, volume and pan for MIDI channe’s 1-16. ¢ Channels 17-32 .... Displays the preset, volume and pan for MIDI channe's 17-32. ¢ Channels 33-48 .... Displays the preset, volume and pan for MIDI channe's 33-48. ¢ Channels 49-64.... Displays the preset, volume and pan for MIDI channe's 49-64. See page 69 for a complete description of the Multisetup screen. @ Note: When sequencing, you can also include program changes in the sequence rather than using a Multisetup. This is often best, since the program changes will then be part of the song. Single Channel View MIDI Aux FX Multisetup View Mode Display Tabs Select Tabs MIDI Controllers Master Volume Preroll CPU & Disk Samples Current RAM Used Usage Meters Playing Channel 42 Emulator X3 Reference Manual Changing Presets (from Single View) Single View is the default view when you first run Emulator X. This view is convenient for performing live or when you’ re only playing one preset at a time. All the main parameters for the selected MIDI channd are displayed in Single View and a conve nient Category mode allows you to quickly select presets in acertain category. A close- up of the current channel settings is shown below. Single View Close-up Select All or Select Select Select/View MIDI Channel by Category Category MIDI Channel Inc/Dec Preset Inc/Dec Select/View Bank/ Preset Program Number : Display ssiveMinI Preset Selected Name Category Channel Channel Volume Pan Main Output FXA/FXB Aux Output Select Enables Enable > To Select Presets by Number 1. Click on the Preset Increment/Decrement buttons to move up or down the presets by number. 2. Highlight the Preset Number field and typein the desired preset number. > To Select Presets by Category 1. Click on the Select Category button. The pop-up dialog box at right appears. 2. Select the desired preset category, then press OK. 3. Choose Select By Category from the Single view screen above. 4. UsetheIncrement or Decrement buttons to select presets. Note that only presets of the selected category are selected. Category Filter E-MU Systems 3 - Getting Started Multisetup Page @ Note that Single View only changes the display and does not affect the currently selected MIDI mode (i.e. Omni, Poly or Multi). @ The Bank/Program Display shows the Bank and Program number you would use to select the preset from a sequencer. 43 3 - Getting Started Multisetup Page > Changing the Current MIDI Channel The Current MIDI Channel is simply the MIDI channel you are currently working with. To change the current MIDI channel, simply increment or decrement the channd number using the buttons, or click on the channel number and typein the desired number. > To Find the Selected Preset in the Tree In ahuge bank like the Proteus X Composer, you can jump immediately to the preset by double-clicking in the Preset Name Display. The Tree expands to that preset, and the view switches to the Preset Globals view. Multi Channel View Press the Multisetup View 1-16 tab to view channels 1-16. This page view is particularly useful when sequencing as you can see 16 MIDI channels at once. Note that the Output Display button is now active. Tabs 17-32, 33-48, 49-64 are identical to this page and allow you to access these additional MIDI channe’s. See also “4 - Multisetup / Preset Globals” on page 69. Multi Channel View MIDI Preset Multisetup Channel Channel MIDI Output AUX FX Activity Select View Volume Pan Mode Display Display ~ “h Button i Click Here _ a. ae — Current Channel an forces @ 88 POSTS SooOutron @ BM P0476 SHoon @ OB POt7) Texte @ BF PONS The Lonely 3 BM POSTS Trot ® OM POD Trades 8 PORE: Velo Marcain i} AM POSED Victrole OM O48] Sth Weve & MB POSH Ary Trarpet i OM P0485 DOC Brass saree MIDI Controllers “| Definable Preroll CPU & Disk No.of Current TwistaLoop Filter Labels RAM Used Use Meters = Samples Channel = Override ~— Override Playing Main Output Routing Aux Send Enables Preset FX Enables Master Tempo Master Volume Preset Tune & Transpose Aux Output Select Limiter 44 Emulator X3 Reference Manual 3 - Getting Started Multisetup Page Changing Presets (from the Multichannel view) Play your MIDI keyboard and note that one of the MIDI activity LEDs comes on. Thisis the channel on which your MIDI keyboard is transmitting. If you don’t see MIDI activity, check your MIDI connection and make sure MIDI is set up properly in the Preferences menu. See page 28. & To Audition and Select Presets 1. Click once on the Preset Select button on the channd used by your MIDI keyboard. The complete list of all presets in the bank appears. 2. Click once on a preset to audition it. Play your keyboard to hear it. 3. Try out afew more presets. When you find one you like, double-click on it to select it and return to the Multisetup screen. 4. Change the current channel! by clicking on the number to the left of the preset. The number you selected turns red. 5. Play the floating keyboard (Select Keyboard from the View menu). Notice that the MIDI Activity LED of the current preset now plays along with whatever sound is selected for that channel. (Your MIDI keyboard still plays on the channe! to which itis set.) 6. Changethechannd on your MIDI keyboard then play it. Emulator X now plays the preset on that channel. > Selecting Presets from the Tree m™ Selecting “None” in 1. When you click on a preset in thetree, you have just selected it for the current MIDI ie Satan eee ee channel. This action also calls the Preset Global page. © oar 2. To go back to the Multisetup page click the back arrow or click on the Emulator X icon at the top of the tree > Changing the Current MIDI Channel 1. The Current MIDI Channd is simply the MIDI channel you are currently working with. 2. To change the current MIDI channel, click on the channel number in the Multi- setup page. The selected channel number turns red. Note also that the channel number at the bottom of the window changes to reflect the current channel. Adjusting the Controllers Each preset has a set of 16 continuous controllers (CC’s) which are used to adjust and control the sound as you play. Your MIDI keyboard may have several knobs or sliders that are transmitted over MIDI. These can be used to control Emulator X if you match the CC numbers your MIDI keyboard transmits to the same CC numbers on Emulator X. These global settings are located under Options, Preferences, Controllers. See page 28 and page 314 for additional information about MIDI controllers. > To Modify the Sound using the Controllers 1. Play your MIDI keyboard as you adjust the controller knobs on the screen. Notice that the sound changes. If the sound doesn’t change, make sure the current preset (red number) is the same one that your keyboard is playing. 2. If you have controller knobs on your MIDI keyboard and have set up the Controllers (Options, Preferences, Controllers) to match your keyboard, you can use these knobs to modify the sound. Notice that the screen knob follows the movement of the hardware knob. E-MU Systems 45 3 - Getting Started Multisetup Page 3. Try changing the filter type Click on the selector to the right of the filter name and select one of the 55 different filter types. 4. Adjust the Tone and Presence controls while playing the keyboard to hear your changes. 5. Change the Volume and Pan controls for the MIDI channel you are using. These settings can be adjusted remotely using MIDI controller #7 (volume) and controller #10 (pan). 6. If you want to savethe changes, you must set the Initial Controller Amounts in the Preset Globals page to match the settings you made in the Multisetup page, then save the bank. 46 Emulator X3 Reference Manual Create Your Own Custom Bank It’s easy to create your own custom sound banks by simply “dragging and dropping” the presets or samples you want onto the Emulator X icon in the tree. > To Create a New Custom Bank Locate the Presets on your Computer 1. Select New from the File menu. This creates a new empty bank. (You can also merge presets or samples into an existing bank if you wish.) 2. Select the System Tab. The Desktop icon will appear in the tree. 3. Locate the presets you wish to includein your new bank. These will be located in the “Creative Professional” folder located in “Program Files”. Emulator X EEE (Untitled.exb) iG} Desktop “a Gy My Computer (=) See Local Disk (C:) =) Proteus Composer.exb (5) SamplePool Click to J ay Proteus Composer Open 7 {"] Presets H() Cakewalk Projects +) | Samples & DELL < ‘ es) > Documents and Set! ts | Multisetups (5) DRIVERS 4 Program Files y HE) Creative #() Creative Profes = (2) Presets 4) CyberLink (8 DynamicGrand #() Dell Wh Yo My Dynos )( E-MU Systems MM Orchestral (5) Phantom Pri ME Grusty Clickto © (a Proteus Cor mm A Ku St {© Sampler a q Open “a fea) Proteus 48 Rockin B Ge) Saint Thome WideSuitcase Wh Zimppler v 18 AnalogPlanet < > HANH Kit 1 == Samp... {J System | == Library | IMs And Voice if MetalScience System Tab ' Audition the Presets 4. After you have located the Presets folder, click on the Emulator X icon in the Tree to view the Multisetup page. 5. Find apreset in the Tree and Right-click over it. A pop-up menu appears with two options, Audition and Merge 6. Select Audition (or press “A” on your computer keyboard). Notice that the preset name is now flashing in the Multisetup screen. 7. Play your MIDI keyboard to audition the preset from the hard disk. 8. Right-click again and select Stop Audition (or press “S” on your computer keyboard). The preset name stops flashing in the Multisetup screen. 9. Continue auditioning until you find a preset you like. E-MU Systems 3 - Getting Started Create Your Own Custom Bank @ The included CD- ROMs contain several other great banks of sounds. Run the installer application on the library CDs to install these banks on your hard disk. @ Tip: You can also audition samples or presets from the library. @ = Presets that reside in .E4B or .EXB disk files can be auditioned from disk. 47 3 - Getting Started Create Your Own Custom Bank Merge the Preset 10. When you have found a preset you want to include, Right-click over it in the Tree and select Merge from the menu (or press “M” on your computer keyboard). The preset is added to the current bank. Another Method of Merging Presets 11. Simply click (left mouse button) and drag the preset over the Emulator X icon at the top of the tree. The cursor changes to a plus sign as you pass over the icon. Release the mouse button and a pop-up progress bar will inform you that the preset is being loaded. 12. If you change your mind and don’t want to merge the preset after all, choose Undo from the Edit menu to un-merge the preset. Continue to Create the Bank 13. Continue to add presets to your new bank. 14. Save the bank when you are satisfied. > Alternate Method using the Librarian to find Presets 1. Select the Library Tab instead of the System Tab in step 3 above. 2. If you haven’t done so already, Update the Library. 3. Choose presets from the Library, then drag and drop them on top of the Emulator X icon at the top of the tree. 48 Emulator X3 Reference Manual Load a New Bank Load up anew bank in preparation for the next few examples. Load the Proteus X Composer bank located in your Emulator X folder. 1. Select Open from the File menu, then locate Proteus X Composer and click Open. Opening a Preset A preset is a complete keyboard setup for one MIDI Channel. Think of a preset as one complete sound, which usually contains multiple voices and samples. 1. Click on the Preset Folder in the Tree to show all the presets in the bank. Click Here To Show All Double-click to open the Folder. Click ona preset icon to go to Preset Global. ss - ™ > mo me =. ” me ” - or] ™ oo - Sort Buttons 2. Click the Show Details button. The details of the presets are now shown. The sort buttons allow you to sort the presets by name. |D number, bank/program number, or category. Click on the button again to sort in reverse order. 3. Clicking on the plus sign (+) next to the Preset folder or double-clicking on the folder itself opens the folder and displays the bank’s presets in the tree. 4. Clicking on the plus sign (+) next to one of the preset icons displays the sub- modules of the preset: Voices & Presets, Links, Voice Processing. =| (oO Presets +) 8B brs:5forzadoSect =| 8B brs:Soft Trumpet A Voices and Zones > Links 0} Voice Processing +) 3 brs:Solo ‘Bone +) 3 brs:Synth Brass +) 9 brs: The Ensemble +) {9 brs:Too Bahhd E-MU Systems 3 - Getting Started Load a New Bank @ Note: Emulator 4 banks are accessed and loaded from the System Tab, rather than from the File menu. 49 3 - Getting Started Opening a Preset @ Please refer to chapter “2 - Emulator Architecture” on page 31 Submodule Function Voices & Zones _ | Assign voices and multisamples to the keyboard, which can be for complete switched or crossfaded by key position, velocity or controller setting. explanations of the sub- ; modules. Links Multiple presets can be layered, switched or crossfaded across the keyboard, Voice Processing | Synthesizer voice parameters including filters, LFOs, envelopes, function generators and cords. 5. Open the preset “And Voice” by clicking on the plus (4) sign next to the folder. 6. Next, click on the Voices & Zones icon. The Key Window appears. The blue bars show that the two multisamples in this preset are mapped across the entire keyboard. 8. There are two multisampled voices in this preset. Adjust the volume slider for each of the voices as you play. Now try playing with the pan position and transpose. Before you leave this window, turn up the volume controls on both voices. > Exploring the Key and Velocity Windows 1. Click the Key Win tab again. 2. Click and drag the ends of the blue bars so they look something like the screen shown above. The settings don’t have to be exact. 3. Play the keyboard from the lowest key to the highest. Voice 1 plays at the low end of the keyboard and voice 2 plays on the high keys. 4. To return both voices to their original positions, select Edit, Undo from the toolbar. Sdect Undo again until both voices are assigned to the entire keyboard. Velocity Switching and Crossfading 5. Click on the Vel Win tab. The following window appears: 50 Emulator X3 Reference Manual 3 - Getting Started Opening a Preset 6. This page controls the voices using key velocity or how hard the keys are played. Set the bars something like the screen above. 7. Play the keyboard anywhere, but begin playing softly and gradually play harder. Notice that the choir (voice 2) plays with lower key velocity and switches to piano (voice 1) when you play hard. You've just created a velocity cross-switch. 8. Alt-click the end point of the bar in voice 1 and drag it to the left. The color intensity of the bar fades. The fade in color is analogous to volume. the darker the color, the louder the volume for a certain velocity. 9. Drag the fade points of the two voices so they look something like the window shown below. (misi+ Imisi+) 2eall [2 3) * Multisample Wis 10. Play the keyboard anywhere, but begin playing softly and gradually play harder. Notice that the choir plays with lower key velocity and fades into piano as you play harder. You've just created a velocity crossfade. & Add a Voice 1. Select Preset, New Voice from the toolbar. A new, empty voice appears below voice two. 2. The label area of the new voiceis blank. Click on the selection box to the right of the empty label area to bring up the entire list of samples in the bank. 3. Sdect sample 0350 SectionStringC3 by double-clicking on it. You've just assigned asample to the voice you created. 4. Play the keyboard and now you have orchestral strings as well. » Delete the Voice 1. Select the voice you just created by clicking once on the sample name or number to the left of the name. The number turns red. 2. Sdect Preset, Delete Voice from the toolbar. The voice has now been deleted. E-MU Systems 51 3 - Getting Started Examine a Voice Examine a Voice Each voice has its own synthesizer section (called Voice Processing) to process the raw samples. You can process each voice separately or select all voices to be processed in the same way. 1. Go to the Tree and click on preset POOLS Dana-him. Play the keyboard. You should be able to hear the preset. 2. Open the preset by clicking on the plus sign(+), then click on the Voice Processing icon. ( The Voice Processing page shown below appears. Step 3. Step 5 Step 6 Select All Set to LFO 1 ~ Set to Filter Frequency 3. Near thetop of the screen near the keyboard you'll see the Group Selector. Set this @ See Groups on to All, to select all voices in the preset. page 93 for detailed 4. Fed freeto explore the synthesizer section. The filter section is probably a good pall coe iA place to begin. Change the filter type, then adjust the frequency and Q controls as you play the keyboard. Note that the filter response display changes as you change the filter settings. Cords One reason synthesizers are able to generate such complex sounds is because most, if not all, of their processes can be placed under automatic control. Here’s an example. 5. Tired of turning the filter frequency by hand? Let’s program one of the LFOs to do it. Choose Cord #8 and set the left selection box to LFO 1 ~. 6. You’vejust connected oneend of aCord. Likeall cords, you’ve got to connect both ends for it to do anything. Connect the other end of the cord to Filter Frequency. 52 Emulator X3 Reference Manual 7. Each Cord has its own attenuator which controls “how much” signal goes through the cord. Turn the knob in the center of the cord all the way to the right (+100%). 8. Now set the filter frequency knob about 1/3 of the way up and play a note on the keyboard. You should hear the filter bang turned up and down automatically. 9. Change filter types and adjust the filter frequency if you don’t hear the filter being modulated. 10. Adjust the Frequency of LFO 1. 11. Change the Shape of LFO 1. (You'll have to re-key to hear the new waveform.) Modulating Cords In Emulator X even the Cords themselves can be controlled by other modulation sources or controls. Let’s use your keyboard’s mod whee! to control the amount of LFO to filter modulation. 12. Cord 0 already has the Mod Whee assigned as an input. Set the output of Cord 0 to go to Cord 8 Amount. 13. Turn up the amount of Cord 0 to 100%. 14. Set the amount of Cord 8 to 0% (off). (You're going to turn it up with the mod wheel.) 15. Now play anote and move the Mod Whee! of your keyboard up. (M ost keyboards have two wheels or controllers. O ne bends pitch and the other is the modulation wheel.) Experiment 16. Try setting the output of Cord 11 to Pitch. Now try changing the LFO Shape. Now it’s much easier to hear the different LFO wave shapes. Wipe the Slate The preset might bea little messed up after your experiments. It’s good to know that as long as you don’t Save the bank, none of the original data is destroyed. If you want to get back to the original preset, simply load the bank again. You can also Undo any changes you made by repeatedly clicking the back arrow button (4. E-MU Systems 3 - Getting Started Examine a Voice @ Tip: Any contro! can be set to its default value by pressing Alt + left mouse click over the control. 53 3 - Getting Started Examine the Samples Examine the Samples Samples are the digital recordings which are the basis of an Emulator X sound. As you've seen, samples can be layered and switched or treated by the Voice Processing functions to create entirely new sounds, but the actual samples can also be modified and sculpted. A single preset may use over a hundred samples and a bank may contain thousands of individual samples. Let’s take a look. 1. 2. 54 Click on the plus sign (+) next to the Samples folder to open the folder and display the samples in the bank. (If the Preset folder is already open, you can click on the minus sign (-) next to the folder to close it and clean up the tree.) Click on any sample to display its waveform. Pie Gat few Serge et Pemcert Onley See le Cotes pee ge- 250 Bi: 7. 2- Soe eeah | Pah: lek Beer tis meus sf ee ee ne eee ee as See _>+*Z 22 BO sar & A a Vertical Zoom Horizontal Zoom Zoom Al . Thetransport controls are located in the toolbar. If you don’t see them, right-click an empty area in the toolbar and select Sample Transport. Click the Play button p to listen to the sample. . Press the Stop button gm to stop playing. . Click on the larger magnifying glass of the Horizontal Zoom buttons. The time- base of the waveform is magnified allowing you to see more detail. Continue clicking and eventually you'll reach maximum magnification. The individual sample measurements are shown here as dots. If the sample rate is 44.1 kHz, there will be 44,100 of these dots per second of sound. . Click repeatedly on the smaller magnifying glass and the horizontal magnification decreases. . Click the Zoom All button, and the view zooms to show the entire sample. . The Vertical Zoom buttons allow you to zoom in or out on the vertical axis. None of the zoom buttons change the wave in any way. They’re just display controls. Emulator X3 Reference Manual 3 - Getting Started Examine the Samples Using DSP There are a number of DSP or digital signal processing functions that you can perform on the raw samples. Samples can be spliced together, merged, time-stretched, reversed and on and on. Time Compression/Expansion 1. Select sample Riff Trip Gb. Press Play on the transport controls to check it out. 2. Suppose you wanted to change the tempo to fit into your song. The time compression/expansion DSP tool can do this for you. Select Time Compress from the DSP toolbar. 3.: The following dialog box appears. Time Compression Calculator Original New Length: (1.72205 1.409 | seconds | ==> f[ 1 Tempo: 120 146.7 3. Change the ratio. Ratios below 100% compress or shorten the time. Ratios above @ Note: The original 100% expand or lengthen the time. Note that the tempo and length fields change tempo shown may not to show the new length and tempo. reflect the actual tempo 4. PressOK to changethe time scaling. Press Play again and note the changein tempo opr a A eeneee of the sample. in order to have the new tempo accurately Loop Play calculated. 5. Turn on Loop Play ¢9| on the Transport toolbar. Now the sample will continue to loop until you press Stop. Reverse 6. Select Reverse from thetoolbar. .. Thesampleis immediately reversed. 7. Press Play and hear the sample played backwards. Copy and Paste 8. Select the entire sample by pressing the Select All button & on the DSP toolbar. 9. Choose Copy from the Edit menu. The sample is placed on the clipboard. 10. Click anywhere on the waveform display to deselect the sample, then position the cursor at the very end of the sample by pressing the Go To End button | inthe transport section of the toolbar. The flashing cursor line is now positioned at the end of the sample. E-MU Systems 55 3 - Getting Started Examine the Samples 11. Choose Paste from the Edit menu. The following dialog box appears. Mode v | Lox) seconds sample as clipboard Crossfade foe 12. Insert mode is already selected and it’s the mode we want. The clipboard contents will be inserted at the cursor location, extending the length of the sample. Press OK. 13. Now position the mouse pointer at the very end of the sample. Press the shift key down and click the left mouse button. The section of wave you just pasted is selected. a | iho aH wore : Step 13. Position pointer-here. Pak : Ye =. —< ra 56 Emulator X3 Reference Manual 3 - Getting Started Examine the Samples Pitch Shift 14. Select Pitch Shift J? from the DSP toolbar. The following dialog box appears. Pitch Shift 15. Set the Tuning interval. 100 cents equals one semitone. Try a setting of 700 cents or a perfect fifth. 16. Sdect Constant Time. This setting changes the pitch but will leave the rhythm constant. Don’t change the algorithm. See page 192 for more information about the pitch change options. 17. Press OK to change the pitch. 18. Click on the Loop Start button &« in the Transport Controls to set thecursor to the beginning of thesample and press Play. Experiment! Please feel free to try out all the other DSP processes such as Transform Multiplication. @ All the DSP tools are Be sure to read the Editing a Sample chapter (page 169) to learn all about these calculated in 32-bit powerful tools, but you should actually try them out as you read. precision math. Remember that nothing is made permanent until you save the bank, so experiment as much as you like without fear. Samples can also be exported as WAVE or AIFF files using the Export function in the Sample Edit menu. This allows you to use other sound processors in your computer. Exter- nally processed samples can be re-imported using the Import option in the File menu. Save and Save As When you choose “Save As” from the file menu, the entire bank—presets, voices and samples—are re-written to the hard disk. This method, although somewhat wasteful of memory, ensures that all your samples remain bound with your bank. Be sure to rename your bank when using Save As... to save an edited bank, otherwise you May overwrite data you wanted to keep. When you choose Save, (instead of Save As) only the edited presets, voices and samples will be written, saving time and memory. When you save, you might be prompted with a dialog box telling you have unused samples. Choosing to delete the unused samples removes them from your hard drive, saving space and memory. This dialog occurs any time you have samples in your sample pool that are not assigned to any voices. Emulator X Bank Structure Banks are comprised of two distinct entities which need to be kept in the same folder on your computer hard disk. The Sample Pool contains the raw sample data used. The Bank file contains all the voice, preset and multisample data that makes up the Emulator X bank. > Proteas X Comparer | } SamelePoo! 4 = E-MU Systems 57 3 - Getting Started Building a Preset from the Ground Up Building a Preset from the Ground Up In this tutorial we'll start with an empty bank and create a complete preset using some of the samplesin your library. Along the way you'll learn: ¢ How to locate samples from your library and load them into the bank ¢ How to place samples on the keyboard ¢ How to stretch samples across the keyboard ¢ How to apply various types of audio processing to the samples » Locate Samples and Load them into the Bank 1. Make sure you have either the Proteus Composer or Proteus X Composer bank on your hard disk. 2. Let’s start with a clean slate. Select New from the File menu. 3. The easiest way to find samples is using the Library feature. Click the Library Tab at the bottom of the Tree. 4. Select Vocal as the Category, then type “aah” in the ‘Filter by Name’ box. Click = Important: If the Search. Librarian doesn't find the samples, select Update Library from the File menu. (You need to have Proteus X Composer bank in your System.) SE RO m x a me bate hare hare ats sare mare are ure 5. Clicking on the Samples Folder in the Tree displays the expanded list in the main window. 6. The window should look something like the one shown above, although you may m Tip: Select multiple have more samples shown, depending on the size of your sample library. continuous samples by 7. Locate the following samples: Aahs A2, Aahs C3, Aahs C4, Aahs D#2, Aahs D#3, ae aed ey Aahs D #4, Aahs F#3, Aahs F6. Sel6cE- multiplemane 8. Select the samples listed above and while holdingthe mouse button, drag and drop continuous samples by them on top of the Emulator X icon above the Tree. pressing the Ctrl key while selecting items. 58 Emulator X3 Reference Manual 3 - Getting Started Building a Preset from the Ground Up Emulator X )(Untitled.exb) WW Aahs A2 “oO Drag and Drop WW) Aahs C3 Filter by Category WW) Aahs C4 Vocal = i) Aahs D#2 WW) Aahs D#3 Filter by Name WW Aahs D#4 | aahs WO Aahs F#3 WW) Aahs F6 9. Click the Sampler Tab at the bottom of the Tree, then double-click the Samples Folder to open it. You'll notice that the samples have now been added to the Bank. 10. Click on one of the Sample icons in the Tree.) The Sample Editor appears with one of your Aah waves displayed. Loop End Loop Start Marker Marker 11. The sample is of a fixed length. So that the sample will play for as long as you hold a keyboard key, the sample is looped. Notice (but don’t change) the Start and End Loop Markers. 12. Looping is a subject for another tutorial. At this point, let’s move on to the next step in building a Preset, and place the samples on the keyboard. Time to Save? 13. It’s time to save whenever you have done enough work that you’d HATE to loseit. Now would probably bea good time. 14. Select Save As... from the File menu, choose a location where you can find it again (the desktop?), and press Save. Don’t you feel better? E-MU Systems 59 3 - Getting Started Building a Preset from the Ground Up > 1. Placing the Samples on the Keyboard Click on the Presets Folder in the Tree, then select New Preset (Ctrl+W) from the Presets menu. A new preset appears in the Tree. . Select Voices and Zones in the new preset. The Voices and Zones page appears. . Select Aahs A2 from thelist in the Tree, then drag and drop it anywhere in the Key Win area as shown below. NCA : 4. 7. 8. 9. Empty Voice 60 i = mW IT i] rn | mr te i i! Hv Anew voice named Aahs A2 appears in the window. A green bar appears across the entire keyboard range indicating that the sample is transposed across the entire keyboard. The red bar shows the original key. Because the original pitch of the sample (A2) is included in the name, Emulator X is smart enough to place the original pitch on the proper key. ¢ Important: If the original key of asample ison the wrong key, the sample will be out of tune. The original key section field is always visible regardless of which tab is selected. Original Key Selection . Play the keyboard. Since the sample is trans- posed over the entire keyboard range you can play it polyphonically at any pitch. But as you play in the upper part of the keyboard, notice that the sound doesn’t sound so natural anymore. This is aresult of the sample transposition. To overcome this problem we add more samples. . Thistime, let’s usea different method of assigning samples. This method is useful if the original pitch is NOT included in the sample name. Select Aahs D #2 from the list in the Tree, then drag and drop it over the D #2 key on the keyboard at the bottom of the window. WW) Aahs D=2 Drag and Drop Anew voice named Aahs D #2 appears in the window on note D#2. Continue placing the rest of the samples. Practice using both methods. Select the Key Win tab. This window graphically displays the current sample to keyboard mapping. Depending on the way you placed your samples, the display might look something like this. The red bars show the original keys. Original Keys Emulator X3 Reference Manual 3 - Getting Started Building a Preset from the Ground Up 10. Notice that the top voice has no sample. This empty voice was created when you created the Preset. We won’t need this voice and can get rid of it. Select the empty voice by clicking on it. It becomes highlighted in red. Press the D elete key on your keyboard to delete it. 11. Also notice that the original keys of our voices are all over the place. Let’s rearrange the voices by the position of the original keys. From the Preset menu, select Sort Voices, By Original Key. By Sample Number By Sample Name By Low Key By High Key By Volume Ms By Pan By Group 12. Now the voices should be arranged like the screen below. THOT A I 13. Next, we need to give each sample its own keyboard range. Click on the original key of Aahs D #2 and drag it all the way to the left. Key Range — Controls Inc/dec buttons Click & Drag 14. You can also adjust the key range using the key range controls in the lower right corner of the window. Click the inc/dec buttons and note that the graphic display follows. The Key Range display shows the currently selected voice. The Key Range Controls allow you to select multiple voices and change them all to a single value if so desired. 15. Adjust the range of all your voices until the display looks like the one bdow. Make sure that none of the voices overlap each other and that all the keys are covered. E-MU Systems 61 3 - Getting Started Building a Preset from the Ground Up 16. Play the keyboard. The choir sounds much more realistic, especially in the middle range. Time to Save? 17. It’s time to save again. This time just select Save (Ctrl+S) from the file menu. & Apply Voice Processing Now that we have our samples arranged, we can continue to refine our preset using the filters and amplifier. 1. Select the Voice Processing page by clicking the Voice Processing icon in the Tree. 0» (EERE The Voice Processing page appears. 2. In the Emulator X, each voice is a complete synthe- sizer with its own set of parameters. In most cases, you'll want to treat the voices as a single synthesizer. Select All voices from the Group box above the keyboard in lower part of the window. ¢ Important! Selecting the proper voices to modify isa fundamental operation and it’s easy to get confused. If the synthesizer controls don’t seem to be working correctly, check to make sure you have the correct voices selected. Amp laid ~ froma Envelope | 2.000 }] 0.000 fj 0.000 jf 0.218 ff}0.000 | s. ‘ a W100 0 0 000000000 0 Attack 1 Knob Release 1 Knob Select All 62 Emulator X3 Reference Manual 3 - Getting Started Building a Preset from the Ground Up Amplifier Envelope 3. Our choir sounds pretty good, but the sound turns on abruptly like an organ. Let’s increase the Attack Time a little so that the voices swell up when we press the keys. The Amplifier has its own dedicated Envelope Generator and it’s already selected. Set the Attack 1 knob to about .5 seconds. 4. Much better! Let’s increase the Release Time so that the sound dies away slowly when the keys are released. Set the Release 1 Time to about 1 second. Heavenly! Clear the Cords 5. Before we begin, takea look at the Cords section for a second. Cords are the virtual wires that connect —— everything together in the Emulator X. A bunch of Save Cords Template... Cords are already connected to their default connec- Organize Templates... tions. We don’t want or need these Cords, so let’s get rid of them. Copy Ctrl+c 6. Right-click anywhere inside the Cords section. A © Ps pop-up selection box appears. Select All Off to clear all the Cords. Poof! Phaser Phun 7. Now let’s add a filter effect. Select Phaser 1 from ("HBR the Filter Type menu. This filter simulates a tradi- tional phase shifter by creating two deep notches in the frequency spectrum. Leave the Frequency and Resonance settings at 0.0 for now. 8. Let’s add a bit of movement to the filter by connecting an LFO to the Filter Frequency. An LFO or Low Frequency Oscillator is simply an oscil- lator that repeats slowly. The LFOs have a range of .08 Hz (12.5 seconds per cycle) to 18 cycles per second. 9. Click on the fidids to select source and destination for thecord. Set-up Cord 1 as shown at right with LFO 1+asthesource, Filter Frequency as the destination, and an amount of around 440.00. 10. A block diagram of the connection you just made is shown below. [01-03 | I? o4 ' furor wi 11. Play the keyboard and you’!! hear the phaser filter sweeping the two notches across the frequency spectrum. E-MU Systems 63 3 - Getting Started Building a Preset from the Ground Up 12. Let’s tweak the LFO a bit. Select the LFO/LAGS page by clicking on the LFO/Lags tab. Next, set the Frequency to about 0.9 Hz and change the Shape to Sine. LFO/Lags Frequency J Shape 13. If you have trouble adjusting with the knob, try typing the value into the numeric field. Onethe numeric field “has the focus” you can use the up/down keys on your computer keyboard to increment or decrement values. 14. Now the effect is a lot more subtle. Increase the Filter Frequency to about 25 to “Zero-in” on the main group of frequency components. Feel free to tune the filter to your own taste. You can also adjust the Cord Amount along with the Filter Frequency to get the effect you want. 15. The Resonance control (Res) adds resonant peaks and deepens the notches in the filter. Try it out. 16. Explore alittle on your own. Go ahead and try out different LFO wave shapes, or different filter types. (Be careful. Some of the filters have extremely high gain at certain frequencies and they may distort with the harmonically-dense voice samples.) > Load an Entire Preset Now we're going right back to where we started, but instead of loading individual samples, let’s load a complete Preset. 1. Select the Library Tab in the Tree. 2. Select Keyboard 1 as the “Filter Category” and type in piano in the “Filter by Name” box. Click the Search button. 3. Double-click on the Presets folder in the Treeto open it. You should see several piano presets there. 4. Select one of the piano presets then drag and drop it over the Emulator X icon above the filter selections. Emulator X )(Untitied.exb) 4] Filter by Category Keyboard 1 Filter by Name piano 5. Switch back to the Sampler Tab beneath the Tree and see your piano preset in the bank. 6. Select the piano preset and play the keyboard. That was easy! 7. Save the bank. 64 Emulator X3 Reference Manual 3 - Getting Started Building a Preset from the Ground Up > To Audition and Merge Samples Samples can also be auditioned and merged. Locate the Samples Folder 1. Locate the Samples folder, just below the Presets folder. 2. Click on the Emulator X icon in the Tree to view the Multisetup page. Audition 3. Select a Sample from the Tree and press the Space Bar on your computer keyboard. The sample is auditioned from the hard disk. 4. Press the Space Bar again to Stop auditioning. 5. You can also audition samples by Right-clicking over the sample and selecting Audition. Right-click and select Stop Audition to silence audition. Merge the Samples 6. Right-click over the samplein the Tree and select Merge from the menu (or press “M” on your computer keyboard). The sample is added to the current bank. 7. You can also drag and drop a sample over the Emulator X icon to merge it into the bank. These “free” samples will have to be assigned to voicesin a preset before they can be played. 8. If you change your mind and don’t want to merge the sample after all, choose Undo from the Edit menu (or press Ctrl+Z) to un-merge the sample. Signing Off We've covered alot in this lesson. Now you know how to create a preset from samples and how to create a custom bank from the presets in the library. This is a very ‘deep’ instrument, so don’t expect to learn it all in one day. Explore a little at a time and most of all don’t forget the music, because that’s what its all about. Have fun! Emulator X Advanced Applications Guide The Emulator X Advanced Applications Guide contains 43 morein-depth tutorials. The Advanced Application Guide begins with the fundamentals and walks you through nearly every facet of this amazing instrument. You can find this pdf document on your Emulator X3 CD or online at: www.emu.com. Check it out! E-MU Systems @ Samples that reside in .E4B or .EXB disk files can be auditioned from disk. Vv. Vista Users: To Audition samples, you may need to download and install the Vista Codec Package 4.5.4. 65 3 - Getting Started The Librarian The Librarian As your sample library grows so does the problem of managing all your banks, presets and samples. As you’ve probably already discovered, a single bank can contain literally thousands of individual samples. The Library is accessed by clicking the Library tab at the bottom of the Tree. To use the librarian, you first “Update” from the File menu. This creates a searchable database of all your samples, presets, banks and audio files which can be quickly searched. Audio files can be eather WAVE or AIFF. You can select which drives you wish to add to the catalog or manually “Add Locations” to narrow down the selection range to speed the update process. The Add Location button also allows you to specify network drives to catalog. Only the selected targets are overwritten with new data when the update process is peformed. Unselected targets remain as they were. The “Clear Library” button erases the entire library so you can start from scratch. > Using the Librarian Catalog your Disks 1. Select Update Library... from the File menu. A popup dialog box appears asking you to select the disks you wish to catalog. Update Library Select the drives or folders you would like to index from the following list. To index a location not in the list, use the Add Location... button. CO) c:\ C e:\ Clear Library... Add Location... Updates the Library with the selected items, leaving non-checked targets intact. Clear Library — Frases Library database. Update Allows you to manually select targets to speed update time or select network Add Location ; drives to catalog. 2. Select any disk drives that contains the banks, presets and samples that were included when you installed the Emulator X application. Using the Add Location button, you can select network drives to add to the Library catalog. The Add Location button also allows you to select specific folders or locations for cataloging. 3. Click the Update button to begin cataloging. The display will read: “Updating”. This process may take a minute or two depending on how many files need to be cataloged. 66 = Cool Tip: Categorize multiple Presets: 1. Click the Sampler Tab in the Tree. 2. Click the Presets folder. 3. Select multiple presets. 4. Right-click and choose category. 5. Select category. Emulator X3 Reference Manual 3 - Getting Started The Librarian Find your Files 4. Select the Library tab at the bottom of the Tree and press Enter on your computer keyboard. All Emulator X Banks, Presets, or Samples can now be accessed here. (This can take a few seconds, especially with very large banks.) 5. Click on the Presets folder to view all the presets —= | BE (proteus X Composer.exd) on your hard disks. 6. Selectingan item in theCategory fidd returns any |) rmerby corecory Banks, Presets or Samplesintheselected category. |e | 7. Type a search string in the Filter by Name fidd, we ry then press the Search button to search the library. = The 'Filter by Name' field is a subset of the ad) Yar arrest Category search. Select <Any>in the Category al daze Ka.ex field to search the entire library. mm Jazz 8. Browse through the Bank, Preset, and Sample folders to find the sounds you want. 9. Right-click on a Preset or Sample to Audition the Preset or Sample from disk. You must play the keyboard while Auditioning to hear presets. BS iar BS Jezz 88 iarr BS jerz BS tar? Srush BS Jazz China Rivet Fipped BS arr Chinese Rivet Cymbal BM Jazz Crerus BS dare Closed H-hat BM Jazz Crash Cymbal 1 BS hare Delay Load your Files WM Jazz Drummer C3 Mod Loops 10. To add afileto the bank, Left-click and Drag the am Jas Gate desired object in the Library over the Emulator X peered icon at the top of the tree and rd ease the mouse docx igh Tom 2 button. The file is added to the bank. pena 11. Or... Select the object you want from the Library — Sarto | Sytem Lorery and Right-click. Then select Merge to merge the object into the current bank. E-MU Systems 67 3 - Getting Started The Librarian 68 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals The Multisetup 4 - Multisetup / Preset Globals The Multisetup The Multisetup is the top level of the Emulator hierarchy and is the place where you Vv. The MIDI Controller choose and assign presets to each of the MIDI channdes. All the control settings in this settings and Filter window are saved when you save the Multisetup. Override are not stored : : igi : with the Multisetup. A multisetup assigns a preset, volume, pan position and output routing to each of the These settings are stored 64 MIDI channels. Multisetups can be saved and recalled for use with a particular song With: each Preset or sequence so that all the MIDI channels play the proper preset. > To Select the Current Multisetup: 1. Click on the Emulator X icon at the top of the Tree. The current multisetup appears. 2. The Single Mode view is shown below. This view is convenient for performing live or when you're only playing one preset at a time. Single Channel View > Preset SingleView __ Select All or Select Channel MIDI Bank & Aux FX Select Tab by Category Category Select Mode Preset Display aus Display es iewW-- a we wn 14 —— Voges Select Click |= Effect Here = aes Se Effect Bypass Channel Pan Preset Category Channel Display Volume Master FXA, FXB, Tempo Aux Output Master Enables Volume Main Output Select Master Tune Transpose MIDI Controllers Aux Output Select Pre-roll CPU & Disk Samples Current TwistaLoop Filter Limiter RAM Used Usage Meters Playing Channel Override Override E-MU Systems 69 4 - Multisetup / Preset Globals The Multisetup There are five views of the Multisetup page. The Multisetup View buttons change the current view. The Single channel view is shown below. ¢ Single..........08. Displays the preset for the currently selected MIDI channel. ¢ Channels 1-16....... Displays the preset, volume and pan for MIDI channels 1-16. ¢ Channels 17-32... Changing Presets (from Single View) Single View is the default view when you first run Emulator X. This view is convenient for performing live or when you’ re only playing one preset at a time. All the main parameters for the selected MIDI channel are displayed in Single View and a conve nient Category mode allows you to quickly select presets in a certain category. A close- up of the current channel settings is shown below. Single View Close-up MIDI Channel Inc/Dec Select/View MIDI Channel Select All or Select Select by Category Category Select/View Bank/ Preset— 0238 Program Number = Display M lassiveMini Preset Selected Name Category Channel Channel Volume Pan FXA/FXB Main Output Select Enables Aux Output Enable > To Select Presets by Number 1. Click on thePreset Increment/D ecrement buttonsto move up or down the presets by number. 2. Highlight the Preset Number field and typein the desired preset number. 70 . Displays the preset, volume and pan for MIDI channe's 17-32. ¢ Channels 33-48 .... Displays the preset, volume and pan for MIDI channe's 33-48. ¢ Channels 49-64 .... Displays the preset, volume and pan for MIDI channels 49-64. @ Note that Single View only changes the display and does not affect the currently selected MIDI mode (i.e. Omni, Poly or Multi). @ The Bank/Program Display shows the Bank and Program number you would use to select the preset from a sequencer. m= Tip: You can also select a preset by dragging and dropping it from the tree into the single view screen. Emulator X3 Reference Manual > To Select Presets by Category . Click on the Select Category button. The pop- up dialog box at right appears. 2. Select the desired preset category, then press OK. 3. Choose Select By Category from the Single view screen above. Category Filter eH Categories: <All> Bass 1 Bass 4+ Brass Guitar = 4. UsetheIncrement or Decrement buttons to select presets. Note that only presets of the selected category are selected. > Changing the Current MIDI Channel The Current MIDI Channel is simply the MIDI channel you are currently working with. To change the current MIDI channel, simply increment or decrement the channd number using the buttons, or click on the channel number and typein the desired number. Multi Channel View Press the 1-16 Multisetup View button to view 16 channelsat once. This mode is useful for sequencing or when playing multiple MIDI channels. Multi Channel Vie MIDI Preset Multisetup Channel Channel MIDI Output Activity Select View Volume Pan Mode Display Tabs Select Tab Click Here Current Channel ——_ _ @ BH POUG The Levey 1 = # 8 POC Teor = ® 28 POD Trordergs =—s + OF POSE) Veo Marcatm < i OM POs? vetoes _—— tH OM O48] St Weve —--~ & BM POSH Ary Tranpet —— = @ OM P0485 DCM Gress re ® BM P0486 Barry Sores MIDI + O45) feacey Controllers i UM POSE? Lirmathy Maite — =. ‘ = Definable Labels Preroll RAM Used Current Channel CPU & Disk No. Samples Use Meters Playing Override E-MU Systems TwistaLoop 4 - Multisetup / Preset Globals The Multisetup Aux FX Display Tabs Main Output Routing Aux Send Enables Preset FX Enables Master Tempo Master Volume W— Master Tune & Transpose Aux Output Select Filter Limiter Override 71 4 - Multisetup / Preset Globals The Multisetup The Current MIDI Channel Change the current channel! by clicking anywhere on the desired horizontal channel strip. The red indicator displays the currently selected channel number. The MIDI Controllers change to show the settings of the currently selected MIDI channel. »& To Select a Preset: 1. Click on the Preset Select button for the desired MIDI channel. The Select Preset dialog box appears. 2. Click on the presets in thelist to audition them. Presets can be viewed by largeicon, small icon, by list, or by detailed list. Presets can also be sorted by name, ID, bank/ program number, or category when in Detail View mode. 3. To choosea preset, select it and press OK, or double-click on the preset in the list. »& To Select a Preset from the Tree: 1. Set the Current Channel by clicking anywhere on ahorizontal channe! strip in the Multisetup window.The channd number turns red, indicating that this is the current channd. 2. Choose the preset you want in the tree and Right-Click on its preset icon. 3. Choose Select on Current Channel. The preset is now selected for that channel. 4. You can also select a preset for the current channel by simply clicking the preset’s keyboard icon from the tree. MIDI Channel Each channd only responds to MIDI data on its particular channel. Use the floating keyboard (sdect Keyboard from the View menu) to audition presets on the currently selected channel. Select the current channel! by clicking anywhere on the desired channel strip. The red indicator displays the currently selected channel number. Preset Assignment Assign presets to MIDI channel's by clicking on the triangle selector button ~w to the right of the preset fidd. A pop-up dialog box appears with the list of presets in the bank. Select a preset, then click OK to select. Channel Volume This control sets the relative volume of the MIDI channel. This is equivalent to MIDI controller #7 (channd volume) and changes made over MIDI will be shown here. Channel Pan This control sets the stereo position of the MIDI channel. This is equivalent to MIDI controller #10 (channel pan) and changes made over MIDI will be shown here. Vv. Important: The act of creating PatchMix DSP Output Assignment ASIO mixer strips makes This control selects the Main Output assignment fortheMIDI jqam é channel. 100% of the stereo output signal issent to theselected | a them available for Emulator X. If they are not created in output bus. : ; PatchMix DSP you won't The number of outputs available in this fidd depends on the number of stereo see them in the Output channels your sound card provides. Add ASIO input stripsin PatchMix DSP to increase Assignment field. the number of available outputs. Output destinations will be labeled according to the PatchMix DSP input strip scribble strip name. The EX session templates in PatchMix DSP are designed to be used with Emulator X. 72 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals The Multisetup Output View Button This button allows you to view the Aux Send On/Off, Main Output Routing, and Preset FXA/FXB Bypass buttons when not in Single Mode. (The button is disabled in Single mode.) You may want to bypass the Preset Effects on certain channelsin order to free up CPU power or to hear the presets dry. Aux FX View Buttons The buttons above the TV display select which of the three possible Aux Effect is currently displayed. Note: The Output View button is disabled in Single mode. Aux Send On/Off These buttons enable (blue) or disable (grey) the inputs to the Aux Sends for each @ The Output View MIDI channel. When a factory FX template (such as Proteus X Composer) is used, these button is only available buttons serve to enable/disable the Aux FX for each channel. The Main Output is when any of the unaffected by these buttons. multimode views are ; ; selected. In Single mode These buttons disable the Aux Sends whether the Aux FX are being used or not. Please you can only control the refer to the diagram on page 234 to see the exact location of this switch in the signal current channel. path. Aux Effect View Buttons Output View Button Aux Send / Off Preset FX - Enable Buttons Main Output Routing Preset FX Enables These two rows of buttons marked FXA and FXB, enableor disable the preset effects for each MIDI channd. These work differently than the Aux Send On/Off buttons in that they bypass the effects instead of turning them on or off. These buttons are useful to bypass any preset effects which may have been programmed in the preset. Please refer to Chapter “9 - Effects” on page 231 for detailed information about the output and effects routing. Select Effect Click on the Effect Select icon = at thetop right corner of the Effects TV screen. A list of available effects drops down. See “Adding an Aux Effect in the Multisetup” on page 232 for complete details on how to add aux effects. TwistaLoop Override This three-way switch determines if the beat looping features are locked to Master Tempo. The three modes are as follows: ¢ On: Beats on the channel! are locked to the Global Master Tempo. This control overrides the “Sync To Master Clock” setting in the preset. ° Off: Beats on the channd are NOT locked to the Global Master Tempo. This control overrides the “Sync To Master Clock” setting in the preset. ¢ Not Set: The “Sync To Master Clock” button in the Preset Globals page deter- mines whether or not the Beats are locked to the Global Master Tempo. E-MU Systems 73 4 - Multisetup / Preset Globals Global Controls Global Controls Master Volume Control & VU Meter This is the master volume control for Emulator X. This slider controls the output volume of all MIDI channels.The range of this control can be adjusted using the Headroom/Boost control in the preferences dialog box. See page 24. The Master volumecontrol respondsto the Universal Real Time System Exclusive message for Master Volume. If your MIDI controller (eg. an E-MU Xboard) sends such messages (such as from amaster volumeslider), the master volumein Emulator X changes accordingly. The VU meter indicates the overall output level of the Emulator X Main Outputs. It serves as a handy indicator to show dipping or to troubleshoot audio output problems. Tempo Control This control and associated display sets the master tempo when Emulator X is chosen as the tempo source. Emulator X contains a global master clock which is used for Tempo-based Envelopes, Tenpo-based LFOs, and clock modulation. External Tempo Source” in the MIDI Preferences dialog must be Off for this control to operate. When “External Tempo Source” in the preferences dialog box is On, and an external MIDI deviceor application is generating MIDI clock, the Emulator X tenpo will lock to the MIDI clock tenpo. Master Tune Master Tune adjusts the overall tuning of all presets so you can tune Emulator X to other instruments. The master tuning range is +1 semitone in one cent steps (1/100th of asemitone). A master tune setting of O¢ indicates that Emulator X is precisely tuned to concert pitch (A440 Hz). Master Transpose The master transpose parameter transposes the key of all presets in semitone intervals. The transpose range is +12 semi tones (1 octave). Limiter When playing Emulator X you may sometimes hear digital clipping. This clipping occurs in the digital hardware and is not caused by Emulator X, which uses high resolution floating point processing and has tremendous internal headroom. To avoid the clipping, you could always lower the volume controls, but there’s a better way. The Limiter monitors the signal ahead of the output stage and automatically turns down the volume before clipping can occur. 74 Emulator X3 Reference Manual > To Use the Limiter 1. Press the Enable button, illuminating the button. 2. Set the Release knob to about 30% to start. Release controls how fast the limiter turns the volume back up after reducing it to avoid the clipping peaks. 3. Increase the release time if you hear obvious volume changes (pumping). Reduce the release time for percussive playing. Aux Outputs These three output assignments assign the Aux Routings selected in the Voices or Presets to pairs of ASIO channels or to DirectSound. Every Voice (page 36) has three effects sends with programmable amounts as well as a wet/dry mix to the Preset FX section. The three effect sends from all voices and Presets are summed into the three Aux Outputs where they are assigned to an ASIO pair. The Aux ASIO streams can be routed to the PatchMix DSP mixer or to other software devices running on your computer. Emulator X Aux Bus Routing Aux 1 Aux 2 PRESET ] : | 7 L100 ff -95_| Pao} oo ff o fo | ~ > Co = CoE « > Coc 7 Ci « > Coo « = cc => Clo « = Cir « > Clo « VOICE MULTI Using the Emulator Sessions in PatchMix DSP The E-MU Digital Audio System contains special Sessions that can be used with the Emulator X factory banks. These Sessions connect the Aux Outputs to PatchMix DSP mixer input strips containing PatchMix DSP hardware effects. If afactory bank has the Aux Outputs set as shown in the diagram above, it is designed to use the PatchMix hardware effects. If all the Aux Outputs are set to EX Main it most likely uses the built-in software effects. You can easily add PatchMix DSP hardware effects to a bank that uses Emulator X software effects by simply switching an Aux bus to a PatchMix strip with effects. See “Block Diagram of the Effects Routing” on page 234. E-MU Systems 4 - Multisetup / Preset Globals Global Controls @ See Chapter “9 - Effects” on page 231 for complete descriptions of the effects routing. 75 4 - Multisetup / Preset Globals Global Controls IMPORTANT The act of creating PatchMix DSP ASIO mixer strips makes them available for Emulator X or any other application. You must create the ASIO mixer strips before Emulator X or any other application will see them. > To Open the Emulator Sessions in PatchMix DSP 1. Open PatchMix DSP by clicking on the = icon and select New Session. 2. Sdect Emulator X Studio. 3. Sdect Percussion EQ for use with the percussion banks on Disk 3. Select Emulator X Studio for all other banks. 4. The PatchMix DSP screen below shows the Main and Aux Output connections from Emulator X. Emulator X Studio Session Main Output Aux | Aux 2 Aux 3 seme bog (20a) (so0)})|(s00){s00)) (20.0) (sn: The routing options in the Emulator X Aux Output section take their names from the PatchMix DSP scribble strips. To route an Aux Send to a hardware effect, simply change the Aux Output routing to a PatchMix strip containing effects. 76 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Global Controls Filter Override The filter type of the first voice in the preset (on the currently selected channe) is shown in this display. If you change the filter typein this field, ALL the voices in the preset will change to the filter type you select. When the display reads, - Not Set - the filters programmed in each voice will be used. The filters may be set differently for each voice. MIDI Realtime Controllers & Scribble Strips Filter Override i 34mMB CPU fj Disk 0 Ch, 1 Emulator X Pre-roll RAM CPU Meter Number of Samples Current Channel MIDI Controllers & Scribble Strips Sixteen realtime MIDI Controllers are available to control the preset on the currently selected channel. These controllers are connected to MIDI sources as assigned in the Preferences dialog box (page 28) and changes made over MIDI will be reflected here. The scribble strip names and the initial settings of the controller knobs are user programmable in the Preset Globals window. See page 80. Pre-roll RAM Used This display shows how much of your computer’s RAM is being used by pre-roll sound data. The amount of Pre-roll RAM can be adjusted in the preferences dialog box. When Sample Streaming is disabled this number shows the total RAM usage. See page 21. CPU Meter This display shows how much of your computer CPU power is being used by Emulator X. If the meter turns red, this indicates that there is not enough CPU bandwidth to properly process the audio in a timely manner, which may result in audible glitches or delayed notes. Number of Samples Playing This display shows you how many samples are currently being played. The maximum number of samples that can be played depends on a variety of factors such as: HD speed, RAM memory speed and CPU speed. See “Audio Setup” on page 23 for more information about performance. Current Channel This displays the currently selected MIDI channel. Change the current channel by clicking anywhere on the desired channe! strip. E-MU Systems 77 4 - Multisetup / Preset Globals Working with Multisetups Working with Multisetups A Multisetup is a “snapshot” of the current Emulator X settings. Multisetups store the preset, volume, pan position, and output bus routings for 64 MIDI channels alongwith the Global Tempo and the three Aux Send destinations. Saving FX & Multisetups Itis important to realize what data is stored in a multisetup when saving banks. In addition to Volume, Pan, and Preset choices for each channel, the Initial Controllers, FX Aux 1, Aux 2, and Aux 3 are stored with the multisetup. The send level for each preset to each Aux bus is stored in the preset data. Remember to save the bank whenever you have made changes that you want to keep. VSTi Multisetups A multisetup for your VSTi is stored in your Cubase project and will be loaded when the project is opened. This multisetup overrides whatever default multisetup may have been saved if the bank was opened in standalone mode. If you wish to store extra multisetups you may do by using the Multisetup menu on the toolbar. > To Store the Current Multisetup 1. Setup all the multisetup parameters the way you want them. 2. Select Store from the Multisetup window on the toolbar. 3 . Choosea name and number for the multisetup. Changing the number allows you to place the Multisetup anywhere you wantin the list. 4. Press OK to store the Multisetup. 5. Save the Bank, otherwise nothing will be saved. > To Restore a Multisetup 1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will belisted below the folder. 2. Left-click on the desired multisetup icon in the tree and drag it over the Emulator X icon above the tree This multisetup will be restored. 3. Alternate Method - Right-click over the Multisetup icon in the Tree and choose Load. > To Export the Multisetup as a New Bank This feature lets you save only the presets and samples you need as a new bank. 1. Setup all the multisetup parameters the way you want them. 2. Select Export from the Multisetup window on the toolbar. The popup “Save As” dialog box appears prompting you for the save location. 3. Choose the location for your new bank and click Save to save the bank, or click Cancel to cance the operation. > To Rename a Multisetup 1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will belisted below the folder. 2. Right-click on thedesired multisetup icon in the tree, then select Rename from the pop-up menu. 3. Typein anew name for the multisetup. 78 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Working with Multisetups > To Delete a Multisetup 1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will belisted below the folder. 2. Right-click on the desired multisetup icon in the tree, then select Delete from the pop-up menu. 3. The Multisetup will be deleted. > To Duplicate a Multisetup 1. Open the multisetup folder in the Tree. Any multisetups contained in the bank will belisted below the folder. 2. Right-click on the desired multisetup icon in the tree, then select Duplicate from the pop-up menu. 3. The Multisetup will be duplicated renamed “Copy of..XX” and placed in the first empty Multisetup location. > To Rearrange the Order of Multisetups 1. Click once on the multisetup folder in the tree. The list of multisetups appears. 2. Select Details View from the view options in the toolbar and change the |D number. 3. If you try to save a Multisetup with anumber that is already used, a popup dialog box will appear asking you if you want to use the next available |D number or enter anew ID. E-MU Systems 79 4 - Multisetup / Preset Globals Preset Globals Preset Globals The Preset Globals allow you to edit presets and their key maps. Samples can be arranged into single-sample or multi-sample voices with synthesizer processing applied. Then these complete voices can then be arranged anywhere on the keyboard. The Preset Editor contains three sections. The first section, Voices & Zones, is used for arranging voices and samples on the keyboard and editing global preset parameters. The Links section makes it easy to build new presets by combining other finished presets. Multiple presets can be crossfaded or cross-switched according to key position, key velocity, or by the position of MIDI continuous controllers. The third section, Voice Processing, is used to perform more detailed editing of voices such as envelope shaping of amplitude and filters as well as modulation parameters. This is the synthesizer section of Emulator X containing E-MU’s legendary Z-plane filters and powerful matrix modulation. Emulator X > To Edit a Preset: mam (Proteus composer ext) 1. Select the Sampler tab from the Tree. The contents of the current Emulator X bank Sj Presets “ : 7 ” WM Dynamic Grand = appears in the Tree. =)-4Mli Yo My Dynos 2. Double-click on the Preset folder from the AA Voices and Zones} tree (or click once on the (+) symbol). The preset ©® Links folder expands to display the presets (> Voice Processing contained within. 4M" Orchestral . : F NI Grusty 3. Click on one of the Preset icons in the Presets KM A Ku Stq folder to view the Preset Globals window. G4) Rock'n B 4. Double-click on the desired preset icon from +) MAM WideSuitcase the tree (or click once on the (+) symbol) . The <4) MME Zimppler preset icon expands to display the subsections: gS Anstogrtonet Voices and Zones, Links, and Voice MK Kit 1 : ie aia Processing leveds. 408 And Voice 4), MetalScience 5. Select the desired section: Voices & Zones, 40K Silk OBXsaws Links, or Voice Processing by clicking on the 40M Stolen7Away associated icon. +40" Movie Brass = a > To Select a Preset from the Tree: )§ New Age Oohs 1. Set the Current Channe to the one you're 4) 1M Sugar Freak using by clicking on the channel number in 4) MAMA Clavinett the Multisetup screen. : = ae 2; Choose the preset you want in the tree and —).KM Real Flute Right-Click on its preset icon. YY Voices and Zones 3. Choose Select on Current Channel. The ©® Links preset is now selected for that channd. {> Voice Processing =)-{) Samples a = Sampler = Library 80 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Preset Globals These parameters affect the entire preset and are saved with the bank. m™ You can quickly access ; == i 7 jay SRB TATU TAL the Preset Globals fre AA ye! window by clicking the . Tek . | button in the toolbar. |_.+0_] : TCE ¥ ? F j , 2 = c © > . ie lo ~ > . . ‘ . : om % Transpose & Volume Transpose works by shifting the keyboard position. Theactual samples are not retuned. In other words, if you havethe same sound on each key, such asa piano, the piano will change key when you transpose. On the other hand, if you have a different drum assigned to each key, changing transpose will shift the position of the drums on the keyboard. The volume control allows you to adjust the volume for the entire preset. This control is variable from -96 dB (off) to +10 dB. Initial Controllers A-P These set the initial value of MIDI controllers A-P for the preset. As soon asa MIDI m@ Changing the initial controller is moved, it jumps immediately from this initial setting to the new setting of controller settings is an the control. The controllers A-P are assigned to MIDI continuous controller numbersin easy way to customize a the Preferences dialog box. preset. Simply change the ‘ : ; : knobs and save the bank. Controllers A-P can be adjusted via MIDI or by turning the controller knob in the Multisetup. The Labe fieldsto the left of the initial controller knobs are user definable. These labels or “Scribble Strips” also appear in the Multisetup screen to show the function of the realtime controller knobs. See “MIDI Channels & Real-time Controls” on page 314 for additional information about Controllers A-P. E-MU Systems 81 4 - Multisetup / Preset Globals Preset Globals Capture MIDI Controllers You can capture the state of all your MIDI input device’s MIDI controllers, and place the settings in the! nitial Controllers section of the Preset. Essentially, this allows you to capture the Multisetup’s MIDI controller state, and store it in the preset. > To Capture MIDI Controllers 1. Make any desired changes to any MIDI controllers on your MIDI input device, or in the Multisetup window. 2. Go to the Preset Globals window for the preset you want to apply your current MIDI state. 3. From the Preset menu, select Capture MIDI Controllers. 4. Notice that the initial controllers now reflect the state of your MIDI controllers. To keep these settings, you can save the Preset. TwistaLoop Lock To Tempo This control locks all analyzed beats in the preset to the global master tempo. When this function is on, all beats in the preset will lock to the master tempo unless “TwistaLoop Override” (page 73) is turned off. This button works in combination with “TwistaLoop Override.” When TwistaLoop Override is “Not Set,” this button determines whether beats sync to the master tempo for the preset. When TwistaLoop Overrideis set to On or Off for the MIDI channel, this button has no effect. These two controls allow you to set the state of “Sync to Master Clock” by MIDI channel (TwistaLoop Override) or by Preset (this button). (ae YA Initial Tempo This feature allows the master tempo to be programmed from abil Bk presets that use tempo-based envelopes, LFOs or TwistaLoop. il itl ThelInitial Tenpo worksin combination with the “Preset Tempo Ny 3 Channa” option in the Preferences menu, which allows one hh specific MIDI channel to control the master tempo. See Preset 220,00 Tempo Channel on page 27. When the Initial Tempo is set to atempo on the defined Preset Tempo Channel, the master tempo will follow this taenpo setting when the preset is selected. > To Set the Master Tempo from a Preset: 1. Turn Preset Tempo Channel on and set it to the desired MIDI control channd. (Options, Preferences, MIDI) “External Tempo Source” must be turned off. 2. Set the Initial Tempo (Preset Globals) to the desired tempo. 3. Turn on TwistaLoop - Lock To Tempo (Preset Globals) if you are using Twist- aLoop. 4. Select the preset on the assigned preset tempo channel. 82 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Preset Globals Tuning Tables In addition to the standard equally divided octave tuning, Emulator X contains twelve factory programmed tuning tables. The Keyboard Tuning parameter selects which tuning is used by the current preset. The factory keyboard tuning tables are described in the following table. Tuning Tables Description Equal Temperament | Standard Western tuning 12 equally spaced notes per octave. Just C Just intonation. Based on small interval ratios. Sweet and pure, non-beating intervals. Just C2 Allows you to play the following chords in the key of C:C,E,F G,A, B, C#m, D#m, Em, F#m, G#m, Am, Bm Just C-minor Allows you to play the following chords in the key of C:C,E, — G,A, B, Em, Am, Bm, C#m, D#m, G#m Just C3 Allows you to play the following chords in the key of Cc: C, D, F Bb, C#m, Dm, Em, F#m, G#m, Am Vallotti and Young Valotti & Young non-equal temperament. Similar to 12 tone equal temperament. Each key has a different character for a given scale. 19-Tone 19 tone equal temperament. 19 notes per octave. Difficult to play, but works well with a sequencer. Gamelan 5 tone Slendro and 7 tone Pelog. Uavanese.} Pelog are white keys, Slendro are black keys. Exotic tunings of Gamelan flavor. Werkmeister A “well” temperament developed in the 17th century. Although you can play in all keys, each key sounds slightly different. Kirnberger Another well temperament developed by Johann Philipp Kirnberger where no pitch is more than 12 cents off from equal temperament. Scarlatti A variant of Meantone tuning which was used from the 15th to 18th centuries. Repeating Octave Middle C octave is repeated up and down the keyboard. Link with a preset in equal temperament to form unusual inversions up and down the keyboard. al-Farabi 12 A twelve-note reduction of an Arabic/Middle Eastern tuning system. The following scales are useful: Diatonic: C Eb G GF AA# Bc Zalzal: CEbGbGHAAFBC Persian: CEDF G#HAA#Bc 22-Tone 22 tone equal temperament. Good for minor harmonies. 24-Tone 24 tone equal temperament. These notes are quarter steps apart. 36-Tone 26 tone equal temperament. Difficult to play, but even better for minor harmonies. E-MU Systems 83 4 - Multisetup / Preset Globals Preset Globals The Just C Tuning Tables Well Tempered and Just were standard keyboard tuningS UD jaa until the 20th-century when the current “equal tempered” | I 2 scale became prevalent. In an equal tempered scale, the =r pao | octave is equally divided into 12 parts. In Just or Well ——a, Tempered scales, the 12 notes are separately tuned to — produce pure chords. However, in Just tunings you are limited to playing certain chords and if you play the wrong chord it may sound sour! @ Cqutt Teemerene Tuning tables can be changed as you play using a program ae change (create several presets with the same sound and amr different tuning tables) or using a continuous controller (link 2 presets and crossfade between them usinga controller). The Just C2, Just C min, Just C3 Tuning Tables Fully explaining the mysteries of just intonation is beyond the scope of this manual, but the subject is covered exhaustively in Hermann Helmholtz’s On the Sensations of Tone, available at most libraries and bookstores. The four just intonation tables are called J ust C2, Just C3, and Just C Minor. Try playing in the key of C/Cm using each table. You'll quickly discover both the wonders and the frustrations of just intonation! In Just C, for example, you'll find that the chords C, Em, F,G, and Am sound beautiful. If you hold one of these chords, you'll hear no “beating”. After playing for a few minutes, switch back to Equal Temperament for a rude awakening! At this point you might wonder why anyone would use Equal Tenperament to begin with. For the answer to that question, play aD, Dmi, or Bb chord! Theintervallic ratios that make the C & G chords sound so pure make the D chord sound horribly out of tune. That's why we had to include] ust C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will sound wrong. Each of the 4 tables allows you to play a different group of common chords in just intonation. Sadly, thereis no single 12 note tuning that will allow all of the common chords to bein tune, and of course that's why they invented the equal tenperament tuning system that we use today. Just C Play these chords: C, E, F, G, A, Cm, C#m, Em, F#m, Gm, Am Just C2 Play these chords: C, E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm Just C minor Play these chords: C, D®, D, E®, G, A®, Cm, Em, Fm, Gm Just C3 Play these chords: C, D, F, B, C#m, Dm, Em, F#m, G#m, Am Equal Temperament Tunings For each of the equal temperament tunings except 19-tone, middle C (i.e, MIDI note 60) is middle C as it would bein a standard 12-note tuning. The keyboard is then scaled up and down from middle C (C2). For example, using the 22-tone scale, one octave above middle C is 22 keys up the keyboard (A#3). 84 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Preset Globals Key CC Window These controls work in conjunction with the “Keyboard - CC Window” function in the Voices and Zones. See “Continuous Controller Window Pages” on page 108. Pressing the “Key CC Win” button and setting a Keyboard Range fields marks off a section of the keyboard to be used as control keys for the CC Window or a PatchCord source in the Voice Processing section. These keys will no longer trigger sounds. Instead, they are now used for selecting different voices in the CC Windows, or asa modulation source in the Cords. (See page 222.) Preset Modulators The Preset Modulators are special class of modulation sources in that they originate at the Preset Level, but their output is used in the Voice PatchC ords. There are three types of preset modulation sources. Preset Modulator | Typical Uses Channel Lags 1 & 2 | “Leslie” speaker effects. Switch slowly increases/decreases LFO speed. Poly Ramp (Timer) Controlling key-up layer volume based on the time a key is held. Channel Ramp Ramps on First Note only. “Hammond” style organ percussion. Channel Lag 1 & 2 Rate Like the Layer Lag processors (described on page 138) the Channel Lag slows down rapid changes in the input signal. The output “lags” behind the input at a pre programmed rate. Unlike the layer level lag processors, the Channel Lags1 & 2 take effect as soon as the preset is selected. In contrast, the Voice level lag processors begin acting only after a keyboard key has been depressed. The Channel Lag also has aLag Amount input which controls the lag time. Positive lag amounts increase the lag time. A MIDI controller (front panel knob) is commonly used to control lag amount. The Channd Lags could be used to slowly increase or decrease the speed of an LFO which in turn controls some other effect, perhaps left/right panning, pitch, or the filter. When a MIDI footswitch is used as the input, the lag acts to slow down the instanta- neous change of the switch. The slowly changing output value can then be routed using a patchcord to smoothly crossfade between voices or gradually change the speed of an LFO. tf -_ ex. footswitch Lag Amount (+ value = longer) E-MU Systems 85 4 - Multisetup / Preset Globals Preset Globals Poly Key Timer This processor starts a timer which begins counting down whenever a key is pressed, and stops and outputs its value when the key is released. The value of this timer can be used on any voices after the key rdease. The Poly Key Timer is a special modulation source controlled by the key and not the voice. The Poly Key Timer is commonly used on grand piano presets to reduce the pedal damper volume the longer the keys are held. Release layer voice becomes softer the longer the key is held. Poly Release HAN Note-On - Poly Key Timer begins counting down. Note-Off - Poly Key Timer stops counting and outputs value. Sete ee Se Se eee MAN ae Preset Globa L waa See S Caenene| Channel Ramp This processor generates a single negative going slope whenever the first key is depressed on the MIDI channel. This preset level processor was originally designed to simulate the percussion key click on Hammond organs, but you may find other uses. Channel Ramp time: decrease 1st Note Played The Channel Ramp instantly resets when all notes have been released and the next first key on the MIDI channel is pressed. The value of the ramp rate sets the increment. Large values produce fast ramps and small values produce slow ramps. To use the Channel Ramp as a first-note decay envelope, patch the Channel Ramp out to Amp Volume and set the Amp Envelope for a fast attack and 100% sustain and short release. 86 Emulator X3 Reference Manual 4 - Multisetup / Preset Globals Preset Globals Preset PatchCords Preset PatchCords give you real-time control of the Preset Modulators. There are 16 Preset PatchCords per preset with a source, a destination and an amount control. The amount can be set from -100 to +100. Modulation Sources Modulation Destinations Off Off Pitch Wheel Channel Lag 1 In Mod Wheel (Modulation Wheel) Channel Lag 1 Amount Pressure (Channel Pressure} Channel Lag 2 In Pedal Channel Lag 2 Amount MIDI Volume (Controller 7) Channel Ramp Rate MIDI Pan (Controller 10) Post-FX Main Send Expression (Controller 11) Post-FX Aux 1 Send MIDI A-P Post-FX Aux 2 Send Footswitch 1 Post-FX Aux 3 Send Flip-Flop Footswitch 1 (Fswitch 1 FF) FX A Mod 1 Footswitch 2 FX A Mod 2 Flip-Flop Footswitch 2 (FSwitch 2 FF) FX A Mod 3 Thumbswitch FX A Mod 4 Flip-Flop Thumbswitch (Tswitch FF} FX B Mod 1 DC Offset FX B Mod 2 Channel Lag 1 & 2 FX B Mod 3 Channel Ramp FX B Mod 4 Templates For each different module in the Preset Globals window, you can save a library of your favorite settings. These Templates make it easy to create your own customized voices and presets. Templates are saved as an XML file within the Emulator X application directory so they're always available for use. For more information on templates, See Templates on page 279. E-MU Systems 87 4 - Multisetup / Preset Globals Preset Globals 88 Emulator X3 Reference Manual 5 - Voices & Sample Zones 5 - Voices & Sample Zones Each preset contains voices. A voice houses a sample, or multiple samples, and can cover an individual key, or a range of keys. The Voices and Zones window allows you full control over the parameters for each voice, includinglevels, tuning, keyboard range, crossfading, looping, region, and more. The Voices and Zones window is divided into tabs, each with its own set of controls. Certain controls, such as Volume and Pan appear in each window. To access the Voices and Zones window, expand a preset in the tree, and click Voices and Zones. =) WM) 000:001 New Preset Voices and Zones Page Selection Tabs Voice Multisample Voice Sample Zone Selected Voice/Zone Expand/Collapse Multisample _| a Mute/Solo Voice or 5) Zone SS 3 A Selected Voice(s) Overview Section AO SE Key Range for a MIDI Controller Range Selected Voice(s) E-MU Systems 89 5 - Voices & Sample Zones Voices and Zones Pages Voices and Zones Pages The Voices and Zones Window is separated into tabbed pages: Mix/Tune Adjust volume, pan, transpose, coarse tuning, and fine tuning for each voice. For more information, see “Mix/Tune Page” on page 99. Key Win Edit keyboard range assignments and place voices and multisamples wherever you want. For more informations, see “Key Window Page” on page 99. Vel Win Control the volume of a voice by key velocity. Crossfade or cross-switch between voices by key velocity. For more information, see “Velocity Window Page” on page 103. RT Win Control the volume of a voice using a real-time controller such as a modulation wheel, a pedal, an LFO or an envelope generator. For more information, see “Realtime Window Page” on page 105. CC Win 1-5 Switch CC windows using specified keys on your MIDI controller. For more infor- mation, see “Continuous Controller Window Pages” on page 108. Region Define which part of a sample plays. For more information, see “Region Page” on page 115. Details An overview of each voice that allows you to view and change Sample, Direction, Mix/ Tune, and Key Window information using numeric values. For more information, see “Details Page” on page 119. 90 m™ You can quickly access the Voices and Zones window for the current preset by clicking the }¥ button in the toolbar. Emulator X3 Reference Manual 5 - Voices & Sample Zones Voice Selection Voice Selection In each tabbed page, voices can be selected by clicking any part of the voice strip. Selection is shown by a red box around the voice strip. 1. Select the first voice in the “Voices & Zones” screen. 2. Hold the Shift key to sdect contiguous voices. Hold the Control key to select or deselect non-contiguous voices. Press Control-A to select all voices. Manipulating Voices Under each tabbed page, there are various controls that allow you to change a voice’s Group, Sample, Direction, Volume, Pan, etc. Some controls, such as Group or Direction, are selected from a drop-down menu. Others, such as Volume and Pan, are controlled by a slider or wheel. Most pages also contain parameters that can be adjusted juga using graphical sliders. You edit aslider’s range or position by clicking the slider, and dragging your mouse left or right. Create a fade by holding the Alt key in conjunction with clicking and dragging your mouse. See the example below: Click & Drag the Click & Drag Fade Point End to Resize to Adjust Fade ma cea seam mf QOULONICORSESTOOQOOQUICQOCQCOCCONOOROD TCU UN IMis|+} 42a peeks Imi si+| 2:Al : = i Click & Drag the Alt-Click & Drag the Middle to Move End to set Fade « To set the high and low ranges, click and drag the end points of the graphic display * To move the whole range without resizing it, click and drag the middle of the range. * To create a fade, hold Alt, and click and drag the end points. Once you create a fade point, you can click and drag the fade point to re-position it. Working With Multiple Voices If you sdect more than one voice, you can edit parameters for all selected voices simul- taneously. To select more than one voice, hold the Ctrl key while clicking the voices with your mouse. To select contiguous voices, hold the Shift key while clicking. It’s important to understand how changing parameters in the various tabbed pages differs from changing parameters in the Overview section that occupies the bottom half of the screen: ¢ In the tabbed pages, such as the Mix/Tune page, parameter changes work in a relative manner. This means if you select multiple voices and decrease the Volume of a voice by 10 dB, you decrease all voices’ volumes by 10 GB. ¢« However, if you select multiple voices and change the volume knob in the Overview section, you change all selected voices’ absolute volumes. E-MU Systems 91 5 - Voices & Sample Zones Voice Selection Note about multiple voice editing: If you open several voices for editing that have different voice parameter settings, the parameters in the different voices will remain as they were until you change them. That is, if you have three voices selected and you change the filter cutoff, all three voices will jump to the new cutoff setting, but all the other parameters will remain as they were. Samples & Multisamples The samples contained in the voice are displayed and can be edited. If the voice contains more than one sample, the word “Multisample’” is displayed in the sample field. All the samples in amultisample share the same set of synthesizer parameters. However, the volume, fine tune and pan parameters can be adjusted separately for each samplein a multisample. > To View & Edit the Samples in a Multisample 1. Click the +symbol to display the individual samples and key ranges which comprise the multisample. 2. Click the - symbol to collapse the multisample. Expand/Collapse Multisample Multisample Key Range Individual Sample Key Ranges Multisamples allow you to place multiple samples under the same set of synthesizer voice parameters. The multisample key range sets the overall key range limit for the samples in the multi- sample. In the diagram above, the top sample won’t be played, because its key range is outside the limit of the Multisample key range. 92 Emulator X3 Reference Manual 5 - Voices & Sample Zones Voice Selection Groups Voices can be categorized into Groups as a way to organize and select similar voices, say a layer of piano voices and a layer of string voices, into unified entities. You can create a temporary group if you want to edit several voices. Grouping the voices and then selecting the group is faster and more dependable than manually selecting each voice when editing. > i To Place a Voice into a Group Tag each voice you want to bein the group with the same group number. This can bedonein the “Voices and Zones” window or from the “Voice Processing” window. . Whenever you select that group number in the Voice Processing window, all voices with that group number will be sdected. You can define up to 99 groups, buta voice can only bein one group at atime. To Make a New Group from the Currently Selected Voices . Select the voices you want to bein the new Group from the “Voices & Zones” page. . Select New Group from the Preset menu. A new group will be created using the lowest available group number. To Select All Voices for Editing =» From the Voices & Sample Zones window, press Control-A. = From the Voice Processing window, select All in the Group box. To Select a Group of Voices for Editing * Method #1: Simply select the desired group number from the Voice Processing page. Once you have selected a group, you will be editing all the voices in this group. » Method #2: Select any voice in the group, then select Select Group “N” from the Preset menu. All the voices in the group will be selected. Sorting Voices and Zones You can sort Voices, and Zones using the following criteria: : ¢ Sample Number e Sample Name e Low Key ¢ High Key a Original Key ona *« Volume « Pan ¢ Group (voices only) > To Sort Voices or Zones 1. Right click any Voice or Zonenumber. 2. Select Sort Voices or Sort Zones, and choose how you want to sort them. E-MU Systems 93 5 - Voices & Sample Zones Voice Selection The Keyboard Display The keyboard display on the bottom of the screen gives you a visual representation of the Key Win range for the currently selected voice(s), and the Note range of your MIDI controller. Notes that fall within the currently selected voices’ key range appear in color. You can also mask out notes that don’t fall within a range of keys that match your MIDI controller. Masked keys display in darker colors. Mask (Dark) MIDI Controller Range (Light) Mask (Dark) I Key Win Range for Selected Voice(s) (Color) > To Choose What type of MIDI Controller to Display ¢ Right-click the keyboard and select thetype of controller you areusing. Choices are Full MIDI (no mask), Piano (88 keys), Three Octave, XBoard 61, XBoard 49, and XBoard 25. The keyboard display is also useful for identifying notes and creating a new voice with @ The Keyboard also a specific Original Key value Key Win range: appears in the Voice : Processing screen. e When you hover your mouse over the keyboard, the name of the key is displayed. ¢ You can create new voices by dragging samples onto the keyboard in the Voices and Zones screen. See “Adding Samples and Voices” on page 97 for more infor- mation. 94 Emulator X3 Reference Manual 5 - Voices & Sample Zones Overview Section Overview Section The bottom portion of the page contains an overview that displays and allows you to m Tip: To set a control control parameters for the selected voice(s). to its default setting, hold . ; Alt while clicking the These controls are available regardless of which tabbed page you select (except the control, or right-click the Region page), and work per voice. When you modify a setting here, the corresponding control, and select setting changes in the Voice Processing window. Default. Note that the selected voices are indicated in the upper-left corner of the Overview. Changes to these controls only affect the indicated voice(s). If you select multiple voices and change a parameter in the Overview section, that parameter changes for all selected voices. When you select multiple voices, it’s important to understand how changing param- eters in the Overview differs from changing parameters in the various tabbed pages. In the Overview section, all changes are absolute values. This means if you select multiple voices and changethe Volume knob to a value of 10, you changeall selected voices to a volume of 10. However, if you select multiple voices and move the volume slider in the Mix/Tune page, you change all selected voices’ relative volumes. Selected Voice(s) Sample Info CC Win Info Key, Realtime, and Velocity Window parameters Se Mix/Tune (ose Sample Controls @ = Muting and Soloing voices does not save polyphony! Muted voices Ean EES still play; they are simply silenced. Sample The sample assigned to the selected voice or zone. If you select multiple voices, this window appears blank. Original Key Sets the Original key of the sdected voice or zone. Group Changes the group of the selected voice or zone. Direction Selects whether the sample plays forward, backward, forward loop, backward loop, or one-shot. E-MU Systems 95 5 - Voices & Sample Zones Overview Section Mix Tune Controls These are the same controls found in the Mix/Tune page. Mute m Tip: To quickly Mutes the selected voice(s) or zone(s). remove all solos and mutes, select Clear All Solos and Mutes from Solo the Preset menu. Mutes all voices but the selected voice(s) or zone(s). Volume Controls the volume for the selected voice(s) or zone(s). This control is also located in the Voice Processing window. Pan Controls the Pan for the selected voice(s) or zone(s). This control is also located in the Voice Processing window. Fine Tune Fine tunes the pitch of the selected voice(s) or zone(s) by cents. This control is also located in the Voice Processing window. Coarse Tune Tunes the pitch of the selected voice(s) by semi tones. This control is also located in the Voice Processing window. This control is NOT available for individual Zones of multi- sample voices. Transpose @ See page 129 to Transposes the pitch of the selected voice(s) by semi tones. This control is also located understand the in the Voice Processing window. This control is NOT available for individual zones of difference between multisample Voices. transpose and coarse tune. You can also set the group number from this Key Win, Velocity Win, RT Win, and CC Win Controls page. Rather than using the graphical representation found in each corresponding tabbed page, you can change the Key Win, Velocity Win, Realtime Win, and CC Win values from any page (except the Region page). Remember, any changes you make only affect the selected voice(s). 96 Emulator X3 Reference Manual Direction For each voice (or zonein the case of a multisample voice), you can choose direction settings. The Direction drop-down menu allows you to choose one of the following: Forward 7 Backward ley Forward Loop ey Backward Loop (smy One-Shot 17) The region plays from beginning to end while the note is held. The region plays in reverse from end to beginning while the note is held. The region loops forwards from beginning to end as long as the note is held. The region loops backwards from end to beginning as long as the note is held. The region plays from beginning to end when a note on signal is received. If you release the note before the sample completes, the region still finisnes playback. Note: You may have to adjust the Amp Envelope settings in order to hear the sample. See “Envelope Complete” mode on page 126. Adding Samples and Voices You can create new voices and add samples to them from any of the tabbed pages in the Voices and Zones window. & To Add a New Voice There are several ways to add a new voice from the Voices and Zones window: # Press Ctrl+W on your keyboard. = From the Preset menu, select New Voice. * Right-click an empty area and select New Voice. > To Change a Zone’ Sample =» From the Sample column, click the Selector Button Ww next to the appro- priate voice or zone. Select a sample from the Select Sample dialog box. = Drag a Sample from the Tree to the zones strip. > To Add an Additional Sample to a Voice This either adds to, or creates a Multisample voice. From the Voices and Zones window: « Drag and Drop a sample from the Samples tree (or from your Library) on the left into a voice in the Voices and Zones window. » Explore your computer for an audio file (Wave, AIFF MP3, REX 2). Drag and drop the file into a voice in the Voices and Zones window. This imports the sample and adds it to the voice. E-MU Systems 5 - Voices & Sample Zones Adding Samples and Voices 97 5 - Voices & Sample Zones Adding Samples and Voices » To Add a Voice and a Sample Simultaneously 98 There are several ways to add a voice and asamplein the Voices and Zones window: Drag and Drop a sample from the Samples tree (or from your Library) on the left into the empty area just beneath the list of voices. This creates a new voice containing the sample you selected. The new voice’ original key will be the sample’ original key (or C3 if this information is unavailable). The voice’ key range will be C-2 to G8. Explore your computer for an audio file (Wave, AIFF MP3, REX 2). Drag and drop the file into any area in the Voices and Zones window. This creates a new voice containing the audio file you selected. The new voice’ original key will be the audio file's original key (or C3 if this infor- mation is unavailable). The voice’ key range will be C-2 to G8. Drag and Drop a sample from the Samples tree, from your Library, or from your desktop onto a note on the keyboard at the bottom of the screen. This creates a new voice containing the sample you selected. The new voices original key will be whichever note you dropped the sample onto. The voice’ high and low keys will also be whichever note you dropped the sample onto. Emulator X3 Reference Manual 5 - Voices & Sample Zones Mix/Tune Page Mix/Tune Page Group Sample Name Volume Pan Mute/Solo Selector Direction Transpose, Coarse Tune, Fine Tune Button Volume, pan, direction, transpose, coarse tuning, and fine tuning can be adjusted @ See page 129 to separately for each voice. The Mix/Tune window allows you to see these settings for understand the each voice at the sametime, giving you an overview of your preset’s direction, volume, difference between pan, tuning, and transpose settings for each voice. All of these controls are available in transpose and coarse the other tabbed windows, but in this window, you can see the volume and pan for BEE on cattails see hie each channel. group number from this page. Additionally, from this screen, you can easily select multiple voices and change their volumes with one adjustment. Select the voices whose Volume or Pan you want to change, and hold Shift while dragging the volume right or left. Key Window Page Sample Name Mute/Solo Selector Direction Button Original Key Graphic Display of Voice Position When asample is recorded, it is automatically placed in a voice and assigned a keyboard range specified in the “Auto-Placenent” parameters in the “Acquire” or Import Samples” options in the File menu. The Key Range Window allows you to edit these assignments and place the voices and samples wherever you want. A voice containing only onesample takes the name of the sample. If a voice contains more than one sample, itis called a “Multisample” and the samples it contains are listed below it. The screen above shows two single sample voices. Voice 1 plays on the lower half of the keyboard and voice 2 plays on the upper half. The Original Key determines the pitch of the sample. The original key need not be located between the high and low key ranges. Samples normally have the original key E-MU Systems 99 5 - Voices & Sample Zones Key Window Page as part of the sample name. Imported samples with embedded original key infor- mation can be auto-mapped to the correct location. See page 295. The key position is edited by placing the cursor over the desired parameter and then playing the MIDI keyboard or adjusting the value using the keyboard. You can also simply drag the blue bar to the desired position with the mouse Voices and samples can be crossfaded according to key position by adjusting the low and high fade parameters. The fade is adjusted in “number of keys” and is graphically represented by a gradual decrease in the color intensity of the bars. > To Manipulate the Bars: ¢ To Set the Length of the Bar: Left-click and drag from either endpoint. * To Move the Entire Bar: Left-click and drag from somewhere in the middle of the bar. ¢ To Create a Fade: Left-click and drag inward while holding the Alt key. Li ee TTT B2 The voice will gradually fade-out in volume below B2 as you play down the keyboard. > To Switch Voices According to Position Assigning voices (samples or multisamples) adjacent to each other is the simplest and most common application of the Key Window. The voices in the screen below are each assigned a one octave range. m Samples can be arranged ina multisample voice in exactly the same way that voices are arranged on the keyboard. They can be arranged side by side on the keyboard or stacked on top of each other to create layered VOICE 2 VOICE 3 VOICE 4 sounds, all within a single voice. 100 Emulator X3 Reference Manual 5 - Voices & Sample Zones Key Window Page > To Layer Voices and Samples The ranges of two or more voices may overlap, and all voices assigned to a key will sound. VOICE 2 | | VOICE 3 | | VOICE 4 > To Positionally Crossfade @ You may want to This technique can help mask the point at which two sounds meet or can be used for assign voices in different crossfading sound effects. The fade parameters allow the volume of the voice or sample layers to different groups. This allows you to select all of the voices in each layer just by selecting the As the voice boundaries are crossed playing up the keyboard, the lower voice gradually group number. You can fades out as the upper voice fades in. edit the group number of a voice in any of the Voice screens. to be faded out as a function of key position. In the screen shown below, voices 1 and 2 are being positionally crossfaded over a range of five notes. voree 1] VOICE 2 | VOICE 3 | VOICE 4 | E-MU Systems 101 5 - Voices & Sample Zones Key Window Page Using Values to Define Key Window Parameters As you use the graphical interface to change the Key Window parameters, you’!| notice that the values in the Overview section at the bottom of the screen change as well. You can adjust the Key Window information here. Choices include High and Low notes, and High and Low fades. 102 Emulator X3 Reference Manual 5 - Voices & Sample Zones Velocity Window Page Velocity Window Page The Velocity Window allows you to control the volume of a voice by the key velocity. Using this function, you can crossfade or cross-switch between voices by key velocity. Suppose you had several samples (voices) of the same piano note, one played soft, the next played medium hard, and the third played hard. Using this function, you could set the velocity at which each of the voices would sound, thus recreating the response of the actual instrument. Group Sample Name Mute/Solo Selector Direction Graphic Display of Veloci Button p bey y Switch/Fade > To Velocity Switch Voices: 1. In order to velocity switch voices, they must first be assigned to the same key range. In the Key Window, set the high and low key range of the voices so that they completely overlap. 2. Select the Velocity Window button shown below. By default both voices will be assigned to the full 0-127 velocity range. 3. Set the velocity range so that each voice has its own velocity range. (In the above example, a key velocity of 1-35 will play voice 1, a key velocity of 36- 80 will play voice 2, and a key velocity of 81 or above will play voice 3.) > To Velocity Crossfade Voices: 1. In order to velocity crossfade voices, they must first be assigned to the same key range. In the Key Window, set the high and low key range of the voices so that they completely overlap. 2. Select the Velocity Window button shown above. By default both voices will be assigned to the full 0-127 velocity range. 3. Set the Fade parameter for each voice so that as one voice faces out the other fades in. 4. Play the keyboard and fine tune the crossfade points for the desired response. E-MU Systems 103 5 - Voices & Sample Zones Velocity Window Page Using Values to Define Velocity Window Parameters As you use the graphical interface to change the Velocity Window parameters, you’l| notice that the values in the Overview section at the bottom of the screen change as well. You can adjust the Velocity Window information here as well. Choices include High and Low notes, and High and Low fades. 104 Emulator X3 Reference Manual 5 - Voices & Sample Zones Realtime Window Page Realtime Window Page The Realtime Window allows you to control the volume of a voice using a real-time controller such as a modulation wheel, a pedal, an LFO or an envelope generator. It worksin amanner very similar to the velocity window except that a realtime controller is used to control the volume instead of key velocity. Note: Realtime cross-switching/crossfading of voices is inherently wasteful of polyphony because voice channels must be assigned even if the volume of a voiceis at 0. (Since this is a Realtime control the volume can change at any time.) If you don’t need realtime volume changes, you might want to investigate the “Keyboard CC Window” on page 109. Group Sample Name : a T Mute/Solo Selector Direction Graphic Display of Realtime Button Switch/Fade > To Realtime Crossfade Two Voices: 1. In order to realtime crossfade voices, they must first be assigned to the same key Vv Warning: Make sure range. In the Key Window, set the high and low key range of the voices so that they you understand how to completely overlap. select Voices and assign Cords before attempting to perform realtime crossfades. Set up the Voices 2. Select the Realtime Window button shown above. By default both voices will be assigned to the full 0-127 range. 3. Set the Fade parameter for each voice so that as one voice faces out the other fades in. Voice 1 will beat full volume until the realtime controller reaches a value of 16. It will then begin fading out. Voice 2 will begin fadingin immediately and beat full volume from 100 to 127. Assign the Realtime Controller 4. Select one of the voices you want to crossfade by clicking anywhere on the strip. A red box forms around the voice to show that it’s selected. 5. Now hold the Crtl key and select the next voice you wish to crossfade by clicking on it. Both voices should be surrounded by red boxes. 6. With both voices selected, select O pen Voices (Crtl+Enter) from the Preset menu. The Voice Processing window appears. Verify that the two voices are selected in the “Voice Selector” section of the window. E-MU Systems 105 5 - Voices & Sample Zones Realtime Window Page 7. Assign arealtime controller to control the crossfade. Sdect Amp Crossfade as the destination. Select a modulation source that goes from 0-127 such as Aux Envelope+, LFO+or MIDI A-P. Set the Cord Amount to +127. 8. You should now be hearing the realtime crossfade when you play a key. You may have to go back to the Realtime Crossfade page to adjust and fine tune the crossfade points. These settings will vary with the sounds that are being crossfaded. > To Randomly Cross-switch or Crossfade Between Voices: In certain situations, such as setting up drum kits, you may want to randomly switch between several voices. Crossfade Random is a modulation source specifically designed to handle this situation. Unlike the other random sources, Crossfade Random generates one random number for all voices that are assigned to the same key. 1. In order to realtime crossfade or cross-switch voices, they must first be assigned to the same key range. In the Key Window, set the high and low key range of the voices so that they completely overlap. Set up the Voices 2. Select the Realtime Window button. 3. Set up a basic cross-switch in the Realtime Window as shown below. For this example, we'll use two voices. This will cause voice 1 to sound whenever the random value is in the range of 0-63 and voice 2 to sound whenever the random value is in the range of 64-127. lm|s|« 4:1 [1.5)[ 50642 2600 Kick. m[s} 221 | 4..51[ 51583 2600 Kix 2 Assign the Realtime Controller 4. Select the first voice by clicking anywhere on the strip. A red box forms around the voice to show that it’s selected. 5. Hold the Ctrl key and select the nett voice by clicking on it. Both voices should be surrounded by red boxes. 6. With both voices selected, select O pen Voices (Crtl4Enter) from the Preset menu. The Voice Processing window appears. Verify that the two voices are selected in the “Voice Selector” section of the window. 7. Assign Crossfade Random as modulation sourcein the Cords section. Sdect Amp Crossfade as the destination. Set the Cord Amount to +127. 8. Voices 1 and 2 will now be randomly sdected whenever you press a key. 106 = Tip: Random Cross- Switch can be used in combination with Velocity Switching to play random voices when you play softly and a known voice when you play hard. Emulator X3 Reference Manual 5 - Voices & Sample Zones Realtime Window Page Using Values to Define Realtime Window Parameters As you use the graphical interface to change the Realtime Window parameters, you’I| notice that the values in the Overview section at the bottom of the screen change as well. You can adjust the Realtime Window information here as well. Choices include High and Low notes, and High and Low fades. E-MU Systems 107 5 - Voices & Sample Zones Continuous Controller Window Pages Continuous Controller Window Pages The CC Windows (1-5) offer additional voice switching and crossfading possibilities using MIDI Continuous Controller messages. Unlike the Realtime window, the CC crossfades and cross-switches occur only at Note-on time. They cannot be continu- ously swept during the note. These controls are designed to be used to switch and fade voices during your performance. You can use the CC windows to switch between drum sets, or bringin accent samples. The CC assignments are easy to use because you can complete the entire patch from this window. The list of control sources is accessed by clicking on the button » under the Source column. The following control sources are available: Mod Wheel, Pressure, Pedal, MIDI A-P, Footswitch 1 & 2, Flip-Flop Footswitch 1 & 2, Thumbswitch and Flip- Flop Thumbswitch, Keyboard, Cycle 2-3-4 (Chan), Cycle 2-3-4 (Key), Random. Group Sample Name List of Control Sources is VOICEZONE G m|s| « a1 (i soeaa.2600 sack mis] « 224 | 1. 3)f 51583 2600 Kick 2 Mute/Solo Selector Direction Graphic Display of CC Button Switch/Fade & To Cross-switch Two Voices: 1. In order to cross-switch voices, they must first be assigned to the same key range. In the Key Window, set the high and low key range of the voices so that they completely overlap. 2. Set up a basic cross-switch in one of the CC Windows as shown above. For this example, we'll use two voices. This will cause voice 1 to sound whenever the CC value is in the range of 0-63 and voice 2 to sound whenever the CC value isin the range of 64-127. 3. Select oneof the controllers from thelist. Do this for each voice you wish to switch. In the example above, voice 1 will sound whenever the Mod Whee! is less than halfway up. Voice 2 will sound whenever the Mod Whee! is more than halfway up. 108 Emulator X3 Reference Manual 5 - Voices & Sample Zones Keyboard CC Window Keyboard CC Window The keyboard CC window is a great performance feature, which allows you to switch CC windows using specified keys on your MIDI controller. For example, you can have three different voices assigned to the keyboard, such as piano, organ and ahorn section, and select each of the three sounds using the lowest three keys on the controller. When you select the Keyboard option in the “CC Win” list, a section of the keyboard can be used to conditionally decide whether a voice is played (similar to the Key Win, Vel Win, and other CC Wins). The second part of the feature appears on the Preset Globals page. Pressing the “Key CC Win” button, and setting a Keyboard Range field marks off a section of the keyboard to be used as control keys for the CC Window. The keys in this range will not sound. Using the example in the first paragraph, you might mark off the three lowest keys on the controller as control keys, so they don’t sound notes when pressed. They are now used for selecting the different voices. Once you specify a Keyboard CC Value range, those values will not trigger note events on that channel. No voices (no sound) will be played when you play a key in the specified range. Once you press the key in the specified range, that key becomes the current Keyboard CC Win value. You don’t have to hold the note. A new Keyboard CC Win value is set when you press another key in the specified range. The Keyboard CC Win Key defaults to the lowest control key when the preset is selected. You don’t have to press a control key to hear sound. When using the File Converter to convert Gigasampler files to EXB files, the “Keyboard Dimension” is converted to a Keyboard CC Win. The “Dimension Key Start” and “Dimension Key End” parameters in Gigasampler are translated to “Keyboard CC Win Key Start” and “Keyboard CC Win Key End”. These values appear in the dialog managing these values. Each Keyboard dimension split is mapped to one key when converting to a Keyboard CC Win. > To Program a Preset using the Keyboard CC Window: For this example we'll use preset 000:010 And Voice from the Proteus X Composer bank. This preset has two different sounds, piano and voices, layered over the same keyboard range. You could also use any other preset that has layered voices. 1. Load the Proteus X Composer (or Proteus Composer) bank. Reserve the Control Keys. 2. From the Tree select preset 000:010 And Voice. The Preset Globals page appears. 3. Click the Key CC Win button (located in the upper left corner of the screen). 4. Set the Low and High range keys to the lowest two white keys on your keyboard. (Hint: Select the key field. Press and hold Ctrl + Alt, then play the keyboard to set the key.) Set the CC Window. 5. Open the Voices and Zones page of And Voice. 6. Click the CC Win 1 button. 7. For each voice, click the Assign button and select Keyboard. 8. Set the High and Low keys on voice one to the lowest key on your keyboard. (Don’t change the fade fields.) 9. Set the High and Low keys on voice two to the next-to-lowest white key. E-MU Systems 109 5 - Voices & Sample Zones Keyboard CC Window 10. Play the keyboard. Pressing the lowest key on the keyboard selects the piano. Pressing the next white key selects voices. 11. Bonus Step: You can also make the black key between the white trigger keys play both voices. Extend the High CC range of voice one up 1/2 step. Extend the Low CC range of voice two up 1/2 step. Playing the sharp now plays both voices. 110 Emulator X3 Reference Manual Cycle Groups The Cycle Group destinations apply rotational (or random) input controllers to the CC Window. Because the generated values are sources for the CC Windows, crossfades and complex cross-switching are possible. This feature is very exciting because it allows for more realistic and natural-sounding presets than previously possible with a sampler. When you hear, for example, the same snare drum sample throughout a piece of music, it’s very obvious that you’re listening to asampler, not areal drummer. But if you alternate between three or four similar, but not identical snare samples, the increase in realism is quite dramatic. Brass and string samples also benefit greatly from Cycle Groups. In the simplest case, you can use this feature to alternate between two different voices each time you press a key (Cycle 2-Key). The first timea you press a key, a value of 0 is generated. The next time you press the same key, a value of 127 is generated, then 0-127-0-127, etc. These values are used as control sources for the CC Window to determine which voice will sound. Cycle 3 and Cycle 4 groups sequence three and four values respectively. Channel Cycle Groups. Rotate the value each time a note is played on the MIDI Channel. Key Cycle Groups ....... Rotate the value each time a note is played on the same Key. ¢ Random............ At note on, per channel, arandom value between 0 & 127 is generated as the source for the CC Window. ¢ Cycle 2 (Channel). ...A value of 0 or 127 is generated each timea note event occurs on the Channel. The two numbers alternate each time a note event occurs on the channel. This value is used as the source for the CC Window. ¢ Cycle 3 (Channel). ...A value of 0, 64 or 127 is gnerated each time a note event occurs on the Channel. The generated value cycles sequen- tially through 0, 64 and 127 with each new note event on the channd. This value is used as the source for the CC Window. ¢ Cycle 4 (Channel). ...A value of 0, 42, 85 or 127 is generated each timea note event occurs on the Channel. The generated value cycles sequentially through 0, 42, 85 and 127 with each new note event on the channel. This value is used as the source for the CC Window. ¢ Cycle 2 (Key) ........ A value of 0 or 127 is generated each time a note event occurs on the Key. The two numbers alternate each timea note event occurs on thekey. This valueis used as the source for the CC Window. ¢ Cycle3 (Key) ........ A value of 0, 64 or 127 is gnerated each time a note event occurs on the Key. The generated value cycles sequentially through 0, 64 and 127 with each new note event on the key. This value is used as the source for the CC Window. e« Cycle 4 (Key) ........ A value of 0, 42, 85 or 127 is generated each time a note event occurs on the Key. The generated value cycles sequen- tially through 0, 42, 85 and 127 with each new note event on the key. This value is used as the source for the CC Window. E-MU Systems 5 - Voices & Sample Zones Keyboard CC Window 111 5 - Voices & Sample Zones Keyboard CC Window > Setting up the Cycle Groups Here's a simple example to show you how to set up the cycle groups. In preparation, load the Proteus X Composer bank, open the Presets folder, and select preset 000:035 Fing&Harms from the tree. 1. Expand the preset in the tree by clicking the +symbol next to the keyboard icon. 2. Click Voices and Zones. The Key Window appears with two voices (HardFinger A#0 and BassH arm G4). 3. For each voice, extend the Key Range so it covers the entire keyboard. (drag the bars) 4. Next, select new samples for each voice. (Click on the sample button and choosea new sample). It doesn’t matter which two samples you choose as long as they are clearly distinguishable from each other. 5. Click the CC Win1 button. The Continuous Controller Window 1 appears. 6. For each voice, click the Assign buttons and select Cycle 2( Key). 7. Set the CC Window range for voice 1 by dragging the right end of Voice 1's bar to the left. It doesn’t matter how far you drag it, as long as it doesn’t include the value of 127. 8. Set the CC Window range for voice 2 by dragging the left end of Voice 2’s bar to the right. It doesn’t matter how far you dragit, aslong as it doesn’t include the value of 0. 9. Play the keyboard. The voices alternate each time you play the same key. 10. For each voice, select Cycle 2(Channel). Now the voices alternate whenever you play anew key on the channe,, regardless of which key you are playing. Cycle 2 (Key) The CC Range setting determines which voice will sound. ne (cee) CC Win value = 0-127-0- 127... Cycle 2 (Key): Generates alternating values of 0 & 127 on each key press The Cycle 2 (Key) Group allows you to alternate between 2 voices with each key press. 112 Emulator X3 Reference Manual 5 - Voices & Sample Zones Keyboard CC Window Cycle 3 Crossfading This next example demonstrates the Cycle 3 mode as well as the crossfading abilities of m Tip: Conserve the CC Window. Pressing a key will first play Voice 1. Pressing the key again will playa polyphony by cross- 50-50 mix of both voices. Pressing the key a third time will play Voice 2. The next key switching, rather than press will play Voice 1 again and the cycle repeats. crossfading, voices. 11. Set both Voice 1 and Voice 2 to Cycle 3 (Key). 12. Create a fade in Voice 1 like the one shown in the diagram below. Alt-click on the right end of the bar and then dragging to the right, then all the way to the left. 13. Create a fadein Voice 2 so that it looks like the diagram below. 14. Repeatedly press a single key and listen to the voices rotate. The rotation order is retained for each key. Cycle 3 (Key) uy Rirectiads CC Win Value = O-64-127-0... Ist key press = Voice 1 2nd key press = Voice 1 & 2 (50-50 Mix) 3rd key press = Voice 2 4th key press = Voice 1 Cycle 3 (Key): Generates rotating values of 0 - 64-127 on each key press Cycle 3 (Channel) 15. Assign both voices to Cycle 3 (Channel). 16. Play the keyboard. Notice that the voices now rotate regardless of which key is played. Any key on the current MIDI channel! will increment the rotation. Random Mix 17. Assign both voices to Random. 18. Play the keyboard. Now the mix of the two voices is completely random. 19. You can “weight” the randomness by adjusting the crossfade points. For example, if you want Voice 1 to be dominant, adjust the fade of the voice so that most of the bar is solid. This way it has more chance of being played at full volume. E-MU Systems 113 5 - Voices & Sample Zones Keyboard CC Window Using Values to Define CC Window Parameters As you use the graphical interface to change the CC Window parameters, you'll notice that the values in the Overview section at the bottom of the screen change as well. SEE eee You can adjust the CC Window information here as well. Choices include Source, High and Low notes, and High and Low fades. 114 Emulator X3 Reference Manual 5 - Voices & Sample Zones Region Page Region Page The Region window allows you to define which part of a sample plays. In essence, it allows you to non-destructively crop the beginning and end of asample. ¢ In its simplest use, you can re-define the start and end points of asample. ¢ You can use the Region page to view sample information, such as bars, beats, and loops. * You can define areas to loop forward or backward. e You can Xplodea region, creating new voices from all visible note markers. In the case of looping, you can view Beat, Note, and Loop markers, and snap to them. This way, you can loop portions of asamplein a similar way that you would with TwistaLoop. The difference here is that if you have multiple voices using the same sample, you can set up each voice to play a different section (such as aLoop) of the same sample. Ruler (in Bar:Beats Format) Current Sample Sensitivity and Beats/ Sample Zoom and Percentage Scroll Controls When you select a voice, or asamplein a multisample voice, the sample shows up in the bottom of the screen. By default the entire sample is defined as a region. The selected region is defined in pink. E-MU Systems 115 5 - Voices & Sample Zones Region Page Creating or Editing a Region Creating or editing a region is very simple. There are three ways to do so: ¢ Click and drag in the display area. e Usethe selection bars next to each voice or sample zone. ¢ Enter theinformation manually in sample values. Region Start and End (in samples) Region View Controls Sample Zoom and Scroll Controls You can use the Zoom In and Zoom Out Buttons to take a closer look at the sample. Use the Scroll Control to scroll backward and forward. Scroll Control Zoom In and Out Sensitivity The sensitivity setting determines the resolution of how Note Markers will be displayed. You can set the sensitivity in percentage from 0 to 100: Or, if you click the Beats button, you can set the sensitivity ranging from eight-bar intervals (8/1) to sixteenth note intervals (1/16): eZ 116 m= Tip: To select the whole region, hold Alt while clicking the Sample Region range bar. This restores the default setting, which is ALL. Emulator X3 Reference Manual 5 - Voices & Sample Zones Region Page For example, if you set the sensitivity to 1/8, Note Markers fall on note onsets that appear near eighth notes. Similarly, setting the sensitivity to 1/16 causes Note Markers to find onsets near sixteenth notes. ¢ A letter “t” next to a sensitivity setting indicates triplets. ¢ Aletter “d” next to asensitivity setting indicates duplets. Snap Settings and Markers When you use your mouse to define a region, the region start and end points snap to either samples, Loop Markers, or Beat and Note markers depending on your view settings. If you do not view any markers, region selection does not snap. With markers present, region selection snaps to whatever markers are present. View Beat From the toolbar, click | to toggle Beat Markers. Markers With this view enabled, region selection snaps to beat markers. View Note From the toolbar, click | to view Note Markers. Markers With this view enabled, region selection snaps to Note Markers. View Loop = From the toolbar, click _B to toggle Loop Markers Markers. With this view enabled, region selection snaps to Loop Markers. You can also select a region using the Sample Region Bars to the right of each sample. This method of selection does not snap. Click and drag the right or left edge of the bar to changethe start or end of the region. Click and drag the center of the bar to movethe entire region forward or backward. Region Xplode This option creates new voices from the area between each visible note marker in the selected Region. The new voices are mapped either chromatically or on sequential white keys. Optionally, you can create a MIDI file that maps the new regions to MIDI notes, which you can use in a sequencer to play back each region consecutively. You can only Xplodea single-sample zone, and the region you Xplode must contain note markers. > To Xplode a Region 1. Select the voice whose region you want to Xplode. Explode Repion 2. Select the sensitivity you want. This meee - a = determines the length of each segment as into which the region is divided. M Export MIDI File Remember, the region is divided ee : depen di ng on how many note | C:\Program Files \Creative Professional \Sound Libraries \bri [...] markers are visible. Tempo: [63.64 ==] BPM 3. From the Preset menu (or when you Right-click the Region), select Region Xplode. The following dialog box appears: E-MU Systems 117 5 - Voices & Sample Zones Region Page 4. Select how you want the new voices to be mapped from the Placement drop-down menu: ¢ White Keys maps each voice sequentially to a white key, beginning at the key selected in the Start at field. ¢ Chromatic maps each voice sequentially chromatically, beginning at the key selected in the Start at field. 5. Under Start at, enter the lowermost note where you want placement to start. 6. Decide whether you want to export a MIDI file. If so, check Export MIDI File, and choose a location and tempo (by default, the tempo is filled in as the tempo of the first note, which is usually the best choice). 7. Click OK. You should now have new voices, each using the same sample, but different regions. It might look something like this: ANN! More About Regions You should remember that if a sample contains loops, selecting a region does not overridethese loops; Sdecting a region merely determines which portion of asampleis allowed to play. However, if you select a region that excludes part of aloop, such as the start or end point, that loop will not repeat. Warning: If a region contains only a part of thesample, DO NOT edit the samplein the Sample Editor (e.g. Time Stretch, Sample Rate Convert, etc.). Doingso will cause region information to become incorrect. This does not apply if a region contains the entire sample. Since regions contain the entire sample by default, this is only a potential issue if you have created a region. To ensure a region contains an entire sample, you can always Alt-Click the sample region bar to restore the region to its default setting. 118 Emulator X3 Reference Manual 5 - Voices & Sample Zones Details Page Details Page Group Sample Name Original Key Mute/Solo Selector Direction Key Win Parameters Mix/Tune Parameters Button The Daiails page allows you to view, in rows, almost all of the Voices and Zones infor- mation for all voices at once. For each voice, from left to right, you can view and edit Group, Sample, Direction, Key Win, Original Key, Volume, Pan, Transpose, Coarse Tune, And Fine Tune > Tips on using the Details Page: ¢ WhiletheMix/Tune, Key Window, and Velocity Window pages give you graphic displays of settings such as volume and pan, you can be very precise with your settings in the Details page. e You can make very precise rdative changes from the Details page. Try selecting multiple voices and using the 3] buttons to change a value. All selected voices’ values will change in a relative manner. You can get more granularity this way when making precise settings with multiple items sel ected. E-MU Systems 119 5 - Voices & Sample Zones Voice & Sample Zone Utilities Voice & Sample Zone Utilities These utilities are invaluable when creating and modifying Emulator X voices. The voice and Sample Zone Utilities are located under the Preset menu. Open Voices This function opens the Voice Processing window for the currently selected voices). Open Sample This function opens the Sample Editor for the currently selected sample. New Voice This function allows you to add a new empty voice to the preset. You'll use this function when building new presets from scratch or to add a voice to an existing preset. Delete Voices This function deletes the selected voice, but does not erase the samples. Duplicate Voices Open Voices Ctrl+Enter New Voice Ctrl+w X Delete Voices [F) Duplicate Voices Combine Voices [) Duplicate Sample Zones Sort Voices Sort Zones New Group This function makes a copy of the voice, but does not copy the samples. Combine Voices This function takes all selected voices and combines them voice. The synthesizer leva programming of the first voice into one multisampled is used for the new voice. Any synthesizer level programming associated with the other voices is lost. Voice 1 Voice 2 Voice 3 Voice 4 After: Sample 01 | Sample 02 Sample 03 120 Sample 04 Emulator X3 Reference Manual Expand Voice This function takes apart the sdected multisampled voice and makes an individual voice for each sample. The voice processing information of the “parent” voice is dupli- cated for each newly created voice. Sample 04 Sample 03 as I Sample 02 | Sample 01 ae Before -|___ Voice O1 Voice 1 Voice 2 Voice 3 Voice 4 New Sample Zone This function creates a new sample zone in the currently selected voice. If this Operation is performed on a single sample voice, the voice is transformed into a multi- sample. Delete Sample Zones This function deletes the currently selected sample zones from the voice. Duplicate Sample Zones This function makes a copy of the currently selected sample zones, but does not copy the samples. Sort Voices You can sort voices by Sample Number, Sample Name, Low Key, High Key, Original Key, Volume, Pan, or Group. Sort Zones You can sort a zone by Sample Number, Sample Name, Low Key, High Key, Original Key, Volume, or Pan. New Group Adds all selected voices to anew group. Select Group Selects all voices that share the same group number with the currently selected voice. For example, if the voice you selected isa member of group 3, the Select Group 3 command selects all other voices in group 3. This command is unavailable if you have multiple voices from multiple groups selected. Clear All Solos and Mutes Un-mutes and un-solos all voices and zones. E-MU Systems 5 - Voices & Sample Zones Voice & Sample Zone Utilities 121 5 - Voices & Sample Zones Edit Menu Utilities - Cut, Copy & Paste Edit Menu Utilities - Cut, Copy & Paste You can use the standard cut, copy & paste utilities when working with voices and @ Voices cannot be sample zones. Single or multiple voices can be selected, then moved or rearranged pasted onto the desktop within the bank or between banks. This makes it easy to create or modify custom or outside of a bank. presets and banks. > To Copy and Paste Voice(s) Select the voice(s) you wish to copy. (Hold Shift to select contiguous voices.) . Select Copy from the Edit menu. . Open a new preset if you want to paste between voices. . Select the Voices and Samples page. . Select Paste from the Edit menu. The following dialog box appears. UR WN Ee Pasting 1 voice... ©) At the beginning of the selection © After the end of the selection O Starting at voice | 25 Low key | D3 Make new group 6. You have the option of pasting the voice(s) before the currently selected voice, after the currently selected voice or starting at a specified voice number. This feature allows you to rearrange your voices any way you want. 7. Press OK to paste the voice or Cancel to cancel the operation. 122 Emulator X3 Reference Manual 5 - Voices & Sample Zones Links Links Linkscall up additional presets in the bank as a quick and easy way to create layering or keyboard splits. Linked presets are not altered by being linked to another preset, they are simply played. One thing you need to be aware of when using links is that the Initial Controller settings (page 81) of the first preset are imposed on the linked preset. This may change the sound of the linked presets. Sometimes switching which preset is the Link will correct the problem. If this doesn’t work you will have to edit the Initial Controller settings until both presets sound the way you want. @ You can quickly access the Links page for the Z Key Ra Nge N ag preset by clicking the x= button in the Preset #1 toolbar. ‘Preset #2 = Layering Two Presets Using Links Preset #1 Key Range Preset #2 <<. — —_ oe SSSSSSSSSX\ Key Range 1 I > Creating a Split Keyboard with Links Oneway to create new presets is to simply link several other presets to an empty preset. Each linked preset can be customized with its own keyboard range, velocity range, continuous controller assignments, volume, pan position, and tuning. > To Access the Link Windows: =) Mh : 1. Select the Sampler Tab in the Tree. = 4 ome aaerieee Voices and Zones 2. Open the Presets folder by clicking on the (+4 sign next to the folder. Ss 3. Select a Preset or Create a New Preset (Presets >N ew Preset). (@ Voice Processing 4. Open the Preset by clicking on the (+4 sign next to the preset icon. 5. You'll see three sub-icons beneath the Preset icon. Click on the Links icon. The Links window opens. Tip: You can also create a ; . new Link by simply 6. Select Links >New to add anew link. dragging and dropping a 7. The Mix/Tune window appears. Click the tabs across the top of the window to preset onto the preset field select the various Link windows. in the Link page. E-MU Systems 123 5 - Voices & Sample Zones Links Link Utilities These four controls are accessed from the main menu. New Link Ctrl+w YX. Delete Links [Ff] Duplicate Links Subsume Links New Link Creates a new link. Delete Links Deletes the selected link(s). Duplicate Links Duplicates the selected link(s). Adds all voices from all links to the current preset Subsume Links oo moves the link(s). > To Create a Huge Stacked Preset the Easy Way: Vif you link two or osets more presets, the Preset Pedead ally Banicor pi : FX of the linked presets 2. From the Sampler Tab of the Tree, click on the Presets folder. will be ignored. The 3. Select Preset >New Preset to create a new blank preset. “Blank Preset” will appear linked piesa Wwilhe in the Tree. (Look at the bottom of the list.) roped Shravan ” = effects of the main preset. 4. Rename your new preset and double-click on the plus sign to open it. The Voices & Zones, Links and Voice Processing branches appear. 5. Click on the Links icon. The Link window appears. 6. Select Links >New Link to create a new blank link. 7. Click on the Preset button to the right of the preset field. A pop-up menu appears. 8. Select a preset. 9. Repeat steps 6 and 7 to add additional presets until the desired thickness is achieved. Subsuming Links If you want to add all the voices from your links to the current preset, use the Subsume Links command. This adds all voices from the linked presets to the current preset, and removes the links. For single-sample voices, subsuming links only brings in voices that are located in the range defined in the Links Key Window. If a voice falls entirely out of the range defined in the Links Key Window, it is discarded when you subsume links. For multisample voices any sample whose voice falls within the range defined in the Links Key Window is brought into the preset, even if the sample itself is mapped to a location that falls out of the Links Key Window range. 124 Emulator X3 Reference Manual 5 - Voices & Sample Zones Links Mix/Tune Window This window allows you to set the volume, pan position, transpose and fine tuning for the linked preset. Volume Adjusts the volume of the linked preset. Pan Sets the stereo pan position of the linked preset. Transposes the linked preset by shifting the keyboard position. (See page 129.) Fine Tune Allows you to detune the linked preset by +100 cents. (1 semitone) Transpose Key Window The key window works just like the key window in the Voices and Zones section (page 99) and allows you to set the keyboard range for each linked preset. Linked Preset Selector Key Position eae Display Button Low & High Key, Crossfades Keyboard Range Velocity Window The velocity window works just like the Velocity window in the Voices and Zones section (page 103) and allows you to set the velocity range for each linked preset. In the example below the presets are set to crossfade from Link 1 to 2 as the key velocity is increased. Linked Presets Velocity Range Graphic Display of Low & High Velo, Crossfades Velocity Range Selector Button E-MU Systems 125 5 - Voices & Sample Zones Links CC Window The CC or continuous controller window works just like the CC window in the Voices and Zones section (page 108) and allows you to set the range for each linked preset using continuous controllers. In the example below the presets are set to switch from Link 1 to 2 asthe Mod Whee! is turned past 63. The CC values are locked in at note-on time. Linked Presets Tees a i vu i an re on Tere ere Selector Continuous Button Controller Assignments CC Range Low & High Range, Crossfades 126 Graphic Display of Controller Range Emulator X3 Reference Manual 6 - Voice Processing Simplified Emulator X Signal Path 6 - Voice Processing Voice Processing contains thetraditional synthesizer controls such as envelope shaping of amplitude and filters as well as modulation parameters. When multiple voices are selected, parameter changes affect all selected voices (i.e. setting the filter cutoff to 50, sets it to 50 on all sdected voices). The voice processing parameters are accessed by clicking on the Voice Processing icon in the Tree. > To Select Multiple Voices: ¢ Assign voices to Groups in the Voices and Zones page, then select the group. ¢ Select the desired voices from the Voices and Zones page. ¢ Hold Crtl+Alt and play your MIDI keyboard to select voices (with IntelliEdit on). ¢ Press Ctrl-A to select all voices from the voice processing page. Simplified Emulator X Signal Path Asingle Emulator X voice is diagrammed below. The audio path includes one or more samples, a dynamically controlled filter, and a dynamically controlled amplifier with a panning network. Modulation parameters operate simultaneously on all samples contained in a voice. PatchCords with built-in amount controls connect modulation sources (LFOs, envelopes, knobs, etc.) to modulation destinations (sample pitch, filter, amp volume, etc.). Memorize this voice architecture diagram to better understand Emulator X and make programming much easier. Voice Sample Loop info. Frequency Chorus 2+" Glide Start Loop e Retrigger Envelope] | Function Gen: Gen. E-MU Systems m See Groups on page 93. @ IntelliEdit is enabled in the MIDI Preferences dialog box. See page 26. m You can quickly access the Voice Processing page for the current preset by clicking the *> button in the toolbar. 127 6 - Voice Processing Overview of the Voice Processing Window Overview of the Voice Processing Window { The Voice Processing window displays all the synthesizer controls and PatchCord routings for the selected voice(s). Each module contains an independent synthesizer function. Templates For each different module in the Voice Processing window, you can save a library of your favorite settings. These Templates make it easy to create your own customized voices and presets. Templates are saved with the Emulator X application so they're always available for use. For more information on templates, see “Templates” on page 279. 128 Emulator X3 Reference Manual Oscillator Pitch Bend Range These two sliders allow you to set the amount of pitch bend up or down when a MIDI pitch wheel message is received. Pitch wheel messages are automatically routed to pitch unless these controls are set to zero. TwistaLoop Controls Speed Please refer to page 224 for detailed information about this control. Loop (% or number) Please refer to page 223 for detailed information about the “Loop %” control. Please refer to page 217 for detailed information about the “Loop Number” control. Start At Loop Please refer to page 217 for detailed information about the “Start At Loop” control. Tuning Controls Transpose This function allows you to transpose the key of the selected voice(s) in semitone intervals by shifting the keyboard position relative to middle C. The transpose range is -36 to +36 semi tones. You will normally use the transpose function to tune a voice to its keyboard location, or simply to transpose the voice. This is the same Transpose control displayed on the Mix/Tune tab of Voices & Zones (page 99) and changes made to either page will appear in both places. Coarse Tuning This function allows you to change the tuning of the voice in semitone intervals. The coarse tuning range is -72 to 424 semi tones. Unlike the transpose function, coarse tuning stretches the pitch of the individual samples assigned to a key and may change the timbre of a voice. This is the same Coarse Tuning control displayed on the Mix/Tune tab of Voices & Zones (page 96) and changes made to either page will appear in both places. E-MU Systems 6 - Voice Processing Oscillator m Use Transpose when you want the voice's timbre to remain constant. m Use Coarse Tuning when you want to change the timbre of the voice. m Use the Coarse Tuning control to change the tuning of voices containing multiple drums. 129 6 - Voice Processing Oscillator Fine Tuning This function allows you to change the tuning of the voicein 1 cent intervals (100 cents =1 semitone). The fine tuning range is +100 cents (+1 semitone). Fine tuning can be used to slightly detunea voice, creating a “fatter” sound when itis combined with another voice. This is the same Fine Tuning control displayed on the Mix/Tune tab of Voices & Zones (page 96) and changes made to either page will appear in both places. Fixed Pitch Mode This function turns keyboard transposition On or Off for the voice. With Fixed Pitch On, the keyboard will not control the pitch of the voice This is a useful function for drones or “chiffs”, which you may not want to track the keyboard. Chorus Amount Chorus “thickens” thesound by doubling the sound in stereo and then detuning it. Chorus uses twice as many voices and twice as much of your CPU power when the Amount is set above zero. The amount of detuning and is variable from meant Off to 100%. Controls the stereo spread. 0% reduces the Stereo Width chorus to mono and 100% gives the most stereo separation. Inter-Aural Adjusts the delay of the left and right sounds. Time Delay Positive values start the right channel early (ITD) and the left late. Chorus amount and ITD can be modulated in the Cords section, although ITD can only be changed at the time of the key depression. When Chorus is on, amono voice will use twice as many channes. “Off” is different than “O” for chorus amount. With mono samples, chorus On effec- tively turns amono sampleinto astereo sample with detuned L & R sides, with Chorus Amount being the detune amount. With chorus Off, no amount of modulation will turn the chorus on. With chorus On, modulation can drive the chorus (detune) amount to a minimum of 0, but not Off. Tips for Using Chorus # Set chorus amount to 1% and use chorus width as a pan control which does not span the entire L/R spread. # Set the chorus width to 0% and adjust the ITD to create a through-zero flange effect. With 100% width, a panning-chorus effect is obtained. « To avoid L/R pitch drift, use “~” type of modulation in the cords selection box. = Modulate the ITD to create “Hass-Effect” panning, (i.e. apparent location shift using Slight delays in the L-R channels.) * For a detuned analog oscillator sound, set stereo width to 100%. Route a free running LFO (~) to chorus position with amount set to about 25%. 130 Vv Chorus is automatically disabled on any voice that uses the TwistaLoop time modification feature (Lock to Tempo or TwistaLoop Speed). The Chorus controls can be set, but the effect will be disabled. Emulator X3 Reference Manual 6 - Voice Processing Oscillator Glide Rate & Curve aan Glideis a smooth gliding between notes instead of the normal instantaneous change in pitch when anew key is pressed. The glide rate determines thetimeit takes to glide to the new pitch. The larger the value, the slower the glide rate. The rate is adjustable from 0 to 32.738 seconds. Zero seconds equals Off. The glide curve setting is adjustable between linear (large intervals result in longer glidetime) and logarithmic (small or large intervals take roughly the same time). A logarithmic curve Glide is polyphonic, but can be monophonic when in Solo mode. Key Controls Delay Delay varies the time between the arrival of a MIDI Note-On message and the onset of a note The delay time is adjustable from 0 to 10,000 milliseconds (0-10 seconds). Delay can be used to create echo effects or to thicken the sound when using layered voices. =" Poly Normal 4 Sample Offset This function allows you to set where the voice's sample begins playing when you hita key. A setting of 0 plays a sample from the beginning, higher values move the sample start point toward the end of the sound. ———> Sample Start Offset Important Note: | f the Sample Start Offset is moved past the Pre-roll length, the sound will be cut off. If you are having Disk problems when using Sample Offset, increase the Pre-roll in the Preferences menu, or turn Streaming Off. See “Pre-roll (seconds)” on page 22. E-MU Systems 131 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Amplifier, Filter & Auxiliary Envelopes Emulator X contains three envelope gmerators per voice. The Amplifier Envelope is “hard-wired” to control the Amp Volume and cannot go below the zero baseline (0-100). The Filter and Auxiliary Envelope generators are general purpose envelopes which must be patched to a destination using a PatchCord. The levels of the Filter and Auxiliary Envelopes can be programmed between the value range of -100 to +100. Holds here until key release time —> | Key Key Down Released Adjusting the Envelopes There are four ways to adjust the envelope parameters: = Adjust the Time/Level knobs. # Grab one of the points on the Envelope Display and drag the envelope. * Position the cursor in the Time or Level numeric fields and type in a time value. # Position the cursor in the Time numeric field and type in the exact time. The time values are calculated using time and the vertical distance to the next point. Envelope Tabs Time / BPM Select Time Controls Envelope Mode Level Controls 132 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes > To Setup the Volume Envelope as an ADSR The classic synthesizer ADSR (Attack-D ecay-Sustain-Release) envelope is easy to create using the six segment envelope generators. The trick is to only use segments: Attack1, Decay2, and Releasel. 1. Set Atk2 level to 100. 2. Setall other levels to 0. 3. Setall times to 0. Program the Atk1, Dcy2 and RIs1 time segments as you wish. Decay 2 leva isthe Sustain level. When programming controller knobs to the envelope times, you must use a negative cord amount in order to increase the time of an envelope segment. Used Unused Atk! Atk2 Dcy2 Dcy1 RIs1 RIs2 Sustain time > ! ! Key Key Down Released Envelope Mode: Repeat The filter and aux envdope generators can be made to repeat. When the envelope repeat function is On, the Attack (1&2) and Decay (1&2) stages will continue to repeat as longas the key is held. As soon as the key is released, the envelope continues through its normal Release stages (1 & 2). level time —> ! Key Down Key Released The diagram above shows how the looping envelopes work. When the key is pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 and Decay 2 stages. In non-looping mode, the envelope would hold at the end of the Decay 2 stage until the key was released. In looping mode however, it jumps back to the Attack 1 stage and repeats the first four stages. It continues to loop through these four stages until the key is released where it immediately jumps to the Release 1 stage. E-MU Systems Vv The Amp Envelope does not have the repeating feature. 133 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Envelope Mode: Complete In Complete mode, the envelope generator continues through all six stages when akey == Tip: One-Shot mode. is pressed, ignoring the status of key sustain. This feature allows you to create long 1. Select “Complete” mode. evolving soundscapes with a quick tap of the key (one-shot mode), sincenormally the 2. Set the envelope controls envelope would jump into the release stages as soon as the key was released. Thismode = as shown below. is also well suited for enveloping percussive sounds such as piano and drums, or 3. Adjust Attack 2 time. plucked strings which decay. Complete mode can also be used to create more processor-efficient presets. On Emulator X, the voice stops playing when the Amp Envelope ends, and the computer resources used by that voice become available for other jobs. Because the envelope completes its cycle regardless of how long a key (or sustain pedal) ished, the computer resources are only used for a fixed amount of time, then returned. The performance increase can be dramatic! Envelope Complete Mode Time-based and BPM Envelopes Envelope times can be time-based or BPM-based. Time-based envelopes have an absolute time setting, such as 1 second. BPM-based envelope times are divided down from the Master Tempo setting on the Multisetup page. The Master Tempo scales the time of the BPM-based envelope segments. BPM times are displayed in musical time intervals where possible. For example, if you set the attack time to be 1/16, the attack time will last exactly one sixteenth-note at the master tempo. BPM Envelopes BPM envelopes are controlled by the Master Tempo (located in the Multisetup @ Note: The master window). The Master Tempo rate scales the time of all the BPM envelope segments. The tempo can be set Master Tempo can also be derived from an external MIDI clock to synchronize the internally using the envelope times with external sequencer or arpeggiator tempo changes. See note-> tempo control in the Multisetup window, or controlled from an BPM Envelopes external MIDI clock. Internal/External clock selection is located in the Preferences dialog box. Wi = Initial Setting Mi = Increase Master Tempo ™) = Decrease Master Tempo 134 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes The chart below lists all the displayed musical note divisions when the envelope is set to BPM. The “Master Tempo Clock Pulses” column shows the exact number of clocks used by each note division based on the MIDI standard of 24 pulses per quarter note. The envelope segments will last for the exact note division shown. You can also set envelope times between the standard note divisions. These are displayed as integer numbers. BPM Tempo Chart BPM Tempo Rates Displayed Note Master Tempo Clock (based on Master Tempo) | Division Pulses 16x whole note (quad long) 16/1 1536 8x dotted whole note 8/1d 1152 16x whole note triplet 16/17 1024 8x whole note (double long) 8/1 768 4x dotted whole note 4/\d 576 8x whole note triplet 8/1t 512 4x whole note (long) 4/1 384 2x dotted whole note 2/\d 288 4x whole note triplet 4/1t 256 2x whole note (breve) 2/1 192 dotted whole note 1/1d 144 2x whole note triplet 2/ it 128 whole note 1/1 96 dotted half note 1/2d 72 whole note triplet 1/1t 64 half note 1/2 48 dotted quarter note 1/4d 36 half note triplet 1/2t 32 quarter note 1/4 24 dotted 8th note 1/8d 18 quarter note triplet 1/4t 16 8th note 1/8 12 dotted 16th note 1/16d 9 8th note triplet 1/8t 8 16th note 1/16 6 dotted 32nd note 1/32d 4.5 16th note triplet 1/16t 4 32nd note 1/32 3 dotted 64nd note 1/64d 2.25 32nd note triplet 1/32t 2 64th note 1/64 1.5 E-MU Systems 135 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes LFOs & Lags A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. LFOs are used to add animation to asound. Emulator X has two multi-wave LFOs for each voice, with 17 different waveforms which are diagrammed below. Frequency Sets the initial speed of the LFO. The frequency range is 0.08 Hz (12.5 seconds for one cycle) to 18.01 Hz. Note: References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of 437.5. See the Pitch Amount Chart on page 158. Random Triangle Sawtooth Sine Square 33% Pulse 25% Pulse 16% Pulse 12% Pulse Pat: Octaves Pat: Fifth+Octave Pat: Sus4 trip + Octave c G Lt} ~4y 2. Td c c - Octave Pat: Neener Sine 1,2 Sine 1,3,5 Sine + Noise Hemi-quaver Delay Sets the amount of time between playing a key and the onset of modulation. This can be used to simulate an effect often used by acoustic instrument players, where the vibrato is brought in only after the initial note pitch has been established. The delay range is adjustable from 0 seconds to 20 seconds. Shape Sets the LFO waveshape which determines the effect of the LFO. There are 16 LFO waveforms and a random, sample & hold type of wave which outputs random levels at the LFO rate Variation Sets the amount of random variation on the LFO frequency each time a key is pressed, which is useful for ensemble effects, where each note played has a slightly different modulation rate. The higher the number, the greater the note to note variation in the LFO rate. 136 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Sync Key Sync or Free Running. With key sync selected, the LFO wave starts at the beginning of its cycle at each key depression. With Key Sync off, the LFO wave begins at a random point in its cycleon each key depression. BPM The BPM button allows the LFO frequency to be controlled by the Master Tenpo (located in the Multisetup window). The Master Tempo can also be derived from an external MIDI clock to synchronize the envelope times with external sequencer or arpeggiator tempo changes. The chart below lists all the displayed musical note divisions when theLFO isset to BPM. The “Master Tempo Clock Pulses” column shows the exact number of clocks used by each note division based on the MIDI standard of 24 pulses per quarter note. The LFO cycle will last for the exact note division shown. BPM Tempo Rates Displayed Note Master Tempo Clock (based on Master Tempo) | Division Pulses 8x whole note (double long) | 8/1 768 4x dotted whole note 4/\d 576 8x whole note triplet 8/1t 512 4x whole note (long) 4/] 384 2x dotted whole note 2/\d 288 4x whole note triplet 4/\t 256 2x whole note (breve) 2/1 192 dotted whole note l/1d 144 2x whole note triplet 2/\t 128 whole note 1/1 96 dotted half note 1/2d 72 whole note triplet 1/1t 64 half note 1/2 48 dotted quarter note 1/4d 36 half note triplet 1/2t 32 quarter note 1/4 24 dotted 8th note 1/8d 18 quarter note triplet 1/4t 16 8th note 1/8 12 dotted 16th note 1/16d 9 8th note triplet 1/8t 8 16th note 1/16 6 dotted 32nd note 1/32d 4.5 16th note triplet 1/16t 4 32nd note 1/32 3 E-MU Systems @ The master tempo can be set internally using the tempo control in the Multisetup window, or controlled from an external MIDI clock. Internal/External clock selection is located in the Preferences dialog box. 137 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes LFO Tricks & Tips: * The Random LFO wave is truly random and is different for each voice and layer. # The Pattern (Pat) waveforms will sound the same on different layers and voices. # When the PatchCord amount for an LFO is a negative value, the LFO shape will be inverted. (A rising sawtooth turns into falling sawtooth. } # Sine + Noise is very useful for simulating trumpet and flute vibrato. *» When routing Hemi-quaver to Pitch... +37.5 = major scale -37.5 = phrygian scale +75 = whole tone scale (+37.5) + (+75) = diminished scale (two cords) odd amount = S+H sound. # Try combining the Pattern LFOs, or controlling the amount of one with another, or combining them with the clock divisors. * The Pitch Amount Chart on page 158 shows the exact cord amounts needed to get musical intervals when modulating pitch with the LFOs. Lag Processors 1 & 2 Lag processors can be inserted in a modulation patch to inhibit rapid changes in the modulation source or cause it to lag behind the input. The rate of lagis adjustable from 0 to 10 and can be modulated using a PatchCord. A setting of 0 will cause the least amount of lag. 10 is the slowest lag. Foot Switch —_+, —_+, — Lag — > F— | Processor J~ F—»| LFO Cord Cord Lag Slows LFO Gradually . Rapid Change Speeds Up Switch of Footswitch Instantly On I a Lag processors are used to slow down and smooth rapid changes in control signals. In the example above, the instantaneous switch change becomes a smooth transition. Extra Summing Amps The Lag Processors can also be used as 2 additional LagOQ summingamps. Summing amps are used to add several modulation sources together so the output can be controlled by a single Cord Amount. The output of LagO in and Lagl modulation sources are equal to the sum of any cords connected to the Lag in destinations. The summing nodeis located before the lag processor as shown in the diagram. Sum Node Lag 0 in 138 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Function Generators The function generator is a multi-function modulation source, fully capable as a complex LFO, a sequencer, an arpeggiator, or an envelope generator, depending on the way it is utilized. Because of its amazing flexibility, the function generator is certain to be one of your favorite new toysin your sound design toolbox. Because you can never have too much of a good thing, each voice has three independent function generators! ~ - ew )) GOUT TTT) +2,0 + j The function generator outputs a stepped (or smooth) sequence of values and a gate/ trigger for each step. Its most obvious function is a steo-sequencer (when controlling pitch), or as a complex event generator for the filter or amplifier. Several key sync and direction modes allow you to create interesting variations and complex levels of control. The gate and trigger outputs can, trigger envelope gmerators, retrigger samples or LFOs, accent certain notes, change tempo, and trigger other events, which we'll describe in detail later on. Function Display and Grid The function display is a bar graph, with an additional line of rectangular cells. The bar graph displays the function levels associated with each step, while the rectangles display a pattern used to generate Trigger and Gate modulation signals. The display shows all 64 steps, with all steps to the left of the End Step drawn in color; the steps to the right of the End Step (if any) are drawn in gray. You can edit the function either by dragging across the display, or by dragging individual steps. A pop-up tool tip shows the step number and value. There are three key commands to make curve drawing easier. Hold the appropriate key while moving the cursor. * Ctrl-key...... Constrains to vertical dragging only. Useful for setting levels. ¢ Shift-key.... All levels are set to the same value, resulting in a horizontal line. This also works for the trigger outputs, turning them on or off. ¢ Alt-key ....... Values are randomized when this key is had down while dragging. The trigger outputs, as well as the levels can be randomized. The values are interpolated when dragging quickly, which can result in interesting random curves. The Single Step Controls allow you to precisely set the value and trigger status of each individual step. This method is useful for entering a prearranged composition. The Grid controls determine the spacing of a set of vertical grid lines that are overlaid on the function display (see the following page). E-MU Systems 139 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes The grid options are listed bdow: ¢ None ¢ Semitone......... One line for each unit (semi tones). ¢ Octaves........... One line for each 12 units. ¢ Major Triad.....Lines correspond to a major triad, repeated over the full range. ¢ Minor Triad ....Lines correspond to a minor triad, repeated over the full range. ¢ Major Scale.....Lines correspond to a major scale, repeated over the full range. ¢ Minor Scale ....Lines correspond to a minor scale, repeated over the full range. The musical intervals on the grid are helpful when the function generator is modulating Pitch and the Cord amount is set to 100%. The Grid Button turns on Snap-to-Grid, which forces the function values to snap to the grid lines. The Show All button allows you view all 64 steps (when on), or only shows the steps before the End Step. This feature is very useful with shorter sequences as it lets you “Zoom in” to the area of interest. > Using the Function Generator as a Sequencer / Arpeggiator Using the Function Generator as a pitch controller is the most obvious application. It’s also lots of fun and the easiest way to explore the various controls. Set up 1. Select P0017 New-Age Oohs from the Tree by clicking on 2. 1. the little keyboard. ¥ ¢ Fa w 2. Next click on the(+) symbol to open the preset modules. eee 3. Click on the Voice Processing icon )» . The Voice PP P0017 New Age Ochs Processing module appears. e Voices and Zones 4. Go to PatchCord #18 and patch “Func Gen 1 +’ to “Pitch” — 3.—»()P Voice Processing with an amount of 100%. 5. Now click the Func Gen 1 tab. The screen below appears. 6. Turn on “Snap to Grid” by pressing the Grid button. Snap to Grid . Grid Type - om, Major Trad iy! | Werfottnd ba RATOR 4 fine - —— Click & Drag Here ~ EE GLEETTETTT Terre ere rrr crn) +2,0 5 ) : E id Li Single Step Trigger & Gate nd Step Grid Lines Contiole 7. Select Major Scale as the Grid Type. 140 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Modify the Sequence & Play 8. 14. 15. Click in the graphic display and begin horizontally dragging the mouse. Notice how the bars snap to the Grid lines. . Playa key. Play a chord. Play an arpeggio. . Go ahead and adjust the sequence until you get something you like. The function generator editing controls are described on page 139. They’ re easy to use once you get the hang of it. . Click and drag the End Step line to shorten or lengthen the sequence. . Change the Step Rate to change the speed of the sequence. (The BPM button locks the step rate to a note division of the Master Tempo.) . Now change the Direction. There are six different direction options described on page 143. Change the Grid Type and create a new sequence Play around with the controls as much as you like. The function generators area lot of fun and have many, many applications. You've just created a type of program- mable arpeggiator. Later on, we'll describe how to add rests, accents, change the timing of notes and do a few other tricks. Function Generator Main Controls End Step Control Function Sets the step frequency. This value controls the frequency at which Step Rate individual steps occur, not the overall rate of pattern repetition. The frequency range for each step is 0.081 Hz to 18.147 Hz. Changes the Frequency control to a clock divider control to change BPM steps on quarter notes, eighth notes, etc. See the BPM chart on page 137 for the complete list of possible clock divisors. This number sets the last played step from | to 64. This field can be modulated between | and 64. The end step can also be changed by simply dragging the end step line in the graphic display. A handy pop- up tool tip shows the step number and the value. There are three sync modes: Key, Freerun, and Channel. =" Key Sync: The function generator begins at the first step for each new key played. Each Key follows its own pattern. =" Freerun: The pattern begins at a random step for each new Sync key played. Each key follows its own pattern. =" Channel Syne: The pattern begins with the first key down on the assigned MIDI channel and continues until no keys are held down on the MIDI channel. All keys on the channel follow the same pattern. Smooth When on, linear interpolation is applied between steps to provide a smooth output instead of a stepped function. E-MU Systems @ Tip: Turn “Show All" off to zoom in and only display the steps in your sequence. 141 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Function Generator Main Controls Direction Control Function This control determines the order in which the steps are played. «" Forward: Normal playback, loops back to the beginning when the end is reached. Reverse: Starts at the last step and counts back, looping from beginning to end. Pendulum (back and forth): Starts at the first step, precedes to the last, and then reverses. Each end point is played once. Random: The next step is chosen at random. Brownian: (“drunkards walk”) The next step is chosen at random, but it is always the next or previous step in the function. In other words, the next step is always adjacent to the current step, but the direction of motion is chosen at random. Motion will bounce off the endpoints; when an endpoint is reached, the next step is always the one that is inward in the function. One-shot: Forward, plays once and then stops at the end. 142 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Modulation Destinations The following modulation destinations are available for each function generator: Positive modulation increases the initial rate. Negative values decrease the initial rate. # A modulation value of +1.0 (Cord: +100%) will result in the maximum step rate (18.147 Hz) from any initial setting. * A modulation value of -1.0 (Cord: -100%) will result in the minimum step rate (0.081 Hz) from any initial setting. Rate Changes the direction (forward <-> backward). This is evaluated at each step. Modulation of direction is only valid when the initial Direction direction type is set to forward or backward. A positive modulation value (>0.0) will result in a forward direction. A negative modulation value (<0.0) will result in a reverse direction. Restarts the function generator when the modulation source crosses Retrigger zero in the positive direction. Modulating the Length changes the end step as follows: 1. Modulation adds to the user specified end step. # Amod value of +1.0 (Cord: +100%) adds 64 steps to the end step (clipped at 64). » Amod of -1.0 (Cord: -100%) adds -64 steps to the end step (clipped at 1). Length 2. If the current step exceeds the sum of the End Step and the Modulation Amount, the function generator will: * Return to the starting step for the single direction types such as forward, backward, etc. in a looping type fashion. = Reverse direction in the case of the pendulum. » Stop in the case of the one shot direction type. Function Generator Ideas ¢ Speed Control - You can slow down or speed up certain notes by routing the Function Generator Gate back to control its own Rate. Positive Cord values speed up the gated notes; negative Cord values slow down gated notes. Function Generator ¢ Glide Control - Only notes that have theGateturned on will glide using this patch. This technique works well for all kinds of music including synth bass lines and adds another element of interest to the sound. Function nen Generator Processor itc Initial Lag = O E-MU Systems 143 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes 144 Rests and Accents - You can insert rests and accents onto specific notes using this simple patch. To makea rest, set the amp cord amount negative (turning the amp off). For an accented note, set the cord amount positive (making the amp louder). A Negative Amount = Rest 1 + Out Positive Amount = Accent Two-Speed Sequence- Thissequence pate changes rate every other time it plays through. The flip-flop sets and resets every other time it is pulsed with the function generator gate. The Cord amount from the flip-flop controls the amount of speed variation. (Note: The -DC Cord is necessary because the flip-flop input needs to go positive from a negative value.) Function Generator OOODOOOOOOOOOs Pitch Adjust to Taste Multi-Speed Sequence - If you want Initial Rate, to control thetimingfor each stepina —_ Length & Direction sequence, two function generators can — ntea F be used. Function Generator 1 ee controls the pitch and Function Generator 2 controls the length of each note. Function “| Generator Amounts “ must be ’ F ' ‘ Identical Two function generators will remain - in syncif their initial rate, length and direction arethe same, and if the modulation is identical for both. Sample Re-triggering - The Trigger Out of the Sample Function Generator is ideal for re-triggering Retrigger (-) samples. In fact, the trigger out can be used just for sample re-triggering without using any pitch Trigger control. Use Sample Retrigger (-) to trigger on the note. (Remember, samples to be retriggered must have a loop.) Function Pitch Generator J , 9. Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Filter Controls You can choose from 55 different filter types or choose “No Filter”, which bypasses the filter section. Most of the filters have two parameters: Frequency (or Morph) and Resonance (Q, Gain, Body Size). These two parameters can be continuously varied during the note (choose realtime resonance). The frequency response curve of the filter is accurately shown in the display as you change the initial filter settings. Frequency is shown on the horizontal axis, with amplitude on the vertical axis. High values of Q or resonance amplify frequencies near the cutoff or center frequency. In aswept EQ filter, gain controls the amount of boost or cut. In a phaser or flanger, resonance determines the depth of the effect. In the vocal filters, body size determines the apparent size of the mouth cavity. You will notice an increase in voice count when the filters are bypassed as the filters steal cycles from your computer’s CPU. 12th order filters use more CPU and therefore decrease the maximum voice count. Filter Descriptions Filter Name Order | Type | Description 2-pole Lowpass 02 LPF Typical OB type low-pass filter with a shallow 12 dB/octave slope. 4-pole Lowpass 04 LPF 4-pole low-pass filter, the standard filter on classic analog synths. 24 dB/octave rolloff. 6-pole Lowpass 06 LPF 6-pole low-pass filter which has a steeper slope than a 4-pole low-pass filter. 36 dB/ octave rolloffl 2-pole Highpass 02 HPF 2-pole high-pass filter. 12 dB/octave slope. E-MU Systems Filter Types BPF _ Band-pass filter EQ+ £EO boost filter EQ- EQ cut filter FLG __ Flanger filter HPF — High-pass filter LPF Low-pass filter PHA Phaser filter PROG Programmable REZ Highly Resonant SFX = Special Effect VOW Vowel / formant WOW Wah-Wanh pedal 145 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Filter Name Order | Type | Description 4-pole 04 HPF Classic 4-pole high-pass filter. Cutoff sweep Highpass progressively cuts 4th Order High-pass. 2-pole 02 BPF Band-pass filter with 6 dB/octave rolloff on Bandpass either side of the passband and O control. 4-pole 04 BPF Band-pass filter with 12 dB/octave rolloff on Bandpass either side of the passband and O control. Contrary 06 BPF A novel band-pass filter where the frequency Band pass peaks and dips midway in the frequency range. SweptEO 06 EQ+ Parametric filter with 24 dB of boost or cut 1 octave and a one octave bandwidth. Swept EO 06 EQ+ Parametric filter with 24 dB of boost or cut. 2->1 octave The bandwidth of the filter is two octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end. Swept EO 06 EQ+ Parametric filter with 24 dB of boost or cut. 3->1 octave The bandwidth of the filter is three octaves wide at the low end of the audio spectrum, gradually changing to one octave wide at the upper end. Phaser 1 06 PHA Recreates a comb filter effect typical of phase shifters. Frequency moves position of notches. O varies the depth of the notches. Phaser 2 06 PHA Comb filter with slightly different notch frequency moving the frequency of notches. O varies the depth of the notches. FlangerLite 06 FLG Contains three notches. Frequency moves frequency and spacing of notches. QO increases flanging depth. Vocal 06 VOW | Vowel formant filter which sweeps from “Ah” Aah-Ay-Eeh sound, through “Ay” sound to “Ee” sound at maximum frequency setting. O varies the apparent size of the mouth cavity. Vocal Ooh-Aah 06 VOW | Vowel formant filter which sweeps from “Oo” sound, through “Oh” sound to “Ah” sound at maximum frequency setting. O varies the apparent size of mouth cavity. Dual EQ Morph 06 PROG | Please refer to the detailed description on page 151. Dual EO + 06 PROG | Please refer to the detailed description on Lowpass Morph page 153. Dual EQ Morph + | 06 PROG | Please refer to the detailed description on Expression page 152. Peak/Shelf Morph | 06 PROG | Please refer to the detailed description on page 153. Morph Designer 2-12 PROG | Please refer to the detailed description on 146 page 149. Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Filter Name Order | Type | Description Ace of Bass 12 EQ+ Bass-boost to bass-cut morph MegaSweepz 12 LPF “Loud” LPF with a hard Q. Tweeters beware! EarlyRizer 12 LPF Classic analog sweeping with hot O and Low-end. Millennium 12 LPF Aggressive low-pass filter. OQ gives you a variety of spiky tonal peaks. MeatyGizmo 12 REZ Filter inverts at mid-Q. KlubKlassik 12 LPF Responsive low-pass filter sweep with a wide spectrum of OQ sounds BassBox-303 12 LPF Pumped up lows with TB-like squelchy OQ factor. FuzziFace 12 DST Nasty clipped distortion. O functions as mid-frequency tone control. Deadkinger 12 REZ Permanent “Ringy” O response. Many O variations. TB-OrNot-TB 12 EQ+ Great Bassline “Processor.” Ooh-To-Eee 12 VOW | Oooh to Eeee formant morph. BolandBass 12 EQ+ Constant bass boost with mid-tone O control. MultiQVox 12 VOW | Multi-Formant, Map O To velocity. TalkingHedz 12 VOW | “Oui” morphing filter. Q adds peaks. ZoomPeaks 12 REZ High resonance nasal filter. DJAlkaline 12 EQ+ Band accentuating filter, O shifts “ring” frequency. BassTracer 12 EQ+ Low O boosts bass. Try sawtooth or square waveform with O set to 115. RogueHertz 12 EQ+ Bass with mid-range boost and smooth O. Sweep cutoff with O at 127. RazorBlades 12 EQ- Cuts a series of frequency bands. O selects different bands. RadioCraze 12 EQ- Band limited for a cheap radio-like EO Eeh-To-Aah 12 VOW | “E" to “Ah” formant movement. O accentuates “peakiness.” UbuOrator 12 VOW | Aah-Uuh vowel with no O. Raise OQ for throaty vocals. DeepBouche 12 VOW | French vowels! “Ou-Est” vowel at low OQ. FreakShifta 12 PHA Phasey movement. Try major 6 interval and maximum QO. CruzPusher 12 PHA Accentuates harmonics at high Q. Try it with a sawtooth LFO. AngelzHairz 12 FLG Smooth sweep flanger. Good with vox waves. e.g. 1094, O =60 DreamWeava 12 FLG Directional Flanger. Poles shift down at low O and up at high OQ. E-MU Systems 147 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Filter Name Order | Type | Description AcidRavage 12 REZ Great analog O response. Wide tonal range. Try it with a sawtooth LFO. BassOMatic 12 REZ Low boost for basslines. Q goes to distortion at the maximum level. LucifersQ 12 REZ Violent mid Q filter! Take care with QO values 40-90. ToothComb 12 REZ Highly resonant harmonic peaks shift in unison. Try mid Q. EarBender 12 WAH | Midway between wah & vowel. Strong mid-boost. Nasty at high O settings. KlangKling 12 SFX Ringing Flange filter. O “tunes” the ring frequency. 148 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Programmable Morphing Filters There are five user-programmable morphing filters which have the ability to change their response over time. You can design your own custom filters that morph between filter types. Morph Designer | Asupremely programmable filter with up to six filter sections. Dual EQ Morph A 2-frame morphing filter with two EO sections and controllable gain. 2EQ Morph + This filter contains two EO sections and a separately controllable Expression lowpass filter. 2EQ Morph + This filter has two EQ sections and lowpass filter tied to the Lowpass Morph _ | Morph parameter. Peak/Shelf Morph | This is a 2-frame morphing filter with independent control over frequency, shelving and peak for each filter frame. Take the time to learn to use these powerful filters because they sound great. The frequency response graphs are especially helpful to understand the action of these complex filters since the control functions are slightly different for each filter. Morph Designer The Morph Designer is the ultimate in synthesizer ameRAE INT | filters with up to six completely programmable filter ow Sscg bape | sections (lowpass, highpass or EQ) and the ability to THs aT morph between two completely different frame settings of the six sections. LP EO EQ EO Filter Stages Any of the six filter sections can be designated as either alowpass, highpass, or EQ filter. You can set the filter frequency and Q (or Gain in the case of EQ) for both thelow and high positions of the Morph control. When the Morph control is changed, all the filter controls interpolate between the settings you programmed. Twenty-four knobs have been reduced to just two extremely powerful controls, Morph and Gain (offset). EQ Stage Gain Controls @ Tip: Set the Gain/O = The small Gain knobs control Gain (-24dB to +24 dB) ie inthe center while programming your = The big Gain Wheel is Gain Offset (-24dB to +24dB) Morph Designer filter, = For any given section, the two Gain controls add (clipping at O or 100%) and use the Morph control to sweep the HP/LP Stage Gain Controls filter. = The small Gain Knobs control OQ (0 to 100%) = The big O Wheel is O Offset (-50% to +50%) = For any given section, the two O controls add (clipping at 0 or 100%) E-MU Systems 149 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes > Explore the Morph Designer: You can create great sounding filters with just a few filter sections. 1. Select any preset with lots of harmonic content. 2. Go into the Voice Processing window, select all Groups and select Morph Designer as the filter type. 3. Turn MIDI Controller A all the way down on your MIDI keyboard. First Filter Section Select LP as the shape for filter Stage 1. . Turn the Morph Wheel all the way down. (Select the W heel, then press H ome.) Set the Gain Wheel to its center position. (Alt+tclick the mouse on the control.) . Set the Frequency and Gain controls of the Lo Morph all the way down. . Turn the Morph Wheel all the way up. (Select the W heel, then press End.) . Set the Frequency and Gain controls of the Hi Morph to thar maximum settings. 10. Now play the keyboard and turn the Morph wheel. You havejust created the classic synthesizer lowpass filter response, but in this case the Q turns up automatically when you change the filter frequency. If you turn up theQ Whead, you get even more Q. (TheQ control adds to the Lo and Hi Q settings.) Onn aus Add Another Section 11. Select Stage 2 and this time choose EQ as the filter type. 12. Turn the Morph Wheel down (you can leave the Gain Whee! centered). 13. Set the Lo Morph Frequency to the minimum setting. 14. Set the Low Morph Gain to zero. (Alt+click the mouse on the control.) 15. Turn the Morph Wheel to the maximum setting. 16. Set the small Hi Morph controls so that another little resonance peak appears next to the one from the lowpass filter. The filter response display should look something like this: 17. Now play the keyboard and turn the Morph Wheel. The dual resonance peaks come in as the filter frequency (morph) is turned up, and they sound much more interesting than a simple lowpass. 18. Go ahead and adjust the controls some more, noting the interaction between the Lo/Hi Morph controls and the Morph Wheel. It’s really pretty simple. The Morph Whed interpolates between the Lo and Hi settings of the filter section. Add Another Section 19. When you're ready go ahead and add yet another filter section. You’re on your own now so choose any filter type you want. Using just three of the six sections you can create some truly great sounding filters. 150 Emulator X3 Reference Manual 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Morph Designer Controls Control Function Morph The Morph control actually morphs between the Low Morph (Frequency) and High Morph Frames of the filter. The Morph control is a modulation destination. Gain/Q Increases or decreases the gain or O of all filter sections simulta- (Resonance) neously. This adds to the settings made in the Lo and Hi Morph controls. The Resonance control is a modulation destination. Section Selects which filter section you are currently editing. Shape Sets the filter shape for the current section being edited. " Off........... Disables the filter section "EQ........... Peak or Dip response «" Lowpass....Lowpass response with OQ " Highpass. .Highpass response with OQ Lo Morph Sets the center frequency of the current section when the Morph Frequency control is at minimum. Lo Morph Gain/Q Sets the Gain (if EQ) or O (if lowpass or highpass) of the current section when the Morph control is at minimum. Hi Morph Frequency Sets the center frequency of the current section when the Morph control is at maximum. Hi Morph Gain/O Sets the Gain (if EQ) or O (if lowpass or highpass) of the current section when the Morph control is at maximum. Dual EQ Morph This is a programmable 2-frame Morphing filter with two EQ sections. As the Morph valueis increased, the filter interpolates from the low to high settings. The Gain of each section remains constant during the Morph, but can be scaled at note-on time by controlling the Initial Gain parameter. This filter can be used to create your own vocal formant filters. (Try the settings shown and modulate with the + filter envelope or 4LFO.) [1146 fl 391 -24.0 | E-MU Systems 151 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Dual EQ Morph + Expression @ Morph = Filt. Freq. This filter also has two EQ sections and alowpass Expression = Filt. Res. filter with independent control over the lowpass filter frequency (Expression). This allows you to use velocity (for example) to control expressive timbre via the lowpass filter, while the Morph parameter is modulated for another effect. As the Morph value is increased, the filter interpolates from the low to high settings. The gain parameter for each EQ section stays constant during the morph. High EQ 1 | ; Dual EQ & fe High EQ 2 2EQ Morph Filters Amplitude A Low EO 2 Frequency —»> As the Morph value is increased, the filter interpolates from the Low to High Frequency settit 152 Emulator X3 Reference Manual 2EQ + Lowpass Morph Peak/Shelf Morph E-MU Systems 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes This unusual filter has two EQ sections anda @ = Fc/Morph = Filt. Freq. lowpass filter whose Fc is also controlled by the LPF O = Filt. Res. Morph parameter. The Lowpass filter is completely open at a setting of 255. As the Morph value is increased, the filter interpolates from the low to high settings and the lowpass filter allows more high frequencies to pass. The Q of the lowpass filter has an initial setting and can also be modulated realtime using the Filter Resonance parameter. The gain parameter for each EQ section stays constant during the morph. This 2-frame morphing filter offers independent control over frequency, shelving and peak for each of the two filter “frames”. The Peak parameter can also be modulated in realtime by controlling the Filter Resonance parameter. @ Morph = Filt. Freq. Peak = Filt. Resonance When the Shelf parameter is negative, the filter will have alow shelving response. When the Shelf parameter is positive, the filter will assume a high shelving response. With Shelf at zero, the filter assumes a peak filter response. Note that the three controls of thetwo morphing frames are grouped in this filter and all three controls are morphed. 153 6 - Voice Processing Amplifier Controls Amplifier Controls These parameters set the overall volume and pan settings, as well as the output channels for the selected voice(s). The voice effect sends allow you to route the voice output to the main and aux send busses. The Classic Response button matches the amplifier response to that of the Emulator IV. Volume Sets the initial volume of the voice from -96 dB (off) to +L0 dB. This is the same volume control as shown on the Mix/Tune tab of Voices & Zones (page 96). Lower the volume of the Amplifier when modulating Amp Volume. (You won’t hear any modulation if the volume is already turned all the way up.) The default setting is O dB which allows a bit of headroom so that other modulators can be added in without clipping. Use this volume control to balance the voice output against others. If you hear clipping, reduce volume setting. Panning Sets the initial stereo pan position of the voice. Subsequent modulation is added to or subtracted from this value. This is the same pan control as shown on the Mix/Tune tab of Voices & Zones (page 96). Amp Envelope Dynamic Range Sets the maximum amount of attenuation from the amplifier envelope generator. Variable from -96 dB to -48 dB. With longer attack times, reducing the envelope depth (towards -48 dB) may providea more natural-sounding volume envelope. Response Selects between the “Classic” amplitude response and “Emulator X” response. Choose Classic response ONLY if you’re authoring for hardware Emulators. This button should be Off if you’re creating sounds for the Emulator X. FX Wet/Dry This control sets the mixture of Wet/Dry signal that will be sent from the Voice Main output to the Preset FX processors. See the diagram at right. -> Asetting of 0 means that no signal from the Main output of the voice will besent to the Preset FX. A setting of 100 means that all of the Main voice output will be sent through the Preset FX. 154 To Preset FX To Aux FX Emulator X3 Reference Manual Voice Effect Sends Each voice has one Main Output level control which feeds a Wet/Dry mixer, and three Aux Send level controls. The Wet/Dry outputs from all voices in the preset are summed into the Preset FX. The output of the Preset FX section can be mixed into the Main and Aux 1-3 outputs. The Main Output of the Preset FX goes directly to the channel’s main stereo output. The Aux Outputs of the Preset FX are summed together with the Aux Output signals from all the voices. All the Aux Sends 1-3 from all voices and channels are summed with Aux Outputs 1-3 from the Preset FX and then feed the Aux FX processors located on the Multisetup page. See page 73. The outputs of the Aux FX processors (which may be bypassed) feed the Aux Output section, where they can be directed to any available ASIO output. The Aux Output On/Off button to the right of each channel main output allows you to turn the Aux Sends on or off for that channel so you can hear the channe! with or without effects. raid p< VETO il The Voice Effect Send levels and the Wet/Dry mix can be controlled using the voice modulation cords. See “Send Aux 1-3” on page 159. See also “Controlling the Preset Effect Amount from the Voice” on page 239. E-MU Systems 6 - Voice Processing Voice Effect Sends ASIO 1/2 ™ Aux Outputs p= ASIO 1/2 === Ji 0— ASIO 3/4 : 6= ASIO 31/32 p— ASIO 1/2 ==<= : = ASIO 31/32 SAGO V2 coc Jp = Asio 3/4 J 5 O— ASIO 31/32 Pe > 6 - Voice Processing Modulation Cords Modulation Cords Each voice contains 36 Cords which are used to route modulation sources to destina- tions and control the amount of modulation. There are only three permanently connected modulation connections: amp envelope-to-amplifier, pitch wheel-to-pitch, and key-to-pitch. All other modulation routings must be connected with a Cord. Cord Page Select Buttons [Velocity <> | al [Pitch Wheel ~ |i FOL~ wii Mod Wheel ¥ Cord Cord Sources —| | Destinations Bbe.200 M:00.0]] Key Sustain >] ebetete! Modulation Amounts Modulation Amount +/- Source Destination Tremolo is created by routing an LFO to the Amp Volume using a Cord. Modulation Sources Source Description Crossfade Random | Generates the same random value for all voices in a preset. This source is intended to be used for crossfading voices. Key (+, ~) Key Tracking - This value increases as you play up the keyboard. Velocity (+, ~, <) Key Velocity - This value increases as the key is played harder. Release Velocity This value increases the slower you release the key 156 Emulator X3 Reference Manual Modulation Sources Source Gate Description This value goes to full value as long as a key is depressed. Pitch Wheel MIDI data from your keyboard’ pitch bender. Mod Wheel MIDI data from your keyboards modulation wheel or lever. Pressure Aftertouch MIDI data (channel pressure) Pedal Footpedal MIDI data (normally controller #4) MIDI A - P 16 assignable MIDI continuous controllers. See page 28. Footswitch 1 & 2 MIDI footswitch data (normally controllers 64 & 65) F-F Footswitch 1&2 MIDI footswitch inputs which latch on or off with each press. Tswitch MIDI “Thumb-switch” input. General switch controller. Tswitch FF MIDI Volume MIDI flip-flop thumb-switch input. Latching switch controller. MIDI Continuous Controller data on channel #7 MIDI Pan MIDI Continuous Controller data on channel #10 Expression MIDI Expression Controller data (MSB) on channel #1 1 Key Glide A smoothly changing control source based on the Glide Rate and the interval between the last two notes played. Key CC Window Keyboard keys output as a modulation source, used in conjunction with the “Key CC Window”. See page 85. Amp Envelope Amplifier Envelope Generator (+, ~, <). See page 159. Filter Envelope Filter Envelope Generator (+, ~, <). See page 159. Aux Envelope Auxiliary Envelope Generator (+, ~, <). See page 159. LFO 1 & 2 (+, ~) Low Frequency Oscillators 1 & 2 (+, ~,) Func Generators 1-3 Function Generator 1, 2 & 3 outputs (+, ~, <). See page 139. Func Gen Gate & Trig Function Generator Gate and Trigger outputs. See page 143. White Noise A continuously varying random control source for effects. Pink Noise A lower frequency random control source. KRandom 1 & 2 These sources generate different random values for each voice. The values are chosen at key-on time and remain constant. Lag 0 &1 in Lag Processors can also be used as summing amps. See page 138. Lag Processor 1 & 2 Lag processors slow down rapid changes. See page 138. Channel Lags 1 & 2 Lag processors that operate at the channel level. See page 85. Channel Ramp Slope generator that is triggered by the first key pressed. See page 86. Poly Key Timer Outputs a value based on the time a key is held down. See page 86. Clock Divisors MIDI clock is divided to the specified value and used as a modulation source. See page 304. DC Offset A fixed value that can be scaled by the Cord to offset a value. E-MU Systems 6 - Voice Processing Modulation Cords 157 6 - Voice Processing Modulation Cords Modulation Sources Source Summing Amp Description The Summing Amp is useful for mixing several modulation signals so they can be controlled from a single Cord amount. See page 307. Switch The switch outputs full value (100) when the input is greater than 0. (The output value can be scaled by a Cord.) See page 307. Absolute Value This processor inverts negative values and leaves positive values untouched so that only positive values are output. See page 307. Diode Flip-Flop This processor allows only positive values to pass. Negative values are blocked. See page 307. The output of this processor alternates between full value and zero each time the input goes positive from zero or a negative value. If an LFO were connected to the input, the output would be a square wave of half the input frequency. See page 307. Quantizer Smoothly changing signals are transformed into discrete steps. The value of the input Cord determines the number of steps. The value of the output Cord determines the size of the steps. (Hint: Gain 4x can increase number of steps or step size.) See page 307. Gain 4x This processor amplifies the modulation input by a factor of 4. Pitch Amount Chart In order to obtain specific pitches when routing LFOs, envelopes and controllers through the PatchCords, use the following chart. Semitone | Cord Amt | Semitone |Cord Amt _ | Semitone | Cord Amt 1 3.125 9 28.125 17 53.125 2 6.25 10 31.25 18 56.25 3 9.375 11 34.375 19 59.375 4 12.5 12 37.5 10 62.50 5 15.625 13 40.625 21 65.625 6 18.75 14 43.75 22 68.75 7 21.875 15 46.875 23 71.875 8 25.00 16 50.00 24 75.00 158 Emulator X3 Reference Manual 6 - Voice Processing Modulation Cords Modulation Destinations Destination Key Sustain Description Holds the envelope generators at the sustain point as long as this value is above zero. Fine Pitch Fine pitch modulation with a maximum range of 1 semitone. Pitch Full range pitch modulation. Glide Controls the portamento (glide) time. Chorus Amount Controls the amount of voice chorus (doubling). Chorus Position ITD Controls the Inter-aural Time Delay of voice chorus. See page 130. Sample Start Controls the sample start offset point. See page 131. Sample Loop Controls the sample loop length. See page 161. Sample Retrigger (+) A positive-going, zero-crossing value retriggers the sample from the sample start. Note: A sample must be looped in order to retrigger properly. For unlooped sounds, create a silent loop at the end of the sample. Sample Retrigger (-) A negative-going, zero-crossing value retriggers the sample from the sample start. Loop Select (Continuous) Loop selection that plays through to the next selected loop. Only backward jumping is allowed. See page 219. Loop Select (Jump) Loop selection that jumps to the selected loop at the end of the currently playing loop. Forward and backward jumping is allowed. See page 221. Filter Frequency Controls the frequency (or morph) of the filter. Realtime Resonance Realtime control of filter resonance (Q, gain, body size). ‘Filter Resonance Filter resonance control which is set at note-on time only. Amp Volume Controls the volume of the voice. Amp Pan Controls the left/right positioning of the voice. Amp Crossfade Send Main Controls the RT crossfade of voices so programmed. See page 105. Controls the level of the voice sent to the Preset FX and the Main Output. See page 232. Send Aux 1-3 Controls the level of the voice sent to the Aux Send 1, 2 or 3 FX processors. See page 232. Wet/Dry Mix Controls the Wet/Dry mix sent to the Preset FX. See page 232. Amp Envelope Rates Positive values decrease the rates of all amp envelope stages. Amp Env. Attack Positive values decrease the attack rate of the amp envelope. Amp Env. Decay Positive values decrease the decay rate of the amp envelope. Amp Env. Release Positive values decrease the release rate of the amp envelope. Filter Envelope Rates Positive values decrease the rates of all filter envelope stages. Filt Env Atk, Dcy, Rel Same as for Amplifier. See above. Filter Env. Trigger A positive-going, zero-crossing value retriggers the envelope. Aux. Envelope Rates Positive values decrease the rates of all Aux. envelope stages. Aux Env Atk, Dcy, Rel Aux Env. Trigger LFO Rate (1 & 2) Same as for Amplifier Envelope parameters. See above. A positive-going, zero-crossing value retriggers the envelope. Positive values increase the LFO rate. LFO Trigger (1 & 2) A negative-going, zero-crossing value resets the LFO to zero. E-MU Systems 159 6 - Voice Processing Modulation Cords Modulation Destinations Destination Description Lag Processor (1 & 2) | Inputs for Lag Processors 1 & 2. See page 138. Lag Rates (1 & 2) Rate control for Lag Processors 1 & 2. See page 138. Summing Amp Input to the Summing Amp. See page 307. Switch Input to the Switch processor. See page 307. Absolute Value Input to the Absolute Value processor. See page 307. Diode Input to the Diode processor. See page 307. Flip-Flop Input to the Flip-Flop processor. See page 307. Quantizer Input to the Quantizer. See page 307. Gain 4x Input to the 4x Amplifier. See page 307. Key Timer Rate Input rate control for the Poly Key Timer. See page 86. Oscillator Speed Speed percentage modulation for TwistaLoop playback. FuncGen Rate 1-3 Controls the rate between each step of function generators 1, 2 or 3. See page 143. FuncGen Retrig 1-3 Restarts the function generator when the value crosses zero in the positive direction. FuncGen Length 1-3 | Modulates the End Step for function generators 1, 2 or 3. See page 143. FuncGen Dir. 1-3 Changes the forward-backward direction for function generators 1, 2 or 3. See page 143. Cord 1 - 36 Amount Controls the amount of PatchCords 1-36. Modulation Source Polarity On afew of the modulation sources you’!| see the following suffixes: + ~, < These designate the polarity of the modulation source. A plus (+) means that the source goes from zero to maximum value. The (_) symbol indicates that the source is bidirectional. In the case of an LFO, the LFO would go both positive and negative, centering on the zero line. The (< symbol indicates that the source only subtracts from the initial value of a desti- nation. This type of control is designed to be used for velocity-to-volume control where you want to keep as much headroom as possible. The following chart shows the three types of polarity. Control _ Hl Value 9 63 127 Control Value Applied + modulation ADDS to the mer initial value. (Normal ~ centers around Zero. Pe (Use for LFOs, Filt. Freq.) < modulation SUBTRACTS < from the initial value 160 Emulator X3 Reference Manual 6 - Voice Processing Modulation Cords Summing Nodes All the modulation inputs on Emulator X aresumming nodes. This means that you can connect as many modulation sources as you want to an input (such as Pitch or AmpvVol). Modulation sources are simply added algebraically —connecting two knobs one set to -100 and the other set to +100 yields a net value of zero. PatchCord Lore * Real-time events happen first on lower numbered Cords, so it is usually a good idea to put important functions on lower numbered cords and to place compo- nents of complex modulations patches in the proper order in the Cords section. =" Negative Cord amounts invert envelopes and LFO waveforms. =» To invert the effect of a controller knob, set its Cord to -100 and add DC with a Cord value of +100. Sample Loop Modulation The sample loop position can be modulated using a Cord. See “Modulation Destina- tions” on page 159. The loop length remains constant as the loop is modulated. This feature can be used to implement pulse width modulation. Waveforms other than rectangular shapes can be used to implement wavetable scanning synthesis. The basic idea of pulse-width modulation using the Emulator X isto start with a looped single-cycle wave, then dynamically move the loop location so that different portions of the waveforms are included. Changing the loop length will change the pitch of the sample, but this is easily corrected using the Transpose and Tuning controls in the Voice. The loop length is fixed, then the loop position is modulated with an LFO or Envelope so that it changes the duty cycle of the waveform. t | | | | Pulse-Width Modulation > To Pulse-width Modulate a Square Wave 1. Turn Streaming Off in the Options, Preferences menu. Pulse width modulation needs to have the entire sample loaded into RAM for proper operation. 2. Load the Proteus X Composer bank. Copy the Sample 1. Select the Samples folder in the Tree. = ee aca 2. Open the Samples folder by clicking on the (2) Presets (4 symbol. (0) Samples 3. Locate sample $0766 - Square E3 in the ® (2) Multisetups Tree, and select it. ) $0766 Square E3 E-MU Systems 161 6 - Voice Processing Modulation Cords 4. Select Copy from the Edit menu. 5. Select Paste from the Edit menu. The following dialog box appears. Pasting 1 seripte:<. i O,At the beginning of the selecti 6. Choose Pasting 1 sample Se j : a “After the end of the selection.” . ge ecg ee Also choose “Move existing objects | O5"tg2tsamale 50 ia if necessary. - Move existing objects if necessary 7. A duplicate of Square E3 appears in sample location SO767. 8. Right-click on S0767, then choose Rename (F2). 9. Rename thesample to PWM E3. Create a new Preset 10. Select the Preset folder in the Tree. = Emulator X 11. Select Presets, New Preset from the (Proteus Composer.exb) menu bar. ~ (2) Presets 12. Open the Preset Folder by clicking as apd on the(-4 symbol and scroll down to aerate the bottom of the preset list. A new empty preset has been created at the bottom of the Tree (location P1026). 13. It’s always a good idea to rename your new preset to avoid confusion later. (Right- click on the preset name, then choose Rename or press F2.) Assign the Sample 14. Open the preset by clicking on the (+ symbol next to the little IMM icon. 15. Open the Voices and Zones module. The Key Window appears. j_cowm2 | ee LE VOICEZONE GROUP SAMPLE ms] aa (4. 3\/ S001 Sample t yi Double-click here to Click the Sample Button to open the sample editor select a sample 16. Sdect sample $0767 - PWM E3 (a pulse width modulation sample). Adjust the Loop Markers 17. Double-click on the sample name to open the sample editor. 18. Move the Loop End Point by dragging the marker or by typing in a value into the End fidd. We have chosen a value of 69 samples for the loop length in the example above. The distance from the start point sets the initial pulse width and pitch of the sample. 19. It’s easy to see how the loop will moveif you click the Lock loop length button and then move the loop start point. Try this and note how the pulse width changes insidetheloop markers. When you're finished, move the loop start point back to 8 samples and the end point to 77 samples (Loop Length =69 samples). 162 Emulator X3 Reference Manual Loop End Point Retune the Sample 20. Unfortunately, because we changed the loop length, the waveform is no longer tuned to E3. Fortunately, this is easy to fix. Click the Back Arrow + to jump back to the Key Window. 21. Sdect New Voice (Crtl+W) from the Preset menu. A new empty voice appears. 22. Click the button next to the voice and select sample $0766 - Square E3 (the original square wave sample). 23. Click the Mix/Tune tab. The Voices and Zones page should look like this: isle tet | 4 3)[ 50767 PWM ES 24. Play the keyboard. Both voices will sound and they will be horribly out of tune Adjust the Transpose and Fine Tune controls on Voice 1 until they arein tune Now the PWM E3 voiceis back in pitch. 25. Select Voice 2 (SO766 - Square E3) and select Delete Voices from the Preset menu since it’s no longer needed. E-MU Systems 6 - Voice Processing Modulation Cords 163 6 - Voice Processing Modulation Cords Connect the Modulation Cords 26. Select the Voice Processing page from your a a a Ce new preset (P1025) in the Tree. The voice ROURCE | AMGUINT CS) _OESTINATCI| processing page appears. Bh Velocity -< Qe Amp Volume. 27. S& up the Cords as shown at left. You only Al Pich Wheel ~ jalls.coapich =| need to change two parameters. Set Cord 3’s_ ee destination to LFO _ to Sample Loop, and change the Amount of Cord 4 to -2.00. 28. Play the keyboard and turn up the Mod Whed. You should now be hearing rich, luscious pulse width modulation. 29. You might want lower the frequency of LFO 1 for a better chorale effect. Assign Groups The Assign Groups can be divided into two types: @ Note: “Output Channels” in this context is defined as channels of polyphony, or the number of sounds that = Output Assign Groups - Set the maximum number of output channels that a voice can use. These groups protect important parts, or cause intentional voice “stealing”. = Poly Key Assign Groups- Limits the number of times a voice will sound when can be simultaneously the same key is repeatedly pressed. Conserves available polyphony by limiting played. the number of output channels assigned to a single key. Output Assign Groups This function allows you to assign a certain number of output channels to each voice. By assigning all voices in the preset to assign groups, important parts can be protected from being “stolen” by more recently played keys. Or, a voice such as an open high hat can be assigned to amono channel so it will be cancelled by a closed high hat. Voices will rotate within their assigned bin of channel's not interfering with other bins. Poly All is the default mode. The modes are as follows: Output Assign Groups Notes are played polyphonically with dynamic channel assignment, Poly All ; : using all available polyphony. Two bins of 16 channels each. Notes are played polyphonically with Poly 16 A-B dynamic channel assignment, using no more than 16 channels. Four bins of 8 channels each. Notes are played polyphonically with Poly 8 A-D ; : ; dynamic channel assignment, but using no more than 8 channels. Four bins of 4 channels each. Notes are played polyphonically with Poly 4 A-D : ‘ : dynamic channel assignment, but using no more than 4 channels. Four bins of 2 channels each. Notes are played polyphonically with Poly 2 A-D : . ; dynamic channel assignment, but using no more than 2 channels. MaKe. Ad Nine monophonic channels. Any voices assigned to the same letter interrupt each other, but do not affect other voices. 164 Emulator X3 Reference Manual 6 - Voice Processing Modulation Cords Poly Key Assign Groups The Poly Key Assign groups limit the number of times a voice will be duplicated when the same key is repeatedly pressed. The Poly Key Groups limit polyphony per key and allow you to make better use of the available polyphony of the instrument. When using the default setting of “Poly All”, repeatedly playing a single key can eat up large numbers of voices, especially with pianos, cymbals, snares and other sounds where the envelope release parameter is used. The Poly Key Assign Groups allow you to imposea limit (1, 2, 3, 4, 5, 6 or 8) on the number of simultaneous notes that a single key will trigger. The polyphony count is noted in the Poly Key iten (8, 6, 5, 4, 3, 2, 1)—Poly Key 8 limits the voice count to 8 voices per key (16 for stereo), Poly Key 4 limits the voice count to 4 voices per key (8 for stereo), Poly Key 2 limits the voice count to 2 voices per key (4 for stereo). In addition, there are four different “bins” for each voice group labelled A, B, C, D. These four bins keep completely separate voice counts and allow complex control of polyphony. For example, if 3 voices are assigned to a single key, 1 voice could be assigned to a 1-voice group and the other 2 voices could be assigned to a 8-voice group. The 1-voice will retrigger itself on each key press, while the 2 voices assigned to the 8- voice group will be allowed to ring out, producing a chorus effect. As another example, suppose you had 4 voices assigned to a key and wanted to limit the polyphony of the key to 4 notes (4 x 4 =16 voices max). By assigning each of the four voices to a different 4-voice bin, each voice on the key is allowed to play only four simultaneous notes. Poly Key Assign Groups Poly Key 8 limits the voice count to 8 voices per key Poly Key’ 8 (0) (16 for stereo) Poly Key 6 limits the voice count to 6 voices per key Poly Key 614-0) (12 for stereo) Poly Key 5 limits the voice count to 5 voices per key Poly Key 3 |A0] (10 for stereo) Poly Key 4 (A-D) | Poly Key 4 limits the voice count to 4 voices per key (8 for stereo) Poly Key 3 (A-D) | Poly Key 3 limits the voice count to 3 voices per key (6 for stereo) Poly Key 2 (A-D) | Poly Key 2 limits the voice count to 2 voices per key (4 for stereo) Poly Key 1 (A-D) | Poly Key | limits the voice count to | voice per key (2 for stereo) > Conserving Polyphony Using the Poly Key Groups: The Poly Key Group feature is designed for building more efficient presets from the ground up, but if you have an existing preset which seems to be consuming too much polyphony, you can try this quick fix which will work in many (but not all) cases: 1. Select the preset and Duplicate it. 2. Using the Copy, go to Voices and Zones and Select All. 3. Go to Voice Processing and set the Assign Group to Poly Key 2A (or Poly Key 1A). 4. Play the preset—ff it sounds too dry—change the setting to Poly Key 3A. E-MU Systems 165 6 - Voice Processing Modulation Cords 5. Go to the original preset and play C3 over and over while watching the voice display at the bottom of the Emulator X screen. 6. Do thesame with your new preset to see the polyphony savings and makesure that you haven’t altered the sound of the preset in a negative way. Experiment! 7. Save the Bank. Keyboard Modes The Keyboard mode controls how the voice will be triggered from the keyboard. Poly Normal mode is the default mode which allows you to play chords. The eight different solo modes provide the playing action of amonophonic instrument—only one note can be played at a time. Monophonic wind, brass and string instruments often sound more realistic with a single note playing. Synthesizer lead lines also require solo mode. There are solo modes provided which can be used with monophonic synthesizer sounds or to create other performance effects. The Release modes trigger a voice when the key is released. Many acoustic instruments, such as a harpsichord, generate sounds when a key is released. To use this feature, create a special “Release Voice” and turn one of these modes on for that voice. Poly Normal Standard polyphonic mode. Any number of notes can be played. Vv Solo modes sometimes require extra Pre-roll (page 22) length to perform properly. If you are having problems with the solo modes, try increasing the Pre-roll. Multiple Trigger Last note priority. No key-up action. Retriggers envelopes and samples when a key is pressed. Melody (last) Last note priority. No key-up action. First solo note: Envelopes start at Attack segment from zero. Samples start at the beginning. If previous note is releasing: Envelopes start at Attack segment, but from current level. Samples start at the beginning. When playing “Legato”: Envelopes continue from current segment and level. Samples start at the loop or the beginning if unlooped. Vv You must let the note decay completely when changing envelope generator times in solo mode to Melody (low) Same as Melody (last), but with low-note priority. Newly played keys which are higher than the lowest solo key held will not sound. hear the changes. Melody (high) Same as Melody (last), but with high-note priority. Newly played keys which are lower than the highest solo key held will not sound. Synth (last) Similar to Melody (last) with key-up action. When currently sounding solo key is released while still holding other keys, the highest held solo key sounds in a Legato fashion (envelopes not retriggered). Synth (low) Same as Synth (last), but with low note priority. When the currently sounding solo key is released when other keys are still held, the lowest held solo key will sound in a Legato fashion. (MiniMoog). Synth (high) Same as Synth (last), but with high-note priority. When the currently sounding solo key is released when other keys are still held, the highest held solo key will sound in a Legato fashion. Fingered Glide Same as Synth (last), except that Glide is disabled when playing Staccato, enabled when playing Legato. 166 Emulator X3 Reference Manual 6 - Voice Processing Modulation Cords Poly Release Polyphonic action, but the voice triggers only when the key is Trig Release released. The key velocity is determined by how fast the key is Vel released. Poly Release Polyphonic action, but the voice triggers only when the key is Trig Note-on released. The key velocity is determined by how fast the key is Vel pressed Solo Release Monophonic action, but the voice triggers only when the key is Trig Release released. The key velocity is determined by how fast the key is Vel released Solo Release Monophonic action, but the voice triggers only when the key is Trig Note-on released. The key velocity is determined by how fast the key is Vel pressed Latch Mode When Latch modeis On, pressing a key once will latch the key on. Pressing the key Vv. Caution: Using again will unlatch the key. This mode was originally designed for doing sound effects Latch Modes together work, but you can probably find many other uses for it, such as latching sampled with the Solo Modes may grooves and beats. Any voices assigned to the same key as a latched voice will also mae unpredictable latch. results. E-MU Systems 167 6 - Voice Processing Modulation Cords 168 Emulator X3 Reference Manual 7 - Editing a Sample Sample Editor Window The Sample Editor allows you to modify the actual sample data in order to perform functions such as: sample looping, sample truncation and splicing, equalization, time compression, sample rate conversion and many others. In the Sample Editor module we are working with the most basic dement of the Emulator hierarchy, the sample. Itis important to note that every one of these functions except basic looping modifies the sample data. Even though you can undo these operations, it’s a good idea to make a copy of the sample before modifying the original if you want to keep an original version of the sample. Selection Area Loop Markers fie fat Wee Serpe ict Tyeeport Onley s+- 258 © Bice iit wee = | PrRPec er «a +232 BOSO SBE mo / a Ot Awe ices eh, Bolu, oe > To Get to the Sample Editor Window: ¢ Click on any sample in the tree to view that sample in the Sample Editor window. A stereo sample is shown above. ¢ Double-click on any samplein the “Voices and Sample Zones” window. * You can also select samples by double-clicking on the sample namein the Voice Processing window, or by selecting a sample and choosing “Open Sample”from the Preset window. To Select an Area of a Sample for Editing (Mono): . Click anywhere on the sample display to place the cursor. . Click and drag the cursor to select an area of the sample for processing. Or... press and hold the shift key after placing the cursor, then click again on the waveform to select the area between the two mouse clicks. wner VY E-MU Systems 7 - Editing a Sample Sample Editor Window @ Note: 24-bit samples are shown as 32-bit because they are internally stored and processed as 32-bit numbers. 169 7 - Editing a Sample Sample Editor Window > To Select Both Sides of a Stereo Sample 1. 2. Place the cursor near the center of the display, as shown at right. Click and drag the cursor to select an area of the sample for processing. . Or... press and hold the shift key after placing the cursor, then click again on the waveform to sedect the area between the two mouse clicks. > To Select the Left Side of a Stereo Sample 1. Place the cursor in the upper 1/3 of the display, as shown at right. The letter L appears next to the cursor. . Click and drag the cursor to select an area of the sample for processing. . Or... press and hold the shift key after placing the cursor, then click again on the waveform to select the area between the two mouse clicks. > To Select the Right Side of a Stereo 1. Sample Place the cursor in the lower 1/3 of the display, as shown at right. The letter R appears next to the cursor. . Click and drag the cursor to select an area of the sample for processing. . Or... press and hold the shift key after placing the cursor, then click again on the waveform to sedect the area between the two mouse clicks. 170 Emulator X3 Reference Manual 7 - Editing a Sample Exporting & Importing Samples Exporting & Importing Samples The Export function allows samples in the bank to be exported as Wave or AIFF files. Samples can be imported using the import option in the File menu. You can also simply drop a WAVE, MP3, REX 2 or AIFF file over the Emulator X icon, onto the Multi- setup screen or onto the Voices and Zones screen. > To Export a Sample from the Bank * Right-click any sample in the Tree or List views. = Select a sample, then select Export from the Sample Edit menu. > To Import a Sample into the Bank Vv. Vista Users: To Audition samples, you may need to download » Drop a Wave, AIFE MP3, or REX 2 file over the Emulator X icon. and install the Vista Codec Package 4.5.4. # Select Import Samples from the File menu. Audio files (Wave, MP3, AIFF REX 2) can be auditioned from the import browser. = Drop a Wave, AIFF MP3, or REX 2 anywhere in the Voices and Zones screen. This creates a new voice with that sample with an original key at C3 and a Key Window range from C-2 to G8. ™ To import other sample formats, see » Drop a Wave, AIFF MP3, or REX 2 over the keyboard at the bottom of the Voices “Translator Emulator X and Zones screen. This creates a new voice with the sample mapped (including Converter” on page 319. original key) to the note where you drop it. =" Drop a Wave, AIFF MP3, or REX 2 file over the Multisetup screen, or the Multisetup V 64-bit Users: button (above the tree), bringing up the Import Samples dialog box. To Import REX files, you must use the 32-bit =" Drop a Wave, AIFF MP3, or REX 2 file over the Samples folder in the tree. The version of Emulator X3. sample imports at its original sample rate. Exporting a Tempo Map The Tempo Map of a “beat analyzed” sample (page 209) can be exported as a standard MIDI file (.mid). This file can then be imported along with the corresponding audio file to your sequencer in order to create a tempo that’s perfectly aligned to the audio file you analyzed. Onceimported, your sequencer’s bars and beats (and click track) will be perfectly aligned to the tempo of your audio file. This means your sequencer “grooves” with you (as opposed to you trying to groove to your sequencer’s rigid click track). So give it a shot—analyze a drum beat, or a guitar track you recorded in Emulator X, run beat analysis and create a tempo map. Once you import the audio and MIDI info into your sequencer, your sequencer will play right along. When you export a tempo map, the tempo map updates the tempo information at each Beat Marker. By setting the Tempo Granularity (page 214) of the Beat Analysis, you can adjust how closely the Tempo Map follows the source material. > To Export a Tempo Map 1. Selecta samplein the Sample Editor. 2. If you haven’t already, run Beat Analysis on the sample. See “Running Beat Analysis” on page 209 for more information. E-MU Systems 171 7 - Editing a Sample Exporting a Tempo Map 3. Inthesample edit window, select the beats you want included in your tempo map file. You should make sure your selection begins and ends on a beat marker. @& If your sample has an area at the beginning with no assigned tenpo, DO NOT select it. 4. Sdect Export Tempo Map... from the Sample Edit menu. A popup dialog box appears: Save it | (9 terre track 5. In thedialog box, select the number of times you want your tempo track to repeat. 6. Select a location for your Tempo Map and click Save. Tips for Exporting Tempo Maps If you’verun beat analysis on an audio file, and exported a tempo track, you should be able to import the tempo track and the corresponding audio file to your favorite sequencer. However, if the length of your audio file differs from the length of your exported tempo in any way, you'll need to create a new audio file to import into your sequencer. You must create a corresponding audio file if: ¢ Your exported tempo doesn’t cover the entire audio file. For example, you exported only a few measures of tempo data. You would then need to export the audio for the same few measures. e The first beat begins after the beginning of the sample This can happen if your sample has some silence at the beginning, or if beat analysis didn’t correctly analyze the sample, as illustrated to the right. > To Create a Corresponding Audio File 1. Copy and paste the exact same portion of the sample you selected for exporting a tempo map. See “To Copy a Section” on page 181. 2. Paste the selected area as anew sample. See “To Paste as a New Sample” on page 183. 3. Export the audio using the Export... function in the Sample Edit menu. See “To Export a Sample from the Bank” on page 171. 172 Emulator X3 Reference Manual 7 - Editing a Sample Exporting a Tempo Map Importing a Tempo Track to a Sequencer Most commercial sequencing applications should support MIDI tempo tracks. Here’s how to do it with Cubase or Sonar. > To Import a Tempo to Steinberg Cubase 1. Launch Cubase and create a new project. 2. Import the audio file that corresponds with the tempo track you created. From the File menu, select Import, Audio File.... Make surethe audio file is aligned with the very beginning of the project (bar 1, beat1). 3. Importthe MIDI tempo track you created. From the File menu, select Import, MIDI File... Whileit may appear that nothing happened, in fact, you just created a tempo track. You'll notice your timeline is now aligned with your imported audio file, and if you play back audio with the metronome on, it should be lined up perfectly. 4. You can view the tempo track by clicking the Project menu, and selecting Tempo Track. > To Import a Tempo to Cakewalk Sonar 1. Launch Sonar. 2. If you seethe Quickstart menu, click O pen Project. Otherwise, select Open... from the File menu. 3. Open the .mid file you created as a tempo track. While it may appear that you created a blank new project, in fact, you just created a new project with a tempo track that uses the tempo information from the .mid file. 4. Import the audio file that corresponds with the tempo track you created. From the File menu, select Import, Audio.... Makesurethe audio fileis aligned with the very beginning of the project (bar 1, beat1). Your timeline should be aligned with your imported audio file, and if you play back audio with the metronome on, it should be lined up perfectly. 5. You can view the tempo track by clicking the View menu, and selecting Tempo. Important: If you want to save the Sonar project, you should choose Save As... rather than Save. From the Save as type drop-down menu, choose Normal. Otherwise, you’l| overwrite your .mid file E-MU Systems 173 7 - Editing a Sample Display Menu Items Display Menu Items These options are available in the Display menu. If you Right-click in the vertical or horizontal units area of the waveform display a popup menu appears with the same options. Qa Zoom In Page Up Q_ Zoom Out Page Down ay Zoom In Vertically Ctrl+Page Up QI Zoom Out Vertically Ctrl+Page Down Zoom to Selection F10 HB Zoom to All Fil Bi Zoom to Sample F12 19 Display Time in Samples 44.9 Display Time in Seconds 4:1 Display Time in Bar:Beats %| Display Level in Percent 10{ Display Level in Decimal Zoom In (Page Up} Magnifies the horizontal scaling to show more detail in the waveform. You can also use the Zoom controlsin thelower right corner of the waveform display to increase or decrease horizontal resolution. Zoom Out (Page Down) Reduces the horizontal scaling to show less detail but more of the entire waveform. Zoom In (Ctrl +Page Up) Magnifies the displayed height of the waveform to show more detail. d8| Display Level in dB Zoom Out (Ctr! +Page Down) Reduces the displayed height of the waveform. {E Show Grid } Autoscroll y Show Note Markers [9 Show Loop Markers fT Show Zero Crossing Threshold Zoom To Selection (Fl 0) Automatically scales the display so that the selected area is visible. Zoom To All (F 11) Automatically scales the display so that the entire waveform is visible. Zoom To Sample (F | 2) Automatically scales the display to the highest magnification. ji00 Display Time in Samples Units are expressed in samples beginning from the start of the sample. ji0 Display Time in Seconds Units are expressed in seconds beginning from the start of the sample. fi Display Time in Bar:Beats Displays Bar and Beat Markers instead of samples or seconds. %-| Display Level in Percent Units are expressed in percentages with 100% equal to full code and 0% as the baseline. 1.04 Display Level in Decimal Units are expressed in decimal form with 1.0 equal to full code and 0 as the baseline. db| Display Level in dB Units are expressed in decibels (headroom) with 0.0 equal to full code and infinite as the basdine 174 @ Tip: You can also use the mouse wheel to zoom in and out. @ Tip: You can also zoom to all by clicking the [@) button in the bottom-right corner between the zoom Sliders. Emulator X3 Reference Manual fff Show Grid Show or hide the vertical black grid lines across the waveform display. *y Autoscroll Autoscroll, when on, Keeps the cursor line in the center of the waveform display. v Show Note Markers Show or hide Note Onset Markers. []) Show Loop Markers Show or hide Loop Markers. z| Show Zero Crossing Threshold Shows or hides the Zero-crossing Threshold markers located near the zero vertical line on the waveform display. The zero-crossing threshold can be adjusted to accept sample points which are close to zero. See page 206 for additional information. Vertical Units If you right-click in the vertical units area of the waveform 4 Percent display the popup menu shown at left appears. 10] Decne aja Zoom In Increases the Vertical magnification by 2 pol anshnncenaedaneente Double Click — times with each selection. Zoom In Double Chick Zoom Out = Decreases the Vertical magnification by 2 times with each selection. E-MU Systems 7 - Editing a Sample Display Menu Items @ Tip: You can hold the Ctrl key while scrolling the mouse wheel to scroll right and left. 175 7 - Editing a Sample Display Menu Items [100 Samples 14.9 Seconds 4:1 Bar:Beats ‘vy Show Note Markers a Show Loop Markers @ Show Beat Markers Select Ctrl-Click Go To Q Zoom In Double Click Q. Zoom Out Add Loop Add Note Marker Add Beat Marker Delete Beat Parameters... Show Always 176 Horizontal Units If you right-click in the horizontal units area of the waveform display the popup menu shown at left appears. ® Show Beat Markers Select Ctrl-Click Go To a Zoom In Double Click Q Zoom Out Add Loop Add Note Marker Add Beat Marker Delete (Note/Beat Marker) Beat Parameters Show Always Show or hide Beat Markers. Right-click on a Beat Marker, Note Onset, or Loop Marker to select. Moves the cursor to the selected region. Increases the horizontal magnifi- cation by 2 times with each selection. Decreases the horizontal magnification by 2 times with each selection. Adds a pair of Loop Markers that you can place wherever you want. Adds a Note Onset Marker at the current cursor position. See page 212. Adds a Beat Marker at the current cursor position. See page 212. Deletes the selected note or beat marker. This function allows you to change the beat number, beats- per-bar or tempo granularity. (Right-click on a Beat Marker to enable.) Shows the selected marker regardless of view settings. Right- click a marker to enable. Emulator X3 Reference Manual 7 - Editing a Sample Transport/Loop Controls Transport/Loop Controls Go to Go to Go to Beginning Play Stop Sample Start Loop Start of Selection | | | | wa dil 5 acelin Play Loop Go to Go to Go to End from Start Play Sample End Loop End of Selection Play (from Cursor) The sample plays from the cursor location and continues to play between the loop markers. This button latches on until the Stop button or Space bar is pressed. Press and hold the space bar to play the sample from the computer keyboard. Play from Start The sound plays from the start of the sample regardless of the cursor position. Stop Stops playback immediately. Press the Space bar to stop the sample from the keyboard. Loop Play Plays the sample repeatedly between the cursor line and the end of the sample when the Play button is pressed. See “How to Loop a Sample” on page 207. Plays the sample repeatedly between the start and the end of the sample when the Play from Start button is pressed. Go to Sample Start Positions the cursor at the start of the sample. Go to Sample End Positions the cursor at the end of the sample. Go to Loop Start Positions the cursor at the loop start point. Go to Loop End Positions the cursor at the loop end position. Move Start to Previous Zero Left Ctrl+ <- Move Start to Next Zero Left Ctrl+ -> Move End to Previous Zero Right Ctrl+ <- Move End to Next Zero Right Ctrl+ -> SS Autocorrelate Loop Ctrl+k Move Start to Previous Zero Moves the Loop Start Marker toward the beginning of the sample to the next zero- crossing point. (Left Crt! +<) E-MU Systems 177 7 - Editing a Sample Transport/Loop Controls Move Start to Next Zero Moves the Loop Start Marker toward the end of the sample to the next zero-crossing point. (Left Crtl +->) Move End to Previous Zero Moves the Loop End Marker toward the beginning of the sample to the next zero- crossing point. (Right Crtl +<) Move End to Previous/Next Zero Moves the Loop End Marker toward the end of the sample to the next zero-crossing point. (Right Crtl +->) Autocorrelate Loop The computer analyzes the waveform around the loop points you have specified and moves the start point to find a section of the wave that closely matches the section around the end point. Auto correlation can be use again and again, with the computer moving the analysis window slightly each time to zero in on the perfect loop. For more information, see “How to Loop a Sample” on page 207. 178 Emulator X3 Reference Manual 7 - Editing a Sample Cut, Copy, Paste & Delete Cut, Copy, Paste & Delete Imagine a printout of asample. Now imagine that you havea pair of scissors capable of cutting a piece out of that sample (or a copy of that piece if you don’t want to affect the original), as well asa clipboard to neatly hold the cut or copied piece. Now imagine that you can either perfectly insert the clipboard contents at any given point in any sample, or mix the clipboard contents in with any sample, starting at any designated point. The Emulator X can do all this, and all electronically. Auto Corrdation and Crossfade functions are also provided for seamless transitions between the cut, copied, and pasted parts. CLIPBOARD DATA. The clipboard will retain data until replaced by other data to be copied, cut, or backed up. This occurs with several operations where you want to be able to undo an action that doesn't work. Undo and Redo During all sample edit operations, the sample being processed will automatically be backed up and stored on the hard disk. If you do not like the results of the processing, you can call up the Undo function, and restore the original sample. (Ah, if only life itself were so simple.) Best of all, the processed sample will now be backed up. Thus, if you decide you liked the processed version better after all, you can actually undo the undo. (Redo.) There are 100 levels of Undo. Typical Applications Typical cut/copy/paste applications would be to splice the beginning of one sample to the end of another, or to mix two samples together to conserve memory. (Do this by copying an entire sample, then pasting it at the beginning of the second sample using the mix option.) You can splice an attack transient on to a synthesizer waveform loop. Another possibility is, flanging and chorusing. Paste (mix) a sample to itself, offset from the beginning by a few hundred samples or so to thicken up the sound. E-MU Systems 179 7 - Editing a Sample Cut, Copy, Paste & Delete Cut Section The Cut function removes a section of asample, and stores the cut portion in a special part of memory called the clipboard. Portions of asample can be cut, copied, and pasted to other samples or placed into a new sample. Cut can also be used to simply remove a section of the waveform. Cut Start Cut End aie C*‘ Cut Region is Result of Cut Placed on Clipboard » To Cut a Section 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform as desired using the Zoom button below the display. Press m Press the Play button the “Go To Start” or “Go To End” buttons to quickly jump to the beginning or the to hear the sample as you end of the sample. adjust the selection area. 3. Select the section of the sample you wish to cut. See page 169. 4. Sdect Cut from the Edit menu or Toolbar. The selected section will be renoved from the sample and placed onto the clipboard. 5. Usethe Undo function (Ctrl4Z) in the Edit menu to if you don’t like the results of the cut. Copy Section The Copy function allows you to duplicate a section of a sample, and store that duplicatein a special part of memory called the clipboard. Copy Copy Start End —__ Length of Sample | Copied Region is placed -—~> on the Clipboard N 180 Emulator X3 Reference Manual 7 - Editing a Sample Cut, Copy, Paste & Delete > To Copy a Section 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display. Press the “Go To m Press the Play button Start” or “Go To End” buttons to quickly jump to the beginning or the end of the to hear the sample as you sample. adjust the selection area. 3. Select the section of the sample you wish to copy. See page 169. 4. Select Copy from the Edit menu or Toolbar. The selected section will be duplicated and placed onto the clipboard. 5. Usethe Undo function (Ctrl4Z) in the Edit menu to undo the copy process. Paste Section Paste takes the clipboard contents and either inserts them in a sample at a specified point, or mixes them with a sample starting at a specified point. Destination Sample 4 Paste Offset =—— -—- ——a The sample on the clipboard is pasted into the break in the destination sample... << Crossfade Size ...or crossfaded in and out of the break in the destination sample. > To Paste a Section 1. Magnify the waveform as needed using the Zoom function. m Select Zero Crossings 2. Place the cursor at the point where you want to paste the clipboard contents. dn es eye Tommy aai0g . ; : the Control keys. See 3. Select Paste from the Edit menu or Toolbar. The following dialog box appears. page 206 for details. E-MU Systems 181 7 - Editing a Sample Cut, Copy, Paste & Delete Mode | Crossfade @) Linear © Equal Power 4. Choose the paste mode—Insert, Equal Power Mix or Linear Mix. ¢ Insert opens up a space in the sample into which the clipboard contents fit. ¢ Equal Power Mix and Linear Mix combine the clipboard contents with existing samples, starting at the point selected in step three. Normally, you will always use Equal Power. Use Linear Mix when the signals are very similar or when Equal Power causes a gain in amplitude. 5. If you choose Linear or Equal Power Mix, the Mix slider becomes active, giving you the option to select the level of the clipboard contents to be mixed. Select the crossfade length and type. Please refer to the following diagrams. Mode: Mix Source Amount: 100% Cursor Location |—___—_ Paste Offset This section will be replaced 0.00 Sec. Crossfade After the start point, a section of the destination is replaced with the clipboard contents. 182 Emulator X3 Reference Manual 7 - Editing a Sample Cut, Copy, Paste & Delete Mode: Crossfade Mix Source Amount: 100% —- Crossfade Size The clipboard contents will be gradually mixed into the destination sample and will replace the destination when the fade reaches 100%. Mode: Crossfade Mix Source Amount: 50% <>" Crossfade Size The clipboard contents will be gradually mixed into the destination sample and reach a maximum of 50-50 mix. 6. Select OK to perform the Paste or Cancel to cancel the operation. 7. Usethe Undo function (Ctrl+Z) in the Edit menu if you're not happy with the results of the paste operation. > To Paste as a New Sample Suppose you wanted to copy a section of onesample and create a new sample from the clipboard contents. Here's how. 1. Copy thedesired section to the cdlipboard (Ctrl+C). 2. Sdect the Samples folder from the Tree. 3. Choose Paste from the Edit menu (Ctrl+V). The dialog box show below appears. © Starting at sample 2» @ Move existing objects if necessary 4. Choose the number in the list where you want the sample to be placed. If you choose an existing sample number and “Move existing objects if necessary” is selected, the existing samples in the back will be renumbered to accommodate your new sample. 5. Click OK. E-MU Systems 183 7 - Editing a Sample Cut, Copy, Paste & Delete More Information about Paste 184 You can cut, copy and paste multiple samples from the List View section of the screen. Pasting at the insertion point moves the sample after the insertion point and Inserts the clipboard contents. Pasting into a selected region O verwrites for the length of the clipboard contents. If you paste into a selected region which is shorter than the clipboard contents, only the selected region will be overwritten. The remainder of the clipboard sample will be Inserted after the selected region. (Data will not be modified out of the selected region.) Pasting a mono sampleinto oneside of astereo sampleadds silence to the other side in order to preserve phase linearity. Emulator X3 Reference Manual Sample Edit Tools The sample edit toolbar displays the most commonly used sample editing tools. These tools can also be accessed from the Sample menu under “Edit”. Select an area of the sample for processing using the mouse, then select the process you wish to perform. Normalize Truncate DC Filter Swap LR Time Compress Transform Analyze Sample Rate Multiply Beats Convert ae ae aay PP] MIDI Fade Adjust Reverse Bit Pitch = Xtractor Convert Audition Gain Reduction Shift Mono-Stereo Loop MIDI Audition MIDI Audition allows you to (monophonically) play the current sample using your MIDI keyboard. The sample can be transposed up or down from C4 which plays the original pitch. The transpose feature is useful when looping since sometimes a trans- posed sample will reveal a tick or pop which was masked at original pitch. A looped sample will continue to play inside the loop from the point where you rdeased the key. An un-looped samplewill play from the beginning as longas you play the entire sample. If you release the key before the end of the sample, the sample will begin at the release point the next time you press a key. This feature is useful to cue up extremely long samples. ¢ To play the entire sample from the beginning, select the entire waveform (double-click on the wave or use Select All), then play the keyboard. e Thesample will always play from the beginning of any selected region. ¢ To play from the beginning of a sample with no region selected, press the Ctrl key on the computer keyboard while you play your MIDI keyboard. ¢ Footswitch 1 (set in Preferences, Controllers) operates as a sustain pedal when MIDI audition is enabled. > To MIDI Audition a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Turn on MIDI Audition by pressing the button on the toolbar or by selecting Audition from MIDI from the Sample Edit menu. 3. Playa key on your MIDI keyboard. The selected sample plays. 4. Play another key. Note that the sample begins playing from the point you released the key. 5. Press the Ctrl key while you play the MIDI keyboard to play from the beginning of the sample. 6. Select aregion (or the entire sample) to audition only the selected region. E-MU Systems Select Select Loop All Zero-Crossing come eae igrens Loop Autocorrelate No 7 - Editing a Sample Sample Edit Tools Snap to of owe maul 2 hel Snap To External Snap Marker — Editor Vv important: IntelliEdit MUST be turned ON in the MIDI Preferences menu for MIDI Audition to work. 185 7 - Editing a Sample Sample Edit Tools Truncate Truncation shortens a sample by keeping the selected area of the sample and trimming off the beginning and/or end. Truncation is most often used to remove unneeded portions of a sample, but it can also be used to change instrument character- istics such as removing the attack from a plucked string note or isolating a particular section. > To Truncate a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display. Press the “Go To Start” or “Go To End” buttons to quickly jump to the beginning or the end of the sample. 3. Select the area of the waveform you want to keep. 4. Press the Truncate button. Everything but the selected area will be discarded. 5. Usethe Undo function (Ctrl+Z) in the Edit menu if you are not happy with the results. Fade Fade allows you to change the gain in asmooth curve, lets you create an artificial decay on percussion samples where the original decay is absent, create an artificial fast attack (such as bowed violin with a slow attack), or clean up background noise when editing dialog. » To Fade a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display if necessary. 3. Select the area of the waveform you want to fade. Press the Play button to hear the sample as you adjust the selection area. 4. Press the Fade button. The following dialog box appears. End Shape Linear Gain Curves » jo_|w@ [2s j@ fy Attenuation Curves 186 m= Truncate any silence off the beginning of your samples to avoid slow key response. Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools 5. The volume will fade between the selected (start & end) gain/attenuation amounts following the selected curve shape. Set the start and end amounts and curve. 6. If the sampleis stereo you have the option to fadethe right side only, left side only or both. 7. Select OK to perform the fade or Cancel to cancel the operation. 8. Usethe Undo function (Ctrl+Z) in the Edit menu if you are not happy with the results. Normalize Normalize checks for the loudest peak in the selected section of the sample and raises the overall level of the section so that the loudest peak is at full level (OdB). Stereo samples are normalized so that the gain is increased equally for both channels until one channal’s highest peak reaches 100%. If you wish to normalize each side of a stereo sample separately, use the normalize option in the Adjust Gain tool. > To Normalize a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Usually, you will normalize the entire sample. In this case you don’t have to select a specific area. Selecting a specific region of the sample to normalize is not recommended as this can create a sudden thump or pop at the selection point from the sudden gain increase. 3. Press the Normalize button. The amplitude of the sample will be increased to the optimum level. 4. Usethe Undo function (Ctrl+4Z) in the Edit menu if you are not happy with the results. Adjust Gain Use this function to raise or lower the level of the selected section of the sample from -96 dB to 496 CB. Thereis also an option to normalize the section. With a stereo file, you can choose to normalize each channel separately. This method boosts the volume differently on each channel without preserving the volume balance between the left and right channels. > To Adjust the Gain of a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Usually, you will adjust the gain of the entire sample. In this case you don’t have to select a specific area. Selecting a specific region of the sample to gain change can create a sudden thump or pop at theselection point caused by thesudden gain increase or decrease. Usethe Fade tool to gradually change the gain of a sample section. 3. Press the Adjust Gain button. The following dialog box appears. E-MU Systems 187 T= Editing a Sample Sample Edit Tools Adjust Gain [_]Normalize (+0 dB) Gain Select the amount of gain increase or decrease for the sample. Moving the slider all the way left (-inf) silences the sample. If thesampleis stereo you have the option to change the gain of the right side only, left side only or both. If you wish to Normalize the sample, check the normalize box. If the sample is stereo you have to option to normalize each channel separately. Select OK to perform the Gain Change or Cancel to cancel the operation. Use the Undo function (Ctrl-+Z) in the Edit menu if you are not happy with the results. DC Filter The DSP function removes the DC component from a sample, centering the waveform around the zero axis. > 1. 188 To DC Filter a Sample Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. . Usually, you will DC filter the entire sample. In this case you don’t have to select a specific area. ¢ Selectinga specific region of the sampleto DC Filter isnot recommended as this can create a sudden thump or pop at the selection point from the sudden change in the waveform. . Press theDC Filter button. The sample will be centered around the zero axis. . Usethe Undo function in the Edit menu if you aren’t happy with the results. DC Offset Present DC Offset Removed Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools Reverse Reverse flips the selected portion of the sample so it plays backwards. > To Reverse a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display. 3. Select the area of the waveform you want to reverse. ™ Press the Play button 4. |f thesampleis stereo you will be given the option to reverse the right side only, mG Heal Tie ala ple Ps You left side only or both. adjust the selection area. 5. Press the Reverse button. The selected section of the sample will be reversed. 6. Usethe Undo function (Ctrl+Z) in the Edit menu if you are not happy with the results. Swap L-R Channels Swaps sides of a stereo sample or moves a mono sample to the other side. > To Swap the Left and Right Channels 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Usually, you will select the entire sample. In this case you don’t have to select a specific area. Selecting a specific region of the sample to Swap can create a sudden thump or pop at the selection point from a sudden gain increase or decrease. 3. Press the Swap L-R button. The left and right channds will be swapped. 4. Usethe Undo function (Ctrl+Z) in the Edit menu if you are not happy with the results. E-MU Systems 189 7 - Editing a Sample Sample Edit Tools Bit Reduction This DSP tool takes your pristine samples and transforms them into any bit resolution you select. Ever wonder what a 2-bit sample sounds like? Find out using the bit reducer. Bit values above eight will generally result in increased noise without much other audible difference. After Bit Reduction, asample will be stored as a 16-bit linear sample. This allows the tool to be used to convert 24-bit samples to 16-bits, with a resulting 1/2 reduction in disk storage (24-bit samples are stored on disk using 32-bits). » To Reduce the Number of Bits in a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display if necessary. 3. Select the area of the waveform you want to Bit Reduce. Press the Play button to hear the sample as you adjust the selection area. 4. Press the Bit Reduction button. The following dialog box appears. Bit Reduction Cancel 5. Select thenumber of bits you want. 6. Select OK to perform the Bit Reduction or Cancel to cancel the operation. 7. Usethe Undo function (Ctrl+Z) in the Edit menu if you aren’t happy with the results. Time Compression This DSP function allows you to change the length of a sample without changing the pitch. This can be extreme y useful for fitting samples to the beat of a song or fitting dialoginto a spot. Samples can be compressed or expanded in length from 50% to 200% in steps of 1/10th of one percent. Stereo samples maintain phase accuracy when time compressed or expanded. Large time compression ratios can produce undesirable artifacts in the sample. Stick with small ratios on critical audio parts. The artifacts produced by this processor can be used to create weird special effects. Try stretching-compressing-stretching-compressing, etc. if you want to really mess up a sample. The tempo calculator makes it easy to change the tempo of sampled grooves. Simply set the original tempo to the tempo of your groove, then adjust the ratio until the new tempo matches the desired tempo. « Time Compression Ratios - 200% =Double the Length 50% =Half the Length 190 Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools >» To Time Compress a Sample 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. Magnify the waveform using the Zoom button below the display if necessary. 3. Select the area of the waveform you want to Time Compress. Press the Play button to hear the sample as you adjust the selection area. 4. Press the Time Compress button. The following dialog box appears. Time Compression Calculator Original Length: | 0.21508 Tempo: l 120 5. Select the Time Compression/Expansion ratio. The calculator shows the original length and tempo as well as the new length and tempo after processing. 6. Choose the processing algorithm using the table below as a guide. 7. Sdect OK to perform the Time Compression/Expansion or Cancel to cancd the operation. 8. Usethe Undo function (Ctrl+Z) in the Edit menu if you aren’t happy with the results. You may have to try a couple of algorithms before you get the best quality. The following table lists the algorithm choices. deep Predominant bass (to 20 Hz) bass Predominant bass (to 20 Hz) mid-1 Average source material mid-2 Average source material (high-mids) high Source material with high frequencies tight Maintains time accuracy - Drum loops broad Low bass energy but critical highs broad-smooth | Both high & low freq. - Smooth output difficult Inharmonic or broadband material noisy Non-pitched - Sound Effects, etc. tight-smooth Rhythmic accuracy - Use small ratios x-smooth Rhythmic accuracy - Use small ratios E-MU Systems 191 7 - Editing a Sample Sample Edit Tools Pitch Shift Pitch Shift offers three different ways to change the original pitch of a sample. ¢ Nudge Sample Rate - Changes the sample rate to vary the pitch. The higher the pitch, the lower the sample rate. ¢ Gosset-Smith Tuning - A high-quality, constant sample rate interpolation method. ¢ Constant Time - These algorithms change the pitch, without changing the length of the sample. Constant time pitch change may introduce unwanted artifacts into the sample, especially when large intervals are selected. The maximum pitch shift amount is: 41200 cents (100 cents =1 semitone). > 1. 192 To Change the Pitch of a Sample Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. . Magnify the waveform using the Zoom button below the display if necessary. . Select the area of the waveform you want to pitch shift. Press the Play button to hear the sample as you adjust the selection area. . Press the Pitch Shift button. The following dialog box appears. Pitch Shift u: cents @) Nudge sample rate © Gossett-Smith tuning © Constant time . Sdect the Tuning change in cents. . Select thetype of pitch shift you want to perform: Nudge Sample Rate, Gosset- Smith, or Constant Time. . If you chose “Constant Time” pitch shift, select one of the processing algorithms using the table below as a guide. . Select OK to perform the pitch shift or Cancel to cancel the operation. . Usethe Undo function (Ctrl+Z) in the Edit menu if you aren’t happy with the results. You may have to try a couple of algorithms before you get the best quality. Emulator X3 Reference Manual The following table lists the algorithms for constant time pitch shift. deep Predominant bass (to 20 Hz) bass Predominant bass (to 20 Hz) mid-1 Average source material mid-2 Average source material (high-mids) high Source material with high frequencies tight Maintains time accuracy - Drum loops broad Low bass energy but critical highs broad-smooth | Both high & low freq. - Smooth output difficult Inharmonic or broadband material noisy Non-pitched - Sound Effects, etc. tight-smooth Rhythmic accuracy - Use small ratios x-smooth Rhythmic accuracy - Use small ratios Transform Multiply This powerful synthesis tool multiplies two signals together in a way that the output signal contains the timbral and time elements of both inputs. This process, which is also known as Convolution, reinforces frequencies common to both sources and discards frequencies not present in both sources. Because of this characteristic, Transform Multiplication works best with sounds that are harmonically rich. Convolution has recently become popular as a way to mode natural sounding rever- beration from an actual room. You can experiment with this yourself by recording an impulse response in areverberant space and then Transform Multiplying it with a sound of your choice. To create a simple impulse response, record a starter pistol or sharp percussive noise burst in your favorite room. If you’re interested in this subject, you'll find information about convolution and free impulse responses on the Internet. To use Transform Multiply, just copy a sample region to the clipboard, then choose another sample and Multiply! Ideas for Using Transform Multiplication ¢ Reverb impulse responses will add their reverb signature to any sample. ¢ Percussion transients make good source material. e Astereo impulse response can be T.M.’ed with a mono source to create a stereo output. Apply pitch shift or time compression to room impulse responses to change the resonance and decay time of the result. ¢ Reversingtheimpulse (clipboard sample) will reverse the attacks of transients in the main sample. ¢« Make your own impulses. Select a sample region, fade it, then copy to the clipboard and Transform Multiply e Usingspeech as one of the sources, itis possible to “speak from within” another instrument (violins, bassoons, cymbals, etc.). Splicing silence to the beginning or ending of sounds will change the spectral characteristics of the result. E-MU Systems 7 - Editing a Sample Sample Edit Tools @ The output of any filter is the convolution of the input signal with the filters impulse response. m= The E-MU Transform Tool Kit sound bank contains samples designed for use with Transform Multiplication. 193 7 - Editing a Sample Sample Edit Tools > To Transform Multiply 1. Select aharmonically rich sample, or short region of asampleand copy it to the clipboard (Edit Menu, Copy or Ctrl+€). 2. Select another sample and highlight the region you wish to process. 3. Select Transform Multiply from the Sample Edit menu or by clicking the tool button. jj, The following pop up dialog box appears. Transform Multiply™ Cancel 4. Intensity sets the ratio of effect to original sound. (In this case, the original sound is the second sample you chose, not the oneon the clipboard.) For radical sound transformation set this value to 100%. To perform reverb convolution, choose a somewhat lower value such as 20-30%. 5. Press OK to Transform the two sounds. Convert to Mono or Stereo Converts a stereo sample to mono or amono sample to stereo. Converting to stereo duplicates the sample on both sides and slightly detunes them. >» To Convert between Mono and Stereo 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. This function only operates on the entire sample so there is no need to sdecta region. 3. Press the Convert Mono-Stereo button. When converting mono to stereo, the sampleis simply duplicated. When converting from stereo to mono, the following dialog box appears. Stereo to Mono 4. Adjust the mix of left and right signal in the new mono sample 5. Select OK to perform the conversion or Cancel to cancel the operation. 6. Usethe Undo function (Ctrl4Z) in the Edit menu if you aren’t happy with the results. 194 Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools Sample Rate Convert Sample Rate Conversion digitally changes the sample rate from 8000 Hz to 100 kHz. Sample Rate Conversion can be used to match the sample rate for use in other applica- tions or to decrease the memory size of a sample. Sample Rate Conversion can also be used for exactly matching the sample rate to a multiple of the sound's frequency for perfect single cycle loops. Set the built-in sample calculator to the note you want to loop and it automatically calculates the number of samples in a single cycle loop. Next, adjust the sample rate until you get close to an integer value for the single cycle loop. Set the loop length to this value when you go to loop it. >» To Change the Sample Rate 1. Click onceon asampleicon in the Tree to select it for editing. The waveform display appears. 2. You can only change the sample rate of the entire sample so there is no need to select a region. 3. Press the Sample Rate Convert button. The following dialog box appears. Sample Rate Convert Original sample rate: | 25000 Hz Newsnet: EEG = Calculator Length: | 21931 samples Key: [C3 | Loop length: | unlooped | Single cycle: | 168.562 | 4. Select thenew sample rate. The sample’s new length is displayed. ¢ If you want to create a single cycle loop, set the calculator’s Key fied to match the pitch of the sample and adjust the new sample rate until you get an integer number. Use this value as the loop length when you loop the sample. 5. Sedect OK to perform Sample Rate Conversion or Cancel to cancel the operation. 6. Usethe Undo function (Ctrl+Z) in the Edit menu if you aren’t happy with the results. E-MU Systems 195 7 - Editing a Sample Sample Edit Tools Xtractor The Xtractor is a new audio manipulation tool that can cut or boost audio levels based on stereo position and frequency. If a song was mixed using stereo panning, this tool allows specific instruments or vocals to be removed, isolated, or pitch shifted. The Xtractor needs a stereo sample to work correctly since it uses the stereo position to isolate audio parts. Applications ¢ Vocal elimination/vocal isolation ¢ Change the gain of specific instruments within a complex mix ( remix a song) ¢ Correct out-of-tune vocal parts in a completed song ¢ Isolate a specific instrument or vocal for processing, then return it to the mix e Mix analysis - find out how a song is mixed ¢ Unique special effects creation > Using the Xtractor typically involves these easy steps: 1. Select an appropriate stereo sample (typically, complete songs with several instru- ments or vocal parts panned across the stereo field.) 2. Audition using the Position and Frequency controls to determine the stereo position and frequency range of the element you wish to extract. 3. Usethe Gain control to isolate, diminate or change the gain, or use the Pitch control to shift the pitch of the selected element. Xtractor Block Diagram Brick Wall Filters Position Selector Shifter Extract Focus Low High Pitch Gain Position Width Cut Cut Transpose The Xtractor allows you to select a stereo position and frequency range and then change the pitch or gain of this selected range. Complete Audio Mix High — wee. “i A flashlight sweeping across the stereo mix is a good analogy for what the Xtractor does. It highlights audio information based on stereo position and frequency. 196 Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools Position Select Frequency Select Gain Pitch Shift Controls Controls Control Control Extractor Select Process [ox | Pan Frequency Position Low High Cancel Focus Width — 100 oB 0 cents 10 Hz | 20000 Hz I¥ Normalize [~ Crossfade Audition Sweeps the Sets the beam width Prevents Smoothes Use to “Tune” Pan Position of the “Flashlight” Overload Transitions the Pan Position Xtractor Controls Control Function Position to | This control selects the center point of the stereo position you wish to Extract gain change. 0% = full Left; 50% = Center; 100% = full Right This control sets the width of the Position to Extract region. The focus Focus width is adjustable from 1% to 32%. With the Position to Extract set to Width 50% and the width of 20%, the Extract Region would include instru- ments panned from 40% to 60% around center. Turn Audition on, set the Gain to 100%, then experiment with the musition Selection controls to find the audio you wish to extract. Filter Autoplay | This feature automatically turns Audition on when Extract is first selected. After the desired stereo position has been selected, the filters are used to Filters zero in on the desired material. Frequencies BETWEEN the slider settings will be selected for gain adjustment. This is an extremely steep highpass filter adjustable from 0 to 9999 Hz. Selected Bs cial Only the frequencies ABOVE this setting will be selected. Resguenlss This is an extremely steep lowpass filter adjustable from 0 to 20 kHz. Filter Fuge Only the frequencies BELOW this setting will be selected. This important control allows you to apply subtle or extreme gain Gain changes in the selected stereo position and frequency range. A setting of +100dB extracts the selection; -100dB eliminates the selection. Frequencies between the slider settings will be selected. This control allows you to change the pitch of the selected stereo position and frequency range. The range of the pitch shifter is +1200 cents (+ 1 octave) in 1 cent steps. Pitch Change This feature prevents the sample from being clipped when extreme Normalize | amounts of Gain are applied. When using small Gain amounts, you might want to turn this function off. E-MU Systems 197 7 - Editing a Sample Sample Edit Tools Xtractor Controls Control Function A slight crossfade is normally applied at the edges of a processed section Crossfade | of audio to prevent abrupt tonal shifts. This box should normally be checked (on). When working with audio loops, turn crossfade off. Sweep This function is intended primarily as an analysis tool, but can also create unusual special effects. Sweep automatically adjusts the Position to Extract control over the course of the selected sample region. For example, with the Position to Extract control set to 0% and with Sweep set to +100%, the Position to Extract will sweep from full left to full right as the sample plays. Vocal or Instrument Isolation/Elimination The Xtractor is the perfect tool if you want to isolate a particular instrument or vocal from the mix. First, you need to find out where the audio is located in stereo and frequency space. With Audition on and the Gain set to 100% adjust the Position, Width and Frequency controls until you hear the audio you want being isolated. (Make sure that the Sweep control is set to 0 - no sweep.) Because the Gain is set to +100 GB, the audio that falls within the parameters will be boosted higher than everything ese. The Normalize On checkbox prevents the signal from clipping because of the extreme gain change. The Crossfade On checkbox smooths the transition between processed and unproc- essed audio sections. Extractor Select Process Pan Frequency Gain Position Low High Focus Width 100 3 [ 0 cents Audition | 114 Hz | 6145 Hz IV Normalize IV Crossfade I Autoplay To Isolate selected Audio from a Mix . If Autoplay is on you'll hear audio as soon as the Xtractor window appears. If Autoplay is off, press the Audition button. . Set the Gain to 100dB and make sure Sweep is set to 0%. . Adjust the Position, Frequency and Focus Width controls for the best possible isolation of the instrument you want. To bring up the instrument in the mix, use less extreme Gain change settings (+6 dB to 412 dB). Turn off Normalize After for small gain changes. . Press OK and listen to the file. . Undo and try again if you’re not satisfied with the result. 198 m You can also try to locate the audio you want to isolate by using attenuation (a negative gain value). Instead of listening for a boost, wait for the audio to disappear as you adjust the Width and Frequency controls. Emulator X3 Reference Manual > To Eliminate selected Audio from a Mix 1. Follow the instructions above, except set the Gain to -100 dB. 2. To bring down the instrument in the mix, use less extreme Gain change (-6 GB to -12 dB). Turn off Normalize After for small gain changes. & To Pitch Shift selected Audio in a Mix 1. Follow the instructions for isolating audio, except change the pitch instead of changing the gain after you have isolated the desired audio part. 2. Turn Normalize Off. If the pitch shifted audio islower in volume, you may want to boost the Gain (using the Gain control) by a few GB. »& To Process a Vocal and then Return it to the Mix This trick allows you to completely remove a vocal (or other element of a mix), completely reorocess it, and then return it to the mix. This technique is perfect for Mash-ups and is loads of fun! 1. Make TWO copies (Duplicate) of your sample. Start work on Duplicate #1 - Isolate the Vocal 2. Turn Normalize on. 3. Crank up the Gain to +100 dB. 4. Find the vocal using the Pan control (narrow the focus using Low and High Filter eg. to avoid bass guitar / kick drum / cymbals). 5. Press OK to process, leaving only the vocal in #1. Start work on Duplicate #2 - Remove the Vocal 6. Leave all the controls the same, except... 7. Turn down the Gain to -100 dB. 8. Press OK to process it, renoving the vocal, leaving everything dsein #2. 9. Modify the vocal in sample #1 to meet your liking. Put it back together 10. Select All (of #1), and Copy to clipboard. 11. Go to sample #2. 12. Move cursor to start of sample. 13. Paste, using Mix Mode/ Equal Power. E-MU Systems 7 - Editing a Sample Sample Edit Tools = Tip: Changing the pitch by a few cents can create add chorus or flange effects to the selected instrument. 199 7 - Editing a Sample Sample Edit Tools A Visual Mix Analysis A visual mix analysis allows you to visually plot the position of each instrument as the cursor sweeps across the sample section. > To Analyze a Sample 1. Select a stereo sample in the Sample Edit window. 2. Magnify the waveform using the Zoom button below the display if necessary. 3 . Select the region of the sample you wish to analyze. (Choose a short section for your initial experiments to shorten processing time.) 4. Press the Extract button. The Extract dialog box appears. 5. Set the controls as shown below and click OK to analyze the selected section. Process Gan Wich Visual : Analyze | Mode it Settings nS [ae ew Tore A Mz | 20000 Normalize Iv 6. Press Play (spacebar) and listen carefully as each instrument jumps out as the cursor sweeps across its position in the mix. Visualize the sample section asa diagram showing the stereo positions of each instrument. In the example below, the Vocal is positioned at about 92% to the right and its Focus Width is about 12%. Left Center Right 0% 10 20 30 40 50 60 70 80 90 100% ! phar se =i é ; rg Ne *FOCUS « ‘Width? After analysis, playing the sample section allows you to see and hear the exact stereo position of each element of the mix. 7. After you have identified the position of the instrument or vocal you want to process, press Undo (Ctrl4Z) to return the section back to normal. 200 Emulator X3 Reference Manual 7 - Editing a Sample Sample Edit Tools IMPORTANT NOTE about the Region Page and Editing Samples If you’re using the Regions feature in the Voices and Zones window, you should keep the following in mind: If aregion contains only a part of the sample, DO NOT edit the samplein the Sample Editor (e.g. Time Stretch, Sample Rate Convert, etc.). Doing so will cause region infor- mation to become incorrect. This does not apply if a region contains the entire sample. Since regions contain the entire sample by default, this is only a potential issue if you have created a region. To ensure aregion containsan entiresample, you can always Alt- click the sample region bar to restore the region to its default setting. For moreinformation on regions, see “Region Page” on page 115. E-MU Systems 201 7 - Editing a Sample Batch Processing Batch Processing You can run most of the sample edit tools on multiple samples at once. This includes Export and External Edit. You can perform the following operations on multiple samples at once: e Reverse ¢ Adjust Gain * Convert to Mono/Stereo ¢ Normalize ¢ Swap Channels ¢ DC Filter ¢ Convert Sample Rate Time Compress/Expand Pitch Shift ¢ Bit Reduction Transform Multiply ¢ Beat Analysis ¢ Export e External Edit > To Batch Edit a Group of Samples 1. From the Sampler Tree on the left, click the Samples folder. 2. In the paneto the right, select the samples you want to process. Hold the Shift key while clicking to select contiguous samples, or hold the Ctrl key while clicking to sdect multiple non-contiguous samples. 3. Either: * Click the operation in the toolbar that you want to perform on the selected samples. e From the Samples menu, select the operation you want to perform on the selected samples. Right-click the selected samples, and select the operation you want to perform on the selected samples. 4. |f the operation requires more information, the appropriate dialog appears. Whatever settings you choose affect all the sd ected samples. For more information on each operation, see “Sample Edit Tools” on page 185. 202 (2) Presets Ba] series -{) Multisetups Emulator X3 Reference Manual 7 - Editing a Sample Looping and Loop Processing Looping and Loop Processing Looping is a technique that can extend a sound’s length indefinitely. It is based on the fact that many sounds start off with a complex attack transient, then settle down to a comparatively steady sound. Although an Emulator X sample can have multiple loops, most sampled instrument presets only usea single loop. Multiple loops are generally used for special effects or for the TwistaLoop function as described on page 209. For an aural example of how looping works, listen carefully to a plucked guitar string. The first part of the sound consists of a complex mixture of pick noise and several harmonics; then the string quickly decays down to a steady repetitive tone. Since the latter part of the waveform is repetitive, you can mark off aloop of the repetitive section, and play that looped section for as long as the key is held down. After playing to the end of the loop, the sound jumps back to the beginning of the loop and plays through the loop again. This process repeats until you release a key. If the “Loop-in- Release” function is On, the sound continues to loop until the volume dies away. [)compress loop Truncate after loop Crossfade Length samples seconds u oO | 9.000000 | Type @lLinear © Equal Power E-MU Systems 203 7 - Editing a Sample Looping and Loop Processing Crossfade Looping Crossfade Looping fades between the beginning and end of the loop so that as the end fades out, the beginning fades in. This virtually diminates the clicks and pops that can occur with other types of looping. Sound data from around the loop start point is faded into the sound data around the loop end point so that the data at those loop points is identical. The maximum allowable crossfade length is based on the distance from the start point of the sample. (Move the start point toward the end of the sample to allow a longer crossfade.) You can select linear crossfade or an equal power curve. Source Data faded in & out with this data ~ Loop Start Loop End In the diagram above, a sine wave is crossfaded with silence to show the fade-in and fade-out. In an actual crossfade loop, both signals would be crossfaded together. Truncate after Loop Discards any information after the loop end pointin order to conserve memory. Loop Compression The looped section of the sample can be compressed, which “evens out” any changes in amplitude. Changes in amplitude can cause “breathing” effects, thumping or clicks. Amplitude Variations in Loop After Loop Compression ih ¢ Crossfade Size: (Crossfade Loop) This function smoothly crossfades between the waves on either side of the loop so that the waveform at the loop point is identical. Since Crossfade Looping alters the sound data, you may noticetimbrel or amplitude variations. A size of 0.00 disables crossfade looping. ¢ Crossfade Type - Equal Power: This is a weighted crossfade that produces no apparent level shift, and is the commonly used mode. ¢ Crossfade Type - Linear: This provides a straight mathematical crossfade. Use linear mode with samples whose splice points are already close to optimum, such as a sample that has already been auto correlated. 204 m Use larger crossfade loop sizes with complex sounds; shorter sizes when you simply want to mask a slight tick in the loop. Emulator X3 Reference Manual 7 - Editing a Sample Looping and Loop Processing Loop Settings These controls allow you to turn looping On or Off, sect whether the Loop in Release function is On or Off, select the current loop, lock the loop length, turn triplet playback On or Off and dial in the selection start and end points with sample accuracy. There is also an overall tempo display. i ee ee ee Cr CCS em ||) | Loop Button This button enables or disables looping. You'll be happy to know that if you loop a sample and turn the loop off, the loop pointers remain exactly where you set them when the loop is turned back on (even after saving). Loop in Release Button With Loop in Release off, the sample stays in the loop as long as the key is hdd, and plays the sound data after the loop when the key is rd eased. With Loop in Release on, the sample renains looping when the key is rdeased. Loop Select This field selects the current loop when multiple loops are defined. For more infor- mation about multiple loops see “Using Loops” on page 217. Lock Button The Lock button fixes the loop length at its current value. Thisis a handy feature when you have found the correct loop length and are looking for a better start point. The lock button is also very useful for creating groove loops and single cycle loops. Select Loop This tool automatically selects the region between the loop markers for the currently selected loop. Select Loop is available from the toolbar button or by selecting it from the Sample Edit pull-down menu. Select All This tool automatically selects the entire sample. Select All is available from the toolbar button Ey or by selecting it from the Sample Edit pull-down menu. No Snap Selections made in the Sample Edit window will not snap to any boundaries when this option is active. No Snap can be enabled from the toolbar button gi or by selectingit from the Sample Edit pull-down menu. Snap To Marker Sdections made in the Sample Edit window will snap to Loop Markers, Note-Onsets, or Beat Markers when this option is active. Snap To Marker can be enabled from the toolbar button 8 or by selecting it from the Sample Edit pull-down menu. E-MU Systems 205 7 - Editing a Sample Looping and Loop Processing Snap To Zero-Crossings When this function is on, sample selections made by dragging or clicking in the waveform display will automatically snap to the nearest zero-crossing points when the mouse button is released. For stereo samples, the zero-crossing is determined by the nearest zero-crossing on either channel. See also “Zero Crossing” on page 208. Turn this function on, either by pressing the Toolbar button {zg or by sdecting it from the Sample Edit pull-down menu. Adjustments to the selection using the keyboard, and menu command selections are not affected by this switch. The switch holds its setting for each sample. Background: Zero Crossing Threshold The Zero Crossing Threshold determines how close to zero a sample has to be to qualify as a zero crossing. This allows more points to be selected as zero crossings. To qualify as a zero crossing, the wave must have passed through the zero line since the last selected zero crossing and the sample must lie inside the zero crossing threshold. 27 ,428| 27 ,430) 27,432] 27,434 27,436) 27,438] 27,440] 27,442) 27 444) 27, In the example on the right, the samples marked in red will be selected as zero crossings. See also “Zero Crossing” on page 208. > To Change the Zero Crossing Threshold 1. Enable “Show Zero Crossing Threshold” from the Display menu, or by pressing the toolbar button. [Z 2. Press the Vertical Zoom button until you can see the Zero Crossing Threshold Markers on the left side of the waveform display. 3. Dragthemarkers apart to select more zero crossings. PLace them closer together to exclude more zero crossings. Delete Unused Samples When creating a cu