Akai S950 Manual del operador descargar pdf (Pagina 78)

ADVANCED APPLICATIONS

We have now covered the basic operation procedures on the 5950 but there is

so much more that we can do with samples and programs once they are in the

instrument. This section will take you through some of the more advanced

possibilities available on the 5950. In EDIT PROGRAM you can create all

sorts of keyboard splits and layering effects and the various processing

possibilities allow the creation of chorus and other effects.

CREATING A SPLIT KEYBOARD

Sometimes it is desirable to have two separate sounds on the keyboard where,

for example, you have a bass guitar sample on the bottom two octaves and a

piano sound on the top three octaves. This is easy to achieve and is simply

an extension of the mufti-sampling procedure where you have anumber of

samples assigned to different key ranges in keygroups.

To create this split keyboard, create a program with, say, 7 keygroups in

it. Move to Page 05 and set the keygroups thus:

KG1 - Bass sample - low key CO 24, hi key B2 62

KG2 - Piano C3 - low key C3 60, hi key E3 64

KG3 - Piano G3 - low key F3 65, hi key Ax3 70

KG4 - Piano C4 - low key B3 71, hi key E4 76

KG5 - Piano G4 - low key F4 77, h! key A#4 82

KG6 - Piano C5 - low key 84 83, hi key E5 88

KG7 - Piano C6 - low key F5 89, hi key G8 127

You can see that the bass sample covers the bottom octaves to B2 and the

multi-sampled piano takes over at C3 up through the top octaves of the

keyboard. (This, of course, is only an example - your samples may be

different and require different keygroup assignments.)

Another application of this technique is to layer the bass sample over the

bottom octaves of the piano. To do this, make a copy of your piano program

and simply create another keygroup !n Page 03 and assign that from CO to B2

as above. The only difference here is that the original piano bass notes will

sound with the bass guitar sample creating a more forceful bass end.

This keyboard split technique can be extended to include a three way keyboard

split with perhaps a bass synth on the bottom two octaves, a string sound

over the next two octaves with a lead line sound or some orchestral hits on

the top octaves - you could even have a few drums on a few notes (i.e. bass

drum on C1, snare on D1, hihat on El and a cymbal on Fi) with the bass guitar

spanning G1 to B2 - the possibilities are almost unlimited.

LAYERING SOUNDS

It is easy to layer samples on top of each other within the 5950 to create

rich chorus effects or composite effects.

All you have to do is to make exact copies of keygroups and then, in Page 06,

detune them slightly using fine tune.

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Akai S950 Manual del operador Pagina 78