Emulator Composite.book - Creative

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6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Filter Name Order Type Description AcidRavage 12 REZ Great analog Q 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 Q 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 Q settings. KlangKling 12 SFX Ringing Flange filter. Q “tunes” the ring frequency. 134 <strong>Emulator</strong> X2 Operation Manual
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 A supremely programmable filter with up to six filter sections. Dual EQ Morph A 2-frame morphing filter with two EQ sections and controllable gain. 2EQ Morph + Expression 2EQ Morph + Lowpass Morph This filter contains two EQ sections and a separately controllable lowpass filter. This filter has two EQ sections and lowpass filter tied to the 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 filters with up to six completely programmable filter sections (lowpass, highpass or EQ) and the ability to morph between two completely different frame settings of the six sections. LP EQ EQ EQ EQ HP 1 2 3 4 5 6 Filter Stages Hi Morph Lo Morph Any of the six filter sections can be designated as either a lowpass, highpass, or EQ filter. You can set the filter frequency and Q (or Gain in the case of EQ) for both the low 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 The small Gain knobs control Gain (-24dB to +24 dB) The big Gain Wheel is Gain Offset (-24dB to +24dB) For any given section, the two Gain controls add (clipping at 0 or 100%) HP/LP Stage Gain Controls The small Gain knobs control Q (0 to 100%) The big Q Wheel is Q Offset (-50% to +50%) For any given section, the two Q controls add (clipping at 0 or 100%) 6 - Voice Processing Amplifier, Filter & Auxiliary Envelopes Tip: Set the Gain/Q Wheel in the center while programming your Morph Designer filter, and use the Morph control to sweep the filter. E-MU Systems 135
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E-MU Systems 1
Page 3 and 4:
Table of Contents 1 - Introduction
Page 5 and 6:
Transpose & Volume ................
Page 7 and 8:
Tips for Using Chorus .............
Page 9 and 10:
Convert to Mono or Stereo .........
Page 11 and 12:
4-Band EQ .........................
Page 13 and 14:
13 - Appendix .....................
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1 - Introduction & Installation Int
Page 17 and 18:
Install the Emulator X Sound Banks
Page 19 and 20:
Setting up the Preferences The pref
Page 21 and 22:
Sample Buffers This control allocat
Page 23 and 24:
VST Output Buses This control is on
Page 25 and 26:
Controllers This is where you set u
Page 27 and 28:
Undo •History size - The maximum
Page 29 and 30:
2 - Emulator Architecture This chap
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Multisetup A Multisetup is like a m
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Preset Diagram The diagram below il
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If more than one voice is assigned
Page 37 and 38:
3 - Getting Started Exploring the T
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Changing Presets (from Single View)
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Changing Presets (from the Multicha
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Create Your Own Custom Bank It’s
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Load a New Bank Load up a new bank
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6. This page controls the voices us
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7. Each Cord has its own attenuator
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Using DSP There are a number of DSP
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Pitch Shift 14. Select Pitch Shift
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Find your Files 4. Select the Libra
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4 - Multisetup / Preset Globals The
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To Select Presets by Category 1. Cl
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Output View Button This button allo
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To Use the Limiter 1. Press the Ena
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Filter Override The filter type of
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To Delete a Multisetup 1. Open the
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These parameters affect the entire
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Tuning Tables In addition to the st
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Key CC Window These controls work i
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Preset PatchCords Preset PatchCords
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5 - Voices & Sample Zones Each pres
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Voice Selection In each tabbed page
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Groups Voices can be categorized in
Page 83 and 84: Overview Section The bottom portion
Page 85 and 86: Direction For each voice (or zone i
Page 87 and 88: Mix/Tune Page Volume, pan, directio
Page 89 and 90: To Layer Voices and Samples The ran
Page 91 and 92: Velocity Window Page The Velocity W
Page 93 and 94: Set up the Voices 2. Select the Rea
Page 95 and 96: Continuous Controller Window Pages
Page 97 and 98: Cycle Groups The Cycle Group destin
Page 99 and 100: Cycle 3 Crossfading This next examp
Page 101 and 102: Region Page The Region window allow
Page 103 and 104: For example, if you set the sensiti
Page 105 and 106: Details Page Mute/Solo Group Select
Page 107 and 108: Expand Voice This function takes ap
Page 109 and 110: Links Links call up additional pres
Page 111 and 112: Mix/Tune Window This window allows
Page 113 and 114: 6 - Voice Processing Voice Processi
Page 115 and 116: Oscillator Pitch Bend Range These t
Page 117 and 118: Glide Rate & Curve Glide is a smoot
Page 119 and 120: To Setup the Volume Envelope as an
Page 121 and 122: The chart below lists all the displ
Page 123 and 124: Sync Key Sync or Free Running. With
Page 125 and 126: Function Generators The function ge
Page 127 and 128: Modify the Sequence & Play 8. Click
Page 129 and 130: Modulation Destinations The followi
Page 131 and 132: Filter Controls You can choose from
Page 133: Filter Name Order Type Description
Page 137 and 138: Morph Designer Controls Control Fun
Page 139 and 140: 2EQ + Lowpass Morph Peak/Shelf Morp
Page 141 and 142: Voice Effect Sends Each voice has o
Page 143 and 144: Modulation Sources Source Descripti
Page 145 and 146: Modulation Destinations 6 - Voice P
Page 147 and 148: Summing Nodes All the modulation in
Page 149 and 150: Retune the Sample Move Loop End Poi
Page 151 and 152: Poly Key Assign Groups The Poly Key
Page 153 and 154: Poly Release Trig Release Vel Poly
Page 155 and 156: 7 - Editing a Sample Sample Editor
Page 157 and 158: Exporting & Importing Samples The E
Page 159 and 160: Show Grid Show or hide the vertical
Page 161 and 162: Go to Loop End Positions the cursor
Page 163 and 164: Cut Section The Cut function remove
Page 165 and 166: 4. Choose the paste mode— Insert,
Page 167 and 168: More Information about Paste • Yo
Page 169 and 170: Truncate Truncation shortens a samp
Page 171 and 172: 4. Select the amount of gain increa
Page 173 and 174: Bit Reduction This DSP tool takes y
Page 175 and 176: Pitch Shift Pitch Shift offers thre
Page 177 and 178: To Transform Multiply 1. Select a h
Page 179 and 180: Batch Processing You can run most o
Page 181 and 182: Crossfade Looping Crossfade Looping
Page 183 and 184: Snap To Zero-Crossings When this fu
Page 185 and 186:
Crossfade Looping & Loop Compressio
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8 - TwistaLoop Introduction TwistaL
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Meter When analyzing a sample, shor
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1/8 Sensitivity Fine-Tuning Your An
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To change the Tempo Granularity, ch
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Using Loops Once you create some lo
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Loop Speed and Tempo The speed at w
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Loop Select (Jump) If you want to j
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Multisample Voices and Looping You
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4. Set the TwistaLoop Speed to 100%
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Select a region between two beat ma
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Looping Doesn’t Occur You’ve de
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9 - Effects Overview In addition to
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7. Select one of the Effects from t
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FX Routing Make sure that you are t
Page 215 and 216:
Main Output Window The Main Output
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Controlling the Preset Effect Amoun
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Preset FX Screen All effects have a
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Effects Listing Reverb Delay (mono)
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Parameter Description LF Damping Lo
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Chorus / Delay This effect is a com
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The Ratio control determines how st
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Ping Pong, stereo This mode cross-c
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Delay (BPM) The BPM Delay is simila
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4-Band EQ This 4-band equalizer pro
Page 235 and 236:
Flanger (BPM) The BPM Flanger is si
Page 237 and 238:
Limiter The Limiter sets a “maxim
Page 239 and 240:
Pitch Shifter (mono) The pitch shif
Page 241 and 242:
Ring Modulator Modulation Parameter
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Parameter Description Sync (LFO Pha
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Twin The Twin utilizes two “tube
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10 - Controls This chapter describe
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Changing Settings Entering Numeric
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Selecting Voices using your MIDI Ke
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View Menu Hide Object Numbers Show
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Tree View The Sample, Preset or Mul
Page 257 and 258:
Templates For each module in the Vo
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11 - From Sample to Preset Acquire
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Record Audio Controls Level This co
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To Gate & Chop Samples After record
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10. Click on each of the Region nam
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6. The save to sampler controls all
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To Set Up SynthSwipe 3. Open Emulat
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10. To begin sampling your instrume
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Sort Buttons Selected Samples These
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Build Preset Options These sample o
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12 - Synthesizer Basics This chapte
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Miscellaneous Controllers A-P Any t
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Low Frequency Oscillators (LFOs) A
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The possibilities of clock modulati
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Modulation Processors Modulation pr
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Dynamic Filters Following is a bloc
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Another control found on traditiona
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The Z-Plane Filter A Z-plane filter
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Control MIDI Controller # Routing L
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13 - Appendix The Emulator X File C
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to DOS that represent the Akai form
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EXS-24 files can exist on PC- or Ma
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find where the separate file is in
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Emulator X VSTi Launching the VSTi
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Emulator X 19. In the VST Instrumen
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Keyboard Shortcuts File Menu New...
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Drag & Drop Operations From Drag &
Page 311 and 312:
Toolbar Functions Standard Tools Up
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MIDI Implementation Chart MIDI Info
Page 315 and 316:
MIDI Implementation Chart (part 2 -
Page 317 and 318:
MIDI Implementation Chart (part 2 -
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Index Symbols ~, +, - modulation so
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Delete folder 220 multisetup 67 reg
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tuning tables 71 Keyboard CC Window
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PatchMix DSP, setting up for sampli
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Stop Button, sampling 261 Streaming
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Emulator Composite.book - Creative

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