Emulator Composite.book - Creative

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8 - TwistaLoop Analyzing Beats In the Sample Edit Window 3. Enter the Tempo Range, Tempo Variation, Beats per Bar, and Meter. 4. Click Create note markers and Create beat markers. 5. Click OK. When analyzing, it helps to have some idea of the sample’s original tempo and time signature. See below for a description of what these values mean. Tempo Range (BPM) This is the estimated tempo of the sample. You can enter values between 40 and 240 BPM (Beats per Minute). Normally, beat Analysis correctly identifies a tempo. Beat Analysis is even more accurate if you have an idea of the sample’s original tempo. In most cases, a range of 60 to 180 BPM is fine, but you can always narrow this value and re-analyze the sample. When narrowing the value, try to choose a tempo range that encompasses your estimated tempo, but leaves room on either side. For example, if you think the tempo of your sample is around 100 BPM, you might select a range of 90 to 110. Tempo Variation Some samples are more rigid in tempo than others. Set the Tempo Variation depending on how well-timed your sample sounds. Normal For samples with a small to moderate variation in tempo. Fast Use for a sample that contains sudden or drastic changes in tempo. Constant Use for short samples with rigid tempos. Beats per Bar Sets the time number of beats per measure. You will probably want to use the number of beats per bar that the original sample used. However, you can achieve some interesting loops if you change this. Tip: 60 BPM is one beat per second, so if you have no idea what the original tempo is, you can at least use that as a guide. 188 <strong>Emulator</strong> X2 Operation Manual
Meter When analyzing a sample, shorter notes (or “pulses”) are recognized as either sixteenth note or triplet rhythms. The Meter setting determines how the analysis will treat these notes. Auto Automatically determines what type of rhythm the sample uses. If you analyze your sample and are dissatisfied with the results, try selecting Duple or Triple. Duple Treats shorter notes as straight 16th notes. Use duple to guarantee that all short notes will be recognized as 16th notes. Triple Treats shorter notes as part of a triplet. Use Triple for samples that have a shuffling rhythm. Create note markers Creates Note Markers when Beat Analysis is performed. Create beat markers Creates Beat Markers when Beat Analysis is performed. Viewing Your Analyzed Sample After you run Beat Analysis on your sample, Beat Markers and Note Markers appear on the ruler above the sample. The idea here is that Beat Analysis looks at your sample, and intelligently divides it into beats and notes. Each beat marker is assigned a bar number and beat number and depending on your tempo granularity settings, a tempo. The following diagram illustrates how this works: Bar/Beat Tempo Beat Marker Note Marker Triplets On/Off Sensitivity Beats/Percentage 8 - TwistaLoop Analyzing Beats In the Sample Edit Window Unless you are analyzing imported files, such as REX file, that already contain note onset markers, you should probably leave this box checked. E-MU Systems 189
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E-MU Systems 1
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Table of Contents 1 - Introduction
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Transpose & Volume ................
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Tips for Using Chorus .............
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Convert to Mono or Stereo .........
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4-Band EQ .........................
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13 - Appendix .....................
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1 - Introduction & Installation Int
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Install the Emulator X Sound Banks
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Setting up the Preferences The pref
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Sample Buffers This control allocat
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VST Output Buses This control is on
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Controllers This is where you set u
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Undo •History size - The maximum
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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
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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
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Overview Section The bottom portion
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Direction For each voice (or zone i
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Mix/Tune Page Volume, pan, directio
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To Layer Voices and Samples The ran
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Velocity Window Page The Velocity W
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Set up the Voices 2. Select the Rea
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Continuous Controller Window Pages
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Cycle Groups The Cycle Group destin
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Cycle 3 Crossfading This next examp
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Region Page The Region window allow
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For example, if you set the sensiti
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Details Page Mute/Solo Group Select
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Expand Voice This function takes ap
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Links Links call up additional pres
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Mix/Tune Window This window allows
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6 - Voice Processing Voice Processi
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Oscillator Pitch Bend Range These t
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Glide Rate & Curve Glide is a smoot
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To Setup the Volume Envelope as an
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The chart below lists all the displ
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Sync Key Sync or Free Running. With
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Function Generators The function ge
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Modify the Sequence & Play 8. Click
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Modulation Destinations The followi
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Filter Controls You can choose from
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Filter Name Order Type Description
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Programmable Morphing Filters There
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
Page 187: 8 - TwistaLoop Introduction TwistaL
Page 191 and 192: 1/8 Sensitivity Fine-Tuning Your An
Page 193 and 194: To change the Tempo Granularity, ch
Page 195 and 196: Using Loops Once you create some lo
Page 197 and 198: Loop Speed and Tempo The speed at w
Page 199 and 200: Loop Select (Jump) If you want to j
Page 201 and 202: Multisample Voices and Looping You
Page 203 and 204: 4. Set the TwistaLoop Speed to 100%
Page 205 and 206: Select a region between two beat ma
Page 207 and 208: Looping Doesn’t Occur You’ve de
Page 209 and 210: 9 - Effects Overview In addition to
Page 211 and 212: 7. Select one of the Effects from t
Page 213 and 214: FX Routing Make sure that you are t
Page 215 and 216: Main Output Window The Main Output
Page 217 and 218: Controlling the Preset Effect Amoun
Page 219 and 220: Preset FX Screen All effects have a
Page 221 and 222: Effects Listing Reverb Delay (mono)
Page 223 and 224: Parameter Description LF Damping Lo
Page 225 and 226: Chorus / Delay This effect is a com
Page 227 and 228: The Ratio control determines how st
Page 229 and 230: Ping Pong, stereo This mode cross-c
Page 231 and 232: Delay (BPM) The BPM Delay is simila
Page 233 and 234: 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
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Pitch Shifter (mono) The pitch shif
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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
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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 &
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Toolbar Functions Standard Tools Up
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MIDI Implementation Chart MIDI Info
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MIDI Implementation Chart (part 2 -
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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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