Emulator Composite.book - Creative

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12 - Synthesizer Basics Dynamic Filters What is a Filter? Most samples are complex waves containing many sine waves of various amplitudes and frequencies. A filter is a device which allows us to remove certain components of a sound depending on its frequency. For example, a Low Pass Filter lets the low frequencies pass and removes only the high frequencies. Amplitude A filter that lets only the high frequencies pass is called a high-pass filter. Amplitude 100 80 60 40 20 40 80 160 360 720 1440 2880 ... Frequency A filter that only lets a certain band of frequencies pass is called a band-pass filter. Amplitude 100 80 60 40 20 100 80 60 40 20 Output of Filter Cutoff Frequency Initial Frequency Filter Output Low Pass Filter 40 80 160 360 720 1440 2880 ... Frequency Center Frequency Filter Output Band Pass Filter 40 80 160 360 720 1440 2880 ... Frequency High Pass Filter A Notch Filter is just the opposite of a bandpass filter and is used to eliminate a narrow band of frequencies. 288 <strong>Emulator</strong> X2 Operation Manual
Another control found on traditional filters is called Q or resonance. A lowpass filter with a high Q would emphasize the frequencies around the cutoff frequency. The following chart shows how different amounts of Q affect the low pass filter response. In terms of sound, frequencies around the cutoff tend to “ring” with high Q settings. If the filter is slowly swept back and forth, with a high Q, various overtones are “picked out” of the sound and amplified as the resonant peak sweeps over them. Bells and gongs are real world examples of sounds which have a high Q. Amplitude Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. <strong>Emulator</strong> X has a selectable 2, 4 or 6-pole low pass filter. The number of poles in a filter describes the steepness of its slope. The more poles, the steeper the filter's slope and the stronger the filtering action. The tone controls on your home stereo are probably one-pole or two-pole filters. Parametric equalizers are usually either two-pole or three-pole filters. In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole filters. Oberheim and E-mu synthesizers were famous for their 2-pole filter sound. Amplitude Low Q Med Q High Q Frequency 6-pole Lowpass Frequency 4-pole Lowpass 2-pole Lowpass Using a filter, we now have a way to control the harmonic content of a sampled sound. As it turns out, even a simple low pass filter can simulate the response of many natural sounds. For example, when a piano string is struck by its hammer, there are initially a lot of high frequencies present. If the same note is played softer, there will be fewer of the high frequencies generated by the string. We can simulate this effect by routing keyboard velocity to control the low pass filter. The result is expressive, natural control over the sound. If an envelope generator is used to control the cutoff frequency of a filter, the frequency content can be varied dynamically over the course of the note. This can add animation to the sound as well as simulate the response of many natural instruments. 12 - Synthesizer Basics Dynamic Filters E-MU Systems 289
Page 1 and 2:
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 .............
Page 9 and 10:
Convert to Mono or Stereo .........
Page 11 and 12:
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
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Morph Designer Controls Control Fun
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2EQ + Lowpass Morph Peak/Shelf Morp
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Voice Effect Sends Each voice has o
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Modulation Sources Source Descripti
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Modulation Destinations 6 - Voice P
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Summing Nodes All the modulation in
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Retune the Sample Move Loop End Poi
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Poly Key Assign Groups The Poly Key
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Poly Release Trig Release Vel Poly
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7 - Editing a Sample Sample Editor
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Exporting & Importing Samples The E
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Show Grid Show or hide the vertical
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Go to Loop End Positions the cursor
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Cut Section The Cut function remove
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4. Choose the paste mode— Insert,
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More Information about Paste • Yo
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Truncate Truncation shortens a samp
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4. Select the amount of gain increa
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Bit Reduction This DSP tool takes y
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Pitch Shift Pitch Shift offers thre
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To Transform Multiply 1. Select a h
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Batch Processing You can run most o
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Crossfade Looping Crossfade Looping
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Snap To Zero-Crossings When this fu
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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
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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
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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
Page 243 and 244: Parameter Description Sync (LFO Pha
Page 245 and 246: Twin The Twin utilizes two “tube
Page 247 and 248: 10 - Controls This chapter describe
Page 249 and 250: Changing Settings Entering Numeric
Page 251 and 252: Selecting Voices using your MIDI Ke
Page 253 and 254: View Menu Hide Object Numbers Show
Page 255 and 256: Tree View The Sample, Preset or Mul
Page 257 and 258: Templates For each module in the Vo
Page 259 and 260: 11 - From Sample to Preset Acquire
Page 261 and 262: Record Audio Controls Level This co
Page 263 and 264: To Gate & Chop Samples After record
Page 265 and 266: 10. Click on each of the Region nam
Page 267 and 268: 6. The save to sampler controls all
Page 269 and 270: To Set Up SynthSwipe 3. Open Emulat
Page 271 and 272: 10. To begin sampling your instrume
Page 273 and 274: Sort Buttons Selected Samples These
Page 275 and 276: Build Preset Options These sample o
Page 277 and 278: 12 - Synthesizer Basics This chapte
Page 279 and 280: Miscellaneous Controllers A-P Any t
Page 281 and 282: Low Frequency Oscillators (LFOs) A
Page 283 and 284: The possibilities of clock modulati
Page 285 and 286: Modulation Processors Modulation pr
Page 287: Dynamic Filters Following is a bloc
Page 291 and 292: The Z-Plane Filter A Z-plane filter
Page 293 and 294: Control MIDI Controller # Routing L
Page 295 and 296: 13 - Appendix The Emulator X File C
Page 297 and 298: to DOS that represent the Akai form
Page 299 and 300: EXS-24 files can exist on PC- or Ma
Page 301 and 302: find where the separate file is in
Page 303 and 304: Emulator X VSTi Launching the VSTi
Page 305 and 306: Emulator X 19. In the VST Instrumen
Page 307 and 308: Keyboard Shortcuts File Menu New...
Page 309 and 310: Drag & Drop Operations From Drag &
Page 311 and 312: Toolbar Functions Standard Tools Up
Page 313 and 314: MIDI Implementation Chart MIDI Info
Page 315 and 316: MIDI Implementation Chart (part 2 -
Page 317 and 318: MIDI Implementation Chart (part 2 -
Page 319 and 320: Index Symbols ~, +, - modulation so
Page 321 and 322: Delete folder 220 multisetup 67 reg
Page 323 and 324: tuning tables 71 Keyboard CC Window
Page 325 and 326: PatchMix DSP, setting up for sampli
Page 327 and 328: Stop Button, sampling 261 Streaming
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