Akai S5000 User Manual download pdf (Page 21)

Version 1.30 19

/ NEW FEATURES

RECORDING SAMPLES FOR USE WITH A PLAYSHEET

No special requirements. However, as they are always played out on C3 within the playsheet, it’s

probably best to record everything at C3.

CREATING PROGRAMS FOR USE WITH A PLAYSHEET

Because the playsheet is only playing one note (C3), multi-sampling is not an issue and multiple

keygroups need only be used when stacking samples on top of each other. For a simple sound

effect, just one keygroup spanning the entire keyboard range with the one sample it need be used.

Alternatively, you could set the keygroup’s keyspan to C3 - C3.

As mentioned, ideally, all samples should be recorded on C3 so that they play at their proper pitch.

If you are loading existing samples from disk and they are playing at the wrong pitch, they should

be edited in EDIT SAMPLE to have an original pitch of C3. Of course, alternatively, you can always

re-tune them within the program itself but this means that every program that uses XYZ sample

needs to be retuned - if XYZ sample is tuned in EDIT SAMPLE to C3, any program that uses won’t

need to be tweaked.

And talking of tuning, a program can contain stacked keygroups and these may be detuned against

each other for a variety of effects. For example, create an instant flange effect simply by stacking

a sample on top of itself and using keygroup or zone fine tune to set the depth of the effect or

create dramatic thunder cues by layering three thunder samples on top of each other, detuning

two for a flange effect and tuning one down an octave to add menacing rumble.

The sound design fun doesn’t stop there! Use the amplitude envelope to create fade in and fade

outs or to crossfade between one cue and other. You can use the filters to create dramatic tonal

changes - for example, use a bandpass filter to create a telephone quality voice effect.

Samples may also be panned anywhere in the stereo image for wide stereo effects - you can even

modulate pan to move a sound around. Samples may also be routed to individual outputs so that

they may be balanced and effected on an external mixing console.

All this and you haven’t even touched the EB20 effects yet!

CREATING A MULTI TO USE AS A PLAYSHEET

Creating a multi for use as a playsheet does not have any special considerations other than only

the first ten parts are used. Apart from that, parts (which will be cues in the playsheet) can be

mixed, panned, sent to individual outputs, tuned, etc., as normal.

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Akai S5000 User Manual Page 21