Akai S950 User Manual

WARNING

Power requirements

Power requirements for electrical equipment differ from area to area. Please ensure

Precautions

FOR CUSTOMERS

WO CORE FLEX

that your machine meets the power requirements m your area. If in doubt. consult a qualified electrician. 120V. 60Hz for USA and Canada 220V. 50Hz for Europe except UK 240V. 50Hz for UK and Australia

What you should know to protect yourself and the Akai S950.

Watch out! You might get an electric shock

Never touch the plug with wet hands. Always pull out by the plug and never the cord. Only let a qualified professional repair or reassemble the Akai S950. An unauthorized person might touch the internal parts and receive a serious

electric shock. Never allow a child to put anything, especially metal, info the Akai S950.

Let's protect the Akai S950 too.

Use only a household AC power source. Never use a DC power source. If water is spilled on the Akai 5950, disconnect rt and call your dealer. Make sure that the Akai S950 is well ventilated and away from direct sunlight. To avoid damage to the internal circuits and the external surface, keep away from heal (stoves, etc.).

Avoid using spray type insecticide near the Akai S950. It can damage the finish

and might ignite suddenly. To avoid damaging the finish, never use denaturated alcohol, paint thinner or other similar chemicals to clean the Akai S950.

Place the Akai 5950 on a flat and solid surface.

To enjoy the Akai S950 for long time, please read this operator's manual thoroughly.

Should a problem persist, write down the model and serial numbers and all pertinent data regarding warranty coverage as well as a clear description of the existing trouble. Then, contact your nearest authorized Akai Service Station, or Akai Electric Co., Ltd.. Quality Assurance Dept., Service Section m Tokyo. Japan.

The lightning flash with the arrowhead symbol superimposed across a graphical representation of a person, within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous volts"" within the product's enclosure: that may be of sufficient. magnitude to constitute a risk of electric shack.

The exclamation point within an equilateral triangle Is Intended to

alert the user to the presence of important operating end maintenance (servicing) Instructions fn the literature accompanying the appliance.

IN THE UK

IMPORTANT FOR YOUR SAFETY

The flex supplied with your machine will have two wires, as shown m the illustration.

IMPORTANT

The wires in this mains lead are coloured in accordance with the following code: Blue: Neutral Brown: Live As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured blue must be connected to the terminal which is marked with the letter N or coloured black. The wire which is coloured brown must be connected to the terminal which is marked with the letter L or coloured red.

Do not connect any wire to the larger pin marked E or down when wiring a plug. Ensure that all terminals are securely tightened and that no loose strands of wire exist.

Warning -- This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance with the manufacture's instructions, may cause interference to radio and television- reception. It has been type tested and found to comply with the limits for a Class 8 computing device in accordance with the specifications in Subpart J of Part 15 FCC Rules. which are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. If this equipment dose cause interference to radio or television reception. which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

Reorient the receiving antenna Relocate the computer wish respect to the receiver Move the computer away from the receiver Plug the computer into a different outleet so that computer and receiver are on different branch circuits.

If necessary, the user should consult the dealer or an experienced radio/ television technician for additional suggestions. The user may find the following booklet prepared by the Federal Communications Commission helpful:

"How to Identity and Resolve Radio-TV Interference Problems"

This booklet is available from the U.S. Government Printing Office.

Washington, DC 20402. Stock No. 004-000-00345-4.

"This digital apparatus does not exceed the Class B limits (a radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications"

AKAI S950 SAMPLER MANUAL - INTRODUCTION

Welcome to the Akai S950 Digital Sampler. This versatile instrument provides the flexibility associated with more expensive machines yet is easy to use once you become familiar with its operation. It took many months of intensive development to produce the S950 and it will take some time and practice for you to master this advanced instrument but the reward for your efforts will be the opportunity to make creative and exciting music using the latest in sampling technology.

No-one can deny the impact sampling has had on the way we make music - it could be argued that it is as revolutionary as the invention of the synthesizer itself. The Akai S900 was the first sampler that brought affordable, studio quality sampling in an easy to use and flexible rack mounting format to many musicians and studios the world over becoming an industry standard by which all other samplers were compared. The new S950 !s the successor to that sampler and combines the benefits of improved technology with all the best features and software updates of the S900 plus all those features that people wanted to see on the S900 such as higher bandwidth, expandable memory, etc.. We are sure you will enjoy using your S950 for many years.

But first, let's take care of the unit.

If the unit is going to be kept in a rack full of other equipment in a studio, it's a good idea to make sure there is some ventilation around it if you can. This can be done by leaving a 1U gap on top of the S950- which can be filled in with a blank rack panel. This will prevent any overheating of the unit. If you are going to be transporting the S950, especially if you are gagging with a band, we recommend the use of a sturdy flight case to protect your investment. Once again, if it's in a rack with other gear, leave a gap. If you don't have a flight case, you can use the box the unit came in when transporting your S950.

When you are transporting the S950, ensure that either the supplied disk protector or a blank disk is inserted in the disk drive to protect the disk drive's delicate heads.

If the unit gets dirty, you can clean it with a warm, damp cloth and some mild detergent but do not use any strong solvents or you will ruin the finish.

If your S950 develops a fault, there are no user serviceable parts inside so don't open the unit up in the unlikely event of anything going wrong. This will invalidate your warranty as well as potentially damaging the instrument further. You may also get an electric shock. Please refer the unit to your local Akai dealer who will have it repaired by an authorized repair center.

If any liquid is spilled into the instrument, turn !t off at the mains supply do not try to switch it off at the front panel as you may get an electric shock. Do not open it up to try and clean it but take it to your local Akai dealer.

Under no circumstances open the unit up if it is connected to the mains supply even if the unit is switched off as you may get an electric shock.

There are a variety of options available for the S950 which are discussed later. To fit these, please take your instrument to your local Akai dealer who will either fit them for you or will arrange for an authorized service center to fit them. Trying to fit them yourself will invalidate your warranty. Similarly, any modifications you might make to your S950 will also invalidate your warranty.

To avoid damage to the internal circuits and the casework, ensure that the S950 is kept away from heaters, radiators, stoves. etc..

Never let a child put anything, especially metal, into the S950. Also, keep children away from the polythene bag that the unit is wrapped in.

Although the S950 has been built to withstand the many rigours of the music business, it is a precision instrument that must be treated as such. Look after your new instrument and it will look after you providing you with years of reliable service.

GETTING

STARTED

You are probably impatient to hear your new sampler so let's connect it up.

Referring to Fig. 1, connect the MIDI OUT of a suitable keyboard to the MIDI IN on the S950 using a standard 5 pin DIN cord. Preferably, to take full advantage of the S950's expressive capabilities, the MIDI keyboard should have pitch bend, modulation wheels and touch sensitivity but don't worry if it hasn't. Naturally, we recommend the use of the Akai MX76 master keyboard but any MIDI controller can be used including guitar-MIDI converters, wind controllers such as the Akai EWI or EVI or a MIDI drum controller.

Now take a standard Jack-to-Jack lead from the MIX OUT socket on the rear of the S950 to the LINE input of a mixer or amplifier. If you are using a standard guitar amplifier, connect the lend to either the input on the front of the amp marked 'HI' or, better still, have n look round the back of the amp to see if there is an input marked 'AMP IN' which will bypass the amplifiers preamp and so reduce the possibility of distortion. If you are using a hi-fi amp, then you will probably need to use a hack-to-phono lead and connect the S950 to the AUX input on the amp.

FIG. 1 Connecting the S950

Making sure that the amplifiers volume control is right down and the S950 is switched off, insert one of the disks supplied with the S950 with the label facing upwards. Push gently until the disk locks in place - the push tab will pop out from below the disk drive when it has been properly inserted. Now turn the S950's power on - the disk will automatically load. While that is happening, you may like to adjust the contrast control to the left of the display for the most legible display.

This should take around 40 seconds depending on how much data is on the disk and the red light on the disk drive will be lit and you will hear some clunking and whirring noises from the S950 as the disk contents are loaded. This is normal so don't worry!!

CAUTION: UNDER NO CIRCUMSTANCES MUST YOU REMOVE THE DISK WHILE THE RED LIGHT IS ON AS YOU MAY DAMAGE THE DISK OR THE DRIVE. NEITHER MUST YOU TURN THE S950'S POWER OFF WHILST A DISK IS LOADING.

After the disk has loaded, you are ready to play your S950 so turn up the volume on the amplifier and play a few notes on the keyboard - you should now hear a sound. To see what other sounds are in the S950, simply turn the grey CONTROL wheel anticlockwise to scroll through the programs. When you want to change the sound, simply type in the appropriate number using the blue keypad. Repent that process to select the other sounds.

Once you've heard all the programs on chat disk, you can select another disk so turn the amplifier volume down, take out the first disk you put in by pressing the push tab below the disk drive and switch the S950 off.

Now insert another disk as described above and turn the samplers power back on. After 40 seconds of more clanking and whirring, turn up the amplifiers volume because you are ready to listen to the sounds on the second disk scrolling through the different programs using the data wheel as described above and selecting different programs by typing in the relevant program number. You can repeat this whole procedure for the remaining two disks.

S950 - AN OVERVIEW

The S950 is a digital sampler that has 16-bit processing and 12-bit sampling with a maximum sampling rate of 48kHz. As well as allowing you to use any of the large library of S900 sounds you can also use sounds from the S1000 sample library and double density or high density disks can be used for storing samples. The S950 enables you to sample and play sounds with astonishing clarity and dynamic range and because the bandwidth is variable up to 19.2kHz, you can be sure that high frequencies are faithfully reproduced.

The basic memory is 750K (which is expandable to 2.25Meg) and the basic sampling time is variable between over a minute at reduced bandwidth to ,lust over nine seconds at full bandwidth. Furthermore, bandwidth is totally variable allowing you to squeeze as much sampling time as possible out of your S950.

The S950 also has 8 individual monophonic audio outputs which can be used with drums. and percussion and other instruments for separate processing, EQ and balancing of individual sounds on a mixer. There are also left and right outputs for pseudo stereo effects.

The maximum number of samples you can have in memory at ones is 99 but that depends on how long the samples are of course. You can also have as many as 198 programs.

No sampler would be complete without extensive editing facilities and the S950 is no exception. As-well as the usual looping facilities, the S950 has an effective AUTOLOOP facility to take the drudgery out of looping end it also has CROSSFADE LOOPING for obtaining smooth, glitchless loops. There are also splicing facilities for merging two or more samples together and double speed MIDI increases the communication speed of sample dumping over MIDI which is invaluable if you feel the need to use a computer for visual editing of samples.

There are- also extensive program editing facilities such as envelope shaping, filtering; pitch sweep and LFO effects as well as a two positional velocity switch function and positional crossfade functions.

Several new features include a 'load while play' function on the disk drive so that you can be loading new sounds from disk whilst you play. The S950 is also the first sampler in its price range to feature TIMESTRETCH which enables you to lengthen or shorten s sample by as much as 999% without any change in pitch.

Other features include PRETRIGGER RECORDING which allows you to sample sounds without losing the all important initial attack transients and the AUTOMATIC LOCATING OF START POINT function allows easier editing of a samples start point.

Several options are also available for the S950 including an ATARI/SUPRA and CD/DAT INTERFACE BOARD (IB105) which allows larger storage and faster disk access and also enables sampling to and from a CD or RDAT machine for increased audio fidelity. The internal memory can also be increased using up to two MEMORY EXPANSION BOARDS (EXM006) which allow maximum internal memory capacity of 2.25 Meg giving you a maximum sampling time of nearly 30 seconds at full bandwidth and over three minutes of sampling at the lowest bandwidth setting.

The most important thing about the S950 is that, despite the incredible

ich will be new to you and there may even be a few surprises.

versatility of the instrument, it is very easy to use and won't interfere with your music making. Naturally, you would rather play with your new instrument than read a manual but please, read the manual sometime. Even if you've been an S900 user for some time, there is still information in here

S9500

BASIC SAMPLING ARCHITECTURE

Before we explore the workings of the S950, let us first see how it functions as there are n few things you need to know about which will make your understanding of the instrument a lot clearer.

There are basically two things you can have in the S950 - SAMPLES and PROGRAMS. A sample is a digital recording of a sound. The sound can be anything from a car crash to a flute. Once you have a sample or a collection of samples in the S950, you want to be able to play it from the keyboard (or any other MIDI controller such as a MIDI drum, guitar or wind controller or a MIDI sequencer). To do this, the sample<s> must be placed in KEYGROUPS and these allow you to map the sample out across the keyboard within a PROGRAM.

FIG. 1 Basic sampling architecture of the S950 - samples into keygroups

mapped out across the keyboard range within a program

The simplest program you can create is to have one sample that spans the entire keyboard range. Alternatively, you could assign that one sample to dust one key or you could have any number of keygroups assigned to individual keys with separate samples in each of them. You could also have a program which uses two samples, one spanning the bottom two octaves, the other spanning the top three octaves. It is also possible to have two samples in one keygroup each of which are sounded using keyboard dynamics where soft keystrikes plays the one sample and hard keysstrikes play the other - this !s known as VELOCITY SWITCHING.

Having done that, each keygroup can have its own envelope shaping, filtering, fine tuning, vibrato and pitch sweep effects, individual output assignment and each keygroup can have its own MIDI channel and even the simplest sample can be radically transformed within a program. Furthermore, because any changes made to an individual samples keygroup within a program do not affect the actual sample data itself but are only sound processing functions, you can have many, many variations of one sample to create an even greater range of sounds which can be recalled at the touch of a button.

But, how does all this work? Let's find out.

USING THE S950 - THE BASICS

There ere 8 basic modes on the S950 which are selected using the 8 buttons that run underneath the display. These are PLAY, REC, EDIT SAMPLE, EDIT PROGRAM, MIDI, UTILITY, DISK and MASTER TUNE. These are all fairly self explanatory and their basic functions are as follows:

PLAY - This selects the program you wish to play. Different programs can be viewed using the large grey CONTROL wheel and selected by typing in the appropriate number on the blue keypad. Alternatively, programs can be recalled via MIDI from the connected MIDI keyboard.

REC - This is where you do your sampling. There are a number of 'pages' in this mode which you can scroll through using either the CONTROL wheel, the keypad or the PAGE UP/DOWN buttons to the right of the blue keypad. In this mode you can name a sample, set sampling time and bandwidth and set the key onto which the sample is to be recorded.

EDIT SAMPLE - This also has a number of pages which are similarly selected using the CONTROL wheel, the keypad or the page up/down buttons. This is the mode where you can tune a sample, edit the start and end of a sample, reverse the sample, loop a sample, splice two samples together and stretch or compress samples. In this mode, also, you can copy, delete and rename samples.

EDIT PROGRAM - This !s the mode-in which you can map out your samples across the keyboard as well as add envelope shaping, filtering and fine tuning. You can also add a special pitch sweep feature called WARP and, in this mode, you can set things like LFO,. MIDI channels, individual output assignments, etc.. You can also copy, rename and delete programs. This mode, too, has a number of pages which are selected as above.

MIDI - As you would imagine, this allows you to set the 'global' MIDI parameters of the S950 such as its basic receive channel, pitch bend and other MIDI related parameters.

UTILITY - This allows you to program an Akai ME35T audio/drum pad-MIDI converter for triggering samples.

DISK - This allows you to select different disk drive operations such as loading and saving.

MASTER TUNE - This allows you to fine tune the S950 to other instruments.

The other controls on the front panel of the S950 include the large grey CONTROL knob. This is used for a variety of purposes depending what mode you are in. It can be used to scroll through displayed programs or it can select pages in the different modes. It can also be used for data entry and for naming samples and programs.

There is also a large 0-9 keypad which can be used to input data whilst the 8 buttons to the right of .the keypad enable you to move the cursor around the screen using the ARROW/CURSOR < and > buttons, to select pages using the PAGE UP/DOWN buttons. There are two ON/OFF buttons which also double as +/- keys for certain applications and there are two keys to allow you to name samples and programs. Finally there the ENT button which 'is used to enter data and the PB or 'playback' button which can be used to play back a sample without the need to use a MIDI keyboard or controller.

GETTING ROUND THE S950

Behind the deceptively simple control panel of the S950 lies a wealth of features. As we have seen, the main functions of the S950 are accessed simply by pressing the required button. After that, each mode (with the exception of PLAY and MASTER TUNE) have n number of 'pages' or sub-modes which give you access to further functions.

Accessing any of these pages is simple: select any of the page driven modes you wish to work in (i.e. REC, EDIT SAMPLE. EDIT PROGRAM, MIDI, etc.) by pressing the appropriate button underneath the main LCD display. To go to another page, you can either press the PAGE DOWN button located to the right of the blue keypad or you can scroll through the pages using the CONTROL knob. In EDIT SAMPLE, EDIT PROGRAM. MIDI, UTILITY and DISK, because the pages are actually numbered, when the cursor is in the top left hand corner of the LCD display (i.e. flashing on the page number), you can type in a two digit number on the blue numeric keypad which will take you straight to the page you wish to work on. To further help you with this type of page access, there is a chart underneath the mode buttons which list the most commonly used pages in EDIT SAMPLE, EDIT PROGRAM and DISK. As you become more familiar with the S950, you will be skipping back and forth between pages almost instinctively.

To further help you with programming and editing, there is a button marked 'Space' to the right of the keypad. This has two functions. In the 'letter' mode, it is used to enter a space into a name (see ENTERING NAMES) but, when you are in any of the main modes of operation it allows you to switch between two positions very quickly. This is done by going to a page-in any of the modes and making some form of data entry.' Now move to another page and make another data entry. By pressing the space button, you will be taken back to where you made your first data entry and pressing the space button again will take you to the place where you made your second data entry.

Data entry in all modes can be made in any number of ways. Some functions require a numeric input - this can be done using the CONTROL knob or the blue 0-9 keypad. Some functions allow only keypad entry of data whilst others require that you use the ON(+)/OFF(-) buttons. To get to any of the data entry fields in any of the pages, you use the CURSOR > button located to the top right next to the keypad to move -left to right across the LCD display. You can also use the CURSOR < button to move back a field (i.e. right to left). When you are in the field in which you want to make your change, you enter data using any of the methods described above.

Don't worry if this all seems complicated as this manual will take you through these functions step by step and soon you will discover how easy it is to create your own samples and programs on the S950.

Of course, there's more to it than that and so we will take you through each mode, control and function in greater detail so that by the time you have read through all this, you will have a greater insight to the fantastic creative possibilities offered to you by the S950.

USING THIS

MANUAL

This manual has been written to provide you with all the information you need to fully exploit the facilities on your S950. The sections are not dealt with in any operational order but deal with the eight basic modes of operation as the buttons appear from left to right. Of course, this may not necessarily be the order in which you wish to use the S950 so simply refer to the mode you wish to learn about.

At the end of the manual are 'KWIKREF' charts. One is summarized step by step guide to using the most commonly used pages in the various modes for quick and--easy reference, the other is a guide to optimum bandwidth settings for sampling. There is also an ADVANCED APPLICATIONS GUIDE for more advanced uses of S950 functions. For newcomers to the exciting world of sampling and MIDI, there are also brief explanations of these principles.

Let us now look at the various modes of the S950 and their respective functions.

ENTERING NAMES

You will need to name samples and programs when you begin to create your own sounds. The S950 allows you to name sounds of up to 10 upper case characters using ell letters in the alphabet. Numbers 0-9 can be used in a name as well and you can also include certain symbols such as #, + and -. It is also possible to insert spaces in a name.

You will need to name a sound in the REC mode (i.e. when you create a new sample), in EDIT-SAMPLE and in EDIT PROGRAM. In the REC mode, you must give a new sample a new name otherwise the original sample will be overwritten. In EDIT PROGRAM, you will need to copy an existing program to use as the basis of a new program so you will need to enter a new name in this mode as well. It is only in EDIT SAMPLE that the need to write new names is not so necessary as the sample name is usually defined in the REC mode. Having said that, it is often desirable to rename a sample.

So, how do you enter names on the S950.

You will notice that there is a button to the right of the keypad called 'Letter'. Pressing this button turns the S950 into a simple typewriter and you then use the CONTROL knob to scroll through the alphabet. The CONTROL knob also gives you access to the numbers 1 to 9 although numbers are more easily entered using the blue numeric keypad. You can also enter a space in the name using the CONTROL wheel but there is also a button marked 'Space' which does this more easily. You can also use the two buttons marked ON(+) and OFF(-> to enter + and ° signs whilst the CONTROL knob allows you to enter a # symbol as well.

To enter a name in any of the above modes, you hit the 'Letter' button and choose the first character of your name as described above. You then hit the CURSOR > button to advance the cursor to the next character where you select your new character. Press the CURSOR right button again to move to the next character and choose a new character and repeat this whole process until you have entered the name you have chosen. When you have done this, hit the ENT button to enter the name into the S950's memory.

If, at any time, you make a mistake, you can backstep through the name using the CURSOR < button and change the character.

PLAY MODE

This is probably the easiest mode to get to know and as good a point to start as any. Basically, it is the mode where you can see what programs-are in the S950 and it is where you can select any one of them.

To view all the programs, simply turn the large grey CONTROL wheel - this is called 'scrolling' and will effectively move the programs in memory across the display. You can now select the required program by typing in a number on the blue keypad or via MIDI. When you select a program, the program is shifted to the far left of the display and the cursor flashes at the selected program somber.

If there are more than 9 programs in memory, the display will prompt you to type in a two digit number, even if the program you wish to select is numbered less than 10. For example, if you want to select program 4, type in 04 and if you want to hear program 13, type in 13 - it's as simple as that If your S950 has less than 10 programs you only need to type in the one digit.

If you wish to select programs from your keyboard using MIDI, simply press the required program number on the MIDI keyboard. For example, if you want to hear program 12, press memory location button 12 on the keyboard's front panel. All being well, program 12 will be automatically selected on the S950 on the screen.. Naturally, if you select program 64 on your keyboard but there aren't 64 programs in the S950, nothing will happen. and the S950 will stay on the last selected program.

Note: It is possible to glue a program any MIDI program number you wish In EDIT PROGRAM. In other words, even though a program may be number 3 on the S950's display, It !s possible to assign a MIDI program number of 46 to that program so that recalling program number 46 on. the MIDI controller will call up program 3 on the S950. For further information refer to EDIT PROGRAM.

TROUBLESHOOTING

There can be occasions where something you do on the S950 does not select the required program. This can be for a number of reasons.

For example, it could be that you have ten or more programs in memory and you only typed in a one digit number in which case the S950 will stay on the last selected program.

It could be that you select a program correctly but there is no sound. This can be for a number of reasons. Firstly, the S950 may be switched to MIDI OMNI OFF and the program itself may be on a different MIDI channel to the one you have selected on the keyboard. To get round this problem, you can either press MIDI on the S950 and switch OMNI to ON so that the S950 responds to all channels (for more information refer to MIDI FUNCTIONS) or you could change the transmitting channel on your keyboard. Alternatively, you could edit the programs MIDI channel in EDIT PROGRAM (for more information see EDIT PROGRAM).

It may be that selecting a different program number on your keyboard has no effect on the S950. This can be for two reasons. Firstly, your synths ability to transmit program change information has been switched off. Alternatively, the S950 has been set not to respond to program changes in the MIDI mode. In' either case, switch the program change facility on the controlling keyboard or the S950 to ON (please refer to the section MIDI FUNCTIONS to find out how to do this on the S950).

Another reason for this is that the program has been assigned a different MIDI program number in EDIT PROGRAM (see above). To change this, please refer to EDIT PROGRAM.

Finally, if everything has been set up correctly but you are still not getting a sound, please check the following:

Is the audio lead from the S950 to the amplifier or mixer alright?

Is the amplifier volume turned up - is the amplifier actually turned on!! It can happen, even to professionals!! Alternatively, if you are using a mixer, is the mixer channel fader up or is the correct mixer channel fader up? Are the master faders up?

Is the MIDI keyboard switched on and is the MIDI lead connected properly? Is the MIDI lead broken? If the MIDI keyboard and the MIDI connections are working properly, the little red MIDI monitor LED to the right of the main display on the S950 will light whenever !t receives any MIDI.

Does your keyboard transmit MIDI volume controller number 07? If it does, it could be that it has been inadvertently turned down which has remotely turned the S950's volume down. If this is the case, you will have to turn the keyboards MIDI volume control up (note: this is not to be confused with

the keyboards master volume control - MIDI volume will more then likely be present on the controlling keyboards date entry slider). Once you have done

this, go to the MIDI function on the S950 and turn the function marked VOLUME to OFF to prevent it happening again (please refer to MIDI FUNCTIONS).

And if all this is beginning to sound difficult, don't worry as we shall take you through all these other functions very soon. Besides, if you are only using the disks supplied with the S950 and loading them as described in GETTING STARTED, you shouldn't be experiencing any of these problems.

SAMPLING ON THE S950

USING THE RECORD FUNCTION

This is the mode where you actually sample your own sounds into the S950. Many people are frightened by the process of sampling but it is not very difficult as you shall see.

To sample on the S950, plug either a microphone into the MIC input or, if you are using a line level signal such as a synthesizer, another sampler, a tape or cassette deck or electric guitar, use the LINE Input. Now press the button marked 'REC'.

The first page you have when you press REC displays:

NAME OF SAMPLE TO BE RECORDED

If there are no samples in the S950 the display will rend:

NAME OF SAMPLE TO BE RECORDED

TONE

If other samples are present, the display could read any one of those sample names:

When you are sampling, you must always give the new sample a new name that is different from any other samples name currently in memory. Failure to do this will result in existing samples being overwritten.

To name a sample, press the button marked 'LETTER' which is to the right of the blue keypad. You can now enter a name for your new sample scrolling through the alphabet and numbers 1-9 using the grey CONTROL knob. Spaces can be inserted using the SPACE button to the right of the keypad and you can also use '+' and '-' characters in a name by pressing the ON(+) and OFF(-> buttons. When you have done that, hit the button marked 'ENT' next to the blue keypad to enter the new samples name.

Note: It is good practice to include useful Information in a samples name such as the pitch of the sample or, if it's one sample of several similar samples, to give a numeric value. An example would be: VOICE 1 C3 or PIAN04 F2. In this way, when you are editing a sample, you know exactly what it is.

Now move to the next page by pressing the page down button found to the right of the blue keypad. The display will read:

NAME OF SAMPLE TO BE MONITORED

Monitor

This page allows you to hear the sound you are sampling through the MONO MIX output on the back of the 5950. It is also possible to monitor the new sample in context with an existing program. This will be covered in more detail in the ADVANCED APPLICATIONS section.

Now go to the next page pressing the page down button. This will display:

AUDIO SOURCE: Analog input (1),

Digital fibre optic (2), Phono (3) #

where '#' Indicates the current input source selection.

The default setting for this page is 1 - Analogue input (l. e. the MIC or LINE input socket on the front panel of the S950). If you are using the IBI05 HARD DISK/CD DAT INTERFACE board, you can select 2 or 3 which will allow you to sample directly from the CD or RDAT's digital or fibre optic output (please refer to the IB105 documentation for information on this).

Using the 'page down' button, go to the next page which will read:

DIGITAL AUDIO

CD 44kHz (1), DAT 32kHz (2), 48kHz (3) #

where '#' is the current selection.

These parameters relate entirely to the IB105 option so please refer to the interface's documentation for more information on using this page.

Now move to the next page using the page down button. The display will read:

AUDIO BANDWIDTH (3000Hz to 19,OOOHz) ##,###

where '##,###' is the selected bandwidth.

Here you can set the bandwidth for the sound you are about to sample. You can enter a number directly from the keypad by typing a 5 digit number or you can use the CONTROL knob although this is a lot slower. Higher bandwidth settings will give the sound better high frequency response aid the sound will be brighter but this also takes up more memory than lower bandwidth settings. To conserve memory, use the minimum bandwidth necessary for an acceptable sound quality. You may like to refer to the OPTIMUM BANDWIDTH 'KWIKREF' chart at the back of the manual for a guide to particular instruments optimum bandwidth.

Having set the bandwidth to your requirements, press ENT to enter the data. Now move to the next page where the display will read:

RECORDING TIME (250mS to ##,###mS) ^^,^^^mS

where ##,### is the maximum sampling time allowed by the remaining memory and where ^^,^^^ is the currently selected amount.

Note: the maximum sampling time available (##,###) depends on the bandwidth selected in the previous page end on how much memory has already been used for other samples.

To set the sampling time, enter a 5 digit number using the keypad and press ENT. You can also use the CONTROL knob but, again, this is a lot slower. Use the minimum time possible to capture the whole of the sound you wish to sample.

Note: if you have the memory expansion board fitted, it is possible to enter e 6 digit number as the maximum sampling available is much larger.

Once you have entered your sampling time, you can move to the next page. This will read:

PITCH OF SOUND BEING RECORDED: ##

where ## is the currently selected value (the default value is C3).

You can now change this parameter if you wish by simply pressing the appropriate note on the connected MIDI keyboard or controller. You can also use the CONTROL knob but keypad entry is not possible.

When you have done this, go to the next page which will read:

START SAMPLING WITH - Any key (1)

Footswitch (2), Audio level (3)

where # indicates the current selection (default is 3).

Here you can use the keypad to enter a number as follows: 1 = sampling begins when you hit any key on the keypad. 2 = sampling begins when you press a footswitch connected to the S950's REC/PB footswitch input on the front panel. 3 = sampling begins when the incoming signal exceeds a threshold level set on the next page.

The most commonly used mode is 3 - Audio level and, as the default is set for this, you do not normally need to change anything so you can go to the next page which will read:

KNOB SETS TRIG LEVEL. ANY KEY WHEN READY

T .......

In this page, the lower half of the display now serves as a bar-graph input level meter to indicate the incoming signal level. The 'T' Is the THRESHOLD level and is set using the CONTROL knob. The idea is to set the threshold relatively low so that, as soon the incoming signal exceeds the level set by the 'T', sampling begins but be careful not to set it too low so that sampling is falsely initiated by background noise or whatever. Similarly, do not set it too high as you may miss part of the sounds attack, especially if the sound has a slow attack.

You must now set the record level. To do this, play the sound you wish to sample and adjust the REC LEVEL control on the front panel. You ideally want to set it so that the bar-graph display is just touching the series of dots in the bottom right of the display. These dots indicate overload and driving the signal too far into this region of the display will cause distortion.

To hear the incoming signal, adjust the MONITOR LEVEL control on the front panel. (NOTE: YOU WILL ONLY HEAR THE INCOMING SIGNAL THROUGH THE S950 IF THE

MONO MIX OUTPUT IS USED.)

Once you are satisfied with the incoming signal level, hit any key on the blue keypad and play the sample. As soon as signal level exceeds the threshold, sampling will begin. When you do this the display will change. The top half of the display will be filled with arrows as sampling time elapses. Note that the 'T' also changes to a '#'. Once the sampling is completed, you will be returned to the above display.

You can now play the sample by playing a note on the connected MIDI keyboard or controller. If you don't have a keyboard or controller connected, you can go to the next page which will display:

HIT ENT TO PLAY

and pressing ENT will cause the sample to sound for its entire duration.

You have just successfully sampled a sound.

You will have noticed from all this that most of the pages are set up with the most sensible option as the default setting. You always have to give a new sample a new name but, apart from that, the only main things you will probably need to change are bandwidth, sampling time and the pitch at which the sample is to be recorded. In this way, you can sample your own sounds quickly and easily, often ignoring many of the pages.

TROUBLESHOOTING

There isn't much that can go wrong when in the REC mode but anything is possible!

For example, it could be that you do not get any level from the sound you wish to sample when you adjust the S950's record level control. This could be for a number of reasons.

1. Check that the input source on the S950 is correctly set. If you are using the MIC or LINE inputs, make sure that you are not switched to '2' (Fibre optic) or '3' (Phono) but that the display reads '1' (Analog).

2. Is the lead connected to the mic or line input alright? Change it if in doubt.

3. Is the microphone switched on or is the volume from your line level sound source turned up?

4. Is the REC LEVEL control up?

It might also be possible that you cannot monitor the incoming signal through the S950. This could also be for a number of reasons.

1. You can only monitor the incoming signal through the MONO MIX output. You will not be able to monitor anything if you are using either the LEFT, RIGHT or INDIVIDUAL outputs.

2. Is the MONITOR LEVEL control up? Is the amplifier on or turned up or are the mixers channel or master faders up?

Once you've sampled a sound, you may find that it is not playing back properly or even at all. If this is so:

1. Check that the MIDI keyboard or controller is connected properly and that the MIDI lead is o. k. Also check that it is on the same MIDI channel as the S950 (see TROUBLE SHOOTING In PLAY).

2. Check that the output audio from the S950 lead is alright and that the amplifier and/or mixer is working properly.

3. If the sound is muffled, check that the bandwidth was set sufficiently high before you sampled the sound. If it wasn't high enough, change the bandwidth and resample the sound.

4. If the sound is at all clipped or too short, check that the sampling time was set sufficiently long enough.

5. If the sound is distorted, check that it wasn't overloading the S950. This can be done by returning to the functions that dealt with level setting and play the original sound again to check levels.

6. If 5 checks out o. k., !s the S950 overloading the mixer and/or amplifier or is the amp overloading the speakers? Of course, to check for distortion, remove any effects such as EQ, echo or reverb that may be present on the mixer and/or amplifier.

All being well, you should not experience any of these problems and so you can now edit the sample you have dust taken.

EDIT SAMPLE

The next button along is marked EDIT SAMPLE and. not surprisingly, this is the mode in which you edit your samples and where you can change the start and end points of a sample, reverse the sample, loop the sample, splice two samples together and compress or stretch a sample. You can also copy, rename and delete a sample as well as tune a sample and change its basic pitch. This is all' accomplished using a page driven system as in the REC mode.

The first page you encounter when you press EDIT SAMPLE reads:

>01 #Select. Copy ########## SAMPLE #Rename, Delete (-) ############# where ########## is the currently selected sample name.

This page allows four options and you can select a sample for editing, copy a sample, rename a sample and delete a sample.

To select a sample, press the 'cursor >' button (found to the right of the blue keypad) once so that the cursor is flashing on the top line on the first letter of the sample name. Using the grey CONTROL knob, you can scroll through the samples present in the S950's memory. Once you have found the sample you wish to edit, press ENT.

To copy a sample the cursor must be at the same' place as above and all you need to do is press the LETTER button and name a sound as described in REC and ENTERING A NAME. Once this has been done, press ENT.

To rename a sample, select the sample to be renamed as described above and press ENT then, by pressing the 'cursor >' button once, move the cursor so that it is flashing on the first character of the sample displayed on the bottom line of the LCD display (this should be the same as the sample name in the top line). Now press LETTER and give the sample its new name as described above. When you have done that, press ENT and the top line will change to display the new samples name.

To delete a sample, making sure the cursor is on the too line; first select the sample to be deleted and press ENT. Now move the cursor to the bottom line using the 'cursor >' button and press the '-' button followed by ENT. This will delete the currently selected sample from memory. (Note that this

procedure is destructive and unless you have saved the sample to disk, this sample will be lost forever. We suggest that, unless you are absolutely positive about deleting the sample, you save it to disk before deleting it from the S950's memory just in case.)

You can now move to the next page using the 'page down' buttons. The next page will display:

>02 Select program Monitor

This is the same as the page we found in the REC mode and it allows you to monitor either the sample directly or in context with a program. The most common mode is 'monitor' but, if you want to edit the currently selected sample in conjunction with the program in which it is placed, press the 'cursor >' button to move the cursor one position and scroll through the programs using the CONTROL wheel (refer to the ADVANCED APPLICATIONS GUIDE for more information on this).

Move to the next page using the 'page down' button. It will display:

>03 #Loudness #Nom pitch #Fine pitch

+00 C3 60 +00

This page allows you to adjust a samples level, its basic pitch and its fine tuning.

LOUDNESS: This is where you can adjust the level of the sample so that it matches the level of other samples taken. To change the value, move the cursor one position using the 'cursor >’ button so that the cursor is flashing on the + character and use either the CONTROL to enter a new value or type in a + or - value using the ON(+) or OFF(-) key in conjunction with the keypad.

Note: This value is a velocity based parameter. If you set the value to +50, there will be no change in level with varying velocity dynamics. Similarly, with the setting at -50, velocity dynamics will be extreme... Note also that these values do not represent dBs but are purely an arbitrary volume unit.

NOM PITCH: This value was set in REC and represents the note on which the sample was placed in REC. To change it, move the cursor one position to the right using the 'cursor >' button so that it is flashing on the first character and use the CONTROL knob to raise or lower the pitch in semitones. You can also use the keypad for data entry here.

Note: If you are using the PB button to playback the sample, a higher note number will actually produce a lower pitched sound and vice versa. This is because as the sample gets higher in pitch, the PB button sends out the same note lC3) and so the sample will actually get lower in pitch.

FINE PITCH: This is used to fine tune samples and can be effective if you are taking a lot of samples from instrument such as piano so that you can ensure that all samples are in tune with each other. To fine tune your sample, move the cursor so that it is flashing in this field using the 'cursor >' button and change the data using the CONTROL knob or a + or -value using the ON(+) or OFF(-) buttons and a numeric entry on the blue keypad.

The next page will display:

>04 #REPLAY MODE One shot (1)

Looping (2), Alternating (3) #

where # is the current selection (default for new sample is 1).

A sample may be played back in three ways. ONE SHOT plays the sample from start to finish and will then stop. LOOPING will play the sample from start to finish and wi11 then repeat a part of the sample as set on Page 8 for as long as a note is held down on the keyboard. ALTERNATING is similar to LOOPING except that the looped portion of the sound will play back from beginning to end and then from end to beginning - this can be useful with rich, ensemble sounds where there will sometimes be glitching. This backwards/ forwards looping can help to smooth them out. In both loop modes, the loop length can be as long as the entire sample or as short as one single cycle of the waveform. For more information on looping, see the section ABOUT LOOPING later on. in this section.

To select the mode, move the cursor one position right using the 'cursor >' button and make your selection using the CONTROL knob or the keypad.

Now go to the next page using the 'page down' button. This will display:

>05 #TIME DIRECTION Normal (1), Reverse (2) #

where # is the current setting (default is 1).

This page allows you to set whether the sound is played normally or backwards. Try setting it to '2' to hear the sound reversed. To do this, press the 'cursor >' button once and then press 2 on the keypad.

Now go to the next page by pressing the 'page down' button. It will read:

>06 START POINT #Coarse #Fine #AUTO

( 0 - ##,###) 0,000 01

where ##,### is the maximum position to which the start point can be adjusted.

This page allows you to edit where the sample begins its playback.

Sometimes, it is desirable to remove part of the front of a sample. This can be due to unwanted noises or too slow an attack or possibly a delay between the time .when the sampling was initiated and the time the sound was sampled. To change the start point, move the cursor one position to the right using the 'cursor >' button. It should be flashing on the first character displayed under 'Coarse'. By moving the CONTROL knob, adjust this value and, by playing a repeated notes on the keyboard as you make your adjustment, listen to the results - you will hear the attack being removed with higher settings. The next field, 'Fine' which can be selected by moving the cursor one position to the right using the 'cursor >' button is for fine adjustment of the start time. In both coarse and fine fields, the data can be input using the CONTROL knob or the keypad.

The AUTO field enables the S950 to automatically search for the start point of a sample and the numeric value represents the signal level threshold of the start point. To use the AUTO function, simply move the cursor to the AUTO field, enter the start point level you wish the S950 to search for (01 is the default and will find the lowest start point signal level whilst setting 99 will search for the highest start point signal level) and press the ENT button.

Assuming you have edited the start point to your satisfaction (remember, however, that it is not obligatory to change the start point - if the sample sounds good, leave it alone), you can now move to the next page which will reads

>07 END POINT #Coarse #Fine

(000,100-###,###) 0,000

where ###,### is the maximum position to which the end point can be adjusted.

This is very much the same as page 6 except that here you can edit the end of a sample. This can be useful in getting rid of any noise that may be present at the end of a sample as well as being useful for saving memory. The 'Coarse' field allows you to cutoff the end of the sample in large increments whilst the 'Fine' field allows finer settings of this value.

To edit the end point, move the cursor to the 'Coarse' field and, playing repented notes on the keyboard, try editing the end point and listen to the results. You will hear the sample getting shorter and shorter as you decrease the numeric value. Again, data entry can be via the CONTROL knob or the keypad. For finer resolution of end point editing move the cursor to the 'Fine' field and make your adjustments in the usual way using the CONTROL knob or the keypad.

Before we move to the next pages, we must first discuss some of the intricacies of looping.

ABOUT LOOPING

Because any sample you take on the S950 only lasts a finite amount of time, there will be occasions where you want to sustain that sound longer than the actual sample - this is especially true if the sample is only a second or so I ong as will often be the case. This is further compounded by the fact that a one second sample played en octave up will only lest half a second and, an octave up from that, It will only lest a quarter of a second. To get round this problem, a sampler uses a process known as looping. This is a technique where part of the sample is played over end over again for as long as you keep your finger on the keyboard. For example, say you have a one second sample of a flute. Using looping, you can instruct the S950 to play the sample through to the end and then, while you keep your finger on the keyboard, It can repeatedly play the last half second of the sample. In this way, you would get the breathy attack of the flute followed by a smooth sustained tone. Well, that's the theory - In practice, it can be more difficult.

You see, many sounds, especially acoustic sounds, can have quite varying amplitude levels and these can be difficult to loop because the loop will be ,dumping abrubtly from one level to another giving rise to unpleasant clicks or 'glitches' as they are called in sampling terminology (see Fig. 1). The length of this loop is set using, not surprisingly, a parameter called LOOP LENGTH.

The art of looping is to find two points in the sample which ere of a similar level so that the end of the loop and the start of the loop are matched (see Fig. 2) - this 1s called a ZERO CROSSING POINT. Sometimes, this can be easy to achieve, sometimes it is impossible. To help you with this sometimes tedious task, the S950 has an AUTOLOOP function where the S950's computer will automatically look for a good zero crossing point and loop the sound for you. Sadly, there is only so much a computer can do in the case of a difficult sound end so the S950 has two looping modes which we looked at above on Page 4 of EDIT SAMPLE. Mode 2 - LOOPING - will loop the sound as described immediately above - i.e. the sound will play from start to finish and then ,lump beck to the point in the sound defined by the LOOP LENGTH parameters. Made 3 - ALTERNATING - rill cause the sound to play beck to the end and then, instead of ,lumping beck to the start of the loop, It will play the loop backwards and then it will play it the right way round then backwards then forwards then backwards, etc., for as long as you keep your finger on the keyboard. This is also known as a BACXWARDS/FORWARDS loop and can certainly help in looping sounds that would otherwise be difficult to loop using ,lust the normal looping mode. Figs. I and 2 show the difference between the two modes and you can see how the alternating loop has smoothed out the loop portion of the sound. In conjunction with the AUTOLOOP function described above, good loops ere often easy to ttain. But even this is sometimes not enough to loop certain sounds, especially harmonically rich and varying sounds so the S950 has one further old in the search for the perfect loop celled CROSSFADE LOOPING.

FIG. 1 - Normal looping. Note the abrupt level changes giving rise to 'glitches'

FIG. 2 - Alternating or back wards/ forwards looping of the same sound. Note how the level changes are smoothed out gluing a glitchless loop.

CROSSFADE LOOPING allows you to fade out the glitches that may be present In a loop. Basically, when you employ crossfade looping, the sound plays to the end of the sample and then, instead of the sample jumping back to the start of the loop, the sound begins to fade away as the start of the loop fades in. At the end of the loop, the loop again fades away whilst the start fades in (see Fig. 4) - In this way, the nasty clicks end thumps caused by abrupt amplitude changes at the loop points are faded out enabling a much smoother loop to be created. This mode is certainly the best for attaining a perfect loop end even difficult sounds such as thick strings, brass end vocals, amongst others, can easily be looped and you won't spot the join!

FIG. 3 - Crossfade looping where the start of the loop crossfades with the end of the loop eliminating glitching.

Utilizing all the various looping modes such as AUTOLOOP, ALTERNATING LOOP and CROSSFADE LOOPING, the otherwise arduous task of looping a sound is made a lot easier for you. having said that, some sounds will still be difficult to loop but this Is not a falling of the S950 or yourself but the sound. On occasions, even the wealth of technological assistance That the S950's looping functions offer can encounter sounds that remain stubborn but, as we shall see 1n the ADVANCED APPLICATIONS GUIDE, there are ways to mask the effect of an awkward loop.

Bearing ell this In mind, then, we can now move to the next group of pages which deal with the looping functions on the S950.

Page 08 will display:

>08 LOOP LENGTH #Coarse #Fine #AUTO

<# - #,###) ^,^^^ (ENT)

where '#' is the maximum loop length possible and '^' are the current loop length setting (default on a new sample is 2,000).

Note: To loop a sound, we must first go back to Page 04 of EDIT SAMPLE using the 'page up' button and select either 2 (LOOPING) or 3 (ALTERNATING). You can now return to Page 08 using the 'page down' button.

The various functions in Page 08 are as follows:

'Coarse' allows you to set a rough loop length and 'Fine' allows you to set a finer resolution of loop length. The autoloop function is selected using the ENT button when the cursor is in the AUTO field.

To set a loop, first move the cursor to the Coarse field by pressing the 'cursor >' button once - the cursor will flash on the first number underneath Coarse. You can now set a loop length as long as the figures displayed underneath LOOP LENGTH using either the keypad or the CONTROL knob. To set a finer resolution of loop length, move the cursor one position to the right using the 'cursor >' button and, again using the keypad or CONTROL knob, you can change the data displayed. You might now like to try and play the keyboard to see how it sounds. You should find that the sound will play through to the end and will sustain for as long as you keep your finger on the keyboard but the sustain portion is possibly clicking or thumping or generally glitching. You can now move the cursor to the AUTO field using the 'cursor >' button and by pressing the ENT button, the S950 will search for a better loop. You will note that the loop length you set gets smaller. Try playing the keyboard again and see if the loop has improved. If it hasn't, hit ENT again and the loop length will get smaller as the 950 looks for a better loop. Keep repeating this process until you end up with a satisfactory loop.

Note: It is a good idea to make either a mental or written note of loop lengths that the autoloop may select as the next choice it makes might not be as good as the last and you will be able to return to that loop length 1ater.

It could be, as mentioned. above in 'ABOUT LOOPING', that the autoloop function may not be able to find a smooth loop due to the nature of the sound so it might be wise to try using the ALTERNATING mode instead. If all else fails, you can try using CROSSFADE LOOPING described below.

Let us now move to the next page using the 'page down' button. The display will read:

>09 CROSSFADE LOOP. #Name NEW SAMPLE

X-fade length 32000 #Execute Mem 0%

In this page you can execute a crossfade loop.

To do this you must first make a copy of the sample to be crossfade looped so, using the LETTER button, create a new sample name and press ENT. You can now move the cursor to the X-fade length field using the 'cursor >' button. Data can be input using the keypad or the CONTROL knob. Once you have set the crossfade loop length, move the cursor one position right using the 'cursor >' button and hit ENT. There will be a pause while the 5950 calculates the crossfade loop. To hear the fruits of your labours, hit EDIT SAMPLE to take you Page 01 and select the new sample with the crossfade loop. By playing a note on the keyboard or by pressing the PB button, you should find that your loop has been smoothed out considerably. If it hasn't, delete this sample, go back to the original and then repeat the crossfade loop procedure selecting a different loop length.

Note: Because the crossfade loop function requires that you create a new sample, if the S950 already has a memory full of samples, this may not always be possible and the display will tell you that memory space is full. If this occurs, delete some samples (ensuring that they hove first been saved to disk, If necessary! so that you make room for the new crossfade loop sample. The field marked MEM on Page 09 will tell you how much memory the S950 has available for the creation of a new sample.

The next page displays:

>10 #Resample at half bandwidth (ENT)

#Discard before start, after end (ENT)

This page allows you to make economical use of the S950 memory. The top line allows you to resample the sound at half the original bandwidth and this will free up more memory although the tonal qualities of the sound may suffer. To use this function, simply move the cursor to the ENT field using 'cursor >' and hit ENT - after a short pause, the sample will be available but at half its original bandwidth.

The discard function is similarly executed. Move the cursor to its ENT field using the 'cursor >' button and hit ENT. Anything you have edited out of the sound in Pages 06 and 07 will be erased from memory, thereby freeing up more memory space.

Note: Both of these are destructive functions end there is no way of retrieving the original sample after they have been carried out so it would be wise to save that sample to disk before using this function in case the results are not satisfactory.

The next few pages allows you to merge two samples together to create interesting composite sounds.

Moving to the next page using the 'page down' buttons, the display will read:

>11 SPLICE #2nd sample name SAMPLE 2

X-FADE #New sample name NEW SAMPLE

The top line of the display allows you to select which sample in the S950 memory is going to be used as the second sample in the splice whilst the bottom line allows you to name the new sample that will contain both samples

- like the crossfade looping function, splice crossfade. requires that you create a new sample so make sure you have enough free memory in the S950.

To select the second sample in the crossfade splice, move the cursor to the SAMPLE 2 field using the 'cursor >' button and scroll through the samples using the CONTROL knob. When you have chosen your second sample, move to the NEW SAMPLE field and name the new sample in the usual way.

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