Akai S3200 User Manual

s3200xl

MIDI STEREO DIGITAL SAMPLER

WARNING

To prevent fire or shock hazard, do not expose this appliance to rain or moisture.

Operator’s Manual

WARNING!!

To prevent fire or shock hazard, do not expose this appliance to rain or moisture.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.)

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 voltage” within the product’s enclosure; that may be of sufficient magnitude to constitute a risk of electric shock.

The exclamation point within an equilateral triangle is intented to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

1-En

5A-En

WARNING

The S3200XL is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your S3200XL meets the power requirements in your area. If in doubt, consult a qualified electrician or Akai Professional dealer.

120 VAC @ 60 Hz for USA and Canada 220~230/240 VAC @ 50 Hz for Europe 240 VAC @ 50 Hz for Australia

PROTECTING YOURSELF AND THE S3200XL

• Never touch the AC plug with wet hands.

• Always disconnect the S3200XL from the power supply by pulling on the plug, not the cord.

• Allow only an Akai Professional dealer or qualified professional engineer to repair or reassemble the S3200XL. Apart from voiding the warranty, unauthorized engineers might touch live internal parts and receive a serious electrical shock.

• Do not put, or allow anyone to put any object, especially metal objects, into the S3200XL.

• Use only a household AC power supply. Never use a DC power supply.

• If water or any other liquid is spilled into or onto the S3200XL, disconnect the power, and call your dealer.

• Make sure that the unit is well-ventilated, and away from direct sunlight.

• To avoid damage to internal circuitry, as well as the external finish, keep the S3200XL away from sources of direct heat (stoves, radiators, etc.).

• Avoid using aerosol insecticides, etc. near the S3200XL. They may damage the surface, and may ignite.

• Do not use denaturated alcohol, thinner or similar chemicals to clean the S3200XL. They will damage the finish.

• Modification of this equipment is dangerous, and can result in the functions of the S3200XL being impaired. Never attempt to modify the equipment in any way.

• Make sure that the S3200XL is always well-supported when in use (either in a speciallydesigned equipment rack, or a firm level surface).

• When installing the S3200XL in a 19" rack system, always allow 1U of ventilated free space above it to allow for cooling. Make sure that the back of the rack is unobstructed to allow a clear airflow.

• In order to assure optimum performance of your S3200XL, select the setup location carefully, and make sure the equipment is used properly. Avoid setting up the S3200XL in the following locations:

1. In a humid or dusty environment

2. In a room with poor ventilation

3. On a surface which is not horizontal

4. Inside a vehicle such as a car, where it will be subject to vibration

5. In an extremely hot or cold environment

S3200XL Operator’s Manual - Version 1.00 i

WARNING

THIS APPARATUS MUST BE EARTHED

IMPORTANT

This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows:

1) Remove the fuse cover and old fuse.

2) Fit a new fuse which should be a BS1362 5 Amp A.S.T.A or BSI approved type.

3) Refit the fuse cover. If the AC mains plug fitted to the lead supplied with this equipment is not suitable for your type of AC outlet

sockets, it should be changed to an AC mains lead, complete with moulded plug, to the appropriate type. If this is not possible, the plug should be cut off and a correct one fitted to suit the AC outlet. This should be fused at 5 Amps.

If a plug without a fuse is used, the fuse at the distribution board should NOT BE GREATER than 5 Amp.

PLEASE NOTE: THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE SHOCK

The wires in this mains lead are coloured in accordance with the following code:

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, please proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to the terminal which is marked with the letter E or with the safety earth symbol

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.

HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET ELSEWHERE.

GREEN and YELLOW — EARTH BLUE — NEUTRAL BROWN — LIVE

or coloured GREEN or coloured GREEN and YELLOW.

THIS APPARATUS MUST BE EARTHED

Ensure that all the terminals are securely tightened and no loose strands of wire exist. Before replacing the plug cover, make certain the cord grip is clamped over the outer sheath of the lead and

not simply over the wires.

6D-En

VENTILATION

Do not prevent the unit's ventilation, especially by placing the unit on the soft carpet, in a narrow space, or by placing objects on the unit's chassis—top, side, or rear panels. Always keep the unit's chassis at least 10 centimeters from any other objects.

31C-En

This equipment conforms to No.82/499/EEC, 87/308 EEC standard.

3A-En

CONFORME AL D.M. 13 APRILE 1989 DIRETTIVA CEE/87/308

3B-It

ii S3200XL Operator’s Manual - Version 1.00

WARNING

CHANGES OR MODIFICATIONS NOT EXPRESSLY APPROYED BY THE MANUFACTURER FOR COMPLIANCE COULD VOID THE USER’S AUTHORITY TO OPERATE THE EQUIPMENT.

32-En

FCC WARNING

This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful 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 or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

21B-En

AVIS POUR LES ACHETEURS CANADIENS DU S3200XL

Le présent appareil numérique n’ément pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la Class B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

27-F

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

27-En

FÜR KUNDEN IN DER BUNDESREPUBLIK DEUTSCHLAND

Bescheinigung von AKAI Hiermit wird bescheinigt, daß das Gerät AKAI

S3200XL

in Übereinstimmung mit den Bestimmungen der

Amtsblattverfügung 1046/1984

funkentstört ist. Der Deutschen Bundespostwurde das Inverkehrbringen dieses Gerätes angezeigt und die Berichtigung zur

Überprüfung der Serie auf Einhaltung der Bestimmungen eingeräumt. AKAI ELECTRIC CO., LTD.

17B-G

The AKAI S3200XL is a computer-based device, and as such contains and uses software in ROMs. This software, and all related documentation, including this Operator’s Manual, contain proprietary information which is protected by copyright laws. All rights are reserved. No part of the software or its documentation may be copied, transferred or modified. You may not modify, adapt, translate, lease, distribute, resell for profit or create derivative works based on the software and its related documentation or any part there of without prior written consent from AKAI Electric Co. Ltd, Tokyo, Japan.

S3200XL Operator’s Manual - Version 1.00 iii

WARANTY

WARRANTY

AKAI Electric Co. Ltd. warrants its products, when purchased from an authorized “AKAI professional” dealer, to be free from defects in materials and workmanship for a period of 12 (twelve) months from the date of purchase. Warranty service is effective and available to the original purchase only, and only on completion and return of the AKAI Warranty Registration Card within 14 days of purchase.

Warranty coverage is valid for factory-authorized updates to AKAI instruments and their software, when their installation is performed by an authorized AKAI Service Center, and a properly completed Warranty Registration has been returned to your “AKAI professional” dealer.

To obtain service under this warranty, the product must, on discovery of the detect, be properly packed and shipped to the nearest AKAI Service Center. The party requesting warranty service must provide proof of original ownership and date of purchase of the product.

If the warranty is valid, AKAI will, without charge for parts or labor, either repair or replace the defective part(s). Without a valid warranty, the entire cost of the repair (parts and labor) is the responsibility of the product's owner.

AKAI warrants that it will make all necessary adjustments, repairs and replacements at no cost to the original owner within 12 (twelve) months of the purchase date if:

1) The product fails to perform its specified functions due to failure of one or more of its

components.

2) The product fails to perform its specified functions due to defects in workmanship.

3) The product has been maintained and operated by the owner in strict accordance with the

written instructions for proper maintenance and use as specified in this Operator's Manual.

Before purchase and use, owners should determine the suitability of the product for their intended use, and owner assumes all risk and liability whatsoever in connection therewith. AKAI shall not be liable for any injury, loss or damage, direct or consequential, arising out of use, or inability to use the product.

The warranty provides only those benefits specified, and does not cover defects or repairs needed as a result of acts beyond the control of AKAI, including but not limited to:

1) Damage caused by abuse, accident, negligence. AKAI will not cover under warranty any

original factory disk damaged or destroyed as a result of the owner's mishandling.

2) Damage caused by any tampering, alteration or modification of the product: operating software,

mechanical or electronic components.

3) Damage caused by failure to maintain and operate the product in strict accordance with the

written instructions for proper maintenance and use as specified in this Operator's Manual.

4) Damage caused by repairs or attempted repairs by unauthorized persons.

5) Damage caused by fire, smoke, falling objects, water or other liquids, or natural events such

as rain, floods, earthquakes, lightning, tornadoes, storms, etc.

6) Damage caused by operation on improper voltages.

IMPORTANT NOTE: This warranty becomes void if the product or its software is electroni-

AKAI shall not be liable for costs involved in packing or preparing the product for shipping, with regard to time, labor, or materials, shipping or freight costs, or time or expense involved in transporting the product to and from AKAI Authorized Service Center or Authorized Dealer.

AKAI will not cover under warranty an apparent malfunction that is determined to be user error, or owner's inability to use the product.

THE DURATION OF ANY OTHER WARRANTIES, WHETHER IMPLIED OR EXPRESS, INCLUDING BUT NOT LIMITED TO THE IMPLIED CONDITION OF MERCHANTABILITY, IS LIMITED TO THE DURATION OF THE EXPRESS WARRANTY HEREIN.

AKAI hereby excludes incidental or consequential damages, including but not limited to:

1) Loss of time.

2) Inconvenience

3) Delay in performance of the Warranty.

4) The loss of use of the product.

5) Commercial loss.

6) Breach of any express or implied warranty, including the Implied Warranty of Merchantability,

applicable to this product.

cally modified, altered or tampered with in any way.

iv S3200XL Operator’s Manual - Version 1.00

INTRODUCTION ................................................................................ 1

SINGLE MODE.................................................................................. 25

MULTI MODE - COMBINING SEVERAL PROGRAMS...................................... 39

PROGRAM EDITING........................................................................... 52

FEATURES ......................................................................................................... 2

ABOUT THIS MANUAL........................................................................................... 5

FRONT PANEL..................................................................................................... 6

TAKING CARE OF YOUR DISKS.............................................................................. 8

REAR PANEL ...................................................................................................... 10

SETTING UP THE S3200XL.................................................................................... 13

CONNECTIONS ................................................................................................... 13

LOADING THE DEMO FLOPPY DISKS...................................................................... 14

MOUNTING THE S3200XL...................................................................................... 15

GETTING AROUND THE S3200XL ........................................................................... 16

OPERATING MODES................................................................................ 16

SOFT KEYS ............................................................................................ 16

SELECTING PARAMETERS AND ENTERING DATA......................................... 17

NAMING FILES - THE NAME KEY ................................................................ 19

THE ENT/PLAY KEY ................................................................................. 19

LCD CONTRAST....................................................................................... 19

RECORD LEVEL, MAIN VOLUME, HEADPHONE OUTPUT............................................ 20

HOW THE S3200XL WORKS................................................................................... 21

S3200XL FLOWCHART.......................................................................................... 22

SELECTING PROGRAMS ...................................................................................... 25

VIEWING PROGRAMS.......................................................................................... 26

SETTING PROGRAM LEVELS, PAN, FX SENDS......................................................... 26

SETTING PROGRAMS’ MIDI PARAMETERS.............................................................. 27

SETTING PROGRAM LOUDNESS AND VELOCITY...................................................... 29

LOADING FROM FLOPPY DISK .............................................................................. 30

LOADING FROM HARD DISK.................................................................................. 31

DELETING PROGRAMS ........................................................................................ 32

RENUMBERING PROGRAMS ................................................................................. 34

USING THE S3200XL IN ‘OLD AKAI’ MODE! .............................................................. 35

USING SELECT PROG - PROGRAMS WITH THE SAME NUMBER ...................... 35

LAYERING PROGRAMS............................................................................ 35

CREATING KEYBOARD SPLITS.................................................................. 35

USING RENUMBERING TO CREATE MULTI-TIMBRAL SETUPS......................... 36

SINGLE VS MULTI.................................................................................... 37

ASSIGNING PROGRAMS TO PARTS ....................................................................... 40

SETTING A PART’S MIDI CHANNEL......................................................................... 40

MIXING THE PARTS ............................................................................................. 40

SENDING PARTS TO THE INTERNAL EFFECTS ......................................................... 40

ASSIGNING PARTS TO THE INDIVIDUAL OUTPUTS................................................... 41

TUNING AND TRANSPOSING PARTS....................................................................... 41

SETTING A PART’S LOW AND HIGH KEYRANGES ..................................................... 41

SETTING A PART’S PRIORITY................................................................................ 42

INITIALISING A PART........................................................................................... 42

SETTING UP A MULTI ........................................................................................... 43

MODIFYING THE MULTI ........................................................................................ 44

NAMING A MULTI................................................................................................. 45

SAVING A MULTI ................................................................................................. 45

LOADING A MULTI ............................................................................................... 45

RENUMBERING PROGRAMS ................................................................................. 46

USING MULTI MODE FOR LAYERING PROGRAMS..................................................... 49

USING MULTI MODE TO SET KEYBOARD SPLITS...................................................... 50

WHAT IS A KEYGROUP?....................................................................................... 53

KEYGROUP ZONES ............................................................................................. 54

OVERLAPPING AND CROSSFADING KEYGROUPS ................................................... 55

ASSIGNABLE PROGRAM MODULATION.................................................................. 56

EDIT SINGLE ...................................................................................................... 60

NAMING PROGRAMS - COPYING AND RENAMING .................................................... 61

DELETING PROGRAMS ........................................................................................ 62

MIDI PAGE ......................................................................................................... 66

OUTPUT LEVELS PAGE........................................................................................ 68

PAN PAGE.......................................................................................................... 71

THE TUNE PAGE.................................................................................................. 73

MODULATION PAGES .......................................................................................... 74

KEYGROUP PARAMETERS - CREATING KEYGROUPS............................................... 87

ASSIGNING SAMPLES TO KEYGROUPS AND ZONES - SMP1...................................... 92

THE FILTERS ...................................................................................................... 98

ENV1 - SHAPING AMPLITUDE................................................................................ 101

ENV2 - SHAPING THE FILTER ................................................................................ 103

THE SECOND FILTERS ......................................................................................... 105

ENV3................................................................................................................. 113

KEYGROUP PITCH/AMPLITUDE MODULATION......................................................... 114

EDIT MULTI..................................................................................... 116

SCREEN DIFFERENCES IN EDIT MULTI ................................................................... 116

SAMPLE MODE................................................................................. 118

WHAT IS SAMPLING?........................................................................................... 118

RECORD MODE................................................................................................... 120

THE MAIN RECORD PAGE..................................................................................... 123

NAMING SAMPLES FOR RECORDING ..................................................................... 123

ADJUSTING THE RECORDING AND THRESHOLD LEVELS .......................................... 125

RECORDING ON THE S3200XL............................................................................... 125

DIGITAL RECORDING........................................................................................... 126

EDIT SAMPLE .................................................................................. 128

NAMING SAMPLES - COPYING AND RENAMING ....................................................... 130

DELETING SAMPLES ........................................................................................... 131

TRIMMING SAMPLES ........................................................................................... 132

LOOPING........................................................................................................... 136

LOOP AUTO FIND AND CROSSFADE LOOPING......................................................... 137

LEVEL NORMALISATION ...................................................................................... 141

DSP FUNCTIONS - TIMESTRETCH, RE-SAMPLING AND EQ......................................... 142

FURTHER EDITING FUNCTIONS ............................................................................. 151

EFFECTS MODE................................................................................ 162

ORGANISATION OF EFFECTS FILES....................................................................... 164

ASSIGNING EFFECTS TO SINGLE PROGRAMS ........................................................ 165

ASSIGNING EFFECTS TO MULTI PARTS.................................................................. 167

ASSIGNING EFFECTS TO INDIVIDUAL KEYGROUPS................................................. 169

PROCESSING EXTERNAL SOUND SOURCES THROUGH THE EFFECTS........................ 170

PITCH BEND ........................................................................................... 74

LFO1 ..................................................................................................... 76

SETTING LFO1 MODULATION DEPTH.......................................................... 79

LFO2 ..................................................................................................... 80

SETTING UP THE SOFT PEDAL .................................................................. 83

PORTAMENTO ........................................................................................ 84

MAPPING OUT YOUR KEYGROUPS - SETTING KEYSPAN .............................. 90

SMP2..................................................................................................... 95

SMP3..................................................................................................... 97

USING THE FILTER AND ENVELOPE GENERATORS...................................... 104

CREATING 24db/8ve 4-POLE LOWPASS FILTER........................................... 109

THE TONE PAGE ..................................................................................... 111

MAKING A GOOD LOOP............................................................................ 139

TIMESTRETCH ........................................................................................ 142

PERFORMING A TIMESTRETCH ................................................................. 145

RE-SAMPLING ........................................................................................ 146

PERFORMING A RE-SAMPLE..................................................................... 147

EQ........................................................................................................ 148

EQ’ING A SAMPLE................................................................................... 150

USING THE EQ........................................................................................ 150

THE PARAMETER PAGE ........................................................................... 151

REVERSING SAMPLES............................................................................. 153

SECTIONAL EDITING ............................................................................... 154

THE JOIN PAGE ...................................................................................... 157

SPLICING SAMPLES................................................................................ 157

CROSSFADING ....................................................................................... 158

MIXING AND LAYERING SAMPLES............................................................. 158

SETTING DIGITAL FADES ......................................................................... 160

ROUTING EXTERNAL SOUNDS THROUGH THE EFFECTS ........................................... 171

SELECTING THE EFFECTS OUTPUT........................................................................ 171

CHAINING EFFECTS............................................................................................. 172

EFFECTS EDIT ................................................................................. 175

SAVE MODE .................................................................................... 206

LOAD MODE .................................................................................... 218

GLOBAL MODE................................................................................. 232

MUTING EFFECTS................................................................................................ 174

DISTORTION/RING MODULATION .......................................................................... 176

EQ.................................................................................................................... 177

MODULATION EFFECTS........................................................................................ 179

CHORUS, PHASE SHIFT AND FLANGING EFFECTS........................................ 179

ROTARY SPEAKER EFFECTS .................................................................... 181

AUTOPAN AND FREQUENCY MODULATION EFFECTS.................................... 184

STEREO PITCH SHIFT EFFECTS................................................................. 185

BYPASSING THE MODULATION EFFECTS ................................................... 187

DELAY AND ECHO EFFECTS.................................................................................. 188

MONO DELAY/ECHO EFFECTS .................................................................. 190

PING PONG ECHO EFFECTS ..................................................................... 191

CROSSOVER DELAY................................................................................ 192

STEREO DELAY/ECHO EFFECTS ............................................................... 193

REVERB EFFECTS............................................................................................... 194

REVERSE REVERB.................................................................................. 197

GATED REVERB...................................................................................... 198

EFFECTS OUTPUT SECTION.................................................................................. 200

EFFECTS DIRECTION........................................................................................... 201

SOLOING THE CURRENT EFFECT........................................................................... 203

COPYING EFFECTS ............................................................................................. 204

COPYING EFFECTS BETWEEN DIFFERENT EFFECTS FILES....................................... 204

SELECTING FLOPPY OR HARD DISK ...................................................................... 206

SELECTING THE HARD DISK PARTITION................................................................. 206

SELECTING THE HARD DISK VOLUME .................................................................... 206

SELECTING THE TYPE OF SAVE............................................................................ 206

SAVING TO FLOPPY DISK..................................................................................... 208

SAVING TO HARD DISK ........................................................................................ 209

RENAMING FILES................................................................................................ 211

DELETING ITEMS FROM DISK................................................................................ 212

HARD DISK CONTROL .......................................................................................... 213

FORMATTING A FLOPPY DISK............................................................................... 214

FORMATTING A HARD DISK................................................................................... 216

NOTES ON USING EXISTING S1000/S1100 SOUND LIBRARY...................................... 217

SELECTING FLOPPY OR HARD DISK ...................................................................... 218

SELECTING THE HARD DISK PARTITION................................................................. 218

SELECTING THE HARD DISK VOLUME .................................................................... 219

SELECTING THE TYPE OF LOAD............................................................................ 219

LOADING FROM FLOPPY DISK .............................................................................. 220

LOADING FROM HARD DISK.................................................................................. 221

LOADING S900/S950 SAMPLES AND PROGRAMS..................................................... 223

LOADING S1000/S1100 DATA................................................................................ 223

AUTO LOADING FROM DISK.................................................................................. 223

SEARCHING FOR FILES - USING THE FIND FUNCTION............................................... 224

USING THE TAG DIRECTORY SYSTEM.................................................................... 226

NAMING TAGS ........................................................................................ 227

NOTES ON USING THE TAGGING SYSTEM .................................................. 227

HARD DISK CONTROL .......................................................................................... 229

IMPORTING SOUNDS FROM OTHER MANUFACTURER’S CD-ROMS.............................. 230

TUNING THE S3200XL .......................................................................................... 232

SETTING THE MASTER OUTPUT LEVEL................................................................... 232

MIDI FUNCTIONS................................................................................................. 233

MIDI FILTER............................................................................................ 233

PPM PAGE - MONITORING MIDI................................................................. 234

MIDI RECEIVE PAGE - ANALYSING MIDI ..................................................... 234

TRANSMIT TEST PAGE - SETTING THE ENT/PLAY KEY.................................. 235

MIDI SAMPLE DUMPS............................................................................... 236

PERFORMING A MIDI SAMPLE DUMP.......................................................... 237

ME35T DRUM SETTINGS....................................................................................... 239

DAT BACK-UP AND RESTORE................................................................................ 241

STANDARD MIDI FILE - MIDI SONG FILE PLAY.......................................................... 243

HARD DISK RECORDING....................................................................................... 246

SMPTE PAGE - USING CUE LISTS .......................................................................... 281

MIDI VIA SCSI......................................................................................... 238

PERFORMING A DAT BACK UP................................................................... 242

PERFORMING A DAT RESTORE ................................................................. 242

LOADING STANDARD MIDI FILES............................................................... 244

USING THE SMF FUNCTION....................................................................... 245

APPLICATIONS....................................................................................... 246

FORMATTING THE HARD DISK FOR DISK RECORDING .................................. 247

CREATING NEW TAKES............................................................................ 252

COPYING TAKES..................................................................................... 252

RENAMING TAKES................................................................................... 252

DELETING TAKES FROM DISK................................................................... 252

RECORDING A TAKE................................................................................ 257

EDITING A RECORDING............................................................................ 260

PLAYING A TAKE IN THE EDIT PAGE .......................................................... 261

USING THE EDITING FUNCTIONS............................................................... 261

PLAYING TAKES ..................................................................................... 263

USING THE PLAY PAGE............................................................................ 265

EDITING A TAKE FOR SYNCHRONISED PLAYBACK....................................... 266

NOTES ABOUT SYNCHRONISING TO EXTERNAL AUDIO................................ 266

USING THE SONG MODE .......................................................................... 267

CREATING A SONG.................................................................................. 267

TRIGGERING TAKES FROM MIDI................................................................ 270

USING MIDI TRIGGERING......................................................................... 270

USING THE SONG MODE TO CHAIN TAKES.................................................. 273

USING THE NUMERIC KEYPAD IN THE SONG MODE...................................... 274

BLOCK EDITING IN SONG MODE................................................................ 275

NAMING SONGS...................................................................................... 277

SAVING A SONG ..................................................................................... 277

LOADING A SONG ................................................................................... 277

BACKING UP TAKES TO DAT ..................................................................... 278

RESTORING TAKES BACK FROM DAT TO DISK............................................. 279

BLOCKS................................................................................................. 282

THE CURSOR.......................................................................................... 282

GETTING AROUND THE CUE LIST - THE NUMERIC KEYPAD............................ 282

CUE LIST MODES .................................................................................... 283

CREATING AND EDITING CUE LISTS........................................................... 283

GRABBING TIMES ................................................................................... 287

SMPTE PAGE.......................................................................................... 288

NAMING CUE LISTS ................................................................................. 289

SAVING CUE LISTS.................................................................................. 289

LOADING CUE LISTS................................................................................ 289

APPENDIX 1.................................................................................... 290

CONNECTING AN EXTERNAL HARD DISK DRIVE....................................................... 290

CONNECTING TWO SAMPLERS TO ONE HARD DISK DRIVE........................................ 290

NOTES ON USING HARD DISK DRIVES.................................................................... 291

SCSI CABLES ......................................................................................... 291

TERMINATION......................................................................................... 291

SCSI CABLE LENGTH............................................................................... 292

APPENDIX 2.................................................................................... 293

APPENDIX 3.................................................................................... 295

APPENDIX 4.................................................................................... 297

APPENDIX 5.................................................................................... 298

SPECIFICATIONS.............................................................................. 303

S3200XL MIDI IMPLEMENTATION CHART................................................. 304

DATA COMPATIBILITY ISSUES.............................................................................. 293

SOUND DATA.......................................................................................... 293

EFFECTS FILES....................................................................................... 294

MULTIS.................................................................................................. 294

ME-35T DRUM SETTINGS.......................................................................... 294

SONGS AND QLISTS................................................................................ 294

INSTALLING EXTRA MEMORY ............................................................................... 295

INSTALLING MEMORY EXPANSION............................................................ 295

S3200XL SYNTHESISER PANEL............................................................................. 297

MIDI CONTROLLER LIST....................................................................................... 298

INTRODUCTION

Welcome to the Akai S3200XL stereo digital sampler and thank you for buying it! The S3200XL features 32-voice polyphony, expandable memory, DSP functions, etc., and

using the S3200XL’s resonant lowpass filters, multiple LFOs, envelope generators and extensive modulation possibilities, your new sampler can double as a first class synthesiser as well.

Certain new functions are introduced in the S3200XL In software, the new MULTI mode of operation simplifies multi-timbral sequencing and layering. The S3200XL also includes a multieffects processor that offers no less than four channels that include two multi-effects channels with distortion, EQ, ring modulation, modulation effects such as chorus, flanging, pitch shifting, auto panning and rotary speaker effects plus delay and reverb. Two ‘spare’ channels of reverb are also available providing a total of four reverbs. Also included is a second bank of multi-mode resonant filters for sophisticated tonal processing.

Bundled with the S3200XL is a software application for the Macintosh™ computer that allows you to operate the sampler from your Macintosh allowing large screen operation of waveform and program editing, sophisticated organisation of your sound library on the Macintosh as well as the ability to integrate your sampler more conveniently with your computer sequencer.

Naturally, all sound library developed for the Akai S900, S950, S1000, S1100, S2000 and the S3000 range of samplers is compatible in the S3200XL giving you access to thousands of sounds on floppy disk, hard disk, removable cartridges, MO disks and CD-ROM. The ability to read CD ROMs made for other manufacturer's samplers gives access to an even further range of sounds.

S3200XL Operator’s Manual - Version 1.00 Page 1

INTRODUCTION

FEATURES

• Polyphony 32 voices

• A-D Conversion 16-bit stereo with 64-times oversampling

• Internal processing 28-bit accumulation

• D-A Conversion 20-bit with 8-times oversampling (L/R outputs)

• Sampling rates 44.1kHz/22.050kHz

• Phase locked stereo sampling and playback

• Internal memory 16Mbytes standard, expandable to 32Mbytes using SIMMs

• Sampling times 16Mbytes 2.97 minutes mono @ 44.1kHz

• Inputs L/Mono and R jack inputs

• Outputs L/R stereo jack outputs

18bit with 8-times oversampling (individual outputs)

32Mbytes 5.94 minutes mono @ 44.1kHz (Halve these times for stereo sampling)

8 assignable individual outputs Stereo headphone jack output

• Display 40 x 6 character backlit LCD with graphic waveform editing.

• Digital I/O Digital audio input/output.

• Effects 4-channel multi-effects processor offering two channels of simultaneous distortion, four-band EQ, ring modulation, modulation (chorus, phase shift, flanging, pitch shift, autopan or rotary speaker), stereo delay and reverb plus two ‘spare’ channels of reverb (four reverb processors in total).

• DSP Functions Timestretch, re-sampling and digital EQ.

• Filters 2-pole (12dB/Octave) resonant lowpass per voice. 2nd bank of 2-pole resonant multi-mode (HP, BP, LP, EQ)

filters and tone control.

• Envelopes 1 x ADSR and 2 x multi-stage envelope generators.

• LFOs 2 x multi-wave low frequency oscillators (triangle, square, sawtooth and random waves).

• Legato mode Single trigger playback to emulate old monophonic synths and solo instruments’ playing styles.

• Portamento Polyphonic and monophonic portamento.

• Sound library Fully compatible with Akai S900, S950, S1000, S1100, S2800, S3000, S3200, S2000 and S3200XL. The S3200XL

Page 2 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

can also read CD-ROMs made for other manufacturer's samplers1.

• Data storage A variety of storage devices may be used to store data including floppy disk, hard disk, Syquest™ removable cartridges and Magneto Optical (MO) disks. Hard disk data may be backed up to a normal DAT tape using the digital i/o.

• Flash ROM You may install up to 16Mbytes of FLASH ROM over and above the 32Mbytes of ordinary RAM giving you a total of 48Mbytes of memory. FLASH ROM allows you to keep your favourite sounds in memory even when the sampler is switched off.

• Disk recording Capable of stereo recording and editing on hard disk.

• SMF capability The S3200XL can play Standard MIDI files (sequences) from the floppy disk drive. This allows you, for example, to play sequenced backing tracks directly from the S3200XL.

• DAT Backup You can backup the hard disk (sound data and/or disk recordings) to an ordinary DAT recorder.

• Real-time digital output This digital audio output can be used to mix down digitally to DAT or any other digital recorder such as DCC, MiniDisk or a hard disk recorder such as the Akai DR4d, DR8 or even the S3200XL’s disk recorder. Using the internal multi-effects processor, you may add four channels of effects processing to the mixdown.

• OPERATING MODES

SINGLE For playing single programs. MULTI For playing up to 16 programs together for multi-timbral

sequencing, layering and key splits.

SAMPLE For making recordings. EFFECTS For selecting effects. EDIT For editing programs, samples and effects. GLOBAL For setting parameters that affect the sampler as a whole plus

access to utilities such as DAT backup, MIDI song file play and hard disk recording

SAVE For saving programs, samples, multis, effects and operating

systems, etc., to floppy or hard disk.

LOAD For loading programs, samples, multis, effects, operating

systems, etc., from floppy or hard disk and CD-ROM.

1 Some sounds may need adjustment and ‘tweaking’ depending on the sampler they were

originally created on.

S3200XL Operator’s Manual - Version 1.00 Page 3

INTRODUCTION

• EDITING FEATURES

EDIT SAMPLE Trim, Loop (with FIND and CROSSFADE functions), Join,

EDIT PROGRAM Resonant lowpass filters, 2nd bank of resonant multi-mode

MULTI Part select, program select, MIDI channel, level, pan,

EFFECTS In the two multi-effects channels:

Merge, Splice, Chop, Extract, Reverse, Gain normalisation, Timestretch, Re-sample.

filters, ADSR envelope generator (with templates), 2 x multistage envelope generator (with templates), 2 x multi-wave LFOs, sample layering, 4-way velocity crossfade and switching, keygroup crossfade, portamento (rate and time modes), monophonic legato triggering, mute group function, panning and autopanning, held pitchbend mode, separate pitchbend up/down ranges, output selection.

transpose, fine tune, output routing, FX routing, FX send, low key range, high key range, note priority.

DISTORTION - distortion, level EQ - low gain, mid 1 gain, mid 2 gain, high gain, RING MODULATION - frequency, depth MODULATION EFFECTS - chorus, flange, phase shift, rotary

speakers, autopan/frequency mod, pitch shift with parameters as appropriate.

DELAY - effect select (mono, stereo, ping pong), delay times, feedback.

REVERB - effect select (large hall, small hall, large room, small room, gated, reverse, etc.), size, decay time, HF damping, LF damping, pre-delay.

FX DIRECTION: dist/EQ/ring mod > mod/delay + reverb (parallel) dist/EQ/ring mod > mod/delay > reverb (series) dist/EQ/ring mod > reverb > mod/delay (series)

In the two reverb channels: Effect select (large hall, small hall, large room, small room,

reverse, gated, etc.), decay time, HF damping, LF damping, pre-delay, diffusion.

A multi-effects channel may also be routed to its ‘neighbouring’ reverb channel for dual reverb multi-effects.

Page 4 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

ABOUT THIS MANUAL

This manual has been written to allow you to get the most out of your new sampler. Please take the time to read it as a fuller understanding of the instrument will enable you to use the S3200XL’s remarkable facilities to the full. Not only are the controls and screens explained in detail but you will find hints and tips to help you with your sampling and programming. If you are new to sampling or synthesisers, some of the sections explain the basic principles behind the techniques employed in the S3200XL so if words like “bandpass”, “modulation”, “diffusion”, “multi-timbral” and “sample rates”, etc., are unfamiliar to you, we hope that this manual is not just a boring explanation of functions but something you can refer to for information beyond the scope of the S3200XL. Even if you’re a seasoned programmer, we hope that there is information in this manual that you find useful..

S3200XL Operator’s Manual - Version 1.00 Page 5

INTRODUCTION

FRONT PANEL

FLOPPY DISK DRIVE

DISPLAY CONTRAST

DISPLAY

CONTRAST

( 3.5INCH )

PUSH ON/OFF

DISK DRIVE

POWER

HIGH SPEED DIGITAL SIGNAL PROCESSOR

OFF

POWER SWITCH

MO DRIVE SLOT

LCD DATA ENCODER

MIDI DIGITAL STEREO SAMPLER

F1 F2 F3 F4 F5 F6 F7 F8

F1/AF2/BF3/CF4/DF5/EF6/FF7/GF8/

SINGLE/ MULTI/JSAMPLE/KEFFECTS/

SCREEN FUNCTION

SOFT KEYS

MODE KEYS

RECORD LEVEL MAIN VOLUME

DATA

CURSOR

EDIT/

GLOBAL/ SAVE/OLOAD/

CURSOR KEYS

NUMERIC KEYPAD

REC LEVEL

MIN MAX

s3200xl

MAIN VOLUME

MIN MAX

-/+/

FOOTSWITCH

HEADPHONE

PHONES

MARK/#

JUMP/.

NAME

FOOT SW

ENT/PLAY

MARK/JUMP, NAME, ENT KEYS

MODE KEYS Selects the operating mode for the sampler. ‘SOFT’ KEYS These select functions displayed on the LCD above. They

have no fixed function but change according to the page currently displayed on the screen.

LCD The 40 x 8 character display shows parameters and values

and displays the ‘soft’ keys’ function and graphic display of waveforms for sample editing, etc..

CURSOR KEYS This block of keys moves the cursor up, down and left and

right around the screen.

DATA ENCODER Allows you to enter data values and for scrolling through lists,

etc..

NUMERIC KEYPAD This is used to enter data numerically. MARK/JUMP These keys allow you to mark two functions and switch

between them using the JUMP key. In this way, it is quick and easy to enter data even across two different screens.

NAME KEY This takes you the ‘naming mode’ where you may name

samples, programs, effects, etc..

ENT/PLAY KEY Allows you to play a sound without the need for a MIDI

controller to be connected.

RECORD LEVEL Sets the record level for the analogue inputs. MAIN VOLUME The MAIN VOLUME control sets the main output level of the

L/R stereo outputs (this control does not affect the level of

Page 6 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

the signal appearing at the individual outputs or digital output).

POWER SWITCH Applies power to the S3200XL. PHONES This stereo jack socket allows you to monitor the L/R (stereo)

output of the S3200XL through stereo headphones. The level is regulated using the MAIN VOLUME control (see above).

FOOTSWITCH The FOOTSWITCH input is actually two switch inputs using a

stereo jack. One input is used for sustain and for initiating sampling (see later) and the other is used for the soft pedal

(MIDI controller 67). The wiring of the plug is as follows:

RING - SOFT PEDAL

TIP - SUSTAIN/SAMPLING

GROUND

Both require a press-to-open type of switch.

DISPLAY CONTRAST Sets the viewing angle for the LCD. You will note that

pressing this control in switches off the LCD’s backlight thus preserving the life of the LCD (think of it like a ‘screen saver’ on a computer.

MO DRIVE SLOT You may install a 3.5” Sony 650Mbyte Magneto Optical (MO)

drive here (please consult your dealer about this option).

FLOPPY DISK DRIVE The 3.5 inch floppy disk drive will accept high density and low

density disks. Disks are inserted into the drive thus:

DISK ACTIVITY LED

WRITE PROTECT TAB

HIGH DENSITY

DETECTION TAB

DISK EJECT BUTTON

The label should be facing towards the screen and panel controls when it is inserted (actually, it is physically impossible to insert disks the wrong way round without using an extreme amount of brute force!).

S3200XL Operator’s Manual - Version 1.00 Page 7

INTRODUCTION

TAKING CARE OF YOUR DISKS

These floppy disks contain valuable sound data and, as such, should be treated with extreme care. Please observe the following points, therefore:

To eject the disk, simply press the DISK EJECT button. When a disk is loading, saving or formatting, the DISK ACTIVITY LED will be lit.

It is important to remember that, unlike a synthesiser, the S3200XL has no means of storing sounds in an internal memory. As a result, it is vital that you save your work to disk before turning the power off otherwise you will lose your work and, unless previously saved, it will be gone for ever. In fact, it is a good idea to regularly save your work as you are working. All good computer users do this and it prevents the accidental loss of data should power be accidentally removed from the instrument. This also serves as a form of ‘undo’ - if you make some kind of mistake in your programming and editing and can’t fix it, you can load the last level of editing back into the sampler. It may be a bit tedious to keep stopping every now and then to save your work but it is better than losing some valuable sounds.

1 Never slide the metal cover back and touch the disk. Finger marks may render the disk

unreadable.

2 Don’t leave the disk in the drive wherever possible. When the disk is in the drive, the metal

protective cover slides back exposing the actual disk inside - this makes the disk

susceptible to picking up dust which may cause read errors. 3 Do not leave your disks in a hot car. 4 Do not place your disks next to any magnetic sources such as speakers, amplifiers,

televisions, etc.. Also, try to avoid X-ray machines. At airports, it is sometimes possible to

ask for your disks to be inspected by hand at security desks but, with the added security at

airports these days, this may not be possible. Always check with the security officer

though, just in case. Security X-ray machines are generally safe with disks, though. If in

doubt, make backup copies which should be left at home.

NOTE: Some checked-in luggage is X-rayed by quite powerful machines that are not as safe as those that check hand luggage. It is probably best to take your disks as hand luggage.

5 Do not leave your disks around when drinking liquids - one accidental spillage could ruin a

lot of work! 6 Always use high quality disks. Whilst cheap ones may be appealing, they are prone to

errors more than good ones. 7 Try to ensure that the write protect tab is switched on (i.e. the tab does not block the hole).

This will prevent accidental erasure, formatting and loss of data. It may be a nuisance to try

to write to the disk and find it write protected but it is less of a nuisance than accidentally

over-writing a set of your favourite samples and programs! 8 Try to get into the habit of labelling your disks - it will pay dividends in the end when you are

searching for something.

Page 8 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

9 Invest in a sturdy carrying case for your floppies especially if you are a gigging musician.

Heavy duty metal camera cases are ideal and some flight case manufacturers now make

special heavy duty disk flightcases. 1 0 Even if you are using a hard disk of any sort, please make sure you have backed up your

work to floppy disks. It can be time consuming but it will be worth it if you ever have a

problem with your hard disk!

S3200XL Operator’s Manual - Version 1.00 Page 9

INTRODUCTION

REAR PANEL

INDIVIDUAL OUTPUTS

AKAI ELECTRIC CO., LTD.

MODEL NUMBER S3200XL

MADE IN JAPAN

CH1 CH2 CH3 CH4 CH5 CH6 CH7 CH8

ANALOG INPUT

LEFT(MONO) RIGHT

PUSH PUSH

HIGH LOW

ANALOG OUTPUT

GAIN

MID

L/R OUTPUTS

ANALOGUE INPUTS

MIDI IN/OUT/THRU

RIGHTLEFT

SCSI

SMPTE I/O

SMPTE

SCSI

MIDI OUT

OUT

DIGITAL I/O

FAN FOR OPTIOAL MO DRIVE

THRU

D I/O

AES/EBU

OUT

OPTICAL

IN OUT

GND

POWER CONNECTION

ANALOGUE AUDIO INPUTS Two parallel pairs of stereo balanced connectors are provided

for connection of sound sources (wired in accordance with American standards - 1-shield, 2-cold, 3-hot), and the other pair is a pair of balanced jack connectors using stereo jack sockets. Unbalanced sources can, of course, be connected to the XLR inputs. If a mono source is used for sampling, use only either the LEFT (MONO) XLR or phone connector.

NOTE: The XLR connector and phone jack on the analogue inputs are connected in parallel. When inputting an analogue signal, use only one pair of them.

Associated with the analogue inputs is a 3-position slider switch (LOW, MID, HIGH) used for matching the level of the input source to the recording amplifier of the S3200XL. Fine adjustment should be carried out with the REC LEVEL control on the front panel. Ideally, you should set the REC GAIN so that the REC LEVEL is set about 2 o’clock. Remember that unlike analogue equipment, digital devices produce distortion which is particularly unpleasant, and “soft clipping” and the effect of saturation found in analogue recordings cannot be obtained when recording digitally. You should always allow sufficient headroom for transient peaks when making a sample.

Note also, that recording at too low a level will not allow you to make full use of the S3200XL’s dynamic range and signal to noise figures.

NOTE 1: When making a sample, you may not immediately notice any clipping that may have resulted from incorrect level settings and it may only become apparent when playing back samples lower than the original pitch at which they were sampled.

Page 10 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

NOTE 2: If you set the level too low, the S3200XL’s EDIT SAMPLE pages have a GAIN

NORMALISE function that allows you to restore the sample to its optimum level for full use of the sampler’s wide dynamic range.

The REC GAIN sensitivities are HI -58dBm, MID -38dBm, LOW

- 18dBm.

INDIVIDUAL OUTPUTS There are eight individual audio connectors provided. Use of

the INDIVIDUAL OUTPUTS (CH1 through CH8) allows much more flexibility and control (but of course, this will take up more input channels on the mixing console). Programs can be assigned to any one of these output channels and effected separately. Individual keygroups may also be routed via these outputs so that in drum programs, individual drum and percussion sounds may have their own channels on an external mixing console.

NOTE: Programs using stereo samples should be sent to the individual outputs at the keygroup level - i.e. the left samples should go to one output and the right samples to another (usually adjacent) output.

The S3200XL uses remote ground sensing circuitry so that the unbalanced outputs are protected against the possibility of ground or earth loops that can sometimes occur in complicated setups where a lot of equipment is connected.

L/R OUTPUTS There are two LEFT/RIGHT connections available - one set is

a pair of unbalanced jack sockets, the other a pair of balanced XLR connectors for outputting the main stereo mix from the S3200XL. When connecting to two channels of a mixing console, remember to pan the mixer channels hard left and right to enjoy the full stereo effect.

DIGITAL I/O The digital input can be used to record digitally from CD or

DAT or any other audio source that has a digital output. The digital output carries a digital clone of the main stereo

outputs complete with the effects so you may also mixdown digitally from the S3200XL to any digital audio recorder such as DAT or a hard disk recorder/editor such as the Akai DR4 or DR8 thereby ensuring the highest quality audio during mixdown.

The digital i/o is also used to back data up to a normal DAT tape.

SCSI This is used to attach hard disks, CD-ROMs, Magneto Optical

(MO) disks and removable cartridges to the S3200XL for data storage and retrieval. You may also connect the S3200XL to a Macintosh™ computer for use with the editing software that is bundled with the S3200XL.

SMPTE IN/OUT These connectors are used to input and output SMPTE/EBU

timecode. These are used when synchronising a Qlist to timecode. The connectors are 6.35 mm stereo (balanced) phone jacks.

S3200XL Operator’s Manual - Version 1.00 Page 11

INTRODUCTION

MIDI Your MIDI controller (keyboard, drum pads, EWI, etc.) should

POWER CONNECTION This should be connected to an AC power source.

BEFORE CONNECTING ANY AC POWER, PLEASE ENSURE THAT YOUR

UNIT IS DESIGNED FOR YOUR AREA’S POWER SUPPLY. A MISTAKE NOW

COULD RUIN YOUR WHOLE DAY NOT TO MENTION YOUR S3200XL!!!

be connected to the MIDI IN. The THRU socket carries a duplicate of the MIDI IN signal ‘thru’ to other modules or MIDI devices that may be connected. The OUT is normally only used to transmit MIDI System Exclusive data to another Akai sampler or to a computer.

** IMPORTANT NOTE **

Page 12 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

SETTING UP THE S3200XL

This short section tells you how to get ‘up and running’ fast. For full details of operation, please refer to the appropriate section in this manual.

CONNECTIONS

Don’t switch the S3200XL on for the moment.

L/R OUTPUTS

SCSI

HARD DISK, CD-ROM, MO DRIVE, etc..

AKAI

MIDI IN

MIDI OUT

IND OUTS - to mixer

DIGI I/O

DAT

Connect the MIDI output of your MIDI controller (in this example, an Akai MX1000 master keyboard) to the MIDI input of the S3200XL. Connect the L/R audio output to a stereo amplifier (or use the L/MONO output of the sampler if you only have a mono amp) or to two channels of a mixer (remembering to pan each channel hard left and right accordingly to take full advantage of the S3200XL’s stereo outputs). The digital i/o can be connected to a DAT machine (or any other digital recording device) or you could leave the digital outputs of a CD player connected to the S3200XL’s digital input for sampling from the many special sampling CDs that are currently available..

Before turning on the sampler, it’s a good idea to turn its volume down or to turn the volume down on the amplifier or the mixer channels as the power up ‘thump’, although very slight, could damage sensitive speakers, especially if the amp is turned up loud. Now turn on the S3200XL. You will see a message in the LCD informing you of what is going on. After 15 seconds or so, your S3200XL is ready for use. Turn the volume up on the sampler, amplifier and/or mixer.

Making sure that the MIDI controller is sending data on MIDI channel 1, play a few notes. You will hear the oh so impressive test tone! Hardly inspiring is it? We want something a bit more interesting than that.

NOTE: If no sound appears, check your MIDI connections and check that your MIDI controller is sending MIDI channel 1. If, after this, you still hear no sound, try pressing the ENT/PLAY key on the S3200XL’s front panel. If you hear a sound, then at least your audio connections are o.k. and it’s the MIDI that needs attention. If you still don’t hear a sound when you press the ENT/PLAY key, check your audio connections, volume controls, etc..

S3200XL Operator’s Manual - Version 1.00 Page 13

INTRODUCTION

LOADING THE DEMO FLOPPY DISKS

To get you started, some sounds are provided on floppy disk. To load the sound library disk, insert it into the drive and press the LOAD key. Now simply

press F7 - CLR. You will receive a prompt asking you if you want to clear the entire memory. Respond by pressing F8 - YES

The library disk supplied comes with several programs. In SINGLE mode, these may be selected from the S3200XL’s front panel using the DATA wheel or alternatively, you may use MIDI PROGRAM CHANGE commands from your MIDI controller to select new programs.

You will also note that they are laid out in a MULTI for multi-timbral sequencing. You may use this to play the demo sequence that is also supplied on floppy disk with the S3200XL.

To play the demo sequence on the S3200XL, assuming the sound data disk has been loaded, follow the procedure below.

1 Insert the DEMO SEQUENCE floppy disk into the disk drive. 2 In GLOBAL mode, press (F5) to get to the MIDI SONG PLAY page and press

(F2) to get to the LOAD page for song files. 3 Select and load a MIDI song file from the file list. You can load as many files as you like as

long as there is enough memory space. 4 Once the files are loaded, press (F1) to return to the MIDI SONG PLAY page. Select

the file you wish to play and press (F7) to play the selected MIDI song file. Press

(F8) to stop playback.

If you have owned an Akai sampler before, you may also have other sounds on CD-ROM or hard disk. Operation is virtually identical to the S3000 series and the S1000/S1100. To load sounds from hard disk, press the LOAD key and select HARD at the top of the screen. Move the cursor to the volume name field and select the volume you wish to load. Press F7 - CLR followed by F8 - YES - to clear the current contents of memory and load the entire hard disk volume. If you have not used an Akai sampler before and you need more detailed information on loading from hard disk or CD-ROM, please see the section LOAD MODE.

However you load sounds, whether it’s from floppy disk, hard disk, cartridge or CD-ROM, just load them and enjoy playing with your new sampler. Although we suggest you read the operator’s manual thoroughly, of course, at this stage, you don’t want be bothered with that so just experiment and get a feel for the S3200XL. As long as you don’t press the SAVE key and accidentally overwrite your floppy disk or hard disk volume, you can’t damage your sounds permanently or come to any harm (you can’t damage a CD-ROM as it’s a read only device). If you do start messing with the samples and programs and don’t like the results, simply re-load the sounds in or load another bunch of sounds to play with.

Page 14 S3200XL Operator’s Manual - Version 1.00

INTRODUCTION

MOUNTING THE S3200XL

If you plan to rack mount the S3200XL, try to leave some ‘breathing space’ around it to prevent overheating. It is recommended you leave 1U of rack space above and below the sampler.

If you are placing the sampler on a table, make sure that the table is sturdy and that the sampler is not positioned precariously.

If you are using the S3200XL with a hard disk device of any kind, the disk drive MUST be mounted horizontally. If the disk drive is at an angle, even a slight one, you may have unreliability problems and even data corruption.

If you are planning to rack mount the hard disk with the sampler, it is recommended you use the ‘padded’ type of rack mount adapter available from most manufacturers of rack and flight cases especially if you are likely to be travelling a lot with the set-up. The padding will help protect the disk drive’s delicate head mechanism against shock and excessive vibration.

It goes without saying that the S3200XL and the disk drive are delicate pieces of precision electronics and they don’t take kindly to being thrown around however sturdy your flight case might be!

S3200XL Operator’s Manual - Version 1.00 Page 15

INTRODUCTION

GETTING AROUND THE S3200XL

The S3200XL is pretty straightforward to use. Basically, it operates in different ‘modes’ which are selected according to what it is you want to do. In these modes, you navigate your way around the functions using the soft keys. You move around the screens using the CURSOR keys and data is entered either using the DATA wheel or numerically from the numeric keypad.

OPERATING MODES

The S3200XL has various modes in which it works and these are selected using the eight large mode keys found beneath the floppy disk drive. Each key is illuminated to indicate the sampler’s current status.

SINGLE/ MULTI/JSAMPLE/KEFFECTS/

EDIT/

GLOBAL/ SAVE/

LOAD/

These modes are: SINGLE For playing single programs. This mode is best suited for ‘playing’ the sampler

(i.e. performing a piano solo or whatever) although it can also be used when sequencing a single sound from the S3200XL.

MULTI For playing up to sixteen programs together. Typically, this mode would be

used for multi-timbral sequencing by setting each ‘part’ to a different MIDI channel but it can also be used for layering and creating key splits by setting

two or more parts to the same MIDI channel. SAMPLE For making recordings. EFFECTS For selecting effects to assign to single programs or to parts in a multi. EDIT Puts the sampler into edit mode for any of the four modes described above.

For example, EDIT SINGLE allows you to edit single programs; EDIT MULTI

allows you to edit the program in the currently selected part; EDIT SAMPLE

allows you to edit the recording you have just made (or samples currently in

memory, of course); EDIT EFFECTS allows you to edit the parameters of the

effects processor. GLOBAL Allows you to set certain ‘global’ settings that affect the S3200XL as a whole

such as MIDI channel, SCSI ID, output level, overall tuning, etc.. It also gives

access to utilities such as disk recording, MIDI song file playback, importing

‘foreign’ CD-ROMs from other manufacturers, etc.. SAVE For saving data to floppy or hard disk. LOAD For loading data into the sampler.

SOFT KEYS

The SOFT KEYS directly under the LCD call up various functions and pages within each mode

- these vary from mode to mode and have no pre-defined function. As such, they cannot be easily explained here!

SCREEN FUNCTION

F1/

F2/

F3/

F4/

F5/

F6/

F7/

F8/

Page 16 S3200XL Operator’s Manual - Version 1.00

+ 288 hidden pages