ED!SON
Instrument Editor
English manual
2 Ed!son –Instrument Editor
Contents
Contents....................................................................................................................................2
Ed!son – Instrument Editor.................................................................................................................4
Preface.............................................................................................................................................4
About these instructions.................................................................................................................5
Part 1: Basics.......................................................................................................................................6
1.1 Not as tough as it looks: Synthesizer & sampler crash course.................................................6
Subtractive synthesis.............................................................................................................6
Audio signal generation........................................................................................................8
Signal shaping.........................................................................................................................8
Modulators .............................................................................................................................11
Splits and multi-samples .....................................................................................................12
Sample loops ..........................................................................................................................13
1.2 Ed!son for advanced users......................................................................................................14
1.3 The WAMI BOX instrument architecture..............................................................................15
1.4 A word about priorities...........................................................................................................17
Part 2: Operation...............................................................................................................................19
2.1 The Ed!son user interface........................................................................................................19
General notes for the user..................................................................................................20
Playing sounds in Ed!son.....................................................................................................22
2.2 First steps and procedures......................................................................................................23
Preparations ..........................................................................................................................23
Importing sample and setting root key.............................................................................23
Setting parameters...............................................................................................................25
Adding splits..........................................................................................................................26
Editing splits..........................................................................................................................27
The special case of stereo samples....................................................................................28
Ed!son –Instrument Editor 3
Creating multi-samples.......................................................................................................29
Parallel editing of multi-samples.......................................................................................31
Creating velocity splits........................................................................................................32
Part 3: Reference................................................................................................................................34
3.1 Parameter reference.................................................................................................................34
OSC.........................................................................................................................................34
FILTER....................................................................................................................................36
OUTAMP................................................................................................................................37
LFO 1 / LFO 2 .......................................................................................................................38
EG 1 / EG 2 / EG 3 .................................................................................................................39
KBT.........................................................................................................................................41
Other parameters and controls..........................................................................................42
3.2 Menu reference........................................................................................................................44
File............................................................................................................................................44
Edit...........................................................................................................................................45
MIDI........................................................................................................................................46
Window....................................................................................................................................46
Help..........................................................................................................................................46
Part 4: Appendix...............................................................................................................................48
4.1 Glossary..................................................................................................................................48
4.2 Other keyboard shortcuts.......................................................................................................50
4 Ed!son –Instrument Editor
Ed!son – Instrument Editor
Preface
Ed!son turns your WaMi Box into a powerful sampler. This offers a huge
advantage: You're no longer stuck with prefabricated soundsets or general-MIDI
pidgeonholes, but you can now finally develop your own instrument sounds.
Classical choirs, screaming-guitar meltdow ns, or technoid synth - it's all possible,
and much more.
The simple fact that Ed!son lets you create a MIDI instrument out of any wave
file opens limitless possibilities. But that's not all. You can modify any instrument
sound using typical synthesizer elements such as filters, LFOs and envelope
generators.
It doesn't even matter if you're not an experienced sound designer. Ed!son is so
easy to use that even beginners can easily realize their sound ideas. Just give it a
try - after all, you can't break anything...
Have fun customizing sounds with Ed!son!
Ed!son –Instrument Editor 5
About these instructions
This documentation is based on the assumption that you have read the WaMi Box
manual, so that you are familiar with MIDI fundamentals and the basic operation
of your WaMi Box.
The following section contains a digression into the world of synthesizers and
samplers for beginners. There's also a section designed to get experienced users
up and running as quickly as possible.
Hint
Work your way through this documentation with your PC running. Try out what you've read
immediately. Many acoustic events cannot be described adequately in words.
This documentation is organized in four sections:
• Basics: Fundamental information which you must know in order to work with
Ed!son
• Operation: Ed!son's user interface and global functions, basic procedures
• Reference: Description of the individual operating elements/audio parameters
• Appendix: Glossary and keyboard shortcuts
Important note:
Certain Ed!son parameters can have a drastic effect on the volume of a sound, leading to unpleasant
acoustic surprises. Protect your ears and speakers by working at low volumes - at least until you've
gained some experience with Ed!son.
6 Ed!son –Instrument Editor
Part 1: Basics
1.1 Not as tough as it looks: Synthesizer & sampler crash
course
Ed!son transforms your WaMi Box into a sampler, allowing you to play wave files
(also known as samples) as MIDI instruments. As you know, anything which is
audible can be recorded as a wave audio file using the WaMi Box and a sample
editor such as the Ed!son Wave. In other words, it's entirely up to you whether
you want to play a melody with a string section, a car horn, or the barking of your
dog.
The key to these infinitely versatile acoustic possibilities of the WaMi Box is the
Ed!son application. It's used to manage and transfer the desired wave files to the
WaMi Box's onboard memory, the sample RAM. What's more, complex
progressions of tonality and volume can be applied to the instrument sounds as
with a synthesizer. In order to systematically achieve acoustic results with Ed!son,
it's necessary to understand the fundamentals of how synthesizers and samplers
work. So, let's take a little excursion into the world of synthetic sound generators.
Subtractive synthesis
The WaMi Box creates an instrument sound when you hit a key on your MIDI
keyboard. That sound passes through three major development phases before it
reaches your ears: Audio signal generation, signal shaping and volume control.
Each of these three phases has its own parameters which can be adjusted across
wide ranges with the Ed!son.
In the WaMi Box, fast computer algorithms and DSPs handle tasks performed by
analog circuits in older synthesizers. Despite the huge technological differences
between old analog synthesizers and cur rent sound cards such as the WaMi Box,
the fundamental architecture of these two worlds is very similar. The magic word
is subtractive synthesis, which is the technique of removing, or subtracting, highfrequency components (the so-called overtones) from the original signal with the
aid of a low -pass filter. Once a signal has been generated at the correct pitch, it
passes through the filter and changes its acoustic character in varying degrees
Ed!son –Instrument Editor 7
depending on the filter setting. Next, a given volume progressio n is assigned to the
signal.
8 Ed!son –Instrument Editor
The voice architecture of the WAMI BOX is based on subtractive synthesis.
Audio signal generation
Before you can hear a sound, it has to be generated. As you already know, the
WAMI BOX's instrument sounds are based on wave files. Playing a wave file is
not an art form - the cheapest sound cards will do the job. Things get interesting
when playing a wave file as an instrument voice, in other words in multiple voices
and at any (musically appropriate) pitch.
To put it br iefly: Unlike other sound cards, our WAMI BOX has its own onboard
sample RAM which permits the instant reproduction of all of the samples stored
there at any required pitch. And that at up to 64 voices simultaneously!
Ed!son's audio signal generation parameters can be found in the OSC field.
Signal shaping
While the signal generation section described above is playing our sample in the
desired pitch, the signal can be altered and manipulated - or shaped - over a wide
range. This is performed by reducing specific frequency ranges. The frequency
above which these signal components are filtered out can be adjusted and is
Signal shaping Volume
Volume
Filter
Audio signal generation
Ed!son –Instrument Editor 9
referred to as Cutoff in the Ed!son. Lowering the Cutoff will result in a duller
sound or an emphasis of the bass.
The second important filter parameter is the resonance, referred to in the Ed!son
as Q. Resonance is a form of feedback, in other words, a specified amount of the
output signal of the signal is returned to the filter input. The resonance effect can
be best explored by setting Cutoff low and Q high.
All signal-shaping parameters can be found on the Ed!son user interface in the FILTER section.
Volume control
The third and final development stage of an instrument sound involves the control
of its volume. This section is called VCA (Voltage Controlled Amplifier) in older
synthesizers. In addition to the global volume and panorama settings, the volume
can also be controlled dynamically.
As you probably already know, the volume of a sound is not necessarily constant.
Here are two examples: String sounds increase slowly in volume, while piano
sounds reach their maximum volume immediately and taper off slowly. These are
not constant volumes, but dynamic volume slopes. The following chapter contains
more information on this topic.
10 Ed!son –Instrument Editor
The OUTAMP section contains the Ed!son volume parameters.
Ed!son –Instrument Editor 11
Modulators
The synthesizer of our WAMI BOX can generate audio signals, shape them with
the aid of a filter and control their volume. So far, we have only been dealing with
static parameters - once set, they change the basic signal, but otherwise sound
fairly stiff and boring. Modulators help rectify this situation. Modulators are
control signals which can be set over a broad range to dynamically control
important audio parameters such as the pitch, filter frequency or volume. Two
important modulator types are available in the WAMI BOX: LFOs (low
frequency oscillators) and envelope generators (abbreviated as EG in Ed!son).
LFOs are present in practically all synthesizers and generate cyclical control
signals with a low frequency and adjustable waveform. If an LFO is used to
control an oscillator, for example, pitch fluctuations are the result, from slight
(organ vibrato) to intense (siren effect).
The WAMI BOX has two LFOs per voice.
Unlike LFOs, envelope generators do not involve cyclical control signals, but
specific progressions which are triggered by the key. A well-known example are
volume envelopes. These can be used to determine whether the volume increases
gradually, as with string sounds, or abruptly to the maximum value as in a piano.
Signal shaping Volume Output signal
Audio signal generat ion
Volume
Filter modulation Frequence
Filter
12 Ed!son –Instrument Editor
In the WAMI BOX, four time and level parameters are available for each
envelope for the construction of complex modulation progressions.
Pitch, filter or volume: Ed!son provides individual envelope generato rs for each section.
Each of the three synthesizer sections, for example the filters, has its own
modulators. An example to clarify this: LFO1 can modulate the pitch and thus
create a sirenlike effect, while LFO2 controls the filter to provide a typical filter
sweep. At the same time, EG3 ensures that the tone develops gradually after the
key has been struck.
As you can see, modulators add a lot of action to the sound and add to the appeal
of synthetically generated sounds. Other sources of modulation are available to
the WAMI BOX in addition to LFOs and envelope generators. For example, the
touch dynamics (velocity) or the keyboard table position of a played note can be
applied as modulators in Ed!son.
Splits and multi-samples
With Ed!son, you can als o create instrument sounds based on multiple wave files.
This is especially useful if instruments are to be recreated as authentically as
possible with a sampler. If you were to construct a piano or chorus sound using a
single sample, the instrument would not sound very realistic. The reason: Samples
tend to sound increasingly unnatural the further they are played from their original
pitch.
Multi -sampling is the name of a process in which several samples of an
instrument are recorded at different pitches and distributed over several zones of
the keyboard. An example: A complex synthesizer sound is sampled at a variety
of pitches (an octave apart, for example). The individual samples are then once
again assigned to their original pitches in Ed!son. Smaller tonal ranges for the
individual samples result in a more realistic sound for the multi-sample.
Ed!son –Instrument Editor 13
In Ed!son, the individual samples (and their keyboard zones) are referred to as
splits. A further use of splits is the realization of drum kits, i.e. a collection of
various drums and other percussion instruments. Strictly speaking, a drum kit is
nothing more than a multi-sample, several samples distributed across the keyboard
within an instrument sound.
Sample loops
All samplers, including the WAMI BOX, have a number of design limitations: The
number and size of the samples which can be stored on the WAMI BOX is more
or less limited the amount of sample RAM with which the sound card has been
equipped. Of course, memory chips are no longer one of the earth's most precious
resources, but careful budgeting is a good idea nevertheless - even though the
EWS can be equipped with up to 64 MB of sample RAM.
Sampler manufacturers have come up with a special trick which contributes
significantly to conserving sample RAM: the sample loop. If you have a closer
look at the samples of many instrument sounds, you will find that there's a lot of
activity at the beginning, which then goes over to a relatively constant progression.
A piano sound is a good example. Striking a piano key causes the sound to
develop very quickly. It then goes over to a constant tone (the vibration of the
string) which gradually decreases in volume and fades out.
We apply precisely this characteristic to shorten our samples and conserve
sample RAM. The fact that the sound decreases in volume is no problem, as we
can take care of that later with the volume envelope. The crucial point is that the
sound takes on a continuous quality after a given period of time. If only a small
section of this continuous-tone period is repeated for the entire period during
which the key is held, it is then possible to cut off the entire rat's tail of audio
information following it.
In practice, the sample loop part of the wave file, i.e. the part to be repeated
infinitely, can be defined in practice with Ed!son Wave or other suitable sample
editors.
14 Ed!son –Instrument Editor
1.2 Ed!son for advanced users
At the risk of telling you, as a power user, things that you already know about the
capabilities of the WAMI BOX and Ed!son team: In principle, the MIDI audio
signal generation of the EWS synthesizer corresponds to that of a sampler with
subtractive voice architecture. The wave files loaded in the sample RAM serve
as audio sources that can be played polyphonically via MIDI. A resonant lowpass filt er, a VCA and a comprehensive modulation section with several envelope
generators and LFOs are available for each individual voice. The velocity and
keyboard position (keyboard table) are additional sources of modulation. The edge
steepness of the filter can be toggled between 12 dB/octave and 24 dB/octave.
All this and more can be set and controlled using Ed!son.
Ed!son is not only used for the audio parameters, but also for the management of
soundsets. In addition to "normal" wave files, Ed!son also imports files containing
sample loop settings. Ed!son Wave or other suitable sample editors such as
WaveLab 2.0 or Sound Forge 4.0 can be used to create wave files with sample
loops. Needless to say, multi-samples can also be created with Ed!son. This is an
important feature for the construction of drum kits or for achieving maximum
authenticity in instrument sounds (such as pianos or choruses). The multi-edit
mode implemented in Ed!son permits parallel editing of several individual samples
or keyboard zones.
Finally, you can position the MIDI instrument voices created with Ed!son on the
stereo outputs of your EWS as described in "The Wavetable & MIDI Handbook".
As you can see, Ed!son and the WAMI BOX deliver everything that you can
expect from a good sampler.
Ed!son –Instrument Editor 15
1.3 The WAMI BOX instrument architecture
The WAMI BOX instrument architecture consists of three levels. The bottom
level is the sample, based on a file in wave audio format. The recording and audio
processing of samples is not performed in Ed!son, but in Ed!son Wave or another
sample editor. The finished wave file is then imported into Ed!son. One or more
loaded samples make up an instrument, together with the pitch, filter, volume and
modulation settings. These can be saved separately in TTI (TerraTec Instrument)
format.
One or more instruments make up a soundset. In addition to instruments, a
soundset can also contain variations and drumkits. Soundsets, i.e. collections of
instruments, can be saved in their own file format with the ending TTS (TerraTec
Soundset).
The Set Manager is used for the management of the soundsets created in Ed!son.
While the TTI format is primarily used to exchange individual instruments or the
construction of new soundsets, finished soundsets in TTS format are used during
a sequencer session or music production. Use the Set Manager for this purpose,
as it permits up to eight soundsets to be loaded into the memory of your WAMI
16 Ed!son –Instrument Editor
BOX simultaneously. In other words, look upon Ed!son mainly as a tool for the
development of new soundsets.
A few more points: TTI and TTS files contain the complete audio data in addition
to the parameters. This is especially practical if you would like to exchange
TTI/TTS files with other WAMI BOX users, or make them available via the
Internet. Ed!son is also able to import 94B-format soundsets. You can thus use
soundsets from other sound cards with Dream DSP with your WAMI BOX. It's
not possible to save in this format, however.
Note
GM/GS -compatible drumkits (available via MIDI channel 10) cannot currently be edited with
Ed!son. You can, however, create drumkits of your own by simply combining a variety of drum
sounds as a multi -sample.
Ed!son –Instrument Editor 17
1.4 A word about priorities
To summarize the terms instrument, program, bank, variation, soundset and
priority, we'd like to explain the relationships of these terms to one another.
Priority-level
P
r
o
g
r
a
m
SoundSet
Bank/Variation
063127
A soundset consists of a field with a maximum of 128 * 128 = 16384 instruments.
The individual positions of the instruments within this field are clearly defined by
the program number and the bank or variation number. As a rule, instruments are
located in Bank 1; variations which use the same samples or that are closely
related by theme are in other banks.
Mixing of sets As several sets can be loaded in the WAMI BOX, overlaps may
result in the program and bank numbers. Priorities were introduced for this reason.
The priority is applied in the event of identical program or bank numbers, and the
instrument with the highest priority in the set is played. If you would like to
18 Ed!son –Instrument Editor
replace a number of instruments in a GS set with your own, you can do this by
simply adding the program and bank numbers of the instruments to be replaced to
the instruments in your own set. Next, use the Set Manager to load both sets into
the WAMI BOX and increase the priority of your own set. Now you can play all
GM files with your own supplemental sounds without having to edit the GM/GS
set itself. The following graphic shows which instruments will finally be played
from which set.
Priority-level
P
r
o
g
r
a
m
SoundSet
Bank/Variation
0 63 127
In our example the bottom soundset is a GS set with the priority 0, the middle is a
GS set with a number of variations and priority 63, and the upper is a custom set
with only a few instruments and the priority 127. The top level of the second
graphic shows which instrument will be played from which set.
Ed!son –Instrument Editor 19
Part 2: Operation
2.1 The Ed!son user interface
The Ed!son user interface corresponds to the appearance of an analog
synthesizer. This is a good analogy, since Ed!son's fundamental architecture is
basically identical to that of a synthesizer. Instrument sounds are created and
edited on a single Ed!son screen. Ed!son has only a small number of menus which
are mainly required for global settings, or for the file management of the
soundsets and instrument sounds.
Beginners shouldn't worry about the large number of controls. A closer look at
Ed!son's user interface will show that many parameters and function groups are
present several times. The envelope generators, for example, are present three
times, but only need to be understood once. The same goes for the LFOs and the
velocity/slope/offset parameters. The actual functions of these individual
parameters are covered in Part 3 of this documentation, the reference section.
Ed!son is divided into logical sections with regard to its appearance and functions.
First, there's the basic elements of subtractive voice architecture, pitch (OSC),
filters (FILTER) and volume (OUTAMP). Next, there's the modulators, in this
case 2 LFOs and three envelope generators (EG 1 to EG 3). The keyboard tables,
which are used for keyboard-related modulations, are located below the third
envelope.
20 Ed!son –Instrument Editor
It's no coincidence that the Ed!son user interface is modeled after a synthesizer.
General notes for the user
As the Ed!son is equipped with specially -designed controls, we would like to give
you a few general hints for working with the program as efficiently as possible.
Nearly every parameter has a so-called sandwich button, which is generally
used to set numerical values. To change the parameter in small increments, click
on the upper or lower half of the button to raise or lower the value accordingly.
Numerical values can be set quickly and efficiently with the sandwich buttons.
For coarse adjustments, either click in the middle of the button or click it with the
right mouse button. This mode is marked by a small, double-headed arrow. Move
the mouse while holding the mouse button to quickly change the parameter over a
wide range.
Ed!son –Instrument Editor 21
For coarse adjustments, click the sandwich button with the right mouse button.
By the way, sandwich buttons can also be operated with the Microsoft
IntelliMouse (or any Microsoft-compatible wheel mouse). If you would like to
adjust parameters with the mouse wheel, please single-click onto the control first.
A control is ready for input from the mouse wheel when a light gray frame
surrounds the mouse wheel.
Sandwich buttons can only be controlled using the mouse wheel when it has the focus as
shown here.
An additional specia l feature of the Ed!son are the light blue text fields with an
autoscroll function. It's often not possible to display a complete text for lack of
space. If you come across such a text field, simply move the mouse pointer over
the field without clicking. The displayed text will begin to scroll automatically a
moment later. Examples for autoscroll text fields include the ALG parameter at
the upper edge of the screen or the driver selection in the Ed!son MIDI Settings
dialog.
A few more points : Please note that special context menus are available via the
right mouse button in certain areas of the screen such as the split zone.
22 Ed!son –Instrument Editor
Playing sounds in Ed!son
A conspicuous feature of the user interface is the keyboard at the lower edge of
the screen, which can be used to play the currently active instrument sound with
the mouse or the PC keyboard. The mouse only permits playing single sounds,
while the PC keyboard can be used for polyphonic playing. The mouse remains
useful while playing with the keyboard, as it can be used to trigger pitch-bend and
modulation events. Pitch bends can be triggered by clicking and holding a key
while moving the mouse to the left or right. The simulation of a modulation wheel
works in a similar manner, only that the mouse is moved forwards or backwards
while holding the mouse button. The following illustration shows the key
assignments of your PC keyboard.
Ed!son can also be "played" using the PC keyboard if necessary.
Of course, it's much more elegant to use a proper MIDI keyboard to play the
sounds. To do so, click the MIDI menu. This opens the Ed!son MIDI Settings
dialog in which you can select the MIDI port to which the keyboard is connected.
Configure Ed!son's MIDI properties here.
If you're lucky enough to have more than one WAMI BOX installed in your PC,
you can switch back and forth between the cards in the CARD field. Once you
have selected a different card, confirm your choice by clicking on the SELECT
button.
Use the IN field under DEVICE to select the port to which your MIDI keyboard
is connected. Once your keyboard is connected to the WAMI BOX, select the
driver WAMI BOX MIDI Record or WAMI BOX Midi-2. Select the required
Ed!son –Instrument Editor 23
MIDI channel under CHANNEL. The same applies to the OUT field under
DEVICE in which you can select the MIDI driver to accept the incoming MIDI
data (Ed!son thus provides a thru function). If you select the Auto setting, the
data will be forwarded to the MIDI Mapper.
Use Keyboard Chord Type to determine whether the onscreen keyboard should
play single notes (none setting) or a chord. The latter is useful when constructing
organ, spatial or technoid stack sounds. The chord function is not available to a
connected MIDI keyboard.
2.2 First steps and procedures
To get an idea just how quickly a new instrument can be constructed using
Ed!son, here's the step-by-step procedure.The wave file SAWTOOTH.WAV
located in the Ed!son folder will serve as the basis. As the name implies, the
sample contains a sawtooth wave which can also be used later for a huge number
of typical synthesizer sounds.
Preparations
• In order to have a defined starting condition, start by deleting the contents of
the sample RAM of your WAMI BOX by removing all of the soundsets in the
memory using the Delete button in the Set Manager. Important: Do this before
starting Ed!son.
• Close the Set Manager and start Ed!son.
Note:
These two steps are not absolutely necessary, as one or more sample sets may be
loaded in the WAMI BOX. The priority of the Ed!son set is automatically set to
the highest value . It's advisable nevertheless to ensure a predictable starting basis
and prevent being surprised by a sudden shortage of memory.
Importing sample and setting root key
• In the File menu, call up the item Open Sample(s). Select the file SAWTOOTH.WAV in the
Ed!son folder and click on Open in the file selection box.
24 Ed!son –Instrument Editor
Important:
If you would like to load a different wave file, please ensure that the length of a mono file may not
exceed 512 KB (stereo: 1024 KB).
• Once the sample is loaded, enter its original pit ch, the so-called root key, into
Ed!son. To do so, move the yellow square over the onscreen keyboard to the
correct note. Alternatively, you could also accomplish this with the parameter
COARSE in the OSC field. The original pitch of our demonstration sample is
A3.
The position of the yellow square marks the root key.
• Check now whether the sample is being played at the correct pitch. If not,
check the root key setting. If the overall pitch is OK but the sound is slightly
out of tune, correct the tuning with the OSC parameter FINE. The pitch can
be checked conveniently at any time using TUNE TONE, an electronic tuning
fork integrated in Ed!son. In case you can't hear anything when playing the
sound using an external MIDI keyboard, please check the CHANNEL and
DEVICE settings in the MIDI menu or use the PC keyboard for a test.
Ed!son –Instrument Editor 25
The OSC section contains the parameters for setting the root key and fine tuning.
• Everything OK? Congratulations, you've just built your first EWS instrument.
Now you can sta rt tinkering with the synthesizer parameters...
Setting parameters
The following is an example of how we can expand our instrument with a simple
LFO filter modulation.
• First, prepare the filter for an easily detectable modulation. In other words, a
low filter frequency at high resonance. So, let's set the following values in the
FILTER section: Cutoff = 10, Q = 100.
• Now let's set the LFO which will modulate the filter to a slow speed. Set the
following value in the LFO 2 section: Frequency = 4.
• As a thir d point, we have to inform the filter that it will be modulated by the
LFO. Click on the active button located to the left of the LFO 2 amt
parameter.
• When you now hit a key, you will clearly hear how the LFO modulates the
filter. You can now experiment with the other settings. Change the LFO speed
or LFO waveform, or test the interaction of the filter frequency and resonance.
26 Ed!son –Instrument Editor
These settings will result in a simple filter modulation via LFO.
Adding splits
If you would like to construct a multi-sample or drumkit, it will be necessary to
add additional samples to the instrument. This can optionally be done via a context
menu.
• Move the mouse cursor to the split display above the onscreen keyboard.
Press the right mouse button and select the item Add split from the context
menu. Repeat this procedure as for each of the samples you need for the
instrument.
Use this area to set the sample keyboard zones (splits).
• Next, set the keyboard zone of the samples by moving the small gray bar
horizontally to the left and right of the split.
• In the third step, assign samples to the individual keyboard zones or splits.
Select the split by clicking on it. A selected split will be shown in red. Press
Ed!son –Instrument Editor 27
the right mouse button and assign a new wave file to the selected keyboard
zone with Change wave file.
• Next, adjust the root key of each individual sample.
Editing splits
The following contains additional user information pertaining to splits:
• If an instrument contains more than eight splits, a small slider will appear on
the right-hand edge of the split display to permit scrolling through the split list.
• A double -click on the split display or pressing the enter key of the numerical
keypad of the PC keyboard will hide all but the last selected split. This
provides a clear overview in complex multi-samples or drumkits. A second
double-click will once again reveal the splits.
• The context menu available via the right mouse button offers a variety of
functions such as Delete splits, Copy splits, Select all, Delete all, or Set as root
key. Set as range and root key assigns a sample to a single key which is also
the root key.
The context menu of the split display is helpful when managing keyboard zones.
28 Ed!son –Instrument Editor
The special case of stereo samples
As the DSP synthesizer of the WaMi Box can only import mono files, Ed!son
applies a small trick to permit the playback of true stereo samples. If Ed!son
encounters a wave file in stereo format during an import, it automatically splits it
into two mono samples and positions them as overlapping splits over the same
keyboard range. The panorama values of both splits are then set to opposing
maximum values and - hey presto, stereo!
Ed!son –Instrument Editor 29
Creating multi-samples
If you know in advance that you would like to create a multi-sample or a drumkit,
a much more elegant method to apply multiple samples to an instrument can be
found in the File menu.
• Click the menu item Open Sample(s). A variety of parameters for the
semiautomatic compilation of multi-samples are available in the lower section
of the file selection box. First, select the appropriate wave files in the desired
order. Use the Ctrl key of your PC keyboard to select multiple wave files.
Ed!son permits the import of several samples at once.
• If the stereo parameter is activated, stereo samples will automatically be
converted to two superimposed splits with opposed panorama settings. If not,
the stereo samples will automatically be converted into mono samples.
30 Ed!son –Instrument Editor
• Assign the number of keys that will apply to the sample under Keys per
Sample. Each sample receives a single key if the setting Keys per Sample = 1
is selected. This is the ideal setting for the creation of drumkits, Adlib vocal
banks or effect sets. If you would like to import a multi-sample spaced at full
octaves, enter the value 12 (12 ke ys make up one octave).
Ed!son –Instrument Editor 31
• First key and Last key set the upper and lower limits of the samples to be
imported.
All of the parameters covered here can be set for the most common import
situations by a mouse click via four presets. The following presets are available:
Presets help with importing samples.
• Full Range: The entire keyboard range is used for all samples. Important for
instruments consisting of layered samples.
• Single Keys: Each key is assigned its own sample. Important for drumkits.
• Fit Range: Distributes the samples in a non-overlapping manner and equally
proportioned over the selected keyboard range.
• Fit Keys per Sample: Automatically adapts the keyboard range to the Keys
per Sample value.
• Generic: No preset, free assignment of parameters.
Parallel editing of multi-samples
It's extremely practical to jointly edit several splits of a multi-sample. Find out
more about the purpose of the Multi-edit mode with a small example: Create an
extremely broad chorus multi-sample consisting of 30 splits. If you'd like to
increase the attack time of the volume envelope by a tiny notch, you would have a
problem. It would be necessary to make the adjustment individually for each of
the 30 splits.
32 Ed!son –Instrument Editor
This button permits several splits to be processed at the same time.
As it would be better to invest this time in your music, the Ed!son developers
came up with the Multi-edit button. If this button is activated, it is possible to edit
the parameters of all selected splits at the same time. Please observe the
following:
• If you would only like to edit a part of the available splits, select them with the
Ctrl key pressed.
• Only synthesizer parameters can be edited simultaneously. All of the
parameters at the upper edge of the screen with the exception of Alg can not
be controlled in the Multi-edit mode. Transpose, Program, Variation, as well as
the Velocity Split and Key Split functions are also not available.
Creating velocity splits
The velocity scale permits switching samples in dependence on their touch dynamics.
Ed!son –Instrument Editor 33
Each split can be assigned to an individual velocity range. In other words, The
sample will only be played if the key velocity is within the specified range. A
piano sound is also a useful example for this function: Sample a piano not only at a
variety of pitches, but also at different key velocities, and use Ed!son to assign
these samples to varying velocity splits. This technique can be used to construct
an extremely authentic piano sound.
Velocity splits are also almost indispensable for non-electronic drum sounds. The
procedure for switching samples with regard to their velocity dynamics is easily
explained:
• Select the split to be edited.
Use the velocity scale at the right-hand edge of the window to set the velocity
range in which the specif ic sample is to be played. The settings of the velocity
range are made in a manner similar to the setting of the keyboard splits: The
range limits can be changed by moving the gray marks in the velocity scale. The
numerical fields above and below the scale show the range limits in plain text.
34 Ed!son –Instrument Editor
Part 3: Reference
3.1 Parameter reference
The following section contains a short description of all parameters to be found in
the main Ed!son screen.
Important:
Changing the synthesizer parameters always affects only the currently selected
split. To change the parameters of several splits at the same time, switch on the
Multi -edit mode (see above).
OSC
The pitch and fine tuning of the samples can be set in this section. In addition, you
can determine whether, and with which modulator, and the degree to which the
pitch will be modulated.
Keyb. Table determines which keyboard table will control the basic volume of the
samples. No keyboard table is applied in the off position.
Keyb. Type determines whether the sample will be played back in a Fixed or
variable Normal pitch. In other words, in the Fixed position, the sample is played
Ed!son –Instrument Editor 35
at the same pitch by all keys. In the Normal position, the sample can be played
over the set tonal range. In the FixKbd:1 position, the pitch is influenced by the
setting of keyboard table 1.
Pre Amp. determines the basic volume of the sample.
LFO1 Amt. determines the intensity at which LFO1 should modulate the pitch.
Use a low value for a light vibrato or a high value for a siren effect. Active
toggles the LFO modulation.
EG1 Amt. determines the intensity with which EG 1 should modulate the pitch.
Active toggles the envelope modulation.
Velocity determines the offset, i.e. a basic value for the effect of touch dynamics
on the Pre Amp parameter. Active toggles the velocity modulation.
Slope determines the slope of the touch dynamics for the Pre Amp parameter. A
positive value will cause the volume to increase with an increase in touch
dynamics; a negative value will cause it to drop.
Tune tone is a test tone with which to tune samples. Use the sandwich button to
adjust the pitch and the rotary control to adjust the volume of the test tone.
Coarse tuning adjusts the basis tuning (root key) of the sample.
Fine tuning permits the fine tuning of the sample.
36 Ed!son –Instrument Editor
FILTER
The tone-shaping parameters cutoff frequency and resonance are set here. In
addition, you can determine whether, and with which modulator, and the degree to
which the filter will be modulated.
Keyb. Table determines which ke yboard table will control the cutoff frequency of
the samples. No keyboard table is applied in the off position.
Cutoff sets the filter frequency (cutoff frequency).
Q sets the filter resonance.
LFO2 amt. determines the intensity with which LFO2 should modulate the cutoff
frequency. Active toggles the LFO modulation.
EG2 active toggles the filter modulation through envelope generator EG2.
Velocity sets an offset for the effect of touch dynamics on the cutoff frequency.
Active toggles the velocity modulation.
Slope determines the slope of the touch dynamics for the cutoff frequency. A
positive value will cause the frequency to increase with an increase in velocity; a
negative value will cause it to drop.
Velocity Q sets an offset for the effect of touch dynamics on the filter resonance.
Active toggles the velocity modulation.
Ed!son –Instrument Editor 37
Slope Q determines the slope of the touch dynamics for the filter resonance. A
positive value will cause the resonance to increase with an increase in velocity; a
negative value will cause it to drop.
Offset adds a constant value to the cutoff frequency. The Offset can be toggled
with the button on the right.
OUTAMP
Adjust the global volume, panorama and effect share of the sound in this section.
In addition, you can determine whether, and with which modulator, and the degree
to which the volume will be modulated.
Volume controls the global volume of the sample.
Keyb. Table determines which keyboard table will control the volume. No
keyboard table is applied in the off position.
Panorama controls the stereo positioning of the sample.
LFO2 amt. determines the intensity with which LFO2 should modulate the volume.
Active toggles the LFO modulation.
EG3 active toggles the volume modulation through envelope generator EG3.
Velocity sets an offset for the effect of touch dynamics on the output volume.
Active toggles the velocity modulation.
38 Ed!son –Instrument Editor
Slope determines the slope of the touch dynamics for the output volume. A
positive value will cause the volume to increase with an increase in velocity; a
negative value will cause it to drop.
Offset adds a constant value to the volume. The Offset can be toggled with the
button on the right.
Panorama controls the share of reverb of the sample. Please note the effect
settings in the FX Panel.
Chorus controls the share of chorus of the sample. Please note the effect settings
in the FX Panel.
LFO 1 / LFO 2
LFO 1 is used for pitch modulation. It can be used to realize typical vibrato or
siren effects. LFO 2 can modulate the filter sweep effects as well as the volume
(tremolo).
Waveform determines the waveform of the modulator signal. A choice of sine,
ascending sawtooth, descending sawtooth, square, noise (random modulation), and
clipped sine (degree of clipping) waveforms are available.
Frequency dete rmines the speed of the LFO modulation.
Delay sets the delay time between striking the keyboard and the start of the
modulation.
Attack permits the automatic addition of modulation after striking the key or the
elapse of a delay time.
Ed!son –Instrument Editor 39
EG 1 / EG 2 / EG 3
The WAMI BOX has three permanently assigned envelope generators. EG 1
controls the pitch, EG 2 the filter, and EG 3 the volume. Each envelope is
constructed using four level and four time parameters. The envelope generators
can be edited in two different ways: Firstly, by clicking and sliding the square
anchor points within the envelope generator graphic. And secondly, by the
individual adjustment of the parameters as described below.
A (Attack) is the first phase of an envelope immediately after the key is struck.
Long attack times permit the slow fade -in of the sound, with strings for example.
D (Decay) is the second phase of an envelope. The decay phase immediately
follows the attack phase and corresponds to the rise or drop of the envelope to
the sus tain level. Percussive sounds can be achieved by making the attack time as
short and the sustain level as low as possible. Decay sets the time in which the
sound automatically fades while the key is held.
S (Sustain) is the designation for the phase following the decay. The envelope
initially passes through the attack and decay phases and then stays in the sustain
phase for the entire period in which the key is held.
40 Ed!son –Instrument Editor
R (Release) is the fade phase of an envelope after the release of the key. A good
exampl e for this is a crash cymbal, which decays for a fixed time regardless of
the length of the attack.
Relationship between level and time parameters
The Rate parameters of the envelopes are scaled approximately exponentially. In
other words, a small value (approx. < 60) represents only a few fractions of a
second, whereas a value near the maximum is already several minutes.
Attack
Rate
Note on
Note off
Attack
Level
Sustain
Level
Decay
Level
Release
Level
Start
Level
Decay
Rate
Sustain
Rate
Release
Rate
Ed!son –Instrument Editor 41
Note:
Envelope parameters are hard to describe in words. It's best to simply try out
which envelope parameters affect which modulation characteristics. Try
experimenting with the volume envelope EG 3 in conjunction with a wave file with
a sample loop such as our demo file SAWTOOTH.WAV. Don't forget to
activate the EG3 button in the OUTAMP section first.
Keyb. Table determines which keyboard table will control the attack and delay
times of the envelope. This can be used to set shorter attack and delay times for
higher frequencies than for lower ones. No keyboard table is applied in the off
position.
Start level determines the basic level of the envelope at the start of the attack
phase.
KBT
The WAMI BOX has two independent keyboard tables. A keyboard table
generates a modulation signal based on a characteristic curve which depends on
the keyboard position of the played key. One possible application of this is the
filter tracking performed by other synthesizers, which involves changing the cutoff
frequency in dependence to the played note. In other words, the higher the pitch
at which a sample is played, the higher its cutoff frequency.
This characteristic corresponds to that of some natural instruments which sound
bright at high pitches and dull at lower pitches. Needless to say, you can also
reverse this characteristic due to the flexible adjustment of the characteristic
curve. It's possible to achieve especially unusual effects by using a keyboard table
to manipulate the pitch of a sample.
42 Ed!son –Instrument Editor
The characteristic curve of a keyboard table can be constructed by either clicking
and moving an anchor point in the characteristic curve graphic or by adjusting the
individual Key and Level parameters. A total of four key positions are available
per keyboard table.
Key corresponds to the keyboard position of an anchor point of the characteristic
curve.
Level corresponds to the level of an anchor point of the characteristic curve.
Keyb. Table determines which of the four keyboard tables is shown in the display
and can be currently modified. The pitch can only be assigned to keyboard table 1
(via Keyb. Type in the oscillator). All 4 tables can be applied to the following
parameters:
OSC -> control of PreAmp, basic volume of sample
Filter -> control of CutOff, filter limit frequency
OutAmp -> control of Volume, output volume of the splits
EG -> control of envelope rates. The times are compressed or
expanded.
Other parameters and controls
In addition to typical synthesizer parameters, Ed!son offers global parameters and
management tools. Starting with the top row, directly under the menu bar:
Sample shows all of the samples contained in the instrument and permits the
exchange of samples. The button on the right next to the display opens and
closes the sample list.
Del. removes the currently selected sample from the soundset.
Alg. determines the edge steepness of the filter and the characteristics of the
sample loop. While one doesn't have anything to do with the other in the context
Ed!son –Instrument Editor 43
of a sampler, the DSP contained in the WAMI BOX has the peculiarity of linking
the two parameters. The following algorithms are available:
Algorithm Filter characteristic Sample loop characteristic
12 dB noise 12 dB/octave low-pass The sample is replaced by noise.
12 dB F 12 dB/octave low-pass Sample loop forwards
24 dB A 24 dB/octave low-pass Sample loop forwards/reverse
24 dB AM 24 dB/octave low-pass Sample loop forwards/reverse/inverted
24 dB F 24 dB/octave low-pass Sample loop forwards
Note:
The non-clip algorithms available in the beta versions have been dropped for
technical reasons.
Loop toggles the sample loop playback. If the currently selected sample does not
have a sample loop, the full length of the sample will be looped.
Add is used to add a new instrument to the soundset.
Del. deletes the current instrument or removes it from the soundset.
Instrument selects an instrument from a loaded soundset for editing in Ed!son.
Repeat ensures that a played note is not cut off but played in full when the same
note is played again. This is especially useful when constructing and testing spatial
sounds.
Panic triggers a MIDI reset. Use this button if you detect frozen notes or other
irregularities in the MIDI operation.
44 Ed!son –Instrument Editor
RAM shows the status of the WAMI BOX's memory. The dark blue crosshatched section shows the used memory, the light blue section represents the total
amount of sample RAM installed on the card. Depending on the organization of
the soundsets and instruments, you may find that the EWS will still have unused
memory, despite the fact that it's not possible to load even the smallest sample. In
that case it's not the sample RAM, but the instrument parameter memory which is
full. In this case you should remove a GS set from the memory if present to free
up an adequate amount of space.
Multi-edit toggles the Multi-edit mode.
Program sets the program number used to address the current instrument in the
soundset.
Variation sets the variation number used to address the current instrument in the
soundset.
Transpose transposes all of the splits contained in the currently selected
instrument in increments of an octave.
3.2 Menu reference
The following is a listing and brief description of all Ed!son menu commands.
Keyboard shortcuts are shown in square brackets.
File
New [Ctrl + N] resets Ed!son for a new instrument.
Open Set [Ctrl + Shift + O] opens a TTS or 94B format soundset.
Ed!son –Instrument Editor 45
Open Ins trument(s) [Shift + O] opens an instrument in TTI format.
Open Sample(s) [Ctrl + O] opens one or more wave format samples.
Save Set [Ctrl + Shift + S] saves a soundset in TTS format.
Save As... [Ctrl + S] saves a soundset or instrument, prompting for a file name.
Save Instrument [Shift + S] saves an instrument in TTI format.
Recent Files lists the most recently used soundsets for direct access.
Exit ends Ed!son after a safety prompt.
Edit
Instrument List [Ctrl + I] opens a dialog box which displays the internal
structure of a soundset. It also permits comments, copyright notes and notes
about the author to be added to a soundset. The Program Change and
Variation address of the individual instruments can also be determined. New
instruments can also be added or moved simply by drag and drop. What's more,
selecting an instrument or sample and pressing the Delete –key removes these
quickly and easily.
Double-clicking on a sample with the left mouse button will cause it to be
played a single time via the standard wave output.
46 Ed!son –Instrument Editor
The instrument list provides details regarding the structure and author of a soundset.
Optimize Size checks a soundset for identical samples and deletes redundant
audio files. Although Ed!son checks samples for differences before de leting them,
you should always make it a point to clearly name samples for 100% safety.
MIDI
[Ctrl + P] ...calls up the Ed!son MIDI Settings dialog.
Window
Always On Top [T] ensures that Ed!son is not covered by other windows.
Fit Size resets the Ed!son window to its default size.
Help
About Ed!son [?] provides information on the version, copyright and authors of
Ed!son.
Ed!son –Instrument Editor 47
48 Ed!son –Instrument Editor
Part 4: Appendix
4.1 Glossary
Attack designates the starting or attack phase of an >envelope generator or
>LFO. A long attack time me ans that the envelope or LFO oscillation increases
slowly.
Decay is the time in which the envelope falls to the >sustain level.
DSP is an abbreviation for Digital Signal Processor. A DSP manufactured by
Dream handles the real-time processing of up to 64 audio channels in the WAMI
BOX.
Filters are signal shaping components present in practically all synthesizers and
samplers.
Envelope generators are modulators which can be used to realize complex pitch,
filter and volume progressions in the WAMI BOX. An envelope generator is
started by striking, and ended by releasing a key.
LFO (Low Frequency Oscillator) is a modulator based on a slow, periodical
oscillation. It is used by the WAMI BOX for the >modulation of pitch, filter
frequency or volume.
Mapping is studio jargon for assigning samples or >splits to certain keyboard
zones or individual keys.
Modulation refers to the dynamic control of pitch, tone or volume using
modulators such as >LFOs, >envelope generators, keyboard tables or key velocity.
Multi -sampling is a process for creating authentic instrument sounds by
distributing a number of individual samples (known as >splits in Ed!son) across
the keyboard.
Oscillator is the term for an electronic audio source. Instead of oscillators, the
WAMI BOX uses samples in >wave format.
Ed!son –Instrument Editor 49
Program Change is a MIDI command to change instrument sounds.
Release is the term for the fade phase of an envelope. The release phase starts
when the keyboard is released.
Root key designates the original pitch of an instrument sample.
Sample is another term for an audio file used in a sampler.
Sample loop is a process which shortens long samples or artificially lengthens
short samples. This is primarily used to conserve >sample RAM.
Sample RAM is a special memory type used to store >samples for playback at
any required pitch.
Soundset is the term for a collection of instruments. WAMI BOX soundsets can
be recognized by the file endings TTS or 94B.
Split is an Ed!son term referring to a keyboard zone which has a sample assigned
to it. A >multi-sample or drumkit is made up of several splits.
Sustain is the level at which an envelope remains until the key is released or the
sustain time has elapsed.
Wave format is a format defined by Microsoft to exchange or archive audio data.
50 Ed!son –Instrument Editor
4.2 Other keyboard shortcuts
Note
The keyboard shortcuts for the menu commands can be found in Section 3.2,
Menu reference. The prefix "Num" indicates that the appropriate key on the
numerical keypad must be used.
Add Instrument Ins
Delete Instrument Del
Select next Instrument Pg Up
Select previous Instrument Pg Dn
Show SplitControl Num Enter
Add Split Num +
Delete Split Num Copy Split Ctrl + Num +
Delete all Splits Ctrl + Num Select all Splits (toggle) Num 5
Load new Wave in Split W
Select next split Num 8
Select previous split Num 2
Transpose Keyboard + 1 Num *
Transpose Keyboard - 1 Num /
Define RootKey and Range via MIDI R
Shift Range start up Num 9
Shift Range start down Num 7
Shift Range up (incl. RootKey) Num 6
Shift Range down (incl. RootKey) Num 4
Shift Range end up Num 1
Ed!son –Instrument Editor 51
Shift Range end down Num 3
Shift RootKey up Num .
Shift RootKey down Num 0
Panic Esc
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