E-Mu Emax II User Manual
EMAX II
OPERATIONS MANUAL
Copyright E-mu Systems Inc.
Emax II operation manual
Emax II
16-Bit Digital Sound System
Operation Manual
© 1989 E-mu Systems, Inc.
All Rights Reserved
For future reference, copy the
Serial Number from your Emax II here.
Written by
Craig Anderton
Editing and additional
illustrations by
Riley Smith
Cover by Dan Borba
■ FI368 Rev. E
E-mu Systems, Inc.
1600 Green Hills Road
Scotts Valley, CA 95066
(831) 438-1921
Important Notice: In order to to obtain warranty service on
your Emax II, the serial number sticker must be intact and you
must have a sales receipt or other proof of purchase. If there is
no serial number sticker on your unit, please contact E-mu
Systems at once.
This product is covered by one or more of the following
U.S. patents: 3,969,682; 3,986,423; 4,404,529; 4,506,579;
4,699,038; and foreign patents and/or pending patents.
Emax II is a registered trademark of E-mu Systems, Inc.
Emax II operation manual
Emax II operation manual
Precautions
WARNING: READ THIS FIRST
IMPORTANT SAFETY INSTRUCTIONS
Changing the voltage selector may require the use of a different line cord or attachment plug, or
both. To reduce the risk of fire or electric shock, refer servicing to qualified service personnel. To
reduce risk of fire or electric shock do not expose this product to rain or moisture.
GROUNDING INSTRUCTIONS
This product must be grounded. If it should malfunction or break down, grounding provides a
path of least resistance for electric current, reducing the risk of electric shock. This product is
equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug
must be plugged into an appropriate outlet properly installed and grounded in accordance with
all local codes and ordinances.
DANGER
Improper connection of equipment grounding conductor can result in the risk of electric shock.
Check with a qualified electrician or service personnel if you are in doubt as to whether the product
is properly grounded. Do not modify the plug provided with this product — if it will not fit the
outlet, have a proper outlet installed by a qualified technician.
CAUTION
If the 2201-06 Emax II is rack mounted, a standard 19 inch open frame rack must be used. make
sure ventilation openings on the rear of the 2201-06, Emax II are not blocked.
USER-MAINTENANCE INSTRUCTIONS
1. The Emax II should be kept clean and dust free. Periodically wipe the unit with a clean, lint free
cloth. Do not use solvents or cleaners.
2. There are no user lubrication or adjustment requirements.
3. Refer all other servicing to qualified service personnel.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS
WARNING; When using electric products, basic precautions should always be
followed, including the following:
1. Read all instructions before using the Emax II.
2. To reduce the risk of injury, close supervision is necessary when the Emax II is used near
children.
3. Do not use the Emax II near water — for example near a bathtub, washbowl, kitchen sink, in a
wet basement, on a wet bar, or near or in a swimming pool.
4. The Emax II should be situated so that its location or position does not interfere with its proper
ventilation.
5. The Emax II should be located away from heat sources such as radiators, heat registers,
fireplaces, stoves, or ovens.
6. The Emax II should only be connected to a power supply of the type described in the operating
instructions and as marked on the product.
■
This symbol is intended
to alert the user to the presence of important operating
and maintenance (servicing) instructions in the literature accompanying the
appliance.
■
This symbol 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 to persons.
Emax II operation manualPrecautions
7. This product, in combination with an amplifier and headphones and speakers, may be capable
of producing sound levels that could cause permanant hearing loss. Do not operate for a long
period of time at a high volume level or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, consult an audiologist.
8. This Emax II may be equipped with a polarized line plug (one blade wider that the other). This
is a safety feature. If you are unable to insert this plug into the outlet, do not defeat the safety
purpose of the plug. Contact an electrician to replace your obsolete outlet.
9. The power supply cord of the Emax II should be unplugged from the outlet when left unused
for a long period of time.
10. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure
of the Emax II through openings.
11. The product should be serviced by qualified service personnel when:
A. The power supply cord has been damaged; or
B. Objects have fallen, or liquid has been spilled into the product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate normally or exhibits a marked change in
performance; or
E. The product has been dropped or the enclosure damaged.
12.All servicing should be referred to qualified service personnel.
SAVE THESE INSTRUCTIONS
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
RADIO and TELEVISION INTERFERENCE
The equipment described in this manual generates and uses radio-frequency energy. If it is not
installed and used properly-- that is, in strict accordance with our instructions - it may cause
interference with radio and television reception.
This equipment has been tested and complies with the limits for a Class A computing device in
accordance with the specifications in Subpart J of Part 15 of the FCC rules. These rules are designed
to provide reasonable protection against such interference in a residential installation. However,
there is no guarantee that the interference will not occur in a particular installation, especially if
a "rabbit ear" television antenna is used.
If the Emax II does cause interference to radio or television reception, you can try to correct the
interference by using one or more of the following measures:
■ Turn the television or radio antenna until the interference stops.
■ Move the Emax II to one side or the other of the television or radio.
■ Move the Emax II farther away from the television or radio.
■ Plug the Emax II into an outlet on a different circuit than the television or radio.
■ Consider installing a rooftop antenna with a coaxial lead-in between the antenna and
television set.
Emax II operation manual
INTRODUCTION 1
EMAX II BASICS 9
Sampling Basics ................................................................................................................... 11
The Bank ............................................................................................................................... 12
Samples & Voices................................................................................................................. 12
Making a Preset.................................................................................................................... 13
The Current Preset ............................................................................................................... 13
The Current Voice................................................................................................................ 13
More About Voices .............................................................................................................. 14
Other Definitions ................................................................................................................. 16
GUIDED TOURS 19
Guided Tour No. 1 - Meet the Emax II ............................................................................. 21
Guided Tour No. 2 - Specifying the Current Voice ........................................................ 25
Guided Tour No. 3 - Dynamic Processing of a Voice ..................................................... 27
Guided Tour No. 4 - Realtime Control Programming ................................................... 31
Guided Tour No. 5 - Basic Sampling ................................................................................ 33
Guided Tour No. 6 - Digitally Processing Samples ........................................................ 35
Guided Tour No. 7 - Managing the Bank......................................................................... 38
Guided Tour No. 8 - The Sequencer ................................................................................. 38
Guided Tour No. 9 - Make Your Own .............................................................................. 39
i
CONTENTS
GENERAL INSTRUCTIONS 41
Selecting the Current Preset ............................................................................................... 43
Exiting a Function ................................................................................................................ 43
Keyboard Numbering Protocol ......................................................................................... 44
Disk Handling ...................................................................................................................... 44
FUNCTION BUTTONS 47
Transpose .............................................................................................................................. 49
Select Drive ........................................................................................................................... 50
Load Bank ............................................................................................................................. 50
Enter Data ............................................................................................................................. 51
MASTER 53
1. Master Tune ...................................................................................................................... 55
2. Memory Remaining......................................................................................................... 55
3. Velocity Curve ................................................................................................................. 56
4. Erase All ............................................................................................................................ 56
ii
CONTENTS
Emax II operation manual
MASTER (continued)
5. Format Disk ...................................................................................................................... 57
6. Erase HD Bank ................................................................................................................. 59
7. Bird Run ............................................................................................................................ 60
8. Backup/Restore ............................................................................................................... 60
0. Define Custom ................................................................................................... 61
1. Copy HD to HD ................................................................................................. 61
2. New Banks Only................................................................................................ 62
3. Selected Banks ................................................................................................... 62
4. Custom Backup ................................................................................................. 63
5. Continue Backup ............................................................................................... 63
6. Backup to Floppy .............................................................................................. 63
7. New Banks to Floppy ....................................................................................... 64
8. Selected to Floppy ............................................................................................. 64
9. Floppy Restore ................................................................................................... 64
9. Special................................................................................................................................ 65
1. Copy Software ................................................................................................... 65
2. MIDI Master ....................................................................................................... 66
3. Recalibrate .......................................................................................................... 67
4. Audition Note .................................................................................................... 67
5. MIDI Analyzer ................................................................................................... 68
6. SCSI Boot ID ....................................................................................................... 68
7. Install Disk.......................................................................................................... 69
Software Revision.................................................................................................. 69
SAMPLE 71
1. VU Mode/Gain ................................................................................................................ 73
2. Place Sample ..................................................................................................................... 73
3. Sample Rate ...................................................................................................................... 74
4. Sample Length ................................................................................................................. 75
5. Threshold .......................................................................................................................... 76
6. Arm Sampling .................................................................................................................. 76
7. Force Sampling ................................................................................................................ 77
8. Stop Sampling .................................................................................................................. 77
0. Change Sample ................................................................................................................ 77
DIGITAL PROCESSING 79
0. Change Voice.................................................................................................................... 81
1. Truncate ............................................................................................................................ 82
2. Loop ................................................................................................................................... 84
3.Release Loop...................................................................................................................... 88
4. Loop Mode........................................................................................................................ 91
5. Taper .................................................................................................................................. 92
6. Splice.................................................................................................................................. 93
7. Combine ............................................................................................................................ 95
Emax II operation manual
CONTENTS
DIGITAL PROCESSING (continued)
8. Crossfade Loop ................................................................................................................ 96
9. Digital Effects ................................................................................................................... 98
1. Gain/Attenuation ............................................................................................. 98
2. Reverse Sound ................................................................................................... 99
3. Change Sample Rate ......................................................................................... 99
4. Change Pitch .................................................................................................... 100
5. Transform Multiplication ............................................................................... 101
6. Spectrum Synthesizer ..................................................................................... 103
PRESET MANAGEMENT 105
1. Load Preset ..................................................................................................................... 107
2. Save Compressed ........................................................................................................... 108
3. Create Preset ................................................................................................................... 109
4. Erase Preset ..................................................................................................................... 109
5. Copy Preset ..................................................................................................................... 110
6. Rename Preset ................................................................................................................ 110
7. Preset Size ....................................................................................................................... 111
8. Save All 16 Bit ................................................................................................................ 112
iii
PRESET DEFINITION 113
1. Copy Voice...................................................................................................................... 115
2. Edit Assignment ............................................................................................................ 118
3. Erase Voice...................................................................................................................... 120
4. Stereo Voice .................................................................................................................... 121
5. Crossfade ........................................................................................................................ 123
6. Arpeggiator .................................................................................................................... 126
7. MIDI................................................................................................................................. 133
8. Pitch Bend Range ........................................................................................................... 138
9. Realtime Controls .......................................................................................................... 138
0. Stack Presets ................................................................................................................... 144
DYNAMIC PROCESSING 147
00. Change Voice................................................................................................................ 149
11. Attenuation/Tuning/Delay....................................................................................... 151
12. VCA AHDSR ................................................................................................................ 151
13. Filter Setup.................................................................................................................... 155
14. Filter AHDSR ............................................................................................................... 156
15. LFO Setup ..................................................................................................................... 157
16. LFO To ........................................................................................................................... 158
17. Velocity To A ................................................................................................................ 159
18. Velocity To B ................................................................................................................ 160
19. Panning ......................................................................................................................... 161
20. Chorus ........................................................................................................................... 162
iv
Emax II operation manual
CONTENTS
DYNAMIC PROCESSING (continued)
21. Keyboard Mode ........................................................................................................... 163
22. Control Enable ............................................................................................................. 164
SEQUENCER 165
Play ...................................................................................................................................... 167
Record.................................................................................................................................. 167
Stop ...................................................................................................................................... 167
Select Sequence .................................................................................................................. 168
Sequencer Manage
1. Tempo .............................................................................................................................. 168
2. Clock Source ................................................................................................................... 169
3. Load Sequence ............................................................................................................... 169
4. Erase Sequence ............................................................................................................... 171
5. Copy Sequence ............................................................................................................... 173
6. Rename Sequence .......................................................................................................... 173
Sequencer Setup
1. Track Status .................................................................................................................... 174
2. Track Preset .................................................................................................................... 174
3. Auto Extend.................................................................................................................... 175
4. Erase Track ..................................................................................................................... 176
5. Bounce Track .................................................................................................................. 176
6. Supermode ...................................................................................................................... 177
ADVANCED APPLICATIONS 181
The Art of Sampling 183
Part 1: Taking the Best Possible Sample ......................................................................... 183
Session #1: Sampling from Tape ..................................................................................... 186
Session #2: Sampling Acoustic Instruments .................................................................. 187
Session #3: Sound Effects ................................................................................................. 190
Part 2: Manipulating the Sample ..................................................................................... 192
Part 3: Multi-Sampling ...................................................................................................... 195
Fix It in the Mix 197
Multi-Timbral Operation 201
Multi-Timbral Banks 203
Spectrum Synthesis 205
Overview............................................................................................................................. 205
Spectrums ........................................................................................................................... 206
Time Slice ............................................................................................................................ 207
Creating Sounds................................................................................................................. 208
Emax II operation manual
CONTENTS
Spectrum Synthesis (continued)
Interpolation ....................................................................................................................... 209
1. Frequency Spectrum ..................................................................................................... 210
2. Time Slice ........................................................................................................................ 211
3. Amplitude Contour ....................................................................................................... 213
4. Pitch Contour ................................................................................................................. 214
5. Pitch/Ratios .................................................................................................................... 216
6. Interpolate ....................................................................................................................... 216
7. Load Parameters ............................................................................................................ 217
8. Save Parameters ............................................................................................................. 217
9. Erase Parameters............................................................................................................ 218
0. Synthesize! ...................................................................................................................... 218
Approaching Spectrum Synthesis ................................................................................... 219
Spectrum Synthesis Experiments .................................................................................... 219
v
Digital Sound Transfer 221
MIDI Supplement 223
APPENDIX 229
Velocity Charts ................................................................................................................... 230
Emax II Memory Expansion.............................................................................................. 235
Technical Specifications .................................................................................................... 236
MIDI Implementation Chart ............................................................................................ 237
Note-to-Frequency Conversion Chart ............................................................................ 238
Index ..................................................................................................................................... 239
Warranty .............................................................................................................................. 243
Emax II operation manual
Emax II operation manual
Introduction
INTRODUCTION
WHAT'S AN EMAX II? 2
INSTANT GRATIFICATION 3
CONNECTION INSTRUCTIONS 5
CONNECTION DIAGRAM 6
1
2
Emax II Features
Emax II operation manual
INTRODUCTION
WHAT’S AN EMAX II?
Emax II is a responsive, low cost, surprisingly easy-to-use musical instrument with
staggering creative possibilities. It’s also a composer’s personal orchestra, a recording
studio’s chance to have hundreds of acoustic and electronic instruments “on call” at any
one time, a university’s research tool...but most of all, it provides the means for some
truly special musical experiences. To give you a better idea of its capabilities, here are
just a few of Emax II’s highlights:
In addition to synthesizing sounds, Emax II digitally records (“samples”) real-world
sounds into its memory with 16-bit, CD quality in either mono or stereo (optional). If you
want Emax to sound like a piano, sample a piano; if you want it to sound like a barking
dog, sample a dog. Pre-sampled sounds can also be loaded into Emax II’s memory from
disks. Emax II also contains Spectrum Synthesis, a powerful additive synthesizer.
These sounds may then be modified with Emax II’s synthesizer processors and/or stateof-the-art digital processors. The synthesizer-type processors include:
● Dynamic digital lowpass filters (VCF) with AHDSR envelope generators
● Digital amplifiers (VCA) with AHDSR envelope generators
● LFOs with adjustable rate, delay, and speed variation
● Two programmable wheels for real-time control over pitch, filter cutoff, AHDSR
attack rate, level, LFO modulation index, etc.
● Two programmable footswitches for real-time control over sustain, release,
sustenuto, “patch” change, and sequencer start/stop
● Velocity sensitive keyboard, where keyboard dynamics can control any or
all of the following: VCA level, VCA attack, VCF cutoff, VCF attack, and VCF Q.
The keyboard can play up to sixteen notes simultaneously; however, Emax II can chorus
its voices or play in stereo with no loss of polyphony! Note that like standard analog
synthesizers, there is a complete set of modifiers for each note. Therefore, when we refer
to the “filter”, "LFO" or “VCA," we are really talking about sixteen filters, LFOs and
VCAs.
Digital processing techniques include:
● Truncation (shortening the beginning and/or the end of the sample)
● Looping the sample (or any portion thereof)
● “Crossfade” looping for smooth, clean loops
● Digitally combining (mixing) two samples
● Sound reversal, as well as sample rate conversion and pitch conversion
● Transform Multiplication™, a powerful new DSP effect
● Splicing two or more samples together (imagine a piano that turns into a voice, that
turns into a seagull...)
● Advanced split capabilities and the ability to layer four presets on a single key
● Easy doubling, plus velocity-controlled crossfading and switching between
samples
● Individual tuning and attenuation for each sample
● Ultra-flexible, programmable arpeggiation
● 16 track “scratchpad” sequencer
Emax II operation manual
Sounds can be stored on Emax II’s built-in hard disk drive, on an external hard disk
drive, or on commonly available double-sided, double-density (DSDD) 3.5 inch floppy
diskettes (as used with many personal computers). Thanks to sophisticated disk
management techniques, it’s easy to save, organize, retrieve, rename and catalog various
sounds. Perhaps best of all, Emax II is fully compatable with Emax I disks, allowing
access to the huge Emax I library already in existence.
For outside world interfacing, the built-in sequencer can sync up to a 24, 48, or 96 pulsesper-quarter note clock or MIDI sync; there’s also a complete complement of MIDI
functions.
Despite all this flexibility Emax II is nonetheless not that hard to learn...as you will see
during the course of this manual.
Instant Gratification
3
SEND IN YOUR WARRANTY CARD NOW!
It is vital that you send in your warranty card so that we can notify you of enhancements,
new features, and software bugs (nobody’s perfect) and cures. Don’t miss out: Send it
in now!
INSTANT GRATIFICATION!
If you just can’t wait another second before hearing the Emax II, we understand. Follow
the directions below EXACTLY as given and get ready to hear some great sounds.
(Incidentally, in case you make a mistake or run into problems, don’t worry. This process
is described in greater detail later.)
1. With the Emax II unplugged, patch the rear panel Right & Left, or Right Mono jack to
the input of a high quality amplification system. You can also plug stereo headphones
directly into the headphone jack.
2. Check that the rear panel voltage selector is set for the correct voltage in your part of
the world.
3. Plug the Emax II line cord into an AC outlet.
4. Check that no disk is currently in the drive. If so, or if the disk drive contains cardboard
packing materials, push in on the disk eject button towards the bottom of the drive,
remove the disks or packing materials, and put them in a safe place.
5. Turn on power; Emax II will do a drive check for a few seconds, then the display will
say “Please Insert Disk” if you do not have a hard disk or “Checking SCSI 1, then Booting
from SCSI 1” if you do have a built-in hard disk.
If you don’t have a hard disk, insert one of the diskettes that came with your Emax II into
the disk drive. The Emax II will begin loading software from the disk you have placed
in the drive.
4
Instant Gratification
SELECT DRIVE
6. Press the button labeled DRIVE SELECT on the front panel of Emax II. Use the data
slider to select "SCSI 0: Floppy", if you want to load a floppy disk; or "SCSI 1 Conner",
if you have a built-in hard disk drive. Then, press ENTER.
LOAD FROM FLOPPY DISK
7a. Press the LOAD BANK button, then simply insert a floppy disk and press ENTER.
LOAD FROM HARD DISK
7b. Press the LOAD BANK button, then select one of the sound banks using the data
slider. When you find one that strikes your fancy, press ENTER.
8. Raise the volume slider to the up position.
Emax II operation manual
9. The display will show the name of the Current Preset (we’ll talk more about the
Current Preset concept later). Turn up the volume control and start playing the
keyboard. All right!! The display will show you the ID number (P followed by two digits)
and name of the sound you are playing. These sounds are called presets, for reasons
which will become clear later.
10. Use the telephone-type numeric keypad underneath the display to call up different
presets. Press a two-digit number; start with 01 and play the keyboard for awhile, then
press 02 and play, 03, 04, etc. At some point you will run out of factory presets, and the
display will say “Empty Preset.”
If you want, vary the control wheels towards the left hand side of the keyboard. They
may not be active with some presets, as they perform different functions with different
presets.
To load another floppy disk, press LOAD BANK, and the display will say:
Load All Presets
And Sequences
Insert another floppy disk, then press ENTER. Emax II will begin loading the new bank.
Note: Some Emax II banks require two or more floppy diskettes. In this case, simply
insert the diskettes in sequential order (1, 2, 3...).
To try out presets from other factory hard disk banks, locate the LOAD BANK button
(in the group of four buttons to the right of the numeric keypad) and press it. Use the data
slider to scroll through the available hard disk banks. When you find a bank that
interests you, press the flashing ENTER button right below it. The disk drive will start
making noises, and a few seconds later you will have loaded another bunch of sounds
into the Emax II.
Emax II operation manual
Connections
CONNECTION INSTRUCTIONS
CONNECTION TO A MIXER
■ STEREO: Emax II has provisions for a variety of output connection schemes. The most
common hookup will probably be for stereo operation. Once you have heard the Emax
II in stereo, you will never be satisfied with mono again. Connect the left and right audio
out phone jacks to the inputs of your mixer or stereo preamp. Emax II will also drive
stereo headphones, which can be plugged directly into the headphone output. For
maximum dynamic range, keep the front panel volume control turned up full.
■ MONO: If a monophonic amplifier is used, simply connect the right/mono output to
the input of the amplifier. Guitar amps are not recommended because they are generally
noisy and low fidelity. The output level of the Emax II is somewhere between instrument
and line level. Care should be taken when connecting to an instument amplifier so that
the delicate nerve cells in your ears are not damaged.
■ SUBMIX OUTPUTS: There may be times when different equalization or reverb
settings are desired on the various instruments that have been sampled. Emax II has
eight polyphonic outputs that can be used when individual processing on specific
instruments is desired. Any combination of voices can be programmed to appear at any
channel output. Voices are assigned to output channels using the Edit Assignment
function in the Preset Definition module or in the Keyboard Mode function of the
Dynamic Processing module. Each of the Sub A, Sub B, and Sub C outputs on Emax II
are stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted)
connects to the right or left output of the group. If a stereo plug is inserted, the Ring of
the stereo plug serves as a signal return, which sums into the Main outputs.
5
Therefore, the Sub A, B, C jacks can serve as effect sends and returns in order to further
process selected voices and then return them to the main mix.
The submix send/return jacks can be used to process selected voices and return them to
the main mix instead of using the effects bus on your mixing board. In a pinch, the effects
returns could also be used to sum additional instruments into the main outputs of the
Emax II.
Sub Output
Return
(To Main Output)
Tip Ring
To Effect From Effect
SEND/RETURN CABLES
This diagram shows the
type of cable used to access the Emax II submix
sends and returns.
Emax II Output Section
L Bus
R Bus
Tip
Tip
Tip
Ring
RL
Ring
SUB A
Tip
Ring
RL RL RL
SUB B SUB C MAIN
Ring
Tip
Tip
Ring
Ring
This diagram shows how the stereo jacks are used to
function as effect sends and returns.
Tip Tip
Ring
6
Connection Diagram
CONNECTION DIAGRAM
Sub C
Sub B
Sub A
Main Outs
Mono Mix
Headphones
Sample In
Footswitch 1
Footswitch 2
Footpedal
RS422
MIDI In
MIDI Out/Thru
Emax II operation manual
MIDI Keyboard
Clock In
Clock Out
On
Off
110/220
Power Switch
Power
Send/Return
Effect Device
Mixer
Amp
&
Speakers
Tip
Left Channel
Ring
Right Channel
Microphones
or
Line Out
of Mixer
SCSI
L
R
Hard Disk
Computer
To
Main Outs
Male RCA plug
to
Male Phone plug
Home
Stereo
This diagram shows how various pieces of equipment can be interfaced with the Emax II.
The connections to the Emax II rack are identical.
Emax II operation manual
Connections
7
SAMPLE IN CONNECTION
The Sample In jack can accept any signal level from microphone level to line level. The
gain is adjusted with the data slider while in VU/gain mode in the sample module. The
level can be read in the liquid crystal display while in this mode.
If your Emax II contains the stereo sampling option, use a stereo plug in the Sample In
jack to sample in stereo. The Tip of the stereo plug corresponds to the Left channel and
the Ring of the plug corresponds to the Right channel.
MIDI CONNECTION
Emax II provides a MIDI In and a MIDI Out/Thru port.
■ The MIDI In port on the Emax II is connected to the MIDI Out port of an external MIDI
controller which could be a keyboard, a sequencer, MIDI drum kit or whatever. Note that
the Emax II can only respond to information that your controller transmits. Therefore,
if your MIDI keyboard does not have velocity and pressure sensitivity, Emax II will not
respond to velocity and pressure.
■ MIDI Out can be connected to another MIDI instrument or sequencer. In MIDI Thru
mode, MIDI Out will re-transmit any MIDI information that appears at the MIDI In port.
In MIDI Out mode, only information from the Emax II’s keyboard, sequencer or realtime
controls will be transmitted, except when overflow mode is selected. Overflow mode
allows a second Emax II to be connected to the MIDI Out to allow 32 channel operation.
Use cords that have been designed specifically for MIDI. While regular 5 pin DIN
cords may work, they are not shielded correctly for MIDI use and may cause ground
loops between equipment.
▼
High level signals
should not be present at
the sample input jack
when entering the
sample module because the Emax II autocalibrates the sample
inputs during this time.
FOOTSWITCH AND PEDAL CONNECTION
■ Two control footswitch jacks are provided for performance control of sequencer,
arpeggiator, sustain, release, X-switch, and preset advance. The footswitches need not
be connected for the unit to operate but they offer exciting control possibilities. The
footswitches should be of the momentary contact type, but can be either normally-open
or normally-closed.
■ The control pedal is used as a realtime control in the same manner as the wheels. It can
be programmably routed to a destination by using the realtime control section of the
preset definition module. The pedal can either be a voltage type, (which outputs a DC
voltage from 0-9 volts at the tip of the jack) or a resistance type (which varies a 10K ohm
resistance from the tip to ground of the jack). Both the footswitches and the pedal are
available from your dealer.
CLOCK IN CONNECTION
The Clock In jack allows a non-MIDI external device such as a drum machine or
sequencer to control the tempo of the sequencer or arpeggiator. Emax II can receive input
clock rates of 24, 48, or 96 pulses-per-quarter note. The pulses should be at least 1
millisecond wide and have a level of 1 to 5 volts.
8
■
Warning: All SCSI
devices connected to
the SCSI bus must be
turned on , or Emax II will
not boot.
Connections
Emax II operation manual
CLOCK OUT CONNECTION
The Clock Out jack allows the Emax II to be the master clock and drive non-MIDI
sequencers and drum machines at a rate of 24 pulses-per-quarter note. This is a 5 volt
pulse which is about 6 milliseconds wide.
SCSI CONNECTION
The 25-pin connector on the rear of your Emax II is a SCSI port (pronounced scuzzy),
which stands for Small Computer Systems Interface. SCSI is an ultra high-speed parallel
port, normally used to connect external hard disk drives. Up to 7 external devices can
be connected the the SCSI port. Each device on the SCSI bus must have its own unique
ID number so that Emax II can distinguish it from the other devices. If you have an
internal hard disk, it will be assigned ID #1. The floppy drive is assigned ID #0. If there
are two devices on the SCSI bus with the same ID number, a SCSI error will result.
Consult the operation manual of your external storage device for information on
changing the ID number.
● Always use quality SCSI cables which are as short as practical (total length <12 ft).
● Tighten the thumbscrews on the jacks to ensure good electrical connection.
● Power up external SCSI devices before the Emax II.
● All SCSI devices on the bus must be turned on.
RS-422 CONNECTION
The RS-422 connector is a high-speed serial communication port which allows data to be
transferred to and from an external computer at a high rate (500K baud). The connection
cable to the external computer will generally be supplied with a software package (such
as Sound Designer by Digidesign) and will not usually be available from your music
dealer.
110V/220 V SELECTOR
The 110V/220V selector allows the Emax II to be used in either 110 volt or 220 volt
environments at either 50 Hz or 60 Hz. In the USA ,110 volts is the standard. To change
the voltage setting, first UNPLUG the unit; then use a flat blade screwdriver to change
the setting.
the unit.
WARNING:
Operating Emax II at the wrong setting may seriously damage
AC POWER CONNECTION and FUSE
The AC power connector is how the Emax II gets power (obviously). The fuse receptacle
is not as obvious. It is located directly over the power receptacle. Before changing or
checking a fuse, UNPLUG the power cord. To remove the fuse holder, squeeze the two
tabs located on either side of the fuse holder together. The fuse holder will now pop out
with it’s two fuses. The Emax II uses (2) 1 amp, 250 volt fast-blo mini-fuses. The Emax
II should not normally blow fuses. If a fuse that has been replaced blows again, do not
attempt another replacement. Have the unit serviced!
Emax II operation manual
9
EMAX II BASICS
SAMPLING BASICS 11
THE BANK 12
SAMPLES & VOICES 12
MAKING A PRESET 13
THE CURRENT PRESET 13
THE CURRENT VOICE 13
MORE ABOUT VOICES 14
OTHER DEFINITIONS 15
THE BIG RE-CAP 17
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Emax II operation manual
Emax II operation manual
Sampling Basics
EMAX II BASICS
HOW EMAX II ORGANIZES SOUND
READ THIS SECTION CAREFULLY OR THE REST OF THE MANUAL WILL NOT
MAKE SENSE!!
Throughout this manual we will use the terms and concepts described and defined
below. Read through this section carefully, even if you don’t retain it all, and refer to this
section periodically as you read the manual until you know the meaning of all the
following definitions.
SAMPLING BASICS
The Emax II is conceptually like a tape recorder in that it records sound. However, the
recording process is very different since Emax II records into its computer memory.
11
Computers can accept information only in the form of numbers, so first Emax II converts
audio signals into numbers. It does this by examining (sampling) the incoming signal
level at a maximum rate of 39,000 times a second, and sequentially records these different
levels in computer memory. The diagram below shows a one-second percussive sound
being sampled. The magnified view shows how the samples define the instantaneous
level of the signal. Once stored in Emax II’s memory bank, these samples may be played
back (in the proper sequence, of course) to reconstruct the original signal. If a two-second
sound was being sampled, it would require 2 X 39,000 or 78,000 samples at the highest
sampling rate. Shorter sounds require fewer samples. Note: The sampling rate can be
altered for reasons which we will get into later.
Percussive Voice
Each vertical line
represents a sample.
Each sample takes
a "snapshot" of the
instantaneous signal level.
1 second
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The Bank
EMAX II BASICS
Just like tape, a sound can be manipulated once it has been recorded. Playing back the
samples in the reverse order from which they were stored plays the sound backwards.
Playing back the samples at a faster rate than the rate at which they were stored raises
pitch; playing back at a slower rate lowers pitch (like a tape recorder’s variable speed
control).
THE BANK
The bank contains all of Emax II’s memory, which includes preset, voice, sample and
sequence data. Consider the bank as the central storehouse for all of Emax II’s data.
Although the memory is volatile, meaning that the data disappears when you turn off
power or load a new bank, the bank data can be saved permanently on disk to keep a
record of your work. Since we now have a place to store information temporarily (the
bank), and two ways to store information permanently (saving to disk), let’s take a look
at the different kinds of information being stored.
Emax II operation manual
THE BANK
Preset 00
All Preset Definition Parameters
Velo, Xfade, MIDI, Arpeggiator, etc.
Keyboard Assignment
Primary
Voice 01
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
Primary
Voice 02
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
Primary
Voice 03
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
Primary
Voice 04
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
All Preset Definition Parameters
Velo, Xfade, MIDI, Arpeggiator, etc.
Primary
Voice 01
All Dynamic
Parameters
An Emax II bank is all the data currently loaded into its memory.
Each preset has its own set of voices which may share sample data with other voices.
Preset 01
Keyboard Assignment
Secondary
Voice 01
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
Primary
Voice 02
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
Pri
Sec
Secondary
Voice 02
All Dynamic
Parameters
Sample
File
Truncation
Loops
Sound Data
SAMPLES and VOICES
Sampling a sound (drum sound, oboe, zither, hamster sneeze or whatever) using the
instrument’s “Recording Studio” capabilities creates a Sample, the “raw material” with
which the instrument works. The total available sampling time can be divided up any
way you like—one long sample, lots of short samples, a few medium samples, or any
combination thereof. Note that a “sample” is a digital recording of a complete sound, or
each “snapshot” of the sound that makes up the recording.
Emax II operation manual
You may process this raw sample via filtering, truncation and so on to create a Voice.
Individual voices can be saved to disk and loaded from disk as part of a Preset. The preset
can store up to two voices per key, each identified by a two-digit voice number and the
voice’s original pitch.
Making a Preset
MAKING A “PRESET”
A voice can be assigned to a single note on the keyboard, or transposed polyphonically
to cover a wider range of the keyboard. The process of assigning, and optionally
transposing, voices to specific ranges of the keyboard is called Making a Preset. (Note:
It is often necessary to use multiple voices to make up a preset, since wide-range
transposition alters the voice’s timbre. Therefore, using multiple samples and transposing each over a small range usually gives the most realistic sound). Individual presets,
including their voices and samples, can be loaded from disk. Making a preset is a threestep process:
13
EMAX II BASICS
1. Create the preset and give it a number and name. The bank can hold up to 100 presets.
2. Assign voices to different ranges of the keyboard (for example, with five voices you
could assign each voice to cover one octave of the keyboard). Note that the same sample
can be assigned to more than one range of the keyboard in a given preset. Also, that
sample can be assigned to more than one preset.
3. Choose from a number of options that further define the preset, such as assigning
voices to partially or fully overlap other voices (thus producing doubling effects),
assigning dynamic control to individual voices in a preset, erasing presets you don’t like,
cataloguing presets, adding arpeggiation, setting up MIDI parameters, etc.
THE CURRENT PRESET
When you load a sound disk, a preset will be ready to play and the display will show the
preset number. This is the Current Preset. If you select another preset, or create a preset,
it will become the current preset.
THE CURRENT VOICE
Voices contained in a preset can be sent to the Dynamic and Digital Processing modules
for further alteration. However, since a preset typically contains several voices, we need
to specify which voice, or voices, we want to process. This is called Selecting the Current
Voice, another three-step process.
1. Call up a preset that contains the voice(s) to be processed.
2. Select the range of the keyboard to be processed. This will automatically select the
voice, or voices, that fall within the specified range (a group of voices being processed
simultaneously is still referred to as the “current voice”).
14
More About Voices
EMAX II BASICS
■
On an Emax II with the
Stereo Sampling option,
the Left channel will correspond to the Primary
Voice and the Right
channel will correspond
to the Secondary Voice.
Emax II operation manual
3. You may send the current voice through the Dynamic and Digital Processing
modules, whereupon they return back to the bank in their modified form.
MORE ABOUT VOICES: THE PRIMARY AND SECONDARY VOICE
An Emax II key can contain up to two “channels.” These two channels contain the
Primary and Secondary voices. For example, the primary voice might be a guitar note,
and the secondary voice a detuned version of the same guitar note. When they are
played together, you hear chorusing. Also, a preset contains information about how the
keyboard dynamics affect the primary and secondary voices. For example, the primary
voice could be that of a drum hit played softly, and the secondary of a drum hit played
loudly. You could then set up the keyboard so that playing the keyboard softly plays the
primary voice, and playing the keyboard more forcefully plays the secondary voice.
MODULE
A Module controls a particular section of the Emax II. There are six main modules (see
the labels to the right of the 12 main pushbuttons) and a sequencer module that has six
sub-modules (see the labels to the left of the 12 main pushbuttons).
FUNCTION
Each module contains individual numbered Functions. Example: function 2 in the
MASTER module checks the amount of memory remaining.
ACTIVATING A MODULE
To work with a module, you must first activate it. Press the button associated with the
desired module. The display will then show the Module Identifier.
THE MODULE IDENTIFIER
When you activate a module, the display identifies which module you have activated,
and how many functions are available.
There are two ways to select a function within the module. Those just getting started can
move the data slider until the display shows the desired function, then press ENTER. As
you work with the Emax II, though, you will start to memorize the function numbers and
will probably find it faster to simply key in the appropriate function number using the
numeric keypad.
Example: if the manual says to “activate MASTER 2,” you would first press the
MASTER main pushbutton. Then, either key in 2 using the numeric keypad, or move
the slider until the display shows function 2 and press ENTER.
Note: If a module is already active, and you are finished with one function, you do not
need to re-activate the module—just key in the new function number.
Emax II operation manual
Disk Drives
FLOPPY DISK DRIVE
The floppy disk drive (mounted on the left-front of the unit), allows you to transfer
sounds and sequences in and out of the Emax II and allows you to “back-up” your
precious work permanently.
HARD DISK DRIVE
Why hard disks? There are two big advantages to using a hard disk over floppy disks.
■ Greater storage. The hard disk can hold many banks; the floppy, half a bank or less.
■ Faster access time. A 1 Megabyte bank can be saved from the Emax II to the hard disk
in 12 seconds (as opposed to 2 minutes for saving to floppy), or loaded from the hard disk
to the Emax in 6 seconds (as opposed to 50 seconds from a floppy). In most cases, you
can treat the hard disk like a super-floppy; transferring data to and from the Emax II is
straightforward.
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EMAX II BASICS
SCSI
SCSI (pronounced skuzzy) stands for Small Computer System Interface. SCSI is an
industry standard hardware and software specification that allows high-speed data
transfers between different pieces of equipment. SCSI devices can include hard disks,
tape drives, optical disks and other types of digital equipment. Why use SCSI? SCSI is
FAST! SCSI is a parallel interface which transmits 8-bits of information at a time at high
speed. MIDI in comparison, is a serial interface which can only transmit 1-bit at a time.
■ Each device on the SCSI bus has its own ID number so that it can distinguish its data
from data meant for another device. Each SCSI device must have its own unique ID
number. Most SCSI devices have hardware defined ID numbers. This means that there
is a little switch somewhere on the device to change the ID number.
■ Keep SCSI cable lengths as short as possible. Data errors may occur with long cables.
VELOCITY-SENSITIVE KEYBOARD
A velocity-sensitive keyboard measures how long it takes for a key to go from the key
up to key down position, and uses this data to control dynamics. If it takes a long time
for the key to reach the key down position, it is assumed you are playing that key less
forcefully (minimum dynamics). If the key goes to the key down position almost
instantaneously, it is assumed that you are playing the key more forcefully (maximum
dynamics). In this manual, we will refer to playing the keyboard “harder” or “softer,”
even though technically speaking the keyboard is reacting to speed of key position
change, not force.
PRESSURE-SENSITIVE KEYBOARD
A pressure-sensitive (also called aftertouch) keyboard responds to pressure applied to
a key after it is down. This pressure data is typically used to control vibrato amount,
pitch-bending, and so on after the key is down. Emax II can respond to pressure when
an external keyboard with pressure sensitivity is controlling the Emax II via MIDI.
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Other Definitions
EMAX II BASICS
OTHER DEFINITIONS
The Disk Archives
So far, we’ve loaded a bunch of voices into the bank, created some presets containing
those voices, and done some voice processing. However, remember that the bank only
retains this information for as long as the Emax II is plugged in and turned on. Of course,
we don’t expect you to leave the thing on all the time, which brings us to the subject of
saving data on disks.
Commanding the central computer to “Save All 16-bit” (PRESET MANAGEMENT 8)
shuttles all the bank data (voices, presets, and sequences) to disk. This disk permanently
(well, at least as long as the disk lasts) stores data so that even after turning off the Emax
II, the disk will contain a record of your work.
■ Emax II also allows you to save your work in an Emax I format. This process uses a
data compression process to squeeze more data onto a disk. A 1 megabyte Emax II bank,
when compressed, may be stored on a single floppy disk. In many cases the compressed
data will be audibly indistinguishable from the 16-bit version.
Emax II operation manual
■
The Emax II will not
boot up unless all
devices on the SCSI
bus are turned on.
IF YOU DO NOT DO A “SAVE ALL”, ALL BANK DATA WILL BE LOST WHEN YOU
TURN OFF EMAX II.
Do not wait until the end of a session to save—save your work (PRESET MANAGEMENT 8) periodically in case of power failure or some other unforeseen circumstance
which might erase the bank’s memory.
Since the disk (hard disk or floppy) contains a record of the bank data, loading the disk
back into the bank transfers all the voice, preset, and sequencer data into the bank (this
will replace the existing bank data, if any). Therefore, you can work a bank of sounds out
at leisure, and save the results of your work on disk; when you go to a gig, simply load
all your hard work from disk into the Emax II in a few seconds.
The Keyboard
The LFO, VCA, VCF and AHDSR analog signal processors are tied to keyboard
dynamics (for example, playing harder can alter the loudness, attack time, filter cutoff,
etc.), as are some preset assignment characteristics (i.e. playing louder assigns a different
voice to a particular key).
Booting
Booting Emax II is not a repair technique; rather, it is a computer term that means
“having the computer read software necessary for its operation from the disk” (It’s easy
to see why this was shortened to “booting”). Emax II automatically “boots” itself when
you turn it on. Once booted, the instrument is ready to go.
Default
A default setting is what we’ve judged to be a useful initial setting, and remains in effect
until you change it. For example, the arpeggiator defaults to off when a new preset is
created. Had it defaulted to the on position, new presets would all be arpeggiated!
Emax II operation manual
The Big Re-Cap
Cursor
The cursor is a small line that shows up in the display, and flashes when it wants data
from you about the number or letter under which it is located. Entering a new value will
over-write the old one, whereupon the cursor moves on to the next number or letter (if
applicable). Note: If the Emax II is expecting a two or three-digit number, in most cases
you must enter all the required digits even if some of these are zeroes (called “leading
zeroes”). For example, if Emax is expecting a two-digit number and you want to enter
8, you would enter 08. If it is expecting a single-digit number, entering 8 would be
sufficient.
Data Slider & Increment/Decrement
On virtually all Emax II menus where the data slider selects options, the Increment (ON/
YES) and Decrement (OFF/NO) switches duplicate the slider function.
17
EMAX II BASICS
Saving
We can’t emphasize this enough. Whenever you have done enough work on a preset,
voice, sample or sequence that you would hate to lose it, save it. Hard disks are not
infallible. All hard disk banks should be backed-up on floppy disk. Should you improve
the preset, voice, sample or sequence later, you can always replace the original with the
revised version — and if something goes wrong, the original will still be available to save
you the hassle of starting from scratch.
THE BIG RE-CAP
One more time: A Sample is a raw sound, that upon being recorded into the Bank
immediately becomes a Voice.
To create a new Preset, make sure you have all the voices required for the preset in the
bank, number and name a preset, then assign combinations of voices from the bank to
specific sections of the keyboard. By specifying one or more of these voices as the Current
Voice, the current voice may then be processed by Emax II’s dynamic and digital signal
processors.
Since loading in a disk fills the bank with voices and presets, you can group these voices
into new presets, process the voices or alter the existing presets.
THE REWARD
If you’ve assimilated this information, the rest of the manual should be fairly easy to
understand. If not, re-read the previous information again. If it still doesn’t make
sense, plunge right into the Guided Tours - as you actually work with the Emax II, all
of the above definitions will make sense as you relate theory to practice.
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Emax II operation manual
Emax II operation manual
19
GUIDED TOURS
Guided Tour No. 1 21
Meet the Emax II
Guided Tour No. 2 25
Specifying the "Current Voice"
Guided Tour No. 3 27
Dynamic Processing of a Voice
Guided Tour No. 4 31
Realtime Control Programming
Guided Tour No. 5 33
Basic Sampling
Guided Tour No. 6 35
Digitally Processing Samples
Guided Tour No. 7 38
Managing the Bank
Guided Tour No. 8 38
The Sequencer
Guided Tour No. 9 39
Make Your Own
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