Tascam GigaStudio, GigaEditor 4 User Manual
TASCAM GigaEditor 4
GigaStudio 4 Instrument Editor
User Manual
TASCAM GigaEditor 4 User Manual
Copyright © 2008 TEAC America, Inc. All rights reserved. No part of this manual may be reproduced or
transmitted in any form or by any means for any purpose other than the licensee’s personal use without the
express written permission of TEAC America, Inc.
All information in this manual is subject to change without notice and does not represent a commitment on
the part of TEAC America, Inc. e soware described in this manual is provided under the terms of a
Soware License Agreement. e Soware License Agreement species the terms and conditions of use.
TASCAM, NemeSys, GigaStudio™, GigaStudio Instrument Editor™, GigaSampler™, and GigaSampler
Instrument Editor™ are trademarks of TEAC America, Inc.
All other trademarks are trademarks or registered trademarks of their trademark holders.
2 TASCAM GigaEditor 4 Manual
Table of Contents
Chapter 1: About the GigaStudio 4.0 Instrument Editor..............................................................................................5
What’s New? ......................................................................................................................................................................5
Launching the Instrument Editor .................................................................................................................................6
Opening a .GIG le from the Instrument Editor ......................................................................................................8
Loading a .GIG le into the sampler ............................................................................................................................9
Anatomy of a .GIG File .................................................................................................................................................10
Chapter 2: Creating a Giga Instrument ...........................................................................................................................13
Creating a New File ........................................................................................................................................................14
Importing Samples .........................................................................................................................................................14
Creating a Region ...........................................................................................................................................................23
Creating a Dimension ....................................................................................................................................................27
Mapping Samples to a Region......................................................................................................................................29
Hearing Your Work .......................................................................................................................................................31
A Faster Way To Work .................................................................................................................................................31
More About Sample Mapping .....................................................................................................................................37
Chapter 3: Tutorial: Creating a Multi-Dimensional Instrument ..............................................................................39
Creating the velocity split .............................................................................................................................................40
Mapping the Samples.....................................................................................................................................................42
Playback Monitoring......................................................................................................................................................44
Adding a Second Dimension .......................................................................................................................................46
Changing the Order of Dimension Splits..................................................................................................................48
Changing the Dimension Controller .........................................................................................................................49
Chapter 4: Tutorial: Advanced Drum Kit.......................................................................................................................58
Kick Drum ........................................................................................................................................................................58
Snare Drum ......................................................................................................................................................................64
Toms ..................................................................................................................................................................................68
Cymbals.............................................................................................................................................................................71
Hi-Hats..............................................................................................................................................................................75
Chapter 5: e Instrument Wizard..................................................................................................................................83
Preparing the Samples ...................................................................................................................................................83
Using the Instrument Wizard: A Simple Mapping.................................................................................................84
Using the Instrument Wizard: A Complex Mapping.............................................................................................89
Load Status .......................................................................................................................................................................94
Separating Parameters from .GIG le........................................................................................................................95
Chapter 6: Main Menu Commands .................................................................................................................................97
File Menu ..........................................................................................................................................................................97
Edit Menu .......................................................................................................................................................................101
MIDI Menu ....................................................................................................................................................................111
View Menu .....................................................................................................................................................................111
Window Menu...............................................................................................................................................................113
Help Menu......................................................................................................................................................................113
Chapter 7: Editor Windows and Context Menu Commands ..................................................................................114
e Bank/Instrument Window .................................................................................................................................114
e Sample Window....................................................................................................................................................122
e Region Window ....................................................................................................................................................130
e Waveform Window .............................................................................................................................................136
e Dimension Windows...........................................................................................................................................138
e Articulation Window...........................................................................................................................................149
Chapter 8: Articulation Parameters Reference............................................................................................................150
Dynamic Expression Filter (DEF).............................................................................................................................168
Chapter 9: Editing Parameters in the Region Window .............................................................................................172
TASCAM GigaEditor 4 Manual 3
Editing in the Region Window ..................................................................................................................................172
Drag Modes ....................................................................................................................................................................173
Changing the Vertical Resolution .............................................................................................................................175
Chapter 10: Macros............................................................................................................................................................177
Saving Macros................................................................................................................................................................177
Applying Macros...........................................................................................................................................................179
Copying Macros to other machines .........................................................................................................................179
Editing Macros ..............................................................................................................................................................180
Chapter 11: Intelligent MIDI (iMIDI) Rules ...............................................................................................................181
iMIDI Rules in GigaStudio .........................................................................................................................................181
iMIDI Rules in the Instrument Editor.....................................................................................................................182
Using the iMIDI Rule Manager.................................................................................................................................183
e Transpose Rule......................................................................................................................................................184
e MIDI Filter Rule ...................................................................................................................................................185
e Legato Mode Rule.................................................................................................................................................185
e Repetition Mode Rule..........................................................................................................................................188
e Pattern Alternator Rule.......................................................................................................................................188
e Controller Trigger Rule.......................................................................................................................................192
e Release Trigger With Tracking Rule ................................................................................................................193
e Rule Builder ...........................................................................................................................................................194
e Mando-Tremolo Rule..........................................................................................................................................197
e Mono Mode Rule..................................................................................................................................................198
Appendix ..............................................................................................................................................................................209
PerfUtility .......................................................................................................................................................................209
4 TASCAM GigaEditor 4 Manual
Chapter 1: About the GigaStudio 4.0 Instrument Editor
e GigaStudio Instrument Editor is a separate application that works with GigaStudio. e Editor allows
you to create your own instruments or edit existing Giga instruments.
You can run the Editor simultaneously with GigaStudio, but it’s not necessary. e Editor itself can load
instruments into memory, allowing you to hear your edits by playing an external MIDI controller or by
right-clicking the on-screen keyboard.
What’s New?
Giga Editor 4.0 includes the following changes from version 3.0:
1. e Dynamic Expression Filter, which in Giga 3 was accessible only through the use of a specially
formatted initialization le, is now exposed in the Editor as part of the normal parameter scheme.
Some of the DEF parameters are global to an instrument, and are found on a new tab in the
Instrument Properties dialog. e DEF coe cients are part of the subregion articulation and are
edited with the usual tools (the parameter value list and the “blue ball” graph).
2. e control panel for the Mono Mode iMIDI rule has a new tab with a graphical editor for the
Portamento Reshaping Filter, which like the DEF was previously accessible only by editing an
initialization le.
TASCAM GigaEditor 4 Manual 5
3. e wave view has a new mode in which the sample is drawn as if the amplitude envelope has
already been applied to it. is mode is toggled by a small button near the zoom and unzoom
buttons.
4. Giga 4 supports a unique audition sample for each instrument in a .GIG le (not just a single
audition sample for the whole le). Right-click on a sample for options.
5. Right-clicking in the parameter value list (lower right) brings up a new “Copy to all instances”
menu option. e value of the selected parameter is copied to all subregions throughout the le
that are mapped to the same sample as the current one. For example, if a sample is found to
benet from a ne tuning change, this feature can quickly copy the new tuning to any other splits
to which the same sample is asssigned.
6. e right-click menu in the sample list has a new option, “Replace all samples in all folders.” is
is an expansion of the existing “Replace all samples in folder” command. e editor searches a
specied root directory and its subdirectories, replacing any sample if a .wav or .dxl le with a
matching name is found. ( ere is a more selective option for cases where the samples on disk are
arranged in subdirectories that mirror the folders in the .gig le. When this option is in eect,
samples in a given folder will be replaced only by les found in a subdirectory of the same name as
the folder.)
7. e maximum number of layers (splits in a layer dimension) has been increased from 8 to 128.
8. While in the past it’s been easy to change the controller assigned to a dimension, velocity has been
an exception: once a velocity dimension, always a velocity dimension. Giga Editor 4.0 will now
allow a velocity dimension to be changed to any other controller. Note that when this is done, the
dimension will move from the dedicated velocity window to one of the unused small dimension
windows.
9. An instrument can now cause up to two MIDI controllers to be initialized to specied values
whenever it is loaded. e controllers and their desired values are specied in the Instrument
Properties. is is for instruments using features like the Dynamic Expression Filter, which might
sound best when the controlling CC value is set to something other than the default.
10. A new variant of the “Round Robin” dimension controller has been added. e new controller is
called “Round Robin across keyboard”, and advances the dimension globally when a key is struck
anywhere on the keyboard. e older “Round Robin” (which is still available) advances the
dimension only for the region in which the note is played. In the case where the number of splits
in this dimension varies across the keyboard, the new rule uses a modulo addressing technique.
Launching the Instrument Editor
ere are several ways to open the Instrument Editor depending on your situation.
Opening the Instrument Editor from GigaStudio
To open the Instrument Editor from GigaStudio, click on the Launch Giga editor toolbar button.
6 TASCAM GigaEditor 4 Manual
If an instrument is already loaded into GigaStudio, you can also launch the Editor from the Loaded
Instruments pane. Right-click on the instrument and choose Edit.
e Editor will open with the selected instrument loaded. is can take a few moments if the instrument is
particularly large.
Opening the Instrument Editor from the Windows Desktop
When you’re doing intense instrument construction, you may want to run the Editor alone without
GigaStudio.
1. You can launch the Editor from the Windows Start Menu.
2. You can launch the Editor by double-clicking a shortcut on the
desktop.
3. Last but not least, you can launch the Editor by double-clicking on a .gig le in the Windows Explorer.
TASCAM GigaEditor 4 Manual 7
is will launch the editor and open the selected .gig le. You can open multiple .gig les at once by
selecting several of them and hitting the Enter key.
Opening a .GIG file from the Instrument Editor
With the Instrument Editor open, you can open any .gig le using the standard File-Open command.
1. Go to the File Menu and choose Open… [Alt] + [F] + [O] or [Ctrl] + [O]
2. Use the Open Instrument File dialog to navigate to your .gig le.
3. Select the le and click on the Open button.
8 TASCAM GigaEditor 4 Manual
This window is very similar to the Open dialog in ot her programs, but there are a few features that are
specific to GigaStudio:
e Recent dropdown list contains a list of the most recently used folders. Selecting a folder in this list
causes the window to jump directly to that folder.
e Sample name box lists all of the samples in the currently selected instrument le. Select any sample in
this list and click the Play button to hear that sample. If you are working with instrument les containing
large numbers of samples, the dialog may respond slowly as it reads the sample names out of each le. To
work around this problem, uncheck the Descriptive wave names box. e names are replaced by simple
numeric indexes.
e Audition button plays the audition sample for the currently selected le. ( e “audition sample” is a
sample designated by the instrument developer as being representative of a given instrument. Users of your
instrument will hear this sample when using the audition feature of the QuickSound Explorer.)
e Maximum le size box, and the checkboxes underneath it, are used when it is necessary to split an
instrument into more than one physical le. For details, see the note about large .GIG les on page 99.
Loading a .GIG file into the sampler
Aer you open a .gig le in the Editor, you must load it into memory if you want to hear it. is is
accomplished by pressing the Load button on the toolbar:
The toolbar also specifies which MIDI port and channel will be assigned to the loaded instrument. By
default, the first file you open is assigned to port 1, channel 1, bu t you can modify these settings using the
toolbar.
When the le is loaded, the LOADED indicator turns bright green.
At this point you can play the rst instrument in the le either from an external MIDI controller, or by
right-clicking in the Region Window keyboard. If there are multiple instruments in the le, you can select a
dierent instrument onto the assigned MIDI channel by clicking its name in the Instrument Window.
TASCAM GigaEditor 4 Manual 9
Anatomy of a .GIG File
Above is a graphic representation of the components of a GigaStudio File. Getting familiar with these will
make it much easier to know what you are doing when editing and creating GigaStudio Instruments. e
basic elements are:
• Banks. A bank is a collection of instruments.
• Instruments. Instruments are the basic performance object in GigaStudio. An instrument is
loaded on a MIDI channel, either alone or as part of a multi-instrument “stack”.
• Regions. Each instrument can have up to 128 regions. A region denes a zone on the keyboard.
• Dimensions. Each region can contain as many as eight dimensions. A dimension can contain up
to 128 splits, each mapped to a unique sample. Dimensions and splits allow multiple samples to be
mapped to a region, while the performer uses MIDI controllers or other methods to choose which
samples are heard at a given moment.
• Samples. Each dimension split can be assigned a unique sample to play. Samples are imported
from standard .wav les.
• Parameters. Each dimension split also contains a unique set of over 100 articulation parameters
dening envelopes, lters, and the like.
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Banks
A GigaStudio file can contain up to 128
instruments, each assigned to a bank. By default,
all instruments are assigned to bank 0, but banks
can be numbered from 0 to 16383.
Bank numbers are used when GigaStudio responds
to MIDI bank select messages.
Banks also help to organize instruments within the Instrument Editor. T hey g ive you a folder structure to
work with when you have a large number of instruments to deal with inside the same .gig file.
Banks are the top level of the Giga heirarchy.
Instruments
e next level is the instrument. Gig les can have
many instruments inside them and these
instruments can share common samples without
using any extra hard drive space or sample buering
RAM. Each instrument has a discrete bank and
patch change number.
Regions
An instrument can contain up to 128 regions, each
spanning a single key or a range of contiguous keys.
e gray spaces seen here are “empty” notes with no
regions assigned to them. e purple region
represents the range of the Keyswitch dimension.
TASCAM GigaEditor 4 Manual 11
Dimensions
Regions are futher subdivided by
dimensions. A dimension can have up to
128 splits each triggering a different
sample.
A dimension tells GigaStudio which
sample to trigger based on the position of
its assigned MIDI controller.
Samples
Articulation Parameters
A .gig le also contains a collection of samples, imported initially
from individual .wav les. Each dimension split is assigned a
unique sample to play back. (We’ll refer to the process of assigning
samples to splits as mapping the instrument.)
A single sample can be assigned to multiple regions without
additional overhead.
In addition to its sample assignment, each dimension split also has its own unique set of over 100
articulation parameters. Many of the parameters dene traditional synth functions such as envelopes and
lters; others are unique to the Giga architecture. e articulation parameters are described in detail in a
later chapter.
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Chapter 2: Creating a Giga Instrument
Giga instruments can range from the very simple (an instrument can be made from a single sample) to the
extremely complex. In any case, the general procedure for creating an instrument consists of the same basic
steps:
1. Create a new, empty le in the Giga Editor.
2. Import the samples your instrument will use. Samples are imported from individual .wav les. e
editor will bundle the samples into the .gig le with the instrument when you save your work.
3. Create the regions on the keyboard to which your samples will be mapped. A region spans one or
more contiguous notes.
4. Dene dimensions and their splits in the keyboard regions. is is optional, but without dimensions
a region can play back only a single sample. Much of the power of the Giga instrument design
derives from the fact that many samples (currently up to 256) can be mapped to a single region,
while MIDI control and intelligent MIDI rules determine which of those samples will sound at any
given moment.
5. Map your samples into the regions you have created.
In practice, the last three steps are oen combined into a single action. For example, dragging and
dropping a group of samples into the Region Window can automatically create a region for each sample,
while simultaneously mapping the samples to the regions. Dropping a second set of samples into the
Velocity Window can automatically create a velocity split in each region, while mapping the new samples to
the upper or lower portion of the velocity range. For more complex instruments, the Instrument Wizard
can be used to create multidimensional instruments and map many sets of samples in a single operation.
For the sake of illustration, this chapter focuses on the simpler and frankly more tedious ways to assemble a
Giga instrument. As you gain familiarity with the Editor, you’ll learn how to perform many of these tasks
in much more ecient ways.
TASCAM GigaEditor 4 Manual 13
Creating a New File
To create a new, empty .gig le, choose File-New on the Editor’s main menu. ( e rst button on the main
toolbar does the same thing.) An “empty” le will contain a single empty instrument, with no regions or
samples:
Importing Samples
Samples are imported from individual .wav les, in 16 or 24 bit integer, mono or stereo format. As you
import samples, they are added to the Sample Window in the lower le portion of the Editor.
Samples are organized into folders, preferably in a way that anticipates how they’ll be organized in the
instrument you are building. For example, if you’ve sampled a trumpet at three dierent dynamic levels
and two dierent attack styles, you might create six folders with names something like this:
Trumpet legato
Trumpet mf legato
Trumpet p legato
Trumpet staccato
Trumpet mf staccato
Trumpet p staccato
14 TASCAM GigaEditor 4 Manual
By arranging your samples into folders that match your instrument’s splits, you’ll be able to use the Editor’s
more powerful mapping features such as folder drag-and-drop, and the Instrument Wizard.
Creating sample folders
When you create a new .gig le, you will always nd
You can start importing samples into this folder or you can create new folders.
a “default” sample folder in the Sample Window.
You can rename it if you like.
1. To create a new folder, right-click anywhere in
the Sample Window and choose New sample folder.
is will create a new folder ready to be named.
2. You can then give it any name you want.
3. Create as many folders as you need.
TASCAM GigaEditor 4 Manual 15
The Import samples command
2. is will bring up the le browser:
1. To import individual samples into a folder,
right-click on the folder and choose Import
samples.
You can right-click anywhere in the Sample
Window, but the samples will be imported to the
currently selected folder.
3. When you select a sample, the
sample’s properties are displayed,
including its word size and sample rate,
length in seconds, and size in kilobytes.
16 TASCAM GigaEditor 4 Manual
4. Select a sample or a group
of samples and click on the
Open button to import the
samples into the folder. (To
select multiple samples, click
while holding down the
SHIFT or CTRL keys.)
5. e samples will now appear in the Sample Window.
Within a folder, samples can be sorted either
alphabetically or by pitch. Right-click in the Sample
Window to select the sort option from the context menu.
e asterisk by each sample indicates that these samples
have not yet been written into the .gig le. e asterisks
will disappear when the .gig le is saved.
TASCAM GigaEditor 4 Manual 17
The Import directory command
is command is used to import an entire directory of .wav les at once. e samples are imported into a
new folder named aer the source directory.
1. Right-click in the Sample Window and
choose Import directory. is will bring up
the folder browser.
2. Select a directory and click OK to import the directory into the
Sample Window. Any .wav les in the directory (or .dxl les, which
are accelerated Giga samples) will be imported. Other types of les
are ignored.
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Importing Samples from the Windows Desktop
Oen the most convenient way to import directories and samples is to drag and drop them directly from
the Windows Explorer into the Sample Window.
You can drag samples from the Windows Explorer to any folder in the Sample Window:
1. Here we are dragging to the folder named
“Import Sample Folder”.
2. Now the samples appear in the folder.
TASCAM GigaEditor 4 Manual 19
3. You can do this with more samples and put them
in any of the folders. In this example, we put some
Kick samples in the “Import Sample” folder where
the crash samples are. en we put some Snare
samples in the “Default Sample Group” folder.
Importing Sample Folders from the Desktop
You can also drag an entire directory, or even multiple directories, from the Windows Explorer into the
Sample Window. For each directory that you drop, a corresponding folder is created, and any samples in
the directory are imported to that folder.
1. To begin, navigate to where you can see several folders that have samples in them.
20 TASCAM GigaEditor 4 Manual
2. Drag and drop a folder or several folders from the desktop into the Sample Window.
3. All the folders and their samples are now in the Sample
Window. is is the fastest way to import a large number
of samples at once.
TASCAM GigaEditor 4 Manual 21
4. Click on the check boxes to open or close the folders to
display or hide the samples. Now the samples are imported,
organized and ready to be mapped into instruments.
Importing Pitch Information
If you are building a melodic instrument (as opposed to, say, a drum kit) GigaStudio will need to know the
root pitch of each sample you import, so that the sample can be transposed appropriately at playback. Pitch
information takes the form of two values, the unity note (which identies the point on the keyboard where
the sample should play back without transposition) and a ne tuning value which is typically used to
compensate for small tuning inaccuracies in the original performance.
Unity note and ne tuning are sometimes saved along with the audio data in a standard .wav le. If your
samples include this data, the Giga Editor will recognize it when the samples are imported, and retain the
information in each sample’s properties.
If your .wav les don’t include tuning information, you have a couple of options. One is to set the unity
note of each sample aer you import it, by double-clicking on the sample to bring up the Sample properties
dialog. If your sample les are named appropriately, an easier method is to let the editor extract the unity
note from the name of each .wav le as you import it. is is possible if your le names contain either the
MIDI note number or the name of the unity note in a format the Editor can recognize, for example:
Trumpet legato 61. wav
Trumpet legato C#4.wav
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To use this feature, you must visit the Preferences dialog (Edit-Preferences on the main menu) and specify
either the note-number or note-name method. You will get the best results when the pitch indication is set
o by spaces, and when there are no numbers elsewhere in the sample name. For the note-name method,
only sharps (“#”) are recognized, not ats.
Creating a Region
e next step in creating an instrument is to create some regions. While there are many ways to create
regions, in this section we will do it manually. is is the least convenient way to create regions but it is
sometimes useful. For example, drum kits oen don’t lend themselves to the more streamlined ways of
creating regions, because each drum (snare, kick, hi hat, etc.) is eectively a dierent instrument and may
require a dierently structured region.
Creating a few regions manually will also help familiarize you with the concept of mapping samples, before
we introduce the more advanced ways of mapping like the Instrument Wizard.
To create our rst region we’ll use the Region Window, shown above. For a full discussion of this window’s
features, see page 130.
1. Place the mouse under the note where you want
to create a region, and right-click. In this example,
we’ll create a region on Middle C.
2. Choose New region from the menu.
TASCAM GigaEditor 4 Manual 23
3. is will create a new region, which will also be
indicated in the Velocity Window below.
4. In this case, the Velocity Window shows a single
solid block of color, and the words “Not mapped”
because no sample is yet mapped to the region.
(Actually, if a sample is highlighted in the Sample
Window, it will be mapped here automatically.
Either way, the mapping is easy to change as we’ll
see below.)
When we create velocity splits later, they’ll appear in
this window.
After you’ve created one or more regions, you can resize them or move them around the keyboard.
Moving Regions
1. To m ove a region, grab it in the m iddle so that
the mouse turns into a little hand.
2. Then drag the region to the left or the right.
24 TASCAM GigaEditor 4 Manual
Resizing Regions
1. To resize a region, grab one of the edges with the
mouse so that the mouse turns into a le-right
arrow.
2. en drag the mouse to stretch the region. You
can do this with either side of the region.
3. A single region can be stretched up to the full range of the MIDI keyboard. (Regions are not allowed
to overlap, so a region this large would be the only region in the instrument.)
TASCAM GigaEditor 4 Manual 25
Selecting and Moving Multiple Regions
Note: to select individual regions, be sure the “All regions” selection lock button near
the bottom of the Editor window is disengaged.
1. To select several regions, hold down the ALT key
and drag the mouse to create a “rubber band” eect.
If you start your drag in the gray area outside any
region, the ALT key is not necessary.
Alternatively, select the rst region in the intended
range, then click the last region while holding down
the SHIFT key.
2. e selected regions will now be highlighted in
yellow or orange. (e orange region is the “focus”
region whose properties are displayed in the editor’s
other windows. It is always included in the
selection.)
3. You can then move all these regions at once by
dragging on any one of the regions.
4. You can also select non-contiguous regions by
holding down the CTRL key while selecting regions
with the mouse.
26 TASCAM GigaEditor 4 Manual
5. ese non-contiguous regions can then be moved
around the Region Window. ey will maintain
their relationship with each other wherever you put
them.
Again, regions are not allowed to overlap, so the
editor will not allow you to drop one region on top
of another.
Creating a Dimension
Once we’ve created some regions, all we need to do to create a playable instrument is map appropriate
samples to the regions. And there’s a very straightforward way to do that: just drag a sample from the
Sample Window and drop it on a region. is would give us an extremely simple region that does nothing
more than play a single sample.
While a region that simple might have its uses, we’ll take things a small step further here and give our new
region a single dimension, so that we can make it more musically expressive by assigning multiple samples
to it. (Remember that a region can have up to eight dimensions, all working simultaneously, so this
example will just hint at the possibilities.)
One of the most common dimensions is the Velocity dimension, which
will enable us to trigger dierent samples depending on MIDI velocity. In
fact, this type of dimension is used so frequently that the largest of the
dimension windows is assigned permanently to Velocity.
In this illustration, the Velocity dimension has no splits and is inactive. To
create velocity splits, click on the header bar at the top of the window.
TASCAM GigaEditor 4 Manual 27
e Dimension Controller dialog appears:
We’ll explain this dialog in more detail in the next chapter. For now, just click the Add button a few times.
is adds new splits to the Velocity dimension.
When you click OK, the splits will be visible in the Velocity window.
Each split can be mapped to its own sample.
Each split also has its own unique articulation – that is, its own set of
envelopes, lters, and other performance parameters.
Velocity splits for manually created regions
Because velocity splits are such a common feature of sampled instruments, you can tell the Editor to add a
certain number of velocity splits automatically whenever you create a region. e setting is in the
preferences:
28 TASCAM GigaEditor 4 Manual
1. Select Edit-Preferences from the main menu.
2. In the Preferences dialog, nd the section called
Velocity splits for manually created regions. Select the
number of velocity splits you want. You can also check
the Stereo box to create stereo regions.
3. With the settings above in eect, any region you create
manually will be a stereo region with four velocity splits. e
velocity splits appear as horizontal bands in the Velocity
Window.
Note that the velocity splits are also divided into le and right
halves, indicating that this is a stereo region.
Mapping Samples to a Region
At this point we’ve created a region and assigned it a simple Velocity dimension. All that remains is to map
some samples to the region.
For this example, suppose we’ve sampled a bell at four dierent dymanic levels, and imported the four
samples as seen below. We want to map the four samples to the four velocity splits we created in the
previous step. First, consider what happens if you simply drag the “” sample and drop it on the region in
the Region Window:
TASCAM GigaEditor 4 Manual 29
is maps the sample to the region, but unfortunately it maps to the entire region, including all four of our
velocity splits. (You can see this in the Velocity window, where the “” sample is named in all four of the
splits.) is isn’t exactly what we want.
e solution is to drop each sample directly on its own split, as shown below:
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