EMULATOR II+ OWNERS MANUAL By Craig Anderton OS Version 3.1 and 3.1 HD © 1985,1986,1987 E-mu Systems, Inc., Scotts Valley, CA ▪ All Rights Reserved Restored by the Emulator Archive ▪ www.emulatorarchive.
CONTENTS CONTENTS INTRODUCTION ......................................................................................11 WHAT’S AN EMULATOR II? ............................................................................................. 12 WELCOME TO THE EII+ and EII+HD ...........................................................................................13 MANUAL RESTORATION NOTES ................................................................................................
CONTENTS FILTER FUNCTION 1: CHANGING CUTOFF FREQUENCY, Q, and ENVELOPE ......................36 FILTER FUNCTION 2: LFO AMOUNT AND KEYBOARD TRACKING .........................................37 FILTER FUNCTION 3: ADSR SETTINGS .....................................................................................37 VCA/LFO FUNCTION 1: ADSR SETTINGS ..................................................................................38 VCA/LFO FUNCTION 2: LFO SETTINGS ...............................................
CONTENTS Labeling Disks ................................................................................................................................56 Write-Protecting Disks ....................................................................................................................57 Single-drive vs. Dual-drive Emulator Il’s.........................................................................................58 Inserting the Disk in the Drive ..................................................
CONTENTS 13 - FORWARD/REVERSE LOOP..................................................................................... 87 14 - SPLICE ....................................................................................................................... 89 About Autosplicing..........................................................................................................................91 15 - SOUND LENGTH.............................................................................................
CONTENTS 21 - CREATE PRESET .................................................................................................... 114 22 - ASSIGN VOICE ........................................................................................................ 115 23 - EDIT ASSIGNMENT ................................................................................................. 117 24 - DE-ASSIGN VOICE ..................................................................................................
CONTENTS 4 - COPY DISK ................................................................................................................ 142 5 - CATALOG VOICE....................................................................................................... 144 6 - ERASE VOICE............................................................................................................ 144 7 - SAVE BANK .........................................................................................................
CONTENTS CONTROL 4 - Function: LFO to PITCH.......................................................................... 164 CONTROL 5 - Function: LFO to FILTER Fc................................................................... 165 CONTROL 6 - Function: LFO to LEVEL......................................................................... 165 CONTROL 7 - Function: ATTACK RATE ....................................................................... 166 FOOTSWITCH 0 - Function: OFF .............................
CONTENTS SETUP 5 - Function: SMPTE START ............................................................................. 186 SETUP 6 - COUNTDOWN ............................................................................................... 186 RECORD, PLAY and STOP............................................................................................. 187 Record ..........................................................................................................................................
CONTENTS CREATING A “MIDI PRESET” WITH THE EMULATOR II .............................................. 211 FINDING OUT ABOUT OTHER SYNTHESIZER’S MIDI CAPABILITIES ........................ 212 DEALING WITH “MIDIOSYNCRACIES” ......................................................................... 213 SMPTE SUPPLEMENT ..........................................................................214 SMPTE OVERVIEW......................................................................................................
INTRODUCTION INTRODUCTION © 1985, 1986, 1987 E-mu Systems, Inc.
INTRODUCTION WHAT’S AN EMULATOR II? The Emulator II is a responsive, surprisingly easy-to-use musical instrument with staggering creative possibilities. It’s also a sound effects designer’s dream come true, a composer’s personal orchestra, a recording studio’s chance to have hundreds of acoustic and electronic instruments “on call” at any time, a university’s research tool...but most of all, it provides the means for some truly special musical experiences.
INTRODUCTION Sounds are stored on commonly available double-sided, double-density (DS/DD) 5.25” floppy disks (as used with many personal computers). Thanks to sophisticated disk management techniques, it’s easy to save, organize, retrieve, rename, and catalog various sounds.
INTRODUCTION 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 (nobody’s perfect) software bugs & cures. Sending in the warranty card also entitles you to a free one-year subscription to “The Emu-Letter”, a bi-monthly company bulletin carried in Electronic Musician (formerly Polyphony) magazine.
INTRODUCTION INSTANT GRATIFICATION! If you just can’t wait another second before hearing the Emulator 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 in Guided Tour #1.) 1. Making sure that the Emulator II is unplugged; patch the rear panel MIX OUT jack to the input of a high quality amplification system. 2.
INTRODUCTION 11. To try out Presets from other factory disks, open the latch, remove the existing disk, and insert another factory disk. Close the latch. Now, find the portion of the front panel labeled “DISK” (towards the lower-right hand corner). Press its switch, and its LED will light up. Now press 1 on the keypad. The disk drive will start making noises, and you will be on your way to loading another bunch of sounds into the Emulator II.
INTRODUCTION HOW TO USE THIS MANUAL The Emulator II is not an instrument that can be mastered in a few days. Therefore, this manual is organized so that you can take “guided tours” of different sections of the Emulator II and learn at your own pace. The manual comprises five major parts: 1. Definitions This section explains how the Emulator II organizes sounds. It’s not exactly easy reading, but pay close attention - it lays vital groundwork for the rest of the manual. 2.
INTRODUCTION DEFINITIONS: HOW THE EMULATOR II ORGANIZES SOUND Forget everything you’ve ever learned about voices, presets, and channels: The Emulator II does things differently from traditional keyboard instruments. Sampling Basics The Emulator II is conceptually like a tape recorder in that it records sound. However, the recording process is very different since the Emulator II is recording into computer memory.
INTRODUCTION The Emulator II “Map” Sure, you’re anxious to start coaxing wonderful sounds from the instrument -- but like ground school for pilots, the following is a necessary part of learning how to play the Emulator II. It is important to understand how the Emulator II organizes sounds in order to make best use of the instrument in the shortest possible time. Also, many terms will be introduced now that will show up later in the manual.
INTRODUCTION © 1985, 1986, 1987 E-mu Systems, Inc.
INTRODUCTION The Bank The Bank contains all of the Emulator II’s memory (where, among other things, the sounds are recorded), plus a high-performance Central Computer. The Bank is the central storehouse for all of the Emulator II’s data. Although the memory is volatile, meaning that the data disappears when you turn off power, the Bank data can be saved permanently on disk to keep a record of your work.
INTRODUCTION 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, cataloguing the Bank Voices to see what’s available for making up a Preset, adding arpeggiation, setting up MIDI parameters, etc.
INTRODUCTION keyboard (unless you specify otherwise), and over-write the previous Voice assignment (although as mentioned in the end of the last paragraph, the sampled Voices themselves remain in memory). 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 Emulator II is plugged in and turned on.
INTRODUCTION The Keyboard Note the two paths coming from the keyboard in Figure 2; the LFO, VCA, VCF, and ADSR 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). The Output Channels The Central Computer assigns keyboard keys to the output channels.
INTRODUCTION OTHER DEFINITIONS Booting the Emulator II is not a repair technique; rather, it is a computer term that means “putting a disk in the disk drive after you first turn it on, and having the computer read software necessary for its operation from that disk”. (It’s easy to see why this was shortened to “booting”.) To boot, insert a Performance or Library disk in the drive before, or just after, you turn on the Emulator II.
THE GUIDED TOURS THE GUIDED TOURS © 1985, 1986, 1987 E-mu Systems, Inc.
THE GUIDED TOURS HOW TO USE THE GUIDED TOURS Occasionally during a tour you will be told to refer to something like PRESET DEFINITION 11, DISK 8, SAMPLE 2, or some other name. This means that you will find more information in the specified section of the manual’s Reference Section. For example, PRESET DEFINITION 11 indicates that the information is in the Preset Definition chapter under section 11; DISK 2 indicates that the information is in the Disk chapter under section 2.
THE GUIDED TOURS GUIDED TOUR #1: MEET THE EMULATOR This tour covers how to: Care for diskettes Load a Bank from a Performance disk when first turning on power Select different Presets from the Bank Load additional Performance disks Tune the Emulator II to other instruments Transpose the keyboard ...and also discusses the Emulator II’s “modular” design philosophy. DISK HANDLING Disks are delicate and store valuable data.
THE GUIDED TOURS THE EMULATOR II’s “MODULAR” PHILOSOPHY The Emulator II front panel is divided into modules. Each module will be discussed in detail later on; the following is intended mostly as background information. Each module affects a certain area of the Emulator II’s operation. Refer to the map (Fig. INTRO-2) to see how some of these modules fit into the Emulator II’s overall structure. Master Control.
THE GUIDED TOURS Special. This module mostly contains test routines. However, because of its computer-based nature, the Emulator II can be updated easily. This module will also access any new functions dreamed up by the wizards at E-mu. Calling up its Catalog will tell you what special functions are present. Real-Time Control. This assigns different destinations (pitch, filter cutoff, VCA attack, etc.
THE GUIDED TOURS Note: You can have different Performance disks in both drives, and load a Bank from either disk (but not both simultaneously) by using the appropriate command (GET BANK DISK 1 or GET BANK DISK 2). Loading in a new Bank will erase any currently loaded Bank. Loading instructions for single-drive Emulator II: 1. Remove the old Performance disk from Drive 1, then insert and latch the new Performance disk into Drive 1. 2.
THE GUIDED TOURS GUIDED TOUR #2: SPECIFYING THE “CURRENT VOICE” BACKGROUND The Emulator II has three main Voice processing modules: 1. Filter varies a Voice’s harmonic content via a four pole, low pass filter and associated ADSR envelope generator. 2. VCA/LFO varies the Voice’s LFO parameters as well as the amplitude attack, decay, sustain, and release characteristics. 3. Voice Definition provides sophisticated digital processing and also sets the keyboard dynamics.
THE GUIDED TOURS case, before proceeding, to step 2 initiate the CHANGE CURRENT VOICE function by keying in 00 if the Voice Definition module is active, or 0 if the Filter or VCA/LFO module is active. Note: We hereby formally apologize that the Voice Definition CHANGE CURRENT VOICE function (00) is not printed on the front panel label.
THE GUIDED TOURS 4. The display now asks: V01 Piano A1* Addl Voices? Y/N * or Voice to be modified There are two possible choices. To make this single Voice the Current Voice, press NO to tell the Emulator II you want no additional Voices; when you select a processing module, it will process only this Voice. To specify additional Voices as part of the Current Voice, press YES. For now, press YES to see how this process works. 5.
THE GUIDED TOURS 8. If all is well, the display should look something like: Module Identifier XX* * Voice numbers you just assigned 9. The assigned Current Voice will remain as is until you change the Current Voice assignment, change Presets, or load another Bank. If you switch between modules, the Current Voice remains as assigned.
THE GUIDED TOURS GUIDED TOUR #3: THE FILTER and VCA/LFO MODULE BACKGROUND The filter module contains eight 24dB/octave low pass filters (one per channel) that vary a sound’s high frequency content. The VCA/LFO module contains eight VCA’s that control a sound’s amplitude envelope, and eight LFO’s that provide modulation to the filters or VCA’s.
THE GUIDED TOURS FILTER FUNCTION 2: LFO AMOUNT AND KEYBOARD TRACKING 1. Follow the instructions in FILTER 2. When it describes how sliders A and B affect the sound, vary these sliders while playing the keyboard to hear the results. As mentioned previously, slider-setting changes will not affect the note(s) being held down; you must hit a new note to hear any effect. Since we do not yet want to exit this function, after reading step 1 in FILTER 2 return to this section starting with step 2. 2.
THE GUIDED TOURS VCA/LFO FUNCTION 1: ADSR SETTINGS 1. Assuming that you have the same Current Voice as specified during the previous part of the tour, the display’s top line will give the Module Identifier and the bottom line will list the Voices that make up the Current Voice. 2. Follow the instructions in VCA/LFO 1; when it describes how sliders A, B, C, and D affect the sound, vary these sliders while playing the keyboard to hear the results.
THE GUIDED TOURS GUIDED TOUR #4: REAL TIME CONTROL and VIBRATO DEPTH BACKGROUND Ever wanted to add vibrato to a grand piano? Or bend its pitch? The Real Time Control module can do this, and lots more. Incidentally, for future reference GENERAL INSTRUCTIONS 6 (“Selecting Real Time Control Functions”) contains a short form version of the material presented in the first part of this tour.
THE GUIDED TOURS MIDI Controls 4,5 and 6 are described more fully in PRESET DEFINITION 30, “MIDI Setup”, and in the Advanced Applications section of this manual. Each of the destinations printed in the lower right-hand column (0 - 5) can be controlled by sources 7 and 8. Each destination can be controlled only by a single source. You’ll be happy to know that Realtime control settings are memorized for each Preset.
THE GUIDED TOURS that some sounds lend themselves to these functions better than other sounds, so feel free to experiment with loading different disks to experience the full range of real time control options. PROGRAMMING VIBRATO DEPTH While real time control is invaluable for such applications as adding expressiveness to solo lines, for those times when you want to add a pre-programmed (constant amount) of vibrato (i.e.
THE GUIDED TOURS GUIDED TOUR #5: THE DYNAMIC KEYBOARD BACKGROUND The Emulator II not only delivers polyphonic dynamics, but for maximum expressiveness also allows for dynamic control over several other parameters. The following steps set up the synthesizer sound so that any changes in dynamics are very noticeable. 1. Load the bass/synthesizer Factory Disk into the Emulator II (see section DISK 1 and DISK 2, “Get Bank from Disk”), and specify Preset 01 (arpeggiated bass/synth). 2.
THE GUIDED TOURS GUIDED TOUR #6: BASIC SAMPLING Sampling does not just involve sticking a microphone in front of something; sampling is an art. As a result, we’ve devoted a whole section to the art of sampling in the Advanced Applications section of this manual. Meanwhile, this Guided Tour gives you the basics, and also lays the groundwork for guided tours of the Voice Definition and Preset Definition modules. SETUP 1.
THE GUIDED TOURS Disk”), and then create additional room by erasing all memory (see PRESET DEFINITION 16, “Erase Bank”). 9. Remember, this Guided Tour is intended simply as an overview to give you a “feel” for the sampling process. Later on, we will learn how to organize these Voices in a musically useful way. © 1985, 1986, 1987 E-mu Systems, Inc.
THE GUIDED TOURS GUIDED TOUR #7: DIGITALLY PROCESSING SAMPLES Digital processing allows for radically altering Voices stored in the Bank. In this Guided Tour, we’ll learn -- among other topics -- how to truncate, loop, reverse, splice, and mix samples. First, though, we need to take a couple of samples with which we can practice. 1. If the Emulator II has been turned off, insert a formatted Performance or Library disk in Drive 1 and boot the instrument.
THE GUIDED TOURS o. p. q. r. The display now identifies this Voice as NEW VOICE V02. If you want to call it by a different number, you could do so by pressing the appropriate numbers of the keypad; but for now, V02 is just fine. Press ENTER. Press 7 to arm sampling, and begin talking. If the sample is not good or you want to try again, press 7 and take another sample. Play C4. You should hear your sample. Now play in the range of C3 through C5 to hear the transposed sample.
THE GUIDED TOURS LOOPING A VOICE 1. Activate the Voice Definition module if it is not already, and assign V01 as the Current Voice. 2. Refer to VOICE DEFINITION 12 to graphically see how looping affects a sample. Experiment with looping different parts of the sample; try looping individual words or sentence fragments. Please remember that looping is a very complex process that requires a great deal of practice for proficiency.
THE GUIDED TOURS GUIDED TOUR #8: OTHER VOICE DEFINITION FUNCTIONS We will now cover the remaining Voice Definition functions. Begin by selecting the Bass + Synth disk, inserting it in Drive 1, activating the Disk module, and pressing 1 to load the disk into the Bank. Select Preset 01 if it is not already. CHECKING SOUND LENGTH 1. To familiarize yourself with this process, assign a Current Voice and follow the steps under VOICE DEFINITION 15. SOLO MODE 1.
THE GUIDED TOURS GUIDED TOUR #9: MANAGING THE BANK These are Preset Definition functions that don’t necessarily do glamorous things, but are very useful. This Guided Tour acquaints you with these utilitarian functions. Begin by loading a Performance disk (see DISK 1 or DISK 2). WHAT’S IN THE BANK? 1. Refer to PRESET DEFINITION 19, which tells how to catalog the various Presets in the Bank. 2. Next, refer to PRESET DEFINITION 17, which tells how to catalog the various Voices in the Bank. 3.
THE GUIDED TOURS GUIDED TOUR #10: CREATING PRESETS and LIBRARY DISKS In the following tour, we’ll make up a Preset from Voices. We recommend that you sample four or five Voices, use these to create a Preset, then save them to disk. Alternately, you can load a Performance disk and use those Voices to create Presets; however, you will not be able to check out the Library disk functions presented in this tour. Incidentally, the process of sampling and creating a good Preset is a lengthy one.
GENERAL INSTRUCTIONS GENERAL INSTRUCTIONS 1 - SELECTING THE CURRENT PRESET 2 - ASSIGNING THE CURRENT VOICE 3 - EXITING A FUNCTION 4 - LIBRARY DISKS 5 - DISK HANDLING 6 - REALTIME FUNCTIONS 7 - CATALOGUING 8 - KEYBOARD NUMBERING PROTOCOL © 1985, 1986, 1987 E-mu Systems, Inc.
GENERAL INSTRUCTIONS 1 - SELECTING THE CURRENT PRESET This function chooses one of the available Bank Presets. 1. With no modules active, the display will show the Current Preset name and number. The blinking cursor will appear under the first digit of the Preset number. 2. To change the Current Preset, enter a two-digit number with the keypad. If you enter a number for which there is no Preset, the display lower line will give the illegal Preset number and say NOT FOUND. Try again. 3.
GENERAL INSTRUCTIONS 2 - ASSIGNING THE CURRENT VOICE The processing modules (Filter, VCA/LFO, and Voice Definition) can process each Voice in a Preset, as well as groups of Voices in the Preset, individually. Therefore, it is necessary to specify the Voice, or group of Voices, to be processed. This Voice or group of Voices is called the Current Voice. 1. To assign the Current Voice, one of the processing modules must be active and the bottom display line must say Play a Key.
GENERAL INSTRUCTIONS There are two choices. To select this one Voice as the Current Voice, press NO to tell the Emulator II you want no additional Voices; the display will return to the Module Identifier and the Current Voice assignment process is complete. When you select a processing module, it will process only this Voice. To specify additional Voices as part of the Current Voice1, press YES. The display then asks: V01 Bass E1 Entire Kybd? Y/N 6. Again, there are two choices.
GENERAL INSTRUCTIONS 3 - EXITING A FUNCTION After modifying a Current Voice or Preset by adjusting any of its parameters, you have three options on how to proceed. 1. Press ENTER. You will remain in the currently selected module, ready to select another function. The display top line will show the Module Identifier. 2. De-activate the module (Emulator II returns to Current Preset). 3. Activate another function within the module or activate another module.
GENERAL INSTRUCTIONS 5 - DISK HANDLING Disks represent the sum total of your experience with the Emulator II, and should be handled with care. Common Courtesy for Disks Disks should never be: Bent or sat on Exposed to strong magnetic fields (TV’s, speakers, etc.) Subjected to temperature extremes Left out in the sun Touched where any of the inner plastic disc is exposed Used for coasters or Frisbees.
GENERAL INSTRUCTIONS Write-Protecting Disks Write-protecting a disk turns off the disk drive’s ability to record on to the disk, thus preventing accidental erasure. To write-protect a disk, fold a small adhesive tab (usually supplied with the disk) over both sides of the disk so that the write-protect notch (see Fig. GENINS-1 is completely covered (see Fig. GENINS-2). As long as the notch is covered, you will not be able to accidentally record over the disk.
GENERAL INSTRUCTIONS Single-drive vs. Dual-drive Emulator Il’s A dual-drive Emulator II offers more convenience than a single-drive Emulator II, particularly for copying disks. In this manual, we will assume a dual-drive Emulator II (with the top drive = Drive 1 and the lower drive = Drive 2) except where noted. Inserting the Disk in the Drive Referring to Fig. GENINS-3, first make sure that the latch is in the open position.
GENERAL INSTRUCTIONS 6 - SELECTING REAL TIME CONTROL FUNCTIONS Real time functions are designed for fast, easy selection while playing live. Each Preset can have its own unique set of pre-programmed real time functions. 1. Activate the Real Time Control module. 2. The display shows each control source as a pair of numbers. The first digit of each pair represents the control source, the second digit the control source’s destination.
GENERAL INSTRUCTIONS 7 - CATALOGUING Several commands allow you to catalog the Voices, Presets, and Sequences in a Bank. For example, when erasing a Voice, you can catalog the Voices to make sure you are erasing the right one. In each case, cataloguing occurs by moving Slider A. The slider motion corresponds to moving a list of Voices, Presets, or Sequences underneath the display window (see Fig. GENINS-5).
GENERAL INSTRUCTIONS 8 - KEYBOARD NUMBERING PROTOCOL Several functions reference particular keyboard keys. E-mu numbers the keyboard keys as follows. The left-most (lowest) C is C1. The next highest note is C#1, then D1, D#1, E1, etc. through to B1. After B1, the next higher C is C2. Notes proceed upwards from C2 (C#2, D2, D#2, E2, etc.) until the next higher C, which is C3. Notes count upwards in a similar fashion until reaching the very highest C, which is C6.
MASTER CONTROL MODULE MASTER CONTROL MODULE DYNAMIC ALLOCATION TUNE TRANSPOSE DOUBLE MEMORY © 1985, 1986, 1987 E-mu Systems, Inc.
MASTER CONTROL MODULE DYNAMIC ALLOCATION This function bypasses existing Voice to Output Channel assignments, and makes all Voices available at all Channels (as if all Voices were assigned to Channels 1 – 8, refer to PRESET DEFINITION 22, “Assign Voice”). Application: Audition all Voice sounds without having to listen to specific Channels. 1. Press DYNAMIC ALLOCATION to override Voice Output Channel assignments; press again to de-activate.
MASTER CONTROL MODULE TRANSPOSE This function transposes the keyboard in half-step intervals up to ± one octave. Applications: Use one key’s fingerings in a different key. Modulate to a different key without having to use different fingerings. 1. Press and hold TRANSPOSE; its LED will light. The display says: TRANSPOSED C2 PLAY A KEY 2. The display shows the amount of transposition referenced to C2 (see GENERAL INSTRUCTIONS 8), the second C from the left-hand side of the keyboard.
MASTER CONTROL MODULE DOUBLE MEMORY The Emulator II+ is available in three models: a single-disk drive version, a dual disk drive version, and a hard disk version. Each model is equipped with a feature we call “Double Memory”. This function allows you to load and access two floppy disk sound banks in the machine’s memory, by switching from one bank to the other. The overall operation and performance of the instrument is otherwise not affected.
MASTER CONTROL MODULE DOUBLE MEMORY HARD DISK SAVES Hard disk EII+ owners have the option of also saving each Double Memory sound bank to hard disk for quick access. Follow the procedure for saving to the floppy disk drive: 1. Select the Bank to be saved, 2. Press Disk 7 3. Press Disk 02 - 47 (available hard disk banks in EII+ memory) 4. Swap Double Memory sound banks (Preset 00), and repeat the hard disk save procedure. Please see the Hard Disk Supplement for details on saving sounds to hard disk.
FILTER MODULE FILTER MODULE 0 - CHANGE CURRENT VOICE 1 - FREQUENCY, Q, ENVELOPE AMOUNT 2 - LFO AMOUNT, KEYBOARD AMOUNT 3 - ADSR SETTINGS © 1985, 1986, 1987 E-mu Systems, Inc.
FILTER MODULE 0 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. 1. To change the Current Voice, with the module active, key in 0. 2. The display’s top line lists which Voices make up the current Voice. If more than five Voices have been assigned, the display shows the first five assigned Voices and a + symbol. The bottom line invites you to Play a Key. 3. Follow the Voice assignment process described in GENERAL INSTRUCTIONS 2.
FILTER MODULE 2 - LFO AMOUNT, KEYBOARD AMOUNT This function determines the extent to which the LFO modulates the filter cutoff frequency, and also sets keyboard tracking between 0.00 (minimum) and 1.87 (maximum). Application (Keyboard Tracking): With no tracking, a sound will become progressively less bright as you play higher on the keyboard. This is useful with some bass sounds, where you don’t want the high notes to sound too trebly. With normal tracking (keyboard amount 1.
FILTER MODULE 3 - ADSR SETTINGS This function sets the attack, decay, sustain, and release characteristics of the filter ADSR envelope generator. Application: Change the filter cutoff frequency dynamically with respect to time. 1. With the module active, Current Voice assigned (see GENERAL INSTRUCTIONS 2), and the ENTER LED either lit steadily or off, key in 3. The display says: Atk Dec Sus Rel XX XX XX XX ...where X is a numeral. Hint: Filter and VCA settings interact.
LFO/VCA MODULE LFO/VCA MODULE 0 – CHANGE CURRENT VOICE 1 – ADSR SETTINGS 2 – LFO PARAMETERS AND VCA AMOUNT © 1985, 1986, 1987 E-mu Systems, Inc.
LFO/VCA MODULE 0 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. 1. To specify the Current Voice, with the module active key in 0. 2. The display’s top line lists which Voices make up the current Voice. If more than five Voices have been assigned, the display shows the first five assigned Voices and a + symbol. The bottom line invites you to Play a Key. 3. Follow the Voice assignment process described in GENERAL INSTRUCTIONS 2.
LFO/VCA MODULE function found on standard synthesizers. The sound will continue to sustain unless you play more notes that there are available channels, in which case previously assigned channels will be assigned to newly played notes. 2. To exit to another function, see GENERAL INSTRUCTIONS 3 (“Exiting a Function”).
VOICE DEFINITION MODULE VOICE DEFINITION MODULE 00 - CHANGE CURRENT VOICE 11 - TRUNCATE START AND END OF SAMPLE 12 - SET LOOP START AND LOOP LENGTH POINTS 13 - FORWARD/REVERSE LOOP 14 - SPLICE 15 - SOUND LENGTH 21 - VELOCITY ASSIGNMENT TO LEVEL AND ATTACK 22 - VELOCITY ASSIGNMENT TO FILTER 23 - VIBRATO DEPTH 24 - VOICE ATTENTUATE/TUNE 25 - SOLO MODE 26 - LOOP IN RELEASE 27 - BACKWARDS MODE 28 - COMBINE VOICES 29 - CONTROL ENABLE 30 - SAVE VOICE TO DISK © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE 00 - CHANGE CURRENT VOICE This function lets you change the Current Voice assignment. A special prize will be awarded to any Emulator II owner who finds this function printed on the front panel label. 1. To change the Current Voice, with the module active, key in 00. 2. The display’s top line lists which Voices make up the current Voice. If more than five Voices have been assigned, the display shows the first five assigned Voices and a + symbol.
VOICE DEFINITION MODULE 11 - TRUNCATE START and END of SAMPLE Truncation shortens a Voice’s length by trimming off parts of the beginning and/or end. Applications: Cut off unneeded portions of a Voice to conserve memory. Change instrument characteristics (i.e. remove the attack from a plucked string note). Cut off long decay (i.e. simulate noise-gated reverb effect on drums). Use to isolate a particular section of a sample. 1. With the module active, assign the Current Voice (see GENERAL INSTRUCTIONS 2).
VOICE DEFINITION MODULE Note that samples are truncated in groups rather than one sample at a time, even with the fine truncation slider. Also note that activating Slider B may alter Slider A’s initial setting; readjust Slider A to compensate. Go back and forth between these two controls until you find the ideal start truncation point. 4. The six digits in the lower display line indicate, in samples, how much is being cut off the end of the sample.
VOICE DEFINITION MODULE As with start truncation, samples are truncated in groups rather than one at a time, even with the fine truncation slider. Also, activating Slider D may alter Slider C’s initial setting; readjust Slider D to compensate. Go back and forth between these two controls until you find the ideal end truncation point. 5. After setting the desired truncation points, press ENTER. The display asks: Cancel Truncation? Y/N Now’s your chance to bail out, if need be, and start over again.
VOICE DEFINITION MODULE Percussive Sound Envelope Loop Start Loop Length 1 2 3 4 Time in Seconds Fig. VDEF- 3 © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE 12 - SET LOOP START and LOOP LENGTH POINTS “Looping” lets you mark off a section (called a loop) of a Voice with a Start point and loop Length (see Fig. VDEF-3). When you press a key, the Voice plays normally until it reaches the end of the loop. It then jumps back to the Start point and re-plays through the loop. Upon reaching the loop end, it again re-plays the loop. This looping process continues for as long as the key is pressed. Fig. VDEF4 indicates a typical looping action.
VOICE DEFINITION MODULE S000004 LXXXXX AutoLp:Press Yes ...and the ENTER light flashes. S is the Start point of the loop, and L is the loop Length in samples. Initially, S is set to the beginning of the Voice (approximately 000000) and L equals the length of the sample. 3. Remember -- L sets the Length, not the end point, of the loop. Example: Consider the loop in Fig. VDEF- 5. When S moves, the loop end point (as determined by the loop Length) moves in tandem with S.
VOICE DEFINITION MODULE Hint: It is good practice to move sliders A through D all the way down before looping. This sets the Start point to the beginning of the sample and the loop Length to 000000. With a loop Length of 000000, there is nothing to loop; therefore, when you press a key, the sample will stop playing as soon as it encounters the loop. This makes it easier to set the loop Start point. 4. The six digits following the S indicate, in samples, where the loop starts.
VOICE DEFINITION MODULE Before proceeding, Autolooping. study the following background information about About Autolooping Looping performs an electronic “cut and paste” (splice) which sometimes produces annoying glitches. Here’s why. Refer to Fig. VDEF- 8, which shows the waveform where a sample is to be looped. As the signal loops, note the discontinuity at the “splice point”. This can produce an annoying ticking or popping sound.
VOICE DEFINITION MODULE Fig. VDEF- 8 Fig. VDEF- 9 © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE Fig. VDEF-10 6. After finding good loop S and L points, see if Autoloop can produce an even better loop. Press YES at any point during the looping process to invoke Autoloop. Note: The Emulator II is very intelligent, but not quite as hip as a human. So, sometimes it will choose the correct splice point from a technical standpoint, not a musical one. Therefore, if you find a good splice point, write down the S and L numbers before invoking Autoloop.
VOICE DEFINITION MODULE 7. To try for another splice point, move the sliders and press YES again for Autoloop. Continue moving the sliders in small increments and pressing YES until you end up with a glitch-free loop. Note: Sometimes it will be impossible for you or the computer to find a perfect splice point. When you first try looping, you will probably think this is a common occurrence.
VOICE DEFINITION MODULE 13 - FORWARD/REVERSE LOOP See VOICE DEFINITION 12 for a description of standard looping. With forward/reverse looping, upon reaching the end of the loop the loop plays “backwards” to the loop Start point, then forwards to the end of the loop, then backwards to the loop Start point, etc. See Fig. VDEF-11. etc. … then replays the marked loop for as long as the key is held down First the note plays to the end of the loop Length Start 1 2 3 4 Fig.
VOICE DEFINITION MODULE changes to show the loop End point. This is more appropriate since the loop begins its repeat from the End point. Because of the display change, while in VOICE DEFINITION 12 you can easily tell whether the loop is forward/reverse or normal --just check whether the second set of digits begins with E or L. © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE 14 - SPLICE Splicing marks an End point in one sample and a Start point in a second sample, then joins the end of the first sample to the start of the second sample. Portions of the samples not used in the spliced version are discarded, and any loops are ignored. Fig. VDEF-12 summarizes how splicing works. Applications: Splice an unusual attack to one sample, or unusual decay on to another.
VOICE DEFINITION MODULE 1. With the module active, assign the Current Voice (see GENERAL INSTRUCTIONS 2). This Voice provides the first part of the spliced sound. 2. After assigning the Current Voice (the ENTER LED will be off), key in 14. The display asks: Splice with V__ Use Slider A ...and the ENTER light will flash. Either use the keypad to specify the Voice number that will provide the second half of the splice, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Voices available for splicing.
VOICE DEFINITION MODULE Before proceeding, study the following background information On Autosplicing. About Autosplicing Splicing two Voices together can sometimes produce an annoying glitch at the splice point. Consider Fig. VDEF-13, which shows two samples being spliced together; note the discontinuity at the “splice point”. This can produce an annoying ticking or popping sound. As with Autolooping, the Emulator II can help you find the optimum splice point.
VOICE DEFINITION MODULE 6. After finding good E and S points, see if Autosplice can produce an even better splice. Press YES at any point during the splicing process to invoke Autosplice. Note: Sometimes the Emulator II will choose the correct splice point from a technical standpoint, not a musical one. Therefore, if you find a good splice point, write down the E and S numbers before invoking Autosplice.
VOICE DEFINITION MODULE 15 - SOUND LENGTH This function lets you know the length of the specified Voice. Applications: Check Voice length to make sure it will fit in the space remaining on a Library disk. Compare different Voice lengths when sampling. 1. With the module active, assign one Voice as the Current Voice. 2. Key in 15. The display’s lower line indicates the length of the specified Voice in bytes (samples).
VOICE DEFINITION MODULE 21 - VELOCITY ASSIGNMENT TO LEVEL and ATTACK This function ties overall dynamics (level) and/or VCA attack time to how forcefully you play the keyboard. Application: Sample sounds from an instrument (i.e. older synthesizers) without dynamics, and assign dynamics. Application: Keyboard-controlled VCA attack is excellent for string and horn sounds, where bowing or blowing softly produces a slower attack than rapid bowing or blowing, which produces a much faster attack.
VOICE DEFINITION MODULE Keyboard Dynamic Range is a function of slider setting Slider Setting Fig. VDEF-16 © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE 22 - VELOCITY ASSIGNMENT TO FILTER This function ties the filter cutoff frequency and/or filter ADSR attack and/or filter Q to how forcefully you play the keyboard. Application: Acoustic instruments often sound brighter when played forcefully. The Emulator II can simulate this effect by tying filter cutoff to keyboard dynamics.
VOICE DEFINITION MODULE The extent to which filter cutoff changes according to keyboard dynamics as a function of slider setting. Fig. VDEF-17 © 1985, 1986, 1987 E-mu Systems, Inc.
VOICE DEFINITION MODULE 23 - VIBRATO DEPTH This function determines the extent to which the LFO (vibrato) signal modulates the Current Voice pitch. 1. With the module active, Current Voice assigned (see GENERAL INSTRUCTIONS 2), and the ENTER LED either lit steadily or off, key in 23. The display says: Vibrato Depth 00 Slider A determines the extent to which the LFO modulates the Current Voice pitch, with higher values (up to 15) giving greater vibrato depth.
VOICE DEFINITION MODULE 25 - SOLO MODE This function provides the playing action of a monophonic synthesizer with single triggering and last-note priority. With single triggering, you must lift your finger off a key to initiate a new envelope. Application: Produce more realistic effects when working with monophonic instrument sounds (i.e. solo trumpet, flute, sax, etc.) since this mode does not allow you to play a chord. Simulate the keying action of monophonic synthesizers. 1.
VOICE DEFINITION MODULE 27 - BACKWARDS MODE This function reads the Voice out of memory in the reverse order from which it was stored. .derots saw ti hcihw morf redro esrever eht ni yromem fo tuo ecioV eht sdaer noitcnuf sihT Applications: Backwards tape effects simulation. Reverse attack and decay characteristics of Voices. 1. With the module active, INSTRUCTIONS 2). assign the Current Voice (see GENERAL 2. After assigning the Current Voice (the ENTER LED will be off), key in 27.
VOICE DEFINITION MODULE How a loop plays in backwards mode Length Start 1 2 3 4 Fig. VDEF-18 Hint: If backwards mode doesn’t appear to work, make sure that the sample doesn’t have a loop towards the end of its decay. Consider Fig. VDEF-19. Playing this sample backwards will give a low-level, continuously repeating sound that is probably not what you had in mind. To play a Voice backwards from end to beginning, remove any loops.
VOICE DEFINITION MODULE 28 - COMBINE VOICES Combining Voices mixes one sample with another, thus producing a more complex Voice. The combined Voice ignores any looping, tuning, or level changes programmed in the individual Voices; it works solely on the original digital Voice information. To loop the combined Voice, it is necessary to treat it as a single Voice and set loop points as described in VOICE DEFINITION 12.
VOICE DEFINITION MODULE 29 - CONTROL ENABLE This unique function allows you to exempt specific Voices from certain Real Time control functions. Application: Exempt bass notes with long release times from pitch bending by disabling pitch bend for the bass Voices. You may then bend pitch in the upper range without affecting the bass notes. 1. With the module active, Current Voice assigned (see GENERAL INSTRUCTIONS 2), and the ENTER LED either lit steadily or off, key in 29.
VOICE DEFINITION MODULE 30 - SAVE VOICE TO DISK This function lets you save an individual Voice to a Library disk. 1. Check that there is sufficient space on the Library disk to hold the Voice by inserting a formatted Library disk in one of the Emulator II drives, then referring to DISK 3. 2. After invoking DISK 3, the display will show the remaining amount of Library disk space in Bytes (samples). Note this reading.
PRESET DEFINITION MODULE PRESET DEFINITION MODULE 11 - GET VOICE 12 - COPY/NAME VOICE 13 - ERASE VOICE 14 - ERASE SEQUENCE 15 - ERASE PRESET 16 - ERASE BANK 17 - CATALOG VOICES 18 - CATALOG SEQUENCES 19 - CATALOG PRESETS 20 - MEMORY REMAINING 21 - CREATE PRESET 22 - ASSIGN VOICE 23 - EDIT ASSIGNMENT 24 - DE-ASSIGN VOICE 25 - VELOCITY CROSS SWITCH 26 - VELOCITY CROSSFADE 27 - POSITIONAL CROSSFADE 28 - NONTRANSPOSE 29 - ARPEGGIATOR 30 - MIDI SETUP 31 - COPY/RENAME PRESET 32 - REPLICATE PRESET © 1985, 1986, 19
PRESET DEFINITION MODULE 11 - GET VOICE This fetches the specified Voice from a Library disk and loads it into the Bank. Application: Before creating Presets, you must load the Voices that make up the Preset(s) into the Bank. 1. With the module active, key in 11. The display says: Get Voice __ (01 – 99)/Slider A ..and the ENTER light will be flashing. Either use the keypad to specify the Voice File to be loaded, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Voice Files available for loading.
PRESET DEFINITION MODULE 12 - COPY/NAME VOICE This function copies a Voice, assigns a new Voice number, and allows for renaming the Voice. The original Voice remains intact. Applications: To make a “back-up” copy of a Voice in the Bank before permanently altering it. To create a modified version of an existing Voice without altering the original. To rename an existing Voice by copying it to itself. 1. With the module active, key in 12. The display says: Copy Voice __ (01 - 99)/Slider A ...
PRESET DEFINITION MODULE 13 - ERASE VOICE This command erases a specified Voice from the Bank. Caution: Once erased, a Voice will be gone from any Preset in which it appears. Application: Erase an improperly sampled or unneeded Voice, or free up more memory. 1. With the module active, key in 13. The display says: Erase Voice (01 – 99)/Slider A ...and the ENTER light will be flashing.
PRESET DEFINITION MODULE 14 - ERASE SEQUENCE This command erases a specified Sequence from the Bank. Application: Erase an unneeded Sequence, or free up more memory space. 1. With the module active, key in 14. The display says: Erase Seque (01- 99 )/Slider A ...and the ENTER light will be flashing. Either use the keypad to specify the Sequence number to be erased, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7, “Cataloguing”) the Bank Sequences.
PRESET DEFINITION MODULE 15 - ERASE PRESET This command erases a specified Preset from the Bank. 1. With the module active, key in 15. The display says: Erase Preset (01 - 99)/Slider A ...and the ENTER light will be flashing. Either use the keypad to specify the Preset to be erased, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Bank Presets. When the display shows the Preset to be erased, press ENTER. 2.
PRESET DEFINITION MODULE 16 - ERASE BANK This procedure clears out the Emulator II’s memory Bank. Application: Allows for fresh start when creating new Banks and Presets from Library disks, or when sampling. 1. With the module active, key in 16. The display says: Erase ALLMemory Press Yes or No and its LED will be lit steadily. 2. Pressing NO returns you to the Module Identifier. If you press YES, the display says: Erase ALLMemory You SURE? Y/N ...and the module LED will still be lit.
PRESET DEFINITION MODULE 18 - CATALOG SEQUENCES This command lists the Sequence number and name of every Sequence in the Bank. 1. With the module active, key in 18. The display says: To Catalog Use Slider A ...and the ENTER light will be lit. 2. Move Slider A; the display will catalog (see GENERAL INSTRUCTIONS 7, “Cataloguing”) all Bank Sequences. After cataloguing, to exit to another function see GENERAL INSTRUCTIONS 3 (“Exiting a Function”).
PRESET DEFINITION MODULE 20 - MEMORY REMAINING How close are you to filling up the Bank with Voices and Presets? This command lets you put a dipstick into the memory and find out. Application: When sampling, to check whether there is sufficient memory to hold a sample of a particular length (also see SAMPLE 5). To check there is enough available memory before copying or replicating Presets. To check if there is enough memory before copying Voices. 1. With the module active, key in 20.
PRESET DEFINITION MODULE 21 - CREATE PRESET You must first number and name a Preset, as provided by this function, before assigning Voices to it. 1. With the module active, key in 21. The display says: Create & Select New Preset __ Specify the Preset number with the keypad. The ENTER LED will flash. If the display confirms your choice, press ENTER. 2. If the selected Preset number already exists, the display will say “Selected Preset Exists” and asks you to try again.
PRESET DEFINITION MODULE 22 - ASSIGN VOICE This function assigns a selected Voice to a specific keyboard range within the Current Preset. 1. With no module active, select the Preset number to which you want to assign the Voice. Caution: Always check that you have selected the proper Current Preset before assigning Voices. 2. Activate the Preset Definition module and key in 22. The display says: Assign Voice (01 – 99)/Slider A ...and the ENTER light will be flashing.
PRESET DEFINITION MODULE Specify the Channel, or group of Channels, by entering a pair of numbers where indicated by the cursor. When the display confirms your choice, press ENTER. Examples: Cnls 3 - 3 Cnls 1 - 8 Cnls 2 - 3 Cnls 4 - 8 The Voice plays monophonically, with the single note output appearing at Channel 3. The Voice can play up to eight notes, which appear on Channels 1 - 8. They will share these Channels with any other Voices assigned to the same Channels.
PRESET DEFINITION MODULE 23 - EDIT ASSIGNMENT This function lets you examine and/or change the Orig, Lo, Hi, and output Channel parameters of a previously assigned Preset Voice. 1. With the module active, key in 23. The display says: Edit Assignment Play a Key ...and the ENTER light will be flashing. Play the keyboard until you locate the Voice you wish to edit, and then press ENTER. 2. The display now reads: Orig Lo Hi Cnls 4.
PRESET DEFINITION MODULE © 1985, 1986, 1987 E-mu Systems, Inc.
PRESET DEFINITION MODULE 24 - DE-ASSIGN VOICE This function de-assigns (deletes) a specific Voice from a Preset. 1. With the module active, key in 24. 2. The display says: De-Assign Voice Play a Key ...and the ENTER light will be lit. Play the keyboard until you locate the Voice to be deassigned; the ENTER light will be flashing. After locating the Voice, press ENTER. 3. The Voice will be removed from the Preset (but not from the Bank). The display will say: De-Assign Voice Play a Key ...
PRESET DEFINITION MODULE 25 - VELOCITY SWITCH Where two Voices overlap, Velocity Switch lets you select one or the other Voice by how hard you strike keys in the overlap range. Hitting the key(s) softly selects one Voice; hitting hard selects the other Voice (see Fig. PDEF-1). Application: Change a note’s timbre by hitting it harder; for example, overlap a normal bass and slap bass Voice. Use Velocity Switch so that the slap bass is selected when you play the keyboard forcefully.
PRESET DEFINITION MODULE 26 - VELOCITY CROSSFADE Where two Voices overlap, Velocity Crossfade lets you control a crossfade between them by how hard you strike keys in the overlap range. One Voice will become louder as you play harder and softer as you play softer, while the other Voice will become louder as you play softer and softer as you play harder (see Fig. PDEF-2). Application: Fade between cellos and violins, depending on how hard you play a key.
PRESET DEFINITION MODULE 27 - POSITIONAL CROSSFADE Where two Voices overlap, Positional Crossfade alters the level balance (mix) between the two Voices depending on where you play within the overlap range. Rather than spend a lot of time explaining this in words, please refer to Fig. PDEF-3. Application: Transposing a sampled sound lower usually produces a more muffled sound than the original sample, and transposing upwards usually produces a thinner, brighter sound.
PRESET DEFINITION MODULE 28 - NONTRANSPOSE Nontranspose lets a Voice play throughout its assigned keyboard range but at its original pitch only -- there will be no transposition. Application: To determine the original note at which a Voice was recorded. Or, if you’re playing drum parts on the keyboard, you might want to assign the bass drum to the entire left-most octave of the keyboard so that it makes an easy target compared to hitting one key.
PRESET DEFINITION MODULE 29 - ARPEGGIATOR You’re going to love this arpeggiator: It does a lot and it’s easy to set up. Best of all, arpeggiation settings are stored with the Preset so that different Presets can have totally different arpeggiation characteristics. Also, arpeggiation can be assigned to any range of the keyboard or the entire keyboard. 1. With all modules de-activated, select the Current Preset. This Preset will contain the arpeggiation information. 2.
PRESET DEFINITION MODULE Range: C1 to C1 Play a Key This is the default setting and indicates that arpeggiation will only play in the range C1 to C1(one note). Press the key corresponding to the lowest note in the range you want arpeggiated (after which the cursor will move to the second note in the display), then play the key corresponding to the highest note in the range you want arpeggiated. The display will confirm your choice.
PRESET DEFINITION MODULE 30 - MIDI SETUP MIDI is a way of exchanging musical information between various electronic music instruments. If you are not familiar with MIDI, read the “MIDI Supplement” section before continuing. Please remember that MIDI was devised with analog synthesizers in mind, and that the Emulator II voice is not like a standard analog synthesizer voice.
PRESET DEFINITION MODULE 4. Moving Slider A upwards gives this display: Preset ch OK: yes Press Y/N MIDI also carries patch change information from one synthesizer to another. Press YES if you want the Emulator II to respond to this information (or to change presets in other synthesizers from the Emulator II), and NO if you want to select Presets on the Emulator independently of other MIDI instruments.
PRESET DEFINITION MODULE 7. Moving Slider A upwards gives the following display: Lt Wheel > #XX Use Slider D You may now assign a controller number to the Left Wheel.
PRESET DEFINITION MODULE This step of the set-up procedure lets you assign a number to the MIDI control source that matches up with the number of the controller “transmitting” data from a MIDI unit into the Emulator II. (For more information on controller numbers, see the MIDI supplement.
PRESET DEFINITION MODULE 31 - COPY/RENAME PRESET This function copies a Preset to another Preset number. Since the second Preset is an exact duplicate of the original Preset, changing a Voice parameter in the copied Preset will change that Voice in the original, and vice-versa. To copy a Preset and renumber the Voices at the sane tide, thus allowing for independent Voice modification, see PRESET DEFINITION 32.
PRESET DEFINITION MODULE 32 - REPLICATE PRESET This function copies a Preset to another Preset number and copies and renumbers all the Preset’s Voices as well. Therefore, the copied Presets Voices may be altered without affecting the Voices in the original Preset. To copy a Preset without copying and renumbering the Voices, see PRESET DEFINITION 31.
SAMPLE MODULE SAMPLE MODULE 1 - VU MODE 2 - DEFINE VOICE 3 - GAIN SET 4 - THRESHOLD SET 5 - SAMPLE LENGTH 7 - ARM SAMPLING 9 - FORCE SAMPLING 0 - STOP SAMPLING © 1985, 1986, 1987 E-mu Systems, Inc.
SAMPLE MODULE 1 - VU MODE This function sets the proper level for sounds being recorded into the Emulator II. 1. Activating the SAMPLE module automatically puts the Emulator II in VU mode (SAMPLE 1). (If you select another SAMPLE function at some point, entering the data for that function usually returns you automatically to VU mode.) The display shows: Voice V01 |||| +00dB There may or may not be some moving vertical bars in the display’s lower line. 2.
SAMPLE MODULE Place High key Onto Keyboard 4. Play the highest desired note of the range (cannot exceed one octave above the original pitch). The display says: NEW VOICE VXX PRES (01 – 99) ...where XX represents the Voice number. The Emulator II will automatically assign the lowest available Voice number (as shown in the display) for the new Voice you are about to sample. If this number suits you, press ENTER.
SAMPLE MODULE 3 - GAIN SET The Emulator II has a built-in mic preamp with three gain ranges (00 dR, +20 dB, and +40 dB). This function chooses the desired amount of gain. 1. With the module active, key in 3. The display says: INPUT GAIN+00dB USE SLIDER A 2. Vary Slider A to choose between 00, +20, and +40 dB gain as shown in the display. After making your selection, press ENTER to return to VU mode.
SAMPLE MODULE 5 - SAMPLE LENGTH Once sampling is initiated, the Emulator II will normally sample until it runs out of memory or is stopped (see SAMPLE 0, the “stop sampling” function). However, this function let’s you program a particular sample time; after this time has elapsed, the Emulator II will stop sampling. 1. With the module active, key in 5. The display says: Length XX.X secs Use Slider A ...where XX.X is the time in seconds. If the Bank is empty, this will be 17.
SAMPLE MODULE 9 - FORCE SAMPLING Force sampling lets you initiate sampling manually as an alternative to thresholdsensitive sampling. This is useful for situations where the signal to be sampled is more or less continuous (continuous signals greatly complicate the thresholdsetting process described in SAMPLE 4). 1. With the module active and levels properly set, as soon as you are ready to sample key in 9. Sampling will begin immediately, and the Sample module LED will blink. 2.
DISK MODULE DISK MODULE 1 - GET BANK DISK 1 2 - GET BANK DISK 2 3 - SPACE REMAINING 3 - DISK IDENTITY 4 - COPY DISK 5 - CATALOG VOICE 6 - ERASE VOICE 7 - SAVE BANK 8 - FORMATTING A DISK © 1985, 1986, 1987 E-mu Systems, Inc.
DISK MODULE 1 - GET BANK DISK 1 A Performance disk stores one Bank of Presets (plus the Voices that make up the Presets). Loading the Bank into the machine lets you play with the Presets and Voices that make up the Bank. When the machine is first turned on, simply inserting and latching a Performance disk into Drive 1 will initiate loading a Bank. At all other times use this function to load a new Bank into memory from a Performance disk inserted in Drive 1. 1.
DISK MODULE 2 - GET BANK DISK 2 A Performance disk stores one Bank of Presets (plus the Voices that make up the Presets). Loading the Bank into the machine lets you play with the Presets and Voices that make up the Bank. When the machine is first turned on, simply inserting and latching a Performance disk into Drive 2 will initiate loading a Bank. At all other times use this function to load a new Bank into memory from a Performance disk inserted in Drive 2. 1.
DISK MODULE 3 - SPACE REMAINING The Emulator II can store about 500,000 “bytes” (a byte is a unit of computer memory) on each double-sided, double-density floppy disk. The “Space Remaining” function helps you avoid situations where you try to record more into the disk’s memory than it can hold (this won’t cause any damage, but it can be frustrating to run out of space in the middle of a hot sampling session).
DISK MODULE 3 - DISK IDENTITY If you forgot to label a disk, you might not know whether it is a Performance or Library disk. The SPACE REMAINING function can also identify the type of disk. 1. Insert and latch the disk to be checked into either drive, or check two disks by inserting and latching a disk into each drive. 2. With the disk module active, key in 3 to check identity. The display’s top line checks the disk in Drive 1, the display’s bottom line the disk in Drive 2.
DISK MODULE 4. Confirm that the source disk (the one to be copied) is in Drive 1 and the destination disk (the one being copied to) in Drive 2, then press the flashing ENTER button. The display tells you that: This Will Take A While After completing the copy, the display returns to the Module Identifier. Move on to the next disk operation, or de-activate the module. © 1985, 1986, 1987 E-mu Systems, Inc.
DISK MODULE 5 - CATALOG VOICE This function lists the Voices and associated file numbers (see GENERAL INSTRUCTIONS 4, “Library Disk Voice Numbering Protocol”) on a Library disk. 1. Insert and latch a Library disk in either drive. If you accidentally insert a Performance disk, the display will say: Insert Libr Disk And Press Enter If this happens, insert and latch a Library disk then press ENTER. 2. With the Disk module active, key in 5 to CATALOG VOICE. The display says: To Catalog use Slider A 3.
DISK MODULE 3. Either use the keypad to specify the Voice number to be erased, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7) the Library disk Voices. When the display shows the Voice number to be erased, press ENTER. 4. The display gives you a last chance to re-consider: Erase Voice XX Erase? (Yes/No) If you change your mind about erasing the voice, press NO and deactivate the disk module. If you really and truly want to erase the voice, press YES. © 1985, 1986, 1987 E-mu Systems, Inc.
DISK MODULE 7 - SAVE BANK After you’ve developed a great Bank, this function saves it to a Performance disk. Remember -- Save whenever you have something you don’t want to accidentally lose. 1. Insert and latch a previously formatted Performance disk in either drive. If the disk already contains a Bank, saving a new Bank will erase the old Bank. 2. With the Disk module active, key in 7 to SAVE BANK. The display asks: Which Drive? Press 1or 2 3.
DISK MODULE 8 - FORMATTING A PERFORMANCE OR LIBRARY DISKETTE Before a new disk can record (store) any data, it first must be told how to record this data (called formatting the disk). Run the following formatting procedure on any new disk, or on “recycled” disks previously used with other systems (such as home computers) since these will not be formatted correctly for the Emulator II.
DISK MODULE ...depending on whether you are formatting a Performance (Pert) or Library (Libr) disk. This is your last chance to stop the formatting process; remember, formatting erases EVERYTHING on a disk, so think twice before pressing YES. (If you press NO, the display returns to the Module Identifier.) After pressing YES, the display says: Formatting in Progress . . . Formatting takes just enough time that you can get a drink of water or do a couple of sit-ups.
HARD DISK SUPPLEMENT HARD DISK SUPPLEMENT BACKGROUND: WHY HARD DISK THE HARD DISK PERSONALITY POWER-ON WITH HARD DISK MODEL HARD DISK SECTION NOTES © 1985, 1986, 1987 E-mu Systems, Inc.
HARD DISK SUPPLEMENT BACKGROUND : WHY HARD DISKS The standard Emulator II comes with two floppy disk drives for saving and loading Bank information. Replacing the second floppy drive with a Hard Disk drive offers two big advantages: Greater storage. The Hard Disk holds 46 Banks, the floppy 1 Bank. Faster access time.
HARD DISK SUPPLEMENT in the Emulator II’s Hard Disk software diskette (supplied with the Hard Disk upgrade). Should additional errors occur over time, the disk’s error log can be updated to include these new errors, and the computer instructed not to write over the bad bytes. Like a floppy disk, the Hard Disk must be formatted initially to accept data.
HARD DISK SUPPLEMENT DISK 2 - GETTING A BANK FROM HARD DISK This function loads Banks from the Hard Disk into the Emulator II. 1. GET BANK DISK 1 reads a Bank from the floppy drive. To get a Bank from the Hard Disk, enter the Disk module and key in 2 (GET BANK DISK 2). The display says: Get HD Bank # (02 - 47)/Slider A Move Slider A to catalog the Hard Disk Banks. When the display shows the Bank to be loaded, press ENTER.
HARD DISK SUPPLEMENT DISK 7 - SAVING A BANK TO HARD DISK This function saves a Bank from the Emulator II onto the Hard Disk. 1. While in the Disk module, key in 7 with the keypad. The display then asks whether you want to save to floppy or Hard Disk: Save Bank (01) or (02 - 47) Pressing 01 saves the Bank to floppy disk, as described under Disk 7 in the Reference Section of the Emulator II Owner’s Manual. Pressing 02 to 47 saves the Bank to the Hard Disk under the designated Bank number.
HARD DISK SUPPLEMENT DISK 8 - FORMATTING FLOPPIES IN A HARD DISK SYSTEM As with a dual floppy Emulator II, selecting DISK 8 (the formatting function) formats the floppy disk. However, you may load formatting software from either the Hard Disk or the floppy. 1.
HARD DISK SUPPLEMENT HARD DISK SPECIAL FUNCTIONS If the operating system currently in memory is Hard Disk compatible (which it will be if you booted from the Hard Disk, or from a floppy with Hard Disk operating system software), the Special module will contain a number of functions that relate specifically to the Hard Disk. This section describes the various functions. SPECIAL 22 - FORMATTING Just as a floppy disk must be formatted in order to receive Emulator II data, so must the Hard Disk.
HARD DISK SUPPLEMENT 2. Enter 22 via the keypad. The display says: Format Hard Disk DESTROYS ALL!Y/N DESTROYS ALL! Does not mean that Godzilla will appear outside your window, but rather, that any data on the Hard Disk will be erased during the formatting process. Press NO if you want to exit this function; to continue formatting, press YES.
HARD DISK SUPPLEMENT 4. If you answered NO at the beginning of step 3, the display tells you that the Emulator II is... Saving All Banks As Null Presets ...which fills up the Hard Disk with null Presets. This operation takes about two minutes, so you have enough time to dust off the Emulator II keyboard, tidy up the studio a bit, or make a quick phone call.
HARD DISK SUPPLEMENT SPECIAL 21 - SHOW HARD DISK ERROR LOCATION This function pinpoints where an error has occurred on the Hard Disk. 1. To locate where an error has occurred, after formatting is complete load each Bank from the Hard Disk into the Emulator II memory. As soon as a problem occurs when loading a Bank, select SPECIAL 21 (Show HDErrLoc) to pinpoint the source of the error. SPECIAL 21 must be initiated immediately after the problem occurs, or you will get an “Invalid ErrData” message instead. 2.
HARD DISK SUPPLEMENT SPECIAL 20 - ERROR SCAN This function causes the Hard Disk to go out and seek errors, and this information is used for updating data logs. 1. Enter the Special module and key in 20. The display asks: Use Floppy Disk Error Log? Y/N If you enter YES, the Emulator II assumes that all errors already listed on the floppy log are indeed errors and checks the remaining areas of the Hard Disk.
HARD DISK SUPPLEMENT SPECIAL 19 - ENTER ERROR LIST This is not a common operation, except at the factory where an error log is created for the first time. However, if a catastrophic disk crash occurs where the error log list has been lost, this procedure is necessary for re-creating the error log. Note: Hard disks come with an error log as provided by the manufacturer. This information is supplied by E-mu with the hard disk (also see Hard Disk software label).
HARD DISK SUPPLEMENT 3. After all errors have been noted, press ENTER. The display now says: Write Error Log to Hard Disk? (Y/N) If you’re next operation is to format the Hard Disk, which happens 90% of the time, press NO. If the Hard Disk is already formatted, press YES to update the existing error log. In either case, you next have the option to write the error log to floppy disk when the display says...
REALTIME CONTROL MODULE REALTIME CONTROL MODULE Wheels 0 - OFF 1 - PITCH 2 - FILTER FC 3 - LEVEL 4 - LFO to PITCH 5 - LFO to FILTER Fc 6 - LFO to LEVEL 7 - ATTACK RATE Footswitches 0 - OFF 1 - SEQUENCER CONTROL 2 - SUSTAIN 3 - RELEASE 4 - SUSTENTUTO 5 - ADVANCE PRESET © 1985, 1986, 1987 E-mu Systems, Inc.
REALTIME CONTROL MODULE CONTROL 0 - Destination: OFF 1. To turn off (disable) the control source (selected as per GENERAL INSTRUCTIONS 6), key in 0. CONTROL 1 - Destination: PITCH 1. To assign pitch bend to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 1. Application: Generally, this destination is assigned to the left-hand wheel, which has a center detent. When so assigned, the center position gives no pitch bend.
REALTIME CONTROL MODULE CONTROL 3 - Function: LEVEL 1. To assign overall level to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 3. Application: Probably the most common use is to assign LEVEL to the footpedal, thus giving footpedal-controlled volume. Or, assign this destination to the Right wheel when you need a manual volume control (such as during fadeouts). Assigning LEVEL to the Left wheel can also be useful.
REALTIME CONTROL MODULE CONTROL 5 - Function: LFO to FILTER Fc 1. This function controls the extent to which the LFO modulates the filter cutoff frequency. To assign this destination to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 5. (To change the LFO rate and LFO variation, refer to sections VCA/LFO 2A and 2C.) Application: This destination is most often assigned to the Right wheel; rotating the wheel away from you increases the amount of filter modulation (“filtrato”).
REALTIME CONTROL MODULE CONTROL 7 - Function: ATTACK RATE 1. ATK RATE controls the VCA attack rate. To assign this destination to the control source (selected as per GENERAL INSTRUCTIONS 6), key in 7. Application hint: When assigned to the Right wheel, rotating the wheel away from you increases the attack time. This effect is useful when changing from legato to percussive effects, especially with sustained sounds such as strings.
REALTIME CONTROL MODULE FOOTSWITCH 3 - Function: RELEASE 1. For footswitch-controlled release, select the desired footswitch (as per GENERAL INSTRUCTIONS 6) then key in 3. Any note played while the footswitch is pressed will play through its entire length, whether or not you continue to hold down a key. Looped sections are not repeated unless you hold down the key. Releasing the footswitch cancels release.
ENTER MODULE ENTER MODULE © 1985, 1986, 1987 E-mu Systems, Inc.
ENTER MODULE ENTER DATA ENTER is a module that the Emulator II, rather than you, activates. Just as you can activate a module to tell the Emulator II something you want to do, The Emulator II can activate this module to tell you something it wants you to do. Sometimes the display will ask you for data (i.e. such as keying in a number to indicate a parameter you want to change).
SEQUENCER MODULE SEQUENCER MODULE BACKGROUND EXT CLOCK SETUP EDIT © 1985, 1986, 1987 E-mu Systems, Inc.
SEQUENCER MODULE BACKGROUND The Emulator II eight-track Sequencer not only records up to eight tracks of Presets from the Emulator II, but can sequence up to eight MIDI instruments via the MIDI OUT port. Sequences are saved on a Performance disk as part of the Bank. Each Sequencer track can polyphonically record the notes you play from any one Preset in the Emulator II’s Bank. Although you cannot record two different Preset sounds on one track, you can record different Presets on different tracks.
SEQUENCER MODULE human timing errors, programming an optional countdown and metronome (available at the MET OUT jack), and monitoring (cuing) the previously recorded tracks you want to hear. 4. RECORD the Sequence, then PLAY it back and STOP it at any time (the “tape recorder” controls). Or, SELECT a different Sequence for playback. 5.
SEQUENCER MODULE Since you expect to play only one bass note at a time, assign all the bass Preset Voices to Output Channel 1 (see PRESET DEFINITION 23, “Edit Voice” or PRESET DEFINITION 22, “Assign Voice”). Let’s also suppose that you don’t expect to play more than three notes at a time with the strings; assign the string Preset Voices to Output Channels 2, 3, and 4. This leaves four channels left over for the piano, which you assign to Output Channels 5 through 8.
SEQUENCER MODULE SEQUENCER EXT CLOCK The Emulator II can synchronize to one of several different tempo references: Internal clock, external click track, MIDI timing messages, or SMPTE time code. It can also generate (write) a click track or SMPTE time code signal on tape. Once recorded, these signals can feed the Emulator II during overdubs to maintain synchronization with the original tempo. Note: You cannot activate EXT CLOCK unless there is a defined Sequence in the Bank.
SEQUENCER MODULE 3. Move Slider A upwards to the next step in the Ext Clock setup routine, which determines the click rate when reading a click track. Slider D chooses the options. The display initially gives the default value: Click Rate: 24pqn Use Slider D With this setting (24 pulses-per-quarter note), a quarter note occurs for every 24 clock pulses received at the SMPTE IN jack. The E-mu Drumulator, most Roland equipment, PAIA Master Synchronizer, and most drum machines use this standard.
SEQUENCER MODULE When finished, press ENTER to stop writing. Note: Writing activity “locks up” the Emulator II. In order to proceed with other functions, de-activate the module. To continue the Slider A setup procedure, re-activate EXT CLK. Hint: After recording a click track, play it back into the Emulator II via the SMPTE IN jack and play a Sequence (see SEQUENCER PLAY) to make sure that the click track was recorded at the right level and that there are no drop-outs or other problems.
SEQUENCER MODULE 7. Move Slider A upwards to the next step in the Ext Clock setup routine.
SEQUENCER MODULE DEFINE 1 - Function: CREATE SEQUENCE This function lets you create, number, and name a Sequence. It is conceptually similar to creating a Preset. 1. Activate the DEFINE sub-module. The display shows the Module Identifier: Seq Define (1 – 3) 2. Press 1 on the keypad. The display says: Create Seq# Press (01 - 99) Enter a two-digit Sequence number (include leading zeroes) and press ENTER The display will ask: Copy from Another Sequence Y/N Unless you entered the number of an existing Sequence.
SEQUENCER MODULE DEFINE 2 - Function: TIME SIGNATURE This function sets the time signature for the Sequence. 1. With the DEFINE module active, key in 2. The display shows the default 4/4 time signature: Time Sign 04/04 Use Sliders A&B ...unless the Sequence has already been recorded, in which case the lower line will say “Seq Is Not Empty”. The time signature is recorded as part of the Sequence, and cannot be changed once a Sequence has been recorded. 2.
SEQUENCER MODULE DEFINE 3 - Function: SEQUENCE LENGTH Not too surprisingly, this function sets the Sequence length. 1. With the DEFINE module active, key in 3. The display shows the default Sequence length: Length: 002 Meas SlidrA(001-999) ...unless the Sequence has already been recorded, in which case the lower line will say “Seq Is Not Empty”. The Sequence length is recorded as part of the Sequence and cannot be changed once, a Sequence has been recorded. 2.
SEQUENCER MODULE DEFINE 4 - SUPERMODE This function allows the EII to receive MIDI Information over 8 different channels, and sound them through 8 different presets simultaneously! To use Supermode, you must first create a Supermode map which routes the MIDI channels to specific presets. To create the Supermode map: 1. Define a new sequence and record a short, blank sequence of any length (don’t play any notes). Each track you record listens to it’s corresponding MIDI channel.
SEQUENCER MODULE Notes on EII Supermode Supermode is off when the EII Sequencer is running. Realtime controller data is not received over Supermode. Sending real-time controller data to the EII while in Supermode will slow the MIDI response by clogging the MIDI input. While in Supermode; Sustain information on any MIDI channel will affect the Current Preset.
SEQUENCER MODULE SETUP 1 - Function: SELECT TRACK Before recording or punching-in, use this function to specify the track on which you want to record or punch. 1. With the SETUP sub-module active, key in 1. If you are calling up this function for the first time, the display gives the default track record assignment: Tracks: 1 Record ^ The caret in the bottom line indicates the track on which you will record. If you have already recorded some tracks, their track numbers will appear in the display.
SEQUENCER MODULE SETUP 2 - Function: TEMPO This function sets the Sequence tempo. Tempo may be changed at any time; therefore, you can record a complex part at a slower tempo, and then bring the speed up to normal during playback. 1. With the SETUP sub-module active, key in 2. If you are calling up this function for the first time, the display shows the default tempo setting: Tempo: 120BPM Use Slider A 2. Choose a tempo in the range of 40 to 240 Beats Per Minute with Slider A.
SEQUENCER MODULE 3. Slider B selects one of the following metronome values: 1/4 1/4 t 1/8 1/8 t 1/16 1/16 t click quarter note quarter note triplet eighth note eighth note triplet sixteenth note sixteenth note triplet A 24 pulses-per-quarter note click track is send from the MET OUT jack. 4. To continue with the setup process, select the next function (SEQUENCER SETUP 4). To return to the Module Identifier, press ENTER.
SEQUENCER MODULE SETUP 5 - Function: SMPTE START You can start a Sequence by pushing PLAY (see SEQUENCER PLAY), or have the Sequence start automatically at a specific frame of the SMPTE time code. In this case, you would select SMPTE time code as the External Clock, and press PLAY (the PLAY LED will flash). As soon as the Emulator II receives the SNPTE time code frame number specified in this step, the Sequence will start playing and the PLAY LED will be lit continuously.
SEQUENCER MODULE RECORD, PLAY and STOP You can think of these three switches as the “tape recorder controls” since they act very similarly to the equivalent controls on a multi-track tape recorder. Record To record a Sequence, first press RECORD to put the Sequencer in “record ready” mode. Then, press PLAY to begin recording. If you programmed a countdown (SEQUENCER SETUP 6), the number of beats you programmed will elapse before recording begins.
SEQUENCER MODULE SELECT SEQUENCE This function lets you select any of the Bank Sequences for playback and/or additional recording. 1. To select a Sequence, first press SELECT. The display shows the Current Sequence number: Select Seq# XX SXX (name) ...where XX is the Current Sequence number. Either use the keypad to specify a Sequence number, or move Slider A to catalog (see GENERAL INSTRUCTIONS 7, “Cataloguing”) the available Bank Sequences. When the display shows the desired Sequence, press ENTER.
SEQUENCER MODULE EDIT 1 - ERASE TRACK This function erases any track from a Sequence. 1. With the EDIT sub-module active, key in 1. The display says: Erase An Entire Track Y/N To erase an entire track, including any stored controls assigned to that track, press YES and proceed to step 2.
SEQUENCER MODULE EDIT 2 – PUNCH-IN You can fix mistakes, or do spot overdubs, with the punch-in function. 1. First select the track (as described in SEQUENCER SETUP 1) on which you want to record the punch-in. Note that when you record a track, the Sequencer remembers the Current Preset assigned to that track; therefore, when punching the Current Preset must match the Preset on the track being punched. 2. With the EDIT sub-module active, key in 2.
SEQUENCER MODULE EDIT 3 – BOUNCE TRACKS With this function, you may bounce tracks assigned to one Preset to any other track assigned with the same Preset (including one of the tracks being bounced -i.e., bounce tracks 1, 2, and 3 into 1). To bounce a track that has a different Preset from the other tracks being bounced, reassign the track Preset so that it is the same as the other tracks being bounced (see SEQUENCER EDIT 5, “Reassigning Presets”). 1. We will use an example to demonstrate bouncing.
SEQUENCER MODULE EDIT 4 - STORE CONTROLS This function lets you store control source changes along with a track. You may store as many control source changes as desired with a track, however, the same control source cannot be assigned to more than one track. For example, if you store control source 1 (pitch bend) on one track you cannot store pitch bend information on any other track. Please note that storing control settings uses up a lot more memory than simply storing note information. 1.
SEQUENCER MODULE EDIT 5 – REASSIGN PRESET You may re-assign a different Preset to a previously recorded track at any time with this command. 1. With the EDIT module active, key in 5. The display says: Track Presets Use Sliders A&D 2. Slider A catalogs the tracks you have recorded. The top line of the display shows the track number; the bottom line shows the Preset assigned to that track. Slider D catalogs the available Bank Presets.
ADVANCED APPLICATIONS ADVANCED APPLICATIONS THE ART OF SAMPLING TAKING THE BEST POSSIBLE SAMPLE MANIPULATING THE SAMPLE COMBING SAMPLES INTO PRESETS CREATING MULTI-INSTRUMENT PRESETS © 1985, 1986, 1987 E-mu Systems, Inc.
ADVANCED APPLICATIONS THE ART OF SAMPLING Recording good samples is not always easy; creating a really super set of Presets requires patience, practice, and skill. Sure, you can get musically useful results within a few days after working with the Emulator II, but as you learn your craft the quality of your samples will improve dramatically. Sampling is a multi-stage process, so we will describe tips for each stage separately. These stages are: 1. Taking the best possible sample. 2.
ADVANCED APPLICATIONS PART 1: TAKING THE BEST POSSIBLE SAMPLE What comes out of the Emulator can only be as good as what you put in: Strive for maximum fidelity when sampling. Here are some ways to increase sample quality. GENERAL TIPS Live sampling: Sample “live” whenever possible, rather than recording a sound on tape then sampling from the tape. Beware of overloads: The Emulator II is a digital recording device.
ADVANCED APPLICATIONS Here are some thoughts about the use of various types of signal processors when recording samples. External Preamp: If you need to pre-amplify the signal being sampled, set the Sample section GAIN SET to 00 dB and use an external, high-quality mic preamp to increase the signal level going into the Emulator II. The Emulator II preamp noise level, while acceptable, is sometimes not as quiet as an external mic preamp.
ADVANCED APPLICATIONS Lower tape costs. VCR cartridge tape is very inexpensive; you can record hours and hours of samples for only a few dollars. Portability. Using a portable VCR and battery powered audio adapter makes for a very compact and portable package. Although splicing is not easy with VCR-based audio systems, you can generally do the required signal splicing and manipulation within the Emulator II.
ADVANCED APPLICATIONS five octaves, record the “re-synthesized” sample from C5 on tape running at 7.5 IPS. Play back the tape at 15 IPS, and record that sample at C6 (low note CS, high note C6). Minimizing timbre differences between adjacent samples: There are several ways to minimize timbre differences as you play across the keyboard. Record lots of samples (“multi-sampling”). This only becomes practical with relatively short samples. Overlap samples and use positional crossfade.
ADVANCED APPLICATIONS Pitch transposer with regeneration: To make a Voice sound as if it is being pitchshifted downward and regenerated, hit three or four adjacent keys from the same sample at the exact same time (try this with a sampled sentence for an obvious example of how the effect works). Time delay special effects: Set a Voice for non-transpose, then press several keys at almost the same time -- you will hear all sorts of flanging, chorusing, and other delay effects.
ADVANCED APPLICATIONS PART 3: EFFICIENTLY COMBINING SAMPLES INTO PRESETS Part of creating a good Preset is to get into a “rhythm” where you’re punching up parameters as if the whole process was second nature. The following example shows the flow of a typical sampling session from start to finish. I. The Situation You have a portable, toy synthesizer that has about seven really great patches and no keyboard dynamics.
ADVANCED APPLICATIONS For an example of how to use more than 5 Voices, load the piano disk, pick one of the Presets, and call up Preset Definition 23 (Edit Voice) to see how the Voices are assigned. Hint: It is good practice to, if possible, sample an additional Voice or Voices an octave above and/or below the intended sampling range. Then, it will be possible to do octave layering, bass sounds, and other tricks later on if desired.
ADVANCED APPLICATIONS 3. Now you get into the actual rhythm of sampling, which goes something like... Arm sampling and play the first (lowest) note to be sampled. Shortly after the note reaches the sustained section, stop sampling. Play the keyboard to see if the Voice sounds okay. If the sample is good, de-activate sampling; Voice V01 now contains the first sample. Similarly sample the next Voice. This becomes V02 and replaces V01 on the keyboard.
ADVANCED APPLICATIONS PART 4: CREATING MULTI-INSTRUMENT PRESETS In many cases, you will want the Sequencer to sequence several instrument sounds simultaneously. There are three ways to do this: Create “MIDI Presets” (described in the MIDI/SMPTE supplement) that allow you to sequence MIDI instruments from the Sequencer; Create “Individual Instrument Presets”, each with an individual sound (i.e. bass, keyboard, percussion, horns, etc.
ADVANCED APPLICATIONS The first step towards creating either a bunch of Individual Instrument Presets or a Multiinstrument Preset is to store the desired Voices in the Bank. If you have a good collection of Library disks, clear the Bank then load the desired Voices from the various disks into the Bank. You can also just sample the Voices you need directly into the Bank. In many cases, however, you will want to use Voices from different Performance or Library disks.
ADVANCED APPLICATIONS track, and use the Sequencer’s cue function to select the particular version to which I wanted to listen. Also, sometimes I would record a lead synth or horn part in another track for practicing “dual lead” parts; again, recording different solos in different tracks, and selecting the tracks to be auditioned with the cue function, saves you from having to listen to the same solo over and over again.
MIDI SUPPLEMENT MIDI SUPPLEMENT BASICS TYPICAL MIDI APPLICATIONS CREATING A MIDI PRESET ABOUT MIDI CONTROLLERS ABOUT OTHER MIDI SYNTHESIZERS DEALING WITH MIDI © 1985, 1986, 1987 E-mu Systems, Inc.
MIDI SUPPLEMENT BASICS: QUESTIONS AND ANSWERS ABOUT MIDI MIDI is causing a certain amount of confusion among musicians. Fear not -- it’s not all that difficult to understand, and the Emulator II makes it particularly easy to deal with MIDI. For those of you who aren’t that familiar with MIDI, we’ll first answer some common questions. What does the MIDI cable do? An instrument already has an AC cord that carries electrical current, and an audio cord that carries audio signals to an amplifier.
MIDI SUPPLEMENT How does MIDI differentiate between different MIDI instruments? MIDI provides 16 independent channels of information suitable for driving up to 16 polyphonic synthesizers or other MIDI devices. There are three modes that determine how each MIDI instrument responds to these channels. In Omni mode, the Emulator II (or any other MIDI keyboard) listens to all channels at once.
MIDI SUPPLEMENT First, Synth A would have to tell Synth B whenever a key was hit (“hey Synth B, play F#!”). We’ll call this the NOTE ON word. This turns on the keys just fine, but now we need a way for Synth A to tell Synth B when a note is over so it can turn the key back off again. We can call this the NOTE OFF word.
MIDI SUPPLEMENT CREATING A “MIDI PRESET” WITH THE EMULATOR II The Emulator II Sequencer is designed to drive MIDI instruments via the MIDI OUT connector. In many cases, you will want to create a Preset that doesn’t play any notes on the Emulator II, but only sends note data from the Sequencer out to other MIDI equipment. To do this, make up a “MIDI Preset” by creating a Preset (PRESET DEFINITION 21) then going through the MIDI set-up (PRESET DEFINITION 30).
MIDI SUPPLEMENT 1. The other MIDI synthesizer will typically include several controllers, each transmitting data over its own controller “channel”. For example, Synth X might send out vibrato data over controller 01 and overall level data over controller 07. Hopefully this kind of information will be given in the manual. 2. Activate the Emulator II’s Real Time Control module.
MIDI SUPPLEMENT DEALING WITH “MIDIOSYNCRACIES” There are certain compatibility problems between MIDI gear from different manufacturers; however, many problems are created by operator error and/or a lack of understanding how MIDI works. If you transmit information on one channel and have the “receiver” set up for a different channel, forget it. MIDI is quite unforgiving that way...
SMPTE SUPPLEMENT SMPTE SUPPLEMENT OVERVIEW PROTOCOL © 1985, 1986, 1987 E-mu Systems, Inc.
SMPTE SUPPLEMENT SMPTE OVERVIEW The Society of Motion Picture and Television Engineers adopted SMPTE time code in order to synchronize audio to video. Basically, SMPTE is a digital code that is recorded on audiotape or videotape, or “burned into” film. This code outputs time information as hours, minutes, seconds, and “frames” (1/30th of a second intervals).
SMPTE SUPPLEMENT Although fast-forwarding is not instantaneous, if it seems inordinately long you probably have the start point or the tape in the wrong place. Press STOP to stop the fast-forwarding process, and then check the SMPTE start time. Playing back and recording using SMPTE: During Sequence playback, you may stop, fast forward, rewind, and restart the tape arid the Sequence will start playing again, chasing if necessary.
APPENDICES APPENDICES A: GLOSSARY B: FUNCTIONS C: ERROR MESSAGES EMULATOR II CREDITS © 1985, 1986, 1987 E-mu Systems, Inc.
APPENDICES APPENDIX A: GLOSSARY OF TERMS ADSR: Acronym for Attack/Decay/Sustain/Release, a particular type of envelope generator. Analog synthesizer: A type of musical instrument that synthesizes sounds from component parts rather than via sampling. Arpeggiator: A circuit that plays notes sequentially for as long as they are held down. Bounce: When recording or sequencing, to “bounce” tracks means to combine several tracks together on a single track. Cent: Unit of pitch equal to 1/100th of a semitone.
APPENDICES Loading: To transfer data from one data storage medium to another (i.e. from disk to semiconductor memory or vice-versa). Low pass filter: A filter whose frequency response remains flat up to a certain frequency, then rolls off (i.e. attenuates signals appearing at its input) above this point. Memory: The part of a computer responsible for storing data.
APPENDICES APPENDIX B: EMULATOR II FUNCTIONS, DEFAULT SETTINGS, and CONTROL RANGES When you first turn on the machine or clear the Bank, the Emulator II functions will assume the following default settings shown under the Default column. Controls cover the range given in the Range column. An asterisk indicates that the concept of a default or range of values is not pertinent; for example, there is no default setting for Erase a Preset, since you must first specify the Preset to be erased.
APPENDICES Filter 1A Frequency 1B Q00 1C Envelope Amount 2A LFO Amount 2B Keyboard Tracking 3A Attack 3B Decay 3C Sustain 3D Release 0 Change Curr Voice Default 120 00 to 99 +00 00 1.00 01 32 01 32 * Range 000 to 120 VCA/LFO 1A Attack 1B Decay 1C Sustain 1D Release 2A LFO Rate 2B LFO Delay 2C LFO Variation 2D LFO → VCA 0 Change Curr.
APPENDICES Level Attack 30 Save Voice to Disk 00 Change Current Voice YES YES * * yes-no yes-no * * Preset Definition 11 Get Voice 12 Copy/Name Voice 13 Erase Voice 14 Erase Sequence 15 Erase Preset 16 Erase Bank 17 Catalog Voices 18 Catalog Sequences 19 Catalog Presets 20 Memory Remaining 21 Create Preset 22 Assign Voice 23 Edit Assignment 24 De-Assign Voice 25 Velocity Switch 26 Velocity Crossfade 27 Positional Xfade 28 Non-Transpose 29 Arpeggiator Mode Extension Range Note Value Tempo 30 MIDI Basic Ch
APPENDICES 5 Sample Length 7 Arm Sampling 9 Force Sampling 0 Stop Sampling Available Bank Memory * * * Up to overload point * * * Disk 1 Get Bank Disk 1 2 Get Bank Disk 2 3 Space Remaining 4 Copy Disk 5 Catalog Voice 6 Erase Voice 7 Save Bank 8 Format Disk Default * * * * * * * * Range * * * * * * * * Special 11 Catalog Special Functions * Real Time Control 1 Left Wheel 2 Right Wheel 3 PedaI A/D 4 MIDI Control A 5 MIDI Control B 6 MIDI Control C 7 Foot Switch 1 8 Foot Switch 2 Default 1 4 0 0 0 0 2
APPENDICES APPENDIX C: EMULATOR II ERROR MESSAGES If you ask the Emulator II to do something it doesn’t want to do, it will give an error message in the display. If you encounter one of the following, it will be for the reason given. All Tracks Empty: This occurs if you refer to a Sequencer track but none has been recorded. Assigned to Trk#: Occurs with the Sequencer if you try to store a control destination that has already been assigned to a track (track # indicated in message).
APPENDICES Sample Overload: The sample exceeded the Emulator II’s dynamic range. Seq Is Not Empty: If you try to set the time signature or measure length of a previously recorded Sequence, this will be the reply. Snd For (Greater Than) 1 Voice: A sample cannot be spliced to another sample used in the same Voice. Select two different Voices for splicing. This Will Take a While: Don’t worry, you didn’t break the machine; it’s just taking its time to do an operation.
APPENDICES Emulator II Credits Hardware Design Dave Rossum Tom Moxon Dana Massie Mechanical Design Ken Provost Technical Support Terry Shultz Wes Swift Steve Davies Brian Monahan Jim Charleton Software Design Dave Rossum Donna Murray Tom Moxon Alan Goldwater Dana Massie Sound Processing Dana Massie Kevin Monahan Janis Chaffin Manual Craig Anderton Functional Design Marco Alpert Dave Rossum Scott Wedge Tom Moxon Kevin Monahan Kevin Kent Donna Murray Project Management Joe Scarantino Jim Rose © 1985, 1986, 1
