Specifications

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Figure 25
Figure 26
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Part 3 Yamaha Samplers — Professional Samplers A4000/5000
◊ Programs
“ ” indicates samples already being used in the
program that is currently selected for sound playback.
To add a sample to a sample bank, use Knob 2 or Knob
3 to select the sample bank and Knob 5 (or Knob 4) to
select the sample to be added. Press Knob 5 <ADD> to
add the sample (the “➞” symbol will appear next to the
sample). When adding a sample that is indicated as
being “USED,” you can select either “DUPL&ADD”
(this method first duplicates the selected sample then
adds it to a sample bank; the selected sample remains
unchanged) or “MOVE&ADD” (this method moves the
selected sample from its current assignment before
adding it to a sample bank).
To remove a sample from a sample bank and return it to
a stand-alone sample, first select the sample (indicated
by the “➞” symbol) and then press Knob 5 <REMOVE>
(the “➞” will be deleted).
F3: EASY EDIT
When using a single sample in multiple programs, this
function lets you modify the primary sample parameters
for each program without changing the sample’s own
(local) settings. You can set individual tone parameters
such as filters and pitch, so the same sample can have a
completely different timbre depending on the program
(Figure 22).
Level, Pan and Cutoff are among the parameters that
can be offset on the plus (+) or minus (-) side from the
original sample parameters, so you can modify settings
globally while keeping intact the sound level balance,
etc. of samples within a sample bank. For convenience,
the sample values actually set are displayed to the right
of the offset values. To revert the values to the same
configuration as originally set, you need only set the
offset value to zero (0). (See Figure 23). By selecting
=Smp, output settings on the sample side can be made
by exchanging sample parameter settings.
F4: EFFECT
A Series samplers are equipped with multiple effects too
powerful to describe in mere words. They are so
advanced that professionals often use the A5000 as a
dedicated effects processor. The A4000 has three effects
blocks available for simultaneous use, and the A5000
has six. Both models have 96 types of effects. Because
these samplers offer a wide range of effects—from the
“Jump” and “TechMod” effects family, which gained
popularity in the A3000/A3000 ver. 2, to distortion,
modulation, ambiance, and tempo sync effects—they
are powerful weapons for creating new sounds.
Note:
To add an effect to a sample, you need only set to which effect
block the sample is to be sent on the sample side. However,
selecting effects is done on the program side. (When program
mode is set to Multi, it conforms to the master part settings
(the MIDI basic channel part). (See figure 24.)
Selecting the desired type of effect from the huge
number available is apt to be a complex task, but
pressing Knob 2 <LIST...> on the PLAY-EfSetup screen
displays the effect type list, making it surprisingly easy
to select a desired effect. Simply rotate Knob 2 to scroll
the list and press Knob 2 again when the desired effect
appears.
Sound to which an effect has been applied can be output
to either assignable OUT or digital OUT, and can also be
routed to other effects (Figure 25).
Effect parameters can be displayed as either full or
favorite (set using “Edit Type” on the PLAY-EfEdit
screen). The advantage of the full setting is that it lists
all parameters; however, you can only edit one at a time
using a single knob. Setting the effects parameters
display to “favorite” gives you simultaneous access to
four “favorite” parameters assigned to Knobs 2 to 5
(the default effect selections can be customized by the
user). This is the best mode for using effects during live
performances (Figure 26).
New effect types featured in the A4000/5000
The A3000/A3000 ver. 2 sampler was highly rated because of the power of its built-in effects, but the effects have been refined even
further in the A4000/5000.
• 016 / LPFiltr (Low Pass Filter)
• 017 / HPFiltr (High Pass Filter)
Filter cutoff slope can be switched between 24 dB/oct and 48 dB/oct. Resonance can be set at two levels.
• 018 / BPFiltr (Band Pass Filter)
You can add a filter to effects applied to the AD Input signal. It functions identically to filters applied to samples, and produces a
radical effect.
• 025 / TalkMod (Talking Modulator)
Adds a vowel sound to the input signal. You can switch among the “a”, “e”, “i”, “o”, and “u” formants using the Vowel parameter
and obtain an effect similar to speech. Using a MIDI controller to change the Vowel parameter in realtime yields interesting results.
• 027 / Isolatr (Isolator)
The isolator effect is indispensable for the DJ/remixer. Sound is divided into three bands—Lo, Mid and Hi. You can set the level for
each band, as well as on/mute.
• 034 / Clip1 (Clipper 1) • 035 / Clip2 (Clipper 2)
Applies distortion to a specified frequency band of the input signal. The characteristics of the distortion can be changed based on
Clip Type.
• 037 / V-Dist (V-Distortion)
This effect offers higher quality distortion than generally available. This distortion simulates vintage tube (and fuzz) sounds, and can
also be switched to simulate the sound of a transistor amplifier. You can even change the speaker type.
• 051 / V-Flang (V-Flanger)
Simulation of an analog flanger; higher quality than most available on the market.
• 088 / T-Dly (Tempo Delay)
• 089 / T-DlyS (Tempo Stereo Delay)
• 090 / T-XDly (Tempo Cross Delay)
• 091 / T-Flang (Tempo Flanger)
• 092 / T-Phase (Tempo Phaser)
• 093 / T-AWah (Tempo Auto Wah)
• 094 / T-Scrch (Tempo Scratch)
• 095 / T-ASyn (Tempo Auto Synth)
• 096 / T-FgPan (Tempo Flanging Pan)
Effects 089 to 096 that start with “Tempo” can synchronize the delay time and LFO speed to the Program LFO. Of course, it is
possible to synchronize with an external sequencer if the Sync setting for the Program LFO is set to MIDI.
Figure 23