Specifications

13
Part 3 Yamaha Samplers
CS6RCS6x
A4000
A5000
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Part 3 Yamaha Samplers — Professional Samplers A4000/5000
◊ Interface ◊ Internal Structure ◊ Samples
So what are samplers? Moreover, what samplers has
Yamaha developed with its over 100 years of experience
in manufacturing musical instruments?
A sampler is a dedicated piece of electronic equipment
designed specifically for sampling. It can also refer to a
synthesizer or tone module that has sampling capability,
but, generally speaking, it refers to a dedicated machine.
Yamaha manufactures A Series rackmount samplers and
SU Series desktop samplers, both of which are
dedicated sampling machines. Incorporating some of
the best synthesizer functions in the industry, these
samplers are capable of producing high-quality sampled
voices. Our SU Series samplers have greatly simplified
loop-based music production—the fact that they are
easy to operate allows you to concentrate on the
creative aspects of your music.
The EX5/EX7/EX5R and the CS6x/CS6R are synthesizers
that include sampling functions. Although we say they
include sampling, the phrase sampling functions of the
CS6x/CS6R approach those of a dedicated sampler.
As stand-alone products, the CS6x/CS6R can produce
MIDI + AUDIO (In the case of the CS6x and CS6R,
phrase samples are referred to as “audio clips”). The
approach toward sampling differs greatly depending on
whether the sampler is designed for sampling phrases
or mainly for emulating musical instruments. Full
consideration of the target market (i.e., who uses the
sampler and how) naturally helps to improve the
product.
A4000/5000 Samplers
Let’s take a look at Yamaha’s rackmount A Series
A4000/5000 Professional Samplers.
The A4000/5000 handle samples using an approach that
differs somewhat from ordinary samplers, so using
them might be a little confusing at first. However, the
more you understand them, the clearer they become,
and you’ll find these are samplers that you can operate
intuitively. If the A4000/5000 is your first sampler, it
won’t take a lot of time to understand its architecture
and learn how to operate it. You can learn it quickly, so
you’ll be able to quickly focus on creative activities.
Dance music styles are so diverse that it’s almost impossible to categorize them. The CS6x/CS6R synthesizers are designed
specifically for artists who desire to create the next generation of dance music. They feature phrase sampling functions, high-quality
effects, 19 real-time control knobs (5 on the CS6R), and the capability to produce the “fat & dirty” sounds needed for today’s dance
music. Samples can be combined with the internal voices and/or used with an external sequencer. Operation is extremely simple
thanks to a wealth of supporting functions, particularly Loop Divide (see p. 25).
Expand your tone generation capabilities!
The CS6x/CS6R are equipped with two slots for the Modular Synthesis Plug-in System, an exclusive feature from Yamaha that
enables users to equip their synthesizer with up to two additional tone generators. For example, by adding the PLG150-AN plug-in
board, the CS6x/CS6R will be able to produce sounds based on analog physical modeling synthesis.
Interface
The A4000/5000’s interface is designed with the
ultimate aim of enabling speedy and intuitive operation.
Their matrix architecture is based on the F1 to F6
function keys and the PLAY, EDIT, REC, DISK and
UTILITY mode keys, allowing you to instantly access the
parameters you want to set or change. The combination
of five assignable knobs and a large LCD screen
provides excellent navigation functions that let you
quickly master operating sequences. The filter list and
effects list that pop up when you push the correspond-
ing knobs are typical of this intuitive approach. The
functional design of these samplers avoids ornamenta-
tion for the sake of fast, continuous operation.
Internal Structure
The data processed by the A4000/5000 is comprised of
“samples” (or “sample banks”) and “programs.”
Samples are individual building blocks of sound,
whereas programs determine how the combinations of
samples are played via MIDI. Programs also handle
parameter settings shared by samples, such as those
for effects and controllers.
Samples
A Series samplers refer to wave data and parameter data
together as “samples.” This approach differs from
ordinary samplers, but from an operational standpoint it
offers the advantage of making tones easier to handle
and making the architecture easier to understand. From
a performance standpoint, it gives you the advantage of
being able to set all parameters independently for each
sample.
■ Wave Data
Wave data represents sound that has been digitized
(captured in the form of waves).
■ Sample Parameter Data
Sample parameter data consists of parameters that are
necessary to generate tones using wave data. EDIT
mode allows you to configure these settings and make
changes. This mode has six functions: F1: TRIM/LOOP,
F2: MAP/OUT, F3: FILTER, F4: EG, F5: LFO and F6: MIDI/
CTRL. Let’s explain these in order.
F1: TRIM/LOOP
The Trim/Loop function lets you set the playback range
(tone generation) for the wave data and create new
samples with the Loop Remix function while viewing the
waveform on the sampler’s LCD screen.
In addition to the loop mode and the wave start, wave
end, loop start and loop end addresses, there are also
parameters for shifting the wave start and end
addresses based on velocity.
Setting addresses is usually performed by using the
buttons and knobs on the sampling unit; however, this
method of editing can be cumbersome even if you do it
while viewing the waveforms on the LCD screen. To
facilitate this operation, the A4000/5000 have a
convenient function that enables you to set addresses
while listening to sample playback. Operation is simple:
you merely move the cursor on the EDIT - Waveform
screen to whichever Wave/Loop you want to edit, and
while pressing the AUDITION key on the sampler or a
key on a MIDI keyboard to play back the sample, push
Knob 4 <S-CATCH> at the point where you want to set
the start address, and then Knob 5 <E-CATCH> at the
point where you want to set the end address. (Note that
Knob 5 has multiple functions; turn it to E-CATCH when
setting the addresses.) Using this method, you can set
wave addresses in much less time than it takes by
looking at the waveform while turning the knob.
In addition to word units, addresses can also be
displayed in units of seconds (1/1000-second units)
and/or beat units (1/1000-beat units) based on a
specified tempo. This convenient feature automatically
calculates the tempo between the loop start and end
point, allowing you to know the exact tempo of the
phrase sample.
Hint: Duplication
When duplicating samples, you can make the copied sample share the same wave data as the original sample. Since the wave data is
shared, these copied samples do not consume additional wave memory. Consequently, you can create multiple samples with
different address settings, mappings, pitch, filters, EGs, output assignments, etc., without having to worry about how much memory
is remaining. (Editing wave data using extraction and/or normalization, however, will consume memory because new wave data is
created when these functions are used.) By simply synthesizing one sample wave, you can create a wide range of sounds, therefore
we recommend making full use of the sample copying function.
Tips:
EDIT mode allows you to set or change parameters even while a song is playing on the sequencer. You can also do real-time tone
editing during live performances.