The M32S1 behaves identically to four Akai 8 Megabyte boards. One M32S1 or M32S3 board provides the maximum possible memory for these samplers:. It plugs into any of the four slots and there is no need to alter switch S or jumper S settings on the main board. Installation of the M32S3 board in the S and S is also straightforward.

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Quick Links. Download this manual. To prevent fire or shock hazard, do not. Table of Contents. To prevent fire or shock hazard, do not expose this appliance to rain or moisture. Never use a DC power supply. Page 6 Always keep the unit's chassis at least 10 centimeters from any other objects. All rights are reserved. No part of the software or its documentation may be copied, transferred or modified. Page 8 If the warranty is valid, AKAI will, without charge for parts or labor, either repair or replace the defective part s.

Without a valid warranty, the entire cost of the repair parts and labor is the responsibility of the product's owner. The SXL also includes a multi Using the internal multi-effects processor, you may add four channels of effects processing to the mixdown.

Page 18 Effect select large hall, small hall, large room, small room, reverse, gated, etc. Page Front Panel Sets the record level for the analogue inputs. As a result, it is vital that you save your work to disk before turning the power off otherwise you will lose your work and, unless previously saved, it will be gone for ever. Page 23 10 Even if you are using a hard disk of any sort, please make sure you have backed up your work to floppy disks.

It can be time consuming but it will be worth it if you ever have a problem with your hard disk! NOTE 1: When making a sample, you may not immediately notice any clipping that may have resulted from incorrect level settings and it may only become apparent when playing back samples lower than the original pitch at which they were sampled. You will see a message in the LCD informing you of what is going on. After 15 seconds or so, your SXL is ready for use. If the disk drive is at an angle, even a slight one, you may have unreliability problems and even data corruption.

Page SXl Flowchart Once you are happy with everything, the whole thing may be saved to disk for recall at a later date. One of the beauties of the Akai samplers is that there are no restrictions on what you do with samples - any sample can be placed into any keygroup in any program. One sample may be placed into a variety of different programs, each of which impose different envelope or filter settings to create a wide range of possibilities from very little.

WHL P. Page Viewing Programs One useful feature of the SXL is that it is possible to be playing one program whilst another is being selected. For example, whilst holding down a low string note you could select, say, a brass sound. The strings will continue to sound and you may now play the brass part. As mentioned, with set to 99, this parameter will have no effect.

Page Loading From Floppy Disk If there is not enough memory to load a program and its samples, the message will be displayed. Page Deleting Programs This, of course, is the most drastic of these three options. Deleting samples and rearranging memory space may take a little time, so be patient while this takes place. Please be careful. Page Renumbering Programs SXL programs with the patch numbers on your synthesiser, you may want to renumber the programs, so that selecting a brass sound on the SXL will call up a similar or complementary patch on a remote synthesiser module.

To do this, press the key. For compatibility and to be considerate to our customers! The following explanations, therefore, refer to this method of operation should you wish to work in this way or if you have existing sound library that uses this method. In this way, you may have sets of programs for each song recalled from a MIDI program change from your sequencer this is one advantage of using this method over MULTI - you may only have one multi file in memory at any one time.

Page Single Vs Multi As mentioned, you may achieve similar results in the MULTI mode where you can create multi- timbral setups, key splits, layered programs and combinations of these very quickly and easily. Page More details on setting up key splits is given later in this section. This will reset all the parameters described above to their default values and will clear the program name field, leaving it blank.

This will load the selected multi and any programs associated with it plus the samples used in those programs. Only that program will be renumbered. If you change your mind and do not wish to renumber any programs, simply press without pressing F3, F4, F5 or F6. This may or may not be an inconvenience depending on the way you want to work. The possibilities are almost endless up to the 16 part limit in fact!

Page Program Editing - this can be overcome in a program. Furthermore, because of powerful synthesiser functions, the SXL can be used to play and process samples much like an analogue synth.

With two low frequency oscillators LFOs , Page Keygroup Zones The ultimate program, would be for each key to have its own keygroup with each keygroup containing four samples using a four way velocity switch! Page Overlapping And Crossfading Keygroups If you have already owned an Akai sampler, then you will probably be familiar with a lot of what we have just seen but, if this is your first time with an Akai sampler, it is worth taking the time to get a fairly good understanding of these principles and the concept of keygroups if you are going to get the best out your sampler.

You may like to refer to Appendix 4 which shows what the SXL would look like if it was laid out traditionally like a synth. This can be any of the defined MIDI controllers.

Using a MIDI merger on your keyboard would allow you to merge, say, a breath controller with your keyboard. Page 72 - if you are not into programming you can largely forget about it and just use the defaults.

Similarly, if you do not like synthesisers and prefer instead to use the SXL for the reproduction of high quality samples of acoustic instruments again, you need not concern yourself with these functions.

Again, as a result, you need not worry about having to set these assignments yourself. In the SXL, we always use another program as the basis for a new one. There are several ways you can work this. You can use an existing program from your sound library that closely resembles the one you wish to create.

Please ensure that you have saved them to disk before deleting in case you want to come back to them at a later date. Page 77 You will find it useful too, when playing leadlines of any kind. Owners of the Akai EWI wind synthesiser will find this function invaluable in obtaining better expression and phrasing. Page 78 OFF, you will be able to monitor any other programs that share the same number. Page 79 We will now look at the functions of these pages. We will skip for the moment and look at the function of first as these affect the program as a whole.

Page 83 As an example, you could layer a distorted guitar program and a distorted feedback program and introduce the feedback element of the sound using pressure to create a powerful heavy metal guitar. Please be aware of this when setting pan modulation.

As with all control inputs on the SXL, any combination of controllers can be mixed together. Here are a few suggestions: Bend Use this instead of modwheel perhaps. Page 86 Layering two programs and setting the modulation amounts to opposite values can also yield some interesting panning effects. Page The Tune Page Those, then, are the master pages for the program where you can set parameters that affect the program as a whole. In any of the pages described, you may always directly access another from the soft keys.

Page Modulation Pages As usual, you may select a program for editing at the top right hand of the corner. The pitch bend on the SXL allows you to set a different range for bend up and down as well as use pressure and a special mode is also available to make it more flexible. Page 89 The pitchbend options on the SXL allow some very interesting performance techniques.

Assigning it to depth will cause the effect of LFO1 to whatever destination it is applied to increase and decrease at a rate set by LFO2. Applying LFO2 to delay will only have an effect at the point of note-on. Page 92 This allows you to use note-on velocity to introduce LFO1 modulation.

With a positive value set here, playing a note hard will introduce a level of modulation which may be augmented using the modwheel or pressure. However, the random waveform provided by LFO2 has some other possibilities. Page 95 This sets the delay between a note-on occurring and the effect being introduced.

At 00 the effect will be instantaneous and at 99 the effect will take some 5 or 6 seconds to be introduced. No doubt you will find variations of your own. This can be very useful in obtaining better expression for piano sounds. The parameters are very simple and are as follows. Page Portamento This may be useful when you wish to play a sound normally but only apply portamento to a few notes.

Page 99 For example: 1 sec 2 secs 4 secs 8 secs 16 secs When RATE is selected You may use these two portamento modes to create a range of different musical effects. Page Alternatively, you may layer programs in this way and set different portamento rates for each one so that they all slide around at different speeds!

All other keygroups will be unaffected but all those in mute group 1 will be mutually exclusive - that is, if one is sounding when another is played, it will be cut. You will note that this does not apply when inputting notes from the keyboard and is on.

Page This shows the sample s currently assigned to the zone s. To assign a sample, simply move the cursor to this field and scroll through the available samples in memory with the DATA control.

Other non-pitched samples such as sound effects, breakbeats, drum loops, etc. The ability to reset the playback parameters of a sample allows you a lot of flexibility - the same sample can be used in different ways in different programs. As well as using them for the tonal modification of acoustic samples, they also allow you to totally transform a sound. Page SXL, especially with certain sounds.


Akai S3200XL Operator's Manual

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Akai S-3200 XL Owner's Manual


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