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Integrated Sampling Sequencer

Written by Bad Mister on May 16, 2018. Posted in 2010s.

In addition to its use in the Voice and Performance modes, the Sampling mode can also be entered from the Song and Pattern modes. This lets you record audio (such as vocals, electric guitar, or audio from an external device), and use it directly on a Song/Pattern track as a Sample Voice.

Sampling in the Sequencer
The Integrated Sampling Sequencer allows you to record audio into a SONG or PATTERN. The RECORD TYPE “Sample with Note” (sample+note) is ideal if you simply want to add audio phrases to your song. In this mode, you can record vocals and guitar phrases directly into your sequence while listening to playback of any MIDI tracks you’ve already created. After recording the audio, the Integrated Sampling Sequencer will automatically create a sample voice, map it to the keyboard and put a MIDI note in the pattern/song at the appropriate time. If you would like to play the same audio phrase later in the song, you can simply trigger it with a MIDI note instead of having to sample it again and use up valuable sample memory. When you make your final arrangement, your phrases will play back in perfect time.

The Basics
Call up a PATTERN or SONG you have previously composed. Here we will learn to Sample with Note (sample+note) so that we can overdub audio to MIDI tracks. We will also use the Trigger Mode “measure”, to automatically start and stop audio recording.

In the example, we are recording Vocals directly into a SONG, and are going to target Track 16 (of course, you can target any track you desire and the source could be a guitar, a bass, your band’s mixer, …whatever). We have setup to use a microphone input, and we have a dynamic mic plugged into the Left A/D Input jack on the back panel.

Press [INTEGRATED SAMPLING]
Select an empty WAVEFORM number 001-128
Press [F6] REC>

Here you arrive at the SAMPLE RECORD screen where you can setup the SOURCE and DESTINATION for your recording.

SAMPLE SOURCE

“Recording Type = sample+note” – for sampling in the Sequencer. A note-on event is automatically generated to trigger playback of the sample audio. This note-on event is placed precisely where sampling begins and the note’s duration (GATE time) will be precisely the number of measures, beats and clock pulses to hold that note until the sampling is completed.

“Input Source = A/D Input” – analog-to-digital input receives the analog signal of the microphone and moves it into the digital domain of the XF.

“Mono/Stereo = L mono” – source is mono

“Frequency = 44.1kHz” – highest resolution

SAMPLE DESTINATION

“Keybank = C3” – The default Keybank is C3 (middle C)

“Track = 16” – This is our target track for the Vocals. The ISS will automatically create the User Sample Voice to house the sample waveform and it will create a MIDI note-on event that will precisely trigger the audio playback.

Summary: As you can see, we are ready to record a microphone input and are targeting a specific note and track of the sequencer. The Integrated Sampler will do most of the heavy lifting.

Next step: The TRIGGER MODE
Press [F6] STANDY
Here you can review your setup thus far. We are targeting a blank Waveform (001), Track 16, currently the transport is located at measure 001. The RECORD MONITOR parameter is how loud we want to listen (this does not affect the recording, only how loud the singer hears themselves in headphones). The Target KEY is middle C (C3).

Set the TRIGGER MODE = “meas”

“Trigger Mode = Meas” (measure) ideal for when sampling to the Sequencer, because it allows you to set a precise punch-in point and punch-out point, fully automating the process.

And we have set the PUNCH IN/OUT measures to match what we require for this song. Recording will automatically begin when the transport reaches measure 005, and will punch out automatically when the transport reaches the top of measure 28.

When sampling in your home studio, it is very important to remember to turn OFF your Monitor speakers if they are in the same room as your microphone. You must isolate the microphone from picking up signal from the speakers. Have the vocalist don a pair of comfortable headphones. If you have the ability – isolate the singer completely by putting them in another room.

Run a test. To do so you can simply begin playback. Adjust the GAIN/TRIM control on the back panel. Microphones are very weak signal so it is not unusual to have to boost the signal fully clockwise. You will see the signal registering on the METER on the right side of the screen. You may opt to record the vocals with a compressor or other effects (we’ll cover that later in the article) for now, let’s concentrate on the basics of recording.

When you things comfortable and ready, STOP playback and hit the LOCATE TOP button on the transport to return the sequencer to the top of the SONG (of course, if you wish you can use the [<<]/[>>] Rewind/Fast Forward buttons to locate to any measure you may require. It is customary to give the singer a few measures in front of the punch-in point to get ready.

Press [F5] START
This will arm the sampler… “STANDBY” will change to “WAITING” – the sampler is waiting from us to press PLAY on the sequencer and for the sequencer to reach measure 005.

The RECORDABLE TIME parameter says 380 seconds. This is simply a reminder that the longest single sample you can do is 6 minutes and 20 seconds. This will only read something less than that if you are getting to the point where you have almost filled your SDRAM. When this occurs you can simply transfer your audio to FLASH Memory Expansion Modules. We’ll cover that in another article.

Recording will begin and end automatically. When completed you will be given the option to AUDITION the recording. If you absolutely hate it, you can hit [F6] STOP at any time during the recording, then press [EXIT] to return to your STANDBY status. Locate the Transport again (measure reads out in the upper right portion of the screen). Do it again.

When you have a “keeper” press [ENTER] to fix.

This action will create the Waveform USR 0001, assign this waveform to USER SAMPLE VOICE (SP 001), assign that VOICE to current MIXING setup on our target Track (16).

Additionally, it creates a Bank Select/Program Change event and a note-on event on track 16. This ensures that the proper VOICE (063/050/000) is recalled and that the sample begins precisely at measure 005, beat 01, clock 000 and is held through to the top of measure 28.

This is why they call it the Integrated Sampling Sequencer.

Setting up to sample Vocals through the VCM Compressor 376

Call up a PATTERN or SONG you have previously composed. Here we will learn to Sample with Note so that we can overdub audio to MIDI tracks. The Compressor is one of the powerful professional tools in the arsenal of recording studio engineers. It is basically a leveling amplifier and is used to control the DYNAMIC RANGE of audio. If you have ever sampled and found that your level okay but that your recording lacked presence – the compressor is the device that will give you presence. It will make your sample perceptibly louder without actually going over the 0dB line. One of the special new features in the Motif XS is the inclusion of the VCM processors. The Compressor 376 is a phenomenal recreation of the classic studio compressors of the 1970’s and 80’s:

It is an Insertion Effect so let’s set this up on the vocals:

Press [MIXING]
Press [EDIT]
Press the [COMMON EDIT] button

Turn the main VOLUME down while we setup the processor – this is important as you do not want to scroll through various effects with an open microphone – it is just good standard practice. Once you have selected your Effects, you can bring the main Volume back up.

Press [F5] AUDIO IN

Here you can see the parameters that are controlling the OUTPUT assignment of your AD Input. Although you see sends to the REVERB and CHORUS these will not be recorded to the sampler. The INSERTION EFFECT however will be recorded to the sampler.

Press [F6] EFFECT
Press [SF2] INS SW – Insertion Switch

Here you can activate the Insertion Effects on any eight PARTS. You may need to temporarily turn the Insertion Switch OFF on one of the Parts so that you can turn it ON for the AD PART.

Select the INSERT SWITCH for AD
Press [F5] AUDIO IN
Press [SF2] CONNECT

Here you will see the AD PART routing to the Dual Insertion Effects

Press [SF6] LIST – to see a list of effects that you can assign
Select “CMP” the “VCM Compressor 376” is the first one of the compressor types
Press [SF3] INS A – to see the parameters of the “VCM Compressor 376”
Move the cursor down from TYPE to “PRESET”
Press [SF6] LIST – to view a list of Preset configurations
Select “Vocal Comp 117x”

Tweak the INPUT until you see about –1dB of Gain Reduction. What this is doing is setting both the threshold and Gain Reduction. A compressor reduces the incoming signal when it ‘sees’ a loud peak, this has the end result of reducing the overall dynamic range – those giving the signal more weight or presence. The amount you will need to change the INPUT to see one dB of Gain Reduction will, of course, depend on the input signal, i.e., this is based on how loud or strong the signal coming in registers. This can vary depending on the microphone and the person in front of it. One dB of reduction may not seem like a lot; but in fact it is a protection against the incoming signal going over into the red. You will be able to see your incoming signal meter when you go to the Sample Record screen.

Learning about Envelopes Motif XS/XF and MOX/MOXF

Written by Bad Mister on May 16, 2018. Posted in 2010s.

LEARNING ABOUT ENVELOPES
Whenever questions arise about the use of and the behavior of the sustain pedal, it inevitably leads to a discussion of the Amplitude Envelope Generator. This is a technical term, also referred to as AEG, and is the way the synthesizer describes how the LOUDNESS of the sound changes over time. Basically, how a sound starts, continues and disappears. You can see how the introduction of the sustain pedal can alter the length of time that a sound might last.

Let’s start this discussion with a few observations. There are only a precious few musical instruments that actually have ‘sustain’ pedals. The sustain function in MIDI is designed to mimic its most common instance, on the acoustic piano. And as you already know, it is not really infinite sustain on a piano – the sound of a piano does ultimately stop, in spite of you holding the pedal down… By the end of this article hopefully you’ll have a better understanding of why the sustain pedal works differently on different Voices.

Piano is a percussion instrument. It is because of the way its envelope behaves when the instrument is played. A hammer strike causes a string to go in motion, there is a percussive ATTACK. The sound immediately dies down some, initial DECAY, and if the key is held or if the sustain pedal is engaged the felt damper is held away from that string so the string continues to vibrate (SUSTAIN)… and finally when the key is released or the pedal is disengaged the RELEASE portion of the envelope takes over.

However, with percussive family instrument, no matter what, the sound will eventually return to 0. Even if you held the sustain pedal indefinitely, the sound will eventually stop. In the real world this is due to friction from the air, and the pull of gravity that eventually cause the string to stop vibrating.
The sustain pedal can only HOLD sound indefinitely if the AEG is programmed such that the envelope (level) does not reach a 0 value before the RELEASE state.

Let’s take another instrument for contrast. Think about an organ envelope. Press the key the sound attacks virtually immediately. The sound rises to full volume, and unless there is a percussion element added, the sound remains at full volume all the time the key is held. When the key is released the sound returns to 0 (but significantly, only after the key is released). On the piano, no matter what, eventually the sound dies out.

So how a sustain pedal works on a piano is going to be radically different from how it works on an organ. Try it out.

The AEG (Amplitude Envelope Generator) consists of the following components:

Initial Level
Attack
Decay 1 Time
Decay 1 Level
Decay 2 Time
Decay 2 Level
Release Time

These are the parameters that the synth uses to describe what in old analog synthesizers was referred to as the ADSR (Attack-Decay-Sustain-Release). It uses a series of TIME and LEVEL settings to describe the loudness shape of the sound.

In the first screenshot below you see a graphic that describes a DRUM or PERCUSSION envelope. In the second screenshot, you see a graphic where the DECAY 2 TIME is set to 127 or HOLD – the envelope is set to play indefinitely*

In the third screenshot, you see a typical musical (Non-Drum/Percussion) instrument described.

If DECAY 2 LEVEL is 0, you have a percussive sound. If DECAY 2 LEVEL is not 0, you have a sound that will be dependent on KEY-OFF to begin the
RELEASE portion… to return to a level of 0.

By the way: RELEASE LEVEL is always going to be 0 (that is why the parameter is not included).

So if DECAY 2 LEVEL is 0, (as it is on a piano) you can delay the eventual return to level = 0 with the sustain pedal or by holding the key… but it will come eventually. Of course, if you do release the KEY at any time in the envelope, the sound proceeds directly to the RELEASE TIME>

RELEASE TIME on a piano is not immediate – you don’t often appreciate it until it is wrong. But there is a definite slope to how the sound disappears – if you set the RELEASE TIME so that is too fast, it is just not comfortable. If you set it so it is too slow, it is not right either. Experiment with a PIANO Voices Release time and you’ll hear immediately what I mean.

Now to STRING sounds. First, string players do not have sustain pedals. Strings that are played with a bow fall into a family of instruments that are considered “self-oscillating” as opposed to “percussive”. Instruments that are bowed or blown fall into this category. Here’s what ‘self-oscillating’ means:

The sound vibration is initiated by bowing (applying pressure puts string in motion) or blowing (pressure puts a column of air in motion) and will continue as long as the pressure is maintained by the performer. This can be indefinitely. The bow can change direction and continue the vibration indefinitely… the blown instrument performer can circular breathe and continue the vibration indefinitely.

The AEG in these types of instruments will very rarely have DECAY 2 LEVEL at 0… because they need typically to continue to sound as long as the key is engaged (the key being engaged is how you apply the “pressure”). This does not mean you couldn’t setup a String Orchestra sound that ‘behaved” like a percussion instrument… it is just that most strings sounds are programmed to be “bowed” (continue the vibration) along with how/when you hold and/or release the key.

If you engage a sustain pedal on a sound that DECAY 2 LEVEL is NOT equal to 0 – the sound will be maintained (forever) at the DECAY 2 LEVEL.

If you engage a sustain pedal on a sound before it reaches output level of 0, and the DECAY 2 LEVEL is not 0, the sound will be latched at the level it has reached thus far

Remember an envelope develops over time. Therefore, if you lift the sustain pedal, (KEY-OFF) the sound jumps immediately to the RELEASE TIME portion of the envelope… If you re-engage the pedal before the sound reaches LEVEL = 0, the envelope will be latched at the level it has reached.

You have instructed the sound to start to disappear but before it has completely you have given it an instruction to hold. In order to perform what you are attempting you must adjust the RELEASE TIME parameter of your sound so that you are not interfering with your retriggering.

There is no so-called “normal” way for sustain pedals to work on SELF-OSCILLATING family instrument sounds – as there is no real world equivalent. You have to synthesize it for you own purposes. Understanding how synthesizers emulate instruments is an important area of programming.

The VOICE: PWM Strings: PRE4:037(C05) is 3 ELEMENTS – each with a RELEASE TIME of 78 (fairly gradual as releases go)

Press [EDIT]
Use buttons [1], [2] and [3] to view ELEMENT 1, 2, and 3 parameters respectively.
Press [F4] AMPLITUDE

And select “AEG”
_ Press [SF2] AEG (Motif XS/XF)
_ Press [SF3] AEG (MOX6/MOX8 and MOXF6/MOXF8)

Shorten the RELEASE TIME parameters to fit your performing style on the particular musical section you are trying to reproduce. Try lower values for RELEASE TIME -the amount will vary according to how quickly you need the notes to disappear before you re-engage the pedal.

At left, a view of the Envelope… time moves left to right and volume is up and down. You can see where KEY ON is and you can see where KEY OFF is. If you play a long note the entire envelope will play out according to the settings. If you play staccato (key-on and key-off are closer together in time) a portion of the envelope takes place and as soon as KEY-OFF is received the RELEASE TIME take over to return the LEVEL to 0.

Hope that helps you picture what is going on.