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An Introduction to Compression: Basic Compression - A free download from Audio Masterclass

An Introduction to Equalization - A free download from Audio Masterclass

Equipping Your Home Recording Studio - A free download from Audio Masterclass

How to become a better singer

A brief introduction to soundproofing

How not to run a recording session!

Setting microphone preamplifier gain to achieve both adequate headroom and a good signal-to-noise ratio

The Making of a CD - FREE DOWNLOAD

How would you set microphones for a teleconference? This is real sound engineering in practice.

Three types of musician you'll prefer to work with in the studio, and one type that you won't

How much difference does mastering really make? [with audio]

Recordings of acoustic guitar by Audio Masterclass students

Can you hear the difference between a square wave and a sine wave?

Hands on - Akai S1000 digital sampler (part 3)

As samplers go the S1000 is fairly easy to get the hang of. First, press the EDIT SAMPLE button to get to the Samples in Memory page where you will have to name your new sample before proceeding...



Manufacturers of samplers generally need a good talking to, they make you go through a whole rigmarole to take a sample when nine times out of ten you'll want to do it the way you always do it. Why not allow you to store on disk the standard working practice you will undoubtedly evolve? That would speed up operation tenfold. Still, as samplers go the S1000 is fairly easy to get the hang of. First, press the EDIT SAMPLE button to get to the Samples in Memory page where you will have to name your new sample before proceeding. If you plan on building up a library of samples then I strongly suggest that you adopt a scheme where each sample has a unique name. This is essential if you want to mix and match programs from different disks and use them in combination in the S1000. My own scheme involves a three digit/letter code and a rough description of the sample, such as 1A1 BASS, 1A2 PIANO etc which is good for naming over 50,000 samples. Anyway, I digress... To name the sample press the NAME key and type in a new name into the box provided. The forward arrow key acts as a delete key. Press ENT to enter the name then press the REC1 soft key to move on to the next stage in taking a sample.

On the Record Setup page you will decide whether the sample is to be stereo or mono, the bandwidth and length. If you are sampling in bulk then you don't have to adjust this page every time and you will progress straight onto the next stage by pressing the REC2 soft key. This is where it all happens, the main Record page. If you haven't adjusted anything I haven't told you to adjust then simply press the ARM soft key and play your sample. Sampling will start automatically and end when the allocated time is up. Monitor switching on this page is automatic (unless you decide otherwise). This means that when you enter the page you will hear any sound coming into the S1000 through the outputs until you initiate sampling and the process runs its course. This allows you to line up your source, set the input and trigger levels. Take note of the graphic on the left of the screen and you'll figure this out. When the sampling is finished then the monitor is switched off and the sample is available for play via the ENT/PLAY button. If you wish, you can save the sample to disk at this point, but I usually don't unless I anticipate performing a crossfade loop. Although there is a slight risk of losing your sample, the time taken in saving really cuts into your sampling session. If I had been at the designer's elbow when this page was laid out I might have suggested the inclusion of a SAVE SAMPLE soft key here (instead of the ridiculous METER OFF soft key!). It's probably as well to mention at this point that although the basics are dealt with in these pages, I'm not covering everything there is to cover. Feel free to explore the manual for the details.

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By David Mellor Thursday January 1, 2004
Online courses from Audio Masterclass