Samples generally transpose downwards better than they do upwards, and in some cases, with low-pitched Samples, you can safely do very large downward transpositions. The S-770 will not let you transpose a Sample up more than two (or three if it was sampled at a low rate) octaves. (If you really need to do so, however, you can transpose as much as you want with the Rate Convert or Resampling functions — see Chapter 7.) Poly C_8 Name Edit Patch Split Com Exit □Patch L01:Piano L Select/MIDI in Omni 0n(**) □Partial L01:C2 Assign Type Lower ... A_0 Upper .. Partial for SET *Key Range A_0 ^D#2 ♦Sample 1 L01:C2 2 - : 3 - i 4 _ s Set muz ...........t....................i.................................J • Patches Therefore, a technique known as "Multisampling" is used with many sounds, in which a different Sample is taken at regular intervals up and down the scale. In the S-770, each of those Samples is put into a Partial, and then the Partials are mapped across the keyboard using the Edit Patch Split page. Because you can usually transpose a Sample down further than up, the original pitch of a Sample will typically be mapped at or near the top of a Split range — for example, a Sample of a piano playing E5 may be assigned to the notes from C#5 to F5, and another Sample of the piano playing A5 will then be assigned to the notes F#5 to A#5, and so on. When a Sample is recorded, it has an "Original Key" parameter, which usually corresponds to the pitch of the Sample — for example, if a sound at 440 Hz is sampled, its Original Key would normally be set to "A_4" (A above Middle C). If the Original Key does not match the pitch, then when you place the Sample (actually, the Partial containing the Sample) into a Split, it will be way out of tune, and will suffer from munchkinization. You cannot adjust the relative pitch of a Sample within a Patch — you can only adjust the tuning of the Patch as a whole — but you can do it at the Partial level (next chapter). To see a Multisample in action, load in the Patch L01:Piano L (open the Com menu, select Disk, make sure you're on the Disk Load Page, set Target to Patch, and click on L01:Piano L). To avoid any confusion, click on Yes when it asks if you want to Clear Internal Memory. Be sure the Target is not Patch PRM, or you will load in only the Patch parameters without any of the right Partials or Samples. Exit back to the Patch Split page, and move the cursor to the Partial name, which is to the right of the word Partial. Scroll through the Partials that make up this Patch. As you do so, the keyboard region where each Partial is assigned will show as a red area in the larger of the two horizontal "bars" just above the picture of the keyboard. Other Partials that are assigned to keys in this Patch will show as yellow areas in the horizontal bar, and areas that are not assigned will be in white. Patches • 85 Drum and effects mapping Another reason for using Splits is to be able to play totally different sounds from different notes within a Patch. A common example of this is a drum set, in which each note plays a different drum. Another example is a set of sound effects residing in RAM, which are called up using a MIDI sequencer locked to SMPTE timecode on a videotape. Each sound effect can be assigned its own note, so getting one to fire at the proper time is merely a matter of telling the sequencer to play its note at the prescribed SMPTE time. (In both of these instances, you don't want the actual note number to change the sound's pitch, so the K.F [Key Follow] parameter on the Partial Common page for that Sample should be set to Off. But that's the next chapter.) A good example of a individual sound-mapped Patch is L07:TR-8O8! No fewer than 19 Partials are used in this Patch, and several of them are arranged in noncontiguous Splits. All of the Splits are a single note wide. cowbell closed open cymbal claps hihat \ hihat rim clave conga kicks snares 7 Tom M Tom L Tom H congas maraca Examining the Split The Split page gives other important information about each Partial in a Patch, which appears in blue. This includes the Samples (up to four) that are in each Partial, and the overall Key Range for that Partial. If the Partial is mapped to two or more noncontiguous regions in the Split, only one key range will be displayed: from the lowest note of the lowest region to the highest note of the highest region. The (Info) line says "Partial for SET", meaning that the information being given is for the Partial named in the Partial parameter, close to the Set switch. [ L07:808 Kicklong Poly] ( Info ) C_2 86 • Patches There are various ways to look at how the Partials are laid out in a Split. As described above, you can scroll the Partial parameter to see where the Splits are. Note that there is a Select Icon next to the word Partial. Click on it, and you will open a Select window from which you can choose any Partial in RAM, and see if and ...
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