Bedienungsanleitung Yamaha MOTIF XS7 (Seite 250 von 320) (Englisch)

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Audio Recording to Song/Pattern (Sampling mode)

MOTIF XS Owner’s Manual

250

Voice mode Song mode Pattern mode Mixing mode Master mode Utility mode File mode

Performance

mode

Sampling

mode 1

Sampling

mode 2

Reference

Slicing percussive phrases having short decays

First, try slicing using “beat1.” If the result has a weak

attack or the release portions of the phrase seem to

overlap, try again using “beat2.” Try adjusting the envelope

sensitivity for ﬁner control.

If after using “beat1” the attack portions overlap or the

overall rhythmic feel is degraded, try again using “beat3.”

Make ﬁnal adjustments with the Envelope Sensitivity

parameter.

Slicing phrases having long decays

First, try slicing using “phrase1.” If the result has a weak

attack or the release portions of the phrase seem to

overlap, try again using “phrase2.” Make ﬁnal adjustments

with the Envelope Sensitivity parameter.

If after using “phrase1” the points between the slices

sounds rough and the overall feel is choppy, try again

using “phrase3” or “phrase4” and set Sub Divide to a ﬁner

resolution. Make ﬁnal adjustments with the Envelope

Sensitivity parameter. The “phrase3” setting is generally

best for sustained strings or brass type sounds with no

vibrato—in other words, the pitch remains constant. It can

also produce echo-like effects when applied to percussive

phrases with short decay.

If after using “phrase1” the points between the slices

sounds rough and the overall feel is choppy, try again

using “phrase4” and set Sub Divide to a ﬁner resolution.

Make ﬁnal adjustments with the Envelope Sensitivity

parameter. The “phrase4” setting is generally best for

sustained strings or brass type sounds with vibrato, as well

as vocal phrases.

Individual wave data slices created through Slice

operations require approximately 1.5 times the original

memory because a tail section is automatically added and

fade-in and fade-out sections are automatically created at

the beginning and end of the wave data. This helps to

maintain maximum sound quality when the tempo is

increased, and results in smoother connections between

slices (no tail section is created when the “quick” slice type

is selected).

A memory work area is required for the processing

calculations carried out for each Slice operation, as well as

sufﬁcient memory to hold the completed waveforms. When

the sampling frequency is 44.1 kHz, the approximate

amount of memory (expressed in kilobytes) required for

each Slice type is listed below.

For mono Samples N = 5.5, and for stereo Samples N = 8.

Also, the number of slices is doubled for stereo Samples.

Sampling Edit

[INTEGRATED SAMPLING] ➞ [EDIT]

The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the

Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the

[EXIT] button to go back to the Sampling Main display.

Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about Sampling Edit, see

page 167.

Sampling Job

[INTEGRATED SAMPLING] ➞ [JOB]

The Sampling Job mode lets you process and modify Samples you have recorded. 18 Sampling Jobs are available.

Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about the Sampling

Jobs, see page 171.

Tips for using the Slice Types Wave Memory Required for Slice

Operations

beat 1 Original wave size X N + (0.3 X number of slices)

beat 2 Original wave size X N + (0.2 X number of slices)

beat 3 Original wave size X N + (0.3 X number of slices)

phrase 1 Original wave size X N + (5.8 X number of slices)

phrase 2 Original wave size X N + (1.4 X number of slices)

phrase 3 Original wave size X N + (0.4 X number of slices)

phrase 4 Original wave size X N + (1.4 X number of slices)

quick Original wave size X N + (0.7 X number of slices)

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