EXS24 Sampler

[Masako]

Greetings People, happy 4th of July to my American friends.

Question,

is there a way to sample the M1 piano from my Korg triton into Logic's sampler note per note? If so, can you please explaine it to me step by step like if I'm a ten year old? Do I need to record each note for ex. from C1 to C4?

Any advice would be great.

Thanx

[Plowman]

Please consider Redmatica's AutoSampler. When it is properly configured, AutoSampler will sample every note at different velocities and assign them to the correct root.

 

I don't know how deep the M1 is. But the higher-grade pianos in sampling have numerous velocity samples built-in -- eight, perhaps even sixteen separate samples to play depending on how hard you hit the note. Additionally, they have una corda samples and sympathetic resonances.

 

I doubt that the M1 is that deep, but the point remains: this is very tedious work when it is done manually. Without AutoSampler, you would have to record, then assign every sound by hand.

[peeb]

You might very likely find that the piano sound in the M1 (as great as it is) is only one sample per note instead of various velocity layers and not even one sample per semitone. Try sampling one note (Middle C is where i'd start) and mess around with playing along side your M1. See if there IS only one layer, and see how far you can go either side of the original sample pitch before it stops sounding like the M1. Remember there might be a velocity modulated filter on the M1 that makes loud notes brighter and quiet notes less bright but you can do that on the EXS easy enough. I know this sounds like a lot of work but i'd be surprised if it isn't easier than it sounds

[Justin-Ch]

Most M1 samples that I've found as downloads over the years just have one sample per octave, eg C1, C2, C3, C4, C5 etc. & sound fine when properly mapped out.

(I've got an M3R module I can compare them to.)

 

There was very little in the way of multi-sampling on the original M1, especially not it terms of velocity layers which I doubt had even been thought of at the time it came out. I'm pretty sure that with the M1 it was just the attack portion of the sound that was a sample while sustain & decay was synthesized.

[Masako]

Thanx for your replies, But I dont really mind that it might be hard work cause in the end the M1 would be in the EXS24. I agree with you Justin, when the M1 came out at least 15 years ago is not as deep as some samples today. you where also saying it would sound fine when properly mapped out.so my next question is what is the proper way to map it out?

Sorry for all these question.

[Justin-Ch]

Mapping out ......

 

Well, if you have one sample that is C3 & another that is C4 put both those in the EXS. Obviously you will set the root note of each to be on the same note as was sampled..

Then you need set the limit of how far up & down the keyboard each note goes. If your root notes are an octave apart like in this example you could go up 6 semitones & down 5. So the C3 sample will play from G2 to F#3, & the C4 sample will start on the next note up, G3 & play all the way up to F#4.

 

 

But start the way peeb described. Sample middle C. Put that with its root on middle C in the EXS. Play up & down the keyboard & see where it starts to sound wrong. Then sample you next notes in those regions.

[fader8]

I've multisampled a few acoustic pianos and I can tell you that you won't get away with pitch shifting each note more than +/- 3 semitones. If the sample set size is not an issue, just sample every note.

 

Since you don't have Autosampler, you can still semi-automate this process. Set up an External Instrument track that plays your M1. Create a single MIDI region that plays every note. Tweak the note lengths appropriately, ie the lower octaves need to be held longer than the upper octaves.

 

Fix the velocity for this region to something like 25 for your pp set. How many velocity layers you want is really up to you. Now do a realtime bounce. Drag that new file into the Arrange and select Strip Silence. Set the thresholds so you have each note to a distinctive region. Attack time is really important here. Then, convert regions to audio files. Store them in their own "PP" folder.

 

You now have a folder containing all the samples for your PP layer and they're nicely enumerated. Import these into a new EXS zone using the import multiple samples command.

 

Now fix the MIDI regions velocity to something else, rinse, repeat, and you have your next folder of samples for your next velocity layer.

 

It's really not too bad.

[simpleton]

you can also get a software version of the M1

it's part of the Korg Legacy Collection (Digital Edition)

http://www.korg.com/gear/info.asp?a_prod_no=KLC1D&category_id=8

it includes ALL the PCM rom cards (including pianos)

the Digital Collection also includes the mighty Wavestation

also check out the Korg Legacy Analog Collection

http://www.korg.com/gear/info.asp?a_prod_no=KLCAE2007&category_id=8

i own both collections and they are well worth the $350 for both

[editbrain]

I have created a logic template to do this a long time ago. it is in the templates part of this forum.

 

 

http://www.logicprohelp.com/viewtopic.php?t=5644&highlight=

[Plowman]

Good ideas throughout this thread.

 

Piano sounds are usually unlooped, so not only will you face false harmonics if you transpose too much, you'll face different sample lengths as they transpose. As you test your sample assignments, hold down the key for the full duration to hear at what point the different lengths become an issue.

 

Should you get one large aif with all notes played (per fader8's idea), Keymap can automatically slice it up and map it to key notes (by analyzing the pitch). I mention this because if, in the long run, you plan to do a lot of EXS editing, Keymap is strongly suggested.

 

I'm sure multi-samples occured to the Korg designers back in the day. But RAM was far more precious then.