Talking samplers

Ill-Green wrote:

The Linn Drum II is not coming out anytime soon according to the Linn Drum update page. I am curious and will probably buy this new product, if or when it is released. But in order to be successful, I believe it must be some next level product....which doesn't appear to be the case with Smith's/Linn's analog drum machine, the Tempest ($2000 ).

clint246clint wrote:

TYPO wrote:I feel the YAMAHA A5000 does not get the respect it deserves.For its time it does things even DAWS
still can not emulate.

Like what?

I know nothing about Yamaha samplers, nobody ever owns up to owning one or talks about them.

I don't know that it has any unique features... Only thing I can think of is you can do some scratch like stuff with the pitchwheel.

On the low, its a lot like the MPC and ASR-X (and NI Battery) architecturally. Meaning that all the processing happens at the individual sample level. No zones or keymaps etc to deal with. Just samples and programs. Every sample gets its own LFO, three envelopes, external CC assignments, a dual filter, a one-band EQ, and effects routing. Samples can be grouped into banks to edit simultaneously, and programs have parameter offsets to whatever samples are assigned to them.

Filters and EQs are dope. Bread and butter effects (reverb, chorus, delay etc.) are average, but it has a lot of sound design type effects to compensate. Consecutive sampling is handy. Loop Remix is nifty at times. It boots up with basic saw sine triangle and square waves loaded, so you can use it as a subtractive synth. Its let down primarily by the subpar interface - it takes a while to get fast with it, plus the display is crowded. That and the proprietary disk format is hard to work with.

not to mention that sample loading times on the yamaha axk series really sucks

mp3 wrote:

clint246clint wrote:

TYPO wrote:I feel the YAMAHA A5000 does not get the respect it deserves.For its time it does things even DAWS
still can not emulate.

Like what?

I know nothing about Yamaha samplers, nobody ever owns up to owning one or talks about them.

I don't know that it has any unique features... Only thing I can think of is you can do some scratch like stuff with the pitchwheel.

On the low, its a lot like the MPC and ASR-X (and NI Battery) architecturally. Meaning that all the processing happens at the individual sample level. No zones or keymaps etc to deal with. Just samples and programs. Every sample gets its own LFO, three envelopes, external CC assignments, a dual filter, a one-band EQ, and effects routing. Samples can be grouped into banks to edit simultaneously, and programs have parameter offsets to whatever samples are assigned to them.

Filters and EQs are dope. Bread and butter effects (reverb, chorus, delay etc.) are average, but it has a lot of sound design type effects to compensate. Consecutive sampling is handy. Loop Remix is nifty at times. It boots up with basic saw sine triangle and square waves loaded, so you can use it as a subtractive synth. Its let down primarily by the subpar interface - it takes a while to get fast with it, plus the display is crowded. That and the proprietary disk format is hard to work with.

A few things i liked about the a3000,fx-very good glitchy,modulation,delays,distortion,bit crushing.(this unit was designed with the breakbeat heads in mind(late nineties)3 fx can be used at once on input and samples(6fx on the a5000).All these fx can be tweaked easily with the 5 knobs.FX sequence can be changed i think!!!Good filters.Nice clean sounding sampling with more personality than computer.Great envelopes sounds really good pitched extremely up and down.Long load times tho and noisy fan.Also encoders have bad reputation.A bit fiddly.Great for glitching up your breaks.Sad to see it go...........

I use to see those A series samplers all the time in second-hand shops. I always passed them up because they just looked too busy as I was coming from an MPC 2000/2000XL.

Thanks for the info guys, I think I'll have to check YouTube and Google to find out more about the Yamaha's.

I've been reading up on some Roland samplers too (12 bit models S-330, S550, W30) don't know why but they appear to be underrated and overshadowed by MPC60, S950 and SP12/1200 which are all from the same period.

http://www.soundonsound.com/sos/1997_ar ... ds330.html

I think I have too many Akai samplers in my studio, but I also have the ASR-10 keyboard to mix things up a bit. I think I'll cop an E-mu sampler at some point but it needs to be rackmounted and compliment my Akai S-6000 and S-950.

if you decide to get a yamaha clint, make sure to check the rotary knobs...infamous for be pretty poor quality

i love my roland samplers

gertie wrote:if you decide to get a yamaha clint, make sure to check the rotary knobs...infamous for be pretty poor quality

i love my roland samplers

I had the DJ70 mk11 which was actually a very sophisticated sampler.Great filters adsr nice screen.ect.would buy again if i saw one.

going by u tube....those dj70 samplers are well popular in Brazil

Just checked out Celemony's new plugin & DAW communication protocal. Simply amazing:
http://www.sonicstate.com/news/2011/10/ ... -expanded/

My mouth is watering thinking about the possibilities of having this type of technology within a hardware sampling workstation or hardware/software hybrid product.

I have seen Melodyne for awhile but was just sitting back waiting for it to mature a bit before I take the plunge because it looks to good to be true....taking an audio sample and extracting a MIDI sequence from it Back in the day, I purchase Vocaloid thinking I can have this software sing my lyrics to enhance my sample-based production. Terrible user interface...overly complicated..and never really worked well for me.