Alright here is an example of what I`m talking about reading is essential from the S5/6000 manual download.
USING MULTIS
As mentioned, it is possible to have up to 128 multis in memory at any one time.
Each multi may contain as many as 128 programs or as little as one and each multi may contain a different combination of programs.
Basically, the MULTI mode is the S6000’s ‘play’ mode and is where you can play programs singly or in combination and is designed to be flexible enough to cover a wide range of applications.
Whereas on most synthesisers, sound modules, samplers, etc., you have various playback modes (single, multi, combi, performance, whatever), the S6000 has just one versatile and consistent play mode to cover all applications.
Some suggestions are shown here on the next few pages.
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USING MULTI MODE TO PLAY SINGLE PROGRAMS
A multi may contain just one program: The MULTI mode can be used to play single programs simply by assigning just one program to a part. In this way (especially with 128 multis available), the S6000 can be used as a simple playback module for playing single sounds.
NOTE: If you only intend using the S6000 to play single programs, you can simply use EDIT PROGRAM if you prefer. Using a multi to play a single program does give you greater flexibility,however, especially regarding the use of effects and outputs.
USING MULTI MODE TO PLAY LAYERED PROGRAMS
An extension of ‘single’ playback - by assigning several programs to a multi with each part set to the same MIDI channel, you may play layered programs: Here, several sounds are played simultaneously for greater texture.
Don’t forget that each of the layers may be mixed, panned, tuned/detuned, routed to separate outputs and/or the internal effects for even greater flexibility.
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USING MULTI MODE TO PLAY KEYSPLITS
Using the LOW NOTE/HIGH NOTE function in the FINE TUNE ‘window’, you may set key splits: In this example, UPRIGHT BASS could be set to cover C1-B2 with JAZZY ROADS PNO set to cover C3-E5 with a handful of BRASS STABS on F5-C6. The same technique could be used in a string section setup to have cellos in the bottom octaves and violas/violins in the top octaves.
Again, each ‘element’ in the keysplit may be routed to separate outputs and/or the effects for greater flexibility.
USING MULTI MODE MULTI-TIMBRALLY
Multi mode can also be used to play up to 128 sounds simultaneously on 32 MIDI channels9 :Here you can see each part has its own MIDI channel (VIEW 18 PARTS is shown here to make the example clearer).
Each sound may be mixed and panned and routed to different outputs (either as pairs or to individual outputs).
They may also be tuned and transposed and may also be routed to any one of the four effects channels (the EB20 is optional on the S5000).
However, when using the S6000 in this way, certain parts may be set to the same MIDI channel so that some parts will be layered (for example, in the above screen shot, Parts 10 and 11 both play SLAP BASS #1, presumably detuned for a rich, chorus bass sound) whilst other parts just play single programs.
You could also use keysplits within such a multi. 9 Even though a multi can have up to 128 parts, only 32 channels may be used. However, whilst at
first this may seem strange, this does allow many parts to be layered in a multi-timbral environment.
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PLAYING LIVE OVER A SEQUENCED BACKING TRACK
As well as 32-channel multi-timbral operation, the two MIDI inputs also allow you to play one or more sounds ‘live’ from a keyboard or other MIDI controller through one MIDI input whilst the other input is fed by a sequencer to provide a 16-channel multi-timbral backing track.
Such a multi may look something like this: In this example, the GRAND PIANO is the part you would play live through MIDI input B whilst the
other parts are sequenced via MIDI input A.
USING THE S6000 AS TWO SAMPLERS
Sometimes (especially in live situations), it is useful to have two keyboards on stage. This allows you to play two sounds simultaneously and/or allows you to quickly switch between sounds withouthaving to mess around with program changes. By connecting one keyboard to MIDI input A and
the other to MIDI input B, you may effectively use your S6000 as two samplers!
For example: In this example, one keyboard would play the GRAND PIANO sound whilst the other plays the huge layered pad combination. In such a situation, you might benefit from a weighted keyboard to play the grand piano sound and a synth action keyboard for other sounds.
Don’t forget that to further enhance the S6000’s capabilities in this application, the sounds playedby each keyboard could be routed to their own sets of outputs.
A further variation on this would be to have two musicians playing the S6000 simultaneously. For example, you could be vamping away on piano, clav - whatever - whilst the band’s drummer triggers drum and percussion sounds from MIDI pads!
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These are just a handful of examples of the flexibility of the S6000’s MULTI mode. No doubt you will find your own applications.
NOTES FOR EXISTING AKAI SAMPLER USERS.
The S6000’s MULTI mode replaces all other playback modes of Akai’s previous samplers. Previously, on the S1000, S1100 and S3000, S3200, multi-timbral operation, layers and keysplits were achieved by renumbering several programs to the same program number and then setting MIDI channels, levels, etc., for each program accordingly.
This had the advantage that whilst being a bit cumbersome to use, it did allow you to have up to 128 multi-timbral setups loaded simultaneously and these could be selected from the front panel or via MIDI program change very quickly and easily.
This way of working was good for live work, because, with some preproduction work, you could program your entire live set and have all the sounds for each song loaded into memory (notwithstanding the old samplers’ memory limits, of course) and ready for action with a turn of the DATA wheel or by sending out a MIDI program change command
from your keyboard to recall either a single sound, a set of layered or keysplit sounds or an entire multi-timbral setup.
Then, in the S2000 and XL range, Akai introduced the MULTI mode. This had the advantage of being quick and considerably easier to use plus had the benefit that you could use MIDI program change on specific MIDI channels to change sounds within individual parts.
However, having only one multi in memory at any one time restricted the MULTI mode’s ability to be used live. Furthermore, there was a limit of 16 parts (and 16 MIDI channels).
The S6000’s new MULTI mode embraces the benefits of both ways or working (as well as overcoming each one’s restrictions!) and offers the best of all worlds as well as many improvements and advantages:
• It is quick and easy to use.
• Up to 128 programs can be played simultaneously without the need for awkward renumbering.
Furthermore, using the CONVERT OLD MULTI function (PART/PROGRAM
TOOLS > PROGRAM LIST) allows you to convert ‘old’ Akai multis into the new format.
• Single program playback, layered programs, keysplits and multi-timbral operation can all be achieved within one convenient and consistent user interface.
• 32-channel multi-timbral operation.
• Up to 128 multis may be loaded into memory at any one time and can be selected from the front panel or via MIDI program or bank change thus allowing you to switch between single program playback, layered sounds, keysplits and/or multi-timbral operation quickly and conveniently (much like the ‘old’ Akai SINGLE mode, in fact!).
• The programs in each part may be changed via MIDI program change on specific MIDI channels.
Akai’s designers are well aware that for some ‘die-hard’ Akai users who may be used to using the ‘old’ Akai way of working, the new regime may require some adaptation but it is felt that the overwhelming benefits the new MULTI mode offers outweigh the temporary inconvenience of‘converting’ to this new method of operation.
Taken from the S5/6000 manual some different and very similar terms but the same structure. Easy to read and understand. Now it`s up to you.
