The Essential Gulde to Practical Applications

DigitalSamplingSynthesizer

Joe Scacciaferro
Steve DeFuria

PDF Reprint by Cosmo

www.cosmosynths.userpage.de
 •
CONTENTS
Part1 Sampling
Basics• 9
, Overview Of Sampling Process • 1O
1.1 What ts asa~? • 13
1.2 Whal Are the Basic Steps Involved In Creating a San-.,le? • 14
1.3 Sarrpling Buzzwords • 15

2 Get Ready To Sample • 16

2. 1 Selecting a Source • 16
Live Sounds • Line Level Audio •
Sampling Live Sound Vs. Sampling
Recorded Sounds
2.2 CoMecting the Source to the FZ • 18
Microphone •~ts line LevelInpu1s
O

2.3 ustenlngtoY9UrWork• 20
2.4 MIDI Connections• 21

3 Let's Get Technical • 23

3. 1 \vna1Is sound?• 24
3.2 Changing Sound into El&etronicSignals • 25
3.3 Changing Electronic Signals into DigftatSa~s • 26
Critical Factors for Making Good
Samples • Sampling Rate • Sampling
Resolution
• SamplingMemory
3.4 Whal's the Point?• 31

Part2: GettingTheMostFromYourFl• 33
4. Gelling Around On The FZ • 34
4.1 Oveivlew ot FZ Modes• 34
4.2 MODIFY MODE Menu Map• 37
4.3 MOV1ng1romMenutoMenu• 37
4.4 M8fluOverviews•38
PLAY MODE Menu Overview· Sarr,,ling
MenuOverview• waveSynthesiS Meru
Overview·MixWriteMenuOverview• x.
Mix Write Menu Overview • Reverse
WriteMenuOverview• VoloeEdilMenu
Overview• Bank Edit Menu Overview•
Effect/MIDI
MenuOverview• DataDump
MenuOverview
4.5 Adjusting the LCD Display • 46
4.6 Common FZ Operations• 46
Define Voice • KeyboardSet • Voice
Sele<:I' Load, Save. VerWy,Erase
4.7 OPTSol1ware • <7
 5 Creating Samples , 49 8.8 LFO Sel • 105
5.1 Setting ln?Jt Levels• 49 Wave • LFO Sync • Delay and Rate •
5.2 Settklg Length and Rate • 50 osc,DCA, and DCF Depll1
Length Set • San1>/ingRate 6.9 Velocity Sensilvlly • 107
5.3 Auto Sampling • 52 DCA Level • DCA Rate • DCF Level •
DCF Rate • Resonance
s.10 TunelMemory Read• 110
6 Resampllng Functions , 56 8.11 Copy, Delete, and Replace• 110
e.1 Mix W1ite• 56 Copy Voice • Delete Voice • Replace
Splicing with Mlx Write • Butt Splbe with Voice
MiXWrite· overlap Spice wf1hMix Write·
LayeredSpficew•h MixWrite
6.2 X-Mlx Write • 59 9 BankEditlng•112
Cross-Fado Sl)lieing with Mix Wrffe DenneBank
6.3 RevetSeWrtte• 60 9.1 CreateBank• 114
Oclining NewAreas· Working wih Areas
7 Digital Synthesis , 62 9.2 Koy Mapping with Create Bank• 116
7.1 PresetWave• 63 9.3 Keyboard Spills with Create Bank· 116
9.4 KeyLayeringwith Create Bank• 117
7.2 Sine (Additive) Synthesis• 63
9.5 Koy Splits for Multl-S.ITl)les • 120
7.3 Cul sample• 64
Picking Pilch Shitt Intervals
7.4 Hand Drawing• 64
9.6 Veloclty Mapping wilh Create Bank • 123
9.7 VelocitySwltChingwith Create Bank· 123
8 Voice Editing , 65 9.8 Mufti-SWitChing:Expanding the FZ's VetocilyCapabilities• 124
What ts an FZ VoiCe? 9.9 Velocity Cross-Fade with Create Bank· 127
DefineVoloe 9.10 Area Level• 129
8. 1 CreateVoice:Data Patamete,s• 68 9.1t MIDI Mapping with Create Bank• 130
GraphiC Display Mooe 9.12 OUIJ>JIChannel • 131
6.2 Truncate• 66 9. 13 Copy, Ootete,and Replace• 131
6.3 LoopSet • 71 CopyBank• DeleteBank• OeteteArea·
Loop Modes: Sustain Loop, End Loop. Replace Bank
Timed Loop • The Loop Cycle • Next
Loop:TraceandSkip· CrossTime 1O Performance Controllers • 132
6.4 The M of Looping • 78
10.18-0nder• 133
Lovet and Pich Mapping • Setting Loop
lengths • Loopsfor RepealingE11eC1s • 10.2 MOdWheel, Atte, Touch, and Foot VA• 134
How to ConvertLoopSizesto FZ Coarse
and Fine Values • Inaudible Loops • 11 MIDI• 135
Findingthe LoopStartPoint • Firw:ltng
the
Loop End Point Short Loops • Converting t 1,1 BasicChannel,ReceiveMode• 136
TunedLoopSizes10FZ Coarseand Fine 11.2 Con1ro1e1Messages• 136
Values • Findingthe Loop End Point; 11.3 ProgramChange Messages· 136
LongLoops
8.5 CreateVoice:SoundParameters• 93
The FZ AucJiO
Path • What Does tho OCA 12 Memory Management • 138
Do? • Whal Does the DCF Do? • Remote 12.1 About Disks• 136
Control • Eighl•Slage Envelope Formatting
NewOisks
Generators
• The Envelope
StepCyc48
12.2 Data Dumps• 139
6.6 DCA Envelope• 96
LoadFile· SaveFile• MergeFIie• Verity
Rate KF • Level KF • Step, Rate. and File· EraseFile
Level· Copyfrom DCF
12.3 OtganlzingYourDisks• 141
8.7 DCF Envelope• 100
12.4Select Device• 142
CutoltFrequency• Resonance• AateKF
• LevelKF .. S1ep,Rate, and Level • Copy
from OCA
 Part1: SamplingBasics
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No lour would be conl)tete without an lllnorary, so here·s a liS.1of tho
main a111acOonswe·ube cheekingout along the way:

of Experiments
Table
1. Overview
OfSampling
Process , ' Whal l$ a S<lmple? • Page 12

2. Mlc or Line levet • Page 19

Sample The Edit Voice Edit Pcrtormanee 3. Original Keyll(ey Range• Page <Ill
source Parameters Parameters
4, Sampling Rale • Page 51
5. Sampling Length • Page 53

~led Soorce Input Level Truncate Key Mapping 6. Auto Trigger • Pago 55
Audio Connections Trigger leve1 Splice VeloeityMapping
Monitor Conncaions Original Key Loop Multi Sample Maps 7. Mix Write (Bun Splloo} • Page 58
MIDIConnections Sampling Rate Envelope MIDI Mapping
8. X•MIXWrlle (CIO$$•FadeSpllce) • Page 61
Sa tn Len th LFO
velocity 9. Sample Slart/End Polnls • Page 69
Pressure
10. Truncate • Page 72

Figu,-1: There t,e !OI# bNil; •teps lo the ov«el .,.mpliflg pt"OCllth, ~ltd withINCh llep 11. Loop MOdes(Sustaln/Rek!ase). Page 75
Is a spedl\c Mt Qt pMemeters to use Mel'« dedtlona you'll be teoed with. We11tlite • decailed
tool( t1 oo-chslep. 12, Multi loops• Page 76

13. Next (Trace/Skip)• Page 77

Your F2 is an incredibly powertul sampling/synthesis insuument. II
you're like most new FZ owner's. your primary lnIere-st Is sampling. 14, Tuning Locp Rhy1hms• Page 84
That's certainly undefStandable! There's something very appealing 15. Tuning ShOrt L-• • Pago 89
about the idea 01 being able to capture any sound, and then being able
to play ii back instanuy 1romyour Casio FZ·1 or FZ·10M (kind of a sonic 16. Long Loops • Page 92
snap sool). You oon·1need much 10 pl,Jngeright in ( lhe FZ, a micro-
phone, perhaps a disk or two). Once you\to gotten your teet wet. you 17. Whal Does the DCA Do?• Page 94
wit unctout>lcdlywant to know more abOutwhal's going on. Even more
to the point, you'll want to know how 10use lhe F2 more olfoctivo-tyand 18, Whal Docs 1he DCF Do? • Page 95
how 10gel the most out of al of fls buill-in features and functions.
19. DCA Enve!Opes • Page 99
we·ve desigoed this book to bring you quickly up to speed with this 20. OCF Envelopes• Page 102
amazing ins.IrumenI and sar11)fingtechnology. As you can see from
Figure 1,we've or9anized the sa~ing process into a series~ steps. In 21. Synlll8slzlng AOSA Sustain Envelopes• Pag& 100
tho first par1ot the bOOk.wo will explore these steps as they appJyto
sarfl)llng technok)Qyin general. In the seoond part of the book, each 22. Syntt1esI2.IngADSR Peteusslve Envetopes • Page 104
chaplet will take you on an In-depthguided tour of the major functions ol
your FZ•1 or FZ·1OM tn fad, you can think of lhis book as your tour bus 23. LFDs • Page 106
of the FZ. We'll go beyond sa~ng and check out the FZ's synthesis, 24. Vetoclly • Page 100
pertormancc. and MIDI featur-esas well. You can sit back and enjoy the
ride, and ii you own an FZ, you can gel off the bus and explore each of 25. Key Spltt • Page 118
the ma;or sites along the way on your own! You see, for every ma;or FZ
teature, wove p,ovided a step-by-S1ep.hands-on experiment tor you 10 26. Key Layering• Page 119
try.
27. veIocny Swllching • Page 125

28. Velocity X-f9de • Page 128

As you can see, we have quite a trip lined up for you, so get you, F2-1 or
FZ·IOM (don1forgellhe OperationsManual) and a rric, and lot's go.

10 11
 - 1.1WhatIs a Sample?

Experiment
#1:WhatIs A Sample? ~-
FZ•1/F2·10M

Focus: Sample Edit Performance

Key Settings:
lllt tl01 1001 1C31 1101
Sarrpling Rate: DetauI1,Sampling Time: 1000 ms tOOl 1.HO 0011 HlO 1001
Original Key, High Key. Low Key: Delautt eooo1110 JOll OOH CHO
OOtl~ lllO lCtO 1001 llll
lnput Level: 1/4 up
Mic or Line: Mic

OperationsManualPageReference:
Sampling Operalions: 24.JO
'
ftoure 2: When you .. mple your ~ lhe s<>Undtt oonverled 10 ,n flee~ ugn,11by 1h•
Step by Step: mlcfQJ!hoM. Your Fi converts lhe etec1ronlc~I lo digital d1a. When you pw, ll'le samp4e,
ll'leconwrslon procen I• reverffd,
Refer to pages 24 ~29in your Op9rat10nsManual.
Plug a mlcropoone Into your FZ·s sampling Input. (Be sure this is the i'l)Ut tor mierophones and We wanted to s1ar1right of1 w~h a si"l)k!- hands"" experiment Now
not line-level equ_,.,,ent). that yoo've sampled arxi played back your votee, Iers take a moment 10
Turn on the F2. look Into what's happening, Fil'SIot all, the sound you made with your
Enter 1heSampling: Leng1hSe! operatiOn01the Source Select sub-mode. Set the "TIME" va!o• to voice has been converted into several different formats. Sound waves
-001000 ms· (1 seoond). were convel1ed ~lo analog electronic signals by the microphone. Your
F2 converted lhose analog signals inI0 dlgilal data. II is 1hisdata that is
• Raise the sampCinginput level about a quarter oCthe way up . Slored in your FZ's memory. When you play 1hesound back, the FZ con-
Enter Maooal Samprmgand ptJsh ENTER and YES when you're ready to sample. ver1s the digital data baek into analog signals again. These rue in 1urn
• Say the word "SAMPLE" Into the mic tile inslant you begin sampling, oonverted back into sound waves by the speakers in your artl)lilication
Once the sarl1)ing process has ended, raise lh8 listening volume of the FZ, and press !h8 "orlglnal system. Whcwt It seems like an awful lot of changes to put a sound
key" (CS)on the FZ's keyboard. through. It makes sense that $0Und waves have to be converted flto
analog signals (since 1hey're what amptlliers, mlxe1s. etfeas. etc. are
Release the •o,iginal key- and press the "hlghes1key."(C7) already geated up to handle), but why cllange the sound Into digital num-
• Release the "higheSl key" and nowpress the "lowest key."(C2) bers?
Play different notes w~hin the key range.
One good reason is that once a sound is converted in!o numbers. UlOse
numbers can be stored and recalled very quk:kly and relativety cheaply.
Observations: That's because once something exists in a r'l.lmeriCallonnat {I.e., dlg~al
Following 1heabOve process, you have just dig~aly recorded the word -SAMPLE" and loaded I data), ii becomes fair game tor the technology marvel 01 our age. the
into your FZ's computer memory. micro computer. Yes, as you're no doubt aware, there's a t6-bit nic,o
lntemafly, your FZ has taken the the analog signal ("SAMPLE1 and converted ft to i1sdigijal eQuiv- kJrklngIn tile depths of your FZ. The micro and its software manage lh,e
a~nt, whiCh can be ,ec.alled and seoonver1ect tor playbaek instan1Iy. No1onty can this signal now sa~ing process for you. Does this mean you have to be a COl'Yl)Uter
be recalled exactty as ii was originaly recorded, but ii can also be altered hundreds of ways. star io work your FZ? Definitely oot! like so many other products, trom
mietowavesto talking teddy bears, you ooed never think about that micro
Every time you play the 'Original key." you wilt hear the word -SAMPLE" played back at the same lnsJde,bu1irs nioe to know ifs thern
pitch and timbre that was orlginally recorded.
You shoul:I have also notiCedthat, when you played the "higheSl key," that 1hepitch (or frequency) Atlother good reason why FZs use sound kl a digital format iS that it is
ot the word was shifted up by whatever the musical intecvalwa$ between the~ortginalkey" and the possible to do some very interesting things to the data in between Iha
11ighes1key- (and ot cou~. the oppos~e snwt talles place when you play the "lowest key.; The lime it iS llrsl stoted and when ii it '8ca!Jed. For exa~. changing the
p!ch iSnl tho only 1hlllg that sMIS. Everythingtrme-basedshft1s,too, (the length ol the word, baek• spe&dat which the data is recahed will change the pitch of the sound.
ground noiSe.etc.). That's how you're able to play dillerent pitches wijh the FZ, Each key
you p<esschanges the rate at whiC:hIlle data Is read . Ii it is read at the
same speed ~ was sampled, you hea, me original pitch. If ft Is read at a
higher speed, the pitch goes up. Lower speeds make lhe pitch go down.

The FZ wiJIlet you reverse the 0fder in which the data is read, as well as
the speed. Reversingthe order makes rho sound backwards. OI oourse,
just changing p!ch or playing sounds toiwards and backwards Is only the
beginning of what your sa""ter can dO. The FZ wlll let you play with the
sound in a variety ot interesting ways. tt J)(Ovidesa hOStcl digltal and

12 13
 analOgvoice edltfng features. Some of the more excitingdigital editing 1.3Sampling
Buzzwords
features include looplng, spheing,reverse play. and 1runcate. Analog
editingfeatures includo fll!ers, arnpliliers.envelopes,and more. Bank The FZ, like all sa~ng instruments.is an offspring01co~1er, syn-
Ed;r and Effec.tSIMIDIluncllons alow you to control your samples and thesis, arid audio technologies. They have inheritedseveralhigh tech
synthesisvoiceswith your performance,makingpossiblesuch things as 1ermsto descrlle lheir features and tunctiOns. The decisionsmadeat
velocity and pressure dynam.ics,veloeitycross-fades,multi·switc:tling, each step in the samplingprocessa,e eachassociatedwith a key sam,
and mulli•dlannel MIDI operation. (AJIand all, more than 200 FZ tea• phngooocep1.Eachof these conceptsis desc(ibedby a samplingbuz·
tureswill be exploredIn detail in lhe upcomingpages.) zword. You will see them againand againthroughoutthe book. as well
as In the OperationsManual.

Someot these:lelms are used almostuniversallyby the various manu•

facturet$of samplinginstruments.while othersare not In presentingFZ
sampling1eel"lniques to you, we have !tied lO stickwith the terms as they
a,e presentedin your OperationsMal'N.Jal. There are some commonly
used tenns, like velocitycross•ladeor splk;ing, whiehyou won't see in
the OperationsManval. Tho FZ does Indeedhave velOcitycross-fade
and splicingfeatures:lhey-reJusl nol labelledas such. Throughoutthe
book,we havetried to use the mostoommonlyused terms to de-sciibe
any given feature. When FZ and commonusage 1ermsdiffer. weuse
A Sample Snile both, By the way, one reasonwhy the FZ'sterminologyIs somewhatdif•
ferent from some common buzzwordsis that the FZ's version of the
functiongenerallyhas more featuresthan associaledwilh lhe "normar
~ :.a1..-r-ai pie=, te,m. A good exa~e ot U1isis the FZ's Mix Wnle and X•Mix Writ•
tunctiOns. Yes, they are used tor splieing,but as you'll soon see. they

B JsampleI .. slqmscl
do a 101morethan a simplesplice.

Too often, imposingterminologywill stop us deacl In our tracks when

we're learningsomethingnew. If we arn comfottablewith the terms,
C !SampleI .. !sample J
then we generallyhave oo trouble masteringthe subiectat hand. The
only way k> get oomfortableIs by definingthe buzzwords. Derinit:ions
may themselvesbe confusingwhen taken ou1or context, so we have
opted not to provide a quick and dlr1yglossaryof rermshere. Instead,
D ~ameie I • ISAltfl'tl:I we've usedthe buzzwordsas chapterarxt topie heatllineswhere appro·
prialo. You'I find them easily by simplyscanninglhe Table of Contents
or ~SI flippingthroughthe book. You'I get a moeh bettergtasp on the
signtficanceof theseterms It you see them wilhio the overallcontext<>I
Flgur• 3: TYJllcel'WIY•of altering• sampi.d tound, A: Plll)Wlg dlOetWll keys speeds upor stow, howthey are applied,
down f1"I rffll IIM umpl• It pl.-yed hck, ch1nging iu pilCh end llnglh, 8: S.ft'IJIIM cen bt
pltyed torward:s« backwardt.. C: An lfO cen elk> 'Vaty the Mmple'• pitch, D: Synthesis luno,
don• CM tr100orm Ille .O,VC:ehM'act« of lh• umple,

1.2WhatAretheBasicStepsInvolvedin Creatinga Sample?

Creating samples is a process that involves several dis1inc1steps.
Often,at eachone of ll~se stepsthere are decisionsthat mist be made.
{See Figure 1,} You'll learn 1hatoften the decisionsare based on trade
offs. (·You can have more of this, but you·uhave to give up some of
lhat").

The basicSlopsfor creatingsa"'l)les with any samplerare:

1. Get Ready10Sample
2. 5ample tho Sound
3. Edh Voice Parameters
4. Edl1PertormanceParameters

Eacho, 1hesesteps iS distinct from the others and invorvesits own sets
of tools and techRiques You don't necessarilyhave to learn them all to
00 great thingswil:hyour FZ. You may find, for ex.a,,..,,ie,
that your main
interest lies in editing voice parameters,or samplingunusual sources.
we presenteachof thoseareas separatetyso you can easilyisolateand
concentrateon what interestsyou most let's lir$1get tarriliar with sam•
piing in general. Thenwe·• go on to the specificsof how to apply this to
lheFZ.

14 15
 ,1111 ·11111 • ..~'""'"'"---~-
-·•·

Line LevelAudio
••••
,i/!lf,

2. GetReadyToSample The other source of sounds for your FZ is line level audio By !hi$, we
mean the electronic signals generated by such devices as tape
recorders, CD players, radios. electronic Instruments {like electtic gui-
Get Ready Sample The Edit Vo1c.c
Parameters
Edit Petlonnanea I tars, syn1hesi2ers.and even samplers}. The Une Level Input on the FZ
can be connected to just about any llne level source, anowing you to
Sou.rec Param&hUS
To Sample sample dlreclly from recordings, synthesizers, and other olecuonic
Instruments,mixers.etc.
Select Source
u,. Sp,'.lco Sarnpllng Live Sounds vs. Sampling Recorded Sounds
Elee1ronic LOOP
Aud,o Connect10ns When you're flrSI teaming your way around. or i1 youwant to work fast.
erw~lOPG you may tind It most convenient 10 si"l)ty plug a mlc lnlo the mlc input
MlcrophOoe LFO and then sample live sounds. This is a perle¢1tygood way to Jeamthe
l.i!CIleVOI Ve!oc1t;-
MonitorConnections bask::s. tt you're caretu1and precise, there's noreason why you can'I
PreSSl.i'fi create the professionalquallly samples lhis way.
Sou,co
Sample,
MIDI
Connections However. as your sampling skilts increase and you begin to aeate more
In sophislicated samples, you'll probably find \/'al you doni want to con-
Out nec1 th8 source directly to the lnstrument. For instance, ii may be
impracticalto bring the FZ to the source. suppose youwant to sample
the sound of a jet taking ofl. or 1necrash ot the surf onto a ,ocky ooaSl?
You wouldn't want to bring your FZ•1 or FZ·10M to the ail"por1or I.he
Figure 4: Tht llr.t stop In lh,os.ampllng prooen .,.VOIYM m,,mng docialons aboul whM to sample beach. In situations such as theso, you can ool5ec1 your sourco mate,ial
and ~ your FZ ,nd oth« ~l will~ inw-connc,cted.
wl:h a microphoneand a good quality portable tape recorder. Then you
can sample tho sounds clirecUyfrom the tape recorder in a rooto conve•
Belorn you start samping, you rrust lake care of details, such as deeie:I· nlenl setting, whether it's your living room or your own personal-use
ing what it is you wan1to san,:,seand setti~ up your equipment 11.10,
mJsic studio.
example,you want 10samp(e your speaking voice, this can be as si"nple
as plugging a microphoneinto lhe MicInput. and Its Mixo, LineOU1puts Another reason not to sampl8 direct Is Insurance. SupPOSOyou wan! to
to an amplitier/speaker. sample a very special sound, say the noise a nne ¢1'YstaJ vase makes
upon OOllidITTQ wih a concrete driveway al hlg.hspeod. Unless you have
However.ii your FZ Is ~st one componen1of your own music studio. you an unlimited supply of crystal vases, you"II probably have 10 get this nght
may want to take full advamageof the other equipment you have. Even lhe firs.I1kne. It the FZ isn'i set up properly or the samplingbegins a l~tle
with a modes1collection ol equipmetrt,such as 1aperecorders, CD play• late or the sound takes longer lhan you 1hought.you'll end up with an
ers. and mixers, your setup can become oonsiderably mote sophisticat· incomplete and possilly ur.isable sample. So how do you gel insur•
ed. ance? Onoe again. the best apptoach 10 take is to record lhe sound wilh
a tape recorder. In gene,al, a tape racorder is easier to set up, and
Let's kX>kat each ol the decisions to be oonsk:leredin this nrst step of there's so mJch rec:ol\tingtime on a reel of tape that you don't have 10
lhe sampling process. worry about how long the sou.ndwll last, or about starting the recording
Wh41tdo you want 10sample? precisety in sync with tne event Sample directly lrom lhe tape. Since
the recorderwill play back the originaJsound exacUy1hesame way each
How will you geethe sound from the source into the FZ? time, you11 be able to adjust the FZ with great care and precision. It you
How can you listen to the sound and the samples you'll make? donl get it right the first lime. no problem; just rewind the 1apeand stan
over.
Do you need to make any IM0I connections? This might bo neces-
sary If you're using the FZ•1DM (tho rack·mount version of the Atlhough the examples given abOve are extreme. they're not au 1h31
FZ), unusuaJ. Many sarrl'f_ingartists go to great lengths to buik:Iup collec•
lions ot iounci- sounds. You may lind that such sonic material is a rich
Figure 4 ouWnesthe typical oC)lionsyou have tor each chOioe. source of creative ideas. II you don't have the facilities, lime, or
dedication to create such a OOllecUon, Casio and others have been busy
2.1Selectinga Source doing ~ for you. CasiOhas a complete presampled ..,,ary of FZ sounds
(Fl.. disks), and an addiliOnalse1ol FZ sounds is ottered by Soundwaves
Live Sounds as well (FLS disks).
There are two general sourc&Sol sound to load into your sanl)ler. One Other companies also suppty sampling libraries in FZ format or as high
Is acoustic sound. i.e. live sound 1hatyou can capture with a micto- quality, ,eady..10-s.ampio audio recordings. For example, Sound Ideas
phono. This would include voiOes,acoustic m.JsicalinstnJmen1s,atrt1t- offers a sampling library of r,ver 3,000 mus~I soundsand sound effeC:Ss
en1 sounds: lrafflc, crowd noises, airplanes. etc.. as well as spec:mc recorded on CDs. For more information on whal sounds are available
sound even1s:a door slam, breaking glass, a gunshot. In short, ..,;nually and hOwyou can ai::qulrethem, just oonlact your k>calCasio deafer
anything you hear can be picked up by a mlcropllono. If lhe Irie is con-
neccedproperly 10 lhe instrument, then you can sample just about any,
lhing,

16 17
 2.2 ConnectingtheSourceto the FZ

Experiment
#2:MicOr LineLevel
Focus: Sample Edil Performance

Key Settings:
. Salll>ling Aato: Default, SamplingTime: 1000ms .
. Original Key, Highest Koy, Lowest Key: Oefaul
. Input Level: 1/4 up
. Mic or L;ne seIec10<:reter to Step by S1epbelow

Operations Manual Page Reference:

• SamplingOperations:24-30
,
step by Step:
~$:Your FZ Ms two5'P•r•i. lnpu1 Jad(son the tetirp~ tor mlc, 111)().ther
fOf llna.
. Plug a rniCrophOneinto your FZ's s.afYl)ting inpu1(be sure lhiS is the lni,vt 101mictophones and nol
line level equ.,m8nt).
Microphone Inputs . Tum'on the FZ.
!he FZ-1 provides separate inputs formic and fine levels; any high • Enter tile Sampling: Length Set operation of the Source Select sub-rTIO<le. Set the "flME" vaa,e IO
unpedance mic can be connected to a jack labelled Mic lnpot. 11is a "fl01000 ms· (1 seoond).
standard 1/4" female pnone plug, This is the standard connection ror • Raise1hesamplingirl)Ut level about a qua.rte<o4the way up,
high impedance (HeZ) mlcrophOnes. The FZ·tOM also ouers a female . Enter Manual Sampling and push ENTER and YES when you're ready to salll>le .
3-pin •Amphenol" connector. This connector (also called a ~cannon~
plug) is the standardoonoectionfor low impedance (Lo-Z) mietophones. . Say 1118 word· MIC' into the mic the instant you begin sampling.
. Betore making the next sa"l)le, en10,Define Voice and sc1lhe vakJeot "VOICE No." to "02."
Make sure 1haIthe mie you are using is the proper Impedance I()( your • Remove lhe micr()l)honelrom the "mte~input and plaoe ti irlto lhe ·11ne"Inpu1.
sampler. Chancesare, if the connectors match, so does the Impedance, • W11hou1 making any changes in the sampling parameIers,sanl)fe the word "LINE.·
!' you're not sure, Check the mar'I.Jalthat came with the mie. 11the . PIJsllPLAY and use the DOWN button lo set.a '"VOICENo:
11npedances/connec1ors don't match, you will need a transformer/aefap.
tor 10 change the mic·s impedance to match the sa"l)ler's. . Play and listen to the two sa~les you've made. Use the YES/NO bu11ons10select between voice
rumbef 1 and vote number 2.
Line Level Inputs
Observalions:
The FZ-1 provides a 114•high impedance jacl<for its ine level input
Althoughthis connection is standafd for mo~ line level devices. you may • You will notiee lha1 the major dH1erencebetween !he sample made al the Mic input and 1hesa~
co~ aO'osssome equipment that does not 1ol0w this Slandard. Once made at the Line lr.,ut is !hat the line seems to be Jowe,in volume. This:Is because the mic input is
again, we recommend you check with the Opetatk>ttsManualol each m.ich more senshivethan the fine input. 54noea microphone prOWoesSU(:ha low signal, ft needs to
deviee you intend 10use. Ard use adapt0ts or transformerswhen ooc- go through an Input that wil boost a signal before It Is reoorded.
essary. . Another poini to mention is that. when co~l'ing the two signals, nollce the noiSelevel of both sig·
naIs. You wlll llnd that. when you attempted 10re00<dthe weak signal through the line input net only
did you Josesignal but you gained noise.
. Try the same e)Cperiment, but this time, instead of samc:,ingyour voiee. try using the output of a tape
reoorder,synthesizer,or other line~leveldeviee.
. Be sure to leam how tc se1 the best levels, regardlessof whether y04..fresampling a mic or line-level
souroe. (That's covered in Experiment 13,)

18 19
 2.3Listeningto YourWork
.... 2.4MIDIConnections
Of course you want 10hear yoor FZ. You will also want to listen to your On the back of your Instrumentyou will linct th,ee 5-pin connee1or&-MIDI
source as well. This is particularly importantif you are samplingfrom a IN. OUT, and THAU. These three ports provide you with the abildy to
Unolevel source. Y0t1should provide a way to monitor the output of the communicate not only with other FZ's but with any lnstrumonto, com-
source so that you can hear what's being sen1ln10the FZ. puter that inCOrporates MIDI You won't need 10use any MIOtfunctions
when yQU are sirl'\)ty crealing and listening to samples.unless you are
The key to setting up your monitoring scheme iS clean and accurate using lhe FZ·10M (this IS the rack-mountedVefSionof the FZ and does
soundquality. At the initial stages ot the samplingproce$$,you will want not havea keybOar<!).The MIO/ lmplemenfationChartthat camew!h
to compare the sound 01 the original source to )'OVrsa"1)Ie. (This is your FZ lists all of ,Is MIDI functions.
called an "Al8 " test.} For mos1 situations you will wanI lhe salll)kJ to
sound as close to the original sound as possible. In order ror your ears Sir!l)ly put, MIDI is the means lhal allows your FZ·10M(Of FZ·t for that
to fairly Judgethe accuracy01 your salTl)le, the ampl~letlspeakercombi· matter) to be played from ano1herkeyboard. If you want to be able to
nation you use should be of the highest possible fidelity. Bolh the play voices oo the FZ-10M w'rth ditterenl pitches or in chords, then you
source and the FZ should be played thtough the same system10en.succ will need lOoontroli1from a MIDI oontrolk!rol some type. For our exam·
that any colotallon Introduced by the amp and/or speakers is applied pies here, we are using a keytx>ard,but it could just as easilybe a MIDI
equallyto bOlh. wind oontroner,guitat, percussioncontrone,,or a sequencer.

Audio pr'OCessors and effects like reverberation.chorus. EO, compros• In order to connect your FZ to a MIDI contro,ller:
slon, etc., are all very usatul, bu1be sure that youcan lake them out of
Connect a MIDI cable from the MIDI OUT port of the conttOller10 tne
the sysIomwtlen you don't need them. For now, we·u assume you are
MIDI IN port of lhc FZ.
sampling wilhout any euects.
Set the FZ's ReceivB parameter to ·BASIC" and sel the Bas,c CH
parameter 10 Iha same MIDI Channel1h31tho controller Is translnllling
on.
OR
Set the FZ's Receive parameter to ·AREA • and set the Areas in the
Bank you wish to use to the same MIDI channe1(s)that ttie controlleris
transmittingon.

11you·ra not sure hOw10do this. oonsult pages 97·99 and 84·85 in lhe
OperationsManualfor tho details. II you·re not sure why this is neces-
flgi.we 6: fo, mo•l of tM c•pfflmMll In thit book, l!I you Meet ls yow FZ, • mic, 11t1d
an amp saty, when you ge-Ia chance. take lhe time k>Jeammore about MIDI.
{Clf houdpt.ooes). A ,apereco,dtf will al50 come In handy II you twive one.
If you are unfamiliaror uncomfortablewr1I1MIDt. we suongtyrecommend
that you get hokl 01 our bOOk.The MIDI Book, tor a co"l)lete and
unintimldatinglook al all thi('Gs MIDI. II you wam 10know even more
about MIDI from a technical point of view, then by all means check out
our MIDI Reference Serles.

Figure 7: A more tophit1ica14'd F2 sampling .elUJ) WOUidI~• • mix•, i.pe doat, oulbo,,rd
and ■ palt of
e,lfec::1.J;, monllor ,pe1kera.

20 21
 $ t • :I
3. Let'sGetTechnical
MfOf When you ieally wane10ge1creative with a musical instrument,ii h~
• IN to understandas much as possibleabout how it wo11<s.Leaminghow
__'.T?TT!l:t,r:,:~;_~:,~.;5
i\;'ZGl@Hfilt£~;;-f%,.ziit1.', I}~ somethingdoes what .i:does isn1 necessary1°' you to be able to play ii
or use it. Mer all, you don'I have to know whal makes a jet go i' you

ii;Hl~HUU~UUUHU~~IHUHU~UI want to lly, and you don't have to know how an eleelric gurlar works ~
you wanl 10 play rock ·n· roll. But If you wan1 to push that jet through
high,.GIOOpsor make that gutta, scream,the more you know about the
technologyyou·re using, the roo,ecrea1Neyou can get with your ioys.

Agur. e: H••· • lh• bo•lc: conneictionto """'- kl COt'llrOIaraFZ• 10MrtClfflan anotN!I Mlot con- With tha.1in mind, we 1eel that it's impottanI to provide you with !he
troller. YOtJonly noed to oonnocl tho oonttoller'• lillOI OUT 10 lht f2"• MIDI IN. details ol hOwandwhy your FZ does what It does. {Remerrber.alJsam-
plers use tne same technology,so the l){lncipleswe·re explaining here
appfyto a11sa~rs.) Once you underSlandthese basic fundamentals,
you'll have a better appreciation 1or hOWyour FZ works. We 1eelthat

MIDI
IN
MIOf
Ol/T
....
IN
MIOI
00T
une1e,standlng is an essentialkey to unlocking manycreative options.

If you're in a hurry 10get on with our tour o,t F2 features, then by all
meansjump ahead to Part 2. When you're ,eady to ge-1technical,come
on bac:111
By nowyou might have some ~•stlons about all of lhiS, such as:
How ls soundconvertedInto an efea,onic signal?
How is lhe eiecuonicsignal convertedInto a series ol nurrt>ers?
The sound iS converted from acoustic to eIec:1roniC,
to digi'lal, 10
electronic. and 1ina11y
to aoousticagain before we ever hear ii.
figu,e 9: When you u.se • MIDl'oompute, syslem wi1h ltMtFZ, YQ\l'I fliN<I IO connect both lhit Doesn't somethinggel k>slin all that translaHon?
M10IIN and MIOIOVT ot lht Fl to th• compultf'a MIDI ln•rtece, 1lnoe both die compuW tnd
tho FZWIiiexchange de.la with MCh othe,,. Why does the samplingra1eeltect the fidelity of my safll)fes and
the amountof samplinglime I haV'e?
Why docs lhe number ot bits a sampleruses et1ee1its dynamic
range?
MIDI _Merg&d
MIDI Ou,pots.
Morger
MlOI MIDI MIOI All of 1heseques1ions(and many others lhat wil occur to you along the
IN OUT lN way} can be answe,ed if we take a lool<.at what is really going on inside
the FZ. Earlier, we lnlroduced you to lhe basic sampling process
{Fig(,re2). Let's review tho steps involvedIn tumlng a sound into a sam•
pie.
•• 1. The sound,which is an acoustic:wavefo<m.m.ist first be oonver1·
ed into an eIecuonlc ,epresentauon ot the sound wave by a
mloropnooo.
2. The electconicwaveform (analog audio) Is sent to the FZ's inpul.
where it is oonverted Into a digi1al,epf8sentatlonot the wave.

Fl from • keyboerd Md U!le 1he ooml)l,MI' .-t 1t1e

Flgv,• 10: If yw want to play • r•Ck m<x1r11 3. The digital repl'8sema!lon04 the sound. a setios of numbers, is
Hme lime (footsequencing, eb:l'.),you !My hne to m«94J 1oge1h« lht Mtl)f OUT of both 1M, stored in the FZ's memory.
Wld 1M oon1ro11.,,s.nd lhe merged algnal 10 the FZ'• MIDI IN.
comp1.11Jtr
4. To play the sample, th.e<Ug~izalizedrepresentatiOn01the sound
m.Jst be convertedbac:kto an electronicwaveform.

5. The electronic waveform iS sent from the FZ's ou1pu1to an

amplifier and speake1(s).
6. The speakers convert tile electtonic waveform back into an
acousticwavetonn.
7. we hear the aoouslicwaveform as sound.

22 23
~
Whars lnte,esling about this process Is tha1It creates a par11a1
recordof
what occurred In lhe real world. Althoughwe cajl them motion pictures.
1he mtlon lsni recorcledon the film Each lrarne is an indivldu.aJstill
piclure. We onty perceive motion wtien the frames are displayed very
,apidly, one after lh,e:other.

Svwose. for exanlJ'8, lhat you made a movie of a ball lxnrnek'lgalong•

s.ldea ruter (Figut8 13 ). As you wa1cll the scene live, you see the ba.11
move up and down In one oontinuous, uninterrupted motion. If you
examlrlc the trames ot the movie, however. you 'II find that each one is
~st a still picture of the ball anc,the ruler. tt you IOOkciosely, you'll see
that the ball's ve-r1icalposition changes slightly from trame to frame.
When you C:OITJlare the baJl's posiuon agains1the ruser,you'll see that
there are indeed gaps between Hslocation from frame 10 trame. So how
come when the movie is shown,you see motion?
Agu,• 12:A mlcropl'M>oe oonvom W11g• In air presMIN (~ lnco CNo,.s-, von..;. te'ffl•
(•n•log 1ucllo), Th• Pl'ff•ure ll'ld voltagechtnget cone.pond lo eteh olher In• •lmpte, cne4o- You'Ve)Jsl hil upon the lunclamentalpremise ol sa"l)fing systems. II is
OM mann«. Gttlphfng eilher lht .coue-tle or ekdronk ~I wlll produce h NIM .,._ge.
not necessary to capture molion in one continuous ((o ... analog )
stream. As long as enough indivicllaJ samples are taken in a given
The outputs of the olher potential sampling sources we've mentioned, amounl of time, It Is possible 10,ecreate the origlnal motion by rapidly
such as tape recorders.CD players, oleclronie 111JsicaJ
lnstrumenis,e1c,, playing bad< the samples In their original order. H they are played back
au prcxlucc the same kind of continuousty changing analog eiectronie at the same speed they were taken, thi! motion will appear to be the
signals. You should be aware that these electronic signals, i.e., analog same as it originalty occurred. II they are played bacit slower, the
audio, are what your FZ is aauatty sampling. f'nOtiOnwill appearto be sloweddown, and it they are playedback faster.
the motion will appearto be speeded up. You can also change the ordCf
3.3ChangingElectronicSignalsinto DigitalSamples in wflieh they are playe~for which your movie may earn crtiCaJacdaim
and an Oscar tor editing.)
So. as we·ve alteady mentioned, !ho saOl)ler actually convorls an ana•
log eleaconlc signal ilto a digilal Signal.• How exactly is that done? Lei's stay with the movie analogymsa~ng a bil longer and see ii we
Even though we use the FZ to record and playback sounds. in some can come up whh lhe cri1icatfactors that etfecl how well (technlcaJly,not
ways it has more in common with a motion pldure camera than it does artisticalty)a given moviewill tvm out,
with a 1aperecorder. So m.ich so in fact, I.hatil's worth takJnga brief
klok at how movies are macteto rr.ndout how $amplesare made. 1. Sampllng Rate (Iha ra1eat whie:hprogressiveframes of mm are
exposed): The higher this rate. the more accurate the represen-
in a sense, the the camera ls a sarr.,ting system, and the film Is ijs tation of action will be. Actions will seem more fluid as more
memory. Instead of sampling sound. it samples images. 11sinternal frames are exposed in a given period Of time. ActiOoswill soem
mechanism periodically "looks,· via a system of lenses. at whatever it ferky as fewer frames are exposed in the same period of time.
happens to be pointed al. E.achof these glimpses lasts tor onty a brief 2. Sampling Rosolullon (the resoMng power of the film): In other
instant. Tha1slngkJJnS1an1 is captured on a single frame of mm. Atter a words, how ptecise ~II the images recorded on each frame be?
short perSodof time, lhe camera advances to the next frame. '®ks With motion pictures, resoMion is measured by the frame size.
again, and 1his new moment is recotded there. The exposed film 70 mm has higher resolution. and potentially sha,per images,
becomes a series ot these frozen moments-each one showing a sample than 8 mm. We emphasize the word potenllalty because lrame
of what was going on the instant it was exposed. The prooess continues size atone does not determine the qual~ mthe Imagery. Other
until you slop the camera or run out of mm, factors, such as 1heoptic.atsys1em.wil also eUectoverall Image
qualijy,
3. 5ampll"ll MemO<Y (the amount ol ldm available): This will uni.
matelydetermine the length ot the mov'8 you can tal<e.

Nothing very hard to understand here. is there? It all makes a ,01ot

sense. 11you·ve ever seen any super slow,motion photographyor those
high,speed sllenl ski1son "The Benny Hil Show." you've seen how the
rate ol exposure elfects lhe way !hat action is teprOOOced(sampling
rate). AU of us have seen the difference In clarity belween
Cinema.Scopeand Dad's home movies (sampling resolutiOn). You atso
know that the '8ngth ot a movie is determined by how much tilm is used
(sa~ng memory). Gue-sswhat? If you've stayed with us so fat, then
you already understand the fundamental principles that alt samplers
(including your FZ) use.

Think 01 lhe FZ as an electronic movie camera. Unlike the movie cam•

f\1\lre 13: A l'nOiAecanen pe,locllCltly "IOoka. M whet JI Is focuMdOft and ,_d, con~ era. however, HhaS no lenses, Instead, the FZ has an audio l.npUtjack.
K-tlon as sti)I pictures.. The MOvleconsists ol a serl" ol lrames. Eac:hframe I• •noklgous 10• Rather lhan capturing sar'1)f,esof actions that oocur in front or b lens. It
single sample.
cap1ures samples 01 the analog audio signal being fed to its input.
(Figure 14)
26
27
-
Ultimately we need 10 know what iS going on inside your FZ. where _I____ -
sound Is representeddigitally (as a se,ies of numbers). However, when
you kick a1 the step,sinvotved in turning a sound m10a sample, we see
this isn"I where the process begins. Before the sound can be digitizal-
ized it mustlirst b8 oonver1od
intoan elecirontesign.al,Beforethat eve,
haPP8ns.somethingmust produce a sound. So whore do we begin? At
the beginning,of course.
(!]
....
•
! 0
I
1·
!•u J.
~

i•

3.1 WhatIs Sound?

Not surprisfngty, everything revolves around sound. You',e turning
t!! .
r,,,.
t
~. V
Time
i
•
li
!!
llme
souncts into samples and then turning 1he safll)les back into sounds
again. Arrt changes yt>umak& along the wa:y(whether they're planned "'.
l I' r r r ,,
.... r
=·
i.
0< accidental) will uh:lmatetyeffect lhe sound ol the sample when you
ptay tt back. So Jet'sbegin here by defining what sound iS.
~!•
~

J
~o '"'V I'\ ~ ~ ~

From a subjective p0int ot view, sound Is anything we arn capable of

! • I V i• \ \
- _ V V

hearing,but whats!Jmufates our senseot hearingIn the firstplace?

ears respond to very small changes In air pressure. These P<es&.1re
ou, li
l i.
,.
~
changes arecalled sound waves. - ,
r..,. r... r...,
Sound waves are disturbances caused by something vibrating in a
medium(like a~ o, water). When that tree falls in the WOOds(whether
I =' i'

~·
thete is anyone around to hoar it or nof), a seriesoc sound waves are
generated as surety as a series of water waves woukl be generated ~ it
~
1
'- J I I I ~
A
"A
"
@Jio .30
fell into a pond(whether or not there was anyone lhere to see the np.
pies in the water). i
¾ I -I \r' \,J \,..I

Sound has lhree unKJ.Jesubjective propMies: pi1ch (high-low), Urrt>re

and loudness (loud-SOM).These three anributes ol sound
(bright-da11<),
E
< . l. 'l!.
E
<-
are mutually independent.but must each be present k>some deg<eein """' Tk'n-t1 Time
order ror us io actually hear anything. Theycorrespond to three physi•
~• Th&three wt'~s In row A differ only in lrequency, lhey l\lve
11: W1wtorm J)illrllrne&e.-s,
cat properties: frequency (pitch), waveshape (limbre), and amplitude equal .mp,lltucle Ind ire th• Nme sh.- {sine wave). The wa,"" In row 8 11e ktffltJu,1 ••ctflt
(loudness). for lmpti!Ydt. The fittl two Wll\'M In row C dltf@ronfy In WhfftwiP' The flnailWl\le In row 8
dlffm In 11 charae1eristlcrltrom 1hoo-1Mrlwo, Nol «If)' is ii I dUT~en4stuipe. Its lr~y find
empli~ fire diffefent is wdl,
Sound waves can be depieted graphically in a variety of ways. The
most common m8thod(anctoften th(I most useful) o4 drawing a sound
wave is 10 show ampl~ude as ii changes over the passage of lime. 3.2Changing
Soundinto ElectronicSignals
Vertical distance on such a graph (caned an oscillogram ) shows a
A microphoneis a device made to c:onver1smallchanges In air pressure
wave·s amplitude. Note that ampll!Udeis shown above and below lhe
(sound) Into small changes in electrical pressure (voNage).E_ssentially,
the zero fine. 11we are talking about acoustl¢ waves, afrl)litude repre•
ii is a very silJl)fe machine. A very thin membrane,called a d1aptvagm,
sents loudness. It t&pfesents vollage for ctedronic wavetonns and a
numeric value for d~tal waveforms. In any ease, the g,aph of the can move in and out in response to changing air pressure. When there
waveform will look 1ne same regard~ss of Whelher it Is ,epresenllng Is no sound presem (and therefore the ambient aif pressure is conslano,
the diaphragm remains sta1ionary. When the pressure b&oomestwgher
acouslic, electronic, or djgitaJ infonnation. Hotizontal <lislance shows
!ho passage 01lime. Wavctormsfrom pitched sources of sound show than normal, the membrane is pushed inwatds. Whe-nthe P'8Ssure
up as repeating panorns. Th8 numbor ot patterns in a given spac~ Is becomes k)>..ve, lhan normal, the membtane is pulled outwards.
trequoncy, and lhe shape·of !he k'ldMdual pattern Is waveshape (which
we hear timbre). F,gure 11 illustrales how these ditlerent sound param- Microphonesaro designed so that whenever the diaphragm moves from
eters fook graphical,Y. The FZ's display also shows a representatiOnof Its noonalposition,an eledtical voltage is produced, (Thete are vatlous
sound waves uSingthis format. methOclsfor doing this, thus the various types 01 microphones:carbon,
dynamic, condenser, el&Ctretcondenser, etc.) The farther the mic's
This isn't the lime o, place to oointo a complete discussion all the sub- dlapllragm Is <fisplaced(In e~her direction). the higher the voltage pro-
Uetles and nuances 01 what makes up sound. There's so much to <llced. When the diaphragm is pushed inwards. lhe vonage is positive.
When ii is pulled outwards, lhe vo•age is negative.
explore we coukl write a book abou1ii. In faC1,we did! Jt you'd like to
know more about the properties of sound, and in particular, how they
apply 10 mt.1sicand synthesis, we strongly recommend Secrets ot That's how a microphoneconverts souncr,a conlil'l.louslyChangingpres•
Analog snct Digital Synthesis by Ferro Technologies, Whiehis avail- sure wave, lnio audio, a continuously changing elecirlcatwave; ptessure
ableas both a book and a two•hOurvicleooourse. changesare converted dir~ty into vollage changes. The 1ermanalogis
often usectto describe this kind ot smoothly changing e1ectrScal
signal. I
we were lo graph bolh the sound wave and !he elect(,c.aJoutput of th
microphone, we'd see that bolh graphs were identical (Figure 12'J •
{Given a per1ec1microphone,of eou,se)

24
25
 rM $$$

Sa~rs and movie cameras are so similar that the throe cNieal factors
tor taking good movies apply to making good sarr!)lcs as well. All we
have to do is subs1ilutesome of the Mmterminologywith samplingtermi~
nology.

Critical Factors tor Making Good Samples

rn ~CCC
1. Sampling Rate: (th-0rate at which pmgressivewords 01memory
lAI .:, • :\ 0 Cl ct
r;,.i -. OCICI are written):The higher the sarrl)Ungrate, lhe rmre accurale the
000
The"t!E'lgtlt"ol N waYo is ,ej)(esentation of the original signal will be. Higher sampUng
OOl'Mll18dinlo a binary rates will produce samples with better r,equency response
0010 1l10 ~ lho ADC.
......-nbe, (lidelity) than lower samplingrates.
2. 5ampllngResolu11on {Ille resolvingpower of the ADC): In othef
wo,cts,how precisewill the val.le written 10eaOhword of merro ♦

gr] [ID
[SIB rm
ry be? With samplers. resolution is measured by the word size
of the analog to dig;lal converter. 16 blls has higher ,esok.Jtion,
and poIen(i.a1tycleaner audio, than 12 or 8 bits. We emphasize
lhe word poten!lalty t>ecaus.eword size alono <toes not deter-

.......
-·
mine the quaJityof the audio. Other factors, such as the analog
, input and output circuits. wdl also effect the overall audio quality.
1111 1111 1110 1011 0000 1010 0000 1011 1101 0110 1111 1111 3. sampKng Memory (the amount of memory available):The num-
t>e,of digital worcts,one word for each sample, wil determine
Ille uUimatolengih ol lhe sound(S)that can be recorded.
Figure 1 ◄: IMlde you, FZ, 1"- AJffiOf/to DiBfW Conlo'el'11!'t"(ADC) Ill ht I~
pwk:,clioally"lOolc..t"
w•fflomt 1nd me11stnS Jt.sheigtl1 (~plltude) wlfl IW own bull Inn,~. A blnn,y numbcf ,..,
a.entln,gf,,e aampled ~ kt\1$1 it •k>Nld In • tin!;1e w«d of--~ ft'ltl'niOtY,&di Of lheM Sampling Rate
s.l~le ••tnflltt I, tnalogous lo • single movie mime.
Sampllng raIe has a direct effecton the fidelity of a saff1)1e. The higner
the rate, the better the fidelity. By lidelrty,we mean lre<)Jencyresponse.
Its intemal mechanismperiodicallylooks at whatever signal that happens Faster samplingrates can cap1urehigher frf4)encles than sk>werrates
to be connec$ed10 its input via an electronic clfculI called an Analog To can. Thi$ meansthat higher sa~ng rates will yietd safnP'eswith more
Dighaf Corrverter(ADC). Each girr!)se Iasis for only a briel instanl. accurate lop end. For any sampling rale there is a best case limit ol lhe
highest trequencyii can record. This is called the Nyquistlimit, and It iS
What Is sees is a voltage ~vel rroving up-and-down(;..st like the bounc• about one haH the sanl)ling rate. Samplers can't ,ecord frequenctes
Ing ball). This up and down motion is the ampl~uclechanges in the ekJc• above lhe NyqutStlimit accurately, They will produce low trequoncy
tronk: waveform. When It takes a sa~e. the ADC measuresthe height tones in !he sample that were never in the original signal. Thls unctesir•
ol the wave(~ oomparos the level to iasown ruler). The measurementis, able effect Is called aliasing . In orde, to prevent It, the FZ has spoclat
simply enough, a woole l'l.lmbet-big numbers for largo ampl~udes,smau anti-aliasing litters buftt into Its input circuitry to remove t,equencies
numbers 10, small amplitudes. Plus (+) and minus (·) s,gns rep<esent abovethe NyquiS1imi1.
positive and negaIlve vollage. (Samplers use the binary version-ones
and zeros~f rumbers instead ot lhe decimal versiOnwe're accustomed Sa!T1)1ers and movfecameras really t10have a lot in oommon. Aliasing
to working with. A number is a number Is a number,wl'lelher you call ii can be a problem In moUonpietures 100. Instead or hearing something
"seven.""7," or "0111".) The mimber is put into a single WOfdof sampling lha1 wasn't pan ot the orlglnal sound, you'I se-esomeIhing that wasn'I
memory. (tn this example, a wocd ot memory is 10a sampler as a frame part or the original image. Next time you're watching an oid western on
of mm Is 10 a movie camera,) After a briel period of time. the sampler the "So Late It's Earty Show," walch those stage ooaeh wheel$. During
looks again, measures the input level, and puts the new measurement the big chase (you know, when it careens out of control through the
Into the next word ot memory. The memo')' contains a series of these gulOh),you may notice that tho wheels look like they're going back·
values. Each one holds the tevel ol the input signal at the install1 the wards. You've probably seen this before. H you've ever wondered
Figure 15: Sempllng Rai.
sa• was taken. The process goes on until you stop the FZ or run out about It, ~ you know that it is the visuaJequivalent to aiasing. II Is
01 memory. caused by lhe wheels tuming taster the the movie camera's version of
the Nyquisl limit
Sound familiar? As long as enough samples are taken in a given amount
of time, it is possible to rncreaIe the original waveform by converting the You Slloufd keep In mind that the Nyquist llmil Is an ieleal ligure. Fo,
digital valuos back Into voltage levels rapidly and in the same order that Instance.given a sampling rate of 36 kHz, the best possillle frequency
they were sampled. The conversionot digital rumbers to voltage levels response is about 18kHz (see Figure 24). Howeve,, in the real wolfd
is <IOneby a Digiral to Analog Convener . or DAC (what else?). II lhe there are other factors that effect frequencyresponse (like the de-sign01
samptes are played back at the same speed they were taken, 1hesound the audio i~circuitry. etc.). You can use the NyquiS1llmlt as a conve•
will have the same pilOh(and last as long) as the original. II the playback nlont reterence ('Hmm, let's see... rm sarr.,ung at 18 kHz, so I should
rate iS slower, the pilch will be lower (and the sound will las, longer). be able 10catch highs up to about 9kHz1, bU1be aware lhat the aC1ua1
Increasing the p{aybaCkrate will raise tho sound's pitch (and make it 1op-endlimit is probablysomcwhal less than the Ideal Ogure.
shoftec). You see, the camera and the san'C)lerreally dO work in a very
similar way. You can even change lhe order in which 1hesamples are As we learned abOve,sampling can be looked at as a matter of mea-
played. (No, they don't give out OSCarstor sample ed~ing; how aboU1a surements. The sampler k>oksat. and measures,the iiput waveform.
Granvny?) The measurementsare recorded, and then the original is reconstructed

28 29
 by using the recorded measurements. Obviously,the authenticityol the
recons1ructionw.Ubo limiled by the accuracy of 1he rulers used 10take
Acoustic Analog Digital Analog Acoustic
the measurements. Figvfe 15shows the same original wavelorm sam-
pled at 1hreediUeren1rates. The rates are shown as rulers. The higher Audio Audio Audio
the samplingrate, the mof8 divisionson the ru)er, You can see that wilh :i:01 1.00) )0\11
higher sa~ng rates. you can measure (record) finer hori:zontaldetails I l • 1001 UHi lilll
0001 1C01 OllQ
In a waveform. Horizontal details translate into frequency components -------_,1 ~•--,J ---
1110 tOll 1111
of a waveform. The finer lhe detail, lhe more high frequencies(harmon• lllC ton 1111
k:s, etc.) in a souOO. Now you know why changing the sampling rate
changes your FZ's trequencyresponse.
Live M!c,ophon&
Sampling Resofvllon
The FZ must also make measurements on a ver1iCa1scale as well.
Ver1iCalcse1alls
on a wavekmn graph translate to loudness changes in
Souroe
FZ Sound
System
L
~
the original wavelorm. So the more drvisi()nson a samplef's vertical Electronic
ruler, the more detailed k>udnesschanges the sampler can measure Source
and ,ecord. This wlll be the determining factor in establishing the 3 5
dynamic range 01100sampler. and is referred to as sa"l)ling resolution.
Sampling resolutionsets the size of the sarll)ling "window" {see Figure
Flgvr• 18: This dlag,.m 1hows wflere • sound I• <XH'lwrttciffom OM torffl to anotlw whitn 11lt
22 ), The higher the resolution, the wider range 01 ctynamiesyou can Ampled and played b6di:. Yoo h.w tht opdoo of modilyt,g the e$ginal11 the polnJ1 WMre ii
sample before they becomedlslorted or noisy. IHYffl ~ f#O pllott,. At point ,. your opllont lncllJO. choo~ I pltk\llar mlCf'Of)hon&
and the -,vJ,orwnent where th,e recordJf'O Vlk" placa. At polnll 2, 3., and S, you CillnUH any
The oomoor of divisions on this ver1iealrulet Is determined by the the number Of •uclkt p,oc:.aon, li.teh •• mhren, rew:rti., equ;all.ura,•IMI COMP,Mtor._ At point,,
you ~n moclfy the original touncf wllh th&FZ'• Voic. Editing~
number Of bit$ used by the analog to cfigttal converter. The oommon
sizes used by sampling Instrumentsare 8 b~. 12 bil, ancs16 bi\. These
1ranslate10 256, 4096, and 65,536 divisions respectively Therefore. a 3.4 What'sthe Point?
16-bit sampler shOukthave a bigger dynamic range than an 8~bitsam·
pier, and so on. tn theOry,each bit means a difference of 6 dB in the Why is it importan1to know all this stuff? Well, ll'lefe are three basic
dynamic range. So an 8-bil system will have a 48 dB range. 12•b!I "tacts of lite" that will have a direct effect on y0u1success (of lack Ofii)
would be 72 dB, and a1&-b~wor1<S CUIto 96 dB. However, jusl like lhe with sampling
Nyquist llllll, thesedistinctions are based on ideal, lheoretical Uml1s.In
Agor& 16: S.mpllng Rt$Olullon 1. Whenever somethinggets oonverted 1romone format to another
the real world !here are other factors besides word size that will affect
dynamic range. F,gufe 16illustrates three diHeren1samphngresolutions {In this case. acoustic to ana)og audio to digital audio and back
again), there is always a chance that some changes will be
against lhe same inpu1waveform. Note that higher re~tion allows
introclloed by lhe conversJonprocess. In lact, you can count on
you to make Onermeasuremen1son the vertical scale.
h.
Sampllng Memory 2. Another important taCIOfis Iha! lhefe are usually some overall
limitations to the conversion ptocess. 11you try to corwert things
beyond1helimlts. the results of the conversionwin be distorted
IL•ngth In Words l::efy•mpllng R,te I X !LengthIn Second• I 3. Finalty, whenever you conven from one lormai to another, you
have a chance to after or enhancetile original, so the converted

!LengthIn Seconds l::e! LengthIn Wordt I/ fy•mpllng Rate I I resut.,is no longer a "clone" of the original.

What ~ all boils down to is this. A lot can and/ot will happen 10a sound
be-tweenwhen ii is generaled aooustica11y and when it Is played back by
your sampler. Once the conversion ls completed, be it a,oouslicto ana•
~ 17:S~ MtmoryC.lcu&.. on• log or analog to digilal, there is no going back. For tho most part.
changes lo you, original sound (Intentional or 001)wil be there 10 &lay
Unlike sampling ra1eand safYl)fingresolution.samplingmemory doesn't !Of1heflfe oCthat part.lculatsample.
effea lhe qualtty ot a sample, bul rather the "'antily. The amoont of
saf11)1ingmemory determines the maximum length ol sarrpllng lime Once you understandthese basic facts. you can apply them in a variety
available 10you. The length will. vary with the sampling ,ate. You will ot ways. Much of what was once mystifying or ln1imk1allngbecomes
often need to convert either memory size inlo a time value {~ many common place. As we mentioned above, your understandingof lheory
secondscan I sample with 128kof memory?1 or time iintomemory size will open up a lot of creative options for you, but lhere are some very
("how rru(:11momoty do I nood to sample 3.5 seconcls?1. Figure 17 p,actiealbenefits to !his underslandlngas well. II you haven1 taken the
shows how to do the mall\ tor these al lmpona~ sa.mplingquestioOs.
The FZ-1 with 1 meg 01 memory uses 522 k tor sampling data (the rest
is vse<ffor system software. volee and Area definitions. etc.}, An FZ·1
!incllhat lhe ~acts of lie" =
plungeyet and bought yourself one of 1heseremarkablemachines.you'll
he" you make intelligent ancl intormed
clecisionson hOwto spendyour har<S-ea,ned cash.
with 2 meg,or an F2-10M,uses 1044k tor samplingdata.

30 31
 Part 2: Edll, EffectS/MIDI,Data Dufrl), and OPT Software. (Each •~mode
GettingTheMostFrom YourFZ has a correspondingmenudrsplay.) Each of lhese sub-modesis tunher
organized into tunclions ancf operations (which also have !heir own
menudisplays).
Now that we've gone over the basicsof sampling,fet's S1artour in-depth
tou, of lhe FZ. The tour is organizedIn the SJmegeneral manneras the To he~ you fVld your way around.wove given youa map {Figura 20,
menuson lhe FZ. We've desiglled this part of tho book 10enhaooeand
aogmencyour O,,eratiOnsManual,not 10replaceii, so be sure to keep It
handy as you tead on.

Speakingof the Operations Manual. we mentioned in 1.3 Sampling

Buzzwordsthat there are a lot of terms used by different instrument MODE SUS.MOOE FUNCTION OPERATION
makers. Some have been more or less adoptedby lhe in.tsiccomm.ml•
ty at large.and othersare u~e to particularcompaniesor instruments.
I EH"l'ER ~-~ (Cc..wrent
Terms S\IChas SpliCe,cross-fadesplice, veJoc.ity switch, velocitycross· ~S.nings)
MIDI mapp;,,g, and controller mapping are frequently
lade, key t1J1Jpping,
used 10 descl'ibe cetealn instn.,mentfeatures by some manufacturers.
You won't see those acluaJterms in the FZ's OperationsManual,but
you shouldknow 1hatyour FZcan dOan 04these and a great deal more. •

Of oourse,we point out and demonstratehow to ge1lhese effects.and

many olhel'S,wiChyour FZ. You'll find that we've given you a lot of Pw-os.o!WIUO
Slri• Synmt$1s
hands-onexpenmenlsand examplesto try out Be sureyou dol tSA-nplt

4. GettingAroundOnTheFl
The F-Z is a sophisticated sampllng/synl.hesissyslom. As you have
MIX Write
""'"- ,
WJotsef~l

WI Sec
OelayT-
..
""

undoubtedlyalteady discovered,it offers a wide variety of features and

PLAY
c:::::l
=
= "'""'
"°""' functions. There are well over two hundreddifferent parameterson the
FZ. Rather than provide you with a contusing array ot a hundred or
more indivki.Jalsliders, switches, and knobs, CaSio haS organized the
FZ 's teatures neatty into a systom of mocJes. svtrmodes, tvnctions,
;::::::~l,!L~~!',!~11,:!,!~~•,-, --1M1•
and operations.This method keeps related functions and operations DelayTflte .
grouped together in a logical manner while at the same time allowing
you to use one common sel of buttons and stlOerstor alt 200+ param&•
1ers, The groups are displayedon lhe LCOdisplay as a Menu. Menus ;W& ..._
U'Ocu
,....
°''""'
.....
X-Mi
'

.-
are accessedw~h lhe cursorkeys (UP, DOWN,LEFT, RIGHT),ENTER AewrM Wrti.
ybO.,d~
key, and ESCAPE key. We wil refer io these as a group as Menu ev1t Rt1Yfll''M:I Write
Keys(S8'l F;g.Jre 19).

Tile key to masloring lhe F2 Is learning how to use the Menu Keys to
1 T~lil
OCAEn~pe

move quickly from mode to modo, sub-modeto sub-mode,anctwithin

each sub-mode-how to move between functionsand operations. You
Volot Edit '•
(
OCFEn~

~ly
...
Set
SMs!IM!y
Rgure 19: The Menu Keyt gel aroundon the FZ by ma"""lallng lhe MenuKeys. The LCD display } l~m~Md
will showyou Whereyou are at any given time. , KoyboMS,
1---1"------+-----+I. (:(ipyVoiet
t o.ie~Volce
4.1 Overview
of FZModes
,....,,_ Vo<O

The FZ has two modeswhich rue acttvs1.ted by pushing the apptopria1e Dump Vole. SaYe Voico
button on the front panel. The PLAY button puts the FZ into its PLAY Veri Yo,c:e
1
MODE. The slruclUre"' Ille PLA y MOOE is very s;mp1e. II has three ' 1:1\u•\IOIClt
operations: Bank Play tels you select and play any one of up to eight '
B.!nks (COfrl)letekeyboardselups); VoieePlay tels y<>uselect and play
anyone 01up to sixty-four voices{individualsamptes);LoadExecIOads
all data (voices,Sanks, effects, elc.) from lhe disk curren1tyJosertedin
lhe <liskdfiv,,, > 1:
(<con.,UOd,
~,.,
PIJshlngthe MODIFY bu11<)'1 activales the MODIFY MODE. From lhls
mode you have access to an of the FZ's sampling, synthesis, voice,
Bank. Efects,MIOI,and Oata OUmpfunctions. Since there arc so many
lhings you can do in lhe MODIFY MOOE, lhe dlffere-nloptions are orga-
nized Into a se,les of Six sub-modes:Source ~lec1. Voice Edit, Bank

34
35
 4.2 MODIFYMODEMenuMap
As you can see from the illustral)OO.
the mel"l.lsin the MODIFY MODE
are interconnectedsomewhat l!ke the branches of a tree. {In tact, this
kind 01 menu structure is indeedcalled a mer..i tree.) When you enter
lhe MOO/FYMODEby pushing lhc MODIFY button, the Main me.-., is
displayed. You can branch ou1from lhere il\10 any one 01the six sub--
modes listed in the meru:
MAIN MENU
[Source 5ele<:t

MODE
I ENTEA
SUB-MODE

~ PE
~
..
FUNCTION

..
OPERATION

~
(Curren!
Settings)
(VOleeEdH
(Bank Edit
(Effect/MIDI
J
I
I
(Data Dump J
(OPT Software J
•
_·V:')ite Edit From each of these sub-modes, you can branch out s.tll fur1her. for
Dump Bank exarrJlle, if you enter the SourceSetectsub-mode, you can branch ou1
;: SenkEdit into any of the frve functions displayed in the Source Select menu:

'
d;;',1\>
if ~
SOURCE SELECT
(Sampllng J
(Wave SyntheSls J
(MixWrite J
(X•MlxWrtte J
(Reve,se Write

From each or these functions, Youcan again branch out into anoltler set
, SiwFu1 of merus displaying operauons. From each operation you can reach the
Full Dump ,.rgefut final limb$ in the menu free. These are the ParameterSettingsmenus
Verttyfut
&a,ii full for the selected operntlon. Every operallon on the FZ is associatedwilh

..._
loodBMlt one or more parameter value. As we mentioned eatlHlr, there are more
&r .. Ba$. than lwo hundred Parameter Seltings active on the FZ. You can imag-
Bank Dump
VenlyBII~ ine hOwdiffk:::uh i1might be to try to locate one sentng out 01two hundred
, if they wernn1organized efftcientty. The beaU1y of the FZ's menustruc-
Sa,.. Voice ture iS lhal ii lets you approach ts features by moving from the general
Vor.fyV.Olce (sub-modes) to the specific(operations). Each level of menus is m.,re
Data Dump Erase Voi01t
focused on a specifictask than the pre-viOusSevel. You'll find thal this
'""'
88'1$ Entel
VeifyEl!tcl
approach Is qute natural and intuitive. At first, you may lind ii help1ut10
keep our menu map handy, but you'll soon be able to find your way
Er•seE¥..ct around without ii.,

Software 4.3 Movingfrom Menuto Menu

So hOw do you go from one place to another In ltle menu tree? You
Climb it, of course. To climb to the next level ot menus, push the
ENTER butlon. To cllrrt> to the previous Jevel,push the ESCAPE but-
AauNi20 oonllnued. ton. You selecl the branch you wish to climb w~h the cursor UP and
DOWN buttons. Move 1hecursor (the l~tle arrow to lhe le-11 ol lhe li$t diS•
played in the menu) next to the sub mode, function, operation, or param.
e1eryou wanl and then push ENTER. Once you·re done with lhe ilems
of a particular menu, push ESCAPE to return to the previous menu.
That's all there is to ii. {See page 12 in the OperationsManual.)

36 37
 N<<
~ '+
There are even some short cuts you can take. No matterwhere you are PLAY MODE: Menu Overview
in the menu tree. pushing 1he MODIFY button wll atNays re1umyou 10
the Main meru. Tt.s can save you some s1eps. II you wanred to go MODE OPERATIONS
ftom the Sampling- Parameter Settings menu 10the Voice Edit menu. for PLAY •>
example, lhe MODIFY bunon would let you jurrp directly to the Mam MODIFY Play Bank
menu in one butlOf'Ipush, as opposed to the three required if you use PLAY Play Voice
the ESCAPE button. Load Exec

Anolher very useful shon cut provided by Cask> is the CALUSET

MENU button. Use this to jump instantly from the PLAY MODE to any Sampling Menu Overview
ot the menus in the MODIFYMODE. It's easy to use. Be1oreyou push
the PLAY button, push the CALL/SET MENU button. (Its red inclicator MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
tighl will go on.) The FZ will rnemori?ewtlete you are in lhe menu uee. SETTINGS
Now push the PLAY button. When you want lo teave the PLAY MODE MODIFY·> ENTER•> ENTER .- ENTER ->
and return to the memorized menu, Just hit the CALUSET MENU but- <-ESCAPE <-ESCAPE <-ESCAPE
ton, You'll jul'fl) lnslan1Jyto tho same menu thal was di5P'ayed when MODIFY source Select sampttng Deline Voice Voice No.
you first pushed the CALL/SET MENU button. PLAY Voice Edit Wave Synthesis VoiCeName
Bank Edit Mix Wrilo
Effect MIDI X-Mixwne KeybOard Set Orlglnal Key
4.4 MenuOverviews Data Dump Reverse Write Highest key
The FZ's menu system will let you oover a lot of territory. To make OPT Software Lowest Key
things easier for you, we've provided an over.new for each sob-mode.
funclion, and operation menu used in the FZ. (These ate similar to !he level Se1 Record Level
Trigger Level
Mode Transition Diagramslike those lound on pages 10 and 47 in
Sampling Level
Casio's OperationsManual.) Each overview shews which buttons to
push and which menu ttems 10 se1ee1to get 10any desired FZ menu. Length Sel Time
The oomplele palh ls stiown so thal you can see how 10ge1there even If Rate
you jus1plugged your FZ In tor lhe first time.
Auto Sampling Start
The firs! column shows which o1 the two modes 10 setee1. The sub• Stop
mode. functions, operations, and parameter scltlngs columns show you Manual Sampling S1an
wha1items will appear in lhe LCO display. The second oolumn shows Sto
wl>Ch 01 the six sub-modes to select with the UP/DOWN button,; betore
pushing ENTER. (We've lncf,c:atedthe setected ijem in bol:Haoetype.)
The neX1oolumn shows which function 10seJec,wilh the UP/DOWN but· Wave SynthesisMenu Overview
tons before pushing ENTER. Tho next column shOws all operations
thal will be d~played for tho selected sub-mode or lunctiOfl. The last MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
column lists the parameter settings that will be displayed when any of SETTINGS
lho operations are seJccled and entered. Above !he di:SplaycokJmns MODIFY·> ENTER -,. ENTER --,. ENTER --,.
we'Ve indicated the buttons to push to climb 101he next (ENTER->) or <-ESCAPE c-ESCAPE <-ESCAPE
previous (<-ESCAPE} level of menus. You'I notice lha.t not all opera• MODIFY Source Select Sampling Deline Voice Voice No.
lions are nested inside of functions. Many are accessed diree11yfrom PLAY Voice Edit wave Synthes! Voice Name
the sub-mode menu. we·ve indicated this wilh a double arrow Bank Edit Mix Wrhe
(<·······>), EttecVMIOI X-MixWl"ile Keytoard Set Original Key
Data Dump Reve(S8Wfrle Highest Key
OPT Software Lowes1Key

Preset Wave SawToo1h

Square
Pulse
Double Sine
Saw Pulse
Random

Sine Synthesis Hannonic Level

Execute

Cut Sample Source No.

s,••
End

Hand Orawi Position Level

38 39
• mm 7.
..'j'
. ·11:. ii
·-·•111&.
- I■

Mix Write Menu Overview .

Reverse Write Menu Overview
MOOE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
SETTINGS MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
MODIFY·> ENTER -> ENTER -> ENTER -> SETTINGS
c-ESCAPE <-ESCAPE <-ESCAPE MODIFY•> ENTER -> ~,.TEA --> ENTER -,.
MODIFY sourco Select Sampling DelineVo.Ce VoiceNo. <-ESCAPE c-ESCAPE <-ESCAPE
PLAY VOiee Edit WaveSynthesis Voice Name MODIFY Source Select Sampling DefineVoice VOieeNo.
Bank Edit Mix Write PlAY Voice Edit WaveSynthesjs VoiceName
EllecUMIDI X-Mix Write VoieeSelect 1stVoiceNo. Bank Edij MixWrle
Data Dump ReverseWrite 2nd Voice No. EIIOCUMIDI X·MixWrite Voiee Select 1stVoiceNo,
OPT Soflware Data Dump Reverse Write 2nd VoiceNo.
Keyboard Set O<iginalKey OPT Software
Highest Key Keybo8Jd Set Original key
Lowo-stKoy Highest Key
LowestKey
LevelSet 1st Level
2nd Level ExecuteReverse Yes/No
Delay Time 2nd Start:Coarse
2nd Start:Flne Voice Edit Menu Overview
Oelune 1st Tune MODE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER
2nd Tune SETTINGS
MuDIFY·> ENTER -> ENTER ...,. _, .. ER ->
ExecuteMix YeSINo <-ESCAPE <-ESCAPE c-ESCAPE
MODIFY SourceSelect <--------------··> DelineVoice VoiceNo,
PLAY Voice Edl1 Vo~Name
X-Mix Write Menu Overview Bank Ed~
Ellect/MIDI CreateVoice Truncate s,art:Encl
Data Dump
MODE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER DCA Envetope Rate KF
OPT Sottware
SETTINGS LevelKF
MODIFY·> ENTER -> ENTER -> ENTER -> Step.Rate.Level
<-ESCAPE c-ESCAPE c-ESCAPE
Copy From DCF
MODIFY Source Select Sampling DefineVoice VoiceNo. DCF Envetope CUtoftFrequency
PLAY VoiceEdit wave Synthesis VoioeName Resonance
Bank Edit MixWrite Rale KF
EflecVMIDI X•Mlx Write Voice Select 1stVoiCeNo. level KF
Data Dump ReverseWrite 2nd Voice No. Step, Rale, Level
OPT Soflwaro Cojl\'FromDCA
Keyboard Set O<iglnalkey
Highest Key Sulrt: Encl
loop Set
LowestKey LoopTime
CrossTime
LevelSet 1SI Level Next
2nd Level
LFO Sel Wave
DelayT,me 2ndStarl:Coarse Sync
2nd Start:Fine Delay
Detune 1S1Tune Rale
2nd Tune OSC Depth
OCA Depth
CrossZone Start:Coarse OCF Depth
Slart:Fine
E.nd:Coarse VelocitySens OCA level
Encl:Fine OCARate
OCF Rate
Executex~Mix Yes/No Resonance

Tune/MemRead Tune/
MemRead

40 41
 •
.
!;.
' i'
' ·.·.·..·,·.·.·.·.·><·.··.·
.... .
,.
Bank Edit Menu Overview
VoiceEdit Menu Overview(continued) MOOE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
<·········--··--•> Keyboard Set Original Key SETTINGS
MODIFY-> ENTER -> ENTER -> ENTER ->
Highest Key
Lowesl Key <-ESCAPE <-ESCAPE <-ESCAPE
MODIFY Source Select <••••••••••••uo> Define Bank Bank No.
Voice Name PLAY Voice Edit BaMName
Destination Bank Edit
Execute; YeS/No Effect/MIDI <••••••••••H•OOO> Create Bank Voice No.
Data Dump Original Key
OPT Software Highest Key
<·•······..···• .. H> Delete Voice All Pa,t
Unused Part LOW&St Key
Max Touch
<················> ReplaceVoice Voice Name Min Touch
Area Level
Ourfl) Yoko Load Voice Voice Name MIDI Channel
E.xecu1e:
YeS/No Output

Save Voice Vok:eName

<•n•••••••••••••> Copy Bank Source No.
Execute: Yes/No DestinationNo.
~ecute: YeS/No
Verify Voice VoiceName
Execute: YeS/No <·•··············> DeleteBank Bank Only
Bank & Voice
Erase Voice VoieeName
Execute: Yes/No <······ ••••••••• ·> DeleteArea Area No.
Execute:YeS/No
<n••••••••••••••> Replace sank Source No.
DestinationNo.
E.xecute:Yes/No
DumpBank Loacf Bank BankName
Execute:Yes/No
Save Bank BankName
Execute:VesJNo
Verily Bank Bank Name
Execule:Yes/No
EraseSank BankName
Execute: Yes.1No

42 43
 !I@

Effect I MIDI Menu Overview Data Dump Menu Overview

MODE SUB•MODE FUNCTIONS OPERATIONS PARAMETER MODE SUB·MODE FUNCTIONS OPERATIONS PARAMETER
SETTINGS SETTINGS
ENTER -> ENTER -,. MODIFY•> ENTER-> ENTER -,. ENTER -,.
-<
'"'"'==~+-~-~--+:•::-.:E.:S.:C;::A.,P_,E,__4'~•;::-c.,Ee,S:..;C;::A::.:P:..:E,_~~•::-.:E.:S:.,C;:A:,P:.,E:_
____ •-ESCAPE ,c .. £S CAPE c-ESCAPE
MODIFY Source S81ect <···-·······••u•> 88nd Range Bend Range MODIFY Source Select Full Dump Load Full Execute:Yes/No
PlAY Voi¢e Edil PLAY Voi¢& E<lil Bank Dump Save Full Execute:Ye&INo
Bank Edit •················> Mod Wheel LFO osc Bank Edit Vok;eDump Merge Ful Execute:Yes/No
EfleCI/MIDI LFO DCA Elfee1/MIDI Etled Dump Ve~ty FuD ExeaJte:YeS/No
DataDump LFO DCF DATA DUMP EraseFul Exec,,te: YeSINo
OPT Softwate DCA Level OPT Software
DCF Level Full Dump Load Bank Bank Name
Bank Dump Execute: Yes/No
LFOOSC VoiceDump
LFODCA Etteci Dump SaveBank Bank Name
LFODCF Execute:YeS/No
OCA Level
OCFLevel MergeBa~ BankName
Execute':
YestNo
<•·•••·• .. ·······> FootVR LFOOSC
LFODCA Verify Bari< Bank Name
LFODCF Execule:YeS/No
OCA Level
OCF Level EraseBank BankName
Execute:YeS/No
<·•· .. ···········>MIDI Funcllon BasicChannel
Full 0U"l> LoadVoice VoiceName
Receive
Bank Dump E)(eaJfe:YeSINO
BaSic/Area Voice Dump
Control Effect Dump SaveVoice VoiC&Name
ENNO!$ E)(8CtJle:
YeSINo
Program
ENNO!$ Verify Voi¢&
Dump E11cci VoiceName
Load Effeci E118C1
Name E.xecute;
Yes/No
Exocule:Yes/No
EraseVoice Voice Name
SaveEffect EffectName Exeoute:Yes/No
ExeCtJte:
YeS/No Full Dump LoactEffect EHectName
Bank Dump Execute:YeS/No
VerNy El18C1 EffectName Voiee Dump
Exe())te:Yes/No Effect Dump Save E11ect Effect Name
Execute:Yes/No
Erase E118C1 EffectName
Execule:Yes/No VerifyEffect EffectName
Execute:YeS/NO

EraseEffect Effec1Name
Execute:Yes/No
<--·------- - •• ---> Seleci Device Device:Disk, Pal, MIDI
Port,MIDI
<•••n•••••••••••> FormatDisk DiskName
Execute:Yes/No

44 45
4.5 AdjustingtheLCDDisplay Keyboard Set
CertaiNy, one of the moSIpowerfu1features of the FZ is its high reso\J· The Keyboard Sel ope1a1'onIs used to selea 1he range ol keys which
lion LCD display Not only is the display yourwindow into the FZ's menu wlll play the selected voice. The Original Key is the key thai wilt ptay
structure, bul it a1s.oallows you to view and edit waveforms and back a sampled voice with the same pitch it was sampled at The
envelopes vi:suaHy.You may have noticed that the display can be hard HighestKey is 1he upper key that will sound with this voice, and lhe
to read ll'Offi certain viewing angles (a oomrno-nproblem with almost all LowestKeyis the LowestKey that will soundthe voice. Theope,a1ionis
LCD displays). Casio has provided a means 01 adjusting the display deserl)ed on page 2s ot the OperalionsManual Be aware that when
contrast so that you can make the display easy to read Imm virtually any the parameters to, this operation are dis.played,you will not hear any
angle. Unfortunatety,the method f01hoY.'to do this lsn1 explaW'ledin the sounds from the FZ when you play on tho keyboard. Instead,every key
OperationsManual. Here's how ft's done: you press updates the values lor 1he Ofiglnat, Hlghes1, and Lowest
Keys, The cursor will move automaticaltybetween these three keys.
Enterlhe MODIFYMODEby p,cssing the MODIFYbutton. (You don1 have to use the UP/DOWN but1ons.)Once you've set up the
Acl'n 21: OrlglMI K♦V desired ,ange, be sure 10return10lhe previousmeru (with the ESCAPE
Hok:Idown the DISPLAY buttonand move lhe VALUE slider.
bullon) before you play any other notes on the keyt,oard.
Move the VALUE slider up an<!down through tts complete
range unlil you find the spot where me display IOokSbesl tor Voice Select
your current viewing angle. That's all there Is 10 It.
(Rememberto hold tho DISPLAY bullon while you're moving The Mi:xWrite, X•Mix Write, and Reverse w,;te lu~iOOs each crea1ea
tho slider.) new voiceby altering a previouslycreated (sarlllf?d) V()i(:e. Tho Vo,ce
Select operationis used to select whieh previouslysampledvoioe(s)will
4.6CommonFl Operations be used as source material for the new voice. (See pages 41, 48. and
58 in the OperationsManual.) Make sure the the Voice No. for the
tt y<>uexaminethe Menu Map (Figure 2U,an<!the Menu OveNiews, you functionis not lhe same as the 1st Voice No. 2nd Voice No, or Source
will s.ee1ha1most of the sutHnode-sand tunctions have thfee or mo,e No., or you may inadvertentlydelete a voice. Use the VALUE slider II
O!)erationsIn common: Detin6 Voiee,KeyooardSet, and Voiee Select, you want to set a rangeof keys that ex'lendsabove and/or below the llm•
as well as Load.... Save... , Verify..., and Eta$e.... Since Ihey will appear ils of the keyboard. You can set any llmfts within a ten-octave
in so many different menus. bul are always used in 1ne same way, we range.(ThiScan sometimes happen If you execute the tundion wllhout
felt~ woukt be a good Idea 10go over them now, be1orewe IOOkat FZ ever en1eringthe DefineVoice opetation.)
tunctlonsln•deptll.
Load, Save, Verify, Erase
Define Voice
Memory operations thal deal ~h the different FZ dala types can be
De-lineVoice appearsin au frve of the Sov.rceSele<:Imenus and al$0 in accessed trom within the appropriate sub-modes and also from the
the Voice Edit menu as well, When you enter this operation1t0m any 01 Data O,vmp sub• mode. This i.s a great convenience,since you don't
these menus you will see a ParameterSettings display showing you the have to leave a sut>-~e 10load, save, verily, Of erase Banks, voices.
VoiceNo. and VoieeName o1the currenlly selected voice. (If you've or effects. The operations, as they appear in the sut>-modes,k>okand
jus1turned the FZ on, thtswiUdelau.n10Voice No.1 ) work the sameas they do in the Data Du111> sub-mode. (See pages 100
ttvough 1221nlho OperationsMawal.)
Deline Voice Is used to selecl any one of the sixty-tourFZ VOicesto work
wllh. If you are wort<,,g in one of tho Source Select menus: Sampling, Understandingthe different data formals and how 10 use them is an
Wave Synthesis,Mix Write, X·Mix Write, Reverse Write, you will want to importantpart of getting lhe most from your FZ. ~ sure to read abOut
use this operation10define a new voice. II you are working in lhe Voice MemoryManagement in Chapter 13.
Edit sub-mode. you11want to use Define VoiOeto seleci:a voiee prev>-
ously created in the SourceSelect sub-mode. You can scan ttwoughthe
sixty-four voices by moving the cursor to Voice No. and then using lhe
4.7 OPTSoftware
YES/NO buttons lo setoll lhrough tho llsl. If y<>uare creating a new
voice, select any voiee nuntl<lr lhat shows tho words "NO SOUND" In This six.lhsub•rnodeiS reservedfor soon·to•b&-reteaseel expansionsoft..
Ille display. Voices previouslycreated wih So<JrceSeleci functionswill ware for the FZ. The computerhardware in your FZ can be made to dO
show either 'flecorded" or ·syn1heslzcd: Volces supplied by Casio {or any numbor ol things as longas tt Is driven with the app,opliale SOit·
other commercial llbrarles)wlll also show a name, like "Piano C3." Of ware. Casio and others wil be teleaslng optional software packages
course, voiees you etea1eyours&lfcan display their names as wel, but that wlll add even more powerto the FZ. As this is written, the first set OI
you'll have to enter the names as you create the voices. Thal is the optional softwarefrom Casio iS about 10be released. The packagec:on-
other function of IM Define Voice operation. (See page 13 in the lalns enhanced looping tools, audio eHects. and note and pattern
OperationsManual.) sequencersk>r the FZ. Now let's rY'Qveon and look into how to create
sampleswiththe FZ.
The important Ullng to remember about Define Voice Is to bo sure to
setea a new voice ("NO SOUND")betore )'O<I executeany ot lhe Source
Select functions. OthelWiSe,you may unintentionallydelete a ixeviousty
createdvoice. If you have se~ed an exlS1ill9voice, the FZ will ask you
tt you really want to corninue.You'll see "VOICE EXISTS, DELETE?
YES/NO" in the display. ti youpress YES the voice wot bo deleted, so
you can put a new one in itSplace. II you press NO, you will escapeto
the previOusmer..i. From there, you can enter Define Voice to selecl a
newvoiOe.
46 47
 •·
... ,,' ffi
.. •• t

5. Creating
Samples
Experiment
#3:OriginalKey/KeyRange On the FZ, all of the operationsthat have to dOwlh samplingsounds,in
other wo,ds, converting analog source material into digital data, are
grouped together In the Sampling function of the Source Select menu.
Focus: Sample Edit Performance They are detailed In p~s 22 through a-0 oCJhe OperationsManual.
HereIs the Menu Overviewfor this Junction.
Key Settings:
. Sal!llling Rate: Defautt,Sal!llfing nme: 00100 ms Sampllng Menu Overview
• Input Level: 1/4 up OPERATIONS PARAMETER
MOOE SUB•MOOE FUNCTIONS
• MiCor une: une SETTINGS
. OriginalKey, HighestKey, Lowest Key: referto Step by S1epbelow M DIFY-> ENTER·> ENTER -►
<-ESCAPE
EITTER-
<-ESCAPE <-ESCAPE
Operations Manual Page Reference: MODIFY Source Select Sampling Define vo.ce Voice No.
PLAY Voice Edll Wave Synthesis Voice Name
• Sal!llling Operations:KeyboardSet Pg. 25 Bank Edit M~Wri18
Ettect MIDI X•MlxWr'le Keyboard Set OriginalKey
Data OJ"l> ReverseWfile Highest key
Step by Step: OPT Software Lowest Key
• Record the word '"PITCWonto your tape deck. (This time, try singing lhe word instead of just speak·
ing it). Remember10take all precautionsoutlinedii ~perknent #3. Level Set Record Level
Trigger Level
• Se1the FZ's Input level and the sample length as describedin Expedment #3. Sarl'j)!ing level
• Enter the Sarl'j)ling: KeyboardSet
. Set the FZ's "O<lglnarto "C04' (either simply press middle C or use the Value slider). Length Set nme
Rate
• USingme cursor Downselect "Highest·
• Set ·Highest' 10-cos· (by ehherselection method!. Auto Sarl'j)fing Stan
. Set 'LOWesrto "COS".ESCAPE. Stop
. Enter ManuaJSamplingand p<essYES aher your tape has been cued and ts running•
Manual Sarl'j)!ingStan
. When samplingis oomptete.press and release micktlec:OriginaJ; then Cone octave above mick:Ue
Sto
C. 'lilghest." and then Con<>octave belowmiddle C.
. Repeat the entire above proceQJ,esaltering only the key assignment. Assign Original Key to CO2
(the lowestC), HighestKey to COS(the second C), andthe lowest Key to COS(the thin:!C). 5.1 SettingInputLevels
Observations: lnpu1Level, mre than any other parameter,has an enotrnouseffect on
the overall sound quality of your sampl9$. II the level is sel too high. a
• Two points shouldbe immediatetyapparent. One, Key assignmentsets the maximumlimits the sam- very harsh (and particulartyunpleasant)dislortlon will be introducedinto
pie will be 1ransposed.Two, pIacemen1oa the sample on the keyboard has no relation 10 that keys your sound. II the level Is too low. your san-.:,18s
will be noisier than they
normal musical pit.Ch,te., placing a saffl)le on rriddle A ctoesnot mean that the sa~ wYIbe A440 OOUld be.
or concert A.
. The relationshipor Highest Key and Lowest Key to Original Key is the.~usic-alinterva~ between.high tf yOtJwero to sample a contiruous tono like an organ note. the ideal
and low to original. For example,it hlgh key is one octave above ong1nalkey, then hiQl'l kOY'_VIII be level sett.Ingwould be at the point Justbelow Wherethe distortion occurs.
exactly one octave higher In pitch than any pitch assigned to original key, or exacily doubled m fre· This would produce the deanest and mos:1quiel sample on your inslru•
quenc:y.Thesame relationshipIs true for )Owkey. ment. Most of the sounds you'll be salll)i:ing won't be continuoustones,
. You should have a)OOnoticed that, when you atte«.>Cedto assign low key higher than the original hOwever. One of the things Ulat makes a sound interestingIs changes
key, the the FZ wll adjust loweSland highest uathe relationshipis correct. ~w key must be equal lo In its toudness. Piano tones, for example, sIart )()ud and gracklallyfade
or lower than original key, and consequently,hign key must be equalto or higherthan ongInalkey, WNay.When youset the IeveII0 sample lhe beginningof lhe tone wi(h•
. Ex:perimen,wtth placingdif1erentsounds on the keyt,oard, and listen for the limit of the transposition ou1 distortion, the level ot "tail," or 1he deeay portion of the tone, wlll
eventuallybecome so k>wthat the noise of the salll)ler Is IOuderthan
of each sound.
the piano sound.

If your sound is Uawedbecauseor improper level settings, there is not!\.

ing you can dOto tlx it later on. Your onry choiCeis k> sa~ the sound
again. Now you can see why we recommendedthat you first record the
sounds you want to sa"'l)le on a good qualiy analog "' dlg!at tape (or
hi•fi video) reoorder. You can replay the sound over and over until you
get the levels set jusl where you want them.
Figu.NI22: Match~ th• lnpVI SJgn ■I
""" lo the F2'• Sampling Window
F,gure22 shows the relationshipbetween input levels and the resumng
sampledsound. Your FZ (indeed, an audiOdevices! has a "window"that
defines where the best levels should be. Input slgnalSabove the wit'!•

48 49
 <low will be c[Wed (distorted). While distortion has becomes a sougl>I
a11ereffect in certain situations,for roost saR'l)lin,gappl:icatiof'ls
Youwill
find distortion to be extremely unpleasant. The FZ (hke any audio
Clevice)willalso add a smaJIamount of noise 10lhe signal it prooesses.
Experiment
#4: SamplingRate
tf the input 18vell.s beiow the sampling w1ndow.the added noise will be
IOud enough (relative to the sampled sound) 10 be quite audible in the Focus: Sample Edit Performance
lina1sample.
Key Settings:
Technically, the sampling windOwis referred to as dynamic range. The
spec. sheets ot most audk>gear will list dynamic range as signal to noise Sampling Rate: refer to Step by Step below
ratio or SIN. The overall dynamiCrange of any sa"l)ler Is detemined, Sa~ing Time: 002000 ms
tor the roost part. by the number of bits used for each sa"1)kt. In gener~ Input Level: 1/4 up
aJ, the morn bits used. the wider the dynamic range. The reasons for Mic or Line ; line
this were explored previously in ChangingElectronic5/gnalSInto Dlgffal
Samples.
Operations Manual PageReference:
5.2 SettingLengthandRate • SampUr,gOperations:Length Set Pg. 27 (block# 3)

Length Set Step by Step:

All sampfel'Suse RAM (ral'l(jom access memory) to store digitalized • Use your cassette reoorde, or drum machineto tOO()(da long cymbal crash. If you can't get a record•
sounds. Tile total amount ot memory available tor storage is fh<ed. ing of a cyrroa1.record ano1hersound thal has a k>I01iop end,"
Memory size is usually given as the number ol kioByles, as In "128 • Refer to page 27
k8y1es· or "128K" (Whl¢hmeans 128,000by1es). The FZ-1 comes from
the faaory with 1 m6ytes of memory (that's 1 millionbytes). To;scan be Enter Sampilr,g:Length and set the "Rate· to 36 kHZ and the ·r.ne· to 002000 ms.
expanded lo 2 m8y1eswtth the MB-1Ooption. The FZ·10M comes stan- Using the "Mar<JaiSample" lountain sample the cymbal sound.
dard wfth 2 m8ytes of internal memory, Out of that 1 ITeyte, 522 k8yt&S Enter Define VoiCeand set "Voice No: to "02".
are used for sa~r,g memory (1044 k8yles for the 2 mBy1emachines).
Enter Length and set the "Ra1e"10 18 kHZ and clear and reset the "Time"to ·002000 ms."
Alt110ughthe total size of sampllr,gmemory is fixed, the length ot time fOf
eaChindivlclJalsample can usuatty be vafied. For exa~. the normal Usingthe Manual Sample loumain sarri,le the cymbal sound.
FZ-1 has 14.5 SOO>nds 01sampling memory (at a sampling rate of 361<). Enter Define Voice and Sfl1"Voice No."to "03".
You may dNide up lhose 14.5 seconctsa.nyway you wish. For exafTl)le, Enter Length and set the ~ate" to 9 kHZ and clear and rese1the-rime~ kl "002000 ms."
you oouk:Iuse all 14.5 seconds tor one sample, or create 14 samptesof
Usingthe Mar<JafSarl'l)fe function,sample 1hecymbal sound.
one second each and slill have room for a 15th 0.5 seoond sample. Yoo
can divide thal memory any number of ways into as many as 64 sam• PushPLAYand use the DOWN button to select 'Voice No.'
pies. Not only can they be of diNerenc1eng1hs, but you can also use dil• Play and listen 10the three samples you've made. Use the YES anc,NO buttons to select between
fereN sampling rates as wen. F,gure23 shows exa""les of different voiees.
Totlol S.mpUng Memory : s.22k divisions of a 522 k8y1ememory block.
Observations:
This is anotherone ol lhose deeisiOnsthat otten involves a trade-off. As
• One ot the differe~s that shOuldhave been notedwas the quality.°' lack of qualhy, o4the sa/ll)le at
mentionedabove, lhe saf'l'l)ling rate will effect hOw much memory is
used to sample a certain period ol time. As the sample ra1e Is lhe various sampling rates. The higher the sampling rate the brighter and ctearer it sounded. we
increased, more memory is used to sample the same amoun1of time. highlighled this by recording a sound with a 104 of high frequencies. If for example.we had sampled a
bass drum, the ditlernnce In saf'l'l)lingquat~ywoufdhave been less notiOeable
You can, ot course. lower the sa"l)ing rate to stretch lhe sampling time.
but we're back to another one ot those trade-offs. Remember? • Another point you shouki have recalled from experiment #6 "Sampllng Length" {whiCfl is the reason
Lowering the sampling rate will give you more time, but ~ atso degrades for not using lho highest sal'fl)fing rate constantly) is the increase in memory used at the higher sam-
the lldeidy of the sampl<>. pling rates. The higher the rate, the more memory needed 10reco<dlhe same length sample. Slnoo
some soonds clonl n•ed the broad 01 a ban<t,,,,idth that the higher sar.-.,ting
rates yield, yoocan con-
Here are some tips on how to get lhe moS!out ot your sanl)ling memo• serve memory by using a lower sar.-.,tlngra1e(end stil gel a good quality sound). Test mis theory by
ry: redOingthe ex:periment.only this limo use a bass drum. When you're done, compare both the fidelity
and the memory oonsunl)tlon.
8sec;,~ 7.7 S&c.at 10.7aec.al Try to stafl recording the sample as ck>se to the start ol !he
36k 18k 9k sound you're sa~ing as possible. The Auto Triggeroperati:ln
288k8ytes 140kily1es 94 ldl),tos may be a great he_, In this regatd (more about Auto Trigger
comlr,g up).
Flgwe23: Allocltlng Slmplng Memory When possible. use loops to recreate the sustained portions of
contir<Joussounds. (We'MIle looking at loops in just a bit.)
Remove any dead space from the front ancvor bade of the sam-
ple with Truncate and Delete Voice: Unusod Part
Make 1hesound you a,e samplingas short as you can without
spoiing It

50 51
 m

Sampling Rate

;
..
....
SamplingRate has a direct ettect on the sound lideliy 01your sa1T4)1es
We went over the f8asons 1or tniS eatlier, bul the basiC relationship
betweenSample Rate and sound quality Is 1his:lhe higller lhe Sampling
Focus:sample
Experiment
Edit
#5:Sampling
Length
Performance
..
Rate, the better the tklelily. By li(jelity. we mean frequency response.
a: whiChuanslates to hOwmuch top end, or treble,will be captured In your
l!'
~

l
,... sample. In s-hol'1,samples at high rates will sound b<ighte-rthan lhe
same sound sampled al lower rates. Figure 24 shows the basic reta·
Key Settings:
• uo-nshipbetween sampling rate and trequency response. Figure 25 lrc,ot Level: 1/4up
"' Mic or Line: line
•
"'"
shows 1heamount of memory required to sample one seconctof sound
at the FZ's three samplingrates. SamplingRate: reler lo Slep by Step below
4.S 9 11 SamplingTime: refer to Slop by Slop below
kHz kttr kHl So why do you have 10 make a chOiCe?Why nol sample al the highes1
FroqvencyAesponse possible rate aJIof the time? Like so many things, samplingis a series
of trade·ofls. n·s llke the okt cliehli, "I've go1 good nows, and bad
Operations Manual PageReference:
news....• The goOdnews is 1ha1as lhe samplingrate goes up, 1hetideli· SamplingOpera1lons:Lenglh Se1 Pg. 27
ly goes up too. The bad news is thal as the san1)lingrate goes up, the
maximumamount ot sampling time avaltable to you goes down. As a Step by Step:

•
..
•••
matter of fact, the relationship between these two factors Is Inversely
proportiol'\al. 11you dOubiethe sampllng rate, you halve the lime avail·
able. Conversely.;t you halve the sampling rate. you double the time
Usingyour tape dock. rnoocdthis senrence. "How longwill this sarY'C)le run, 1,2,3,4,5....
F

Enter lhe Sampling.LengthSet operationof the SourceSelectsutrmooo. Move the cursorto "Time-=" .
~ available. Move !he value stkler 10maxlll1um.Note tM maximumsamplingtime avallable at the rate Of36 kHZ fs
a:
"14560 ms· (14.56seconds).
"
i '"' The FZ gives you a choice of three sampling rates, so you can sek?ct Move lhe CUt'SOr DOWN lO"Rate.:... Adjust lhe value slider until the "Rate-= 18kHZ"
E the optimum setting k>ryour needs. If fidelity is you1highest priority for
l
• Move the cursor UP 10"Time=,~ aoo bri~ lh8 vak.leslider all the way cSown,lhcn an the way baCkup

.
a given sound. then you may want 10use the highest sampling rate, 361<.

..
to maximum (In orde, to gel an aocu,atereadingot '1ime"you must first ctear 1heold settingby bring·
""' In doing so, bear in mind lhat you are also limilil'¥;,Ithe total amounaof
ing the slider down lhen back up to your new setting.)

WQfdt "'
words
,.
~•
time availabloto sample 10 14.5 seconds(wilh 1 mByle FZs).

11.on the other hand. your highest priof~y is to capture an entire sonic
Note lhat lhe maximumsampling ''Time"at 18 kHZ iS·29120 ms· (29.120 seconds).
AdJ.)slthe Rate to the lowest samplingrate ol 9 kHZ.
$.\mJ)loLengthtor 1 Second event (for e)(ample.yoo might want to sample a compietephraseor sen, Readjust the lime 10 maximum. Your reading at 9 kHz should be "Time • 58250 ms" (58.250 sec--
1ence),lhen you'll want to be able 10set lhe sample rale lo 18k(29 sec• ends).
f9.wc 25: S.mplng R8\e vt. Sampling
T1me onds),or maybe even9k {58 seconds).to give you enoughtime to catch
the whole event. A good rule of thurrti is to sa~ at lhe highes1rate Using eiUlertho vakJeslider or the number buttonsset the "Time fo, 001000 ms" Md leave lhe rate at
that will still give you enoughtime to catch the whOleevent. 9kHZ.
ESCAPE and enier ManualSample
There may be limes when no matter how you set the sampling rate, you Samplethe sentenceyou have ,eoordedon your deck.
cannot achieveine rnsuttsyou want There are many trktts you can use ESCAPE and sel "Deline VoiOe"to "VoieeNo. 02·
to extend the appa,ent klngth ol a sample and/or enhance hs ticSeldy.
The most ifl1)0rtantot lhese is k>oping. As you'll learn in Chap1e,7, En1er"Lenglh" to verilythat your display reads ·voice No. 02· "No Sound".
Joops and envelopescan be used 10extend even a very short sar'11)18 10 • Using the value slider, Clearand reset lhe "TIME· to maximum. The display should shOw'57250 ms"
an irdini1elength. lllis means that you can salll)le short sounds at high @9kHZ.
rates fo, the best fidellfy.and use loops and envelOpesettings to synthe• Se1the "Rate" to 18 kHZ. Using the value slider, ctear and readjustthe ·TIME~to maximJm. The dis·
size ttle deslrnd lengthol lhe sound. play shOuldread 'TIME= 028620"at a ·rate= 18kHZ".
Reset the ·Rate" to 36 kHZ. Using ttie value slide,, clear and read~st the 4TIME"to ma.xlrrum. The
5.3 AutoSampling display should read "TIME• 01431O"at a •rate• 36kHZ'
We mentioned at,ove mat one ot the ways of making the most ot your Observations:
available memory was 10 start reoord,ng the sample as close to the
beginning of the sound as possible. That sounds easier than Tl Is. 11ls obvious 10that the longeryou set the samplinglime. the cemalnderof available sa"l)ling lime will
Somelim•s It can be p,elly dllllcuil 10hit the FZ's ENTER button ju$\ as be lhc maximumtime• the time used to sample. This fo,mula is only tl\le when you keep1herate con--
the sound starts. You may not: know (or be able to oontcol)when the stant In the exafll)le above we sa~d 1 second al 9 kHZ. and from a maximumavailable time of
sound wil begin. tt you're playing lhe sound, It may be awkward to play 58250we were lett with 57250, a diflerenoe01 1000 (1 sooond}. But when we Checkthe other rates,
a note and hit the buttonsimuttaneously. we found that at 18 kHZ only500 mswere used, and at 36kftZ oijy 250 ms were used.
Rememberthat sample time is directly related 10memoryspace. Spend some time oonsideringalter·
This Is why your FZ has SJ)eclalope,a1loncalled Auto Trigger. It wUI nalJVesto long samplesor high samplingrates. f!or example,IOOpinga short sample, or remerrbering
s1ar11h•FZ automatieally1oryou. Basically, It worl<stike this; the FZ 10lower the sampling rate when an tr.creasedband wldlh Is not necessary, There are atwvays ahema·
''watches.. the signal coming trom ils input jack, and when ii senses the lives to wasting men.:iry. Aead on to 1eamhow!
beginrungof a sound, It automaticallytriggers (starts) the sampling pro-
cess !or you.

52 53
 So how does the FZ know when a new sound begins? When you select
and enter Auto Trigger, the FZ will not start recordinguntil the 1~ sig·
nal is greater than "TRIGGERLEV" value you sel in the t.evel Sot opera·
SAM.PUNGSTARTSBEFORE
Experiment
#6: AutoTrigger
1! DESIREDSOUND

HIINNHH TRIGGEi-R-I
TRIGGERLEVE\. SET TOOLOW
tion (see Experimem #7 ). This way you can enter Auto Trigger, select
and exeoute Start,wait sk:lwly&Clossthe l'OOm,conteRl)&atathe mean-
ing of lite, lhe universe, and a• that, and lhen,.,wt,enyou're good and
ready-whack a tour•foot Chinese gong with an old army boot. Even
thOugh many minutes {hours? days'?} passed between the time you
Focus: Sample
Key Settings:
Edit Performance

SAMPLINGDOESN'TSTART slarted the S31T'Jllingprocess and when you hit the gong, the FZ dicln,
start recording until you whad<edthe gong. (OI course. the"TAIGGEA Sarr¢ng Rate: Detault,Sa~lng Time: 1500 ms
Jsj:j-;;~~~.
TRIGG°ER-1 LEV" had to be set property or your effort would have been spoiled by
prematuredigitalization.)
Mic or Line ir-.,vt: Line
lnp<JtLevel: 1/4 up
TRIGGER1.E'VELSETTOOHIGH
At the IOwest'TRIGGER LEV' settings,the FZ will trigger (begin recorcJ. Original Key, Highest Key, Lowest Key: Oefauh
SAMPLINGSTARTSAT DESIRED
Ing) when even tho slightest sound comes its way (via microphone.tape
recorder,or whatever your samplingfrom). Very low trigger settingsare Operations Manual Page Reference:
most desirable, since !hey will ensure that you catch the sound lrom very
Is SOUND
H H HH ""
'
,RIGGER
TRIGGERLEVELSETCORAECTL
Y
I beginning. If there is some low-level ba~ground noise comi~ from the
souroe (that )'OU can1 eliminateany other way), set the trigger level just
beyond the point where the noise sets it 011.This will start the FZ when
SamplingOperations:Auto Sampling Pg. 28

Step by Step: '

your soundbegins, and you woni be recordingtho noise up tront.

-
Using your cassette recorderall(j a tniCrophone,weneed 10make a ooe that has a decreasing level of
Figure 26: Stt11'19
th•Au"> TrlgsJ« Lewi
noise that then ends in the word "TRIGGER"(See Figure26.)
11there a,c no noise problems, you can almost a.Mtaysuse tl"le trigger
level set to hs lowest level. Now the Auto Trigger opetatlon acis as a • Aelerring to page 26 ot your owner's manual.
smart record feature. It wil hold the FZ untl your sound gets there. • Enier the Sampling: Length Sel operation ot the Source Seleci submooe. Set the "time" value 10
Since the level is set for zero, samplingwill start at the very beginningof ''001000 ms· (1 seoond). ESCAPE
the source sound. Set the samplinginput level to abouI a quarter of the way up.
Enter the Level Set operaIion. Move lhe ru,se to Trigger Level.
Be aware thal ii the trigger level iS set abOvethe vecy lowes.tsettings,
two things are almost bOuncl10 happen. The very beginning 01 the Usingthe value slider seI lhe "Trigger lever to equal 000. ESCAPE
source sound will cvt 011,and lhe<ewll be an audible click at the start 01 Enter Auto Sampleand press YES, and start lh8 tape deck.
the sa"1)fe. You can use voiOeediting tuncIlonsto clean up lhe sample. Once IM sampling process is oompIeIe. ESCAPE and go back to Oefine Voiee. and set value of
Move the sampie star1POintto the nearest zero crossing (see Truncate). "Voice No:· 10·02"'.
Another way would be to adjust the DCA enveiopo (soo DCA envelope) Repeat the above p,ocesssar1ing from the step relating to Level Set. This time seI the rngger Level
to p,~c• a very slight attactc This make tho start of the sartl)le sound to equal '064" ( which is rrid point).
less clipped. and at lhe same lime ii wilt hide the cl~.
When the sartl)le ls complete ESCAPE all(j Enter Define Voiee. and set "Voice No."'to "03"'.
Be careful with 100!rigger senlng. H it's too low and you're sampling a Repeatthe abovap<0cessstarting trom the slep relatinglo Level Set. This time sets the Tri,gge,Level
noisy source, you'll waste vallable memory to reoord useless noise. 11 equal to "100· (wtlieh is abOUtlhe maximum auto Irigger level we can aOhieveii we wish to keep our
the level is too high, yoo'IIcut ott the beginningof the sound Yo<J're
trying input levels al thek 0<lglnallevotsJ.
to sample. The best way to avoid trouble is lo always sample in a vety Finall)'.push PLAY anctuse the OOWN button to select "Voice No ..
quiet environment. Piay and listen 10lhe three samplesyou've made. Use the YES/NO bu1Ionsto select betweeo voice
number 1, 2 or 3.

Observations:
Oneot the obvious criticaJpoinls about using auto 1<iggerlngls Ihe more accurately the triggering
tiveshOldis set, the more accuratelywe can dete,mlne where our sa"l)le will begin.
As we have demons1ratedthe au\O1riggercan be a very useful 1001i'I sartl)ling only the 1rues~al
and efillinating unwanted noise
It is also very usefulwhen you are attemptingto sample a soundthat you have little or no conIrol over
when ii is going K>be heard
Sampling sounds without noise or long silent gaps in the front helps conserve memory space and
saves editingtime, tool

54 55
 6. Resamp/ing
Functions wtw,n you create a butt Splice,you have 10 be carefulot you will hear a
click or pop at the splice point. This wmoccur II the end polnl of the trst
The fZ has threefunctionsIn the SoufceSe-kK:1
sub-modethatgenerate sample and the stan point ot the second sample are at different levels.
a new sampling voice by resamphngone or more prevlousty sampled The FZ's grapllic display will help you locale lhe beSIpossible Sia~ and
voices. end points, Use tile Trunca1eoperation (read more about how to trun-
Mix Write is use lo splice. layer, or over1aptwo previouslysarrpled VOic· cate in Editing Voices in thts book and page 63 In 1he Operations
es. Detuningand Seveladjustment IOf eachvoioe are possible. Manua~In the DISPLAYmode 10set the start and end POintsto a 2ero
crossing. A 2ero cross;ng is a sampllng poinl thal sits righ1on the zero
X-Mix Write is similar to Mix Write, but it also allows you to set up a line (the horizontaltine 1hat runs lhrough lhe middle of the graphics d.lS•
cross-fade betweenboth voices. play).
ReverseWritecreatesa new versionot a sarrpledvoicewith the sound
data in reverse order. You can alSomatch the tevel by ear. When you truncate the t\oVO pieces
in preparationfor lhe splice. listen very carefully. Adjust the end point of
1he fitsl p;eoe so lhal lhe sound Slop$cleanly wllh noClick. AdjuSI lhe
6.1 Mix Write siartjng point 01the second piece in the sameway.
The Mix Write function Is detailed in pages 39 through 46 of tho
OperationsManual. Below i$ the Menu Overview for tho corrpiete lune• NOTE: When you adrt,1sIthe S.tartand end points w~h the Truncate
lion, operatiOnof your FZ, Iha unused portion ol lhe safl1>'8 is not deleted
AQur• 27: ht Vo-JeeMid 2nd Vole• ere
eptf.c-td together to «Nit • new fZ
unless you subsequenttyenter the Delete Volcwoperation and select,
YOloowilt! MhcWrll&. The .r\CI pofnt of enter, anct execute the "UNUSED PARr parameter. When preparing
Mix Write Menu Overview hi Voice eM th• •t"t point of 2M samples tor Mix Write opera1M>ns,be sure to use Delete Voice 10
Voice mu•t ~ well/Uy matchtd tio pro- remove the unused parts of the sample. If you don't, they will be col)ted
MOOE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER duce. •llenl ,pilot, tf the le\'ell •r•dll·
SETTINGS ienlnt. • ellck wlll be heal'd et~ splic• ill!o tho Mix Write splice. regardless ol where the start and end POints
MODIFY·> ENTER -,. ENTER -> EN ER --> point The Ool1y Time de!«mNs WMf'I are set Since you may warn lO truncate a saf1l)fein a vanety ot differ•
<-ESCAPE <-ESCAPE lhe 2nd VoiceMIi ,ta.rt. ent ways for different kinds of splices, ifs alwaysa good i<Seato makea
c-ESCAPE
MODIFY Source Select Sampling Deline Voice Voice No. copy of the sample first. Use the Save Voiee operation to make a copy
PLAY Voice E<fil Wave Synthesis Voice Name 01 samples, oot Copy Voice (see 8.11 Copy, Delete. and Replace}.
Bank Ed~ Mix Wrhe Then perform the iruncate and Delele VOiCeopera1lonson the copy.
Elfeel/MIDI X-MocWnte Voice Seleci 1st Voke No. Use the copies 10,the Mix Write splices. Tl\is way. your 04'iginalsample
Da,a Dump ReverseWrite 2nd Voioe No. remainsunchanged.
OPT SoNware
Keyboard Sel Origlnalkey To create 1hcsplice, enler the Mix Wr~e tunclion from the Source Se)ea
Highes1Key sub- mode. Follow 1hebask: piocedure for usJ.ngMix Wrilo as outlined
Lowesl Key in the OperotkmsManual. The sa~e that you want to hear first is
S8lec1edwith the ~1sT VOICE NO." pararooter. The seCQndsample in
Level Set 1st Levet the spllce is seieeled with the ·2No VOICE NO." parameter. In the
2nd Level Delay Timeopera1ion,use 1hegraphic display 10sel lhe "2ND START"
at lhe last sample point in the first sample, This will be the zero crossing
OelayTlme 2nd Start:Coarse you selectedwith the Truncateoperalion.
2nd Srart:Fine

Detune 1st Tune

Overlap Splice With Mix Write
2nd Tune You ca.ndO a k>tmore than j.Jsta silll)le but1 splk:e with Mix Write. You
can. for example, create an overlap splico by adjusting the "2ND
Execute Mix Yes/No STAAr parame1erso that it occurs betore the end of the Hr~ sampJe.
This way, you will hear lhe seoond saflJ)le in the splice before the firs1
Splicing With Mix Write Flgw• 21: Thl, Ulu-1u•11t••n overlap
samplestops sounding,
t-pllce c,Nt.cf wltll Mix Writ•. Th•
two or moresamples iuo one is often referred to as Sl>/icing
Comt:>Jtiing . Oet,,y The 11 Mt eo 2:nd Vo,lot 1llt1• Layered Sp/Ice With Mix Write
TheMix Write and X-Mlx Write tuncOonsof your F2.go well beyond the b&lot• 1~Volceendt.
basie splicing operations found on other sampling instruments. The Anolher very handy use ot Mix Write is 10 use ~ to create a layered
sa~s you corrbine can be co"1)1elelydlHerem soonds, say a M>a splice. For lhiS lype of sptlce, sa1 lhe "2ND START"parame1erlo lhe
and a hand belt, or pieces extracied from samples like the attack of a start poilt ot the first sample. The re-stiltingsound will be a mixture 01
kid< drum and the ring or a bass ~ita, note (you extract them with the 1-- the two sarrp&es. This generally works best when both samples are ol
Truncate operaliOn). Onoe you've compet('d a splice, you have a new
sample, and 1hatnew sample can in turn be spliCedto any other safll)le, J:t. .....C. ~.
aboul Ille same ~nglh. One ol lhe slrenglhs of lhis technique is lhal ,
allows you to &ayertwo sounds '°9etner without using up two voices 10
.. ,...._ do It. Once Ille splice is compleled (when you M EXECUTE). [he levels
Butt Splicing between the IWOsounds will be rtxed, so don'1 forget to use the Level
Set operation 10balance the loudness01your two samplesfirst.
The two mostcommon types ol spliees are the butt splice and the etoss• Agure 29: To ctee1• • layered •plJee
lade splice. The bull splice is so named becausa the 1wosounds bun .tit! Mbcwr11e,.the, o.i,y Time I• •l 11
up agailst each other, The transition from one sound 10 ano1herIs very _,,,__8olh tst VOlceand 2M Voice ,111r1
t•o.
abrupl \F,gure21).

56 57
 Doubling Effects With Mix Write
6.2X-MixWrite
You can get OOUbllngettects like thOseproduce<Iwijh ooorus and digltal
delay devk;)eswith the Mix Wri1eoc:>eralion
too. Use the Voice se,ect The X-Mix Write 1unction is detailed in pages 47 lhrough 55 o1 the
operallon 10 select lhe same sample tor "1ST VOICE NO." and "2ND OperationsManual. Below is the Menu Overview for the oomplete
VOICE NO.· To create a slap echO(a Singlerepeat echO),use the level runctron.
S<!toperation 10tower lhe "2ND LEVEL" (try It at aboU175 or so). Now
enter the Delay Time operatJonand set ··2ND STARr to prowce the X-Mlx Write Menu Overview
desired echo lime.
MOOE SUB•MOOE FUNCTIONS OPERATIONS PARAMETER
For chon.Js·likeeffects, sel up a layered splice as descri>ed above and SETTINGS
then enter the Detun9operaUonand aher the "1$T TUNE" and/or "2ND MODIFY·> TEA-> N ER-> E R ->
TUNE" parametersto create Iha chorus. Slight changes in tuning will <-ESCAPE <-ESCAPE <-ESCAPE
produce roblle chOruslng. Draslic changes will produce hOnky-looktype MOOIFY Source Select Sampling Oefine Voice Voiee No.
effects. PLAY Voice Edit Wave Synthesis Voice Name
Bank E<frt MOCWrte
BfecVMIDI X·Mlx Write Voice Seloct 1st Voice No.
Data Dump Reverse Write 2<]dVoice No.
OPT Software
Experiment
#7: MixWrite(ButtSplice) Keyboard Set Original key
HigheSl Key
Focus: Sampling Editing Performance Lowest Key
level Set 1st level
Key Setting.s: 2nd Level
Isl Voice, 2nd Voice. Level, Delay • Detune:relerto Step by Step betow
DelayTime 2nd Stan:Coarse
2nd Stan: Fine
Operations Manual PageReference: Detune 1st Tune
Truncate: 63~. Delete Voice:79-80,Ml, Wrile 39-46 2nd Tune

Step by Step: Cross zone Stan: Coarse

Start: Fine
Create two samplevoices: Voice 1 • "Sanl)fe one." and Voice2 = "Sample two.'" End: Coa,se
• End: Fine
Truncate'"'San-pieone" to the word "one." Leave some s!lenc&at lhe end 011heword. Make sure the
new sample ends wilhou! a clid< ot pop, Ex&c:U1e
X~Mbc Yes/No
Enter the Voice Edit: Delete Voice operation and select and execute "UNUSED PART." (See
Experiment #9,)
Truncate "Sa~ two· to the word --sarll)le: Set the start point right at the beginningot the word,
Entet !he Voice Edit: Delele Voice operation and seleci and execUleMUN USED PART".
Enter Source Select: Mix Wtile. Use Define Voice to seJeci "Voice No. 3· (or any "NO SOUNcY Cross-Fade Splicing With X-Mlx Write
voice).
S<!t"1$1VOICE No." lo ·1· and "2nd VOICE No: to "2". The X-Mix Write funclion is idenlicaJto Mix Write with the additionoc one
operatiOn, Cross Zone. The Cross Zone operation fades out the tirst
Using lhe display, set the "DELAY TIME" lo the end ot 1he 1st Voice (the wotd "One"). Now when you ~mple whie It Sim..ittaneously lades in the second sample. This makes
strike a key yoo hear·one sa"l)le." 11posstie for you 10create cross•fadesplices with your FZ. (You can
E,perimenl wi1hthe 1.EVEL" and "DETUNE"sellings, also do eaeh of the splicing variations described a.bOvein Mix•Wrirewith
Enter and executeExe<:ule Mix. the added twi$101havinga variable cross zone.)

Observations: In a eross..fade splice, the two sounds are overlapped (one fades ou1as
the other fades In). This produces a smooth transition tfom one sound
A butt splice combines two samples by starting the second one immediatetyafter the tirs1one. This to the other (Figvre 30 ).
makes butt splleesvery effectivewith spcoch sarrl)les.

---
Sometimes )'OUmay need a longer pause betwee-nthe words of a spliced ptvase. You can sampte The lil'SIstep Jn aeaung a c,oss-fad9 spliee is to decide what two sam-
silence (salT'C)le half a second or so with lhe inpu1 tevel all the way down), and splice uuncated por- ples you want 10 splice together. Y0t1 are not limited to using entire
tions o1ii In between the words In the splloedphrase. sanl)Jes for this runccion. You can splice logether pieces of samples.
You can alter the level and tuning ot eaeh voieebefore completing the splice. Ffgwre 30: X-Mlx Wrfte cen crHle •
{Use the Truncatefunction 10exttact the portion of a sampleyou want to
etou-fade 1-p11o.. M ht Vof.ot fllde, use in a splice.)
Mix Writecan 00 layered and over1appodsplices. as well as butt splices. It depends on how lhe
ou1, 2nd Voice fadu In. o.t1y Tlme
Delay Timeparameter is set. Setting ii 10ltle very s1ar1ot the 1st voice will produce a layered SPfiC;e, ~ """'•• 1h•'fllCe begin•. The
Setting It In the mklcfleot the 1st voice will creale an over1appedSPliCe. '9nothof tlMi cro.a,e.de b Mt w11h11!41
Croq Zone pe,.,,...,.

58 59
.. - ll
7. DigitalSynthesis The Wave Synthesis operalions are deraUedIn pages 31 through 38 ol
the OperatiortS
Manu.al.Here is a Menu Ovecvlewot these operations.
Although the FZ made its name as a power1ulsampling instrument, it
has a complete set of analog and <figi1afsynthos.is features as well. Wave Synthesis Menu Overview
You can use your FZ as a lull luncllon hybrid (analog!Oig!aJJ
synlheslzer
as wel as a sampler. In fact, it can play synthesized and sampled vofo. MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
es at lhe same time. The WaveSynthBsisoperation provides four differ• SETTINGS
ent ways to digitally synthesizevariOuswaveshapes. MODIFY-> ENTER -> EN1E;n -> ENTER ->
c.-ESCAPE c.-ESCAPE c.-ESCAPE
The Preset Waveoperauon gives you a Choice ot sb: different wave• MODIFY Source Select Sampling Define Voice Voiee No.
shapessimilar to those found on mosl traditional analog synthesizers. PLAY Voice Edit Wave Synthesli Voice Name
Bank Ed~ MixWIie
The Sine Synthesis.operation lets you create unic:J,Je
waveshapes via Ef1eci/MIDI X-MixWrite KeybOardse, OriginalKey
additfVe synthesis. You have precise oontrol over the ievel of up 10 Dala Dufll> ReverseWrite Hlghesl Key
forty-eight harmonicsin your custom waveshape. OPT SOttware Lowes,Key
operation is a unq.Je method for creaung hybrid wave-
The Cr;t Sa!TJ)le
shapes using sampled sounds as source material. P,eset Wave SawToolh
Square
The FZ's Hand Drawingoperation lets you roodify waveshapes crea1ed Pulse
by any of the above operations by dtawing the modifications using the Double Sine
grapllie display, SawPulse
Random
Once you've c,eated a waveshape, you can use the FZ's Voice Edil
operations, Ike DCF envelope, DCA envelope, and LFO, 10 synthesae stne Synthesis Harmonic Level
any number of unique sounds and effects. {We'll lOOk.
into voice editing Execute
features and techniques in Chapter 7 ,) Be aware that voices created
Cut Sample Source No.
with Wave Synthesis tunctions are not samples. Therefore, certain
sampUng related operations. such as Truncate. Loop, Memry Read,
Slart I
End
Mix Write, X•Mlx Write, and Revo,se Write, will 001work with synthe-
sQ:edvoices.
Hand Draw'"" Position Level
Voices using digital waveforms don't suffer lrom lhe pitch shift problems
related 10 all sampling voices. You can assign a voice to the eniire five- 7.1 PresetWave
octave keyboard. This means synthesized voiceswom very well In lay- The Preset Wave operation Is delaited on pages 33 and 34 ot the
ered keyboard setups. 1nfact, wilh the mun;.swilching technique we Operati<>ns
Manual,
describe In Chapter 9, you'll find you can easily do wave tabkt synthesis
with the FZ. By wave table synthesis, we mean the ability to se4e¢t a The PuJSlJ,Squate, and Sawtoothwaveshapes are common to virtually
source waveshape from a list of pre-set wavefom,s with key velocity. any analog•lype synrheslter. The Dout,/8Sino and Saw Pulse shapes
The FZ can switch between as many as sixty-four ditlerenl waveshapes are similar 10wave-shapesthat can be crea1edwith Caslo's CZ series
wil h veloc!y. synlheslzers. Be aware that !he Randomwaveshape wil no! p,Oduce
noise effects !hat you mighl have expected l,om ~ name. 11generates
Sy11heslsiS an art unto Itself. It you want k>leam the secrets 01 making a pitChedsound with a very bright timbre,
music with your FZ's synlheSis funcuon, we recommend our course,
Seerots ol Analog and Olgltal Synthesis. Using the Pteset Wave operation, create a voloe for each ol these pt8·
sc1wavos. Name eacn one wilh the name of the Preset Wave. For
example, "VOICE NO. 13 !SAWTOOTH): Be sure 10 save !hem 100
(see Chapter 12). They'll serve as the loundaliO<llor synthosaer voices
c1ea1edwith your FZ. When you want 10 synthesize a sound from
scrateh, ente, the Voice Editing sub-mode and can up 1hevoice with the
waveshape you wanl to work wilh. Make a copy with a new name, for
instance "VOICE NO, 14 jSYN BRASS)." Oo your editing on the
renamedoopy, (Don't torgel 10 save ii when you're an done.)

7.2 Sine(Additive)
Synthesis
The Sine Synrhesis operation is detailed on pages 34 and 35 01 the
OperationsManual.

The Sine Synthes!$operation is an additive synthesis wavefonn genera-

tot. UniQuewaveshapes can be created by dialing in lhe value ot eadl
of up to 1or1y~eight
harmonics in the wave. Be aware that you wil nol
hear the wave you'Vecrealed until you select and enter "EXECUTE"'on
the Sine Synthesis display. (II you'Ve entered Sif1eSynthesis directly

62 63
 NOTE: When you adjust the start and end poiNS wi1h the Truncate
operation ot your FZ. the unused portion ct lhe sample Is not ~eted
unless you subsequenttyenter the Oel-eteVoiCeopetatlon and select, Experiment
#8: X-MixWrite(Cross-Fade
Splice)
enter. and exec\lte the ''UNUSED PARr parameter. When prepamg
sar11>lesfor X•Mix Write operations, be sure to use Oelete Voice to
removethe unused pans ot the sample. If you don't. they will be copied Focus: Sample Edit Performance
into the X-Mix Write spice, regardlessof where the s.1ar1
and end points
are set. Since you may want to tn.mcatea sa~le In a variety of differ• Key Settings:
ent ways 1ordifferentkinds of spliees,it's alwaysa good idea to make a 1st Voice, 2nd Voice, Level, Delay, Detune:refer to Step by Step below
copy of the sample first. Use the Save Voice operalion to make a copy
nol Copy Voi<:e (see 8. f I Copy,Delete,and Replace).
of lhe Saff1)1es,
Then perform the Truncate and Delete Voiee operalions on the copy. Operations Manual Page Reference:
Use the copies !or the X-Mix Wrhe splioes. ThiSway, your originalsam- Truncale : 63-65. DeleteVoice : 79..SO,
X·Mtx Write47·56
ple remains unchanged,
Step by Step:
Once you have the pieces, you're ready to splice them together. Of
course, you have to decide whlctl one comes first. You may wane 10 Creal&lwO one second (1000 ms.)sarrples. Sing a C with "Ah" (Vo.:e 1) for one, and slng an E w!h
adjust the loudnessof the two piecesto get a goOdbalancebetweenthe "Oh"{VOiee2) tor lhe Olhcr.
sounds. This is (k)(le with the Level Set operation In the same manoor • 11y0u need to, use Truncate and Delete Voice to remove any dead spots before or after the sung
as the Mix.Write function. Also, you can use the De1uneoperation (the no1es. (See Elcpe~mcnl9,)
same as in Mix Write)to atterthe 1uningof eitheror both of the samples. Enie, SourceSelect X•Mlx Write . Use DefineVoice to select any "NO SOUND"voice.
The ~NO STA.RTM parameter of tile Delay Time operation dete<mines Sel "1 S1VOICENo." 10"1" and "2nd VOICENo."to "2".
where lhe cross-lade wll b09ln. The "CROSS START/CROSSENO- Using the display, SOI lhc "DELAY TIME" 10lhe minimumvalue. Sel 'CROSS START" to the min,-
paramelers011heCt0ss Zone ope<ationset the length of the cross•tade. mum value and "CROSS ENDMto the maximumvalle. This sets up the tongest possibleCtOS$tade
In general, cross•tadeswitn tonger length$will bo smoother than cross• splice tor the two sa""'es.
fades w~hshorter'8ng1hs. Expelimen1with dlffo.ren1Delay Time and CrossZone settings.
Experimeniwith lhe "LEVEL" and "DETUNE"sel1ings.
6.3 ReverseWrite Enter and executeExecuteMix.
The Reverse W1ite runcnon is detailOd In pages 56 through 60 of 1'18
OperationsManual. Below is the MenuOverviewfor lhe completefunc- Observations:
tion. A cross..fadespice oombinestwo samplesby overlapping the end ol the first and lhe Slartof lhe S&C·
ond. Th& CrossZone TlfTledetermineshow rruch they overlap. Cross-fadesplicesa,e very et1ee11Ve
Reverse Write Menu Overview when you want to create a new sound that is mergerof two different sounds.
To aeate an 81fec1ivecross,fado splice, your samples shouldn't have any dead spots where they
MOOE SUB•MOOE FUNCTIONS OPERATIONS PARAMETER ove,1ap. Use Truncaleand DeleteVoice 10remove silent areasbelore you make the splice.
SETTINGS
ENTER -> You won, have to worty aboul level matching lhe spl.icepoint of a cross•fadesplice. The function
c-ESCAPE ,c.-ESCAPE ad~s1sthe start and end point levelsof the two saffl)les automatiCally.Thiswm give you a clean tran·
MODIFY Source Select Sampling Deline Voice Voice No, sltion from sound to sound with no clicks o, pops.
PLAY vo;ce Edl1 Wave Synthesis Voice Name
Bank Edij Mbt Wfile
El1ecl/MIDI X·MixWrite Voiee Se1ee1 1SIVoice No.
Da1aDump Reverse Write 2nd Voice No.
OPT Software
KeybOardSel Original Key
H,ghesl Key
Lowest Key

Execute Reverse YeSINo

The Reverse Write function does exactly what its name ir'fl)Jles. 11
resamplesa sound In reverse. The result is an exae1copy of the original
sampleexcept it soundsbackwards. II you want to create a backwatds
version of a truncatedsample,be sure 10use the Delete Voiceoperation
10 remove the "UNUSED PART· of the sample before you do the
Reverse W<ite. 11you oon·1.tho resulting sample will be a backwards
copy of the en1iresoutcesample,not just the truncatedpart

60 61
I
.... .---~
'II .I~!." ____
....... ------v,1:,:nimi,mnl\',l!J--~- ........ --. ..,....
re r .....
_, --,- .....c,,;

lrom any of lhe other Wave Synthesis operallons wilhout first se~cting a
new voice with the Deline Voiee operation, you wUIhear the waveshape 8. Voice
Editing
you wete last working on The new waveform won't be heard until you
select and enter "EXECUTE" in the Sine Synthesisdisplay.) Your fZ can do more than Just saffl'le and p&ayback sounds. It has
several Voice Edillng !unctions and operalions that allow you to
This Is one ot I.heoperations where the FZ's graphic display is a real manipulate and fine lune your basic sample. You can remove parts ol
plus. Activate the graphiC$ display by pressing the DISPLAY button. the sample you dorll want. splice together pieces ot difteren1samples,
You wil see the spec1rumor the waveform displayed as a bar g,ra,ph and toop as many as eight separate sections of the sa~ to repeat in
(torty-two bars, one !or each harmonie}. The height of the bat corre- a variety ot ways. When yoo are done ed~ing the sanl)fe's data, you
sponds to the level of the hannonlc in lhe syntheSizedwave. .Mhough it can edit its actual sound. You have access to many ot the same
Isn't mentionedin the OporatlonsManvat,you can see the sound display powerlul sound design teatures found on the most sophisticated
as a wave-shapetoo. Here's how: synthesizers. And don'I forget, you can use these same sound ed~ing
fea1ureswilh voices created via the wave Synthesis sub-mode as welt
Push DISPLAY and adjust the tevel(S)or the <les;redharmonic($)using You can use Casto·s unique eight-stage envelopes. LFO, DCF, OCA.
the LEFT/RIGHT buttons and VALUE slider. and other funelions to mold the sampfe's IOudness,tone colo,, and pitch
Push the DOWN bullon. The display will change from a bar-graph in any number of interesting ways. The linal resutl will be a unicp.Je
(spectrum) displayto a waveform graph. Betow the graph, "EXECUTE" sampllng voice ot your own design. When you·re done w~h the editing
will be selected. process, the voice may soond completely dillerent lrom the original
sample or digital waveform. That Is up to you.
Push ENTER and then YES to create the wavelorm. The disjllay will
change to show you tile shape ol lhe wave you've created. Voice editing IS independent or the sampling process oselt. You will be
Push the DOWN bunon 10 relurn to the spectrum display ii you want 10 edhing sounds that have already been sampled, but the edilklg functions
change the sound further. are qu~e separate from the ae1ualsampl~ !unctions. Even if you never
plan on actual)' sampling soonds yourself, and instead work wih factory
Repeat 1hesecond and third steps to see and hear the changes you supplied samples or commercial sample libraries. you'll find that
have made. proficiency with voice editing techniques.on th~ FZ i$ e:<tremetyuselul.
As with lhe initial sampling process. voa ediUng Involves a series ot
7.3 CutSample retated functions and decisions.

The cut Sa• operation Is detailed on pages 35 through 37 ol the There are rwobasiC lypes ot voiCingparameters available on your FZ.
OperationsManual, Dataparameiets atte, lhe actual sample data. Sound parameters after
the lhree aspe<:tsot sound, pitch tirrbre, and loudness 01 sample or
With the Cut Sample operation, you can remove a slice of a sampled or digilal syntheSiSvoiOes. In the pages below. we'll examine lhe Voico
p,eset waveform to cteate a new hybrid wavetonn. The wave defined by Edi1tunctlons and ope,aoons ol the FZ. We've organized them into
tho s1artand end points you setea with !hi$ operation iS oompiessed or Data parameters and Sound parameters tor you. The Voiee Edit sub-
expanded lo till a ninety•sl:X·pointwave table (which can be lurther modi· mode Is detailed in pages 61 through 81 orthe OperationsManval.
lied withHand Orawlfl!I-See below).

The resulting sound is sirriar to the effect of a very short bop. You can
create many Interesting waveforms by ruttfng out various pieces ol a
sample. SUrprlslngty, this also works well with pieces of the prese1
waveshapes loo. If you cut from a Preset Wave. stll lhe ~an and end
poinls to define an inco~te number of cycles. This is a snap to do If
you use lhe display to set the points. (11you set tho points on a com•
plele number of cycitls, the resulting sound will be no diffe,enc than the
soond you can obtain wllh lhe original presel waveshape.)

7.4 HandDrawing
The Hand D~ operation Is detailed on pages 35 through 39 of the
Ope,ationsManual.

The waveshapes crealed with Pres.el Wave. Sine Synthesis, or Cut

Sample are made of ninety•sbc points. Eaeh point can have any one or
two hundred fifty•tive levels. The Hand Drawing operation allows you to
change the '8vet 01any (or all) ot the poinls tn lhe waveshape. You can
also start wi1h a new voice and draw an original waveshape f,om
sc,atch.

64 65
-- What Is an FZ Voice?
Voice Edit Menu Overview The term voice has oome 10 mean many things depending on the
panicularinsuumentii refers to. Casie>
has laken a different approachto
MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER what maJcosup a VOiCeon F2 lnS1rume-n1s. This unique approachgrV'es
SETTINGS the FZ more pertormance orien1ed featu,es than even the most
MODIFY•> ENTER -> ENTER -> ENTER-> expensivosamplingInstrumentsavalabla today.
<-ESCAPE c-ESCAPE c-ESCAPE
MODIFY Source Seleet <----.----·-·····> Define Voice Voice No. On mo~ samplingInstruments.a voice Is made up of lhe sample's dala
PLAY Voice Edit Voice Name and au parameters settilgs related lo fl.. Such things as loOp poin1s,
Bank Edit tuning, envelope.tiler and amp settingsare linked to the actual sall1)fe
EllecUMIDI Create Voice Truncate Start:En<I data as par1of the voice. tt you want anotherversion ot the soundwith a
Data Dump different loop, LFO wave, etc., you must 00py the voice and change the
OPT Software DCA EnvelOpe Rate KF
Level KF patame1erson the oopy. Copyi"ngthe voiee, however, also copi&s the
Slep,Rate,Level sample da1aas well, tf the original sample w-asthree seoonds k:>ng, the
Copy From DCF copy wlll take up another three seoonds 01 sampling memory. After
DCF Envelope Cutoff Fr8"'eney you've made a tew copies, you'll Slarl to run tow on memory. The
Resonance standardway around lhis has been to ma'kesome (not all) paramoters
Rate KF variable with veSOcily. This is a good compromise as long as lhe
Level KF parametersyou want lOchango are amongthe ones that can be varied.
Step,Rale,Level
Copy From OCA Casio has designedthe FZ so that a voiCei$ independentof Its sampling
(or digitalwaveform)data. Whatdoes !his mean to you?
Loop Set Start:End
Loop Time Simply put, every single Create Voice parameter can be made
Cross rime velocity sensitive for any sample on the f2. Furthennore, you have
Next compklto freedom In setting any combinations of U,&separameters10
Interact with any velocity. (Be sure to read 9.8 M1,.1l1i
$witching:
LFO Set Wave Expandingthe FZ's VelocityCapabllitiesonpages ??. ??,)
Sync
Delay Separating the voice parame1ersfrom the the sample da1a is what
Rate makes !his possible. When you oopy a sarfl)led voice on the FZ, only
OSC Depth the Create Voice parame1ersare copied, 001the sample ilsett. You can
OCA Deplh make up to sixty•thre-ecopies of a silgle sampkl, anct ii won'1 use a
DCF Depth single bit more of samplingmemorythan lho original sample. For evC{'f
copy of the voice, you can select an entirely differentset 01start and end
VelOcitySens OCA Level poil'lls, loops, tuning, envelope,forwardor reverseptay, LFO wave rates
OCA Rate and routings, whatever. Then. using the FZ's powortul Bank and Area
OCF Rate features, you can use velocity to switch between the copies. The end
Resonance resull will be sampling and synthesisvoieeswilll ex:pressivecapabilities
that go beyond those offered by vi~uany any other sampling system,
Tune/Mem Read Tune We call the techniquen:ulll-<SWilchlng, and in the next chapterwe'll shOw
MemRead you howto set it up.
<••••••••••••no> Keyboard Set ClflglnalKey
Highest Key This forrn.idablecapability isn'I detaited in the OperationsManual. tn
lowest Key effect, ll adds more than one hundred additionalvelocity parametersto
Voice Name each FZ voie:e. (Arenl you glad you bougtv !his book?) Keep in mind,
<··········------> Copy voice
Destination this is above ahd beyond 1he Velocity Sens;tivityparameters of the
Execute; YeS/No Create Voice tunction. So,as you read on a~ experimontwith Create
Voice parameters.remember that ditterent values for each setting can
<o.••············> Delete Voice />JPart be switchedwith velociCy.
unused Part
Defino Voice
c•••···•···•·•• .. > Replace Voice vo«::eName This operation is used 10 select the vo'°8 to be ediled. You may edit
Destination
voices created with any ol the Source Select functions. Sa~d or
Dufl'I) VOiC8 Loaci voice Voice Name
Execute: Yes/No resampledvoicieswill show the word "RECORDED"under the selected
voice nun'ber. Voices created with !he Wave Synthesis function win
Save Voice Voice Name have lhe word "SYNTHESIZED' in the dlsplay. (Look over 6.6
Execute: YeS/No CommonFZ Operationsfor additfonaldetails.} Within the Create Voice
operation,there are seven separate parameters,each Wl!hils own se1of
Veri1yVoiee Voice Name Current Sallings. Truncate. loop Set. and Memory Read are data
Execu1e:YeS/No parameters. They can only be used with "RECORDED"voices. (In
other words, saRl)l,es.) The remaining Create Voice pa,ameters-OCA
EraseVoice Voice Name envelope. DCF envelope, LFO set, VelOCitySensitivity, and Tune-are
Execute: Yes/No sound parameters. They can be used with both "SYNTHESIZED"and
"RECORDED"voices.
66 67
i 8.1CreateVoice:DataParameters
t , tC#rF Sr 1 :aiiifiiYt

We teamed in the previOussection tha1 the data of your safll)fe iS a Experiment#9: SampleStart/EndPoints
series ot numbers representing vohage values, Even a vety shon
sample wil be made up 01 thousands (or tens of thousands) ot these Focus: Sample Edit Performance
points. Loop Sel and Truncate wlll require you to select specihc points
1romwijhin this.large collectionof data.
Key Settings:
Graphic Display Mode Sample SIM Point, Sample End Point: re!erto Step by Step below
The FZ can represenl these values as points on a graph with its Sample Length:2000 ms,Sample Rate: 36 kHz
DISPLAYmode. Tl\8 resultingpicturo Is an exoellenl representatiOnot
the original sampledsound wave. The basics for using the display wijh Operations Manual Page Reference:
sample data are covered on page 65 of the Operations Manval.
Truncate:63~
However, a very importantleature of the display system isn't e~ed
in the manuaJ,so lefs go over it here.
Step by Step:
When you are viewing a sample in 1he Truncate, Loop Set. or X-Mtx Leavea little space betweeneactl word as you spoak.
Write: Cross Zone displays. you can swoch back and ro<1hbetwOOflthe
Enter the Create Voice;Truncate operationot 1h0Voice Edi!sub-mode.
-STARr and ''END~poinls very easily. Once you are IOOkingat !he
waveronn in the display, slffl)fy push the ENTER button to toggle 1rom Push DISPLAY to see the sample in the FZ·sdisplay screen.
"$TART" to ''END." ThiS makes ~ very convenient 10 oompare lievels, White watchi.ngthe display. movethe VALUE slider. YOU'iise-ethe wrso, move indicatingthe current
etc. (moreon IMt belOw). locationof the stM point Under the waveformdisplay the sample ,.,mix,, will be displayed. Set the
sample start point to lhe start of the first ML" Write down the sample l"l.tmber.(i:or e)(a"l)te; • 'I' start
point• 0000:0374.") (See page 65 of the OperationManual10<using lhe display with truncate.)
Now move the sample star1paint 10 the beginning of the nex1word, ~oon·t: Write down the sample
number. Do this for each word in the phrase. You111indthe display makes It easy to 1oea1e!he
general area where eacfl word begins.
Reset the start Pointto the first •r again. (A cinch to do t>ecauseyou have lhe l'l.lmberalreadywritten
down.)
Now we'll set lhe sample end point to the end of lhtSword. Push ENTER. The display will Change
from 'START" 10"END." White IOOkingat the display move the VALUE sider and set the el)d point to
lhe end o! the word ·1• Write down the sample ,.,mber. (For example,· 'I'· end point. 0005:0130.")
Do this lor each word in lhe phrase. You'I find the display makes it easy to k>catethe general a,ea
where each word ends.
Now that you know where everythingIs, practice moving around in the Sa"l)le. Sel the start and end
points so you hear onty one word at a lime, "I," "don't." etc. Try listening to oomt:Jinations of words,
·oon·t know,'"1tnow where,"etc.
Poim , POittt 2
Observations:
FJgur• 31: A ... mp4e h 1c1111lly1111doe11pof lhounnds ol lndMctuef .. mplBg poin11. F2
ope,allon"> •I.di •• Loop, Ttunci11e,Mi• Write, end X·M.lxWt!-. will ofl$n ,equlte you lo selecl 'N'hen you are looklngfor loop, SP'iCe
(Mix write and X-Mix Write). and tOJncatepoints, you'll need 10
twro •podfto point• from within lhe enlite sample. be able to isolate to smaDparts ot !he sample. The FZ"s graphic display helps you to find ma!or
sections of a sample visually.
8.2 Truncate Read more about lhls lechnlquein Splicingand Loops.

Truncate Is detailed In pages 63 tlvough 65 cl the OperaUcnsMam.,a/.

Bctow is tlie Menu Overviewshowing each of the rrunca1eparame1ers.

Truncate Menu Overview

MOOE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER
SETTINGS
MODIF •► NlER -► ENTER -► ENTER -►
<-ESCAPE <-ESCAPE <-ESCAPE
MODIFY Source Selecc Define Voice Truncate &ar1: Coarse
PLAY Voice Edit Create Voice OCA Envelope Start: Fine
Bank Edit Keyboard Set OCF Envelope End: Coarse
Effecl/MIDI Copy Voice Loop Set Encl: Fine
oata Dump Delete Voice LFO Set
OPT Soflware Replace Voice Veloeity Sens
oum VoiOe Tune/Mem Read

68 69
 The Truncate operation is used 10 remove unwanted spots from the NOTE: On the FZ, the unused portionof lhe sample is 001mrown away
boglMlng and end ct a sample. Usually.1hlsmeans laking ou1sections au1oma11ca11y by setmg the Truncate·START" and "END"points. II you
cl slkmce. You are not linited to using !rune.atefor removing sllences want to save memorywith Truncate. you must enter the Delete Voice
however. You may. for example, wish to remove an but coe word or operation and select, enter. and execute ~uNUSED PAAT... Thi$ will
syllable from a phrase. You oould also use truncate to remove a small pe(manen1tyremovethe unwantedportlon(s) of the sample. tt you are
portion ot a sample. like lhe snap of a bass note. tor Mix Write or X•Mbc. truncaling a section of a sound tor a resamplingfunction (Mix Wri'le. X·
Wt'd.etunct,ons. With the FZ's multi•swltehingabilities, you can even Mix Write. RevecseW~e) and wanl to keep your original sample in1ae1.
control the location01 the truncate start and end points in a sample with make ot oopy ol 1he sample(s) fitst. Use 1he Save Voice operatiOnto
your keyt)Oarddynamics. For example.you can sample a very hard hil make a copy 01samples, not Copy Voice (see 8.11 Copy, Delete. and
on a sna,e drum and use velocity 10 swl1ch the start point. High Repl/JC6). Truncate and deh>!e!he 'UNUSED PART· lrom the copies
velocltkts Slat! lhe sample at the very beg.Inning,producing the hard hit. and use !hem for 1heresarfl)fing lunctlons.
Lesser vetocnies would start further into lhe sample {you'll hear less
Sli:k),P,Odv<:ing a softer hit. Don't forget, as we mentioned earlier. you can use Trunca1eIO change
where In a sample a voice starts or stops playing. If you make copies of
When you sarrple a sound (especiallyif you're not using the auto-trigger a safll)fed volco with the Copy Voice function, each copy <:al\have a
operation),very often you will catch a momencor two of silence before differentset of start and end poin1s. Since mo,e than one FZ voice can
the soundbegins. If Iha sound fades away bcfoce lhe samplingprocess share a sample this way, copied voices wm not show "UNUSED PART"
s1ops. lhe,e will be a sile~ spot at the enct of your sample as well. in the Delete Voloo display (since each copy could have a di11erent
These dcad,spots can cause some performance problems, and lhey ur>isedpM).
waste sampllngmemory.

If you have a dead-spot at the start of a sarfl)le. your FZ wlll have to 8.3LoopSet
play through it every lime you play a note. This means that whenever
you hil a key, there will be a slight pause betweenwhe-nyou hit a key Loop Set is detailed in pages 69 through 71 of the OporatJcnsManual.
and when you hear your sample. Below is the Menu OvecviewshOwi.ngeachot 1heLoop Set parameters.

By now,you Shouldbe aware thal sampling memory Is a vary valuable Loop Set Menu Overview
commodity, You only have so much of ill, so you nvst use ii wisely.
Using up memoryto sample s.ilenoeis very wasteful. Sinoe it is almost MODE SUB·MODE FUNCTIONS OPERATIONS PARAMETER
exactly when a sound will s1ar1and stop. it is aJmost
impossille 10 te-11 SETTINGS
impossJJJe to crea.1ea sample that doesn, have-some was.1edmemory ENTER -> ENTER -,.
al the beglMingor end. <-ESCAPE <-ESCAPE <-ESCAPE
MODIFY Source Select Define Voice Truncate Start: Coarse
The Truncateoperationlets you removesectionsfrom the beginningand PLAY Voice Edit Create Vo1ce DCA Envelope S1M: fine
end of a sample (Figurs 32). This makes it a perfect tool 1or<:leaningup Bank Ed~ KeybOardSet DCF Envelope S1M: Ex Fine
your samples. Wheneveryou create a sample you want to keep. make Effeci/MIOI Copy Voioe Loop Set End: Coarse
It a pradko 10truncale it so it has no dead spots. The samplestart point Da!aDu~ Oelele Voice LFO Se! End: Fine
and sa~e end polnl should be the first and last samplesof your sound, OPT Software Replace Voice Velocity Sens Loop nme
not silen<:e. DUl'fl' Vciee TuneJMemAead CrossTime
Next

Perhaps the rnoS1powertul sampUngoperation is looping. Loops can

Useful extend the <llration of a sa~ for as iong as you want regardlessor
New Stan New End how long the origina.lsample was. They can be super memory savers
patio! Poim Point
sample Sinceyou may no, need 10sall'C)fea very long sound 10be able 10play
Dead Dead long notes. In fact, once you've looped a sample, you may want to ro•
opol ,pol tn.mcatethe sample again, this lime from the stan of the sa"l,lfe to the
end ot the loop. You can discard the part of the sample ccmalnlngatle<
an "END" loOp (or the last loop~ Ne"' Is set 10 -SKIP--more below),
since It won't be heard.

LoopModes:SustainLoop,End Loop,TimedLoop
The F2 otters a unique sat of looping features tound on no other sam-
pling instrumen1. While most samplers allow you to place one or two
loops within a sa~le, the FZ lets you specify up to eight completely
independentloop$. Copes ol a sampledV<>icemade with Copy Voice
can eadl have a cfMerentset ot loop parameters. A loop is a see1ion
within a sa"l)fe thal wiDbe played repeatedtywhen lhe sample is heard.
Each loop can be placed anywherewithin the Slar1and end points of the
Original Sample Truncate Delete Voice cnOresampk:. Dependingon the loop mode, a loop can oc:aJrancbller•
·unused Part·
Figure :J.2:Removingdffd ,pou wllh Trunuit.e•rtd 0$:c. Voice "UNUSEDPART."

70 71
 10.2ModWheel,After Touch,and Foot VR 11. MIDI
Each ot these oontrollers has the same sel of parameters, so we can
consider them as a group. The three LF'Oparameters allow you to alter The FZ has a very comprehensive MIDI ln-.:,lemenralion. Its MIDI tunc-
the amount of LFO signal sent 10the OSC, OCF, or OCA wtth the mod tiOnoperation part of the Elloct/MIDIsub•mocse. It is detailed on pages
wheel. after touch. 01 1001pedal. TNS Is equlvalenl lo having real time 97 through 99 of the OperationsManual . A Menu Overview of the
M/0/funcUon opotaUonIs provided bek)w.
conuoI over the LFO se.1depth parameters(see 10.BLFO Set), Use
LFO OSC tor vibrato and pttch elfects, LFO OCA for loudness tre,rolo
effeds, and LFO DCF lor llntl<e tremolo ("Wahwah1 efleels. A very MIDI Menu Overview
common tectmlQUeis to use aftor !ouch to control lfO effects. Try ~-
you'll find that It's a very exp,esslve way to oontrol vibrato o, tremok>. MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
SETTINGS
MODIFY·> ENTER - ENTER -> ENTER ->
DCA '8vel allows you 10control the loudness of a VOice(o, voices) with <-ESCAPE c-ESCAPE c--ESCAPE
the mod wheel,after touch,or root pedal. 0CF '8vel allowsyou to COll- MODIFY SO<irceSelect Basic Channel
Bend Range
1ro1brightness wilh any ol the three performance controllers as well. PLAY Voice Edit Mod Wheel Receive
OCAand/or DCF k3-vels are often oomroUedwith Iha loo! pedafor after Bank Edit <·•·············•> After 'fouch Basic/Area
touch10produceaescendo and de-crescendo
effects. II can be pania.l• Elfect/MIDI Foot Vr Control
larty useful with brass and string sounds. Data Du"1) MIDI Function ENA/DIS
OPT Sollware DUIT'I>Effect Plogram
Note: When the FZ ·s MIDI function's "RECEIVE"'parameter is set 10 ENA/01S
MARE.A,"each Area will respond lo mod wheel, al1er touOh, and fool
pedaJchanges only on its assigned MIDI channel Fot example, k>use
the mod wheel to add vibrato lo your stri~ sound wilh0u1adding vibrato
to voices assigned to Areas wllh di1terentMIDI channel assignments.
However.tho setUnQS ot Effectsparameters are usedby all Areas. So ii
you have as.signed after touch to control OCA levels, all Areas will
change OCA levels when they recolve after touch messages on theit
assigned MIDI Channels.

~ ,.,
\
.. ....,.,......,.•...... ,..,
2 3 4 6 7
MIO< MIO! MIOI M.101l,UOI M!Of MIDI
)!JIIIIIID!ff 3 \
• • • 16 7

MIDI Receive sot for AREA

I
□ ..
,.,
7

m11111rnm
MIDI Receiveset tor BASIC

Agute64: WhenttMt Frs Recit!lveparenw,~ I•• 10..AREA", tlilCh Al9e WI• Sink.can 1>tcon-
1,0~ from a .sfP4ll•'- MIDI channel, W'honh • set lo "BASIC", 11 of lho Areas lfe 00nlrollcd
by which~ MIDIchannel has bffn ~~ wfth the FZ"sBuleQt;ennet p11trnetM,

134 135
 MX

ent places, relatNelo how you play a note, The FZ offers you three dif
ferenl klop modes:
Experiment#1O:Truncate
Sustainloop- Any one ot the elghi loops can be se, as a Sus1alnloop
Focus: Sampling Editing Performance A sustain loop will conlirue to repeat as king as you are holding down c
key. There can bo onty one Sustain loop pet voice.
Key Settings: End loop - Any one ot the eight loops can be set as an Encl loop. Ar
end loOp(often called a releaseloop on other salll)lers) will concinuetc
Manual Sampling(not Auto Sa"1)ling), Sample Length: 2000 ms, repeal even after lhe key is released. Any pa11of the samp)e after the
Sample Rate : 36 kHz end point of an End IOOpwill not be heard. There can be only one Eno
loop per voice.
Operations Manual PageReference: T,medloop- This thiro loop mode allows you to set a spccWiCtime valJe
Manual Sampl:29..30,Truncate:63•65, Delete Volce:79-80 for 1he loop. A rimed loop wlll repeat for the specified amounl of time
regardless01how long you hOlddown a key.
Step by Step
There can bo no more than one Sus1aink>op and/or one End loop
Enter tho Sampling sub•mod• and manually sample 1lle phrase "Rock and Roll.· (SIM the sampler assigned to a voiee. There can be more than one Timed loop (u.pto
belor• you start taking.) eight, Wthere is no Sustain Loop or End loop assigned)
Listen to the sample 10makesure you havon'tOJI 011lhe beginning of the wol'd "ro(:tc;,'"
E.n1orthe Create Voice: Truncate opecaUonof lhe llblce Edll sub-mocse. Nole the values of the end Thll Loop Cycle
point parameters: 'COARSE= 0070" and "FINE• 0312." This Is tho length of a 2000 ms sample In
the Fz·sooarseand fine units. Since there can be so many loops in a voiee, ifs importantto undctstafld
the oroer In which the loops are played (Figure33). They occur In the
Play some rapid notes on the keyboard. Notice that when you play quickly from key to key that you same sequence as lhe FZ's enve/cp6$leps. Loops Wlll always occur in
don't hear your voice. (That's becauseyou've sanl)lcd some silence befote you s1ar1ed to speak.) numericaloroer: Loop 1, Loop 2, Loop 3, loop 5, ... Loop s.
Set the sarrple S1ar1polnl al the very beginningof lhe word "rock." Be sure to tocatethe poinl so you
The voice cycles ttvough the first loop as soon as you hold dOwn a koy.
don't hear a click at the beginningof tho word. (Refer to Experiment 8 for how to Jocatestart and end
points.) If It is not a Sustain or E.ndloop, ii repeats lor the sefected loop Time
and then plays through lhe sample un11111 reachesthe start of Loop 2.
Set the sarrpfo end point at the very end ot the word "roll." Be sure to locate the p0incso you don·1
hear a click at lhe end of the word. If Loop 2 isn1 a Sustain or End loop, it repeats loop 2 ror the selected
Play somerapid notes. You shOuldhear the sampledphrase begin as soon as you strike a key. Loop Time and lhen plays through 10the sta/1of lhe next loop.
Enter the Voiee Ed-: Delete Voieeoperation and select andexecute"UNUSED PARr. Yhis process COfltinuesuntil all or the toops have been cycled through in
Enter ltle Create Voiee; Truncate ope,alion ot the VoiOeEdit sub-mooe. Note the vaJuesot the end order or a Sustainloop is encountered.
point parameters. These ShOWthe new, shOrtenedlength of lhe tnmcated sample, The "dead spots· ihe SUSlainloop Is repeated as long as you conlinue to hold down a
have been permanentty,emoved lrom the sample. key or the sustaJnpedal. Whon !he key or pedal is let up, lhe vorce
Reset the start and erw;tpoints or the truncaled ve,sion to the S1artancterw;t01the word ~nd." Enter plays thtough the sal'fllle until It reachesthe next roopstart point.
the Voice Edi! : Delete Voieeoperation and select and execute"UNUSED PART",
11thiS next loop isn't an Encl loop, it repeats the loop for the selected
Enter the Create Voice ; Truncate operation 01 the Voiee Edit sub-mode. Nole the values of the end Loop Time and then plays through !he sample until h reaches lhe nexa
point parameters. Compare the values of Lheend point parame1erswith the prevk>ustwo versions, loop sia11point. This ptoeess continues until all elgh1loops have been
The words "Rock~and the word MRoll"have been permanenUyremoved from the sample. played or an Enclloop Is reached.

Observations: • an Endloop has been se1, lhen the voice wlu repeat this loOpindefi•
11.
~ttely as tong as lhe voice Is still audible (even ii long envelope 1elease
Truncate and oe1e1eVoiC:ecan be used together to permanentty to remove dead spots trom the times a,e used tor the OCAand OCF).
begiMing of a saffl)le. The 1runcatedsalll)le WIilbe heard as soon as a key is pressed.
Removing unwanted portions ot a sample also saves memory. Toe trunc-atedversion wllt use less
memory than 1heoriginal. GiVingyou more memoty IOt new samples.
You can use truncate to isolate smauparts 01a saf'l'l')lelo, splieing,etc.
On your FZ, the sample is not permanenttya•ered until you execute Delete Voice. Since Delete
VOteewil aJlerlhe original, Its a good idea to make a oopy of lhe sample with Save Voice lirst. Work
on the copy. 11you make a miSlakeyou can at.vaysmake anothercopy and try again.
Note: Co,pje:sof a voice made with the Copy Voiee operation may each have a different set ~ star1
and end POints. However,once a voice is OOpied with thiSoperation, the ·UNUSED PART"'o,plionis
not aciive with Delete Voice.

lOOl'I lOQll>t U)O~.J l,QOP, I.OOP~ \.00Pl l,QOP1 lOOPI

Figure 33: HC!f9°1'Nhlt you W04.11d MN with the l.»p Time aetti~ 1h0wn In flil .. ..,..,..
When • k.,. 1, preuod, loopt 1 lhrough f 'NII NCh r-epett 1htff ''"""- Next, Loop 5 (Chi
Su11t>lnloop) wll r.,.._, for u tong as the key It held. Afleottho ,i;_,. It relNsed, l.oopt f lf'ld 7
•Ill uoh ~I three fffiM. ftn.lly, Loop 8 (the End Loop>'NIii ~t wntliwou,1y unlll Ile
sowwf fMOe •••Y• The portion of lho wmp'41 tftH the End l.oop wil nol be hNrd, (A Loop
Tltne nluil ol one c:aulN • loop to repeal three times.)
72
73
 Next Loop: Trace and Skip
Another unique (and very usetut) FZ loop feature is Next. This teature Experiment
#11:LoopModes(Sustain,
Release)
allowsyou to sf<ipunloopedportions01a sa"1)1e.Next a11ee1s
unloo,ped
portions of the sample in between 1hecurrent loop and the next loop in Focus: Sample Edit Performance
tho cycle. When this parameter is se1to "TRACE," the sample win play
normally, When it is sel 10 ·SKIP," !he voice will ju"1) direc:ttyto the star,
of the next loop, witOOUtplaying any pan of the sample between the pre-- KeySettings:
vlous loop's end point and the ne"' loop's stM point (F9urc 34). Be . OCF CutoHFrequency: 127. OCA Raia 2: 0
sure to try Experiment 114: Next (Trace/Skip) to get a hands-on
demonstration of this powerful feature.
. Loop Time: rater to Step by Step below
• LOOPSlar1.Point. Loop End Point refet 10Step by Step below

OperationsManualPage Reference:
LoopsW11h
Next= Trace
. 5an"l)ling:22•29, DCA Enveiope:66-67, DCF Envelol)e.67•68,
Loop Set:69•70

NEXf
Step by Step:
TRAC
• San'l)le the phrase, "Endlessly looping."
. Ente, Voice Edit: Create Voioe and seI lhe OCF arw:IOCA paramet8fSto the values listed in Key
Settings above.
• Enter Loop Set and set the Loop 1 Slart point immediatelybefore "endlessly:
• Set the Loop 1 end point immediatelyafter ·enc1IessIy.-
cc,o,' lOOP2 LOOP$
. Play the sample aI the original pitch, Notice that "endlessly" ,epeals several times. then you hear
"looping." The length of time a key iS held d0esn1enec1the sound.
• Set the "LOOP TIME" value lor loop i to •sus.·Now when you will hear ~endlessly"as tong as you
Loops With Nex1• Trace continue lO hOlddown a key. After the key is released, you heat "loopklg:
. Sot the ·LOOP TIME" value tor Loop 1 to "END." You will hear "endlessty" repeated1or as long as
you hold down a ~ey. It will conrinuc after you release the key as well. The word iooplng" Is never
heard.
. Reset the 'LOOP TIME" lor Loop 1 to 'SUS' again.
. use the RIGHT button to select loop 2.
. Set 111e Loop 2 slan point irrwnediatelybefore "looping.•
. Set 111e loop 2 end point immediatelyafter "looping."

L00P4
. Set the "LOOP TIME"valuo for loop 2 to ·END." Now when you play, you'I hear "endlessly"as tong
LOOP! LOOP> as a key is held, and "looping" after the key is reJeased.
. Try playing d~ferent pitches and chords.
f9,N 34: When• IOOp'• Ne.xt p11rwnetet1, H-110 Tttc», IN unlooped seicUOnof the umple

°'""
b$tot• lh• next loop I, played nom\&lly. H k la .. t tor $klp.1M sound jl,,mpaImmediately trOM
Ifie end OI IN loop 10 tht •1M nexl loop. The unlooped MCtlonls nol hN1d,
Observations:
. A sustain IOOPcan make even a short sa"l)fe las1indeUnltelyby repeating a portion ol ii while a key
Regal'C:::Uess
ot where In a salll)le it OCCUl"S, all loops a,e ctehnedby a is hek! down,
start point and an end point. These two points can be located any• • The portion ot the sample atter the end toopwill not be heard . This means that you can delete the
where within the sample, tram the firs.1sample to Ihe last Where they JX)rtionor the sa~e after the loop end point if you want to save memory. (Remembe,, save the
are plaoed will d-Olormlnewhat pan(s) of the enlire sample will be original lir'S1and wo!k on a copy.}
repeated. 11is veiy impo1tan110 understand that the portion of the sam• . The portion Ofthe sample after a StJstaM'lloop will 001be heard unailafter the key is released.
pie following an "END" loop (or the last loop ~ ~s Noxt parameter is set
to "SKIP")will not be heard. This iS the key big memory savings. ti you
. In order to hear anylhlng after a key Is released, you m.isl ad)Jsl the OCF and DCA so lhey remain
open for some amounaot time a1tertho koy Is let up. (Experimentswith these senings are coming
know you'll always be using the saRl)le with the loop active. you can up.)
ht1ncate the sa~ to the k>opend poim and throw away lhe urosed
portion of 111esafl'llle. using the Delete Voice ("UNUSED PART") opera·
1km. This will give you more memoiyIOrolhet saRl)les (F,gvt9 35).

74 75
 Experiment
#13:Next(Trace,Skip)
Focus: Sample Edll Performance
Su&tainLoop
End Poin1
Key Settings:
DCF Cutoff Frequency:127, DCA Rale 2; 25
I.CopTime; refer to Step by Step l)elow
Loop StM Point, Loop End Point: reter to Step by Step below

Figure 35: Sust11ln11ndEnd Loop• Operations Manual Page Reference:

Sampling:22•29, OCAEnvelope:66~7, OCFEnvelope; 67•68,
Loop Set: 69,70

Experiment#12: MultiLoops Slep by Step:

Salll)le Ihe phrase, "One. two, lhree, lour"
Focus: Sample Edit Performance Erner Voice Edit: Create VoiOeand set lhe OCF and DCA parameters to the values liS1edW'IKey
Settings above.
Key Settings: Enter Loop Set and set the '1.DOPTIME" value tor Loops 1 and 2 to "0001.• Use the RIGHT/LEFT
OCF CuIon Frequency:127. DCA Rate 2: 2S buttons to move from klop to loop.
I.CopTime: reter to Step by Step below • Set Loop 1 to start and end on the word •one: You'll find lhis very easy to do ii you use the graphie
Loop Start Point. Loop End Point: reler to Step by Step below display to seI your loop points. {Don't forget, you can use the ENTER button to toggk! the display
between "START" and "END.")
Operations Manual Page Reference: Now set Loop 2 10start and end on the word "three:
Play and ltsten. You·nhear "One-one,one.two, lhree-Ihtee-ttvee, four."
Samping: 22·29. DCA Envelope:66-67, DCF Envelope:67-68,
Set the "NEXT' value for Loop 1 10"SKIP."
Loop Set 69-70
Play and listen. This time you'll hear "One-one-one,three-three,three. tour. {The word ,wo· i$ gone.)
Step by Step: Set the 'NEXT" value for loop t to ·SKIP."
Sample the phrase, "One, two, three, lour, Ove,six, seven.eight.· Play and listen. This lime you'I hear "One-one·one,three ...fhree-th,ee,tour. (The word iwo" is oone.)
• Set the "NEXT'Valueto Loop 210 "$KIP.''
En1erVoice Ed~: Create Voice and set the OCF and DCA parameters to the va\Jes listed in Key
Settings above. Play and listen. Now you'll hea, ·one~ne-one, thlee,ttvoo-three... (The word "four-ls gone.)
Enter Loop Set and set the °1.00P TIME" value for all eight loops to "0001." Use the RIGHT/LEFT
buttons10move trom loop to loop.
Observations:
Set I.Cop 1 lo start and end on tho word "One." You1Illnd this very easy to do i you use me graphie When a toop·s "NEXT" va"e is set to "SKIP; Ihe FZ will skli) any unlooped portion or the sample
display to set your loop points. (Don) forge~ you can use the ENTER buHon to toggle the display betNeen the loop's e-ndpoint and the next kx>p'sstar1point
between "START"and "ENO.") If the lasI loop In a sample is set to "SKIP,•anyportion ot the sample alter the loop will not be heard.
Play the sample at the original pitch (keep the key down). Notice that -one· repeats a lew times, then
you hear iwo, three, tour, five, six, seven, eight: •
• Now set Loop 2 to start and end on the word "two.· Play and listen.
Set the LOOP3 IO sIan and end on lhe word ,hree.# Oothe same wilh the remainingloops: Loop 4 •
"tour,. Loop 5 = 1Ive; elc. Play and listen..
You nowhave eight separate loops In tho sa"l)lel Each one k>opinga different word. Experiment
wih difletenl "LOOP TIME" values
Try playingdifferer11 pitches and chords.

Observations:
You have total freedOmas to wtiern you can ptace each bop's stan and end points. For instance,
make a loop tha1cycles the words in reverse ord8f~"One, two,three, lour, Ove,six, seven. eight-eight•
eight,seven-seven-seven,six-six-six,(etc.) one-one.one.~
Try looping different combinations01words: Loop 1 • "One lwo lhree,"
Loop 2 = "seven eight.· Loop 3 • "five six seven; eIc

76 77
•
Cross Time Level snd Pitch Matching
You may selecttwo diffete11t
loop types on your FZ, dependingon how you set A klop is very similar to a splice. A forward loop i$ like a butt splice. The
the Cross Timeparameter (Figure36) • point in the splicewhere one soondSloe:>$ and lhe other starts is just like
the point where the loop changes lr'omthe end poiot back to the s1ar1
Setting1heCross Time value to zero createsa forward l()Op. This Is lhe point again. The start and end points shOuldhave the same level. The
normal loop type for most samplers. It plays trom the start poinl 10 tile wavetorm pattern of both points shOuldalso be very similar, if not kfenti•
end point, 1hentt goes ba<>k10the stan po,ntand plays to the end point cal. ff the levels and patterns don't match, you'll hear a p0p when the
again. This patternrepeatsas longas the IOOP 1$active. loOpjumps from lhe end point 10the SIM poinl. tt the pi1cl1ol the sound
Settingthe CrossTime to a value greaterthan zero createsa cross•fade drifts at au during the looped sechon ol 1he sample, a Vbato or other
loop. A cross~tadeloop plays from !he start point to the end point over bUmpin 1hepitch wll resun{Figure 37), tt you want lo produce a s1eady
and over again (li<e a forward loop),bUI the stan and end ol the loop pitched sound with a loop, It's extremety helpful it the source has a
over1ap. During lhe overlap, lhe start and end sections of the loOp are steady pitch. II not, you can use a short loop. More on 1hatin a bit.
automaticallybalancedagalnsleachother. One growssofteras the other
grows k:luder. The Cross Time value adjusts the le~h of this overlap.
The Cross Time paramelectunctionsin essentiallythe same way as the
X-MixTimc parameter(seepages53 and 54 In yoor OperationsManua~. ILevel Matching I
Loooo.LOoooPLOoooPLOoooP
Loudness changes in a Forward Loop wil cause a ·glitch

Forward 1..ooML o o p L o o p L o op L o o p I-::=::, LooooPqooooJLooooP •ooooJ

A Reversing Loop may hep compensate (or this ...

Cross Fade Loo~L o o Lp o o Lp o o Lpo o p ? LOO PLO O PLO OP LOOP

Even loudness producess the bes! loops

Figure 36: FZ Loop Types Pijch Matching I

Loop drifts flat Loop drifts flat
8.4TheArt of Looping Ally pitch change in the loop will alsocause a '"glitch"
As we mentionedabove, loopingIs one of the most il'll)Ortantsampl.ng
operalions. tt is also one of the trickiest to set up correctly. Wtry are
loops so Important? Well, lor one thing, looping provkles you with a ne Vib e Vib
o ra 10 cycle on ra 10 cycle
men'IOdfor extendinglhe o.iration of a samplewihout using adcMtional
memory. You could havea sampleof a tnimpet1hatis only one-halfsec· To loop a sound with vixato, loop one complete vibralo cycle
ond long, bUtwllh a wefl placed loop, you could play the trumpet no1efor
as long as you wanled. Also. the sound ol lOOl)Shas become a very pop• Figure 37: LeWi!and Plldl M8fflng th• loop
ular effect (a ta M•M·M•MaxHead-roo-roo-roo-room.)

Why are loops so tricky? l~r piacemen1of the the start and end Looking For The Perfect Match
points can ln1roduceglitcties incoyour sample. If the levels are not Pfop-
erly ma1ched.you will hear repeated clicks or popsduring the k>op, If the As we mentioned earlier, the graphic display is extremely helpful in filll}-
loop is In the wrong spot in the sound, a repet~ious breathing may be lng two points with matching revels and patterns. Here's the basie pro--
heard instead ol a smooth sustained note. II the start and end points are cewre for setting matching poln1swith the dlsplay:
not set at a properdiS1ance fromeachother, strangebuning sounctsmay After entering Loop Set 1rom the Create Voice menu, use the
be produced du~ng lhe loop. A 101depends on which two poinls you LEFT/RIGHT bUttonsto select the loop oomber you want to W<>rk
wih.
select out of the several thousand(or tens ot thousands) points that make
up your sample. FoMnately, the FZ provides you with Sj)GCialloop types, Select"START; COARSE" wtth the UP/DOWN bUttons and JXJSh DIS•
modes. and functionsthat will help si"1)1ify the looping process. You'll PLAY. The entire sample will be shown on lh• display seteen. The
find, for example, that the FZ's graphic display is a great help in sen;ng up word "START· will appear under lhe sampled waveform (as well as the
k:lops. since it lets you select loop points visually. Lers take a IOOkal value ol lhe start point).
what causes 1hedifferent kinds ol loOplngglitches and how lo avoid them. Use the VALUE slider to move the s1artpoint to lhe general spot you
want lhe IOopto begin at. RestnKethe key after each move so thaJ you
can hear where the new location is.
Once you've gotten the start poin1in the ball park, push the ENTER but·
ton. Now you will see the word '"END'"under lhe waveform. Use the
VALUE sllder 10place the end point usiJlg the same p,ooedure you used
lor lhe start point

78 79
 To fine tune the loop points, pus.hthe DOWN button two or 1hreetimes How To Convert Loop Sizes To
until the patternof the wave is displayedas a curving line.
FZ Coarse and Fine Values
• II you are still viewing the end point in the display, push ENTER to dis~
play the tocationot the loop start point. Use the VALUE slider to move To convert a muslcal value to a loop leng1h,mutlipty the sampling rate
Ihe startpoit'lt to a zerocrossing, times the lenglh of 1he rhythm unil. The length of the ihythm unil is
equal to 60 divided by the nunt,er of notes pet minute For example,
Now, repeatedlypushingthe ENTER button a few times will overlay the here·s how we got the vakJefor tho quMer noIes in E..xper1men1 #15.
two patterns in the diSl)lay, This is lhe key 10 t;nding matching poin1s At a tempo of 120 beats per minute. there are 120 quarter noles every
wl1hthe FZ's o;sptaysys1em. Bolh patternswm be een1eredaround the mill.lie. So 60 divided by 120 equals .5. If lhe sarrpllng rale i$ 36,000
cursor in the display. You'll find it makesoomparlngwaveshapesquite (36k), then the nurrtier of samplesin a quarter-noteloop Is 36,000 multi•
simple. It you have a good match, lhe display will hardly seem to plied by .5 (18,000).
change at al when you swilch t,om star1point to end point with the
ENTER button. On lhe FZ, you can1 juSI sel me loop length 10 18,000samples. You
It the two patterns are ve,y different. adjust the end point localion as to~ must first translate the loop lenglh Into the appropriate number ot
lows: "COARSE"and •f1NE" units. Eai::;.-t1 coarse unit equals 1024tine units.
Each fine unit equals one sa"l)le. The hlghes1fine uni1value you can
Push ENTER to show lhe end point Use the LEFT button to move the set Is 1023. lo lind the right settings f0t an 18,000sample kXlp, you
end poinl location. Continue to push the LEr:T button u.ntilyou find a have to dOsome more figuring,
patternsimilar to the start point pattern. Oonl worry about rement>el'ing
• Fo, lhe "COARSE"value, divide the loop size by 1024 (18,00011024•
what lhe Slart point looked like, ;,s1 pu$ll ENTER lo re,<lisplayft. Push
ENTER again to show tho ond point 17.6) and throw away the remainder. The result.17, Is the "COARSE"
value.
When the palterns are similar, use tho VALUE slider to move the IOOp
For me ·FINE· val\fe, mun1p1y1024by lhe "COARSE·value you j\JSI1;g.
end poinl to a zero crossing that marchesthe setting of lhe toop sIart
poi!'l4.There shouldbe no pop or clickwhen you llslen to lhe loop. ured out (1024 X 17 •. 17408). Sulleractlhis numberlrom lhe loop size.
The rewn i$1he "FINE"value (18,000. 17498= 592).
II yoo have troublegetting a perfeCImalch, you might wanl 10try using a Set the k)op start point In the normalmanner. For this example,lei's say
Cross.fade loop here. Cross•tade bops may automatically eliminate the "COARSE"value is 5 and lhe "FINE"value is 312.
clcks at lhe IOOppoint Sincethey eftectivelyset the loops start and end
polms to zero. RaiSingthe "CROSS TIME" parameterabove zero aclt- The end point "COARSE•value wil be lhe S1ar1 "COARSE"value adcled
vates 1hecross•1ade. to the vatueobtainedin the first slep above (5 + 17. 22}.
The end point "FINE" value will bo tho start "FINE" valuo added to the
Setting Loop Lengths value obtainedIn Uleseoondslep above (312 + 592 = 904).
Since the,e are so many poin!swihin a Sing.lesan,>18,where's the best The loop is nowlhe correct length for lhe rllylhm: START COARSE= 5,
place 10pu1a loop, and how loogshoukl k be? There iSno single answer START FINE• 312: ENOCOARSE• 22, ENO FINE• 904. I1ihe loop
to lhis all- importamquesllon. The beSI Ioea11onsand lenglhSof loops has a click, zoom In on the displaywith the DOWN buttonand move the
will vary with the type of sound and lhe effect you want 10 achieve. end point to the nearestzero crossing.
There are, however,some generalguklelines we can pass on to you.
You may occas10nallyrun into a ca1culalionwhich pcOducesa vatue
Loops for Repeating Effects greater than 1023for the "FINE· value. II so, there's an add~k>nalstep
10go lhrough. suppose lhal lhe start poim's original "FINE" valuewas
II you are looping 10create repeatedspe&eheffects, your ears will help 500 In lhe exampleallOve. The additionwould produce 1092(500 + 592
you llnd lhe portion of lhe sample 10loop. Doni fO<Qel 10;nc:ludesome • 1092). Simply sublract 10241romthis number and use the resu• as
°'
silenceat lhe end of the loop, the word (or words} that are looped wilt your ENOFINE value. Then adcl 110 the "COARSE"value:
run together. If you loop the word "loop· for example,and dotl1 leave a
1092• 1024• 68 22+1 =23
pause in the loop, you'll think you're hearing "pk)oploopk>o'"not "loop
loop loop." ENOCOARSE• 23, ENOFINE= 6ll
• To crnale speCifi¢looping myllvns, sel lho loop lenglh to equal lhe lime
04 the desired note. In other words, if you want to loop an elghlh•nole We've included a table that has 1he"COARSE·and "FINE· values tor a
rllylhm al a lempo of 120 beals per minUle(quarternole = 1 beal), maJ<e varie1yof nole values and tempos at each of the FZ's sall1)ing rates
(F'rgvre38),
lhe loop lenglh .25 seconds. Then adjtlSIlhe start or end points 10get a
click-free loop. (See below for how lhe caklJlallonsare done.)
• If you need to insen a pause into a loop, sample slklnce (Manval
Sampl• wfth nolhing conneciedto lhe inpul) and splicea place or k Into
the sample10be looped.

80 81
 LoopSizesForCommon
Rhythmic
Values
To find the toop size (tn safll)ling points)tot any rhythmicvalue, multiplylhe sam•
piing rate times the length (In seconds}of lhe desired rhythm unit, (Throw
away the remainder.) To find 1helengthol the rhythm,divide 60 {seconds)by the
numberol the desired rhythm units per minute. To oonven.1henumber of sam-
pling points in the loop to the FZ's COARSEand FINE Values,divide the points by
1024 and throw ~y the remainder. That's the COARSE value. Then, rTKJlt1)ty
1na1number by 1024 and subtraCIthe resull tro.mthe rumber of poln1s. That's lhe
FINE vak.le. Fo, example,what IOOpsize will procl.Jceeighth note triple1sit me
1eflll() is 120 beatsi=per=minute and Iha san'l:)li"Qrate used was 18 k?

60 secondS/36081hnote uipletsper minute• 1.66667

18,000 samplingrate X 1.66667 = 3,000.60
after throwingMay the remainder,the rumber 01 samplingpOiMS in the k>opis 3000
3000/1024 = 2.93 Agwe 38 conhed.
after throwingaway the ,emainder,the FZ COARSE value is 2
2 X 1024 • 2046 and 3000 • 2048 = 952 InaudibleLoops
the FZ FlNE value iS 952
Loops are most frequenttyused to extend the ctlration of a sa~ with•
out requiringthat any additionalmemorybe used. A properlyset sustain
or end loop can extend oven a very shor1sample10 any musicalduration
you want. In order tor the k>opedsound to retajn its na1ura1qualily, the
loop ,rust be Inaudible. rn other words. you don't want 10hear the loop•
Ing effecl, just a smoolh continuous sound. Here are some things to
~eep in mindwhen setting up 1hesekinds ot IOOPS.
In general, sounds with noticeablechanges in pilch, tini:>re,or k>vdness
d.Jrlnglhe course 01a note are lricttier to loop than sounds that arc rel.1•
npet lively s1abl8. Fo, tllis mason, it iSusually good to avoid samplingsounds
~plet wfth vib<a.to,tremolo,or other modulationellects (like chorus, or flanging)
le ri let ii you intend IO IOopthem. The same hok:lstrue with many pc,cussiOn
sounds,sincetheir loudnesschangesradicallyover a very shon llme.
n lel
In order to create an unoote<:1abfe
IOOp,it iS important1hatthe pitch and
general wavesh.apein the Area of the loop starl and loop end points
matcnascloselyaspossible.
Size Many sound souroesdrill in p~chover the coume of a note. Sometimes
this can be avoided by careful performance. At other times, a certain
amount ot pitch shift may be unavoidable. It a pitch change occurs
inside ol a loop, you wlll hear what sounds like vibrato during lhe loop.
As you play higher keys. tile vibrato speed will increase, and when you
play lower keys, I.hevibrato spoedwill slow dOwn.
• It the amplitu<Se
or shape ot the waveform is dramallcaltydifferent at the
IOOppoints, you wlll hear ,epealing lremolo, or breathing,during the loop.
The speed of this etfect will a.tsoincreaseo, deaease as you play h.gher
3 528 and lower keys.
t 6
0 90-0 As you can see, there 8Jea lot of factors that can effect !he sound 01a
10<>1>.Finding the right staning point and determiningtho proper length
tor a k)Opwit onen be an exercise in patience, using a lrial-and·error
F1gur•38:Loc,pil"Q Rhyllms wi1htht FZ (con~ on ntxt pege,) approach. However, the ar1 of looping is not as mysteriaus as many
seem to think. There are two basic kinds ol loops. short loopsand Jong
loops. Once you unders1andwhat lhey ate, how IOset them up. and the
cffeelsthey produce,tooplnggoes from esoteri::to commonsonse.

A Shorl loop iSone that a happens so quickly tha1we a,e not abte to hear
it repeat Instead, we wilJ hear an aclual bu?z or pitch, This w,11occur
w!h IO<>I>lengths smaller than about 50 ms. (that's900 samples at a 16K
sampling rate). When using a short loop, it is important IO match the
pitch of the loop with the pitch of lhe originat safrl)le. Care should be
taken In the setting of the sa~ling ,a1eand the tuning of !he instrumenl
82 83
 being salrl)led. We've given you a chart (F,gvre 41) to help you pick
the best settings. It ls Important10'8allze !hat lhe pitch ol a 1unedloop
Experiment#14:TuningLoopRhythms is determined by lhe size of the aoop,not the pitch of the sampled
sound4 Since these loops are so sh0r1,many of the prob)ems men·
Focus: Sample Edit Performance lioned abOve will not be heard. However. these toops are very dry
soundingand oeneranydOn'tsound naturalwith samplesof soundswith
Key Settings: effects (like phaseshifters or delays) or with samplesof gioups of instru4
mentsptaying at once.
• SamplingRate 36 kH>,SarrtJlingLength 1000ms.
Loop Set paramete,s:reter 10Step by Stop below Long kx>ps(more than 50 ms.} won't be heard as a pitch, but ratheras a
For this expe,imentyou11need to play your F2 and Esten10a sequence.drum machineor metronome repeating seclion of sound w~hin a sample. A long klop is gene,any
playing a steady 1empoat the same time. You can listen to a ,epealing sequenceof music, or just a best when you wanl to loop a sample of n"l.lHipJe instruments (I.Ikea
steady beat. Set the tempofor 120 beats (quarter notes)per minute. string section).or a sound with chorus, or $0me other repeating 1ypeof
effect. The trick to sening rong loops Is to find a section ol the sound
thal can repeat whhout soundingunnatural. R993rdlessot whether you
OperationsManualPageReference: use a IOngIOopo, a Sh0r1loop, the first step is to define a loop start
Sampling:22-29, Loop Set: 69-70 point.

Step by Step: Finding the Loop Start Point

Sample the sound01a slnglafinger snap. (Be sure to samptean en1itesecond. You'll need at '8ast a Most sounds will change radically during the allack portion ol a note.
half second ol silence !allowingthe snap. tf you have to, adjust lhe S1arlpoint wilh Truncate so that The best plaoe to start a loop is often right after tho atlaek when things
you hear tho snap as soon as you touch a key.) settle down. (In a sample o1 lhe word 1oop," this would be during the
Enter CreateVoice: Loop Set ol the Volee Ed~sub-mode. "oo" portion of tho sound.)This generally holds true whether you are
going 10set up a tong or shOrtloop. Changesin pnch and loudnessdur·
Set the 1.00P TIME" value ol Loop 1 to •SUS." ing the allack 01 a note are by no means unc,esrabae. Much of what
Set tho IOOPSIM point at the beginningol 1he snap, Write down this number. (For example,Loop ideniifies an instrumentare changeslhat occur as the inslrumentbegins
s1artpoint = 0002:0069.) to "speak," In most musical situatiOns,once the attack has been com-
Set the "COARSE"IOOpenclvalue 10the stan "COARSE"value plus 17, (For example,0002 + 17 = pleted, 1he player generally will try to keep the pitch and k>udness
0019.) steady for the held pan of the tone. (We're not wotry,ng about ettects
Set the "FINE"loop end value to th& start "FINE"value plus 592. (For examplo.0069 + 0592. 661.) lice vibrato or trcmok:lhero.) You can accorrpllsh !hi$ with even a short
Be sure 10 reacl.How To ConvertLoopSiz.esTo FZ CoarseAnd Fine Values for how the caleulations sample by pulling tho IOOpright af1erthe aUad<. Wnh the help ot Iha
were done. (Figure 40 contains a table wilh the correct values for most of the pitches l:nthe A440 FZ-sgraphic display, ill is usually quite easy 10see this area and~ a
equal te~red scale.) spot 10place the loop stM point(F;gure39 ).
Start the nl.Jsicor metronome. Play lhe 0<igina1key (CS)on a ctownbeat You'll hear finger snapping
in perfee1quarternote rhythm.
Play the C above, and then the C below (also on down beats.) You11hear eighth notes and then half Attack Portion Sustain Portion Tall Portion
notes. Now try It with the F# above, ond below the o,iginal key. You'll hear quMer note t'l)lets, and LUH--0 0 0 00 0--PUH!
hatt note triplets.
T,y playingtwo note chords, octave c·s. trHone C F#. etc.
4

Observatlons:
ff you know the tempo and the sarr1>Hng rate, you can create loops lhat will be in perfect time, The
arithmeticto figure out the loop lengths is very simple. flgure 34 shO'wsthe formulaand has a chart
Goodk>ca.tioll$
for LoopStartPoint
with timing valuesfor manytempos, and the FZ's three samplingra1esare al,eactyf',guredout for you.
Transposingfrom the original pita, will of oour;e alter the rhythm. Higher pltCheswit be shorte,. figure 39: loop it.rt polnta g..,.,-,11y wof1lbfft w'-n 1hty ,,. plllced In the wstaln portion of•
lower pitches longer. Ociave shif1swill dOuble (or halve) the rhythmic value. Trl+loneShifts (a -flat .ampt,e, The bMt •pot Is ol\en right aflcr Ille anedc portion iMCfe. dawn, Thi• lllustr•• lhe
live") will producea t'1)1eteffect (3 against 2).
....
...
plaoemom of ~ *1$rt point In • tempi• of the word "toot>tt dMCl'ibedIn our ~ exPffl'
8

You can also locate the start point by ear. Move the sanl)lo start point
(using the Truncate operation), by smaUamounts. from the start or the
sample. Conlirue to readjustthe start point u:nti you no longer hear any
ot lhe attack sound of tho sample. Once youvo gotten past the attack,
adjust the s1a11point In single sample incremenls unlil youcan stan the
mod'niedsalll)lo without a clkk. Writo down lhis location and put the
sample start point baCkat the first sample again. Now sel the loop start
point to the 10¢atk:>n
you wrote dOwn.

84 85
 Finding the Loop End Point: Short Loops
Ideally, the loop Jengthshould be equal to some whofe l'lJmbermultiple
-. Frequency AndLoopSize
,,.,.,··

of the lrequenc:yof the sound yoo are looping. With the graphic display,
you merely have to look tor the pattern of lhe waveform and place the
end point on a matchingPOintin the panemsome J>'aoebeyond the 51311
For EqualTempered
Scale
point (Figure 40 ). Use the ENTER button to switch the diSplaybetween
the s1ar1poi.fltand the end point; this wil make it easy to hnd matching
spot$, If the samplOdsound was oU1ol 1Une,your loop wil have to be To tind the k:lopsize for any pitch, diVidethe sampllng rate used by the frequency
tuned vp it you are going to use ii with other, In-tune san,)les. Use the of the pitch you want to IOOp.Roundoff your answe, to a whole number, That will b8
Create Voice "TUNE."'pa1ameter10retune !he sa~ k> true piitch.
the oorrect loop size in youcFZ-'sFINE units. For example,what's the loop size !or
F1 at a sall1l)ungraIe ol 36 kHz?

Attack Por11on
.. 36,000143.65 = 824.74
Sus1aln Portion Tall Por1.lon after roundingolt the result, 1heloop size-is 825
LUH--0 0 0 00 0--PUH!
FZ Ke, Ulot Kev FfMuet!CY 9tt LoopSize 18kLoooSi.It 361<
LoonSiu
Numbe<Humller Hertz FINEUnl!S FINEUnits ANEUnllS
A 1 21 27.50 327 655 '285~E,1
A/I 1 22 29,14 309 618 211 SE+1
8 1 23 30.87 292 583 142n NRSE♦ 1
C 1 24
C• 1 25 r.filo 275 sso
,1.
490
77~SE,1
15 AR t
D I 26 36.71 245 981
o, 1 27 38,91 231 463 975
E 1 28 41.20 218 437 874
F 1 29 43.65 206 412 825
F# I 30 46.25 195 389 778
G I 31 49.00 184 367 735
G# I 32 51.91 173 347 694
Aguro 40: Tht beet $hOr1 loops aro just OIM complece cycle king,

A 2 33 55.00 164 327 655

tt you don't use lhe display, you can k>catethe end poin1by the num. A# 2 34 58.28 154 309 618
bers. As we mentronedabove, the tuning ol the Joopis determined by 8 2 35 61.74 1'6 m 583
the romber 01 samples in the loop. It does.ni mane, what the pitch (ii 65.40 138 275 550
C 2 36
any) ol the sample is. Of course, mosl ot the lime you will wan11heIOOp 37 69.30 130 260 519
C# 2
and sample pitches to match. Always be Su(eto check the tuning ol the 123 245 490
D 2 38 73A2
insuumenlsas you sa"1)1clhem. To lind the loop size, divide the sam• 463
0# 2 39 77.82 116 231
ping raIe by the freque<1cyot !he pilCh you've-sampled. That is the
number 01sampJesin the loop. E 2 40 82A0 109 218 437
F 2 41 87.30 103 206 412
F# 2 42 92.50 97 195 389
Converting Tuned Loop Sizes to G 2 43 98.00 97 184 367
FZ Coars11and Fine Values GI 2 44 103.82 87 173 347

Your FZ tels you specifysamples in both "COARSE· and "FINE" values. A 3 45 110.00 82 164 327
The "FINE"va\Jes areeq.,al 10single samples. Each "COARSE"value Al 3 46 116.56 77 154 309
is equal to 1024 samples. When saning up tuned loo/)$, the loop size 8 3 47 123.48 73 146 m
will almost always be less than 1024 samples. Since it isn't necessary 48 130.80 69 138 275
C 3
to start I\JnedIOopson zero crosSings,you can usualty get great resuhs 130
C# 3 49 138.60 65 260
by saning lhe stan point "FINE" va\Je to zero. (This can eliminate that
0 3 50 146,84 61 123 245
extra s1ep we used to deal with ~FINE" values grea1er than 1024.}
0# 3 51 155.64 58 116 231
Herc's how we ,ecommend setting up star1 and end poinl values ror
tuned loops on the FZ: E 3 52 164.80 55 109 218
F 3 53 174.60 52 103 206
Set lhe start point with the "COARSE"parameter. F# 3 54 185.00 49 97 195
Set lhe stan point "FINE· value to ·0000.• G 3 55 196.00 46 97 184
G# 3 58 207.84 43 87 173
Set the encl poin1"COARSE· parameter to the same value as the star1
point
Set the end point "FINE'"value to the numberof samplesin lhe k>op. Figure 41: FZ l,.oop Sizes lor Tunecl Loop• (continued o,, n•x, pago)

86 87
 ------111!111
__ "I&W'~w.,, •!'~~ .,.
It you set the loop size on youf FZ this way, you will hear lhe COffecl the )oopas long as possibfe(as k>ngas starting and ending Areas oCthe
pitch, Thafs all there Is to It We've given you a chart lhat shows the Joop malch in pitch..limbre. and k>udness). This way, within the overall
loop k)ngths lor dfflerent frequenciesand at the FZ's three sampting rates IOOP,you have retained as many of the hregularihos~hat~urred dur•
(F;gure41). San'l)le a pitched sound and set the stan point as oescribed Ing the course ot a note as posst>le,while creaOngan 1naud1ble loop.
abOve. Use !he chart to pictca local.iontor the enclpotnt and p«aya note.
Tho loop will delinitely be in tune The questk>nat this poJn1ls, does the The graphic display will help you Identify these patterns ot change.
toop tuning match lhe rest of the sample's tuning? Since most sounds Look 10, repeating pat1ernsW'llh& overall $hape ol lhe sample. Set the
lluctuate in pitch by at least some amount, you may still have a rew loop start and ond poi°'S 10 match the slart and enictof one pattern
adjustments to make. You can try placing the loop in a ditlerent spo1,or (Figure42 ). 11you can soe no regular pauem. look tor lhe lo~est sus·
,esample the source (this time cheek the tuning as you record ii:}, talned portiOn ot the sound. Set the loop start and end po111ts to the
edges ot 11\isarea. Now zoom in, using the DOWN t:unon so 1ha1you
We go over some a HiOnatechnq.Jes or 1un1ngup out ol tune loops can see the exact samples you've sel your loop p0ints to and adjust
(as well as a lot of other actvaoced safll)ling 1ect1niques)in our book, lhem so lhat lhe levels malch, (This ellminalesclicks in the loop.)
ThoSamp//ng8-.

Another possibility is to fine tune the I009's pi1chto the sarll)le's pitch by
ear. II the k>opls sharp CO"l)arcd 10the sample, make lhe loop length O--PUH!
al a time. (Remember,use lhe '"FINE~pafameter 10
longer, one sarl'lC)Je
change loop polnls in single sample increments.) The loop's pitch win
drop to match Lile san'l)le's. II the loop Is llat, shorten the loop length,
one sample at a lime. The k>OpwiQ rise to match the sample's. When
you·re done. you'll have a toop that's in tune with lhe sample. but the
whole thing will be out of tune wilh the resaof tho A=440 world (wh.ichi$
why the by the numbers techniquedidnl wolk right oll the bat). Use the
Create Voiee 1'UNE" parameter get the sa~e In lune with the rest 01
your sounds (and ne~ time, check your tuning before you sample). Fl(p.,r• 42: The ~t loop tt.o.1,etNn, tie natural sound ls your ot,jettiY• wtten Mffll'lO
up • •
long loop.
You may find lhat you can1 match lhe pitches exactly,ooe end po;,,t and
tho loop pftch Is nat, the next and the loop p~ch is sharp. (This can
sometimes happen when lhe frequency of the source can't be divided Play a sustained note and liS1en.11)'OUare unhappy with lho loop, f&set
evenly by tho sampling rate.) Here's a 1tiCkto try in this sm.JaUon:
multiply It on a d'if1erentp.anern.
the loop length by lwo and set the end point ror the new lcng1tt Listen to
the now loop pitch and liy retuning again. It the pitch difference is S!iU If you can't identity patterns on the display, yov ca~ try findi~ them by
unac~eplabkJ,multiply the original loop length by lhree and try again. ear 11lakes some practice at UrS1,bUtyou can do it, To begin, set the
Continue until tho pitehes match (Each limo you increase the loop loopstan pointusing the method we outlined abOve (see Finding the
length In this manoof, you will decrease the piteh difference belween the L.oopStart Point), Nex1,hnd the spo1where the sample starts 10decay
loop pitch andthe samplepftch.) (you'll want to put your loop end point beforethis spot). In our sample of
the word "loop; this spot would be right belore Lhe"puh" sound at the
tf you can't got a per1eC1match, you may waru 10 lry resalll)llng lt\e end ol the word. This Is the point where the original sound slops hOldlng
sound again. This llme. adjust ils pitch (or the sampling rate) so that the and begins 10 fade away, usuatty this Is easy 10 hear and you can
values match those oo tho cha(1. quickly movethe loop end poinl to a spot right belore lhOdecay begins.

Finding the Loop End Point: Long Loops You can use the Truncate operation to zero in on 1hlsarea if you·,e hav-
ing trouble hearing ii, Move lhe stad JX>INall the way to the end of th~
As we mentioned above, longer loops are often best with samples 01long sample. (You"llhear not~ng when you pfay a note.) Now slart m::ivingit
noles played by multiple sound sources. Good exa~s are Slrtng sec- bad< towards tho tront ot the ;;ample. (Use the "COARSE" parameter.)
tions. vocal choWs,rrultlple oscillator syntheslzer palehes. Long loops At lirst you will hear just a so1t click, but soon you wffl recognize the
also work well with sa"l)les ot sounds that have been played through sound of the end of your sa"l)te. It will be relatively son and percussive
effeels devices like chorus, lla.nge,Otdelay units. The tiehness thaJchar- (Le.. l wil start 10 fading ou1 lhe instant you hit a key). As you keep
acterizes these sounds is causod by continuarchanges in lheir pitch, llm- moving the star, point, this percussive sound will grow loodtl, and k>Ud·
b,e, and k>ucfness.Sometimes,as in lhe case of a sound processed with er. and the lade-out will become longer and tonger. Eventualty, you will
a chonJ$effect, the rate of change is regular and pcedictable. More ofton hear the Sovelhold steady tor an il\Stantbefore the sound s1ar1sto 1aoe
as in lhe case ot a string 01 brass choir, the rate of change varies and t,way. This is the poinl you are k)Oklngfor. Write down 1he k>Cation.
s&ems 10be random. Using a short loop on sounds such as these woukt Move the san'l)le stM point back to the firal sample in th<! sound and
freeze Iha Ct'lanoelor lhe duration of the sustain, and that ri¢h quality se-tthe loop end point to the location you wrote dOwn.
would be k>S1.Long loops also work woH with mechanical sounds, such
as maciliflery and engines, or any sound with a repet~iousnature (like a YOUfloop is nowset to the maxin'l.lm size for this particular sample. 11
tickingclock or a 1e1eph00e's busy signal). will probably be too ,ong a loop for most sounds. but once you'Ve sel
these Umlts you can rtaffow ii ctown from here. Hold down a key and
The key for senlng a long loop 10,soundswith regular cycles of change is listen. 11yo~ feel you can get a belle< k>op,begin by eithef m::ivingthe
try to identify one cycle ol change and se1the loop 1eng1hto ma1ch1hat loop start point forward or the loop end point bacl<Ward. Atter you've
cycle. Fer exa"1)4e, if you wanted 10 create a sustain k>opof a guitar done this a lew times.,you'll gel a feel tor which one you want colfy f1rs1.
note being played through a phase shifter, you should set the loop to be
equal to one complete sweep of the phase sh:fftetfeC1. In lhe case ot a
s1rtngsecuon, where the change Is not regular, it is usually best to make
90 91
FZ Key MIDIKey Frequency 9k LoopSiu 18kLoopSllt 36kLoopSilt
Numbe<Nu- HtltZ FINEUrllS ANE Units FINEUnllS Experiment
#15:TuningShortLoops
A 4 57 220.00 41 82 164
A# 4 58 233.12 39 11 154 Focus: Sample Edit Performance
8 4 59 246,96 36 7l 146
C 4 60 261.60 34 69 1~ Key Settings:
c, 4 61 217.20 32 65 130
Sampling Ra,e 36 kHz, Sampling Lenglh 1000 ms.
0 4 52 293. 31 61
o, 4 63 311.28 29 58
'
116 Loop Sel paramelers:refer 10SIep by Slep below
E 4 64 329.60 27 55 109
F 4 65 349.20 26 52 103 Operations Manual Page Reference:
Fl 4 66 370.00 24 49 97 Sampling: 22·29, Loop Set 69•70
G 4 67 392.00 23 46 92
GI 4 68 415.28 22 43 87 Step by Step:
A 5 69 440.00 20 41 82 We'regoingto samplelhe WO<d ~Loop" again,butthis1imesingit at the pttcho4"middleC.• Try 10
,., 5 70 466.24 19 39 77 hoktth&pitchas steadyasyoucan,
B 5 71 493.92 18 36 73 EncetCreateVoice:loop Sel of theVoiceEditsub-mode.
C 5 72 523.20 17 34 69 Se! the "LOOP TIME• value ol Loop 1 to "SUS."
Cl 5 73 554.40 15 32 65
31 51 Use !he <fospiayto se1!he loop s1artpoint in the beginning of the ·oo· sound, aher the "luh" pen of the
0 5 74 587.36 15 word.
0# 5 75 622.56 14 29 58
E 5 76 659.20 14 27 55 Leavethe displaymodeby pushingENTER. Resetthe startix,in1~FINE"value10-0000."
F 5 11 698.40 13 26 52 To find Ille loop lengthdivide Ille safll)ling ralc by 261.6, (!he frequencyof the pl!ch "mldcllec,. fO<
F# 5 78 740.00 12 24 49 example,36,000I 261.6= 137.9. Roundotf youranswer10a wholenumber10get thetooplenglhtor
G 5 79 184.00 11 23 46 'mi<l<Jlec· (138 samples}.
G# 5 80 830.56 11 22 43 Sel lhe loop end "COARSE"val.le lo lhe sameval.le as lhe loop start "COARSE"value. Se! the loop
e11d"FINE' value lo 138.
A 6 81 880.00 10 20 41 Play lhe originalkey. You wll hoaryourvoicesinging1.00000000." The sustainedPortionwill be
,.,6 82 932.48 10 19 39 tunedto''middleC."
8 6 83 987.84 9 18 36 Enter the displaymode and push1hcOOWN buttonuntillhe pattern01 the wave can be seen.
C 6 84 1046.40 9 17 34 Compare!he penem of the Siar!and end poin1sby pushing ENTER. K your singing was in tune. the
Cl
0
6 85 1108.80
1174.T?
•8 16
15
32
31
pettems shoolclbo klentlcal.
5 86 Try settingup lholoopus.ing thedisplay10locatestartand end poin1s Insteadof themath. You'l lind
0# 6 87 1245.12 7 14 29 thatit is veryeasy10 do as longas youcanseeat leastonecycleol lhe waveinthodisplay.
E 6 88 1318.40 7 14 27
F 6 89 1396.80 6 13 26 Observations:
F# 6 90 1480.00 6 12 24
G 6 91 1568.00 6 11 23 In a shon loop, lhe number of safll)lcs delermines the pleh 01the loop, regardless04whal pilch you
GI 6 92 1661.12 5 11 22 Safll)le<I.
Whenyouusethe<tisplay to se1looppolnls10,shOrtiOOps, yourIOOP w,11be in tunewiththesarrpie.
A 7 93 1760.00 5 10 20 K the safll)le is ou1of rune (wilh M40) Ille loopwill be 100. It you se1lhe loop polnls ma1hema1ica11y,
A# 7 94 18&1.96 5 10 19 thelooppitchwillbe in tune(withA440)evenIfthe sampleis not
B 7 95 1975.68 5 9 18 You dol11have to worry about clicks and popswilh short loops.
C 7 96 2092.80 4 9 17 The soundot a shOrtloop is very steady. No pitchor timbrechangeswill ooc:ur Wring the loop
(unlessyoucreate1hemwiththe LFO,afll), or 111ter tunctions).
Shortloop$ workgreattorsingfelns1rumen1 soundslikevoiCe,sax, trumpetetc. The triekis to ~•
Ille runedloop righl alter the nabJral"allack" sound (in this case, lhe iuh" pan ot lhe sample.)
Flgu,- 41 ootllkWect. Noticelhal onlya very smallportionof !he sampleis actuallyheard. Youcan savea lot01 memory
by 1runca1ing the sample alter the loop onctpoilll wyou cton1want to hear 1ha1pan ol lhe sample.

88 89
 J!!..
In el1hcr case. O"IOvethe selected loop poin1a lew ooarse values at a 8.5 CreateVoice:SoundParameters
lime. Contlrue to listen wilh smaller slices ol lhe sound i1 the loop each
time until you fitld the one that wo,1(sbest. When you hrt a sening that The parameters discussed above provide you with ways lo ~ciually
sounds close, don't lorge1 10 try lhe different loop types before moving manipulate the data in your samples. As you have seen. sampling data
on. {This ts 1hekind of sl1uationwhere cross.fade loops may work best) can be moved, re-ordered, and recombined in a variety of musically use-
Write down Iha locations thal sour')(:!good so thaJyou can return to them. ful ways Toe FZ also provides methods tor manipulating your saOl)les
even further. Once you have finished editing the data parameters, )'O\J
II you sliDhaven't found the per1eelk'Jopafter this process, reset the loop can edit sound parameters to aher a sample's pitch. timbre, and k>ud·
poinls to !he settings Iha! sounded !he bes! and try tine luning lhem by ness. These parameters wll ellect voices created with Wave Synthesis
moving the loop points in smaner a.mounts~h lhe fine parameter. operations as wel.

The SO\lndfunctions ot your FZ are se1up and behave in the same way
as most analog synthesizers. tn other words. rnte-rs.amplffiers,envelope
generators, and LFOs do precisely the same t~ings whether you find
Experiment
#16:LongLoops them on a synthesizer or a sampler. The only ditterence between them
is that synthesizers use osdlla1ors aJso as a sound source, and the FZ
Focus: Sample Edit uses digital samples
Performance
11you a,o already comrot1ableprogramming syntheslze,s, then you will
Key Settings: find 1hesefunctions and their uses ~ite famiiar. If this is new terntory
lot you, once again we would like to recorrmend our synlhesizer course,
Sample ~ng1h 2000 ms Secr•ts of Analog and 01gna1SyntlleSls.
LOO?Se! parameters: reler to Step by Step below
The Audio Path
Operations Manual Page Reference:
Samping: 22-29, LOQpSe!: 69•70 , Oigilal10 LL
Step by Step:
" Ot 1110 lOU ,...
10
O> 1001 )CIC;

n" 10 JOH HU
D> 1001 DUO

t\
......
,-
ConY(!rtJlt1
HltO HlOf
I.LLJ
. .... OCF OCA

Sample !he wotd "LOOi)."Sing~ at "middle c.·

Draw OUIlhe "OQ"pan ol lhe word ("LO<)O<)pj. "
ErnerCrealo Voice: LOQpSet ol the Voice Edij sub mode. t ID Prtch Changes [I LoudnossChanges [I

~.~
Setthe "LOOP TIME" value ol LOQp1 to "SUS."
Set the LOQp1 stan point to just after lhe iuh" pan of lhe word. Use the graphic display to loc'1te the l.),.lj.J,.L.J.PI Ll ...
spot.
• Set tile LOQp1 end poinl to just before the '))uh" part 01 !he word using the graphic d'isplay to locate UIIIIIIIIIIIIII Timbre Changes

l~~u~
the spot OSC Parameters
Play and llslen, the loop p<obablyhas an audible cllek or ihump· in~- DCAPDJameter•
• To fine tuno the loop points, push tho DOWN button two or three limes until the pattem ot the wave is
displayed as a CUl'Vingline.
tf you are sti• viewing the end poinl in the display, push ENTER to display the IOCalionof the loop star1 OCFP.vame11n
poKlt. use the VALUE slider to move the start point 10a zero crossing.
flrJut♦ U: Thi• d~rfj'ft •~• lho 11.1dlopath of 1n FZ. TM t8ffll)M I• oonvertod to lin ~IOg
Use th-0ENTER button to oorrpate the start and end points in the display. tf the two patterns arevery
•lgnll, 1nd 1h11Ngf\11nin• thrO\IQhI 1yn1hkller-type DCF end 0CA btlore you hew IL The
different, use the l&ehl'lq.Jewe ctesctiboon page ?? 10find a matching pattern. lhr .. mllln ~i. In the path ire where you c,.n change IN phch (1), limtir. (2), end ~
• Playand llsten. The cliek in the loop shouldbe gone from tile sound. (The more closely !he two pat• t3) of~ sampled 1nd t)'Nh•li.ct "°'°"· Pllctl changes ere Nt6t by ct!~ the ntte the
<lgllal da'la •r• eot'lverled in.to anelog tigMI&, Ch1nglng lht DCF'e cutoff hq1Hncy WIiilft.et lht
tems match. lhe tess dick or thump will be heard. A pertect ma1chgenerally yields no cl;ck. dmbn ol 1ht .. mpl._ Changing the OCA'1 ou~put k-Yel will al* ft<I kwdlMu ol the Hfflpl._
Listen 10and corrpare the same sample wil.h different "CROSS TIME" s.ettilgs.
When you play a key on your FZ. the sample passes through a synthe·
Observations: sizer-type DCF (Dighally Conlrolted Fl•er) and DCA (Dighally Controlled
In a long toop, the p<ch Is de1erminedby the sound you sampled, not lhe size ol the loop. Changes in Amplffler), belore H oets to the ou1putjad< on the back of the instrumenl
pitch (as weci as Umbreand loudne$$)are natural k> many sounds. These changes can make lindlng (Figure 4:1). The OCF and DCA can be controlled by the FZ-s envelope
gOQdloop spo!s qu~e a chalenge. generators, keyboard, low frequency osclUators,and per1onnanceoon•
trol:S,sucn as velocity. mod wheel, and p<essute.
• With long loops, you must be caretul to avoid clicks caused by mis.matcheds1a11 and end point levels.
For the best loops. It's necessary 10match bolh lhe level, and lhe overall pattern ol the saar1and end
point. The FZ-sgraphic display wil he" you find matching spots quiel<ly. What Does the DCA Do?
Even when the patterns match, lhere may s1a1be "glitches· In the loop ;, there are loudness, pilch, or Aller going lhlough the DCF, your sample is roU1edthrough a DCA. The
timbre changes within the Joop. Sometimes. the FZ's Cross Time p.arame1c,can hetp to smooth ovt OCA is a sophisticated loudness control. It dfltetmines the loudness of
this kind Ofprobl"em. your samples and symhesized vo~s when you play them bactl.. It iS
important 10 realize thal the DCA is the last stop in the audio pa!h. II the
level of the OCA is set to zo,o {by an envetope or other oonlroJler),you
will hear no sound from your FZ. even if you're holdlng down a key.

92 93
 What Does tho DCF Do?
Experiment
#17:WhatDoesTheDCADo? The OCF is a sophislicaled tone control (a low•pass filtef) lhat can e11ect
Focus: Sample (dtamatiCallyl)the timbre or tone color of your voices. The Level param-
Edit Pertormance eters associated with the DCF"after the cutoff frequencyof the fifter.
Changing 1he DCF's level changes timbre by removing frequencies
Key Settings: above its ootoff polnl from any sound that iS passed through It. If the
DCA Level 1: refer lo Step by Step below cotoff point is set to its highest valuo, then no twquencios are removed'
irom lhe sound (and lhe DCF is said 10be "open1. H lhe cutofl pol,. is
set 10 its lowest value, then all frequencies are removed from a sound
OperationsManualPage Reference: (and 1heOCF is sa;j to be closed). When the OCF is open, your voice
• DCA Envelol)e.66-e7 will have its otigina.1tk'nbre. As tho OCF is closed, the vo;oe wtll sound
p,ogressivelydarker and dart<ecuntil, at some P0inl, you hear no sound
Step by Step: al all.

Try this wHhthe tuned loop version of "Loop" from Expertment 16.
Enter Create Voice: OCA Envelope.
Forthis e>tperimont,all we want to dO is listen to the effect that the DCA has on FZ voices. To <fOthis
we·nchange the value of ·LEVEL 1." For nc,w, don't worry about what the envebpe generator does. Experiment
#18:WhatDoesTheDCFDo?
We'll look at It tully in Experiment 20.
When Y<>uplay a key }'<)uShouldhear • Looo... : C"'11inueas longas a key is held down (like an Focus:Sample Edit Pertormance
organ note). While playing, adjust "LEVEL 1· parameter. Play a note. a!er the vakJe, replay the
same note, alte, the value, etc. Notice only the loudness of the voice changes. Key Settings:
Observations: OCF Level 1: reler IOStep by Step below

The funcUonof the OCA Is sifl'l)l<l, yet very lfl'l)Ortanl. It determines how loud lhe $0tJndcoming from Operations Manual Page Reference:
your FZ will be.
DCF envelope: 67-68
It is i"l)Ortant 10tealize that. when you oonirol the OCA from anolhecfunction. Uketho OCA envelope
generator. LFO, or vofoclty.ij will do the same thing Y<>Udid in this e,perimen1- Changelhe loudness Step by Step:
Ofthe s.amplo.That's all that happens!
TheOCA must b8 ·opened" for you 10hear anything. The FZ defaults to an envelope lhat opens 1he Use the same sampleyou used In lhe DCA ex.perimcnt
DCA lully as soon as you press a key. When Y<>u release lhe key. the OCA qui<xly shuts down. Enter Create Voice: DCF envelope.
As you'll Jearnin upconlng experimenis, you can reaJlychange the character 01the original sound by For this experimen1,al we want to do is listen to the &Uec1thal the DCF_has on FZ voices.,The DCF's
oontroling the DCA wtth olher tuncllons. cutoff ,,~ency is controlled by the levels of the envelope. For thss experimerit, we re going to
change the vakJe o1"LEVEL 1· only. For now,don1 worry atx>utlhe what the envelope generalor
does. We'll look at It lully in Expc~ment 21.
The DCF envetopesus1ainparameter controls 1heDCF's C\Jtoff point The FZ automaticalty~ets lh(s
to lhe maximum val.le wtten you firs.Icreate a voioe. As y0u play some notes, 1,y changlllg this
parameter to different values lrom maximum au 1heway to minin-c.,mand baek a.gain, Listen 10 the
efle~ this has on your sound.
Nolice thal at some poilt near the lowos1selling the sound will con,)fetely disappear.

Observations:
The DCF alters the timbre (l)(ightness) of you, sample by removing i,;gh fr~cncles from ii. The
lowe, the setting, lhe fewer high frequencies1nyour sotmd. tt Is possible 10set the value so klw that
no tre,quencles{and there10,eno sound!) wll pass through the DCF. Be aw~re t~at, if tile DCF Is
"closed,"you will he31nothing, even if the sample is a sustain loop and lhe DCA ,s wioo open.
When !he OCF Is oPenedall the way, you hear your sample as it was o(,ginauyrecorded,
11is Important10realize1ha1when you con1ro1the OCF from another !unction, like an envelope ge.ner·
ator, LFO. pressureor velocily, ~ will do the same thing you did i"I this e>:pem'lent~hange the bng:ht·
ness of the sampJe.That's an 1ha1happens!
• As you'll Jeamin upcomingexpetiments, you can really change the characterot lhe origSlalsound by
conirolling the OCFw~h other funcuons.

94
95
 Remote Control
Both !he DCF EG and the DCA EG operate in the same way. Here's
What makos the DCF and 0CA such powerful features is that their set· what happenswhen you play on the keytoard:
lings can be changed automatiCaffywtiile you·replayk'lga noIe, by other When you push OOwna key, the EG's ''LEVEL 1" goes from zero lo
functions callod envelopegenerato<Sand LFOs. Equallyfmpo<tant,they whateverteveli.sset tor sIep 1.
can also be controUedby your own performance, such as how quickly
you stn"kea key or how much presoore you apply to tM key when you II stop 1 is not set to "SUS." th<>nthe EG's level Immediatelybegins to
hold I (f()wn(Figure44), change10whateverstep 2's 1.EVEL 2" Is set for.
• II step 2 ls not S8l to "SUS" or "ENO,' the EG's level immediatelybegins
to Change10whateverstep 3's "LEVEL3" is set tor.
This processcontinuesuntJ1he*SUS"or "ENO"step is encountered.
l lOl l001 100!
lltllt
lC-01 lUC
CC.Ol ICOt
ltlO
lll1

Pl!dlBtnct.
1011 llll
1010 1001

f
101 l
one

f
1--
[]
Olgl!N10
""•log
Converter r-
. - [I I
DCF

[] I
OCA When!he EG htts th<> ·sus·
step, the Level Sot tor lhat step is held tor
as long as a key 0< the sustainpedal is helddown.
When the key 0< pedal is r•ased, the EG·s level goes to the Level Se!
for the next step. Ttvs continuesuntil the "ENO~step is enc:ounterect.

DCAEnveloplt
When the EG hits the "END" step,~ "LEVEL"goes to zero, even I you
lFO ~
OCFErw~
GOf'llf'olt<lr - 0""'81« are Slil holding<fOwna key or the sustain pedal.

Wheel You control how quickly the EG changes from tevel to tevel between
each Slepwhh the "RATE" settings. 'flATE 1· deterrrines how quickly
Pressur• I the EG level changes from zero to "LEVEL 1." •RATE 2· determines
111' v~ • howquicl<iytheEG changeslrom"LEVEL ,. to 'lEVEL 2," and so on.

Your envelopesdon'l have to use au olghl steps. When you set a step
~ 44: The Fl 11k,wa ','OIito COtllfOllht 1hlff mtln point. In fie eudto P41ltl~ • V'WiecJ
ol
••~• Thl•dlegram shows lhe ovw-1111
controllw conllguratlon. to "ENO,"ii. becomesthe la~ S1epin the envelopecycle. Its ·LEVEL"w,11
automatieallybe set to zero by the FZ.

Eight-Stage Envelope Generators

A0SR SustainEnvefope ADSFlPercussiveEnvelope
The FZ uses lhe same powerful elght-sIage envelopegenerators found

~
on CasicrsCZ seriesof digital synthesizers. These envelopegeneralors
(EGs) offer considerablymore flexlbll~ than the trad~lonal ADSA•type
envelopegoneratocs.Their basicoperation Is stmple enough:
Each envelopecan have up to eight steps. Each step has an associated
rate and level. Higher rate seUings produce faster rates; 99 iS the
~'2..:~__r:::.Sf.r-=-
.°""'.,
'::::::....:...--~
..,
...
fastest Higher level set1ingsproducegreater levels; 99 is the greatest.
The envelopecyctes ttvough the steps In numericalol'der (similar to the
way looll$are cycled).
Any one of the steps can be made the wstain step.
Any one of 1hesteps can be mactethe end step.

The Envelope Step Cycle EightStepSustainEnvelope

The power ol your ~Z's envelopegenerator is Its llext,ility. You can ere•
ate sifl'l)le or compie)(envelopeShapes,depending on how many sleps
you use and \oVhere you set the rates and levels. You can even set the
EGs to behave exacuylike a traditionalA0SR envelope. In order to get
~<.., --:+.~
..,
lhe most from your EGs, it's important to understandthe way they cycle °""' UP
""''
through lhe vaftOUssteps.

You can think ot the EG as moving the OCF and DCA levels up and
dOwnwhen you ptay a key. When no keys are down, the DCF Jevel
returns to the currenl setting of the "CUTOFF FREQ" parameter. The
0CA level even!Uallyreturns to zero (no sound} when no keys are held
down, (Tho speed at whieh these changesoocur is determined by tho
rate ol the EG's last step).
F9'ff 45: Envelof,et wflb S.U.taln 11ep 1eve, 1et1lng1 ~•I• lh~ 0 will keep Ille 8fflP or fH'ltr
open u k>ng•••key ii htkf down. To Ol'eate• sound Iha, wmeonlfnue •• long as~ wsnt,
u.. thl• kind of tM'efope with • •ample wilt! , Su1t1~ 11ndfo,End Loo11, En1td0fl" 'MIii no
Sustain 11,epIll h'Cn!U•IIYttdreaw1y to nolhln;. no ma1.1e,hOWlong• key la held. In H• tlnd ~I
p.,wa,l1te env,1ope, the rste 1atling1 d111•mll-. how k>f10 th• fad.,out wlll b&. The F2 •
et.Yeiopff cen have up ,o elgl!t .-eps.
96 97
 This is another feature whece1heFZ's grapt,ie display really shines You Step, Rate, snd Level
can display your envelope shapes as graphs on the LCO (see page 67 ol
the OperaUons Manual). Yoo'IIfind that ~signing envelopes g,"l)hically These parameters ate used 10 set up the aciual envelope shape /J.f
will help you develop an intuitive "leeI~ tor adjusting EG parameters described abOve In Eight-Stage/Envelopes.Use the UP/DDWN bullom
quickly.The graphs are very easy to understand. II your EG shape has to select the desired EG parameter and the LEFT/RIGHT buttons le
a 'Sus~ step, it wil show asa horizontalline. Rates are shown as vertl• select the desired step.
cal Knes. (Slraighl up and down is the quickest rate. 99). Figure 45
shows examples of some useful envelope shapes for 1heCZ. Copy From DCF
8.6 DCAEnvelope This convenienr Ieal\Jrehlts you copy the curreN 'STEP," ~RATE: anC
i.EVEL" valuos from the DCF envelope lo the DCA envelope,
DCA envelope is detal'8d In pages 66 and 67 of the OperatlcnsManual.
Betow iS the expanded Menu Overview showing each of the DCA enve~
lope parameters.
Experiment
#19:DCAEnvelopes
DCA Envelope Menu Overview
Focus: Sample Edit Performance
MOOE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER
SETTINGS Key Settings:
MODIFY•> ENTER -> ENTER -> ENTER ->

MODIFY Source Select

<-ESCAPE
Deline Voiee
<-ESCAPE
Truncate
c-ESCAPE
Rate KF
. OCA Envelope parameters~relerto Step by Step below
PLAY Voice Edit Create Voice DCA Envelope Level KF
Baij< Edit KeybOard Set OCF Envelope
Operations Manual Page Reference:
Step 1-S
Effect/MIDI Copy Voioe Loop Set Rate 1-s • DCF envelop<):67-&l, DCA envelope: 67-&l
Data Du"l) Oeiete Voice LFO Set Level 1•8
OPT Sottwat& Replace Voice Veloc!y Sens CopyFrom DCF
Oum Voice Tune/Mem Read
Step by Step:
. Use any voice wt1han "ENO..!<>Op
.
Rste KF . Enter Create Voioo: DCF envelope and set the value of 'CUTOFF FREQ· to •121 •

This parameter is used 10scale the rates ol your DCA envelope within
. Enter Create Voice; OCA envelope and set !he envetopeparamete,s as follows:
lhe range 01 keys seI with the Keyboard Set operation. The resulting
effect will be Changes in the allacl<(s)and decay(s) of yoo, soond's loud-
DCA
STEP
I
... 2
... ... ... ... ...
3 4 5 6 7
SUS
8
END
ness based on whe,e you play on the keyboard.
RATE 99 75 99 75 99 75 99 92
..._oe,.11... - tt lhe value for !Ms parameter Is positive (·+01· to ••151, rates wiU gel LEVEL 99 0 99 0 99 0 99 0
faster as you play above the Original Key and get slower as you p&ay . Push DISPLAY to display the envek:lpegraphically. You will see an envelope shape with tour peaks.
belOwthe Qrigjn,al Key, If the value for this parameter is negative (·-01"
to "·15j, levels wil get slower as you play above lhe Otiginal Key ancl . Play a note. You will hear three quick attacks and then a hekf 1000while lhe key is down.
get faster as you play below lhe Original Key. Be awacelhat this param· . Reset 'STEP 1" to "SUS..and play a key. Now you wil hear a held tone while the key is down, and
e1er interacts wllh the current "AATE" values. For lnsIance, ii ohe or three short attacks after the key is lifted.
more rates iS already sot ror 99, Rate KF can'1 make them change any • Listen to !he dilfeconce in the envelopewhen you change each step to "SUS,"
taster.
Flglft 46: DC.AR•M KF • Listen to the envelope with none of the steps set to ·sus."
Level KF • Replay a note whUe adjusting the value ol ~RATE 1"parameIer. Change the value and ptay a note.
at firs!, more Slowlyas youioetease the valles), Be su,e to
You will hear the note fade in {CJJk::.kly
Thi$ parame1er is used to scale-the hlvels of your OCA envelope within wait to hear the complete event {lhey'II gel pretty king!) befoceyou Sfop the note and reset the vak.le.
the rangeof keys set with the Keyboard Setoperation. The msuning When you've fistened to the complete range of values, reset the value 10Its otiginal sentig.
e11ec1will be Changesin your sound's loodness based on where you play • Repeat the above with each of the other rates.
on the keyboard. II the value tor lhis parameter is posiUve (''+01.. to
•+15'") levels will increase as you play above the Original Key and
• When you are done ~h the rates, try the same procedure with the le-velvalues.
<Secreaseas you play belOwlhe Original Key, If the value tor lhis param·
eter Is negative ("·01" to "-15"), levels will decrease as yoo play abOvo Observations:
the Original Key and increase as you play belowthe O<iginalKey. Be
aware that this parameter Interacts with lhe current "LEVEL~valUes. For
. The OCA envelope generator can dtamaltcally alter a sample's loudness shape, In ocder to hear the
original loudness dynamics of a sample, sel 1heenvelope to Ihe d81aultvakJes Changing from Ille
instance, If one or moro levels is a1'eadyset tor 99, LevelKF can'! make default settirtgs will create newloudness shapes for the sample.
them gel any looder. . Envelopeswith a sustain step will contirue as long as a key is held down. Envelope$with no susIUI
saepwill 1adeaway eventually,even it you continue 10hokl down a koy.
Agin 47:OCAl...,et KF NOTE: DCA Level KF is the key to creating up,koy tayer C(0$$·1ades
when designing Banks and Areas on the FZ. You can overlap the Areas
. IJ you wan1 to hear DCA release effects, make sure that the tilter envelope is open, or set lor the
01two voices in a Bank and use the LevelKF parameters for Ihe voiees same. or eve-nlonger. release time as 1heDCA envelope.
to create a ctOSS•facfe.Be sure to read about Keyboacd Spli1$in EdiliFl!J
Bartks.

98 99
 ill!..
WWW&& &i-1

~
<

8.7 DCF Envelope Rate KF

OCAenvelopeIs detailed In pagos 66 and 67 ol lhe OperatfeJMMan,,al. ,.__~--
This parameter is used 10 scale lhe rates of your OCF envelopewlth1n
Below Is Ihe elCpandedMenu Overview shOwir)geach of lhe OCA enve- the range of keys set with the Keyboatd Set operation. The resutting
lope patameters. effectwill be changes fnthe anack(s) and decay(s) of your sound's llm-
bre based on where you play on the keybOard. tt the vakle for this
DCF Envelope Menu Overview parameter is posilive e+o1· to "+151, rates wiJIgel tastef as you play
above lhe Original Key and gel slow<iras you play below the Original
MODE SUB-MODE FUNCTIONS OPERATIONS PARAMETER Key If the value tor 1hlsparameter is negatrve("·01"'to "·15"), levels
SETTINGS wil get slower as you play above the Original Key and get faster as you
·••► CNICR -> ENTER -> ENTER--,. pfay below the Original Key. Be awatetha1this parameterinteractswith
<-ESCAPE <--ESCAPE <-ESCAPE tho amenl ·RATE"'vSNes. For instance,ii one or more rates is alreacty
MODIFY source Select Define Voice Truncate Cutoll Freq set for 99, RareKFcan't make them change any taster.
PLAY Voice Edit Create Voice OCA Envelope Resona.nee flgwe 41: OCFRate kF
Bank Edi Keyboard Set DCF Envelope Rate KF
Elfect/MIOI Copy Voioe Loop Set level KF Level KF
Data Clump Delete Voice LFO Se1 S1ep 1-8 This parameter is used to scale the levels of your OCF envelope within
OPT Software Replace Voice Velocily Sens Rate 1·8 the ra.ngeof keys set with the Keyboard Set operation The resutling
Clump Voice Tune/Mem Read Level 1-8 effect wil be ct,anges in your sound's tirrtire ,basedon where you play
Conv From OCA on the keybOard. If lhe value tor this parameter Is posilive (~+01" 10
.....1s·), trmbre will get brighter as you play above the Original Key and
0.-.0C:I'~ - 091duller as you play below the QrigjnaJ Key. If the value for !his
CutoffFrequency parameteris negative {""--01"to ·-15"), limlte wilt get duller as you piay
abOveIha Original Key and brighter as you play belOW lhe Original Key.
Thfs parameter sets the initial brightness of the OCF. The changes In Be aware thal this parameIe, imeracts Wllhthe current "LEVEL· values.
timbre caused by the DCF envelope wil start aJ and return to this set- For instance, if one or more levels is atrnactyset tor 99, Lsvel KF can·1
ting. The default setting for this parameteris "000." Be awarethat outofl makethem get any brlgh1er.
1requeooysettingsand OCF envelope level settings interact. F01 exam-
ple, if the cutolf frequencyIs set to lhe maximum amount (127), the EG Step, Rate, snd Level
Ievei seltings w!II have no further etfec, on the brightness ot your sound. Agur• 49: OCFLevct KF
Why? Once the liter is 'wide open· (by selling the Cutoff to maximum) These parameters are used to set up lhe actual envelope shape as
it simplycan, be ol)(!nedany tuether, described above in Eighl·S1ageenvelopes. Use the UP/DOWN bo1·
tons to seiect the desired EG parameter and the LEFT/RIGHT buttons
You can use this interactiOnto your advantagewhen you make sounds to se)ectthe desired step.
with the FZ. The cutoNparameter can be used to "scale" an oJ lhe kw-
els In a multi-step envelopeat once, Hct0's how . Copy From DCA
• Temporarily.set on& of lhe steps of the DCF EG to ·sus-,For Thi$ oonvenlenl feature lets you copy the ou.rrenl·STEP," "RATE.Hanct
now,set the tevel ot thal $1ep to zero. '1.EVEL"values from lhe DCA envelope to the DCF eryvetope,
• Ylhilc holdingdown a key, increasethe Cu1otfFrequencysetting
until you can just barely hear your sound. (Use a sound with a
sustain loop,)
• Reset your OCF EG steps, rates, and levels for whatever effect
youwant
• Now, the Cutoff Frequency parametercan scale all of lhe OCF
EG levels at once. Increasing lts vakle will make the overall
envelopebrighter. and decreasing it will make lhe overall env8"'
lope darker. Unless you need to make a dlastlc change in the
envelope, you'll tind this is a good way to "1ine tune" your
soundS.

Resonance
Resonanceis used to errphasize frequencies at or near lhe lillers cU1ot1
frequency. This can produce a "nasal"characterlsllc In a sound's timbre
if the OCF envelopelevel settings don1 change rR.Jchfrom step to step.
If the level settingsdo change between steps, a '\vah" qualil:y{charae1er-
istic of analogsynthesizers)wlll be produced.

100 101
 Experiment
#20: DCFEnvelopes Experiment
#21:Synthesizing
ADSRSustainEnvelopes
Focus: Sample Edit Performance Focus: Sample Edit Performance

Key Settings: Key Settings:

• DCF and DCA EnvelOpeparametors:refer to Step by Stop below Master Volume: optirn.Jmselling
DCA EnvelOpeSUSlaltlLevel:,.,., to Step by Step below
OperationsManualPageReference:
. DCF envelOpe:67-68, OCA envelOpe:66•67
Operations Manual Page Reference:
DCF envelOpe:67-68, DCA envelOpe:66-67
Step by Step:
. Use any vo;ce wijh an "END" loop.
Step by Step
. Enter Create Voice: DCA envelOpeand set the envelope paramete(Sas rouows: Use the same voice as with the other envetope experime,,.s.
DCA t 2 tt necessary,set the OCFenvelopes to Itsdefaultsettings.
STEP SUS END Eme, Create Voice: DCA envek:lpeand set Lheenvetopeparameters as follows:
DCA 1 2 3
RATE 99 30
STEP "' SUS END
LEVEL 99 0
. Enter C<eate vo;ce: DCF envelOpeand set the •cUTOFF FREQ" value to '000." Set the envelOpe
RATE
LEVEL
99 99 so
pa<ameters
as follows: 99 99 0
DCF 1 2 3 4 5 6 7 8
STEP
... ... ... .... ... ... SUS END
The EG senings given abovecreatean ADSR 1ypeenvek)pe with your FZ. Rate 1 = Atlack, Rate2.
Decay, Rate 3 = Release, and Level 2 = Sustain.
Lower the OCA envelope sustail level ("LEVEL2· in this example) to the point where the sound is
RATE 99 75 99 75 99 75 99 92
barely audibSo.Wrile down the vaue, Aetum the level toils maximum value.
LEVEL 99 0 99 0 99 0 99 0 From now on, when setting up sustain envelopes for this sample, never set the sustain level belowthis
. Push DISPLAY to d~ptay the envelope graphically. Yoo wil see an envelOpeshape with'°"' peak$. '°'
point. Thiswill give you th-8cleanest signals posslb&e lhe sample.
. Playa note. Yoowill hearthreequickattaCk$and mena held tonewhile the key is down. If you want lo hear the sa01>le's natural loudness dynamk:s, se1 the envelope parameters to lhe
. Reset "STEP 1~ to "SUS" and play a key. Now you will hear a held 1onewhite !he key is down, and
defauh settings given above.
II you want 10 synthesi2:e new dynamics, se1 the sustain level parameter to a k>udnesslevel between
th1e,eShort attaeks a11erthe key is lifted.
. Lls1ento lhe diltomnoe tn the envelope when you changing each step to "SUS:
99 and the the level you wrote down Exactlywhereyou set ii within 1heselimits will dependon Ule
. Listen to !he envebpe wiUl none ot the steps set 10·sus."
euect you are trying to create. Adjust the rates 10sul1eyour 1as1e
.

. Replay a note while adjusting the vaJue 01"RATE 1))arameter. Change the value and play a note. Observations:
You wmhear the note fade in {quickly at first, more slowty as you increase the values). Be sum 10
waa: 10hear the complete event (t.hey11 901pceny long!) before you stop the note alld reset Ille va.Ue. Even a very shOrtsample can have a natural sounding, unllmi!ed sustainif the OCAenveioce and sus•
tain loop ate set p<opel'ly.
When you've listened 10the c:o"l)lete range of vak.Jes.reset the value to its original setting..
. Repeat the above w~h each of the other rates. II you sampled the sound with compression, this is the way 10 restore the original dynamies. The
. When you are dOnewih the rates, Uy the same procedure with the level values.
actvantageof lhis 1ee:hnique1$improved signal 10 noise. which means that your samples will be qui·
etet! To restore the peak thal gels squaShedduring COOl)(esslon,set the sustain to abOut75. Now
adjust Rate 2 (make ii siower) un1ill,hepeak sounds natural.
Observations: You can use any nuni>er ct steps in your envelope shapes. Any one 01those steps can be the sus•
. The OCF envelOpe genAra1orcan dramatically atter a sa~e·s tirrbre shape. To hear the timbre tain step, For the quietist possible signals, don1 set any of the levels below the limit you 1ounc1
in step
dynamics 01 me original sample, sol the envelope 10 its detau11settings. Changing lhese settings wil rout abOve.
create newtimbre sl\ap&s.
. U your OCF envelope clOsesthe DCF (very tow or lero susJainvalues) and no1hingelse keeps it open
(like !he LF-Oor pressure), you11hear no sound regardless ol how the alll)ifier envetope is set.
. If you wanl to hear OCF release et1ec1s,make sure that the amplifior onvelope release is set lo the
same. or even tonger, telease time as the DCF envelope.

102 103
 8.8 LFO Set
Experiment
#22:Synthesizing
ADSRPercussive
Envelopes Like EGs. an LFO Is a COnlrollunc1ion. It allows you to cootinuously
vary pitch, Untlre, and loUdnessw~h a varietyof waveShapes This type
Focus: Sample Edit Performance ot control is called mc<wlation,and the FZ has a special controller
(called the MO<fWhee~tha1 can be used in con;.,nc11on with the LFO
(more on tha1in a while). LFO set Is detailed in p09es 66 and 67 of the
Key Settings: OperationsMaf'itJaJ.Below is the expanded Menu Overview showtng
parameters: refer to Step by Step below
DCA and OCF EnV91ope each of the LFO set parameters.
•

Operations Manual Page Reference: LFO Set Menu Overview

. OCF envelope:67-68, OCA envelope: 66•67
MOOE SUB-MODE FUNCTIONS OPERATIONS PARAMETER
Step by Step SETTINGS
MODIFY· ► ENTER -► ENTER -► NTER -,
• Use the same voiCeas wtth lhe other envelopeexperiments. <•ESCAPE <-ESCAPE <-ESCAPE
MODIFY Source Select Deline Voice Truncate wave
• 11necessa,y. set the OCF envelopes to Is delaul settings.
. Enter Create Voice: OCA envelope and set the envelopeparametersas follows:
PLAY Voice Edit
Bank Ed~
Create Voice
Keyboard Set
DCA Envelope
DCF Envelope
lfOSync
Delay
1 2 3 Elle<:1/MIDI Copy Voice
DCA
STEP
... ... END
Data Dump
OPT Sottware
Oefete Voice
Replace Voice
Loop Sc1
LFO Set
Vefocity Sens
Rate
OSC Depth
DCADepth
RATE 99 99 50 Du Voice Tune/Mem Read DCF De lh
LEVEL 99 0 0
. The EG settings given abOveaeate an AOSR typo envelopewith your FZ. Rate 1 = Altad<, Rate 2 ..
Wave
Decay,Rate J = Release,and Level 2 ...sustain. (SUstainis atwaysO in a percussive envelope.)
• Adjusl the csecay tate unlil sample has the percussiveshape you want. You can select ffom the 10llowingsix waveshapes10,LFO effects on the
. 11you want to, adjust the release rate to simulate •ring.· (You may have to alter the OCF's "COT OFF FZ:random, square,ttlangte, saw down, saw up.and sine
FRED""' the rate of the "END" step in order to near the DCA release.)
LFOSync
• If you want to creale an unnatural attack lor the san'{Jle,act;ustthe atLacklimo.
ThiS parameter allows you to conuoI the synchronitation of the l.FO.
Observatlons: You wilt only notice this effect when you play more than one note at the
• Evon a very shor1 s,ampfe can have a naiural sounding, long decay rt the OCA envelOpe and same time {and you must be modulating the DSC, DCF,"' OCA with
sustairVendloop are seI property. the LFO). When the sync is seII0 ''ON," the modllation lor all notes you
play assigned to this vo~ wiRbe "in time" with Ihe first note held down.
• If you sampled !he sound with co"1)resslon. this Is !he way to restore the original dyna~. Tho When the sync is set to '"OFF, lhe modulation tor each note will begin
8

actvanIageof this technique is improved signal to noise, which means that your sa"1)1eswdl be qui• relative to when oaOh key is stn.iOk. tf you wan! to create ensemble
eter1 To restore the originaJdeeay !hat was "squashed" d.Jrlng co~ression, acr,..stthe decay rate effects (lols ot insltuments playing at once}. you'll !ind Ihe ·OFF" setting
{make it slower) tor a natural soundingfade out. Try using this envelopeshape with a piano sample to wor1<svery wel. tf you want a uniform etteci (llke the tremolo of a vl><a·
create plucked (shOrtenRate 2) and bowed (lengthen Rate t) piano sounds. phone}. the "ON" selling wotks best. Be awarn !hat if you create a Sank
• You can use any notrt>erof steps In to make a percussiveenvek>peshape as long as none are set for w~h several <fdferentvoices, you can synchronizethe LFO for all ot the
·sus.- vok:es by simply setting the same "RATE" tor each voice anctsetting the
sync parameter 10·oN,"

ll.Gl )¢01 1001

1001 1110 un
CCCI 1001 0111
1110 1(111 UII OCF
1111 10lt !COi

lFO

"v OCF OCA

M:xl Wheel ~..sl.Q 0.,,lh
°"'"'
II11111
HIIllIll
Flg111e 50: Thtl lFO ls routed 10 all three poln1' 11'1lhe •udlo path.. Note lhlll !tie amount of LfO
tlgnarl ffl'II e.n be con.-ollfd bypc-C$.$ure (Aller Touch) encl 1het.lod Wheef. ••., .. as 1ho"•Jut
of lhe LFO OSC ~plh p11rameli81.

104 105
 Delay and Rate
8.9 VelocitySensitivity
The Delayparameterdcte,mines the rate lhal depth of your LFO euect
will cna.ngefrom zero to tho cv,rent depth set1ings. Higher delay set• The FZ also lets you oontrol the DCF andA>rOCA levels and EG rates
tings cause fonger LFO tade•ins. This produces a similar effect 10fading wih velOcity. VelOc~yis deterrmied by how "'ickly you push down a
In lhe LFO with the wheel, but h leaves both your hands free to play on key (Figure 51). To get the mosl dynamiesfrom any vetocily keyboard,
lhe keyboard the key should t,avel its h.111
distance when it is struck. (A.hough it may
seem you havo 10play harder to play louder, be aware tha1this is not
OSC, DCA, and DCF Depth tne case. I1'snot the force you use. but the speed which Ihe key 1rav.
els, thal determinesthe vek>cilyvalue.) Controllingthe OCA levelswith
You can sel lhe amountol LFO effec1independentlyfor the OSC (vi>ra- velocity will allow you to create piano•likedynamicswith any soundyou
I0 effects). OCA (loudnesstremolo effects),and lhe OCF (tlmb<eoremolO sample. (Yes, even~h piano saflll)les 100!)Controllingthe OCFin the
effects)wjth these throe settings. Be aware that these senings are also sa.meway further enhances the dynamic expression avallab4eto you.
Independentof the Mod Wheel. If any of Ihe depth seltlngs is greater Almost any sample will sound belter with a sman (or not so small)
than zero, the LFO cited wil be heard even II the Mod Wheel iS alt lhe amount of velocity controlon the OCA and OCF levels.
way off.
Conuol ol OCA and OCF EG rates WllhvelOcilyallOwS)'OUlo Shapelhe
attack(S)and decay(s) of your voice whh your keytoard playing stykl.
You change a sound from a bowed acoustic bass 10 a pluckedone by
Experiment
#23:LFO simply Changing how quicidy you depress the keys. Be aware that
vek>Cityis affected by how 1astyou pUsh the keys down, not how hard
you suike them.
Focus:Sample Edit Performance
Velocity Senstivity is delaUedin pages 73 and 74 of the O,x11aoons
KeySettings: Manual. Below is the expanded Menu Ove1Viewshowing each 01 the
• LFO parameters:see Step by Step bek>w VelocitySensilivky parameters.

OperationsManualPage Reference: Velocity Sensitivity Menu Overview

. LFO set: 72-73 MOOE SUB-MOOE FUNCTIONS OPERATIONS PARAMETER
SETTINGS
Step by Step: MODIFY·> ENT'ER -> ENTER --,. ENTER -►
. Use the same sample you used In lhe envelope experiments. II necessary, return the envelope S81· MODIFY Source S<>lect
-c-ESCAPE
Define Voice
•-ESCAPE
Truncate
•-ESCAPE
OCA Level
tings to their original default valoos. PlAY Voice Edll Create Voice
. Enter Create Voice: LFO set Barj< Edit Keyboard Set
OCA EnvolOpe
OCF Envelope
OCARate
OCFLevel
. Set the ·osc OEPTH" value to ·025." Play and listen. You w,11hear a slOw,wide vibrfato, Lis1ento
ElfeCVMIOI
OataOump
Copy VolCe Loop 5"1 OCFRate
Delete Voice LFO Seo Resonance
lhe ditferell1LFO waveshapesby changing the "'WAVE"parameter.
. Lister1to the dil1ercncein lhe sound caused by changing the 'lFO SYNC· from "ON" 10'OFF.· This
OPT Soflware Replace Voiee
Ournn.Voice
veroclty Sens
TuneJMemRead
wfJIbe most obvious when you hold down more than one key at~ lfme. Y?u'II ~lice lh~I !he pile~
changes of an of !he notes don't 1ine up" with eactl other. (Try thlScompanson with the SOUAAE
wavcshape ii you·re havingtrouble hearing 1nee11ec1.) Reset lhe 1.FO SYNC" parameterto "OW.
DCA Level
• Listen to the ettect producedby Changingthe "DELAY"value. {Aestrikea key eaeh lime you reset the
value.) Thfs parameIercan be seI with either positive ("+001'"to "+127"")or neg-
• Rosel 1he"OSC DEPTH· value IO'"000"and repeat the above with tests wRh"OCA OEPTH"and !hen ative {."°°1" to "·127") values. Positive values W1tl make the voiee get
"OCF DEPTH." louder as vek>cityincreases. MaximJm velocity will produce the hOrmal
• loudnessot the voico; iesser velocities wUIprOCkJce softer volume lev-
Whan you are comfonable W'llhhow the LFO can affect the YOice'spRch,till'tlle and loudnoss, try lhe
above different rate and depth senings. els. Negativevalues will prockJce1heopposite effect. Minimumvelocity
wiUproduce the normaJloudnessof tho vok:e, and higher vetocilieswil
prOducesofter volume levels.
Observations:
• The most common use of the LFO is for vibrato, sine, or triangle control ot a sa""'8f's pitch. Many NOTE: This is how you can create veloci1ycross-fades on the FZ.
interesting effects can be ootainedby controlling the OCA (loudness cilang<is) and the OCF (fimb<e Layer lwo voices over the same ,ange 01keys. Set one voiOe·sVelod1y
changes)as well. Sensittvity~ocA LEVEL"to"+ 121# and the other"sto "•127." Now when
. The delay function can t:ie used to lade !he LFO effect In g,adually. This is mo,e naIuraI &ounding you play, tho balance betweenthe two voices will be controlecl by hOw
than leaving the ettec1on al of tile time. quiekJyyou Slrike the keys. (Be sure to read more abOutvek>cilyspli!S
. The sync funclion can "randomize"LFO effects. This can be ve-ryetlective when you waneto eteate
In Editing Banks.)
ensemble(many inSlrumem)effects. like a siting socrionorvocaJ chOir.

106 107
 DCA Rate
This parametercan be set with etthef posruve("+001• 10 "+1271 or neg·
alive {"·001" to "-127") values. Positive values will make the OCA EG's
Experiment
#24: Velocity
rates get quicker as vek:>cilyincreases. Maximum velocity will produce
the normal rates of the voiCe;lesser vek)Cilleswill prowce sJowerrates, Focus:Sample Edit Performance
Negative values will produce the opposite elfe-ct. Minimumvelocity will
proruce the normal raIes ot lhe voice, and higher velOCilieswill produce KeySettings:
slower rates.
• Velocity parameters:see Step l)y Stop ~low
DCF Level
Operations Manual Page Reterence:
This parametercan be set with either positive (·+oo 1" to ·+ 127') or neg--
atlve (·-001· to ·-1271 values. PoSitivevatues wil make the VQiceget
• Velocity Senslivity: 73.74
brighte-ras velocity increases. Maximum velOCitywrn produce the nor•
maJbrightness of the voice; lesser velocilies wmproduce duner timbres. Step by Step:
Negativevalues will produce the oppos.iteett~. Minimum vek>citywlll Use the same sample as for the p<eviousexperiments
p,oduce the normal brightness of the voice. and higher velocities wil
Enter Create VoiCe:Velocity Sens.
produceduller timbres.
Set the "DCA LEVEL"parameterto the maximumvalue\+ 1271. Playlhe keyt>oardw"h a variely ol dltler•
DCF Rate ent velocltles and note Ihe ett&c:1
on the sound. The quicker you strike keys, the k>vderthe safl'l)le. Lower
the sensitivity parameterand play some more. Continuein Ihls manneruntil you have retumed the tevol to
This parametercan be set with either posiOve("+001•10 "+127") or neg• "000." Now ovary note is the same k>udness,no matter how quick or slow you strike the key$.
atlve ("·001" to "~121~)values. Positivevalues will make the OCF EG's Set the ~A LEVEL.,parameter10the minimumvalJe {41·127"}. P1aythe keyboardwith a variety of differ-
rates ge-tquicker as velocily increases. Maximum vekx:ity will produce ent velocities and note the effecton ll'te sound, The QUiclcer you strike keys, the softer th-esample. Raise
lhe normal rates of the voice, lesser vekXities will l)foduoe slower rates. the sensitivity parameterand play some more. Conliooe in this manner until you have returnedthe level to
Negative values will produce the opposite effect Minimum velocity will ·ooo: Nowevery note is the samo loudness.no matter how quid<or slow you strike the keys.
produce Ine normal rates of the voice and higher velocilies will produce
slower rates. Set the ~ocA RATE"parameter 10the ma.xin'llmvalue ("+1271. Play the keyboardwllh a va,iety of differ-
ent velochles and note the elfect on the sound. The quicker you sttlke keys, lh8 taS1erthe EG rates.
Lower the sensnivityparamelor ancsplay some more. Continue In this manner until you have returned lhe
Resonance level to "000.• Now everynote has the same rates, oo matter how quick or slow you stri<ethe keys.
You can also use velocity to control the amount of resonance on Ihe Set the MDCARATE" parameterto the miniroomvalue ("•127'"). Play the keyboal'dwith a variety ol differ•
OCF. This parameter is positive only \000" lo "127"). Higher velocilies ent vek>eitiesand note !ho effect on 1he sound. The quicker you s.1fikekeys, the slower tho EG rates.
increasethe amountof resonance. Raise the sensitivity parameler and play some mote. Continue in this manner until you have returned lhe
level 10"000.· Now every note has the same rates, no matter hOwquiekor slow you strite the keys.
Repeat the above, but this lime adjuSI the "OCF LEVEL" and -OCF RATE• velocity parameters. Tt,;s time
the timbre (brighlness) of the the notes will change with different velocities. Make sure you can hear the
difference betweenoontrolling tho OCFwith velocity and the OCAwith vetoeity. II the disUncOonis.n'lclear,
ll01
100l
lOOJ
lUO
1001
lOll Olgltalto Llllll al1emaIebetween the two.
coot Lao1 0110 ~ Analog .• ~
OCF OCA When you are comtortable with what's going on, Iry changing both lhe OCA and the DCF aI the same
ll\0 ICU lltl C<>nv•nor time. If you can dO ii, lry using reverse sensitivity on just the OCF. (Then «, it again with just the DCA
un ~010 lOOl reversed.)
~ []
ObServatlons:
OCF El'IVOIOl)e OCA Erweklpe Velocity sensltlv'dyallows you to play the sa• expressively,In a manner that ISvery similar 10playing a
Gen«aior Generator
piaoo (or tor that matter, a dynamic synthesizer). The most common usage is 10change the OCA level
onty,so lhal fast ls k>uderand slow is softer.
Volocity You can make many soonds more expressive by also changing lhe OCF IeveIjust a little along with the
OCF Rate OCFlevel OCARate OCA l8'\lel OCA. Now sotter sounds will also be a lilth3darker, and IOudersouJ'ldswill be a little brighter. Many acous-
Resonance tic instrumentschange timbre and loudnesstogether In ,-ist this manner.
Changing EG rates with velocity is also a very ex:pce,ssive technique. Particularly wilh brass and string
sounds.
Agwe 51:Vetoc:lly I• routed 10both \he OCF1eW1•nd l'MON!nct•t well•• OCA ~el Al each
point, the tet1altivttyk lldlulttble. Tht. wit glv. 'f04' thrtmof.l HQ:lblfty In~ timbre ind Reve,slng the sensitivity (especiallyon only lhe OCA level or only lhe OCF level) can produce some novel
IWdn•• dyrwtmic•wtth you, Fl. effects with a single sample. As we'll see Ia1eron, It Is Ille key 10creating Vetodly Cross-Fadeeflecls.
Velocity interactswih several operationson the FZ. Be sure k>experimentwith the velocily related para,n.
eters of Create:Bani<(Min Touch, Max Tcueh) and DCAI DCF Envelope(Rate KF. Level KF) as weUI

108 109
 Th.eBank Edit sub·mode is detailed in pages 82 through 90 of the
9. BankEditing OperationsManual. Below iSthe Mero Overview for the complete sutr
In Creating5amples, we showedyou how to use the FZ-s samplintJfea~ mode.
lures 10 digitallte sounds and make samples. In Voice Editing, we
demonstratedthe operationsand techniquesused 10tum those samples Bank Edit Menu Overview
into e)(pressivemusical sa~ng VOl¢eS. Now ll's time to exploreways
of oombining safJl)ling voices k> make a com~te sampling instl'\Jmenl MOOE SUB•MOOE FUNCTIONS OPERATIONS PARAMETER
by f)(lijingthe FZ's Create Bankparameters. SETTINGS
ENTER --> ENTER -,.
The emphasishere Is on pertormance. Where on the keyt,oarddo )'O<J <-ESCAPE <-ESCAPE <-ESCAPE
want to locate the voice? Do you want to combine the voice with others, MOO I FY Source Select Bank No.
PLAy Voice EdU Bank Name
to make a composite sound? Do you want !he entire range ot the key-
Bank Edit
board to be made up ol one voice. or dO you want to split it into several Eltect/MIDI Voice No.
different votes? Do you wan1 to hear differenl voices, depending on Data Dump Original Key
how or where you play the keys? H you are oon1ro1Jing your FZ with a OPTSottware Highest Key
MIDI coolroller or sequencer,you may want to assign different voices {or Lowest Key
combinationsor vok:es) 10 different MIDI channels, Max Touch
Min Touch
As you can see, most o1 these questions have to do wih where {or Area Level
under what circumstances)FZ voiCeswUIappearon your keyboard, For MIDIChannel
this reason, they are generally relerred 10as mappingoperations. fn this Output
context, mapping si"l)fy meansto assign FZ voices 10respond to partiC·
utar sections ot 1hekeybOardandt'orparticular performancecontroners <••··············> Copy Bank Sourc-eNo.
or MIOIChannels, Destination No.
Execute: YeSINo
It Is lmpor1antto nole that these operations are used wi.1hvoices that
have already been created with Create Voice parameters. At this point, c•h••· ................. > Dek?teSank Baok Only
you no longer have to work with the sampli'\g operalions or voice edhiog Bank & VoiCe
operations. Even if you plan on never actually safll)llng any sounds
<...................... > Delete Atea Area No.
yourseMand Inland to use only factory supplied or commercial sound
libraries. you must beoome familiar with the FZ's mapping operations. Execute:YeS/No
At the pe11ormancelevel they are the most usetuJ(not to mention fun} <................. ~> Replace Bank Source No.
operations10 master. even if you only have a rnodest lib<atyof sampfing DestinationNo.
voices, You can use mapping operations 10 rearrange 1heminto many Execute: Yes/No
power1ulper10rmancesetups. Dump Bank Load Bank Bank Name
Execute: YeS/NQ
The mapping 1eatures handled by the FZ's Bank Edi1: C-reateVoice
operations fall inlo ovee basic cateQOties. Save Bank Bank Name
Key Mappingoperations are uS<>d 10assign FZ voices to Individualkeys Execute: YeSJNo
or ranges of keys calSedAreas on lhe FZ.
Verify Bank Bank Name
Veloc.ltyMappingoperations assign FZ voiees and Ateas to respond to Execute: Yes/No
keyt,oarddynan'ics. The FZ's Velocity MappingoperatiOnsare pa~iOu-
larty powerful since multiple copies of a voice share the same sa~&e Erase Bank Bank Name
data. We tokf you in the ta~ chaplet 1h31each of the more 11\anone Execute: YeSINo
hundred Create VoJCeparameters can be veiOCltysenslUve. In this
chapter, we'I show you how. Define Bank
MIDI Mappingassigns FZ Areas to MIDI channels. We'll showyouhow Thi$ operation is very similar to 1he Define VoiCeopeta1ionwe've seen
to use your FZ as a full function, rrulti tin'i)ral, PQtyphonlcMIDI sound betore. II is used 10select the Bank to be e<lie<I.The FZ can hOtdup to
module. eigh4Banks in memory at a time. Each Bank is nurrilere<I(HI) When
a new Bank is crea1ed,you should give i a name (like -VIB I w BASS").
This wilJmakeit moch easier to rememberwhat the keyboardsetup con•
Sists of. (Ad of the Banks supplied with CasK>'sS8"1"1inglibrary and
other commercial libraries for the FZs will come alreact)'labelled w~h
names.}

112 113
R: -
- 8.10 Tune/Memory
Read
The "TUNE· parameteralbwS you to adjust the tuning of a voice sharp
Replace Voice
Aeplace Voice Is essentiallythe same as Copy Voiee, with one slgnif~
or fiat up to one semitone. The vakJesror 1hisparameter ace equat to cant difference. The source voice iS deleted by the operation. use
oents. (One hundted divisionsper semitone.} You can detune lo voices Replace Voice to move a voice from one loeationto ano1her. Note 1ha1
in layered Meas to create chorus enecis. Another way to use tuning is you can, replace a voice whh Itself {as you might waN to in order 10
to multi-switchbetwoen voice copies that have been set with dclterent save edjting changes). Use the Voice Dump: Save Voice operation 10
tuning val.les. This allows your keybOarddynamics to control a voioe's store updated versionsot a voice.
tuning. (Be sure to read ab0u1mult;.switching
in lhe next chapter.)

The ..MEM AEAO" paramotergives you thtee options for how the data of
"AECOAOEO"v<>icos(samples)wiRbe played by Ule FZ.
•fWo~ is the notrnal sening. The vo;ce is heard as sa~. and phch
is controfledfrom the keyboard.
"REV" plays the sample data In reverse order, creating a baekward
sound. The prtchi$ conlfolled from 1hekeyt>oatd.
"CUE" is a unique FZ runctiofl. tt aJlowsyou to play the sample trom the
Pitch Bender, Moving the bender forwarc:.ts (away from you), plays the
sample data as ii was recorded. Moving the bender backwards
(towardsyou}. plays the sample data in ,everse. How quiekly you move
the bender determines1hepilch of the s.ampJQ.The number or keys you
hokl down cteterminesthe number ol voices that wil be played by the
bender. As noted in the Opetations Manual, the resulting effeci is
indeed very similar to "scratch" e11ee1s created by manually moving a
recol'dback and torth on the turntable.

8.11Copy,Delete,andReplace
Copy Voico
Copy Voice crea1es a duplicate version 01 a source voice's editing
parametersio a dilferent location (the <JeSlinarionvoice), II lhe des1ina-
1ion already contains voice data, you will be pcorr.,ted with "VOICE
DELETE?' Pushing Ille YES key in response IO the pron'l)t will ., ...
1hevoice correnlly 1nthe destinalion and pu1a newOOfY'I of the selected
voice in its place. Nole thal the source voice is unaffectedby the Copy
operalion.

As we menlioned In 1hebeginning ot this chaP1er,copying a voiee does

not make a COfY'/of the sampled data. Only the Create Voice parame-
ters are copied. Both the copy and IM original use the same sa"l)ie
data, To c,eato a duplicate ol the sampling data as well as the voiOe
data, use the Saveoperalion.

Delete Voice
Delete Voice is slightly ditferent from the Voice Dump: Erase Voiee
operation. ti gives you a choiee. You can d&letethe entire voice or just
the "UNUSED PAAr ol a sall'4)le(Iv<>k:e.The unused part i$ lhe PM
01a sample before the "$TART" and after the "ENO" values se1with the
Truncate operation. This iS a very useful 1eature, Use ~ to trim dead
spots trom a sa• (lo save memory) « to isolate seelions 10 &pliee
with !he Mix Write and X·Mix Wrtee lunc:tk>ns.(Note that, contrary to
lhe OperationsManuaf,Delete Voice on lhe current version of the FZ-1
andFZ·10Mctoos,n,emove "slq,ped" portionsw~hin a sa...,,..)

Use this 10 remove urused memory before you make any oopies for
velocity o, olhe, etfocts. tr you have one o, more copies of a voice
active on the FZ at the same time, you won1 be able to delete the
..UNUSEDPAAT: This allows each of the copies 10 use ils own set of
truncate start and stop points, etc.

110 111
 9.1 CreateBank •
Create Bank Is detailed in pages 84 and 85 of the OperationsManual.
Bank ChartFor FZ-1 and FZ-1OM
For maximum performance flexlb11tty,your FZ organl.zes Areas Into
gfoupings called Banks. Each Bank can 001dup to sixty-four Areas. Kev Ra e VelOcityRa e
The FZ can keep up to eight oomplele Sanks "on-line" at a time. This Area voaiNane g;nal esl ~OW8$I I.lax,o nTcu::t, i..MI MlDh.n, vutpul
means you can access up to eight oomplete keyboard setups made ot 1
up lo sixty-four different sounds, keyboard maps, vefOCitymaps, and 2
MIDI maps at tho push ol a butto~without having 10relOadany disks.
•
4
UnderstandinghOw to sel up Area parameters i$ the key to such sam·
piing techniques as key splits, key layers. vetcc.itycross-fades.cross-
fade key layers, trNJlti-samp/ing, mult.i-sw,1chlng,and more. All in all. •7
there are nine critic.alpa,ameters for eactl Alea. Since eaOhsank hok1s 0
up to siX1y,tourAreas, 1hat means 576 cr~lcal parameters per Bank. 9
Eight Banks hold4608 Area parameters! To helpyou keep organized.
we've included a blank chan that you can copy and 1111 In wllh Iha vital
statistics of your Banks (Flgute 52}. We'll be using a slmplilied version
of the chart in several of the examples belOw.
..
13
14
Let's take a closer look at 1heparameterstha1make up an Area
16
Voice Number: Assigns any sound created by Sampling, Wave
17
Synthesis, Mix Write, X~Mix Write, or Reverse Write functions to this
Area. 1,
19
Key Range(Original, H,ghes1,and lowest): Assigns a range 01 keys to 2u
this Area. (The assigned voiee wilt be heard only wtien lhese keys are
played and tho key voioclty Is within the assigned velo¢ity range.) 22
VekK:lty Range (Max Touch, Mil Touch): Assigns a range of vekx:ities
24
to this Af8a. (The assigned voico will be heard only when the key
velocity is wi1hin the assigned velocity range and the keys are in the
assignedkey range.)
27
Area L.wel; An Sldependentloudness set1!ng10,the FZ voice assigned
to this Area. The maxil'T'l.lmvalue. 127. equals 1hevoice's notmaJ IOud·
ness.
MIDI Channel: Assigns a MIDI channel rurroo, (1·16) to OOOUOl
lhe 31
voice assigned 10this Area.
Output Channel: Asslgns tho output ot lhesvok:eto one or more Of eight Continue Area Numbers Through 64.
monophonicoutputs in the FZ. For a complete reproducabiechart, see page 143.
DefiningNew A.ress
As we mentionedearlier, each Bank can contain up to sixty-fourdjfferent
Areas. The FZ wlll au1omaticallygive you new Areas as you need them.
I.Nhenyou tirsl deline a new Bank, the display wilt show you "AREA Of oourse, you can change these seltings any way you wish. Once
No,1... All of the vak.leswill show asterisks ( ...1. indieating thal no voice )'OU'veadjusted the settings to su~ your needs, you can create another
has been assigned to this Area yet. Once you enter a ~OICE No: with Area. Pushing the RIGHT buuon will advanceme display to "AAEA No.
!he VALUE keys or slider, au 011he paramete<swill be automatlcalfy 2," You can assign a voice to 1rusArea, adjuscthe parameters 10your
filled in as follows:
liking, and oontlnue to aeato new Areas by si"l)fy pushing lhe RIGHT
"ORIGINAL," "HIGHEST,"and "LOWEST· will be set to the correnl set- button. Use the LEFT button 10go back to Areas that you've previously
tings for the selected voiee with the Voice Edit: Keyboard Set operation defined.
Jorthe selected voiCe.
tt you are editing a P,8'/iously defined Bank. the d~play will show you
'MAXTOUCH" wil be set to '127."
the current senings of "AREA No. 1~when you fit$1enter Create Bank.
'MIN TOUCH"will be set lo "001." If you want to add a new Area to lhis Bank, use !he RIGHT buUonto
advancethe display to an undefined Area. II you want 10erase an Area,
"AREA LEVEL" wll be set to ·127: you can use lhe DeleteAroa operation,
'MIDI Ct-rwill be set to ·01.
-OUTPUr will be set to all elghl outputs.

114 115
 WorkingWith Areas Suppose you want 10 pu1rwo Areas next to each 01heron the key•
bOar<Het'ssay, for lnslance,Area 1 riglll belowArea 2. Slart by assign•
Many ot 1,heCreate Bank parametersinte,act with where or how you ing a key rangeto Area 1. Then assign the "LOwesr key ol Area2 to
play the keys ot your FZ-1 (or MIDI controllerHyou have an FZ •10 M), the value 1 semitoneabove the "HIGHEST"key of Area 1. Here's how
Be sure 1hatyou are playingwhhln Its key ral"!;lewhen you are ediling an the key split betweenthe bass and vibes is set up in Sank 5 of your Fl•
Area. The values displayed lor "HIGHEST"and "LOWEST"will show B library disk, Note that ,no bass sound's Highest Key Is CA and the
you where to play. For reference,be aware 1ha:tthe lowest "C" on the vibe'SLowestKey is C#4.
keytoard correspondsto "C2" In the diSplay,and the highest "C" corr&-
spondsto •er In lhe display. II you'reworkingwith Iha FZ-10M,"middle Area Voice Name Orlglnal Highest owest Level
C" oorresponds10•e,4" on the FZ (on moS1MIOI controllers."middleC" 127
3 16 WBass03 004 C04 #F03
Is C3).
4 9 Vib A41 A04 IG04 #C04 127
9.2KeyMappingwithCreateBank
The FZ-1 has a Sixty-one-notekeybOal\'.J.The rack mount FZ-10Mwil
respond 10 Note orvoumessages 1rom a remo1eMIDI keyboard {or
other 0001roner).Playinga single voieeacross an entJrekeyboardis not 9.4 KeyLayeringwithCreateBank
partieula,tyITl.lsical.As we have seen, ditfereMpitehesare proci.lcedby
speeding up or slowing down the rate at whk;h the sampled voice is Key layering allows you to create splits that overtap each other. Wflh
ptayeclbact<by the sampler. The original sound undergoes radical lhe FZ. you can overlaprn:,reman two Areas at once (stackingthree or
changes as Its pitch is Shiftedbeyonda smal amount The end resuttis more soundson the same rangeor keys, or proci.lcingsplicand layers-
thal the usetul keyboard range lor most single samples is only a lew Figure54 ).
semitones. {Synthesizedvoices don't have this prObtem.) Thal leaves
I
you wih an awful lot of empty keys and very few pilches win whk:l1to
play melodies. Casio's system oc Alcas lets you assign several sam-
..... , Alet\3 Youcan also set up a Cross-FadsKey Layer. Here'show:

pUngvoicesacross the keyboardso 1hatyou can take full advantageof Overlap the upper pan of one Area with lhe lowe, part of another.
Figure 54: l.aywlng .aow,two o, m«e Here'sone possiblelayer:
au Its availableno1es. Arn• lo be played by tl'iesame keys.

There are 1hreebasic types 01 key mapping. Splitting a.llowsyou to Area Voice Name or1g1na1 Highest owest
assign differentsaffl)llng voices 10differentkeys to c.reatean instrument
tha1wlll produceseveraldifferent sounds:.dependingon where you play. 1 1 Lower Are #F03 C04 C03 127
Layedngis used 10 assign more than one FZ voice to the same key (or 2 2 Hi her Are CO◄ #F04 #F03 127
keys), ienlng you play two or more voices with each key you depress.
Multi-sarr.,iingand mutti-switchingare aciually specializeduses of spit· set the OCA Level KF parameter of the voice assigned to the lower
ting, layering, and velocity mapping {more on vek>ci1ymapping In a /Vea to a riegatfvevalue (see paoe• ). 11will fade out as you play into
while). Rather than divlding the keyboard between dlfferen1vok:es the upperpart of its key range.
made from sarT4>tes ot differenl instruments, the keyboard is drYided
betweenvoices sampJedfrom OAferentpitches or the same Instrument. Set the OCA L6vel KF parameterof lhe voice assigned to lhe upper
Likewise, rather than layering different sa"l)ted voices. different sam- Areato a posilive valuo. h win fadeout as you play ln10the 10wcrpan of
ples (or copies of san-.,tes)01the same instrumentwith ditlecentdynam- ils key range.
ics af8 layered. The result is a realistic simulation ol the sall1)led Since the two Areas overlapas you play from one to the other. you will
ins1rumentspreadoverthe entire keyboardand dynamicrange. Casio's hear a gradual transition from sound to sound wnen you play between
Aiea system makes it possible lor you to set up all four types of key
F#3 and C4.
mapping,and severalvariationsas well. with your FZ.

9.3 Keyboard
SplitswithCreateBank
Since the FZ lets you define up to sixty-four Neas, you can assigna dif·
ferent voice to each key and still have room for three ack:lilionalvoices.
Most Umes,however,you·uwant to assign a voice to an Area made up
of several keys so 1hatyou can play the "'"'e melodically. Whan you
assign a key to a spl~. there are three parametersyou will have k> set
The OriginalKey determinesthe 001ethat will sound the Oliginalsam-
pled pitch, The upper key is the HigheSlKey the safl'4'1ewil be played
Am
"''• from. The Lowes! Key is the lowest note that will play the sample
'
Flglff• Sl: ln 1h11lluttratlon, ttle My-
{Figure53).

~ l.saplt lnlO four on~ Area,. Whenctellninga key rangefor an Area, the OriginalKey doesn'thaveto
Each Ar.. can play • dU1er.nt.. mpla. b8 Insidethe highesi and Lowest Keys. Also. it doesn't have to be set to
the true pitChot the sampledvoice.

116 117
Fl:
Experiment
#25: KeySplit Experiment
#26: KeyLayering
Focus: Sample Edit Performance Focus: Sample Edit Performance
Key Settings: Key Settings:
Barit Edit: Create Bank Bank Edit: Create Bank

Operations Manual Page Reference: Operations Manual Page Reference:

• Bank Edit: Create Bank Pg, 84-86 Bank Edit Create Bank Pg, 84•86

Step by Step: Step by Step:

Referto page 84 Reier 10page84
Sample and savo the pllrase SPLIT ONE as VoiceNo. 01. Sample and save !he phrase LAYER ONE as Voice No. 01.
Sample and save the phrase SPUT TWO as Voice No. 02. Sample and save the phrase LAYER lWOas Voice No. 02.
Sampleand save the pllase SPLIT THREE as VoiceNo. 03. Enter Bank Edi!: Create Bank
En1erBank Edll: Create Bank Your display shOuld read "l\rea No. 01· "Voice No. = ••• Set "Voice No.· 10 •or (the display will
Your display shOufd,ead "Area No. 01~ "Voiee No........ Sci "Voice No." 10•01~ (the display will immedialely set up the defauh key assign ol COS·C07-C02.)
in-mediatelyset up the defauft key assign of COS-C07-C02.) Us.Inglhe curSOfDOWN buttonuntil the vaJucIn "Area Level" is.flashing.
Using ciher the ke)1)0ard orvatuc slider seI "Original• C#04. Highest= 004 and l<)west. co•· Using1hevalve Sliderset !he "Area Level" to "060"
Using the RIGHT button selec1"Area 02". Using the CtJrsorRIG HT button select "Area 02".
Your display should read ·Area No. 02" "Voice No. = ...._ Set -Voice No· 10 "02· (tho display wll Your display shOuld read ·Area No. 02· -Voice No. • •••. Set "Voice No." to "02" (the display will
inrntldlately set up !he delaua key asSignof COS·C07•C02.) immediately sel up the default key assign of COS-C07-C02.)
Using eiher tho keyboard or vatue slider set "Original= E04, Highest. F04 and lowest= 0#04" Using the cursor DOWN bvtkm until the value in "Area Lever is flashing.
Using the RIGHT butlon select "Area 03". Leave the•Area Lever at il's detauhvat.Je01·12r.
Your display should read ·Area No. 03.. "Voice No. • ..... Set "Voice No.· to -03~ (!he display will PuShthe PLAYbutton and liStento the balance of the two 5a.r1ll'8sas you play the keyboard.
lnrnediatety set up tho defau• key assignot C05-C07-C02.)
Using either 1hekeyboard or value slider set ..Original= G04, Highest. G/104and lowest= F#0-4" Observations:
Pushthe PLAY buttonand comparethe three samplesby playing eachnote from middleC 10middle
G#. Playinganywhere on the keyOOard, you wlUhear both samples a1the samelime. The only <itterence
that should be noted is the '8vel difference that was assigned during ,he experimel14.
Observations:
You can obtain greaI elfe<:tsby layering ditterent musiea1sounds. Some ol the oomblna1Jons. that
• Play a Chroma1ic
scaleup the middle octavestarting at middleC. You should not.-cethat the sampled wor'k very well are: strings and acousticguitar, maleaoo iemarevoices,and stringsand piano.
phrase changes every three chromatic steps. (You will here each phrase al ills original pitch and a
pitch sh~ted up and down one semitone.)
not p,oduce anysound. (Remember only voic•
Playing ootslde the range ol tho assigned keys ShO<rld
es assigned10specificareas wi1hdesignated key ranges wilf sound in a baril: set~up.)
Try the same basic expotimet1I, This limo subsutvte crrtterentsouoos 10, tho sampled phrases. (For
example,_tty assigningseveraldrum soundsactoss an octave.) KeyspUnlngallowsyou 10play many
diflerent mstrumel14sounds from a Singlekeyboard. To gel the largest possible group ot instruments
on the FZ at one lime, only use Ihe amount ot keys needed for each sound. (See 9.5 Key Splits For
MuHi-Samplos./

118 119
9.5KeySplitsfor Multi-Samples Since most sounds can be shifled a few semitones sharp or llat before
they start 10 sound uMatural. you'll hnd that you can use considerably
Multi•samphngis a two·stage process. We'I k>ok1010the key mapping less lhan sixty-one sa~s to create a five-octave instrument, A key
aspect of it here, but b8 aware that how the sot.mosare origmally sam~ ~estion (pun intended) is how fat apart in pitch shoukl the samplesbe?
pied and edited is cflJcial to the aeation ot a reaUstk mu1tl•sample. II For al practical purposes, oo rrusicaJ sou,ce wlll sound natural ii you
you plan on creating rllJlti-san"C)les
from your own sampled sounds, be shift it more than a totat ol one octave. MoS1soundswill require consid-
sure to read our book Thll 5ampflng Book, We'Vepacked it full of tips, erablyJesspitch shifting 10 retain a natural quaJlty.
techniques and secrets ot how to record instruments specifically for
multi-sampling. Lei's use an octave as the maximum llmh tor tolal pitch shift (plus or
minus slx semitones). If we split a keyt,oard by the dffferenl 1n1ervals
AS we mentioned above, mull►sampling is really ;ust a spe,Cializ:eduse wilhln an octave, we can see how rruOhpitch shift occurs 1orall lhe use--
or key splitr,g operations. The purpose is 10 reproduee the sound of ful Intervals. Figure 55 shows the 101a1 pitch shift and 1he maximum
one ins.trument{or groups ot instrumen1s)across a large pitch range. sharp vs. maximum flat pilch shlfl for each intervaL Note that some
Many samplers oome with at teast one example of such a set up. (The inteivaJsshift equalty In bolh directions. while others have a ooe seml,
4

most oommon are grand pianos and acoustie~liars.) A k>tor lhought lone diflerenoe between sharp and tlat shill. {'Nhen the amount 01shift
and planning goes itito cteating a good multi-sanl)le sound. Before the is unequal, we put tho "e)(tta~semitooe on the flat side o, the Original
key mapping can be set, multiple samplesOf the source rBJS1be made Key. 11couk:Ialso have been shown on the sharp side. There really is
and edited. Right now, we'd like to discuss how to set up key ranges for oo difference.)
Areas when you use the FZ as a mu11( sample instrument.
4

When setting up a rnulti-san-.,18 lns1rument.intervalstha1create unecJ,Jal

Picking Pitch Shift Intervals Shitts use your sarll)led voices more effectivety than thOsethat create
equal Shifts. (A more natural sound Is Obtained,since kiss phch Shifting
Take k>r exa""-"e, the F2·1's sixty•one oote llve-~ave keyboard. Why
4

acc:urr..,tatesover a given number of samples for the same approximate

not ~s! make SiX1y-oneseparate splits for sb:ty-oneseparate sampled
pitch range.) For this reason, the most efficientintervalslo use for nl.llti•
voiees? Well, if you remember,we told you that many oi the decisions samplingkey splits are octave, Hat seventh, mioor shell\,flat ficth. major
you make wilh a sa~r invotve trade-otfs. This iSanolher exan'l)a&of third, It can be somewhatawkward however. to set up a split keyboard
one. If each sample is juSI ono-han second, then you'll need a tittle in doninanl 7ths, etc. The preferred method Is to split the keyboard Into
more than thirty seconds of sampling Ume for juSt one multi sarrpled intervalsthat dNlde an Ociaveevenly. These lnletvals are easier to work
instrument. (The FZ will also have to hold sixty one sar11Jlesin memory
4

with for mos1Of us, since we are familiar with !hem from leamlng basic
a1the same time as well!) So. even though the FZ can handle that many
scale and cho,d patterns. Oclaves are eventy divided by oelave (ot
splits. you may slill want lO use less to create a multi-sampleInstrument.
course!), flat frve, major third, minOrtl\ird, whole step and half step inter•
Thal way, you'I have room for additionalsounds. vats.

Octave
"'~n-
.... 6 6

[llill!]]
...,,.

Major 7th
Original PIich Origin,Pi«h

""
Oom.ir\3nlrlflllTl
71h
5 S

lll.lll1J
- Pe,haps the most sensible way 10assign spliis to a muttl·sampleInstru-
ment iS 10divide the keyboard into inteivals based on minor thirds, the
diminished chord. This slnl)fe ChOtdcontains two of the best intervals
defined above and also cleanly divides lhe keyboard into one, two, or
tour sptits per octave. This reduces lhe number of splits needed 10
cover live octaves from sixty-one csownto a number between five and
twenty. The maximum nun'C)erof semitonesa sartp,e will be shifted by
is six (Oil$ spilt per Odave). lhree (lw<l splils per Odave). or one (four
Origi·"·~ spins per octave).
5 • 3

Majo<6th
~i1J1 . Perfect
Sth

Oiminis11ed
o,;,;,mu;.,
.. •:::,,,
3 3 ~L~
Major3rd
2 2
1sa~vo
maximumpilch$hilt
••
51h

Minor3rd
°':."'tim'"",,
2 1
•.
"':.~·~
1 1
•. Maio,t2nd Minor2nd
~-·~0 0

Flgw• Sf: lr!lervel Spllls Based on• Olminlthed Soue

120 121
 ~.11a11:1a., l'.-~w '.b t·•
Figurs 56 illustrates vanous ways ot splhttng a tive-«:1avekeybOatd 9.6 VelocityMappingwithCreateBank
usingone, two, o, tour sp&rtsto an octavo. You'll hnd that lheso divisions
work very well with sa"l,168sOI almOSIany Instrument (We snowthe The 'MAX TOuc...- aoo "MIN TOUCH''parameters.In conjunc1ionwith
OriginalKeys basedon a -c·lurnng. This will change,dependingon the the Create Voice: Velocity Sensi1ivijyoperation. anow you to create
,ange and tuning of the instrumeniyou sample.) Sinee they are all built veloeily mappingeMee1s with your FZ. You can oootrol these effects in
on !he intervalof a minor ltlird, you wmfind It (J.Jileeasy to pick the notes teal lime with your per1ormanceon the FZ·1's buil•in vetocily sensitive
to salll)lc during your samplingUS$klOSas well. All you have 10do is keyboard. If you own an FZ•1OM.thenyou rrust con1tolii with a velocity
sample !he same four notes in each octave. Since theta are only thr&e sensitfve MIDIconltol~r in order to achieve velocity rela1edelle-cts,
uniquespellings01 a diminishedchord. you'IJfind them easy and oonve- The<eare 1wo general types or velocity mapping. Velocity Switching
nlenl 10 use (regardless 01 lhe playing range 01 me instrumem being alows you to select betWecndifferent Areas wllh your keyboardpertor·
sampled). Once yoo"vesampled!he lnstrumenain minor thirds, you can manoo. Velocity Cross-Fadeallows you to controlthe mile.tore of differ•
pick and choose betweenone, two, or lour spl~s per octave as needed, ont Ateas with your keyboardperformance. Unt~e many samplersthal
without worrying about having samplesot 1hetight no1es. ObviOusly,if can onty $wltcn or cross-lade t>etwoentwo sampling voiees, your FZ
you can aUord the memory, th.8 mosl desirable dNisk>nIs tout to the swilehes or fades between as many as sixty-lour, This ability is the
oc1ave. Each sampleis only shiftedby a Singleserntone sharpor nat secretbehindthe muhi-switching1e,chnique describedbelow.

You may lind thal you won1 always need the same nurrt>erot spllts per 9.7 VelocitySwitchingwithCreateBank
octavo. Oeper'dng on the inslrumen1and where you are in its ,ange,
you may need tt'l,ee, two, or lust one split !or the right effect. If you~ve Velocity Switchingworks In conjunctionwith a laye<edkeyboard. lwo
sampled the same notes in each oc1ave,you can mix the abOvesplits' (or more) Areas ate assigneesto lhe samo keyb0¥d rat1ge. The sound
sizes quite easily, withOUta 101of recalculationor resafrl)tlng. Flgurt you hoar when you play a key will be determinedby hOwquiGklyyou
57illustrates severalvariations. depressIM nole. In other words, you can layet any two sounds, let's
say a 1tumpe1 and a dOgbark, and you'll hear one when you play loud,
AnotherapproachIs 10spaceyour splits at ~al intervals: majo<thirds, and lh8 anotherwhen you play sonly (Figure59).
perfect tourths, minorslxlhs. etc. This can work equallywen. and since
the splits occur at dlfferem places in each octavo, It may help disguise Herc's how 10set up a velocityswitchbetweentwo soundson I.heFZ:
the 1n.1lli•sampnng setup. It Is 001a-sslmpkl 10 mix the splits' sizes, Assignlwo differem soundingvoiOes10 two ddlerent Areas. (We'll use
sinceoaaves ate not divided equally. You wilt also have to be carefulto Area t and Area 2 k)r this example.) Assignboth Areas to the samekey
make sure you get the right noteswhen you sample the sound. Also be range.
aware,as we mentionedabove,that some intervalsyield less pi1¢hshitt·
ing than Olhers. A good alternativeis to set your splits in i'ltervals based For now, set the Create Voice: VelocieySens;iivitypatameter lor each
on the majorthirds, i.e.. the augmentedtriad, This tuning cleanlydivides voieeto ''000~(no velocity sensil.ivity).
an octave inlO three eq.ial divisions. The maximumpl:ch shift 10, each
split is only two semitones,and there are onty four unique spellingsor Area Voice Name Highest Lowest MAX MIN
the augmented 1riad. The same lhree notes are repeated In each 1 Slow C04 C03 001 064
octave. As wlh the diminishedtuning,it is easy and convenient10 use.
Figure 58 shows inteivals that will yield splits with nve, tour, and two 2 2 Fast C04 C03 065 127
semitonesof maximumpitch shift.
When you play a note in the key range, lhe voice you hear will be con•
troled by your keybOardvelOClly.Slower veiocroeswll sound lhe voice
assignedto Area 1 Outd<ervelocitieswill sound the voice assignedto
Area 2.

Since the f"Z anowsan Area to respondto a tange QCvelOC"ies.you can

do more than juSI a simple rwo.soundswltcll. For e.xample,you can
overlap the ranges by s.e111ng the "MAX TOUCH" value of one Area
greater than the ·MIN TOUCH"valve 01anotherAcea. Use the velocity
Flgwe S7 : Mixed ltll&IV-81
Splrb
switch exan'4)1e describedabove, ll<JIlhis lime set the "MAX TOUCH"
Minocefl
malOffllJm
&Nn••
pilc:tl
D .... "'
1111111111111111111111111111111 value for Area f to ''090. insteadol ·Os4."

VELOCITY

Flgu... 5': You CIII nr;llch be1M!en two

Area
1 ,
Voice Name
Slow
Highest
C04
Lowest
C03
MAX
001
MIN
090
Al'N• with ve:kdty by ufll'IO the FZ'• 2 2 Fast C04 C03 065 127
Mi-I To...chend Mu Touch pe,r•metots..

122 123
 Now when you play with ycur quickesttouch. you'll hear only the voice
assigned to Area 2, and your slowesttouch will stitl play only the voice
assignedto Area 1. When you play with a medium toucll, however,you
wftl hear both voices at the same time. Thi$ oc:corsbecause velocities Experiment
#27: VelocitySwitching
betweensixty-fiveand ninetywill play both Areas.
Focus: Sample Edit Performance
To swttehbetween three voices, slr\'l)fyassign eaeh voiee's Area to lhe
same key range as before. Now set the velocily range for each Area to Key Settings:
a dilterent sec!lono1the total vek)Cityrange
Bank Edit Create Bank
Area Voice Name Highest Lowest MAX MIN Operations Manual Page Reference:
1 1 Slow C04 C03 001 050 Bank Edij: Create Bank Pg. 84·86
2 2 Medium C04 C03 051 080
3 3 Fast C04 C03 081 127 Step by Step:
Referto page84
You can overlap the vek>ci1yranges too. Instead of switching trom Sample and save lhe phrase QUICK HIT as Voice No. 01.
sound 10sound, you'll hear dilferent co~nations oe voices based on Sample and save the phrase SLOW HIT as Voice No. 02.
your keyboarddynamies. Here are 1wopossi>ilities.
Elller Bank Ed!: Create Bank
Area Voice Name Hlghes1 Lowest MAX MIN Your display Should read "Area No. 01· "Voice No. • .... Set "Voice No: 10 "01" (the display will
1 1 Slow C04 immediately set up lhe delautt key assign 01
C03 001 066 COS-C07,C02.)
2 2 Medium C04 C03 051 080
3 Using the cursor DOWN button select "Max Touch". Set~·• value 10127.
3 Fast C04 C03 065 127 Nox1 select ''MinToueh", Set it 10~Gs·.
Using the rursor RIGHT button select .,Area02"
Area Voice Name Highest Lowest MAX MIN Your display should read "Area No. 02· "Voice No.• •••. Set "Voice No." to "02· (lhe asplay wltl
Immediately set up the delau~ key assign ol
1 1 Slow C04 C03 001 065 COS-C07-C02.)
2 2 Alwaysl C04 C03 001 127 Usingthe a.usor DOWN button seJeCI ~MaxTouch·. Set it's vakJeto 64.
3 3 Fast C04 C03 081 127 Next select 'Min Touch". Setit to "00".
Push the PLAY button and compare the three safl'4)Jesby pjaylng each note lrom middle C IO middle
G#
Figure 60 shows some examplesof different velocity $Witchingassign-
ments.
Observations:
VelocitySwhchi°"""P) Don't forge-tthat each voice also has a set of velocily parameters tha1 One of !he first polnls you will no11c8In playing this set·up, ls that when you sirike a key quiektyyou
can be set w~h the Create Voiee:Velocity Sensitivityoperation. Be sure will hear onl'f, QUICK HIT and when yoo attack lhe key slowly you will onl'f hear SLOW HIT.

Mi
to lry uSing these in conjuoolon with the velocity mapping techniques
describedhere. Experimentwith this set~p until you can control which of the two saffl)leS wil be heard In your play•
ing styte.
Vek>cityswilehing can be a very powerful means ct means of IT'l.lslealexpressoo. Use ii to switch
9.8Multi-Switching:
Expanding
theFZ'sVelocityCapabllities betweentwo differentctynamicsof the same sound.
11111111111111111111111111111111
Hero's how 10make all 100+ Create Voice paramerorsvelOOitysensitive
O 30 50 80 100 121
on the FZ. We call ii muhl•·swilehing,11'ssimple really. In the examples
VELOCfTY above, we showed you how 10 ~ch between two or more Areas with
ditferen1 voices. The secrel 10 multi--switchingis to swil.ch between
Figure 60':You CM •wllch bttwMn •• Areas wilh copies of the s.amevoice. Since voiCeoopies a11shate the
many •• alxty•four NM• WIii ft'toclty original sampledata, you can ~ack" as many oopies as you want (up to
on ~ Fl. Thlt •umpt. ehowt bow
lo ovwlap thl'M A,..., slxly·lhreo) In me same Area. Doinglhts won) use any more sarf4)1ing
memory than you would for just the otlglnal sample. This means you
can add mufti-switchingeffeds to many ~ your existing FZ Sanks. For
instance, o::msidera Bank that uses ei9ht sampled vok::8-$ assigned 10
eighf Areas $pit aaoss the ko~ard. You can add saven copies or
each voice to the Bank. This, in turn, gives you a total of eight sets of
vek>citySWitohable parameterstor each voice.

124 125
a: 1111 '.,:, ;. ~~- p ,··\,::.
a
1';1:?~Jli
Of course, each Area in the rroki-switoh plays the same sample, bu1
how It is played is completely variable, since you have one hundred
independentvoiceparametersfor each Area. If you'veset eachArea 10
Push CALL/SET MENU and lhen PLAY. (11you need lo. select lhe
Bankyou've been woctdng:on.} Play and listen to the new changes.
Push CALLJSET MENU 10return to Create Voi,ce. Reset lhe last set
'. '
be played by a different velocily range (w!h "MIN TOUCH" and "MAX
TOUCH1, then those one hundred parameters become velocity sensi- ol parametersyou made and alter somedil1erentones.
1ive. We can't emphaSizeenough how incredibly power1ullhiS ability ls. Push CALL/SET MENU and then PLAY. Play and liSlento the new
Here's a list of ~st some of the pertormanceeffects this makes possible: changes. You can repea1this process as long as you !Ike. ihere are
. Truncate'"START"and ~ENO"points can be shiftedwith velocity hundredsof parametersand thousandsol combinations.

• Thenumber01 IOopsIn a samplecan changewith vel0Ci1y Dependingon lhe r>.Jmber ol dilerent voiees in Bank, yoor playing Slyte,
Thek>Cations
ot toopsin a samplecan Changewith velocity. and the effects you want to P,oduce, you·It want to try multi-switching
•
~h mote 01 fewer copies. We've got1ensome great effecis 'Mlh just
. Traceand Skjploops in a sample can changew~h velocity. two or three swilches.
. Mem Aead(lo.wards or reverse)In a safll)le can changewith velocity
9.9 VelocityCross-Fade
with CreateBank
. tor each looPin a sa~le can Changewith
Loop Time and Cross l1111e
velocity In a veloci1yCfoss-tade.the velocity deletmines the balance between
. LFO wave. Rate. Delay, and/or Sync in a sampleor Wave Synchesis
two (or more) F2 voices. Here·s hOwto set this up:
voice can changewith vek>cily. Assign two different soundingvoiCesto two different Areas. (We·uuse
. Tuning in a sampleor Wave Synthesisvoice can Changewith v&k>city
.
Area 1 and Area 2 tor this exa"1)1e,)Assignboth Areas 10lhe same key
rangeand the maxirr.,imveiOCityrange.
. The null"ber or sIeps in an envelOpein a sa«.>le or wave Synthesis
voicecan changewith velocity. Area Voice Name Highest Lowest MAX MIN
. The location of envek>pesustain and/or end steps in a sa"l)le or wave 1 1 No<mal C04 C03 001 127
synthesisvoice can changewhh velocity. 2 2 Reversed C04 C03 001 127
. Envelope RaIes and Levels can Changein mo,e complexways lhan can
be proclJcedwih Velocily Senslti~y settings.
Set lhe Create Voice: Velocity Sensilivity parameter for the voice
Here's a QoiCkexample10introduce you 10lhe lechnlque: assignedto Area 1 to "+127'"(normal velochysensitivity).
. Enter Voice Edit and select any sample voice. (Pick one that has a key Set the c,eate Voice: VelOeity Sensitivity parameter ro, the voic:e
ra090of al teast a fifth, so you'll have some room to play.} assignedIOAlea 2 to "· 1ar (reversed veloci1ysensltlvrty).
. Enter Copy Voice and make seven copies {see page 77 in the The balance of the lwO voiOeswill be contro0edby your kcyboatd play-
OperatfonsManual foedetails). ing. Al the quidcestvek>cltles.lh8 voice assignedto Area 1 will be much
Jouderthan the voice assigned10Area 2. The reverse will be true at the
• Set a different set or IOOppoints in the original and each copy using the
slow8'$1velOcities. Both voices wiU have lhe same appro,cimateloud·
Loop Set operation.
nesswhen you play wilh mediumvek:iCities.
. Enter Bank Edit: Create Bank and assign the voiOeand seven copies to
Ateas 1 lh<ovgh8. They wm automatic.allycome up with the same key
range. Adjust the "MIN TOUCH.MAX TOUCH"parametersas follows:
NormalCt0$$ F ado X• Fade Varia'lion1 X· Fade Va,fa1i0f'l2
Area Voice Name Highest Lowest MAX MIN
1 10 Onginal C04 C03 001 015
2 12 Copy 1 C04 C03 016 030
3 13 Copy2 C04 C03 031 045
4 14 Copy3 C04 C03 046 060 11111111111
Ill 11II1111111111111II111111111)
IIIll I1111111111111 1111111111111111111111111111111
C04 0 127 0 127 0 50 127
5 15 Copy4 C03 061 075
VELOCITY VELOCITY VELOCITY
6 16 Copy5 C04 C03 076 090
7 17 Copy6 co• C03 091 105 Figure 61: Hore 1re throe pouibh 'Yertiofl• ol • wklcfty c,ou,«.dti. In• I\Olffl., tn>-t•·lld•,MV·
bowd Yelodty makN ANII 1 get soflor as Voice 2 gee, IOU<let. Thieftt1l 'Yarietlonshows Arn 1
8 18 Co~•7 C04 C03 105 127 ct1ans:,"9louclne!sswith velocity, while ArM 2 doe. not. Tho s.ooondwrlatkin •IKYw• • oombiM-
tlon Ql'M .... oe•nd •wlleh. Wilen you ploy WKYsoftly orly NM 1 Is Nilrd. A• you pl•y )oude,,
An,• 2 w■ tc,lnAf'ff 1 •I ltM ,Midi ~t. From lhore on, H you pl~ iouct.r, bolh 1 tnd 2 wtll
. Play the keyboard with various velocities . You'll be able 10 switch
lneteNe ~ toudne.u.

between eight differencloop setups w!h your keyt,oard style.

. Return 10Creale Vok;eand remove the loops from each vokie. Change
another sot of paramolersIn eachvoice. {Use the list we gave abOveas
a guide.)

126 127
I 11.1BasicChannel,Receive
Mode When MPROGRAM" i$ s.etto ME.NA,"Progr3m Change messages are
only sent/receivedwhen the FZ iS in the PlAY MODE. II 1!ANKNo." Is
Your FZ will respondto MIDI messagesin one of two ways, depending selected in the Playdlsplay.the F2 will send/receiveonly program num-
on how its "RECEIVE"parameteris set. When the parameteris set to bers 1•8. When "VOICE No." ls selected, the FZ will send/receiveorly
"BASIC," all Areas in a Bank will be controlled by the $ame MIDI program numbers 1-64. When receiving prog1amfl.lmbets, the FZ will
Chaooel. That is the channel selectedwitl1 too "BASIC CH" parameter recogniize1-127. Since the FZ has only eight Banks and sixty-fourvoiC-
and Is rere,redto as the FZ's Basic Channel. The basic channel is the es, number$greaterthan eight or sixty-fourwill be automaticallyoorwer1-
onty channel lhat the FZ uses 10 send/receive PtOgramChange and ed 10an approprla1eBankor voiCenurrt,er.
SystemExclusiVeData Dumpmessages.
Since Ptogram Change messages are onty recognized on the FZ's
When lhe ~RECEIVE"parameteris se1to "AAEA."each Area in a Bank Basic Channel, you can use thal channel 10 chanoe Banks during a
will receive messages only on lhe channel selected with the Create sequence. This will allow you to make oompletechangesor
1TtJlll--track
Bank: MIDI CH parameter(see t t. 10MIDI MappingWfthc,••,. Banli). keyboard setups ·on the fly" while the sequence rs playing. Lei's
Here Is a fist of the messagesthat can be received ildependently on assumethat you ateady have a m.iltH.rackse(J.lencerecordedand now
each Area: you want 10record a seriesor Bank changesas part of the sequence:
Nole On/Ott (witll Note On Velocity)
Set lhe FZ's ·RECEIVE"parameterlo "AREA"
ChannelPressure(After Toueh)
Set the "BASICCH" parameter10-01.·
• PitchSend
Set -PROGRAM"to •ENA."
Modulation (MIDIConlroller 1)
Loadthe BankSyou need for your sequenceinto the FZ (up 10eight).
sustain (MIDI Controller64)
Assign the desired MIDI channelsto each Area of each Bank.
MasterVolume (MIDI Controller7)
Put the FZ in lhe PLAYMODE.
Foot Controller (MIDI Controller4)
Set your sequencer10record a new track o-nMIDI channel t (or sel the
Rememberthe effce1cteated with the mod wheel. after touch, and tooc previouslyrecordedchannol 1 track in U"le"ovetellb~mode).
pedal will be the same for al Areas, They will respond In accordance
with lhe values you S<IIIn the Mod Wheel, A"er Touch, and Foo VA Run lho sequenceand change lhe Banks (usilg lhe VALUE buttons)at
operations, 1heapproprla10spots. (ti lhe rrusic is too fasl for you 10change Barl<s
in real time, us.ethe sequenoers-step ectir or "punch in" Ol()(J&S
10insert
11.2ControllerMessages the ProgramChal\gesin the righl spot.)
1nser1the 1irs1Program Change in1o the sequence betore the music
The Controlparametertels you lurn on (enable)or tum off (dis~) the
starts. That way, the FZ will automatlcaJlyhave 1he ,ig~ Bank cued up
FZ's ability to receive and 1ransmitMIDI Controltermessages. Setting wtien ttie lune s1ar1s,
this parame1erto "'ENA" means that the FZ will respond normally to
Modutalion, Sustain, Master Volume. and Foot Controller messages Unlikeother Instruments,you don1 have to wait for spols where no koys
trom an extern.alMIDI controller (in accordance with the setting of the are held down when you make !he Bank changes, The FZ is '1iman"
"RECEIVE"parameler). II you set lhls parameter to 'DI$," the FZ will abOvthOwit handles Ba~ changesthal OCOJr while some notes are still
not respoOd to any Modulation, Sustain. Master Volume, or Fool being played. Held notes will con1lnua 10 sound with the voices
Con1rollerchanges. assigned to the old Bank. When lhey are released and re-triggered,
they wll soundwith the voices assignedto the new Bank.
The FZ will always respo,,d to velo<:ityand after tou<:h(as long as the
You'll find this technique very hefptuJIf you·reworking with sequencers,
Create Voice: Vclocl1ySensitivity, Create Bank: Max/Min Touch, and
since you woni have to use separale tracks for eve<yFZ sound (Of se1
EJfectslMIDI:After Touchparametershave been set appropriately). o1soundS).
If you want to Clisablethe FZ's response10 Pitch Bend changes, simply
set the Bend Rangeparameterto ·oo:

11.3Program
Change
Messages
The Programparameterlets yoo rum on (enable)or tum off (d.sable)the
FZ's ability to receive and transmh MIDI Program Change messages.
(Pr0gram Change messages are only senVreceived on lhe channel
selecled wilh lhe "BASIC CH" parameter.) Setting "PROGRAM" lo
~eNA" allows the FZ 10 send/receive P,ogram Changes. When this
parameter is set to "DJS; lhe FZ ignores Program ~hanges from an
external MIDI coniroller and will not 1ransmitany Program Changes
when you select Banksor voices,

136 137
12.MemoryManagement Formatting New Disks
Think 1or a minute ab0u1hOw ll'M.ICfllnlormation your FZ can hold in its You'll unctoubledlyacquirequite a colcction of disks Jaryour FZ. You'll
in1ernatmemo,y. Tho sampling memory can hold 14.5 secondswonh of find tha1you can get a considetable saving on lhe price 01 d$S it yoo
sound$sampled al 36k (twice that ff you have an FZ·10M or the MB-10 buy them In bul<trom a malklrdcr wpply hOuse. Bulk disks are tho
memoty expansionfor !he FZ•1). The sampling memory can be spl~ up same high quality cer1Hleddisks you get at the conµ.rter boutique, but
Into as many as six:ty•fourFZ voices, each voiee having over one 1,uo- without the fancy (expensive)packaging, No, you won't have to buy Hve
dtod unique parameters. Voioes c-anbe o,ganiz&d irtto Areas, which l>Jndredo, more at a shOt. Most wpply houses let you purchase bul<
have an additiOflalnine parameterseach. Areas can can be organized disks in lots of 1enor twenty.
into as many eight Banks, and each Bank can hold up to sixty-four
unique Areas. Lei's not fotg,Qlthe FZ's Effects settings e~her. AUof As you probably alrea<fykJlOw.you can1 just take a new disk out of tho
that adds up 10 some twelve thousand or so parameters that your FZ box and save FZ data on It. You mu.stfirst 10,matthe disk by entering
hokls in its internalmemory for you! and executing the Format Disk operation trom the Oala Durre>sub•
mode. When you 091a new box of disks. It's generaltya good idea to sil
Thars an enormous amount of data to keep track or. II you·re lite most dOwnancttormat sev8fal of them (or even the whOlebOx). This way,
FZ users you'll quickly find that you want 10be able to use mote Banks, you won't have 10 take lhe time later when you're in the middle ot a hot
Areas. and Voices than the FZ can possibly hold internally. No problem, proj~. ShOuklyou be in the middle or something and need to t0<ma1a
That's what the disk is for. You can s10,eany kind ot FZ data, votee-s, disk, oon·1wo,ry. You can format disks without k>singanything lhat
BaM.S. effects se111ngs, even the entlrn contents of the instrument as you're o.mently working on,
mes on micro lloppy disk.$. Since there are so many things you can
sto,e, and seve,al ways to store them. we thought we should spend a llt• 12.2DataDumps
tie time kX>kinginlo how to use and organize lhe FZ's disks,
Your FZ saves and loads data to and lrom disks as files There are four
12.1AboutDisks t\'l'OSof FZ flies:
The FZ uses Doub/9Slded,J-llghDensity micro floppy diskenes. We full Dump files contain al Bank, Area, Voice. and Effecl settings actNe
refer to them si/ll)fy as disks, bot be aware that you must use High In the FZ as a single bk>ck.
Density(HD)disks. Thetaate three types of micfo floppiesconvnonly In
use tO<lay:Single Sided· Double Denslty(SS/00), Double Sided,Doubte Bank Dufll) mos contain all of the Ateas and Voiees th.atmake up a sin-
Density (0$/00) and Double Sided High Density (DO/HO). Physically, gle Bankin one hie.
each ot these dtSksappears ex.aatythe same, but there is a difference.
Voice Dump mes oontaina slng'8 FZ VOiee,none lite.
While the difference between disk typos isnl visibk! to you, it ls 10your
FZ Bfect Dump tiles oontain Bender. After Touch, and Foot VR senings as
a smgle lile. (Note thal this cJoesnot incklde 1heM/0/funcilon settings.}
Disk manufacturerscertify the storage capaciUesof their disks, Each
disk type is made to hold a different amouni of daJa. SS/DO diSkSare The Oala Ourfl'I sub-mode has tour !unctionsused to transre'r111ese tile
cen~ied to hOld 400 kBytes of data. OS/DD are cenifled to hOld 800 types to and from diSks. The,e is a separate tvnclion k>reach file type,
l<Bytes,and DSIHOdiskSare cer1ifledto hold 1000 kBytes of data. 1000 Da1aDump lunclions are detailed on pages 100-123 in the Operations
k8ytcs are the same as 1 m8yle (or 1 million bytes). What does "cert ► Manual.
fled" mean? It means that a disk is guaranteed10hOldat least the speci-
fied amount of dala. Just as important it means the deskiSno1guaran-
teed to hold more than lhe specihed amount 0-1data. In other words, it
you try lo put more data on a disk than MiScertified tor, you may k>sethe
data. Usualfy the co-ntenlsof the eniire dlsk beoomo unreadable when
1hishappens.

Your FZ was designed to use only OS/HD disks since the milliroom
memory size for the FZ•1 ts 1 m8)11e.This insures that a FuHDumpfrom
an FZ-1 woukl fit 01110 a single OS/HOdisk. Even I you a,e not storing a
Ful Dulll), tho FZ will let you pack up to t mByte of data (Banks,voices.
etc.) on a disk. When you format a blank disk with the FZ, ii expectsii to
be a OS/HD. Some FZs may be able to run the lonnat rou1inewith a
DSIDDor even an SS/DD disk.. (This isn·t au thal ul"WJsuat in lhe oomput•
er world. our trusty Macintosh,for example,<:anbe ·iooled· into format•
ting an SS/00 as though ~ were a OS/00,)

Since DSJDDsare a little less expensive,you may find yourself templed

to use them in place of OS/HDs, Don't! Remember.U'IOsedisks are not
c.ni;ed to hOld more than 800 kBytes 01 data. Your FZ wilt put more
than that onto the disk. You can bet that ii you try to use DS/DO disks
with your FZ, that one day the disk WIiifaii. Murphy's Law guaranteos(In
this case maybe cq,rifiesis a bette, word) Iha! the disk you lose wil be
the only one ~h lhe voiee/Banklsa"l)le you need. Murphy's Law also
states that lhe disk wll tail pteclsely when you need ii the roost i,e., right
in lhe middle of a gig or session. Believe us, it's not worth the pain and
trustra1ion.Be sure your disks are HOs.

138 139
 ,

There are some Interesting variations on lhe standard velocity cross•

fade. Layer a velocity sensitive voiOewith one that isn't to bring one
iN

9.10 AreaLevel
II ~-
'S •

voice In and out of the mix whh your dynamics. Besure lo try ii with nor· Once you'Ve assigned voiC&sto Areas and you've assigned !he Areas
mal and reversed velocily sensltlv~y. Try combining veloclty swiching across the keyboard, you shOuldbalance their rela1rveloudness. This
wl1hvelocity cross-lading. For example, set one voice's veloc11y range Will altow you to play across the keyboard, from Area to Atea, whhout
so it switches on onty tor hlghet veJocities,and the other tor no,ma1 any voiCessoundingtoo loUdor soft. This is very important.especialfyff
vek>dty sensitivlly. Now you won't hear any CfOSS•fade effect until yoo you're ceaeatlng a s;ngteinstrumenlfrom a numberoCditlerent samples.
play louderthan tho switchpoint (Figure61). Here's a methodfor balancingall of the voices In a given Bank:
Temporarilydefeat each voice's velocitysensitivityby setting tho Create
Voice: Ve~y Sensitivityparameterlor each voice to 1'.>00~ (WritedOwn
Experiment
#28: Velocity
X-Fade the original settingsso you can reset them later.)

Focus: Sample En1erBank Edit: Create Voice and sel the "AREALEVEL"parameter for
Edit Performance eaeh Area to~ 27."
Key Settings: Play a slow chromaticscale up and down the keyboatd. Al ol the noces
should have the same loudness. If not detennine whk:h Area sounds
Bank Edi!:Create Bank the softest
Vekx:ily SensitMty
Adjust the "AREA LEVEL· parametersof the other Areas to match the
loudnessof the softest Area.
Operations Manual Page Reference:
Reset the origJnalCreate Voiee:Velocity SensiliviCyparametecsror each
Bani<Edit: Creaie Bank Pg. 84-86 voice.
Step by Step: This melhod insures that you will have the grealesl overall dynamic
Reier to page 84 and 73 range ior a given set oi sounds in a Bank, As you can see, the overall
loudnessof a Bank is lmiled to the softest voice (F',gure62). This is one
Sampleand save the phraseNORMALVELOCITYas Voice No. 01. ot !he reasons why you shOutdatways try 10 create sanl)les with lhe
Sampleand save the pllrase AEVERSEOVELOCITYas Voice No. 02. maximumloudnesswithout distortion.
Enter Voice Edit: CreateVoloc
En1er'Vetoclty SenSilivity"function and set the "DCA Lever to''· 127"
Enter Bani<Edit: Create Bank
Your display shou:ldcead"Area No. 01" ~oice No. s • Set "Voiee No.· 10-01- (the diSplaywill imme•
0
,

<fialelyset up the delauls. Change only !he 'Min Touch"10'025".)

Usingthe rursor RIGHT select "Alea 02".
. Your display should read 'Area No. 02" 'Voice No. • •••. ~I "Voice No.· to ·02·. The display will
rnmed1a1ety sel up the defaults. Leave all of them se1as is.
Push lhe PLAY bu11onand compare the lwo sa~s by playing each note from middle c 10 mi<ldle
G#. (You may have to readjust the Area Levelsto get a true equal balaooe. If so ref&, to experiment
28.)

Observations:
One of !he first points you will nollce In playing thJsset•up, is that when you strike a key quicklyyou will
hoar only, NORMAL VELOCITY and when you attack tho key slowly you will only hear REVERSE
VELOCITY, Atone point can you 991both samples1osoundat the same time on the same key.
Experimentwith thiSset-up un11you can control which ol the two sampleswill be heard by your play-
ing style.
It
You'll find that you can get some interestingmusicalresults by setting up velocly ctOSS·fades
between
conuasllngsounds. Try cross.fading pianoand strlnos, or forwa1dand bacitwardscymbalcrashes.

..... )'Oll adlutt 1M lo\ldne., of NCh Area •o lhat ~

flaur• 62: TIMFZ'• Aroe lwtl pw......,
CM Nla.nc» the IO\lnd of &heetltlre teyboa,d, W'h4,n ..,.ti~"'-,~-•. 1he loudrtf A.l'Ht wll
hav. to W made 90ftef to match 1M tn-0.1quiet Ar-. In lhlt exa.mpi._ N• F 1, much ..oft•
than th. othwt, .ct lhty •Ht,.,,,. to be nlductd In vottame.

128 129
 ~ Sl'"
wFV- ·a
·tt;Y\ ,,.lit,.~:tc1,a
9.11MIDIMappingwith CreateBank
r')\;d!\:;
• tc•·,.,•!f
•ilfwr

The FZ gives )'Oulhe option of oontrornngall of 1hoAreas in a Ba~ with

one MIDI channel or cont(olling each separately from one ot sixteen
':" J■-
9.12 OutputChannel -
Eacn Area can aJso be assigned to any combioation ot the eight mono•
phOnlcoulpuls on the back ot your FZ, The normal mode ot operation Is
'·-·

MIDI ctiannels. The ''MIDI CW parameter is used 10assign an Area 10 to 3$Signan Area to aJIeight. This produces up to eight-note polyphony
a MIDIchannel. Be aware that !hi$ setting interacts wl:h lhe "RECEIVE." for !he vok:e. For special applications, you may want to change this
parameter ot lhe E.lfectSIMIDI:MIDI function operation. (In or'de(10con• assignment. For example, you may wish to tet up your FZ as a drum
Uol Areas with sepa.rate MIDI Channels, the ·RECEIVE"' parameters maehlne. You could assign each drum voice to a different Area and
m.ist be set 10"AREA:) We've outlined some of 1he most impor1an1tea• e,ach Area to a different ou1put. This would make it possible to route
tures ol lhe FZ's Bank•rntaied operations below: each drum sound to a separate inputchannel on your mixer so that you
. Each Area behaves like an independelll MIDI module. Maldng the FZ a could se1different EO, effeas. elc .. for each sound.
polyphonic, multi~limbralMIDI sound source.
. Voices assigned to each Area can be played polyphonically. {Keep In
Here is an exaffl)te ot how you could set up an FZ Sank to send drum
sounds to dAl1erent outputs:
mind that the FZ can never play more than eight notes a1a time.}
. When the fZ.1•s MIDI "RECEIVE' parameter Is set to "AREA,' lhe built Area MIDI CH Voice No. Name Highest Lowest Output
in keyboard will play only those voiees whose Areas are assigned 10the 1 3 20 Kick C2 C2 1
FZ's "BASIC CHANNEL."
2 3 21 Snare 02 02 2
• Each Arca wilt respond independently to pllch bend. modulation, veloci· H1Ha!Open
3 3 22 E2 E2 3
ty, aue, toueh, sustain pedal, and volume pedaJ messages. (AeSl)Onse
lo these messages iS ettected by the settings 01 the EllecJ /MIDI sub- 4 3 23 Hi Hat Closed F2 F2 4
mode.) 5 3 24 Tom Tom C3 G2 s
6 3 25 Crash Cymbal 03 D3 6
Take a iook at the abbreviated Bank Chart below. It shows the VOice,
MIDI Channel, and Key assignments for a Bank made ot fourteen 7 3 26 Rkle Cynt>al E3 E3 7
Areas. It de-monstratessome of the power behind ltle F2"s MIDI map- 8 3 27 Shaker F3 F3 8
ping capati.lities. tr the FZ's Basic ChaMel is set 101. you can play left•
hand bass and righe·handvibes on the keybOard. (If you have an FZ-
10M, the controller rTK.Jsl be set to lransmil on channel 1.) Notice that
the key ranges tor the bass and vibes sounds overlap the drum, brass.
9.13Copy,Delete,andReplace
and guitar key ranges. Since each of those Areas Is set to a d~terent CopyBank
MIDI channel. thooe sounos won1 be played by the keyboard. Instead,
they can be played by a multi-track MIDI sequenoe,-while you're playing This is sinilar to the Copy VoiOeoperation. Copy Bank crea1esa OOpli•
along on the bass and vi>es. This is just one exa"l)kt of how MIDI ma,p- cate version ol a Source Bank 1na Ollferen1Bank locafion {lhe destina•
ping could be put to use tjon Bank). Onty Create Bank paramete,s aro oopi8d, no1the voices. It
the destination al,eady contains Bali< dala, you will be pcompted with
Area MIDI CH Voice No. Name Highest fLowes1 Output "BANK DELETE?" Pushing the YES key In response to !he p,ornpt will
erase the Bank currently in the destination and put a new copy or the
1 1 1 Bass Fl2 82 C2 All selected Bank In its place. Note that 1h8source Bank is un.atteaed b)'
2 1 2 Bass F13 B3 C3 All the Copy operation.
3 1 3 Bass F#4 B4 C4 All
DeleteBank
4 1 9 Vibe$ F#S BS cs All
Oe)ete Bank is slightly different trom the Bank Ourrp: Erase Bank tune-
5 1 10 Vibes Fl 6 B6 C6 Al lion. U gives you a choiOe. You can delete the entire Bank and ils VO.C·
6 1 11 Vibes F#7 87 C7 Al es, or ju-51the Bank data (Areas) without deJetlngthe voices.
7 2 20 Kick C2 C2 All
8 2 21 snare 02 02 All
DeleteArea
9 2 22 Hi Hat Open E2 E2 All Delete Area lets you ,emove 1ndlvicrualAreas from a within a Bank.
10 2 23 HIHatC~d F2 F2 All
ReplaceBank
11 2 24 Tom Tom G3 G2 All
Replace BankiS essentially the same as Copy Bank wijh one signillcant
12 2 25 CrashCyrrllal A3 A3 All difference. The source Bank iS deleted by lh9 operation. Use Replace
13 3 30 Brass Hit F#3 C3 All Bank to move a Bank from one k>cationto another. Note that you can't
14 4 40 Guitar Alt3 D#4 E3 All replace a Bank with itself (as you might want to in order to save ed~ing
Changes), Use the Bank Clomp/Save Bank operation 10 store updated
ve,sions of a Bank.

130 131
 10. Performance
Controllers Effect Menu Overview
MODE SUB•MODE FUNCTIONS OPERATIONS PARAMETER

-
1101 1001 tOOl SETTINGS
1001
0001
1110
l<lQl
lOH
0110
Digital to
Analog
.LILLI
·v •
MODIFY•> NTER -> ENTER -,.
~~ESCAPE
NTEA ->
c-ESCAPE
lUO tO:l llll
1111 1010 1-0:11
Convener i-- ~ DCF OCA
~
MODIFY
PLAY
Source Select
Voice Edit
<·••n•u••·• ..•·•> Bend Range BenORang<>

- LFO
Bank Ed~
Effec1/MIDI
Datallul1l>
< ........ u .............. > MOdWheel LFOOSC
LFODCA
osc [I LFO LFO LFOOCF
~ I!]
OCF OPT Software OCA Love!
DCA
DCF Level

LFOOSC
DCF DCA LFOOCA
Level Level LFOOCF
OCAlevel
I DCF Level
I Fool VA I lFOOSC
LFOOCA
MoelWheel Pte-ssure LFOOCF
OCA Level
OCFLevel
Ag\lre 43: The Mod Whed, Aller T~, •nd Foot VR can Mith lndepenclt,nity oontN>ILFO 10\II•
Ing. 0CF <:ulQff,•nd OCAlevel, Dump Effect LoaO Ellect Effect Name
Execute: YeS/No
The FZ•1 olfers a l'l.lmbecof optionstor exp<eSSive
conl!ol of its VOices. Save Effect Effect Name
As we've alreadyseen,the FZ'skeyboardIs velocilysenstive. tt is also Execute: YeS/No
pressuresensitiveas well. The FZ-1 also providesa pi(ch bender,mod·
ulationwheat,sustainPedal.ancrloot pedal II you own the ra~ mount Verify Effect Effect Name
FZ-10M,thon )<)Udon't have a 1iu1•-1n keyboaro,p~ch benoer,or mod Execute: YeS/No
wheel. However. if your MIDI controtler has thoso features, the FZ·10M
will respondlo them lhe sameway an FZ-1 respondsto hs built•in con- EraseEffect Effect Name
ttollers. The EffecvMJOIsut>-mocse
ot tho FZ provides four operations Execute: Yes/No
'°'using performanceconirollers.
ot lheOperations Manual.
It is dolailed on pages 92 thtoogh 97
A Meru Overview the Ettea operations Is
ol
given below,

10.1Bender
The maxinum pcichbend inte,val is set with this operatiOn. The range
Is ad~stable in somltonesfromup and down a half srepIOup and dOwn
an octave.

Noto: 'Whenthe FZ's MIDI funcllon's "RECEIVE· parameter is ~et to

"AREA; each Area will respond 10 pitch bending only on l1sassigned
MIDI channel. For instance. you can bend the pitch of the ~olce
assigned to Area 1 withoul bending pilches 01 any other vo,ces.
Although each Nea r8<1)0ncfs only to its asslgno0MIDI chanool, thO
"BENDRANGE' VlllJO will be lhOsame for all Noas.

132
133
 !IIL =•
j
tlt;,~ll•·'f'II '~n
• "&@'0M'I
10. Performance
Controllers Effect Menu Overview

MOOE SUB•MODE FUNCTIONS OPERATIONS PARAMETER

SETTINGS
MODIFY•> ENTER-> ENTER - ENTER ->
<-ESCAPE <-ESCAPE <-ESCAPE

- ~1-l
~ll
i,101 l~Ol lOOt
Digital to Bend Range Bend Range

-
1001 1110 LOU MODIFY Source Select <······--·····•-->
0001 H>:>1 OHO !,., Analog •• OCF OCA PLAY Vok:e Edit
1110 1011 1.lll Converter Bank Ed< <·········--·····> Mod Wheel LFOOSC
1111 1010 1001 Effect/MIDI LFODCA
Oata0U"1) LFOOCF
OPT Software DCA Level
LFO LFO LFO
LFO osc [] OCF ~ DCA [] DCFLevel

f\; <···-··········••> Aller Touch LFOOSC

LFOOCA
DCA LFODCF
OCF OCALevel
I level Level
OCF Level
r
I Foot VR I <·······---······> Foot VA LFOOSC
LFODCA
LFOOCF
OCA Level
Mod Wheel Pressure
DCF Level
Ou"1) Ettect Load Etlect Ette<:tName
Agure $3: The Mod Wheel,Afler Toucti. and Foot VA c:enNCh l~enUyconttol LfO nw1• Execute: Yes/No
'°'9- OCf CUIOM,
•nd 0CA le\'el.
Save Eftect E11ectName
The FZ-1 offers a nurnt>erot options lor expressive control of Its voices. Execute: YestNo
As we've already seen, the FZ's keytoard is vEOOCity sensitive. It Is also
pressure sensi;ve as wel. The FZ-1 also providesa pitch bender, mod· Verify Etlect Effecl Name
ulatlon wheel, sustain pedal, and foot pedal. If you own the rack mount Execute: Yes/No
FZ-10M, lhen you don't have a buill•in keyboard, pi1chbender, or mod
wheel. Howeve,, II your MIDI controller has 1h0se features. the FZ·10M Erase Effect Effect Name
will respond to them the same way an fZ •1 responds to ils built-in con- Execute: YeSINo
irollers. The ElfecVMIOIsutrl'l"'i'.Xle
01 lhe FZ providesfour operations
lor using per1ormancecontrollers. It is detailed on pages 92 through 97
o, the Opera1ions Manual. A Menu Overviewof the EffectoperationsiS
given belOw.
10.1Bender
The maximumpitch bend intervalis se1with this operation. The
Is ac1;:.istable
in semitones from up and downa han step 10up and
an octave.

Note: When the FZ's MIDI !unction's ·RECEIVE" parameter is

"AREA." each Atea wlll resPond 10 pllch bendmg only on •s ass
MIDI channet For instance, you can bend the pitch of the
assigned to Area 1 without bertding pitches 01 any other v•
Ahhough each Area responds only to its assigned MlOI chanrw
"BEND RANGE" v~e wlll be the same for all Areas.

132 133
I Be!Owis a Menu Oveivlew ol the CO/T4llete
sub-mode. Losd FIie
When you load mes to a<kl addrtional Voices or Banks, be sure to
Data Dump Menu Overview chQosean unused location, since loading a file replaces1hecontents of
the VoJccor Bank location w"h the newme.
MODE SUB•MODE FUNCTIONS OPERATIONS PARAMETER

MODIFY- ► E ... c-ESCAPE

... c-ESCAPE
... SETTINGS

c:-ESCAPE
You can only Joadffles tha1have been saved in the same fo,mat as the
loading function. In other WO<ds, Load Fut can only load Full Dumps.
Load Bank can only IOad Bank Dump , and so on. You can 001, 10<
MODIFY Source Select Full Dump toad Full Execute: Y&SINO exarrple, load a voiee me difectly rrom a disk that contained onty Bank
PLAY Voice Edit Bank O\Jmp Save Full Execute: YeS/No Dumps, lnSlead,you would load the Bank O\Jmpfile that had the voice
Bank Edit Voice Dump MergeFull Execule :YeS/No youwere looking for assigned to one of its Areas.
Elle<:1/MIOI Effect Dump Verify Full Execute: YeS/No
DATA DUMP Erase Fun Execute: YeS/No Loading tiles replaces the currefll Ille 011he same type. Load Full will
OPT Software rep1aoeall Bank, Voice, Alea, and EUectparameterswith the data from
full Dump Load Barjc Bank Name the new file. load Bank replaces the selected Bank number with the
Bank Dump Execu1e:YeS/No Bank k>adedfrom the disk. Load Voice replaces lhe selected voice
Voice Durtl> number with the voice loaded from the disk. load Effect replaces the
Elleci Dump Save Bank BankName current Effects settingwilh tho Effect settings stored on disk.
Execute: Yes/No

Merge Bank Barj( Name Save FIie

Execute: Yes/No These operations are used 10save an active set of Bank,VoiCe,Area, or
Effectparametersas a me on an FZ disk,
Verily Bank Bank Name
Execute: YeS/No
Merge FIie
Erase Bank Bank Name Merge aDowsyou to add new Banks, Voices, and Areas ID lhe FZ with~
Execute: Yes/No ou1any of the current Banks, VoCes, or Areas, Merge Full will fill empty
Full O\Jmp Load Voice VOiCeName Banks, Areas, and Voices cunentty in the FZ from a Full Ou~ file on
Bank Dump Execu1e:Yes/No disk. Note that all of the current Effects settings.wil be replace,dwtth the
Voice Dump Effeas settings saved on disk. Merge Bank wil fill empty Ateas and
Ellect Dump SaveVoice Vok:e Name Voices in the setected Bank with Areas and VoiCesS1the Bank Dump
Execute: YeS/No tlle saved on disk.
Verify Voice Voice Name
Execute: Yes/No Verify File

• Erase Voice Voice Name

E)[8CUl8:YeS/No
Verity C:Onl)aresthe active Full, Bank, Voice, or Effect parametef'\,wlh
those of a tile saved on disk. Tois oomes in handy ii you want to be sure
that a mewas saved correctly. Also, when you are doing a lot ot ecfrti~
FultOump Load Elle<:t Effect Name you can use this function to cheek to see if you've updated a file Since
Bank Dump Execu1e:YestNo your last save or load.
Voice Dump
Effect Dump Save Effect Effect Name
Execute: Yes/No
Erase FIie
Erase is used to remove a file from a disk.
Verily Effect Effect Name
Ex&eute: Yes/No 12.3Organizing
YourDisks
Erase Effect EJlectName By letting you Slore FZ daJaIn a variety ot file lolmats, Casio has provid•
Execute; YeS/No ed you with a good deal o, flexibility tor oroanizingyour data onto disks.
<·•··············>Select Device Device: Disk, The Full O\Jmpfo,mat is perhaps lhe moG1convenlenl to use tor live pet•
Port,Mllll formances. You can load a Full Dump direcuy lrom the PLAY MODE
<················>FormatOisk DiskName with very little button ptJshlng (all olher file types most be loaded from
Exe<:ute:YeSiNO within the MODIFY MODE and requite considerable butlon pushing).
Also, a Full Load completely re-configures the FZ, eight new Banks,
Sixty-lournewsounds, etc. All of the disks In Caslo's FZ sound library
are stored in the Full Durrp format

When you·re nol on siage, but working at home or in the Slud<>,}'C<Jmay

1Wldthat working with Bank Dump liles is rr-:,reoonvenient. Depending
on the sampling time used by the voices and the !"limbers of Areas in a
Bank, a df:skcan hold well over eight different BaMs. vou·11also find ii
more convenient to work with Bank Dump files when you're designing
Yourown custom Full Dumpdisks tor live performance.

140 141
 -
The PfOCedumfor trans1erringBank Ouffl)S from Full Dumps 1soutlined
below:
II!, __
Have a couple or blank. formatted FZ diSks handy. (Aemember to use
Bank Chart For FZ-1 and FZ-1OM
OS/HD disks.)
Insert the Full Ou«.> dis'k 1ha1oontains 1he Sank (or Banks) you want
••
'
VOoCO
•
Kev Ra
" 1 Hqne$1 o-.·e$t
Vek>cttuRanne
X lO'JCh MIAlove" eve1 ~ .....
and execute Load from the PLAY MODE. (All Casio FZ soond library
disks are Full DulT!) disks.)
Eject the Fut Ourrp disk and insert a blank, formatted FZ disk This will
be your sank 0ulT!l disk.
E.nterlhe Barfl. Ouffl> !unction of the oa1a Dump sUb•modeand use the
Save Bank operation to save any Of the curre111Banks you war'll1onto •
your Sank Dump disk. 10 '
II you want to save more Banks on the disk, eject the disk and insert
another Full Oump disk. Enter the PLAY MODE and exeou1eLoad. "
Repeat the previous two steps until you've saved an the Banks you
need fl your BaM Dump disk fill$ up, Juststart a new one.
Here's how to create your own custom library disks {Full 0Uff1) disks).

-- ""
Have a blank, formatted FZ disk and the Bank Dump d~ks whh the
Banks you want handy. (Use the procedure csescribedaoove to create
theBa~ Dump disks.)
Clear tho FZ's memory by executing Load E>ec from the PLAY MODE
w!h no disk in the oslve. (YO<J11
see "DISK NOT READY" In the display.)
Insert a Bank Curll) disk in the drive.
Enter the Ban~ Dump function or 1heData DulT!) sulrmode and use the
Load Bank operat.iOnto load any ot the Banks you want from the disk
lnlo the FZ.
11you wan1 to add more Banks, and yoo stil have room In the FZ, eject
the disk and insert another Bank Ou"" disk. Use the LOadBank opera•
.....
lion to load the Sank(S)you want lrom this disk.
• Repeal the previous step unlil you have all the Banks you want (or the
FZ's memory Is full).
Insert the blank, formatted FZ disk.
Enter the Full Dump !unction and uso the Savo Full operation to store
your QJStomse1upon tho disk.
12.4SelectDevice I-

The FZ can transfer hies 10and from cltv,r devices (l<e another FZ or a
computer) via its MIDI por1sthe 25,pin ExternalPolt {used for direc1con- •
nection with other FZ's). AUof ine me operations except Erasecan be
used with the MIDI or external ports. Be sure to read pages 125 and
126 of lhe OperatfonsManual for tho do1ails. Use the Select Device
'
!unction lo select where a lite wUIbe transferred to or trom; Disk, MIDI,
PORT.

Note: When you use MIDI to transler F2 lil8'$,1heMIDI IN and the MIDI
OUT ports 01both units most be oonnected.

.....

.,

142 ' 143