Propellerhead Reason - 1.0.1 Manual de Operações descarregar pdf (Página 122)

NN-19 DIGITAL SAMPLER

120

Introduction

A sampler could be described as a device capable of recording and repro-

ducing audio material, like a tape recorder. Unlike a tape or harddisk based

recorder, samplers allows you to “play” the recorded sound via MIDI, using a

keyboard for example. This way, any reproducible sound can be integrated

into the MIDI environment, and be controlled from sequencers etc. like syn-

thesizers.

The NN-19 is a sample player, capable of reproducing, but not recording or

editing sound files.

The program comes with more than a hundred ready-made sample patches,

covering all kinds of instrument types. In addition to this there are plenty of

single samples that can be used for creating your own patches.

If you want to record or edit your own samples, there are plenty of relatively

inexpensive (and even free) audio editing software for both the Windows and

the MacOS platforms, that will allow you to both record audio (via your com-

puters or audio cards audio inputs), and to edit the resulting audio file. Virtu-

ally every product that is capable of this, can create sound files which can be

loaded directly into the NN-19.

Also, there are thousands of high quality sample CD:s available, covering ev-

ery conceivable musical style or direction ranging from professionally re-

corded orchestral samples to esoteric electronic noises.

General Sampling

Principles

Background

Before a sound can be used by a sampler, it must be converted to a digital

signal. Hardware samplers provide audio inputs that can convert the analog

signal to digital, by the use of an “A/D Converter” (analog to digital). This

“samples” the signal at very short time intervals and converts it to a digital

representation of the analog signal’s waveform. The sample rate and the bit

depth of this conversion determines the resulting sound quality. Finally the

signal is passed through a digital to analog converter (D/A) which recon-

structs the digital signal back to analog, which can be played back.

Multisampling vs. Single Samples

Most of the included NN-19 patches are made up by a collection of several

samples. This is because a single sampled sound only sounds natural within

a fairly narrow frequency range. If a single sample is loaded into an empty

NN-19, the sample will be playable across the whole keyboard. The pitch

(frequency) of the original sample (called root-key) will be automatically

placed on the middle C key (C3).

Note that this has nothing to do with the actual pitch the sample itself pro-

duces! It may not even have a pitch as such, it could be the sound of some-

one talking for example.

If you play any single sample about two octaves above or below its root key,

it will most likely sound very “unnatural”. In the case of it actually being a

sample of someone talking, playing two octaves up will make the talking

voice sample sound squeaky, short and most likely unintelligible. Two oc-

taves down the voice will sound something like a drawn-out gargle.

Thus, the range that most samples can be transposed without sounding un-

natural is limited. To make a sampled piano, for example, sound good across

the whole keyboard, you need to first have made many samples at close in-

tervals across the keyboard, and then define an upper and lower range for

each sample, called a Key Zone. All the keyzones in the piano sample patch

then make up a Key Map.

How to create key zones is described on page 122.

To sample real instruments accurately requires a lot of hard work. Firstly, you

need the original instrument, which should be in perfect working order. For

acoustic instruments you need a couple of good microphones, a mixer or

other device with high quality microphone preamps, and a room with good

acoustics. You need to be meticulous when recording the different samples,

so that levels are smooth and even across the range etc.

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Propellerhead Reason - 1.0.1 Manual de Operações Página 122

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