TASCAM GigaEditor 4 GigaStudio 4 Instrument Editor User Manual
TASCAM GigaEditor 4 User Manual Copyright © 2008 TEAC America, Inc. All rights reserved. No part of this manual may be reproduced or transmitted in any form or by any means for any purpose other than the licensee’s personal use without the express written permission of TEAC America, Inc. All information in this manual is subject to change without notice and does not represent a commitment on the part of TEAC America, Inc.
Table of Contents Chapter 1: About the GigaStudio 4.0 Instrument Editor..............................................................................................5 What’s New? ...................................................................................................................................................................... 5 Launching the Instrument Editor .................................................................................................................................
Editing in the Region Window ..................................................................................................................................172 Drag Modes....................................................................................................................................................................173 Changing the Vertical Resolution.............................................................................................................................
Chapter 1: About the GigaStudio 4.0 Instrument Editor Th e GigaStudio Instrument Editor is a separate application that works with GigaStudio. Th e Editor allows you to create your own instruments or edit existing Giga instruments. You can run the Editor simultaneously with GigaStudio, but it’s not necessary. Th e Editor itself can load instruments into memory, allowing you to hear your edits by playing an external MIDI controller or by right-clicking the on-screen keyboard. What’s New? Giga Editor 4.
3. Th e wave view has a new mode in which the sample is drawn as if the amplitude envelope has already been applied to it. This mode is toggled by a small button near the zoom and unzoom buttons. 4. Giga 4 supports a unique audition sample for each instrument in a .GIG file (not just a single audition sample for the whole file). Right-click on a sample for options. 5. Right-clicking in the parameter value list (lower right) brings up a new “Copy to all instances” menu option.
If an instrument is already loaded into GigaStudio, you can also launch the Editor from the Loaded Instruments pane. Right-click on the instrument and choose Edit. Th e Editor will open with the selected instrument loaded. Th is can take a few moments if the instrument is particularly large. Opening the Instrument Editor from the Windows Desktop When you’re doing intense instrument construction, you may want to run the Editor alone without GigaStudio. 1.
This will launch the editor and open the selected .gig file. You can open multiple .gig files at once by selecting several of them and hitting the Enter key. Opening a .GIG file from the Instrument Editor With the Instrument Editor open, you can open any .gig file using the standard File-Open command. 1. Go to the File Menu and choose Open… [Alt] + [F] + [O] or [Ctrl] + [O] 2. Use the Open Instrument File dialog to navigate to your .gig file. 3. Select the file and click on the Open button.
This window is very similar to the Open dialog in other programs, but there are a few features that are specific to GigaStudio: Th e Recent dropdown list contains a list of the most recently used folders. Selecting a folder in this list causes the window to jump directly to that folder. The Sample name box lists all of the samples in the currently selected instrument file. Select any sample in this list and click the Play button to hear that sample.
Anatomy of a .GIG File Above is a graphic representation of the components of a GigaStudio File. Getting familiar with these will make it much easier to know what you are doing when editing and creating GigaStudio Instruments. Th e basic elements are: • • • • • • 10 Banks. A bank is a collection of instruments. Instruments. Instruments are the basic performance object in GigaStudio. An instrument is loaded on a MIDI channel, either alone or as part of a multi-instrument “stack”. Regions.
Banks A GigaStudio file can contain up to 128 instruments, each assigned to a bank. By default, all instruments are assigned to bank 0, but banks can be numbered from 0 to 16383. Bank numbers are used when GigaStudio responds to MIDI bank select messages. Banks also help to organize instruments within the Instrument Editor. They give you a folder structure to work with when you have a large number of instruments to deal with inside the same .gig file. Banks are the top level of the Giga heirarchy.
Dimensions Regions are futher subdivided by dimensions. A dimension can have up to 128 splits each triggering a different sample. A dimension tells GigaStudio which sample to trigger based on the position of its assigned MIDI controller. Samples A .gig file also contains a collection of samples, imported initially from individual .wav files. Each dimension split is assigned a unique sample to play back. (We’ll refer to the process of assigning samples to splits as mapping the instrument.
Chapter 2: Creating a Giga Instrument Giga instruments can range from the very simple (an instrument can be made from a single sample) to the extremely complex. In any case, the general procedure for creating an instrument consists of the same basic steps: 1. 2. 3. 4. 5. Create a new, empty file in the Giga Editor. Import the samples your instrument will use. Samples are imported from individual .wav files. Th e editor will bundle the samples into the .gig file with the instrument when you save your work.
Creating a New File To create a new, empty .gig file, choose File-New on the Editor’s main menu. (Th e first button on the main toolbar does the same thing.) An “empty” file will contain a single empty instrument, with no regions or samples: Importing Samples Samples are imported from individual .wav files, in 16 or 24 bit integer, mono or stereo format. As you import samples, they are added to the Sample Window in the lower left portion of the Editor.
By arranging your samples into folders that match your instrument’s splits, you’ll be able to use the Editor’s more powerful mapping features such as folder drag-and-drop, and the Instrument Wizard. Creating sample folders When you create a new .gig file, you will always find a “default” sample folder in the Sample Window. You can rename it if you like. You can start importing samples into this folder or you can create new folders. 1.
The Import samples command 1. To import individual samples into a folder, right-click on the folder and choose Import samples. You can right-click anywhere in the Sample Window, but the samples will be imported to the currently selected folder. 2. This will bring up the file browser: 3. When you select a sample, the sample’s properties are displayed, including its word size and sample rate, length in seconds, and size in kilobytes.
4. Select a sample or a group of samples and click on the Open button to import the samples into the folder. (To select multiple samples, click while holding down the SHIFT or CTRL keys.) 5. Th e samples will now appear in the Sample Window. Within a folder, samples can be sorted either alphabetically or by pitch. Right-click in the Sample Window to select the sort option from the context menu. The asterisk by each sample indicates that these samples have not yet been written into the .gig file.
The Import directory command This command is used to import an entire directory of .wav files at once. Th e samples are imported into a new folder named after the source directory. 1. Right-click in the Sample Window and choose Import directory. This will bring up the folder browser. 2. Select a directory and click OK to import the directory into the Sample Window. Any .wav files in the directory (or .dxl files, which are accelerated Giga samples) will be imported. Other types of files are ignored.
Importing Samples from the Windows Desktop Often the most convenient way to import directories and samples is to drag and drop them directly from the Windows Explorer into the Sample Window. You can drag samples from the Windows Explorer to any folder in the Sample Window: 1. Here we are dragging to the folder named “Import Sample Folder”. 2. Now the samples appear in the folder.
3. You can do this with more samples and put them in any of the folders. In this example, we put some Kick samples in the “Import Sample” folder where the crash samples are. Th en we put some Snare samples in the “Default Sample Group” folder. Importing Sample Folders from the Desktop You can also drag an entire directory, or even multiple directories, from the Windows Explorer into the Sample Window.
2. Drag and drop a folder or several folders from the desktop into the Sample Window. 3. All the folders and their samples are now in the Sample Window. Th is is the fastest way to import a large number of samples at once.
4. Click on the check boxes to open or close the folders to display or hide the samples. Now the samples are imported, organized and ready to be mapped into instruments. Importing Pitch Information If you are building a melodic instrument (as opposed to, say, a drum kit) GigaStudio will need to know the root pitch of each sample you import, so that the sample can be transposed appropriately at playback.
To use this feature, you must visit the Preferences dialog (Edit-Preferences on the main menu) and specify either the note-number or note-name method. You will get the best results when the pitch indication is set off by spaces, and when there are no numbers elsewhere in the sample name. For the note-name method, only sharps (“#”) are recognized, not flats. Creating a Region Th e next step in creating an instrument is to create some regions.
3. This will create a new region, which will also be indicated in the Velocity Window below. 4. In this case, the Velocity Window shows a single solid block of color, and the words “Not mapped” because no sample is yet mapped to the region. (Actually, if a sample is highlighted in the Sample Window, it will be mapped here automatically. Either way, the mapping is easy to change as we’ll see below.) When we create velocity splits later, they’ll appear in this window.
Resizing Regions 1. To resize a region, grab one of the edges with the mouse so that the mouse turns into a left-right arrow. 2. Th en drag the mouse to stretch the region. You can do this with either side of the region. 3. A single region can be stretched up to the full range of the MIDI keyboard. (Regions are not allowed to overlap, so a region this large would be the only region in the instrument.
Selecting and Moving Multiple Regions Note: to select individual regions, be sure the “All regions” selection lock button near the bottom of the Editor window is disengaged. 1. To select several regions, hold down the ALT key and drag the mouse to create a “rubber band” effect. If you start your drag in the gray area outside any region, the ALT key is not necessary. Alternatively, select the first region in the intended range, then click the last region while holding down the SHIFT key. 2.
5. These non-contiguous regions can then be moved around the Region Window. They will maintain their relationship with each other wherever you put them. Again, regions are not allowed to overlap, so the editor will not allow you to drop one region on top of another. Creating a Dimension Once we’ve created some regions, all we need to do to create a playable instrument is map appropriate samples to the regions.
Th e Dimension Controller dialog appears: We’ll explain this dialog in more detail in the next chapter. For now, just click the Add button a few times. This adds new splits to the Velocity dimension. When you click OK, the splits will be visible in the Velocity window. Each split can be mapped to its own sample. Each split also has its own unique articulation – that is, its own set of envelopes, filters, and other performance parameters.
1. Select Edit-Preferences from the main menu. 2. In the Preferences dialog, find the section called Velocity splits for manually created regions. Select the number of velocity splits you want. You can also check the Stereo box to create stereo regions. 3. With the settings above in effect, any region you create manually will be a stereo region with four velocity splits. Th e velocity splits appear as horizontal bands in the Velocity Window.
This maps the sample to the region, but unfortunately it maps to the entire region, including all four of our velocity splits. (You can see this in the Velocity window, where the “ff” sample is named in all four of the splits.) This isn’t exactly what we want.
Now each velocity split is mapped to the correct sample. When mapping unpitched samples such as most drums, use the same technique, but drag the samples with the right mouse button. This will automatically turn off pitch tracking in the region, preventing the sample from being pitch-shifted at playback. Hearing Your Work At this point we’ve created the beginnings of a Giga instrument, but we haven’t yet heard what it sounds like. To hear your work, press the Download button on the .gig file’s toolbar.
2. Th e Editor creates a region for each sample you drop, located on the keyboard according to pitch. If necessary, the regions are stretched so that there are no unmapped keys between regions. If you drop several samples and find that only one region is created, a likely explanation is that the samples do not contain pitch information, and have all defaulted to middle C. Since regions cannot overlap, only one sample can be mapped to any given note.
3. If you drop samples into the Region Window using the right mouse button, you’ll get a slightly different result. In this case the samples are mapped in alphabetical order and pitch tracking is turned off in each region, so that the samples play back at their native pitch. Each region is allocated only a single key.
Th e drop maps the samples across the keyboard according to their pitches.
Next, we’ll map the second velocity layer using the samples in folder “Velocity2”. Instead of dropping this folder in the Region Window (which would just replace the existing mappings), we’ll drop it on the Velocity Window and use the right mouse button. Th is brings up a context menu at the point of the drop: Th e context menu gives several options: Map to existing split (by pitch).
Stack on single region. Unlike all of the other options, this modifies only the single focus region (highlighted orange in the Region Window). Enough splits are created within the region to hold the dropped samples (since a dimension can have at most 128 splits, you can drop at most 128 samples).
More About Sample Mapping Before we close this chapter we’ll mention a few last topics related to mapping samples. Pitch Tracking When you map a sample to a split, the Pitch Tracking parameter for that split will be enabled or disabled, depending on which mouse button you use when dragging the samples to the Velocity Map. (To view the Pitch Tracking parameter, click on the Articulation Window’s header bar and select the Mix/Layer category. Articulation parameters are explained in detail in a later chapter.
2. This will remove any sample that was mapped to this split, indicated by “Not mapped” where the sample name would ordinarily be. Mono and Stereo Samples When you map a sample, the region will automatically change to mono or stereo if necessary to match the properties of the new sample. A region cannot contain a mixture of mono and stereo samples, so any existing mappings will be removed when the switch is made. 1. In this example we have four velocities mapped to four stereo samples. 2.
Chapter 3: Tutorial: Creating a Multi-Dimensional Instrument In the simplest possible Giga instrument, each region would be mapped to a single sample, and you would hear that sample whenever one of the region’s keys is pressed. However, regions are usually divided further into dimensions. Th e example we’ve already seen is a velocity dimension, which causes different samples to sound depending on how hard the player is striking the keys.
Smart MIDI processor. Th is special dimension is used in conjunction with Intelligent MIDI (iMIDI) rules such as the Pattern Alternator, Repetition Mode, and Legato Mode. Logic in the iMIDI rule will determine which split plays at any given time. iMIDI rules are explained in a later chapter. Stereo. Stereo isn’t a dimension in the usual sense, but we mention it here because the left and right sides of a stereo sample each have their own articulations (performance data such as envelopes and filters).
2. Click on the header at the top of the Velocity window. 3. The Dimension Controller dialog for the Velocity dimension appears. In the previous chapter, we used this dialog to create velocity splits. You can also use it to name, clone, or delete existing splits, and to change the order of splits within a dimension (even after samples have been mapped to them). . 4. Click on the Add button to add a second velocity split. The new split will appear at the top. 5.
• • If you click on the bottom split, it highlights and the name “Soft” appears in the Velocity Window header at the top. If you click on the top split, it highlights and the name “Loud” appears in the Velocity header. As you can see, naming these dimensions makes it easier to keep up with what is selected. This will become more important as we add more splits and more dimensions. It’s a worthwhile habit to get into if you plan to do a lot of instrument design.
3. Drag and drop the Bass-Sustain f E2 (this is the piano/soft sample) to the bottom split in the Velocity Map. The samples are now mapped to the low and high velocity splits. In order to hear them, we need to save and load this instrument. 4. Choose Save or Save As in the File menu, and save this .gig file to your hard drive. 5. Click the Download button on the toolbar to load the instrument. 6. Th e Load Indicator Light will turn green when the instrument is loaded and ready to play.
7. Play E2 on your MIDI keyboard to hear the results. Play soft and loud and notice how the sample changes depending on how hard you play. When you cross the halfway point, it switches from the soft to the loud sample. Th is is indicated visually as well in the Velocity Window. Th e blue pointer on the left tracks the incoming MIDI velocity level as you play and rests at the last played velocity level. 8. You can set the velocity split point by dragging up and down with the mouse.
3. When you select the other velocity split, its sample then gets highlighted in yellow with the orange border. 4. If you drag-select both velocity splits, both samples will be highlighted in yellow. The sample mapped to the currently focused split (the split highlighted in orange) will have the orange border around its icon: Now we will enable “MIDI Select” mode. 5. Go to the top right of the Region Window and click on the MIDI Select button to turn this feature on. Th e button will light up.
6. Play the bass note again at various velocities. When you play loud, the top velocity is selected and highlighted as if you clicked on it with the mouse. A lower velocity selects the bottom split the same way. Also, the samples light up in the Sample Window. This allows you to instantly locate any region, dimension, velocity split and sample by playing it via MIDI instead of having to hunt and peck for it. This ensures that you are indeed editing the correct sample.
4. That will create a second split in the Split Names section. Rename the splits to “Sustain” and “Staccato” from top to bottom. Split names are limited to 12 characters. Click OK to exit the Dimension Controller dialog. 5. Now we have two Mod Wheel splits and two Velocity splits. However, the instrument won’t sound any different yet because we haven’t mapped the new staccato samples. 6. To see which samples are mapped to the upper range of the Mod Wheel, click on the upper Mod Wheel split.
7. To make the new Staccato samples sound when the Mod Wheel is pushed up, leave the upper Mod Wheel split selected while dragging the Staccato samples into the appropriate Velocity splits: This gives us a fully two-dimensional region. You can switch between the loud and soft samples by playing harder or more softly on the keyboard, and at the same time, you can switch between the Sustain and Staccato samples by moving the Mod Wheel. 8.
3. Click on the Down button to move the Sustain split below the Staccato split. Click OK to close the dialog. 4. Now the Staccato samples are on the left (Mod Wheel down) and the Sustain samples are on the right (Mod Wheel up). 5. You can do the same thing with the Velocity splits, by starting the Dimension Controller dialog from the Velocity window.
Change to Sustain Pedal 1. Click on the header of the Mod Wheel dimension split to start the Dimension Controller dialog. 2. In the Control Source list, select “(64) Sustain pedal” and click OK. 3. Th e dimension controller is changed to the Sustain Pedal. 4. Now, instead of the Mod Wheel switching between the Sustain and Staccato samples, the Sustain Pedal will change them instead. You will need to re-load the instrument to hear this change.
2. This time, change the controller to “Keyboard” and click OK. 3. Now the dimension has been changed to “Keyboard,” also known as Keyswitch. 4. A Keyswitch dimension works in conjunction with the keyswitch region of the keyboard, which is normally drawn as a gray rectangle. When you create a Keyswitch dimension, the region turns purple to show that it’s now in use. You can drag the keyswitch region to move or resize it, just like a normal region.
5. Alternatively, the Keyswitch range can be set numerically in the Instrument Properties window. Double-click on the instrument to get to this window. 6. You will need to reload the instrument to hear this change. 7. Now, triggering C4 will change to the Sustain samples and triggering C#4 will change to the Staccato samples. Play C4 and then play the instrument note to hear the Sustain samples, then play C#4 and play the instrument note again to hear the staccato.
Examples: • • • Use a MIDI controller to change between filtered and unfiltered playback of the same sample. Change between different envelope settings for amplitude, filter, or pitch. Change between different velocity curves or velocity levels. Load and play the Tutorial Instrument “Bass Note 4-Way Mod.gig” This instrument is a good example of how dimensions can be used to play the same samples with different edit variations.
4. Set the Control source to “Layer”. Type in a Description and name the Split names to Soft and Loud. Click OK. 5. Now we have a Layer dimension split with Soft on the left and Loud on the right. 6. 54 Select the Soft dimension split and drag “Bass-Sustain p E2” to the velocity map.
7. Select the Loud dimension split and drag “Bass-Sustain f E2” to the velocity map. 8. Now select both the Layer splits, since we want to apply the following edit to both. 9. Click the header bar in the Articulation Parameters window and choose “Mix/Layer” from the category menu. 10. Click in the value field for “Attenuation controller” to see a menu of options. Th e default is “None.” Change this to “(1) Mod wheel” because we want the Mod Wheel to continuously control the volume of both layers.
11. Now select the Loud layer dimension only, and change the “Attenuation controller invert” parameter to “Yes”. Th is will reverse the effect of the Mod Wheel on the Loud layer’s volume, creating a simple crossfade between the loud and soft layers. As the Mod Wheel moves from 0 to 127, the soft layer will fade out and the loud layer will fade in. 12. Save the instrument and load it to a MIDI channel. 13. Hold down the Note E2 while moving the Mod-Wheel back and forth.
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Chapter 4: Tutorial: Advanced Drum Kit In this lesson, we will create a full drum kit that will utilize many of the Editor’s advanced features. Since this is a drum kit, all of the mapping will be “drag and drop” using the right mouse button (remember that dragging with the right mouse button disables Pitch Tracking on the samples that you map).
2. Right-click under C2 in the Region Window and choose “New region” from the context menu. Th is will create a new region at C2. 3. Th e new region will have four mono velocity splits ready to be mapped to Kick Drum samples. 4. Drag and drop the Kick Drum samples to the four velocity splits as shown below. Be sure to use the right mouse button to disable pitch tracking. We want all the samples to play at their original pitch. 5.
6. Choose the Save As option. 7. Find a place on your Giga Sounds hard drive to save this instrument. Enter a file name and click Save. 8. Once the instrument is loaded, the LOADED indicator will turn green and you should be able to hear the Kick Drum if you play C2 on the keyboard. 9. Th e note will also light up in blue on the keyboard when you play. 10. 60 Th e blue arrow will move to the velocity levels you play in real time.
11. Drag the velocity split point to adjust the splits until they sound and feel right. Play the Kick drum and use the blue arrow as a guide as you adjust the split points. This example shows a popular velocity split setting that works well on percussive instruments. Many keyboards don’t reach the very low velocity range so it helps to make the lowest velocity a little larger than the rest so you can hear it.
14. Change the Release Time with the mouse or with text entry. You can experiment with different settings in real time as you play the Kick Drum to find a good setting. Around 3 seconds will cover the whole decay of the Kick Drum. Default of 0.300 Sec: Set to 3 Sec: 15. You will notice in the Region Window’s header bar that Envelope 1 Release Time has been selected. Th e parameter you select in the Parameters Window will be automatically selected here as well.
16. Make sure all four velocity splits are still highlighted. Th is filter will span all four splits. (You can however have individual filter settings for each velocity split if you want.) Also notice that the Release Time (3.000 sec) is indicated here as well. 17. Go back to the Parameters Window and change to the Filter category. 18. Set the Filter Type parameter to Lowpass. 19. Now play the Kick Drum and notice how the tone gets darker or brighter depending on how hard you play.
20. Right-click on the Kick Drum region and choose Copy region from the context menu. 21. Now, right-click in the empty space under the note D2. This will bring up the context menu again. Choose Paste region(s) here. 22. Now we have two identical regions of the Kick Drum on C2 and D2. The new region is an exact copy of the original one, including the sample mappings as well as the parameter edits that we made above. Snare Drum Th e next part of the drum kit to map out is the Snare Drum.
1. Create two new regions at E2 and F2. These will be the Left and Right snare samples. Notice how these new regions are solid while the Kick Drum regions have diagonal hash marks on them. This differentiation indicates that these regions have differently structured dimensions. In this case the difference is that the Kick regions are mono while the Snare regions are stereo. If you select the Kick drum regions, those will turn solid and these Snare regions will get the hash marks. 2.
5. Adjust the velocity split points and the Release Time of both Snare Drum regions just like with the Kick Drum. You can also apply the Lowpass Filter at this point. Now we want to add the Snare Off samples in a useful way. • In this case, we will create a Mod Wheel controlled dimension that will switch the snares on and off so to speak, like a snare drum switch.
8. Th e result is a labeled dimension switch. 9. Select the Left Snare region and then select the “Snares Off” dimension. 10. Map the four “Snares Off” samples to the velocity map. Repeat this with the Right snare region so that both regions have “Snares Off” samples. 11. Click on the Download button to hear the latest results. 12. Play the Snare samples while moving the Mod Wheel back and forth.
Mod Wheel Back: snares ON Mod Wheel Forward: snares OFF A note about dissimilar regions As a side note, look at the Region Window and notice that the Kick regions are now drawn with diagonal hatching when a Snare region is selected, and vice versa. Th e hatching indicates regions whose structure is different from the current focus region (in this case, the difference is that the Snare regions have a Mod Wheel dimension, while the Kick regions do not).
1. Create three new regions, one for each Tom. Put them on notes G2, A2, and B2. Th e regions should automatically have four velocity splits as before with the snares, based on the Preferences setting. Select all three of the new regions so that the following edits will apply to all of them. 2. Using the same techniques as with the Kick and the Snare, adjust the velocity split points and the Release Time, and add a Lowpass filter.
5. Now the Toms have a labeled dimension switch. 6. Select the G2 region. This will be the Floor Tom. 7. Select the “Snares On” dimension. 8. 70 Map the “Tom-Floor Snares On” samples using the right mouse button.
9. Select the “Snares Off” dimension. 10. Now map out the “Tom-Floor” Samples using the right mouse button. Th ese samples do not have any snare buzz in them. 11. Repeat these steps for the Middle and High Toms. Mid Tom: • • • • • Select the A2 Region. Select the Snares On dimension Map the “Tom-Mid Snares On” samples. Select the Snares Off dimension. Map the “Tom-Mid” samples. High Tom: • • • • • Select the B2 Region. Select the Snares On dimension Map the “Tom-High Snares On” samples.
• • Th ey all have four velocity splits. We will enable “Self Masking” to save polyphony for the long sustain times. 1. Create 4 new regions on C3, D3, E3, and F3. This should create four regions with four Velocity Splits. Select all four of the regions. 2. Give the velocity split points a rough adjustment as in the past examples. Set a Release Time of 5 seconds. 3. Select the C3 region in the Region Window. Map the “Ride Tip” samples using the right mouse button.
4. Select the D3 region in the Region Window. Map the “Ride Bell” samples using the right mouse button. 5. Select the E3 region in the Region Window. Map the “Crash” samples using the right mouse button. 6. Select the F3 region in the Region Window. Map the “Splash” samples using the right mouse button. 7. Click on the Download button to save the changes and hear the results. Play the cymbals and tweak the velocity split points and release times if needed.
Th e final thing we will do to the cymbals is enable the “Self Masking” articulation parameter to save polyphony. With Self Masking enabled, playing louder velocities will shut off any sustaining softer velocities on the same region that are still decaying. For example, these cymbals have several seconds of decay. If you play a soft note, the sample will play to the end of the decay no matter what. You could trigger a louder note while the soft sample is still decaying and drown out the soft sample.
11. In the Parameters Window, bring up the Mix/Layer section. 12. Set the Self-Masking parameter to Yes. 13. Now trigger one of the cymbals as before and notice the difference in polyphony. Hi-Hats Last but not least, we have the Hi-Hats. • • • • • 4 stereo velocities of Tip Closed 4 stereo velocities of Tip Open 4 stereo velocities of Edge Closed 4 stereo velocities of Edge Open 4 stereo velocities of Foot Closed We are going to get fancy with the Hi-Hat.
1. Create three more regions at G3, A3, and B3. Select the leftmost two regions G3 and A3. Th ese regions will be the Tip and Edge hits and they will have a Sustain Pedal dimension split that will switch between open and closed samples. 2. Click on a Dimension header bar. 3. Do the same thing we did with the snares: • • • • Set the Control source to Sustain Pedal. Enter “Hi-Hat Open Close” in the Description field. Rename the Splits to “Hi-Hat Open” and “Hi-Hat Close”. Click OK when you are done. 4.
5. Select the “Hi-Hat Open” Dimension Split. 6. Map the “Hi-Hat Tip Open” samples using the right mouse button. 7. Select the “Hi-Hat Close” Dimension Split. 8. Map the “Hi-Hat Tip Closed” samples using the right mouse button.
9. Select the A3 region. This region will have the Hi-Hat Edge samples. 10. Select the “Hi-Hat Open” Dimension Split. 11. Map the “Hi-Hat Edge Open” samples using the right mouse button. 12. Select the “Hi-Hat Close” Dimension Split.
13. Map the “Hi-Hat Edge Close” samples using the right mouse button. Th e last thing to map out is the Foot Closed Hi-Hat region. 14. Select the B3 Region. This will be the Foot Closed Hi-Hat. 15. Map the “Hi-Hat Foot” samples using the right mouse button. 16. Click on the Download button to save the changes and hear the results. 17. Play the Tip and Edge Hi-Hat regions while triggering the Sustain Pedal.
Pressing down on the pedal will change to the Closed Hi-Hat samples, just like the pedal of a real Hi-Hat. Releasing the pedal will change to the Open Hi-Hat samples, just like the pedal of a real Hi-Hat would do. However, there is one more thing to add to be even more realistic. When you stomp on a real Hi-Hat pedal, it closes the Hi-Hat cymbals (Foot Closed Samples). Right now, we can play the Foot Closed Hi-Hat on the keyboard but we also want the Sustain Pedal to trigger one of those samples as well.
20. That will bring up the configuration dialog for the Controller Triggered rule. • • • • Set the Controller to “64 Sustain Pedal”. This tells the GigaStudio to use the Sustain Pedal to trigger a MIDI event. Set Note to Trigger to B3. This tells GigaStudio to trigger the Foot Closed Hi-Hat region, which is mapped to B3. Check the Switch controller logic enabled check box, and enter 64 for velocity. This tells GigaStudio to trigger the Foot Closed sample with a velocity of 64.
23. Choose Properties from the context menu. 24. Set the Key group to 1, and click OK. Make sure the instrument is saved and loaded so you can play it. 25. Now, the Hi-Hat regions will cut each other off. The Sustain Pedal will cut off any open sustaining samples while it triggers the Foot Closed sample. Th is is very similar to the way the real Hi-Hat operates.
Chapter 5: The Instrument Wizard Up to this point, everything has been done manually with the drag-and-drop method. To better understand the Instrument Wizard, you need to be familiar with the manual method of mapping samples and creating dimensions. Also, certain instruments like Drum Kits will still need to be created with the drag-and-drop method since each region will usually be different from the other and the Instrument Wizard won’t work very well for these.
Organizing by Folders Th e Instrument Wizard can also map out complex dimension and velocity splits but to do this, the various splits need to be organized into separate folders. For example, if we have a piano that is 4 velocities with sustain pedal up and down samples, the folder structure would look like this.
Click the Next button to proceed to the next step. 4. Select the checkbox “Create Regions every” and set it to 1 half step. This will create chromatic regions, one for every note on the keyboard. The other option would stretch non-chromatic regions. 5. Set the start note to A0. Set the end note to C8. This sets the range to cover an 88-note keyboard.
6. Leave these check boxes blank and click the Next button to move to the next step. • “Ignore unity notes” is for non-melodic samples like percussion and sound effects. Checking this box will let the Instrument Wizard map the samples alphabetically across the keyboard. • “Finish with this step” would simply create a series of blank regions across the keyboard. 7. Go to the top Controller Source and choose “Velocity”. This will be our velocity split dimension. 8. Set the Splits number to 4.
This is the final step of the Instrument Wizard. As you can see, the Velocity split state names are in the section on the right. Without the names, they would just be MIDI number ranges, which are much harder to read, especially when we start dealing with more dimensions. Also notice that the folders of samples are represented in the left section. Mapping the samples out is simply a matter of assigning these folders to the splits in the right section. 11.
13. Each region has the four velocity splits that were represented by the four folders of samples. Each sample is mapped by its pitch to the appropriate region on the keyboard. If we don’t have a sample for every half step, samples will be pitch stretched up and down so that every note of the requested keyboard range is covered. (When a “missing” sample is equally distant from both of its neighbors, the higher sample will be stretched down to cover that note.
With the region-per-sample layout, we are limited to one envelope per group of keys: With the chromatic region layout we get one envelope per half step. All of the keys in each region are mapped to the same samples, but we can adjust parameters independently for each note. This is something to keep in mind as you create instrument. If you don’t need the editing resolution, the non-chromatic mapping makes it easier to see where the samples are mapped.
2. Start the Instrument Wizard and go to Step 2. 3. This time select the “Make a region per sample” option. Th is will allow us to see how the samples are mapped and stretched out. 4. Set the Start and End notes to C1 and B2. Th ere are only a few samples included with the bass ensemble tutorial samples so this is a good range that will also stretch the top and bottom notes a bit. Press Next to move on to Step 3 of the Instrument Wizard. 5.
Move on to Step 4 of the Instrument Wizard. Here is where the naming comes in real handy. This would just be a matrix of numbers otherwise. 9. Map the folders on the left to the splits on the right. Match the folder names to the split names. 10. The Instrument Wizard maps the regions across the keyboard.
11. Th e Dimension Control window shows the Keyswitch splits and the descriptive names that were entered in the Instrument Wizard. 12. Th e Dimension display also shows the descriptive names of the dimension and the individual splits. Th e instrument is now mapped. Save it and load it to a MIDI channel to hear what it sounds like and start tweaking it. Complex Mapping Example Here is a brief example of a more complex mapping in the Instrument Wizard.
Here is the final Step showing all the articulations and names. Here is what you would see if you don’t enter descriptions and state names. It would be virtually impossible to figure out what goes where in this matrix of numbers. Here are the dimensions of the finished instrument: This will allow a 4-way Keyswitch between Sustain, 8th Note, Quarter Note, and Pizz articulations.
Th e Layer dimension could use the Mod Wheel to gradually fade in the Tremolo layer. Th e Sustain Pedal would switch to Staccato samples. This is just quick hint of the complexity and creativity available when using the Instrument Wizard. Load Status Th e load status of an instrument is very important when you are editing. When the instrument is loaded into the sampler, the LOADED light is green.
Load Indicator Lights Not loaded. Th e .gig file is not loaded. You need to click the Download button to load it to the selected MIDI channel. Loaded. The .gig file is loaded. Th e instrument you hear matches the settings you have made in the Editor. Save and reload required. The .gig file is loaded, but you have made edits that require the file be saved to disk and reloaded before they can be heard. Th e instrument you hear may no longer match the settings you have made in the Editor.
2. In the GigaStudio Browser screen, look in the lower left for the check box labeled “Keep all waves in extension files for fast editing of instrument definitions” 3. Check that box and then Save the file. 4. This will create two files, a .GIG file (which contains the parameters) and an Extension file (which contains the samples). 5. From here on out, you can make major changes to the file in the Instrument Editor and you will no longer have to wait for the complete .GIG file to save every time.
Chapter 6: Main Menu Commands In this chapter we’ll document the Editor’s main menu, one item at a time. File Menu New: [Alt] + [F] + [N] or [Ctrl] + [N] Creates a new and empty .gig file. Open…[Alt] + [F] + [O] or [Ctrl] + [O] Opens an existing .gig file.
When a .gig file is selected in the large browser window at left, a list of the samples in that file appears in the smaller box to the right. To hear any sample in the list, select it and press the Play button. The Audition button plays the audition sample for the currently selected .gig file. If you are browsing large files, retrieving the names of every sample can slow down the browser window unacceptably. If this happens, uncheck the Descriptive wave names box.
A note about large .gig files Physically, Giga instrument files are limited to 2 GB in size, but Giga instruments can be much larger than this because they can span multiple files. You don’t need to be concerned with the 2 GB limit when working in the Editor, because when you save your work the Editor will automatically divide it into multiple files as necessary. When Giga spans files in this way, the first file will have the usual .gig extension, while subsequent files are given the extensions .gx01, .
Rearrange wave pool for best fit. When this box is checked, the Editor will try to match the maximum file size as closely as possible. Th at is, if the maximum size is 2 GB, the Editor will try to find just the right combination of samples to make each file as large as possible without exceeding the 2 GB limit. You may wish to turn this option on when rendering a final version of your instrument for distribution, because it results in the smallest possible number of output files.
Articulation files provide a compact means of storing variations on a set of instruments, without the need to save multiple copies of the same samples. They also offer a means of long-distance collaboration, and a way for sound developers to distribute updates to customers. Save Articulation…[Alt] + [F] + [T] Exports a Giga Articulation file from the currently open .gig file. An articulation file contains the same instrument definitions as a .gig file, but no samples.
• You can toggle back and forth between Undo and Redo using the mouse or Ctrl+Z. Cut: [Ctrl] + [X] or [Alt] + [E] + [C] Deletes the selected item but leaves a copy on the clipboard so that it can be pasted later to another location. Copy: [Ctrl] + [V] or [Alt] + [E] + [C] + [C] Makes a copy of the selected item and places it on the clipboard so that it can be pasted later to another location. • When you copy an instrument or region, any samples mapped to the instrument or region are also copied.
• Select a folder in the Sample Window where you want the imported samples to go and then choose Import samples. • Use the browsing window that comes up to navigate to the .wav files you want to import. • Select the waves and click on the Open button. They will show up in the folder you selected in the wave pool. You can also right-click on a folder in the Sample Window and choose to import samples or directories from there as well.
Th e options here are: Convert wave pool format to: Selects the target format for the conversion. 24-bit, integer. Uncompressed 24 bit samples. Th is format will of course get less polyphony than 16 bit samples. 24-bit, min. accelerated (preserve 24 bits). Disk acceleration compression with no loss of quality. This improves the polyphony and reduces the file size significantly. Th e polyphony is similar to uncompressed 16 bit samples with no loss of quality. 24-bit, nom. accelerated (preserve 20+ bits).
Convert stereo to mono Converts all stereo samples to mono, in addition to any format conversion specified. You can opt to derive the mono sample from the left, right, or combined channels of the stereo source. Any stereo regions in the file will be reconfigured as mono regions to match the converted samples. After setting the options, press Convert to begin the conversion. Th e result of the process for each sample is listed in the output window. Some samples may fail the conversion process.
Th e MIDI controller you specify is assigned to the combining dimension. Th at is, if you select mod wheel under “Using this controller...”, then the mod wheel will select which of the original instruments is playing at any given time in the new, combined instrument. (If the original instruments already contained mod wheel dimensions, then all of the original mod wheel splits will be stacked together in the combined mod wheel dimension.
Th ere are two modes of operation, corresponding to the two main ways of using Giga crossfades: Layers within a single instrument. Th is mode is used to apply crossfades to a single instrument which contains a layer dimension. Normally in a layer dimension, all of the splits sound simultaneously, but when crossfade points are defined, you can use a midi controller to crossfade between layers. Set the “Number of layers” box to match the number of splits in your instrument’s layer dimension.
Most of the first tab is self explanatory and obvious. You just fill in any of the fields you see with text. Th ere is even a Comments section to add even more detailed information about the instrument. An important section to point out is the Keywords section. This is where you can enter keywords that the QuickSound Database will recognize when doing complex searches for GigaStudio instruments. Th e search criteria can also be edited from the QuickSound Explorer and you can do batch keyword entry as well.
Temp directory. Th e directory where the Editor will save temporary files. For example, if you make extensive edits to a .gig file and then issue the Save command, the file is first assembled in the temp directory and only then moved to its final location. Samples exported for editing are also written to this directory. If you leave this field blank, the Editor will use the default Windows temp folder. Audio editor. To make changes to the audio of the samples, you need to use an external audio editor.
Wave drop. Th e single option in this category controls what happens when you drop two or more samples at once into a dimension window with the right mouse button, and then choose Stack on single region as the mapping option from the popup menu. As an example, if you right-drop a folder with ten samples into the velocity window and choose this method, the velocity dimension will be set to ten splits, mapped to the ten samples you dropped.
will add that file's directory to the Editor's recent list, and vice versa. When the box is unchecked, the two applications maintain independent lists. Disable dragging samples to other applications. By default, you can drag samples out of the editor and drop them on the Windows desktop or Explorer, or into another application that accepts .wav files. However, this capability requires some overhead that can slow down drag/drop operations within the Editor itself, particularly for very large samples.
This command displays or hides the Toolbar. Th e first three toolbar buttons are shortcuts for the New, Open, and Save commands on the File menu. Th e remaining buttons are for launching the QuickSound Explorer, and for showing the Channel Status and About windows. Status Bar: [Alt] + [V] + [S] This command displays or hides the Status Bar.
Tall Velocity Window: [Alt] + [V] + [V] Checking this menu option causes the velocity window to expand to fill the entire height of the Editor window. It’s useful when you have a large number of velocity splits. Window Menu This is the same as the Window menu seen in many Windows applications, with options for automatically arranging the window layout and for bringing a particular window to the foreground when you have multiple .gig files open.
Chapter 7: Editor Windows and Context Menu Commands This chapter presents a window-by-window tour of the Editor. Many of the Editor’s features are available by right-clicking in the various windows to bring up a context menu. Th e context menus are described in detail as we visit each window. The Bank/Instrument Window This is where you manage your Instruments and Instrument Banks. This example shows two banks containing a total of three instruments. A .gig file can contain up to 128 instruments.
Banks Creating a New Bank 1. Double-click on an instrument to bring up the Instrument Properties. You can change the Bank and Patch number here among other things. In this example, we will change this instrument to Bank 3. Th is will create a new Bank and move the instrument into it. This is how you create new Banks. 2. Now the instrument is in Bank 3. Th e new bank is created automatically.
1. To Delete a Bank, select the Bank you wish to delete with the mouse. Keep in mind that when you delete a Bank, you also delete any Instruments within it. (The samples are not deleted however.) 2. Go to the Edit menu and click Delete bank. 3. Or right-click on the Instrument Bank to bring up the Bank context menu and choose Delete bank. You can also press the Delete key on your computer keyboard. Cut or Copy Bank 1. Select the Bank you want to Copy or Cut with the mouse. 2.
Paste Bank 1. Go to the Edit menu and choose Paste bank. You can also use [Ctrl] + [V] on the computer keyboard. 2. Or right-click on the Bank to bring up the Bank context menu and choose Paste bank. 3. If the bank already exists in the file you are pasting into, you will get a prompt asking you to pick an unused bank number. Th e bank is now copied into its new location with all of its instruments and their samples.
• • Th e instruments can all be inside a single bank or organized across several banks. Instruments respond to standard MIDI Patch (or Program) Changes in real time. Creating a New Instrument To create a new instrument, click the “New instrument” toolbar button instrument window and select New instrument from the popup menu. or right-click in the Cut/Copy Instruments 1. Select the Instrument you want to cut or copy with the mouse. 2. Select the Cut or Copy command from the Edit menu.
2. Select Paste instrument from the Edit menu or use [Ctrl] + [V] on the computer keyboard. 3. Or right-click on the bank and select Paste instrument. 4. Now the instrument is copied to the bank. If the copied instrument’s bank and patch number are already occupied, you’ll be prompted for an alternate location. If you copy an instrument from one file and paste it into a different file, the samples associated with that instrument are merged into the second file’s wave pool.
Instrument Properties Th ere are two ways to open the Instrument Properties dialog. • • Double-click on an instrument. Right-click on an instrument and choose Properties from the Instrument context menu. Name. Th e instrument name, with a maximum length of 63 characters. Bank and Patch Numbers. Th is is where you assign the Bank and Patch (or Program Change) numbers.
Tuning Adjust (cents). You can adjust the global tuning of the entire instrument in cents over a range of 7 octaves up or down. Values between –50 and 50 are more likely to be used. This is handy for tuning instruments from different libraries to match each other. Enter a value from – 8400 to 8400. • • • • • A quarter tone is 50 cents. A half step is 100 cents. A whole step is 200 cents. An octave is 1200 cents. 8400 cents is 7 octaves. Pitch Bend (semitones). Sets the pitch bend range.
The Sample Window Th e Sample Window is the area of the Instrument Editor interface where the instrument samples are imported and organized. Within a .gig file, samples are a shared resource: a sample can be mapped to more than one region and to more than one instrument. Samples are organized into folders. Th ere will be at least one folder in the Sample Window at all times. By default, a single folder named “Default Sample Group” is created within a new .gig file.
A tiny letter “A” indicates that this is the Audition Sample for the currently selected instrument. A blue-green wave icon indicates that this sample has been compressed with GigaStudio Disk Acceleration. A red asterisk indicates a sample that is either freshly imported, or recently edited using an external audio editor. Samples in this state may not play correctly until the .gig file has been saved and reloaded. Sample Window Menu Commands Right-clicking in the Sample Window brings up a context menu.
Properties (sample only) Brings up the Sample Properties window shown below. Whenever you map a sample to a region, the unity note, fine tuning, and loop points defined here will be copied into that region’s articulation. If you want these values applied to regions to which this sample is already mapped, check the corresponding boxes under “Update all derived cases” – otherwise, those regions will continue to sound with their previously assigned values.
Import directory • • • This command lets you import an entire folder of samples. Use this window to find sample folders. Only one folder at a time can be imported this way. Alternatively, you can simply drag and drop a folder from the Windows desktop into the Sample Window. This method allows you to import multiple folders at once. Replace sample (sample only) Replaces the selected sample with a new sample from a .wav file. The Sample Open dialog appears so that you can locate the replacement file.
• • • • This is a good option if you have made audio changes to your samples outside GigaStudio after having mapped out the instrument. Instead of having to rebuild the whole instrument, you can batch replace the samples from here. A common use for this feature is to replace the original samples with noise reduced versions or to replace 16 bit samples with 24 bit versions.
For each instrument in a .gig file, there is a designated “audition sample” in the wave pool. Th is can be a quick demo or even an audio tutorial specific to the instrument. From the QuickSound Explorer, audition samples can be played as a preview before loading an entire instrument. Two versions of this command are available: one sets the audition sample for the current instrument. Th e second version of the command makes the selected sample the audition sample for every instrument in the .gig file.
Move sample(s) to folder (sample only) Moves the selected sample to a different folder. Samples may also be dragged and dropped between folders. New sample folder Creates a new, empty sample folder. Wave pool statistics Clicking on this will bring up the Wave Pool Statistics window. Th is window allows you to get an overview of all the samples in the .gig file. Convert Wave Pool Format • This tool is used to convert the bit rate and apply Disk Acceleration compression to all the samples in the .gig file.
Select this menu option to turn the “jump” feature on or off. When the feature is on, the menu option will display a check mark. When Jump to selected region is checked and you select a new region or split, the sample window automatically scrolls so that the sample mapped to the current region/split is in view. When you change the region selection (in the keyboard window) or the split selection (in any of the dimension windows), the sample view is always updated.
The Region Window Th e Region Window shows the locations of regions on the keyboard, and allows you to add, move, and delete regions. Region Zoom Buttons Use these buttons to zoom the region window view horizontally. Note that the Region Window has no horizontal scroll bar. When the display is zoomed in too far to see the entire keyboard at once, you can shift the view left or right by dragging the mouse in the keyboard area of the window.
Keyswitch Region This gray region represents the area of the keyboard reserved for use by the Keyswitch dimension. It should be placed where it will not overlap the instrument’s performance range. Th e Keyswitch region can be moved or resized like any other region. When a Keyswitch dimension is actually present in the currently selected instrument, the Keyswitch region is drawn in purple to show that it is active.
Selecting Regions To select a single region, simply click that region with the left mouse button. Th e first region you select turns orange: To select a range of contiguous regions, select the region at one end of the range, and then hold down the SHIFT key while clicking the region at the other end of the range.
By stretching a single chromatic note region both right (upward in pitch) and left (downward in pitch) in range it is possible to cover several octaves with a single region. A region can be moved to a different area of the keyboard by clicking in the middle area of the region and dragging left or right. You may also move several regions at once, by selecting the regions you want to move and then dragging any one of the selected regions.
Properties Click on “Properties” in the region menu to bring up the Region Properties window. You may also doubleclick on a region to bring this window up. Th e note range is for information and is not adjustable here (drag the region or its boundaries to change the region’s range). Th e Key Group is an advanced Hi-Hat mode feature: regions assigned to the same key group (other than group 0) cut each other off.
When regions are pasted, the accompanying samples may also be pasted, but only if they are not already present in the target file. Paste region(s) here This is similar to the regular Paste command, but the Editor will attempt to place the regions at the location nearest the mouse position (rather than the location from which the regions were originally copied). Delete region(s) Deletes the currently selected regions. This command does not delete any samples mapped to the selected regions.
The Waveform Window This window displays the audio waveform and several of the editing parameters. Th e parameters are accurately aligned on top of the waveform and they can be edited here using the mouse. If changes are made to these parameters elsewhere, the changes will instantly update here and vice versa. This helps you keep a visual overview of the editing process. It allows you to edit three different ways and see the results from three angles in real-time.
Th e envelope display is color coded: • • • Th e amplitude envelope is drawn in yellow. Th e filter envelope is drawn in violet. Th e pitch envelope is drawn in blue. LFO View When an LFO parameter is selected in the Parameter Window, the corresponding LFO waveform is drawn in the Waveform Window. You can edit the LFO rate by dragging the breakpoint. Th e LFO display is color coded: • • • Th e amplitude LFO is drawn in yellow. Th e filter LFO is drawn in violet. Th e pitch LFO is drawn in blue.
Loop and Start Offset markers Th ese markers indicate the loop points and start offset for the sample. Th ey can be moved with the mouse by grabbing the triangular handles. • • • Sample Start Offset: blue marker Loop Start: green marker Loop End: red marker The Dimension Windows Th e Dimension Windows are where you set up all the various types of dimension splits. The largest of the windows, at left, is dedicated to velocity.
The Velocity Window While a velocity dimension is not fundamentally different from any other dimension, the Velocity Window acts as a focal point for the dimension display and has a number of special features: • • • • • • Samples are mapped here and sample names are displayed here. Th e stereo/mono status is set and displayed here. Th e number of Velocity Splits is set and displayed here. Various parameters settings and visuals are displayed here.
Assigning a Mono sample to the Velocity Map will automatically put it in Mono mode. Assigning a Stereo sample to the Velocity Map will automatically put it in Stereo mode. You can also manually change the Stereo or Mono status by right-clicking on the Velocity Map and choosing Force to mono or Force to stereo in the context menu.
Velocity Split Points Velocity Split points are displayed by horizontal divider lines. These are adjustable by dragging them with the mouse. Velocity Splits are created and named in the Dimension Controller window. Th e Velocity Split order can also be changed here as well. To display the Dimension Controller window, click on the header bar at the top of the Velocity Window: Assigning Samples Samples can be assigned (mapped) by dragging them from the Sample Window to a Velocity Split in the Velocity Map.
While it’s common to map a single sample to a single region in this way, much more powerful mapping operations can be performed by dropping multiple samples or entire folders. The possibilities are listed on the next page: Action Drop a single sample onto a velocity split with the left mouse button. Result Th e sample is mapped to the velocity split. Note that the selection in any other dimension window is taken into account.
The Dimension Controller dialog Click on the header bar at the top of the Velocity window to open the Dimension Controller dialog. Th is is where you define the properties of a dimension. Control source. Specifies the controller that will determine which split in this dimension is sounding at any given moment. (Remember that the large dimension window is dedicated to velocity, so if you change this from Velocity to some other controller, the dimension will move to one of the smaller dimension windows.
The Velocity Context Menu Right click in the Velocity dimension window to bring up the context menu. Copy articulation Copies all of the articulation parameters of the selected split to the clipboard, so that you can paste them into another region or split. Paste articulation Pastes a previously copied articulation into the selected split.
Force to mono (stereo) Forces the region to be either mono or stereo. Since mono and stereo samples cannot be mixed within a region, if any incompatible samples are currently mapped to the region, they will be unmapped. Delete split Deletes the selected split. Tall velocity window Toggles the velocity window between its normal position and a special “tall” configuration that is useful with large numbers of velocity splits.
Dimension Controllers Every dimension has a control source which helps determine which sample will play back at any given moment. Th e available control sources are: Velocity. This is the traditional “velocity switch”, typically using the velocity with which the key is struck to select among samples recorded at various dynamic levels. MIDI continuous controllers. When a traditional MIDI controller is assigned to a dimension, the value of that controller at note-on determines which split will sound.
Keyboard. Keyboard (also called keyswitch) control allows changing from one split to another by striking otherwise unused notes on the MIDI keyboard. Th is is often used for orchestral instruments that have a large number of articulations, when it would be difficult to switch accurately using a wheel or pedal type controller. Th e area of the keyboard used for switching is defined in the Instrument Properties dialog. Round Robin, Random.
The Dimension Context Menu Right-click on an active dimension window to bring up the context menu. Copy articulation Copies all of the articulation parameters of the selected split to the clipboard, so that you can paste them into another region or split. Paste articulation Pastes a previously copied articulation into the selected split.
Now back to the selection lock buttons. If you know you'll be making broad edits to your instrument, rather than zeroing in on individual splits, the lock buttons can provide a safety net that relieves you of the need to pay constant attention to the selection state. When the All Regions lock is turned on (sticking with our piano example), your edits will always be applied to all 88 keys. When the All Splits lock is on, edits will always be applied to every velocity and pedal state.
Chapter 8: Articulation Parameters Reference In the sections that follow, we'll describe the articulation parameters one category at a time. Amplitude and Filter Envelope Settings Envelope 1 (amplitude) affects the Volume of playback over time. Envelope 2 (filter) affects the Filter over time.
An envelope, in its simplest terms, is a representation of a sound’s dynamic properties as they change over time. All acoustic sounds have their associated envelopes. The three primary aspects of any given sound that can be quantified in terms that can be manipulated by way of an envelope are amplitude (volume), frequency (pitch), and harmonic content (timbre or filter).
Decay 2 Time (sec) Th e Decay 2 Time is measured in seconds (0.000-60.000) or is set to “Infinite” which overrides the time setting. This parameter determines how long the Sustain section of the envelope will last. A Decay 2 Time will cause the sample level to sustain for that amount of time and then go into the release, even without letting go of the note. Checking the “Infinite” check box will cause the sample level to sustain indefinitely until you release the note.
• • • • Off. No response to the MIDI control source. Low. Very light response to the MIDI control source. Medium. Medium response to the MIDI control source. High. More drastic response to the MIDI control source. This allows the MIDI controller to affect only one, two or all three parameters at once and with varying intensities for each. Th e effect will depend on the actual envelope settings.
Th e Frequency may have any value between 0.1 and 10 Hz and sets the rate at which the LFO oscillates. Internal depth Use the internal depth to apply a fixed LFO depth. • • • Amp LFO +/- 1200 Volume Oscillation Filter LFO +/- 1200 Filter Resonance Pitch LFO +/- 1200 Pitch in Cents Control depth An external continuous controller, such as the Mod Wheel can also be used to apply the LFO settings.
When “Internal” is selected, the LFO depth is fixed at the value specified by the “Internal depth” parameter (above). When Mod Wheel or the alternate controller is selected, the LFO depth varies according to MIDI control between zero and the value specified by the “External depth” parameter (above). When one of the combined options is selected, the LFO depth is the sum of the internal and the modulated external depths. Flip phase Inverts the polarity of the amplitude or filter LFOs.
Filter Settings Filters shape the timbre of a sound by altering (filtering) the amplitude of specific frequency ranges. This can be used to make an instrument’s character warm, dull, bright, or thin depending on the type of filter and its settings. Filters can be used creatively by assigning real-time continuous controllers to various aspects of their envelopes, cutoff frequencies, and resonance thereby allowing for creation of more synthetic textures with electronic characteristics.
Cutoff frequency This sets the maximum filter cutoff frequency. Th e range is 0-127. This parameter is only available if the Cutoff Controller is set to “None”. Cutoff controller Instead of setting a fixed cutoff frequency, this parameter allows you to assign a MIDI controller to the Cutoff Frequency for real-time continuous control. This overrides the Cutoff Frequency setting, which will be disabled once you assign a MIDI controller here.
Resonance Resonance (“Q”) creates a peak in amplitude at the specific cutoff frequency, and is used to generate classic analog synth textures. Th e maximum resonance is set close to the point of self-oscillation, and will resonate according to the frequency content of the waveform that is being filtered. Range is 0-127.
Th e range is 0-127, with a default value of 60 (middle C). Velocity scale This value is used to scale the currently selected velocity curve in order to specify a much larger number of filter velocity responses. For example, if you want the filter to scale from a low cutoff to fully open within the lowest velocity range, the filter response can be scaled to open more quickly by entering values above 20 (up to 127).
Velocity curve set to “Linear”: Velocity curve set to “Non-linear”: 160 TASCAM GigaEditor 4 Manual
Velocity curve set to “Special”: Response Settings In the Filter section above we described the Filter velocity response curves, which define how the filter responds to changes in MIDI velocity. Th e next section is concerned not with the filter, but with the way simple volume responds to keyboard velocity. Use these parameters to adjust the instrument to suit your playing style and the “feel” of your MIDI keyboard. Velocity split point Th e maximum velocity for which this split will sound.
The velocity split point is also visible in the velocity dimension window. Modifying the velocity ranges is one way to adjust the feel of the instrument. Velocity response curve Together with the Velocity curve range, defines the amplitude velocity response. The curves are the same as those shown in the previous section for the filter resposne. Velocity dynamic range Together with the Velocity response curve, defines the amplitude velocity response.
Release curve range Works in conjunction with the Release response curve, above. Refer to the previous section for diagrams of the response curves. Release trigger decay This parameter determines the rate of attenuation for the amplitude of an existing release- triggered sample. When you are using a Release Trigger dimension, you can control the volume of its playback depending on how long you hold the note.
Attenuation is measured in decibels (dB). This parameter is always a positive number, with higher values indicating decreasing output levels. This field is unavailable when the Attenuation controller is selected. You can use an external controller alongside an attenuation setting but the attenuation needs to be set first before selecting an attenuation controller. If the attenuation controller is already selected, it needs to be reset temporarily to “none” to access the attenuation setting for adjustment.
This setting enables or disables the Pitch Tracking of samples across the keyboard. It is typically disabled for non-pitched samples such as drums, percussion, loop, and sound effects and enabled for melodic instruments. Pitch tracking will transpose the sample based on its unity note setting. M/S decode GigaStudio can decode Mid/Side encoded recordings using this checkbox.
Because editing individual crossfade points is tedious and must usually be coordinated with the crossfades in adjacent layers, a graphical Crossfade Editor is provided. You can launch the Crossfade Editor (pictured below) by clicking the “...” button that appears in the parameter value box when any of the crossfade parameters is highlighted. Channel offset This setting determines which DSP mixer channel the sample will be routed to when the instrument is loaded in GigaStudio.
Sample Settings This section allows you to override the unity note and fine tuning of individual samples. Th ere are some special considerations to be aware of when editing this part of the articulation: • When you change a value in this section, only the single split which has the editing focus is modified.
Dynamic Expression Filter (DEF) Th e Dynamic Expression Filter (DEF) provides a phase corrected, 7th order, morphing filter for adding expressiveness before and after sustaining note-on events. This filter can accurately and continuously morph frequency responses of velocity dynamics even after note-on events have occurred. The filter is driven by either a standard midi continuous controller such as the Mod Wheel, note velocity, a filter envelope, or a combination of all three.
Modulator Selects the modulation source for the filter, which may be the MIDI controller selected in the Modulator CC drop-down menu, velocity, or a combination of the two. Modulator CC Any MIDI continuous controller can be selected to control the DEF. First select the ‘CC’ checkbox in the Modulator section then select your desired controller from the dropdown menu located on the right-hand side of the dialog box.
With Aftertouch chosen as the DEF Modulator source, it is possible to offset the filter curve by a value between 0 and 64. When the minimum Aftertouch Offset value of 0 is used, the incoming aftertouch values utilize the full dynamic range of the DEF filter curves. When the maximum Aftertouch Offset value of 64 is used, the incoming aftertouch values are scaled to morph between only the moderate (mf) and loud (ff) filter curves.
(pp) - quiet or pianissimo (minimum filter setting) (mf) - moderate or mezzo forte (median filter setting) (ff) - loud or forte (maximum filter setting) When the filter modulator is at zero, the set of parameters labeled “pp” is used. Th e “mf” and “ff” parameters are used when the modulator is at its midpoint (64) and maximum (127) respectively. For all other positions of the modulation source, the parameter values are continuously interpolated or “morphed” between.
Chapter 9: Editing Parameters in the Region Window Th e previous section explained the various articulation parameters and described editing them numerically in the Parameter Window. While that method of editing is useful when you want to be very precise or detailed, there’s another way to edit parameters that can be much more powerful. Th is method uses the blue indicators in the keyboard region view: Th e blue lines show the value of the parameter that’s currently selected in the Parameter Window.
Next, select the region or regions that you want to edit. Drag any one of the blue markers to adjust the parameter. Drag Modes When you drag a parameter in the Region View, it usually affects all of the selected regions. But the exact effect is determined by the current “Drag Mode”, which is set via the Drag Mode menu.
Before After Drag with linear scaling In this mode the parameter is scaled across the keyboard. Th e lowest or highest region (or both, if you drag a region in the middle) remains fixed while other regions are adjusted proportionally. Before After For example, you could use this mode to set an amplitude release time that is short at the top of the keyboard and gets progressively longer in the lower register.
Before After Changing the Vertical Resolution Th e scale for the axis is displayed at the right side of the Region View. Th e scale changes depending on the parameter being displayed.
Some articulation parameters have a very limited range (for example, those that can only be set to “Yes” or “No”). When a parameter like this is selected, rescaling the vertical axis isn’t practical and the slider will be disabled.
Chapter 10: Macros A Macro is a time saving feature that allows you to save any particular parameter edit or group of edits to be reused later. For example, if you have spent a lot of time coming up with the perfect Envelope and Filter settings, you don’t want to have to write them all down and recreate them by hand just to use them in another instrument. Instead, you can save the edits as a macro and instantly apply those hard won settings to another instrument.
3. The “Save articulation macro” dialog appears. Enter a name for the macro in the Save as box. You can also associate a hot key with the new macro. Click in the Hot key box, and then type a key on the computer keyboard. You can also do a combination using the [SHIFT] key combined with any other key. The hot key will instantly apply this macro to any and all regions and splits that are selected in the Editor. Th e “Save macro” dialog also displays a list of all the articulation parameters.
Applying Macros Once you have saved a macro, you can apply it at any time to the regions and splits that are currently selected. One method is to click on any selected velocity or other dimension split and choose “Apply macro” from the context menu. Th e menu will list by name all of the macros you have defined.
Editing Macros While you can’t actually edit the contents of a macro once it’s created, you can change its name or its hot key assignment. Click on the Edit Macros button near the bottom of the editor window: Th e Articulation Macros dialog is displayed: To change a macro’s name or hot key, select the macro and press Properties. Macros may also be deleted using the Articulation macros dialog.
Chapter 11: Intelligent MIDI (iMIDI) Rules iMIDI rules are bits of extra logic which can be added to a Giga instrument. They range from the simple to the very complex. For example, when the Transposition Rule is added to an instrument it simply transposes every note seen by that instrument by a given number of semitones. Other rules work in conjunction with specially defined dimensions to realize sampled legato effects, to trigger rapidly-patterned articulation changes, and so forth.
3. Add and edit your iMIDI rule (the current version of GigaStudio supports one rule per instrument). Click OK to apply the rule. 4. Save the instrument as a performance instrument. Use the instrument performance option (.gsi file) or custom performance settings to save just the instrument settings with the performance. 5. In the future, when this performance is loaded, the iMIDI Rules will be loaded along with the instrument.
3. Add and edit your iMIDI rule (the current version of GigaStudio supports one rule per instrument). Click OK to apply the rule. 4. Save the .gig file to embed the rule. 5. Whenever this instrument is loaded in the future, its iMIDI rule will be loaded as well. Using the iMIDI Rule Manager 1. Select a rule from the Available Rules window and click the Load button. 2. Depending on the rule, you may get an initialization dialog. Fill in the necessary details and click OK.
Pattern Alternator Initialization window 3. Click on the Edit button to edit the settings of the rule. See the sections on the individual rules for details on editing. 4. When you are finished, click OK to close the Rule Manager. Next we’ll discuss each of the available iMIDI rules in detail. The Transpose Rule This rule is very simple. It transposes every MIDI note by a given number of half steps, up to two octaves in either direction.
The MIDI Filter Rule This rule allows you to filter any type of MIDI event or group of events so that the instrument will ignore them. Simply check the box of any event that you want to be ignored. Th e Reset All button will uncheck all the boxes. The Filter All button will check all the boxes. The Legato Mode Rule Th e Legato Mode rule allows you to play authentic legato lines in real time on your keyboard. This tool creates the most stunning and realistic note-to-note transitions ever.
Some audio examples of the Legato Rule can be found in the “Editor Tutorial Files” directory for this chapter: Trumpet Without Legato.wav. This is how typical sampled instruments sound. There is no connectivity between the notes. Trumpet With Legato.wav. Now we hear the same instrument with the Legato Mode Rule added. Notice how the notes connect together seamlessly and realistically. Cellos Portamento Legato.wav. Here we use the longer portamento slides.
Alternate Non-Legato Key 1 and 2. Th ese keys provide alternate sustaining samples when pressed. You can toggle between the Default and Alternate Sustain articulations by pressing these keys between notes. This is good for repeating the same note within a phrase. Instead of triggering a fresh starting note, you can trigger one of these alternate samples. Legato Threshold Time. This setting can help the Legato Mode rule adapt to your performance technique on the keyboard.
Th e Smart MIDI splits should be laid out as follows: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. Legato Up 1 (half step) Legato Up 2 (whole step) Legato Up 3 (minor 3rd) Legato Up 4 (major 3rd) Legato Up 5 (perfect 4th) Legato Up 6 (diminished 5th) Legato Up 7 (perfect 5th) Legato Up 8 (minor 6th) Legato Up 9 (major 6th) Legato Up 10 (minor 7th) Legato Up 11 (major 7th) Legato Up 12 (octave) Empty Empty Empty Empty 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.
6. p-f-p swell 7. Tremolo 8. Pizzicato Add the Pattern Alternation rule using the iMIDI Rule Manager.
Play the keyboard and watch how the articulations advance from left to right each time you play a note in the top pattern. Also notice how the names of the articulations change in real time as well. This helps you identify which articulation is assigned to which number in the pattern. The first note is staccato: when released it will advance to the next articulation in the list. Th e next note played advances to the next articulation (Quarter Note): Th en the 8th Note articulation: And so forth.
Try changing some of the numbers around and play the keyboard again, noticing the difference in the order of the samples. You can also change the number of articulations in the pattern, by dragging the split count indicator up or down: Alternatively, click on the split count and type in a new value with the keyboard: This enables us to have a simpler or more complex pattern. For example, you might just want a simple three-part pattern that gives you two short notes followed by a longer note.
Saving a Pattern Alternation rule Like any iMIDI rule, the Pattern Alternation rule can be saved into a .gig file from the Instrument Editor, linking the rule permanently to the instrument. However, it’s more common to save this rule into an instrument performance (.gsi file) from GigaStudio. This allows you to save custom Pattern Articulation setups for each song you are working on for a particular instrument.
Note to trigger. Th e MIDI note that will be triggered by the controller. Note On/Note Off. Determines whether the controller will trigger a Note On or Note Off message. Override pedal. If you are defining a Note Off trigger, check this box if you want the Note Off to be performed even when the sustain pedal is down. Tacking sensitivity. Defines the velocity sensitivity of the trigger. Change this value to make the Note On velocity more or less sensitive to the rate at which you sweep the controller.
This rule was created to enhance sample libraries that rely on the real ambience of the room or hall they were recorded in for a lush and authentic reverb tail. By putting the release of the recordings on the release trigger, the results are stunning. However, there is a problem with this method. Sometimes the samples are expressive and use diminuendos and crescendos or simply fade out.
Designing a custom filter MIDI filters are designed in the upper third of the Rule Builder dialog. Incoming MIDI: Event Select an incoming MIDI event type from the drop down list. Incoming MIDI: Data-1 • • • • This will change depending on the type of incoming MIDI event. For Note On & Off the data will be in Note Names. (C-1 – G9) For all the other controllers the data will be in MIDI control numbers. (0-127) Set a minimum and maximum value.
• • • • This will also change depending on the type of incoming MIDI event. For Note On & Off the data will be Velocity Levels. (0-127) For all the other controllers, the data will be in MIDI control numbers. (0-127) Set a minimum and maximum value. Filtered MIDI: Event Select the outgoing MIDI event type from the dropdown list. Use Data 1 from incoming This overrides the values entered here and lets whatever values are in the Incoming Data-1 section determine the range instead.
Modify Existing Filter Choose an existing Filter from the Filter List to edit it. This avoids having to create an existing filter from scratch. Delete and Up/Down arrows Select any Filter from the Filter List and delete it or move it up and down with these buttons. Filter List All the filters that are created and added appear in this list. From this list, you can select, delete and reorder the filters. Th e menus in the Filter List reflect the various settings from the Filter Design area.
Functionality Th e following parameters are available for customizing your Mando-Tremolo rule: Tremolo Rate controller. Used to assign a MIDI controller input to the real-time rate of the tremolo playback. Minimum Tremolo Rate. Measured in Hertz over milliseconds Maximum Tremolo Rate. Measured in Hertz over milliseconds Note-off Delay. Use the “note-off delay” slider to determine how long to wait after a new note-on before terminating the previous note.
Playzone Th e playzone defines the musical keyboard region over which the rule will be applied. By default the software will initialize the playzone to be the entire valid region of your instrument. Auto detect polyphonic mode This feature enables the sampler to automatically switch between monophonic and polyphonic playback depending on how the user is playing the instrument. Using the sensitivity setting, you can adjust the timing threshold at which this feature will activate.
A fast portamento time (lower CC value) is excellent for trills over short intervals (up to a perfect fourth if the filters are well calibrated) but not as good for longer intervals. Conversely, long intervals or glissandos can be well simulated with slower portamento times. Default Legato Portamento Mode Th ere are no specifications for using the default Legato Portamento mode; it can be applied to any instrument regardless of dimension architecture or bit rate.
Th e Custom PRF mode (Portamento Reshaping Filter) of the Legato Portamento rule incorporates region specific PRF filter settings as well as extended portamento controls like slide range, velocitiy sensitivity, and slide curve type. How it works To put it simply, the user defines four filter settings (Fc, Q0, Q0H, V0) for each of the Up Long, Up Short, Down Short and Down Long intervals using the PRF editor tab.
Portamento Reshaping Filter Tab (Customizing Profiles) Extended portamento controls and region specific PRF settings are accessed in the Editor by right-clicking on a loaded, PRF enabled instrument and selecting “Edit Mono Mode Rule”. Within the Mono Mode Rule dialog, the “Portamento Reshaping Filter” tab contains the region specific PRF parameters.
Upward tuning reference Selects the PRF’s ‘Upward long’ interval tuning reference. 1-31 = specified in semitones, 0 = defaults to octave. Th e ‘Upward short’ interval tuning reference is fixed at a minor third (3 semitones). Downward tuning reference Selects the PRF’s Downward long interval tuning reference. 1-31 = semitones, 0 = defaults to octave. The ‘Downward short’ interval tuning reference is fixed at a minor third (3 semitones).
Downward Long – Controls the target filter settings for the Downward Long Interval as defined by the ‘Downward Tuning Reference’ value. Th e PRF/DEF filters were designed specifically to address and emulate the characteristics of samples whose pitch and dynamics have been transposed. For this reason, this musically adapted filter does not behave like a traditional EQ, with one parameter effecting the next. Experimentation is encouraged.
Additional PRF Tips and Considerations Short and Long Interval Calibration If you are going to create both short and long interval settings, be aware that when a long interval is played it first goes through the short interval filter settings and then morphs between short and long settings as the transposed sample exceeds the short interval and approaches the long interval.
Mono Rule: Legato mode with connecting samples Overview Th e legato mode with connecting samples enabling developers to simulate legato transitions without the need for interval specific sampling. Th ere are two modes this version of rule: normal and target tracking.
NOTES: Th e round robin dimension is an optional dimension that allows the instrument to vary samples and/or articulations as the user plays the instrument. For example, if the instrument was played with a bowing technique then the designer might want a separate set of samples for the up and down bows.
Following is a simple example of how the sample will connect two notes using the above layout assuming no Round Robin dimension: Time Keys strucks: Sampler plays: E3 down E3:P is triggered F3 down E3:P is terminated F3:TS is triggered E3:SR is triggered E3:T is triggered Continuing on with the above example: Time G3 Down Sampler plays: F3:TS is terminated G3:TS is triggered F3:SR is triggered F3:T is triggered E3/F3/GE Up G3:TS is terminated G3 Primary release trigger (if it exists) Instrument
Th e transitional and secondary release will trigger exactly the same way as defined in the normal mode. If the sound developer does not wish to have a secondary release or transitional sound, then the instrument layout must leave these dimension splits mapped to a null sample (also referred to as ‘unmapped’). One unique feature of the ‘Target Tracking mode’ is the ‘return to root’ capability. This allows users to perform real-time Hammer-On/Off trills.
Additional info: -comments -author -company e.g. PerfUtility -convert d:\tascam\gig\MyFolder -comments "Giga 4 converted performance" -author "Joe Bibbo" -company "TASCAM" This will convert all the performance files in the specified folder to the latest version.
