Yamaha A3000 User manual

A3000 Guide 1
Quick Guide
by Peter Krischker
YAMAHA EUROPA GMBH, 6/97 - PDP-A3001

A3000 Guide 2
Contents
Page
Quick Entry for Professionals 3
The Sound Structure of the A3000 4
A-3000 Objects (Diagram) 6
Quick Start 7
Controls 7
PLAY Mode 8
EDIT Mode 13
RECORD Mode 21
DISK Mode 22
UTILITY Mode 26
The A3000 in Multi Mode 30
Introduction 30
Organizing Multis 31
Effects and their Effect 32
Loops and Phrases 34
Appendix: Quick Disk - File Overview 35
Appendix: Additional Software for the A3000 36

A3000 Guide 3
Quick Entry for Professionals
You have already gained experience with other samplers and want to start working with
the A3000 right away, without having to read through complex manuals or Quick Guides.
You prefer to learn by experimenting, but you are willing to accept some general hints as to
the operational concepts. If so, you may only want to read this first page – you can still read
through the QUICK GUIDE later, e.g. while you are traveling to the next gig or relaxing
from your latest tour.
Sample-orientated
Sound
Structure
Together with the wave data (stereo or mono), the Sample (the basic object in the sound
structure of the A3000) also contains sound data (Filter, Envelope, LFO...), Mapping, Note
Limits, Velocity Limits and MIDI parameters. Samples may be played directly via MIDI or
assigned to a SAMPLE BANK. In a Sample Bank, all sample parameters (with the
exception of the wave data) can be set globally. Ø Pages 4 - 6
Sample
Duplicates
Sample duplicates can be created to allow individual settings for samples or sample banks.
These duplicates have access to the original wave data and do not occupy additional wave
memory. It is therefore necessary to save and load both the originals and the duplicates in
one common VOLUME to avoid the creation of real copies taking the same amount of
memory.
Ø Page 9
Programs
In general, each of the 128 Programs may be used as a Multi, as a Performance or as a Voice.
All of the samples and sample banks selected in the Program (ToPgm = on) are usable as
active Parts, or as a MULTI Part (by setting a different MIDI channel for each sample or
sample bank), or as part of SINGLE-, LAYER-, or SPLIT sounds (by setting the same MIDI
channel for all samples or sample banks).
You can set parameters for the active samples and sample banks in EASY EDIT within the
Program. The EASY EDIT concept is comparable to the “Part Parameters” of the Multis and
Performances of other samplers/synthesizers. These parameters are offsets to the sample
parameters and only affect the current program. Ø Pages 5, 10, 30 - 32
Effects
Sample banks and samples can be routed to one of the 3 effect units (MAIN OUTPUT = Effect
1, 2 or 3). By choosing serial connection of the effect units, the signal can be routed through
all 3 effects. There is no conventional “Effect Send Level” control. However, by assigning
the Assignable Outputs (Stereo or 1 - 4) to the dry signal the Stereo Output can be used as an
EFFECT RETURN. The parameter MAIN OUT LEVEL then functions as EFFECT SEND
LEVEL for each sample or sample bank. Ø Pages 10, 33 - 34
Save
Saving the complete contents of memory as a VOLUME is done in PLAY Mode using
COMMAND - SAVE ALL(wipe). To load a VOLUME, use DISK - VOLUME >LOAD.
The System Data is saved and recalled separately (UTILITY - SYSTEM). Ø Pages 8, 24
Control
Change
Numbers
The control change numbers #007 (Volume) and #010 (Pan) may always be applied. The
function of each of the other controllers is specified by a matrix in PLAY - CONTROL
(Effect parameters + Global parameters for each Program) and in EDIT - MIDI/CTRL (sound
parameters for each sample or sample bank). Ø Pages 12, 19 - 20

A3000 Guide 4
The Sound Structure of the A3000
The sound structure of the A3000 introduces an innovative concept of organizing Samples and
Programs. This departs from the more or less hierarchical sound organization of
conventional synthesizers / samplers, as shown in the following three examples:
Fig. 1 = Hierarchical Sound Structures
Example
1
Example
2
Example
3
Multi Performance Program
Voice Patch Keygroups
Waveform Partial Zones
Sample Sample Samples
In all these examples there are four levels that are based upon each other.
In comparison, the sound structure of the A3000 looks (and is) very simple:
Fig.2 = Sound Structure of the A3000
P r o g r a m
Sample - Sample Bank
Obviously there are only two levels, in which SAMPLES and SAMPLE BANKS are
organized on the same level. Single samples can therefore be assigned to the Program
directly, without having to be organized in a Sample Bank.
However, if one sound consists of several samples that are spread over the keyboard (i.e. a
"Multisample"), these can be combined into a Sample Bank and managed as a whole.
Another feature of the sound structure of the A3000: In addition to the actual sample data,
the SAMPLE itself can contain all sound parameters, which in other schemes of sound
structure can only be applied at higher levels. Thus, we need to distinguish between the
WAVEFORM DATA and the SAMPLE PARAMETERS.
On the other hand, not all sample parameters have to be set within the Sample.
Parameters such as Level, Pan, Filter, Envelopes, LFO, MIDI-Ch. etc. may be set globally
for all samples of a SAMPLE BANK. The individual parameters of the single samples then
remain unchanged. The advantage here is that the Samples can be freely assigned to other
Programs without affecting the sample’s sound parameters.
The "Performance Level" of the A3000 is the PROGRAM, which can be compared to the
Multi Programs or Performances of other synthesizers and samplers.
Programs allow the creation of complex Multi Setups, or alternatively, Performances with
layered or split sounds – or simply "Voices" with one sound based on one Sample or Sample
Bank.

A3000 Guide 5
Important: It is not possible to use more than one Program at once. The multitimbral
functionality is already included within the Program. Each of the Programs can therefore
be an independent MULTI.
Also, Programs are organized differently than on previous instruments: All Sample Banks
residing in memory are available to each Program and can be combined in a very flexible
way by using the ToPgm Switch (on/off). There are no "Multi-Parts" in the traditional
sense; all Samples and Sample Banks that are switched "on" are Multi-Parts by default
which (in principle) require no further edits. This is because all necessary settings can be
made in the Sample Parameters.
The EASY EDIT facility provides even greater Program-level flexibility. There you can set
the most important sample parameters for each sample/sample bank. These settings apply
only to the selected Program. The sample parameters of the samples and the sample banks
are not actually changed, instead they are modified for the Program only.
The EASY EDIT page is perfectly suited for multi or performance programming, since the
Easy Edit parameters are similar to the “Part Parameters” of other instruments as
previously mentioned.
Additional components of the PROGRAM are the EFFECTS, the SETUP parameters
(including the A/D input), and the CONTROLLER setup, which primarily deals with the
effect parameters at the Program level. In contrast, the controllers for the sound parameters
are set at the Sample level.
That concludes the first short look at the sound structure of the A3000, which is summarized
in the diagram "A3000 Objects" on the next page.
Whether you are a beginner or have already worked with other samplers and synthesizers
– you should spend some time understanding the A3000’s new type of sound organization. I
am sure you will quickly appreciate the advantages of this system.
The following chapters will help you to take full advantage of the many possibilities of
the A3000.

A3000 Guide 6
A3000 Objects
A3000 Program
(001 – 128)
Sample/Sample Bank assignment
ToPgm switch: on/off
-------------------------------------------------------------------------------------
Easy Edit parameters
Changing Sample parameters at the Program level
Sample settings remain unchanged
Level, Pan, Tune Coarse/Fine, AEG Attack/Release, Filter Cutoff, Filter
Q/Width, Key Limit Low/High, Key Range Shift, Key X-Fade, Vel Limit
Low/High, Vel X-fade, Poly/Mono, Portamento, Alternate Grp, Main Output + Level,
Assign Output + Level, MIDI Receive Ch., MIDI Control
Effects 1, 2, 3
Setup / A/D Input parameters
Controller setup
A3000 Sample
Waveform data (mono/stereo)
---------------------------------------
--------
Sample-Parameter
Sample Start/End, Sample Loop, OrigKey,
KeyRange, VelRange, Level, Pan, Output,
Pitch, Expand, Level Scale, Filter, EQ, AEG,
FEG, PEG, LFO, MIDIRcvCh, Sample
Controller, Velocity, Pitch Bend
A3000 Sample Bank
Sample assignment
(Add + Remove)
------------------------------------------------
Sample parameters – global
(Sample parameters of individual samples
remain unchanged)
VelRange, Level, Pan, Output, Expand,
Level Scale, Filter, EQ, AEG, FEG, PEG,
LFO, MIDIRcvCh, Sample Controller,
Velocity, Pitch Bend

A3000 Guide 7
Quick Start
This chapter should give you a good start working with the A3000 without your having to
work through the extensive Owner's Manual. Who actually wants to read 300 pages before
working with a new device?
All essential functions will be described quickly and systematically, but no operational
steps will be given. If these are important to you, you can supplement the explanations here
by referring to the corresponding chapters in the Owner's Manual. Cross references are given
after each section.
Maybe you are already more or less familiar with the operational concepts of the A3000, or
you are one of the painstaking users who don’t mind reading through the whole manual. If
so, you should direct your attention to the special italicized hints. These deal with special
cases and recommendations that go beyond the basic knowledge conveyed by the Owner's
Manual.
One last word about the terms "Sample" and "Sample Bank": as already mentioned in the
first chapter, these exist on the same level. In the following chapters, everything that is
said about Samples can also be applied to Sample Banks, even though this may not be
mentioned explicitly in every case.
Controls
The first thing you will notice below the LCD screen are the 5 knobs. Their rotary
function is used to set the parameters displayed in the LCD, or to call up other
display pages. A red illuminated LED above the knob indicates that a push function
is available during editing.
Here is the most important knob function: from most of the pages you can call up the
"Pgm-Sel" Page by pressing knob 1. From there you can select Programs, Samples
and Sample Banks using knobs 1 and 2. Another press on knob 1 calls up the last
active page again.
On the right side of the panel you will find a parameter matrix, which can also be
found on other devices (e.g. CS1x or AN1x). With the MODE keys (green LED), you
can select one of the five operating modes of the A3000: PLAY, EDIT, REC, DISK,
and UTILITY.
The FUNCTION KEYS above the parameter matrix (red LED) switch between six
FUNCTIONS within the selected operation mode.
For example: if you want to select the function IMPORT, press the MODE KEY DISK
and then FUNCTION KEY 6 (the rightmost function key). With knob 1 (rotate) you
can then select one of the 3 pages of the function IMPORT: ImpSmp, ImpVce, and
ImpOthr.
Finally, to the left of the disk drive you will find the keys COMMAND (command
functions), ASSIGNABLE (four selectable functions), and AUDITION (which plays
the selected sample).
Owner's Manual p. 8 - 11
On the following pages you will find descriptions of the 30 functions selectable with
the MODE and FUNCTION keys, the pages available with these functions (=
display pages), and the corresponding COMMAND functions.

A3000 Guide 8
PLAY Mode
F1 = PROGRAM
This is the main page of the A-3000. Here you can select Programs (by turning knobs
2 or 3), name them (by pushing knob 3) and save Programs (by pushing knob 4 or 5
respectively). SAVE saves one Program, ALL saves all Programs, in either case
together with the assigned Samples.
By pushing knob 1 you can also call up the above-mentioned Pgm SELECT page for
selecting Programs and Samples. Please also notice the parameters "SmpSolo"
(auditioning single Samples in Programs) and "MIDI>Smp" (selecting single Samples
of a multi sample via the MIDI keyboard).
After pressing COMMAND, the following commands are available from knob 1:
SAVE ALL (wipe) = Saves all Programs, Samples, Sample Banks, and Sequences as
one VOLUME. The Target Volume will be overwritten. Unchanged Programs, as well
as the SYSTEM PARAMETERS are not taken into account; these are saved
separately (via UTILITY /SYSTEM/COMMAND).
Other SAVE Types can be selected with knob 2.
SAVE ALL Pgm(wp) = Saves all Programs together with the assigned Samples and
overwrites the existing Volume
SAVE Edited = Saves only new or edited Programs and Samples
SAVE ALLSmp = Saves all Samples
SAVE Pgm = Saves the current Program together with the Samples
For all SAVE Types you can choose the target drive, the target volume and the target
Program, if applicable.
INIT = Initialisation (default) for one or all Programs
COPY = Copying a Program
PGMDUMP = Program Dump with or without Samples in the A3000 format
SETINIT = The Program settings of the sections EFFECT and/or SETUP and/or
CONTROL will be specified as the Init settings for editing new Programs. These
settings are non-volatile, which means they are not lost after switching off.
Special Hint Ø Complete Save
Despite the variety of saving options, it is normally recommended that you choose the save
type "SAVE ALL (wipe)". Important: You always have to press COMMAND first, since the
save function SAVE > ALL available under PLAY – PROGRAM is not identical. Only with
"SAVE ALL (wipe)" can you be sure that the complete VOLUME will be saved (= all
Programs, all Samples and Sample Banks, all Sequences). Also included with this command
are Samples that are not assigned to any Program. Furthermore, this command guarantees
that Sample duplicates are not converted to real copies (see "Special Hint Ø Sample
duplicates").The counterpart to "SAVE ALL (wipe)" is "DISK - Volume - LOAD", which
loads the complete Volume.
Owner's Manual p. 95 - 104, 110 - 111

A3000 Guide 9
F2 = SAMPLE
As with all other functions, four pages are available by rotating knob 1:
SmpSel = This is the most important parameter for Program settings. With "ToPgm"
(on/off) selected Samples or Sample Banks will be assigned to the Program. In
addition, Samples may be named (knob 2 or 3) and saved individually (knob 5).
A Sample Bank can be recognized by the letter "B" to the left of the name.
SmpBank = Sample Banks can be selected here (by rotating knob 2) and named (by
pushing knob 2). In addition, single Samples of the Sample Bank can be selected for
editing (by rotating knob 3) or removed from the Sample Bank (by pushing knob 5).
You can also find out which Samples are assigned to a Sample Bank.
ToBank = Knob 2 is used here to select Sample Banks. Single Samples are selected
with knob 3, and can be added to the Sample Bank using ADD (knob 5).
If the Sample is already used in another Sample Bank or by a Program, it will be
duplicated after confirmation ("Duplicate & Add?" + GO).
Special Hint Ø Sample duplicates
Duplicating does not generate new waveform data. Both the original and its copy access the
same waveform data and no additional waveform memory is occupied (see UTILITY –
System/FreeMem – Wave...). However, this only applies if the Samples are saved to and
loaded from the same VOLUME. If you are working with Sample duplicates you should
proceed as follows: Always save with COMMAND "SAVE ALL (wipe)" and load with
"DISK – VOLUME". If you load Programs or Samples one after each other, the A3000
converts the duplicates to real copies which use the same amount of memory as the original
samples.
SmpSort = Logical sorting of the Samples helps you keep a better perspective and
allows you to work more efficiently. Sorting by names (knob 2) can be switched on or
off. By setting "PgmON = top" the Samples belonging to the Program will be shown
first. If you set "InBank = hide" single Samples will not be displayed if they are
assigned to a Sample Bank.
After pressing COMMAND, the following commands are available with knob 1:
SAVE, INIT, COPY, SETINIT = These commands have the same functions as
described in the section "PROGRAM" above.
NEWBANK = creates a new, empty Sample Bank.
DELETE = Depending on the Type selection (Smp – All), single or all Samples and
Sample Banks can be deleted. By setting "Type – FreeSmp" only unused Samples
(Samples not assigned to Programs or Sample Banks) will be deleted. With this
function you can, for example, delete the waveforms which reside in memory directly
after switching on (or after Autoload!), which tend to be unwanted in most cases
(Pulse, Saw, Square, …).
DUPL = Creates a duplicate of a Sample or a Sample Bank in memory. To allow a
distinction between the copy and the original, an asterisk is automatically added to
the name of the copied Sample; however, the copy may also be manually renamed
before copying.
Even in this case, the waveform data will not be duplicated.
When duplicating Sample Banks, all Samples of the bank will be duplicated as non-
real copies. Since this creates a pretty long list of single Samples it is recommended
that you activate the function "InBank - hide" mentioned above.

A3000 Guide 10
Special Hint Ø Sample Bank Templates
You can also copy "empty" Sample Banks. This can be useful when you want to use the
parameter settings of a Sample Bank (e.g. Filter and Envelopes) for other Samples. To do
this, remove all Samples of the Sample Bank with "SmpBank – REMOVE". This ensures
that duplicating the Sample Bank creates no new Sample duplicates. You can assign any of
the Samples to the duplicate of the Sample Bank, which are then played back with the
preset parameters of the Sample Bank. In this way, you could program an assortment of
"Template Sample Banks", which could be used as a basis for new Sample Banks. This way
you do not have to go to the trouble of setting new sound parameters each time.
SMPDUMP = Sends a Bulk Dump of the selected Samples in the specified format.
The "Sample Dump Standard" ("SDS") format might be of special interest, since it is
accepted by most of the samplers and some synthesizers (e.g. SY99, SY85, TG500)
on the market. Even the SDS sample number can be set, which can, under certain
circumstances, let you avoid overwriting existing Samples on the receiving device.
Owner's Manual p. 105 - 109, 112 - 117
F3 = EASY EDIT
Using EASY EDIT you can adjust some of the most important Sample parameters at
the Program level. You have already been given some basic information about the
Easy Edit function in the first chapter "The Sound Structure of the A3000".
For a complete list of all "Edit Parameters" please refer to pages 119/120 of the
Owner's Manual. There you will see that these are exactly the same parameters as
you would find under “Part Parameters of Performances" or Multis in music
workstations or other devicesÖ and that is exactly how they are used!
Please remember that these settings do not change the Samples themselves. They only
modify the playback of the currently selected Program.
With EASY EDIT the selected Samples or Sample Banks can be edited, as long as
they are assigned to the Program, i.e. "SmpSel" is set to on. For Sample Banks, the
settings for all assigned Samples are valid.
Caution: Do not switch "SmpSel" to "off" in order to mute the Sample, as this will
cause all EASY EDIT settings for this Sample to be irretrievably lost!
A + or - sign at the left to the value indicates that the parameters are offsets to the
Sample parameters.
The command functions are the same as in the PLAY/PROGRAM page.
Owner's Manual p. 118 - 120
F4 EFFECT
EfType = This selects the Effect Type for each of the three separate effect units. In
addition, you can set CONNECT to specify whether the effects will be connected in
serial or parallel. Combinations of these connection types are also possible (see
Owner's Manual, p. 122/123).
Efct 1, Efct 2, Efct 3 = If an Effect Type is set, you can select (knob 2) and set the
parameters (knob 5) here.
A complete list of all Effect Types and Effect Parameters can be found in the
Owner's Manual, p. 335 - 346.
In&Out = Here you can set the input and output levels as well as the Pan position
separately for each of the three Effects.

A3000 Guide 11
EdType = Maybe you are overwhelmed by the multitude of effect parameters. If so,
try setting the "EffectEditType" to "favorite". Now, on the pages Efct1, Efct 2, Efct 3
only the four most common parameters are displayed. In Favorite mode it is no
longer necessary to step through the parameter list. If you ever need to set a
parameter which is not included in this selection, simply push one of the knobs 2 to
5. In the subpage you can individually select which parameters are displayed.
The command functions are the same as on the page PLAY/PROGRAM.
Special Hint Ø Beat Change
The effect BEAT CHANGE should be of special interest. Unlike the other effects, this new
type of effect requires a little clarification. BEAT CHANGE is comparable to the re-
sampling function "Time Stretch", but works in realtime. The playback speed of the sample
is changed by modifying the waveform length without affecting the pitch. This is used
mainly to adjust drum loops to the song tempo. Load the Factory Disk "Drum Variations" to
try out the BEAT CHANGE effect. Choose Program 002 "ModWheel" and play the drum
loops assigned to the keys G2, A2, B2, and C3. Now slowly move the modulation wheel. You
can hear very clearly that the loops are played back faster, even though the pitch remains
unchanged. The same effect can be achieved by setting the effect parameter 1
"BeatChange(Ctrl)" manually. The range of the BEAT CHANGE effect is set with the
effect parameter 2 "Beat Change" (e.g. Value 5 in Program "ModWheel"). Please don’t be
confused by the obvious error in the Owner's Manual (page 340): In the last sentence of the
description of the BEAT CHANGE effect it says that "Beat Range" should be left at "0".
This is not correct, as then BEAT CHANGE would not be effective. Instead of "BeatRange
(Ctrl)" it should read "PitchChange (Ctrl)".
The question remains how to adjust the length of a drum loop to the song tempo using the
BEAT CHANGE effect. As a starting point to this endeavor you can call up the Program
"ModWheel". The effect parameters can in general be used without modification.
Controlling the effect is done in PLAY – CONTROL (Matrix#1) and can be modified there
individually. Instead of the modulation wheel (#001) any other Controller may be used,
e.g. Controller #091 which is commonly used for controlling an effect. If you want to slow
down the original tempo of the drum loop, you must set a negative range in the "PgmCtl2"
page (e.g. Range = - 32). If you want to use your own drum loops within the Program, you
would have to set the MAIN OUTPUT = EFFECT 1 the tempo adjustment can then be done
within the sequencer program. In an empty sequencer track, insert a note of the length of the
drum loop (e.g. 1 bar). Repeat this note several times (e.g. 32 bars). Now insert a Control
Change of the same number set in the matrix (e.g. #91). Change the value of this Controller
until the drum loop is synchronized to the song tempo; i.e. plays back in the intended
rhythmical loop. This requires some practice. A metronome or an existing simple drum track
may be helpful. To allow for more precise tempo adjustments it can be useful to set the
parameter Range in matrix #1 to a lower value, which produces finer gradations. If this
still does not help, the song tempo must be changed slightly (e.g. from 120 to 120.1).
Owner's Manual p. 121 - 127
F5 = SETUP
PgmMstr = Program Level, Transpose (globally), S/H speed (= cannot be changed
on the program level)
Portmnt = Portamento Mode, Rate + Time (see Owner's Manual p. 130)
ADSetup / ADOut = Various parameters for programming the A/D inputs. (see
Owner's Manual p. 130). Particularly interesting is the "MainOut" parameter: here the
A/D signal can be routed to one of the effects. The A-3000 may therefore be used as
an effect unit for external sources. By combining the effect and A/D parameters, the
Programs can be used as effect programs. The command functions are the same as on
the PLAY/PROGRAM page. Owner's Manual p. 128 - 133

A3000 Guide 12
F6 = CONTROL
PgmCtl1 and PgmCtl2 (knob 1), in combination with Matrix# 1 to 4, make up the
Controller Matrix for the global Program parameters. It is very helpful at this point
to take a look at the illustration in the Owner's Manual (page 136). The illustration
shows that you can assign a parameter to each of four MIDI Controllers (or
Pitchbend / Aftertouch). In addition, you can specify whether the Offset will be
effective only in the positive direction or in both directions. Finally, a value range
between 0 and 63 can be programmed.
On the page "Reset" you can specify for each MIDI channel whether the Control
values are reset after a Program change (on) or not (off).
Besides Portamento, S/H Speed, AD Pan, AD Level, and Program Level, almost all
effect parameters are controllable.
By controlling the A3000 from an external sequencer, you can use virtually all control
change numbers. When playing the A3000 from a MIDI keyboard, all physical
controllers of the keyboard (modulation wheel, pitchbend wheel, pedals, aftertouch
…) and the knobs 2–5 of the A3000 are usable. For more on this topic, see the section
UTILITY – PANEL PLAY.
You should be economical with the allocation of controllers though, since you will
want to use these for realtime sound control, which is an equally interesting option
(see section EDIT – MIDI/CTRL).
The command functions are the same as on the PLAY/PROGRAM page.
Owner's Manual p. 136 - 142

A3000 Guide 13
EDIT Mode
You will probably have noticed that all functions described in PLAY Mode refer to
the currently selected Program. From that perspective you could understand Play
Mode as PROGRAM Mode.
EDIT Mode, which we will now be discussing in greater depth, is where you edit
Samples and Sample Banks. Here, the expression SAMPLE EDIT Mode would be
even more precise.
When editing Samples, it is essential to keep track of which Sample is selected and
currently being edited. This can be easily verified by pushing knob 1 (Pgm-Select
page). If you also want to know whether the selected Sample is assigned to the
Program, call up the function PLAY/SAMPLE (SmpSel). There you can also select
Samples which are assigned to a Sample Bank, but are to be edited individually
(SmpBank).
There are useful hints on this topic in the Owner's Manual, pages 145/146.
Special Hint Ø Selecting Sample zones via MIDI
While editing the single Samples of a Sample Bank (e.g. Multisamples or Drumkits) it
would be a lot of work to have to select these again on another page. Here's a hint to help:
Select the single Samples by playing the Sample zones set for the corresponding Sample on
a MIDI keyboard. Proceed as follows:
On the Pgm Select page (push knob 1), set MIDI>Smp to on. In the function PLAY – SAMPLE,
call up the SmpBank page. Then use knob 1 to select the desired Sample Bank. Now play
the keyboard and watch the display. The Sample assigned to the keyboard zone in which
you play is displayed. Now select the KeyRnge page using the function PLAY – EDIT. This
function allows you to visually confirm which Sample is selected via MIDI by watching the
Orig., Low, and High keys. In this way you can select Samples for editing in any page of
EDIT Mode. This is particularly useful when editing drum sets. Switch any drum track (e.g.
the bass drum) to SOLO. The corresponding Sample will automatically be selected. You can
now edit the bass drum while the sequencer is running. For the next drum instrument,
continue in the same way.
F1 = TRIM/LOOP
Config = With LOCK ON you can set the playback or loop length to a fixed length,
so that changing the start address (of the waveform or the loop) also changes the end
address (or vice versa). ZERO ON is an automatic function to select only loop
addresses with zero crossings, whereas SNAP ON selects only loop addresses with
the same level coding. Naturally, only one of these functions can be active at a time.
Which of the options better eliminates the click noises at the junction point depends
on the sample source material. It may be a good idea to try using both functions.
END TYPE selects how end and loop address are displayed (see Owner's Manual,
p. 163). Hint: The option "graph" gives a better overview over the Sample.
Wave = Here the start and end address for playback of the Samples are set. If
START is set to 0 and END is set to the maximum value (by turning knob 3 to the far
right) the playback addresses will be the same as the start and end point of the
waveform data. With EXTRACT you can cut (i.e. delete) all waveform data before
the start address and after the end address (also known as the trim function). STEP
modifies the stepwidth of address changes. For greater changes, setting a greater
stepwidth saves you from having to turn the knobs endlessly.
In the option "End Type = beat" knob 4 has a different function – it now serves as an
automatic Tempo calculation!

A3000 Guide 14
Special Hint Ø Setting start and end points; Determining memory usage
For better visual control it is highly recommended that you set the start and end points of
the Samples using the TINY WAVE EDITOR (see Additional Software in the appendix). If
you do not have this option there are still other methods to achieve your goal.
First, to set the start address you should play notes way below the original key. The more
you transpose the Sample down, the longer (and easier to hear) the delay at the beginning
that you are trying to cut off.
Another method: Move the end point to the very beginning of the sample. Then, move it to
the highest possible value (the latest position), where still nothing (even not a tiny click!)
can be heard. Transfer this temporary value from the end address to the start address, so
that both addresses are identical. Move the end point back to the maximum value. Now
truncate the sample with EXTRACT. The start address is now 0. The Sample is "tight".
If you want to save memory, you should also set the end point so that no additional
waveform memory is used. The correct end point depends mainly on the loop mode set for the
Sample. In Loop Mode "--->0" the loop continues sounding in the Release phase. In this case
the sample end point may safely be set slightly higher than the loop end point. In Loop
Mode "->0->" the Release phase goes beyond the loop end. Therefore, the sample end point
must not be set too early, in which case it would cut off the sound during the Release time
suitable for the Sample.
For the end point of one shot Samples (e.g. drums), you can proceed as described above for
the start point. This time though, bring the start point to the end of the Sample. Move the
start point towards the beginning and find the lowest value (the earliest position) where
still nothing can be heard. Transfer the found value to the end point and set the start point
back to zero. With EXTRACT you can now truncate the Sample to cut off the very end of the
waveform.
By the way, you can view the remaining memory amount in KB (UTILITY – SYSTEM).
However, it is not possible to determine the memory consumption of single Samples in KB.
Fortunately there is a formula to estimate: Divide the value of the end address by 50 to get
the approximate value in KB.
Loop = Here the start and end points for the playback loop are set. Their effect
depends on the set Loop Mode (see next paragraph). STEP and Tempo calculation
function as described in the preceding paragraph (WAVE). LpMonitor is very
helpful when editing loops, as pushing knob 5 plays only the loop of the Samples.
Negative values (e.g. -100ms) cause the playback to begin just before the loop start
point, even in the very first loop stage.
WvMode = This sets the Loop Mode (see Owner's Manual p. 169). Furthermore a
velocity-dependent start address can be programmed. The sampling frequency is
displayed at the right.
After COMMAND you can select the following command functions using knob 1:
SAVE... = The available options are the same as described in the section
"PROGRAM".
REVERT = All changes to the selected Samples will be undone by loading the last
saved version.
Special Hint Ø Revert function
REVERT is almost the same as the UNDO function familiar on other devices. It only works,
though, if the corresponding Sample has already been saved. Because of this you should
make it a habit to save your sample before executing any destructive function (loop, cut,
extract, normalize, re-sampling, fade …). "COMMAND – SAVE – Edited" is very suitable
for this operation.

A3000 Guide 15
NORM = Optimizes the level of a Sample. Please be aware that this NORMALIZE
function can also be done while recording, if the option "Auto Normalize" is selected
(>REC – SAMPLE – Process). Normalizing cannot replace an optimal gain setting
while recording – if the Sample was recorded at a too low level, the NORMALIZE
function will “pull up” the noise level. On the other hand, NORMALIZE can in no
way undo any clipping which occurred during the recording process.
RESAMPL = With Time Stretch the Sample will be lengthened or shortened without
changing the pitch, while Pitch Conversion changes the pitch of the Sample without
changing the playback length. Using knob 2 you can pre-audition the result.
FADE = Creates a Fade in or a Fade out for the Sample. Length and waveform can
be set in advance. Please remember to save the Sample before executing in order to be
able to REVERT to the original!
REVERSE = The Sample will be played back in reverse. Interesting and well-known
special effect (e.g. reverse crash cymbal).
LOOPXFD = Loop Crossfade generates crossfade smoothing of the area around the
loop points – this is one of the most important Sample edit functions! Slight clicks or
level differences can be eliminated through this function. Since many attempts with
different crossfade range lengths are usually required, you should save your Sample
first to be able to use the REVERT function.
SETINIT = This stores the current SAMPLE parameters like Filter, LFO, and
Envelope settings as default values for any new Samples into a special memory area.
These settings are non-volatile and are not lost after switching off.
Special Hint Ø Setinit
SETINIT is very helpful if you want to record a series of Samples of one category, that have
similar Sample parameters. Edit the first Sample in a way that those settings can be used
as the basis for all following Samples. Then execute the command SETINIT. All following
Samples will automatically receive the Sample settings of the first Sample.
This concludes the description of the COMMAND functions on the EDIT SAMPLE
page. In the following additional pages of the EDIT Mode (MAP/OUT, FILTER, EG,
LFO, MIDI/CTRL) only the commands SAVE, REVERT, and SETINIT are available
(as described above). Therefore, the description of COMMANDS will be omitted.
Owner's Manual p. 144 – 169
F2 = MAP/OUT
KeyRnge = Original key, The keyboard range and keyboard crossfade can be set for
each Sample. While pressing and holding the knob you can input the value via MIDI
IN. Keyboard crossfade is also possible for Sample Banks. In "UTILITY/SYSTEM –
Display" you can specify that the corresponding MIDI note numbers be displayed (0
to 127) instead of the notes (C2 to C8).
VelRnge = Velocity Range, Velocity Crossfade and Velocity Sensitivity can be set
for each Sample or Sample Bank.
Special Hint Ø Key Ranges + Velocity Ranges
The functions KeyRnge and VelRnge can not only be used to map and edit multisamples. You
can also program typical synthesizer performances such as split sounds and velocity
crossfades. The Sample Banks can be used as layers.

A3000 Guide 16
Lvl&Mode = Level, Pan, Poly/Mono, Porta on/off (for Samples or Sample Banks)
are standard parameters that should not need further explanation. Portamento
Mode and Time are set globally in PLAY/SETUP. LEVEL sets the output volume of
the Samples and can be controlled via MIDI Controller #007. PAN is assigned to
Controller #010.
Output =This page is very important, since here you set not only the LEVEL
(volume) of each Sample or Sample Bank, but also the output assignment and at the
same time the effect send. Please read the details in the chapter "The A3000 in Multi
Mode".
The Assign Outs are always set per pair. Without an expansion board only the
"AsgnOut L & R" are available. If this output is not to be used as stereo out, the
selection of the MONO single outs is done by setting the pan “pots” (-63 and + 63).
The same workaround is applicable when using the ASSIGN outputs 1&2, 3&4, and
5&6.
Pitch = Besides coarse and fine tuning you can choose Fixed on to play a Sample
with fixed pitch across the whole keyboard. Random creates random changes of the
pitch, e.g. to simulate the slight pitch changes of analog oscillators.
Expand = Here you will find some very effective stereo effects: Detune creates a
detuning of the left against the right channel. Dephase selects different start
addresses of the Sample for each channel. Width modifies the stereo spread using
PAN: The lower the Width value, the narrower the spread.
Special Hint Ø Expand function
The Expand parameters offer some of the most impressive possibilities for modifying the
sound of the A3000. This can be verified using a simple waveform like "Saw up" by setting
DETUNE and DEPHASE to different values. This creates an effective pseudo stereo effect,
in which both channels are played with different pitch and phase positions.
If you now lower the WIDTH parameter to 0 (Init setting = +63) the pseudo stereo effect
changes to a typical monaural 2-oscillator sound.
The results are even more impressive if you duplicate "Saw up" and then assign the original
(= first to OFF!) and the duplicate to a new Sample Bank. Then, stereo pan the original
(+63) and duplicate (-63). Now experiment with the EXPAND parameters. You will be
amazed at the fat sound resulting from this simple kind of sample material.
LvlScale = With Level Scaling you can compensate for level changes of Samples as
the pitch increases.
Owner's Manual p. 170 – 181
F3 = Filter
Filter = Here the Filter Types Bypass (Filter off), Low Pass 1, Low Pass 2, High
Pass 1, High Pass 2, Band Pass, and Band Eliminate can be selected. For more
information about the Filter types please read the Owner's Manual, p. 183.
Furthermore, the Cutoff Frequency and Filter Gain can be set. For the low pass and
high pass filters Q/Width corresponds to the parameter RESONANCE on other
synthesizers. For the filter types band pass and band eliminate, Q/Width sets the
BANDWIDTH.

A3000 Guide 17
Special Hint Ø Filter Gain
If you like distorted or overdriven analog sounds, be sure to experiment with FILTER GAIN.
The filter can be overdriven very effectively, especially in combination with Q/Width.
Sensible programming is required though to avoid unpleasant side-effects.
FltSens = Sets the velocity sensitivity for CUTOFF and Q/WIDTH.
FltScale = Filter Scaling sets the relation between CUTOFF and keyboard position.
A Sample which gets more and more jarring as the pitch increases can be tamed by
combining Filter Scaling and Level Scaling.
EQ = This 1-band EQ does not really belong to the Filter section, since the EQ has an
influence on the Sample independent of the Filter, even if the Filter is set to BYPASS.
Special Hint Ø EQ
The EQ is separately available for each Sample and each Sample Bank. In a drum set for
example you can program a different EQ setting for each single drum instrument. In
multitimbral use the EQ can be set for each Part (= Samples and Sample Banks), which can
normally only be done with professional mixing desks.
Owner's Manual p. 182 – 187
F4 = EG
The A3000 uses the classic ADSR envelopes (Attack, Decay, Sustain, Release). For
the Rate parameters, higher values produce a faster envelope transition. In the
default setting all values are set to 127. This means that you must program lower
values for the envelope first to get useful results. This applies mainly for the DECAY
RATE: if in the AEG and with a low SUSTAIN LEVEL the decay rate is set to 127,
only a short click can be heard, as the Decay Rate is extremely short.
AEG = The Amplitude Envelope Generator controls volume change over time by
applying the ADSR envelope.
AEGMode = With RateScl the AEG Rates can be set to change corresponding to the
keyboard position. Vel>Rate makes the AEG Rates depend on the velocity. Attack
Mode changes the function of the ATTACK TIME parameter. The normal setting is
"rate". When set to "hold", ATTACK TIME will no longer determine the rise time;
instead, a HOLD TIME can be set during which the maximum level will be held.
Special Hint Ø Hold Time
Programming a HOLD TIME is recommended for types of Samples in which the sampled
instrument has a characteristic attack phase; e.g. the initial sound of a saxophone.
Without a HOLD TIME, the level would already decay during the initial sound if a
DECAY TIME is set and the sustain level is lower than 127. HOLD TIME is also useful for
Synthesizer sounds if no rise time is required for the sound. The important parameters
FILTER ATTACK RATE and FILTER DECAY RATE can then sound at full level, while AEG
DECAY allows the level to decay little or more later.
FEGRate and FEGLevel = In addition to the ADSR parameters, the Filter envelope
incorporates the LEVEL parameters INIT, ATTACK, and RELEASE. The Filter
envelope is only effective if FILTER TYPE is not set to BYPASS and CUTOFF is set
to a value lower than 127. A setting of zero for an FEG level corresponds to the
specified Cutoff frequency. The FEG Attack Level may be used in the same way as
the FEG DEPTH parameter familiar on other synthesizers. With standard analog
programming the other FEG levels can remain at 0.

A3000 Guide 18
Special Hint Ø Easy Envelope
A simple way to program a clear Filter envelope:
CUTOFF = 0, FEG Attack Level = approx. 100 (as FEG Depth), FEG Decay = 40.
Set these three parameters to the above values to create a good basic setting with a medium
decay of the Filter frequency. Now start to experiment with the FEG Rate parameters
ATTACK, DECAY, RELEASE and the FEG Level parameters ATTACK (= FEG Depth) and
SUSTAIN, just as you would with an analog synthesizer.
FEGMode =With RateScl the FEG Rates can be set to change corresponding to the
keyboard position. Vel>Rate has an influence on the FEG Rates depending on the
velocity. With AtkLvl and Level you can set the velocity sensitivity for the FEG
Level parameters, whereAtkLvl is used separately for the FEG attack level.
PEGLevel, PEGRate and PEGMode = The parameters of the Pitch envelope are
basically the same as the FEG and AEG parameters, but instead of filter or level they
change the sound’s pitch.
Owner's Manual p. 188 – 202
F5 = LFO
Common = On this page the LFO parameters Wave, Speed, Delay, and Sync are
set. Noteworthy here is that when you choose the Wave Type S/H, the speed will be
set globally for the selected Program by SETUP/PgmMstr.
FltrMod, PtchMod, AmpMod = With Depth you can set the modulation depth of
the Filter, Pitch and Amplitude, respectively. For Filter and Pitch, the LFO waveform
can be inverted using Phase Invert.
Owner's Manual p. 203 – 207
F6 = MIDI/CTRL
RCh&Alt = For each of the Samples or Sample Banks, you can specify a MIDI
ReceiveCh. However if the MIDI channels have already been set at the Program level
using EASY EDIT, this parameter is not important. Using Alternate Group you can
define up to 16 "alternate groups" for the Samples, of which only one Sample can
sound at a time. This is useful with Hi Hat sounds, for example.
Special Hint Ø Setting the MIDI channel
If you are building up your own Sample library you should make a decision as to whether
you want to set the MIDI channel within the Program (EASY EDIT) or within the Samples.
Setting the channel within the Program is more flexible, but requires a new setting for the
receive channel in each Program. Setting the channel within the Sample has the
advantage that after loading from the library and assigning it to the Program (ToPgm = on)
the sound can be played immediately. However, this only makes sense when the library is
well organized; e.g. if all bass drums are always set to ch. 9, all HiHats to ch. 10, all bass
sounds to ch. 12 etc. (see chapter "The A3000 in Multi Mode").
SmpCtl1 and SmpCtl2 (knob 1), in combination with Matrix# 1 to 6 build up the
Controller Matrix for the assignable Sample parameters. The principle is the same as
for the Controller assignment at the Program level (described above). Please refer to
the illustration in the Owner's Manual (page 210). The illustration shows that you
can assign a Sample parameter to each of the six MIDI Controllers (or Pitchbend /
Aftertouch) (Refer to the list in the Owner's Manual, p. 212).

A3000 Guide 19
Parameter changes via controller are always relative to the specified parameter value
(offset). By setting the Type you can determine whether the change is allowed in both
directions (-/+offset) or in only one direction (+offset). Range specifies the effective
range of the parameter change via controller. Since negative values are also possible,
“+offset” lets you decrease the parameter values.
It is recommended to set the Controller Matrix in such a way that the effect is
compatible with XG synthesizers. To produce this behavior the -/+offset should be
set using a range of +63. The controller value 64 in this case is equal to the specified
parameter value. If CUTOFF is set to 64 for instance, the controller controls the full
range of the parameter. Setting CUTOFF to 32 means that nothing happens below a
controller value of 32. If CUTOFF is set to 0, only values from 64–127 are effective.
If you are controlling the A3000 from an external sequencer, you can use virtually all
control change numbers. However, the Controllers #007 (Volume) and #010 (Pan) do
not need to be set, since these are not dependent on the Controller Matrix and are
therefore always available. Apart from that, all physical controllers of the controlling
keyboard (Modulation wheel, Pitch Bend wheel, the pedals, Aftertouch…) and the
knobs 2–5 of the A3000 are at your disposal. For details, please read the section
UTILITY – PANEL PLAY.
Furthermore, the Controller Matrix is factory-set to the following values:
Matrix 1 = Control # 74 = Cutoff Bias (knob 1)
Matrix 2 = Control # 71 = FilterQ/Width (knob 2)
Matrix 3 = Control # 73 = AEG Attack (knob 3)
Matrix 4 = Control # 72 = AEG Release (knob 4)
Matrix 5 = not assigned
Matrix 6 = not assigned
In the above table, the standard assignments for "Knob Control" are added in
parentheses, and are ready to be called by the ASSIGN key. This assignment is made
by UTILITY – PANEL PLAY – Knob Set. Thus, for a new program the above
parameters (following ASSIGN) can be instantly controlled with the knobs.
Controllers #74 and #71 can however only be effective if FILTER TYPE is not set to
BYPASS.
To be able to keep track of things, it is recommended that you leave the basic setting
as is and assign only Matrix No. 5 and 6 individually.
Vel&PB = VelLow sets the minimum velocity for a Sample. Notes with lower
velocity will be played with the set minimum value. With this parameter you can
stop weak notes from disappearing. VelOfst adds an offset to all received velocity
values. With PB Type and PB Range you can program different operational modes
and the effectiveness of Pitch Bend, changing these from the standard setting.
Special Hint Ø Cutoff Control for Samples with Filter Envelope
Control of the cutoff frequency using Control Change can extend over several notes or bars
when using sequences (e.g. bass lines or arpeggios). This can lead to problems if a Filter
Envelope is programmed for the corresponding sound. If controller events (#74) are received
while a note is being played, the envelope is interrupted, causing sudden changes in the
middle of the sequence. In this case it is important that the controller events be placed in
time between NOTE OFF and NOTE ON. However, to do this manually is nearly
impossible (by using the knobs on the A3000 or the fader controls provided in sequencer
programs). Therefore, for Samples using the FEG, continuous changes to the cutoff frequency
should be programmed within the sequencer by inserting a controller event #74 shortly
before each note. Depending on the functionality of the sequencer program this can be a very
time-consuming task. An easier way to do this is to use the CONTROLLER TEMPLATES on
the included QUICK DISK, where different controller movements are pre-programmed in
steps of 1/16th note. The controller events have been inserted shortly before each 1/16th
note.

A3000 Guide 20
Fig. Controller Events as CUBASE Arrangement
The Controller Templates can best be used if the Controller Matrix is set to an XG
compatible -/+ offset range of +63. In some cases, you will need to increase or decrease the
CUTOFF frequency of the Sample.
In the above illustration you can see the value ranges of the controller events (#074 = Cutoff)
which are traversed during the 8 bar parts. For example, the part "00–30" contains a
sequence of controller events (#074) of the value range 00 to 30 with all intermediate steps.
If you are not working with CUBASE or LOGIC, and load or important the
Templates as MIDI files into your sequencer program, the illustration will
be helpful only as an overview, since in this case the tracks will not
divided into parts.
The "TestSQ" in the last track can be used to test the Controller Templates. For this test
please load the "XMPMulti" (also included on the QUICK DISK) into the A3000.
The effectiveness of the Controller Templates will depend on the CUTOFF setting for the
corresponding Sample Bank, which should be modified if necessary.
The controller parts overlap, since the first controller event must be placed slightly ahead
of the actual bar range (see above). The first event of the Template "30–60" is already
located in the last quarter of the 8th bar, even though this Template is intended to control
notes in the area from bar 9 to 16.
Owner's Manual p. 208 – 217