PART 1

1. Go to the keyzone page and right click to bring up the context menu (ctrlMAC click on a MAC). Select import sample.

2. The wav will then create a zone which is assigned to C3. You will see at the bottom right there is a red square. click and hold on this and drag to the right so that it covers the whole range of the keyboard. Do the same for the red square at the top of the left side, dragging it fully to the left. The zone (blue) should now be stretched across all of the keyboard keys, which means it is assigned across the entire keyboard range.

3. You will notice on this image that the zone no longer goes all the way down to keyboard. I have done this to demonstrate another important feature of the keyzone screen. This designates the velocity range that the sample will respond to. The top end reprents maximum velocity, and the bottom minimum velocity. To change this you select the zone and hover your mouse over the edge of the zone until it turns into an up down arrow. You can then click and drag to the selected velocity range.

NOTES: Velocity range is useful when you have more than one sample in an instrument (multi-sampled). The idea is that you can recreate acoustic instruments by sampling them being played hardsoft and then setting the velocity range so that hard notes will only play when you hit the keyboard hard and vice versa.

PART 2

In part one we assigned an envelope to the instrument, now we will add a filter.

1. In the DCA section increase the resonance and play with the cutoff. Choose the filter type from the envelope depending on which type of sound you require.To pass the filter through envelope one, simply increase the envAmount setting to 100%

2. If you now play with the envelope stages you will see how the sound is effected, it is identical to the envelope described in part 2.

3. Another thing you can do is create more points in the envelope by double clicking in between 2 existing ones. Another thing to mention are the two sliders at the bottom of the envelope. These are for navigational use, the right hand one is effectively a zoom, and the left moves the visible portion of the envelope, once it is too wide to fit. PART 3In part 2 you learned how to map a wav file to the keyboard, and how set the velocity range. Now you need to put the sound through an envelope so that you shape the volume over time.

1. Go to the Env/Filter page. On here you will see Envelope 1 and Envelope 2. Envelope one is for controlling how the filter will respond over time, and Envelope 2 is for the volume.

2. Each Envelope is like a graph representing time along the bottom and volume up the side. So each of the points represents how loud at each time the volume is, and how long it takes to get from one volume to another. The example above demonstrates that the volume begins at zero and fades in to reach volume 2. The volume then drops to stage 3. Stage 3 is important because it is the sustain, which means that once this is released as long as the key is held down it will remain at this volume. Number 4 is the release time which is what happens after the key on the keyboard has been released and represent how much time it will take for the sound to fade.3. I will now describe the features below the envelope:

Env Amount: This sets the max volume of the envelope. It should be set to 100%, lowering this decreases the volume but retains the envelopes shape.
Volume: The overall volume of the sound
Velocity: This determines how sensitive the instrument is to velocity sensitivity. For example setting this to 100 makes the instrument behave as a piano would, whereas setting it to 0 it will behave like an organ.
Panarama: This sets where in the stereo field the sound will be.
Spread: This setting will place each note played in a different part of the stereo spectrum, the higher the setting the wider the effect.

PART 4
In part three we assigned we added a filter and passed it through the envelope. Next we will add an LFO and use it to modulate the filter.

1. Go to the Mod Tune Page and look at the modulation section. This is where you can assign source modulators by amount to any destination in the destination list.

For this tutorial we will be using LFO1 to modulate the filter cutoff. In the first column (Source) select LFO1, in the second select amount 2, and then on the third select cutoff. Next move the amount up to 100 for maximum depth of the effect.

2. It should look like this:

3. Now move over to the LFO1, and play with the parameters to hear the effect, Here is a description of what each does:

Freq: This is the speed at which the LFO oscillates
Delay: This adds a fade in time before the LFO takes full effect.
Sine: This box allows you to select the shape of the LFO
Sync: When selected this syncs the LFO speed to the sequencers bpm which is very useful!

Now you have done this you will be able to create new mappings in the available boxes, for example Aftertouch to Pitch.
Notes:You can duplicate this parameter and use LFO 2 as the source in another box, and create interesting interaction between the two LFOs particularly if they are both synced.