Rossum Electro-Music ASSIMIL8OR Manual

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ASSIMIL8OR
Multi-Timbral Phase
Modulation Sampler
Copyright 2018 Rossum Electro-Music LLC
www.rossum-electro.com
Operation Manual
_040618
4 |
2. Installation
As you will have no doubt noticed, the rear of
Assimil8or is a circuit board with a daughter
board, exposed parts, and connectors. When
handling Assimil8or, it’s important that the
back of the module never come in contact
with any metal (e.g. rails, patch cords, etc.)
while under power. Consequently, power
never be applied unless the module is
screwed in to the rack, and no loose patch
cords can find their way behind the panel
through adjacent empty spaces.
Additionally, there is alway a small risk of
damage by static electricity. Particularly on
dry, cold days (or if you’ve just shued across
your shag carpet in fuzzy slippers), make a
point of touching the metal panel first, before
touching any other part of the module.
While all Rossum Electro-Music modules are
protected against reverse polarity damage,
both to your module and your system, care
should still be taken to connect the power
cable correctly. (For more detail on our
unique protection method, check out Dave’s
discussion of Circuit Protection in Chapter
26.)
Plug the included 16-pin connector into the
header on the rear of the module such that
the red stripe on the cable (the -12V side) is
on the same end of the header as the “Red
Stripe (-12V)” text on the PCB.
Assimil8or requires, 220mA of +12V and
30mA of -12V, so be sure your power supply
has sucient capacity to handle it.
We have included both M3 and M2.5 (for
vector rails) mounting screws. Use what fits
your system.
If rack rash is of concern to you, use the
included nylon washers when mounting
Assimil8or in your case.
Be Sure You Have the Latest
Firmware
If we’ve released an updated version of
firmware after your module was shipped to
your dealer, you should update to that latest
version(s) before proceeding.
To check:
> Press the button to bring up the UTILITY
Utilities screen. Scroll down to About this
Module and click the encoder to see the
currently installed version.
> On the web, go to the tab at Downloads
www.rossum-electro.com/ products/
assimil8or/ and note the latest firmware
version.
> If it’s the same as the version in your
module, you’re good to go. If not, follow
the instructions there to update your
module.
8 |
Controls
DATA 1 Encoder
The DATA 1 encoder is used
to select and, with the DATA 2
knob, to set the value of various
parameters (see the Setting
Parameters section below). It also selects
Folders, Channels, or Samples for loading.
The encoder includes an integrated
pushbutton that is typically used to load
the currently selected Folder, Channel,
or Sample, to enter a currently selected
parameter value (see individual parameters
for details), or to confirm some action.
DATA 2 Knob
The DATA 2 knob is used to set the
values of parameters.
Additionally, for real-time control, in each
preset you can assign the DATA 2 knob to
replace any one of the 24 CV inputs when
you’re on the home preset screen. (Great
for live performance.) Make the assignment
at the bottom of the page or by Channels
holding down the Play Mode button and
turning DATA 2 while on the home page.
Any voltage at the assigned CV’s input jack is
ignored.
Setting Parameters
On each parameter screen, use the encoder
to highlight a parameter and then use the
DATA 2 knob to set its value. If you need
a more precise setting, click the DATA 1
encoder to edit at the maximum resolution.
Click the encoder again to enter the selected
value.
IMPORTANT NOTE: Whenever there are
any unsaved parameter changes in a
preset, a yellow warning sign will appear in the
lower left-hand corner of the home display.
If you select a new preset before saving the
current one, the changes will be lost.
If however, in the example above, when
editing Channel 2, you assigned input 2A to
modulate pitch, for that channel the result
would be the same. It would still look for
a CV at the “A” jack of the second row of
inputs. But if you then copied that channel to
Channel 7, that channel would still look for a
CV at the jack of the second row of inputs “A”
(i.e., 2A) as you would have assigned that
absolute input.
Outputs
Individual Channel Outputs
Each of Assimil8or’s 8 channels has
a dedicated individual output. Each
channel’s signal always appears at its
individual output (and may optionally
appear at the Mix Outputs described
below).
Mix Outputs
Each channel can optionally be
assigned to the with Mix Outputs
a mix level and pan setting. The
mix level is an oset (either higher or lower)
based on the channel’s individual output
level.
NOTE: Both the individual and mix outputs
are active during the process of sampling,
so channels may be played and resampled in
real time.
A TIP: While the individual outputs are
monophonic, since you can sample the
mix output, you could create a submix to the
mix output, sample it, and then have it available
at one (if mono) or two (if stereo) individual
outputs.
| 13
6. Managing SD Cards, Folders,
Presets, and Samples
File Organization
Assimil8or’s files are organized in the
following hierarchy:
Micro SD Card
Assimil8or’s front panel micro SD card stores
all of the folders containing the files required
to play your stored presets. The card is strictly
a storage medium. Audio is never played
directly from the card.
Folders
An Assimil8or SD card contains one or
more folders. Each folder contains one or
more presets and all of the presets’ samples.
Each folder may contain up to 199 presets
(memory allowing).
Additionally, a folder may contain one or
more samples not used in any of the folder’s
presets.
Presets
A preset contains all of the information
necessary to play up to 8 programmed
channels.
Channels
A channel contains the information
necessary to play one of Assimil8or’s 8
channels.
Samples
Samples are the actual WAV files that contain
the audio or control voltages that are the raw
material for your channels.
NOTE: When scrolling through samples
and folders on various screens, the
order in which the samples and/or folders
appear can be unpredictable. We’re currently
evaluating whether we can make this better. If
so, there will be a software update.
Micro SD Card
The micro SD card is essentially a library
of folders you’ve created (along with a few
housekeeping files you don’t really need to
worry about). Content may either be written
directly to the card by your Assimil8or or, in
the case of folders and WAV files, copied to
the card from a computer.
All preset and sample files on the card are
stored in folders at the root level of your card.
No nested folders.
If you’re copying files from a computer,
create a folder on your SD card and give it
a descriptive name. Put the WAV files (also
descriptively named) you’ll want for your
preset(s) into the folder, keeping in mind that
Assimil8or has 422MB of sample memory.
Assimil8or is compatible with 8, 16, 24, or 32
bit integer mono or stereo WAV files at any
sample rate.
WARNING: It’s an extremely unwise idea
to remove an SD card while Assimil8or is
executing any load, save, or browse function.
Or, in fact, any function that might even
possibly require accessing the card (formatting
is an obvious example). Seriously, just don’t do
it.
IMPORTANT NOTE: As mentioned in
Chapter 4 (but it’s worth mentioning
again), there are a lot of squirrelly cheap micro
SD cards out there. There are also cards that
appear to be from major suppliers that are
actually counterfeit. While many cheap cards
may be fine, we’d recommend that, for the
security of your data, you use cards from
known reliable manufacturers purchased from
trusted sources.
| 17
seconds) displays “Save Completed” and
exits the Save Filter screen. If you release the
button before 2 seconds have elapsed,the
display briefly shows “Save canceled” and
exits the screen without executing the save
operation.
Erasing the Current Preset
To erase a
preset, press
Save and then
scroll to the
beginning of the
menu to display
### **ERASE**
(where ###
is the preset
number of the
current preset
which will be
erased). While **ERASE** is displayed, either
long press the Encoder, or long press the
Save button. The display will briefly display
Erasing Preset and then exit the screen. If
you release the button while Erasing Preset
is displayed, the display briefly shows Erase
canceled and exits the screen without
executing the erase operation.
Channels
Each channel contains the information
required to play your programmed audio or
CV files through it’s dedicated channel output
and, optionally, through the mix outputs. A
channel plays either one sample or, if you are
using the function, up to 8 samples Zones
that can be selected by a CV. Channels are
configured, appropriately enough, on the
Channels screen and, optionally, the Zones
screen.
Channels can be assigned a variety of
modes that allow them to interact with other
channels in your preset in many creative
ways. Details will be found in the Channels
chapter.
Channel Parameters
The following parameters are referred to as
Channel Parameters, because while they
aect a channel’s sample(s), they are actually
owned by the channel, not the sample. If you
set up a channel and then replace the sample
in the channel with another, the new sample
inherits all of the parameter values of the
initial sample.
Channel parameters include: Pitch, Level,
Phase Mod, Mutate, Pan/Mix, Sample Start/
End, Loop Start/End/Length, Play Mode,
Envelope, and Loop Mode.
Copying and Importing Channels
Once you have created a channel, you can
copy it to other channels in your preset or
to channels in other presets in the current
folder. Additionally, you can import channels
from other folders on your SD card into
channels in the current folder, in which case
the channel’s sample(s) are also imported
into the current folder. Again, see the
Channels chapter for details.
Samples
Samples are the raw material of your
channels and presets. Samples can be
recorded directly by Assimil8or or can be
copied onto an SD card via computer.
See the chapter for details of Sampling
Assimil8or’s sampling options.
To use your computer to load existing WAV
files, create folders at the root level of your
SD card and put the WAV files in those
folders. Assimil8or is compatible with 8, 16,
24, or 32 bit integer mono or stereo WAV files
at any sample rate. While sample names may
be up to 47 characters long, we recommend
that both folder and sample names be both
relatively short and descriptive.
| 21
Sampling Time
This parameter
lets you set
the maximum
sampling time
for your sample.
The choices
are “All” (i.e., all
of the currently
available
memory in the
current folder)
and absolute
times that range from 0.1 second to 600.0
seconds in .1 second intervals.
NOTE: This setting represents the
maximum sampling time for your sample.
If you stop the sampling process before all
of the set time has elapsed, your sample will
be truncated to the time actually used by the
sample.
Sampling Rate
This parameter
sets the
sampling rate
for your sample.
Choices are
48kHz, 96kHz,
and 192kHz.
As you would
expect, each
higher sampling
rate uses twice
the amount of
memory for the same sampling time as the
rate below it.
A TIP: For most samples not intended
specifically for dogs, the lower sampling
rates definitely make more ecient use of
memory with little or no sonic compromise.
However, if you are sampling something with
substantial super high frequency content and
you know you’ll want to be pitch shifting it
down (which can give some very interesting
eects), the higher rates may be the way to go.
Naming Mode
When you
record a new
sample, it is
initially given a
default name
(which you
would do well
to change to
something more
useful at some
point - some
point soon). This
setting lets you specify the default naming
scheme. The choices are:
New001 Each new sample is named
New###, ### where is a number that
starts at 001 and increments 1 for each
new sample. So, New001, New002,
New003, etc.
Pnm001 Each new sample is named
???###, where ??? Is the first three
letters of the current preset name and
### is a number that starts at 001 and
increments 1 for each new sample. So if
you had selected a preset called “Snares,”
new samples would be Sna001, Sna002,
Sna003, etc.
S001 Each new sample is named S###,
where ### is a number that starts at 001
and increments 1 for each new sample.
So, S001, S002, S003, etc.
High Pass Filter
This setting
allows you to
decide if you
want your
sample to be AC
or DC coupled. If
you are sampling
CVs, you
definitely want
DC coupling.
| 23
If you continue adjusting the value past
-1dB, you will encounter “O,” which turns
o threshold triggering.
If you continue adjusting beyond “O,”
you will be able to choose any of the 24
CV inputs to act as a sampling trigger.
NOTE: The dierent triggering methods
can be used in combination to start and
stop sampling. For example, you could start
sampling with the button and stop it Sample
with the (or the reverse). If you start it via CV
the Threshold, you will have to stop it with the
Sample button or simply let it complete the
preset sampling time.
26 |
To truncate the end of the sample (the data
after the currently set end point), set the end
point as desired and then press and hold the
Sample End button. As above, the display
will show “Truncating in 2 seconds.” If you
release the button before the 2 seconds have
elapsed, the truncation will be canceled. If
you hold it for the required 2 seconds, the
display will show “Sample saved” and your
new truncated sample will be selected.
If you wish to truncate both the beginning
and end at once, set the start and end points
and then press both the Sample Start and
Sample End buttons simultaneously. As
above, the sample will be truncated after 2
seconds and the new truncated sample will
be selected.
NOTE: When you truncate a sample in
a channel or zone, the channel or zone
will now use the truncated sample (i.e., the
truncated sample replaces the original in your
channel zone). However, if the original sample
is used in any other channels or zones, it will
not be automatically replaced in those. If you
want to use the truncated sample in those
channels or zones, you will need to replace
them manually.
Once you’ve created a truncated sample, you
can, if you’re sure you’ll never again want the
original sample, go back and erase the it.
28 |
NOTE: If the sample you assign has been
used in another preset in your folder, it
will already be present in memory, so will be
immediately available to play. However, if the
sample has not been used in another preset,
it will first have to be loaded into memory
from your SD card. If it’s a short sample, you
probably won’t even notice the delay. But if it’s
a long sample, you may have to wait for a bit.
You can refer to the progress bar at the top of
the display for load status.
ANOTHER NOTE: If a channel is using
zones, the field will Assigned Sample
show the name of the sample in Zone 1. If you
replace or delete this sample in the Channels
screen, the sample will be replaced or deleted
from Zone 1 in the Zones screen.
Importing Samples
When selecting
a sample for a
channel, you
can also import
samples from
other folders
on the currently
inserted SD card.
See Chapter
6 for details
on importing
samples.
NOTE: As mentioned above, if you replace
an existing sample with a dierent sample,
the new sample will inherit all of the channel’s
channel parameters that had been set for the
previous sample. You may (or may not) need
to adjust those as desired.
Copying Channels
If you’ve
previously
programmed a
channel (either
in the current
preset or in
another preset
in the current
folder) that
you would like
to copy into
a channel in
the currently selected preset, highlight the
destination channel’s assigned sample field
and long press the encoder switch. This will
bring up the Copy Channel field. Scroll to
the channel that you’d like to copy into the
selected channel and click the encoder.
Importing Channels
Like importing
samples from
other folders as
described above,
you can also
import entire
channels from
presets in other
folders on your
SD card. Here’s
how:
> With the destination channel selected (i.e.,
the channel you want to import the new
channel into), press the LOAD button.
> Scroll to the folder on your SD card that
contains the preset that contains the
channel you want to import.
> Double-click the LOAD button to display
the contents of the selected folder.
> Scroll through the folder’s contents to
locate the preset with the desired channel.
> Double-click the LOAD button again to
display the preset’s channels. Scroll to the
channel you want to import.
| 33
Copying Zones
If you’ve
previously
programmed
a zone (either
in the current
channel or
in another
channel in your
preset) that you
would like copy
into a zone in
the currently
selected channel, highlight the destination
zone’s sample (or the eld for a new ++
zone) and long press the encoder switch.
This will bring up the Copy Zoneeld. Scroll
to the zone that you’d like to copy into the
selected zone and click the encoder.
IMPORTANT NOTE: The sample assigned
to Zone 1 will also appear in the sample
name eld for the selected channel on the
Channels page. If you replace that sample on
the Channels page, it will, as you might expect,
replace the sample in If you delete that Zone 1.
sample on the page, it will indeed Channels
delete Zone 1. (See Deleting Zones below
for details on how that aects the remaining
zones.)
Selecting Zones
When on the screen, you can select a Zones
zone simply by highlighting its sample name.
You can also select a zone from any screen
by pressing and holding the Zones/Select
button and pressing the channel button
whose number corresponds to the zone you
want to select (e.g., to select Zone 4, press
the Channel 4 button). While that’s not too
useful while on the screen (it’s typically Zones
easier to use the encoder), it comes in really
handy when you’re editing the other zones-
dependent parameters: Pitch, Level, Sample
Start/End, and Loop Start End/Length. Using
that technique, you can select various zones
and edit them in sequence without having to
leave the parameter screen.
Voltage Selection Ranges
Each time you add a new zone, the default
voltage selection range for that zone is half
of what was the voltage range for the zone
above it.
“Huh?” you might well be thinking. If so, let’s
look at how the default ranges work:
With one zone, the default range is -5V to
+5V (i.e., the entire voltage range).
When you add a second zone, the default
ranges are now:
Zone 1: +5V to 0V
Zone 2: 0V to -5V
Now add a third zone and it becomes:
Zone 1: +5V to 0V
Zone 2: 0V to -2.5V
Zone 3: -2.5V to -5V
I.e, Zone 3 has split what was Zone 2’s range
in half, leaving Zone 1 unaected.
Add another and you get:
Zone 1: +5V to 0V
Zone 2: 0V to -2.5V
Zone 3: -2.5V to -3.75V
Zone 4: -3.75V to -5V
Now Zone 4 has split what was Zone 3’s
range in half, leaving Zone 1 and Zone 2
unaected.
This process continues until you’ve added all
the zones you want.
At that point, you’ll probably want to adjust
the various voltage ranges for your particular
needs. There are two ways to do that:
Automatic Equalization This one’s easy.
If you want all of the zones to have an
equally sized voltage range, just highlight
any voltage eld (it doesn’t matter which
one) and long-press the encoder. The
ranges will be automatically adjusted to
that each zone’s range is of equal size.
36 |
12. Envelope
Attack Start Value
This setting allows you specify the envelope’s
starting voltage when its channel receives a
trigger or gate. Its primary use is to decide
what happens when a channel is playing and
gets a new trigger before its envelope has
come to its end.
The choices are:
From Zero Volts As the name implies,
this causes the envelope to always start at
zero volts.
From Last Voltage This setting causes the
envelope to start at whatever its voltage is
at the instant it receives a new trigger.
NOTE: If sounds on a channel are not
triggered such that they overlap, this
setting has no eect, as the envelopes will
always start from zero. However, if the sounds
do overlap, depending on the sample and
where it’s retriggered, “From Last Voltage” can
sometimes eliminate clicks or other artifacts
that result from large instantaneous voltage
transitions. On the other hand, there are some
situations, again depending on the sample and
where it’s retriggered, where you’re going to
get a click no matter what. But see the next
note:
ANOTHER NOTE: Another way to further
minimize clicks on re-triggering is to turn
on Smoothing in the Mutate screen. See
Chapter 18 for details.
Release Time
Release Time sets the time, in seconds, it
takes from the moment a gate fall is received
for the sample level to reach zero. The range
is from instantaneous to 99.00 seconds.
The resolution is the same as for Attack Time
above.
The Envelope
lets you dene
the Attack and
Release times
for a channel’s
or zone’s
sample.
A sample or
zone always
attacks for the
Attack time set
here. A sample in Gated Mode (or in 1-Shot
Mode using Latch Mode) decays for the
Release time set here.
Attack Time
Attack Time sets the time, in seconds, it takes
from the moment a gate or trigger is received
for the sample to reach its full programmed
level. The range is from instantaneous to
99.00 seconds.
The resolution is as follows:
From 0.0000 (instantaneous) to
0.0099 seconds, the resolution is 1 ten
thousandth of a second.
From 0.010 to 0.099 seconds, the
resolution is 1 thousandth of a second.
From 0.100 to 0.990 seconds, the
resolution is 1 hundredth of a second.
From 1.00 to 9.90 seconds, the resolution
is 1 tenth of a second.
At 10 seconds and above, the resolution is
1 second.
The Attack Time can be modulated by any of
the CV inputs with the modulation gain set by
the associated attenuverter.

Produkt Specifikationer

Mærke: Rossum Electro-Music
Kategori: Ikke kategoriseret
Model: ASSIMIL8OR

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