View and Download Akai XR10 operator’s manual online. 16 bit pcm drum machine. XR10 Music Equipment pdf manual download. This page contains information about the Operator’s Manual for the XR10 from Akai. Preview and download studio quality samples from the AKAI XR Download samples and manuals from some of the best electronic instruments.
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SOUNDS THE XR10 PROVIDES you with ten kicks, ten snares, two rimshots, three hi-hats closed, mid and open12 toms 4 x low, mid and hightwo crash cymbals, one ride cymbal, one choke cymbal, handclaps, finger click, four congas, vibraslap, two guiros, cabasa, tambourine, orchestral hit, triangle low and high, cowbell, claves, whistle, squeak low and high, timbales low and high, agogo low and high, and chop a slapped bass.
DCA Decay can be used to shorten the decay time of a Sound, which can be useful when its length isn’t quite right either for the rhythm it’s being used in or for the sound that results from editing with the tune and sweep parameters.
The XR10 is a big improvement on Akai’s XE8 drum expander, has its own distinct character, and overall is a welcome addition at the budget end of the market.
In trying to find a description of the XR10’s overall sound, I keep coming back to “gritty and razor-sharp’; the more usual “punchy and tight” are also appropriate.
Accents can be recorded per note in the usual drum machine fashion by holding down the Accent pad when you play akak relevant note.
Previous article in this issue: Tuning the Sounds down introduces a certain amount of aliasing akwi noise; personally I think that just makes the Sounds more interesting, but if you’re of the opinion that cleanliness is next to Godliness, then you won’t agree. Give it a try “. That’s a fairly manul number to start with, and in practice you can extract a greater diversity of sounds by tuning, reversing and pitch-sweeping these samples.
In practice, there are many irritating aspects of the XR10’s user interface, but xr100 decided that the XR10 should default to Preset pattern 01 every time you enter Pattern mode or return to the pattern play level from the edit level, should definitely be shot. Each XR10 Sound can be assigned separate Sound Volume and Effect Volume amounts which control the level of the Sound at the stereo and Effect outs respectively – so, for instance, to output a Sound only from the Effect output you zero its Sound volume.
There are significant advantages to creating rhythm parts in a MIDI sequencer as opposed to a drum machine, and significant advantages to being able to draw on your own library of sampled drum sounds as opposed to a collection of sounds provided for you by a manufacturer.
A more informative error message than “Oops! Will it end up being overshadowed by Cheetah’s MD16 drum machine, which is more sophisticated and yet significantly cheaper? The XR10 allows a very ready interaction between Preset and User rhythms in both Pattern and Song modes, but sadly this doesn’t extend to being able to select User rhythms from the front-panel pads as you can Preset rhythms.
Gear in this article: But if the XR10 encourages erstwhile preset drum machine owners to begin programming their own rhythms, who am I to argue?
The Velocity Feel parameter effectively changes the mznual “hardness” of a Sound when you’re triggering it from an XR10 instrument pad, because, with the parameter turned on, the Sound’s attack becomes less percussive at lower velocities – and the pads seem to operate at a fixed mid velocity value, producing a consistent difference which can in some cases be quite, urn, striking.
Still, that’s enough on this subject.
Each Preset Sound has 12 parameters: With a spot of practice it’s easy to mix ‘n’ match variations and manul or breaks from different Presets. Experimentation is the name of the game – not to mention fun.
Each User pattern can be assigned its own tempo bpm. There’s a moral there somewhere. PROS – some great samples – old school.
Documents, presets, manuals Akai XR10 – Audiofanzine
THE XR10 PROVIDES you with ten kicks, ten snares, two rimshots, three hi-hats closed, mid and open12 toms 4 x low, mid and hightwo crash cymbals, aiai ride cymbal, one choke cymbal, handclaps, finger click, four congas, vibraslap, two guiros, cabasa, akkai, orchestral hit, triangle low and high, cowbell, claves, whistle, squeak low and high, timbales low and high, agogo low and high, and chop a slapped bass.
Of course, if you’re slaving the drum machine off a sequencer then this doesn’t matter, and having to go through the tempo page each time you exit Pattern Record becomes even more irksome. For each pad manal, the XR10 records the pad and the Bank it’s in. So does the XR10 signal a new direction for the drum machine? You can send us a note about this article, or let us know of a problem – select the type from the menu above.
Actually, it’s not as complicated as it might seem at first – which is probably a good thing, because if you make a mistake with your bracketing there’s no way you can get out of Song mode short of switching the machine off until you fix it. This apparent paradox is explained by the fact that Akai’s drum machine limits you to notes per pattern – which seems like a lot until you actually reach that limit, as happened to me while I was innocently recording a four-bar pattern.
The 50 rhythm Presets, which are listed across the XR10’s front panel for ready selection, include the Latin rhythm staples of the preset machine – samba, mambo, cha cha, beguine, bossa nova, rhumba and salsa. Back panel terminals connectors: Simon Trask assesses this marketing strategy while listening to some dope drum sounds. Searchable archive of old, out-of-print music production magazines. Next article in this issue Tears For Fears. I might have been more convinced if Akai had sought a more wholehearted, and more innovative, integration of the preset and the programmable – like being able to select User patterns from front-panel pads.
I also have to wonder if whoever programmed the disco rhythms has ever heard any disco music.
AKAI XR10 OPERATOR’S MANUAL Pdf Download.
All this can go on within one Song step if you want, but the idea is more that you can repeat sections within sections within sections of a Song – providing you can keep track of what you’re doing. Most of the samples are old school big drums, acoustic gated toms but also electro percussions in a perfect Kraftwerk-like style. Fortunately, it wasn’t as terrible as it could have been, because I’d just previously copied the pattern and was recording into the copy.
I couldn’t get the drum machine to sync to an external MIDI device as either master or slave in Pattern mode, despite the manual’s intimation that this should be possible in Pattern Write mode when the drum machine’s “MIDI clock” parameter is on.