· Selectable sampling rates of up to 41.667 kHz so you can optimize memory and achieve full bandwidth on playback.
· Computer assisted looping functions (including cross-fade looping) so that you can easily produce your own library of custom sounds.
· Multiple sample locations for storing up to 32 different samples in memory at one time.
· True stereo outputs (2) plus separate audio outputs per voice (8) for individual processing of each.
· 32 levels of programmable panning per voice.
· Separate analog and digital controls per voice, including fully sweepable filters and VCAs for modifying any sample.
· Lots of on-board memory ( 768K bytes) with instant access to hard disks or CD-ROMs via the built-in Small Computer Systems Interface (SCSI).
· A 3"1/2 inch double sided disk drive for storing all work quickly and reliably.
· Real-time sample monitoring. You hear exactly how your sample sounds at different sampling rates both prior to and during the actual sampling process.
The Studio 440 is an amazingly fully featured sampler. We urge you to
compare its sound quality with samplers priced to $ 15,000. We think you'll
agree that the STUDIO 440 is in a class all by itself.
The four programmable kits allow for infinite variations of the same sound by editing only the performance parameters. Performance parameters can be assigned to any pad and include sound number, pan, pitch, volume, and a choice of one of the two sound parameter sets. These performance parameters are easily edited in real-time, and settings for all eight pads can be stored and recalled instantaneously from any one of the kits. And since the alternate parameters can have individual start/end points for each sound, there are actually up to 64 "different sounds" available at one time.
Sequential's factory library includes over 300 sounds, and is immediately
available. In addition, any Prophet 2000 or 2002 sample can be loaded directly
into the 440, so the actual number of sounds now available is too numerous
to list. The STUDIO 440 is the ultimate drum machine.
15.625 kHz rate : 33.5 seconds — 6 kHz bandwidth
31.250 kHz rate : 16.7 seconds — 12kHz bandwidth
4l.667 kHz rate : 12.5 seconds — 18 kHz bandwidth
32 sample points Real-time monitoring of sample input
Copy/Append: Allows transfer of one sample to another (empty) sample location, or the splicing of two samples together. The "splicing" of sounds can be crossfaded or abrupt. Also allows reversal of the source material before appending to easily create special forward/reverse sounds.
Looping: Forward or bi-directional sustain or release loop; linear or equal power crossfade looping (forward or bi-directional).
Mix: Allows the "merging" of two samples digitally.
Direction: Forward or reverse playback of sample data.
Start Mod: The playback start-up point of the sample can be controlled
Outputs: Each (up to 32) sample assignable to any of the 8 outputs; or, assignable to any one of 32 pan (stereo placement) positions. Stereo placement can also be a function relative to the sample's pitch.
Envelopes: ASR type, 2 per voice (VCF, VCA) DIR type, 1 per voice (BEND)
VCA attack can be exponential (positive values) or reverse exponential (negative values-typical of reverse sounds).
Attack and Release times can each be fixed from 0 to 120 seconds.
Sustain time can be fixed (from 8 milliseconds to 120 seconds), or GATED, which sustains the sound for as long as the pad is held.
Special BEND envelope to create pitch sweeps upwards or downwards from the original pitch. Can be set to occur immediately or upon release of a pad.
All envelope settings (attack rate, sustain time, release rate, and bend depth/rate) can be set to track pitch and velocity.
MAPPING OF SOUNDS: Sound mapping is done per MIDI channel and is over
an 88 key range, from low A (A 1 ) to High C (C7). All samples can be mapped
to one MIDI channel, or distributed throughout the 16 MIDI channels.
32 channels of MIDI information per track (16A, 16B).
400k Bytes of sequence RAM, equivalent to approximately 100,000 MIDI events (50,000 notes). Sequence RAM independent of sample RAM.
99 sequence locations. Sequence length from 1 to 999 bars. Number of repeats per sequence 0 to 254 or INFINITE.
12 song locations. Song length from 1 to 500 steps. Number of repeats per step 0 to 31.
The ability to mute or unmute selected tracks can be entered as steps in a song.
Auto Correct Resolutions: 4, 4T, 8, 8T, 16, 16T, 32, 32T, OFF
Tempo range is 40 to 250 beats per minute (BPM). Tempo is also displayed in frames per beat (FIB).
SMPTE types are 24, 25, 30 Drop and 30 non-drop Frames Per Second (FPS).
The following editing can be selected per track & MIDI channel (or
internal sound number, where appropriate) : Every type of MIDI data can
be selectively erased. Transposition up or down by 24 semitones. Velocity
resealed from 0% to 250%
(100% = no change).
The following editing is done by track only: Rotation of all MIDI
data (this allows you to re-define the beginning of sequence,
shifting the initial data to the end of the sequence). Replace one internal sound with another, for quick "auditioning" of different sounds playing the same pattern. Copying of sequence data, resolution is by bar. Data can be "channelized" to a new MIDI
channel. Bounce any or all tracks to one track. MIDI channel separation is maintained.
Delete sections of a sequence, resolution is by bar.
Insert bars into a sequence, resolution by bar.
Tap Track allows you to manually enter the occurrence of quarter or eighth note values, replacing the normal "clock" used. References are made against SMPTE time code. TAP EDIT allows alterations of the taps.
Accelerandos or ritardandos can be programmed by assigning a tempo change at any given bar of plus or minus 99.9 BPM over a period of from 1 to 99 beats.
MIDI offset allows shifting of the MIDI data from either MIDI OUT jack
by plus or minus 15 milliseconds to adjust for delays in external MIDI
DATA ENTRY SLIDER
8-SOUND PADS: Velocity & Pressure Sensing, assignable.
AUDIO OUTPUTS: 8 separate audio outputs plus stereo outputs (also act as headphones or mono mix out).
MIDI : IN, OUT A, OUT/THRU A, OUT B.
TERMINAL SYNC IN & OUT.
CLOCK SMPTE OUT: Logic Level Signal of +5 volts DC.
CLOCK SMPTE IN: Tape or Logic Level.
TAPE SMPTE OUT: An AC coupled signal for printing sync tones on tape.
SCSI : 25 pin D-connector Small Computer Systems Interface for connection
to hard disks and future storage devices such as CD-ROMs.
Specifications subject to change without notice.
this document and pictures.
BACK to my home page