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TX16Wx Quick Start Guide PDF
TX16Wx Quick Start Guide PDF
Contents
1 A new project .................................................................................................................................. 3
1.1 Create the first performance ................................................................................................... 3
1.2 Building the first Program ....................................................................................................... 4
1.2.1 Mapping some samples ................................................................................................... 4
1.2.2 Editing sound parameters ............................................................................................... 6
1.2.3 Modulation ...................................................................................................................... 7
1.2.4 External controllers ......................................................................................................... 8
1.2.5 Play mode ........................................................................................................................ 9
1.2.6 Adding a velocity-faded second layer.............................................................................. 9
1.2.7 Mapping an envelope .................................................................................................... 11
1.3 Sampling ................................................................................................................................ 12
1.3.1 Loops ............................................................................................................................. 15
1.4 More keyboard mapping - creating a drum kit ..................................................................... 17
1.4.1 Choosing other samples ................................................................................................ 18
1.5 Slicing a loop .......................................................................................................................... 20
2 Important options ......................................................................................................................... 21
2.1 Places ..................................................................................................................................... 21
2.2 Settings .................................................................................................................................. 21
3 Conclusion ..................................................................................................................................... 21
1 A new project
This is a quick tutorial guide on how to work with the TX16Wx Software Sampler. It is created using
the 2.0 beta release, thus certain sections and operations might differ slightly from the version you
are using.
For this guide we'll setup some patches for a small song using a DAW and TX16Wx. In this session
we'll be using Cockos Reaper1, but most operations should translate to other environments as well.
You will be asked if you wish the full compliment of 16 outputs created. Choose yes.
Now we have an empty TX16Wx instance, a midi track and 12 output busses.
1
CWI Technology is not affiliated with Cockos Inc. The use of Reaper is not sanctioned by Cockos
November 1, 2012 Page 3 CWITEC 2012
TX16Wx Quick Start Guide
The top part is the graphical keyboard mapping tool, and at the bottom is the group list. We have no
groups defined yet, so both are empty. Lets create a new group.
Here we are using the built-in file browser to find a full set of previously tuned and mapped samples.
From this we can quickly create a proper mapping setup. Just select all the samples and drag them
into the group list.
Let's start by tweaking the Amplitude envelope a bit. We'll add a little
release to the sound to make sure there's no clicking artifacts on note-offs. Then lets add a filter to
the sound.
We'll use a low-pass filter set to about 3kz and then add some
resonance. This will help add some nice analog touch to the
samples. Now let us add some modulation. We'll start by setting
LFO1s frequency to ~3Hz and a sinus wave. Then set the Amp
parameter to zero. This will be our vibrato source.
1.2.3 Modulation
Now, with the new group still selected, go to the 'Modulation' tab, at the far right of the sound
controls. Currently we have no modulation set up. We'll start by routing the LFO we just tweaked to
group amplitude.
Play with the values until they seem right. This simple three-row modulation matrix is indeed a very
useful one. Let's store it as a preset so we can quickly add this to future groups.
Now for some more specific modulation. Add connection between LFO2 and the filter cutoff with a
value ~2500Hz
Then we tweak the LFO2 settings a little. Here I am setting it to tempo sync at a fairly low rate.
Now we have a more dynamic sound. Since I also have a controller surface, I'll add a control to
change the filter resonance.
Either choose the controllers from the drop down menu, or click the Midi learn button for the
controller you want to set, then twiddle the knob or slider on your control surface
Now, with the mapping I set up previously I can use my controller surface to modify the resonance of
the program we're working on.
Tip: When you've mapped your controller surface, click the Save defaults button at the bottom of the
External controller screen to save the mapping as defaults so its automatically setup every time you
load TX16Wx.
I am building a classic twirling lead synth, so I'll change the play mode from Poly to Mono. Now only
one voice at a time can play from this group. I'll also add some glide to the sound. Now we have that
lead feeling.
Enable auto-preview of samples by clicking the "Auto play" checkbox in the file browser. Now we can
hear the samples we consider directly in the DAWs main output.
I've located some 'plucking' sounds, so I choose the whole multi sample and drag them into the key
mapper again.
While I tune the sound of this group, I want to mute the previous one, so click the mute button in the
group list item.
I want this sound to only play on hard velocities, so I'll change the groups low velocity to 50, by
dragging the group bottom upwards in the mapping view.
Switching to the modulation editor, we'll first copy the 'default' modulation settings we saved earlier
into this new group and then add a new velocity modifier.
And then set both 'Velocity' and 'Volume' to zero. This effectively maps the active velocity range to
volume and will make this extra layer fade in as we strike keys harder.
Now switch to the ENV1 panel. Let's edit the envelope parameters like this:
The amplitude is set to 1, i.e. fully affecting all destinations. We then make a curve that starts at +0.7,
drops to -0.4 during 100ms and then rises back to zero after 1.2s. This will make the pitch of the
group "sway" slightly on note-on.
1.3 Sampling
The real fun with a sampler is creating sounds from scratch. To build an instrument from directly
sampled sounds, first ensure that your DAW is routing the appropriate audio input to TX16Wx. If
using Reaper, like in this guide, this should already be the case.
Enable listen mode by pressing the L button in the sampler section on the right side. Audio input
should now register on the VU-meters next to it. Choose Mono or Stereo sampling with the button
next to it. When ready to record, press the Sample button and produce whatever input you wish to
sample. When done, press Sample again to turn off recording. The new wave will be displayed in the
sample editor.
Move the Start and End marker, either by dragging in the graphical display or modifying the
parameter displays. Remember to use the zoom buttons or scroll wheel to zoom in or out for easier
view of the edit range.
Tip: When you left-click in the sample view the wave will be played from that point. This makes it
easier to find the location you want to use as start or end point. You can quickly set the start, end or
loop points by right-clicking and choose from the 'Set' options to move a marker to the cursor
position.
Create a new group and assign the sample by dragging the new sample from the sample list into the
key.
Ok, now it's mapped and we can play the wave. But unless you sang or played at exactly middle C,
the root key is probably wrong so we're playing out of key. Let's go back to the sample editor and use
the pitch detection.
With some luck the pitch detector will find the root and fine tune for the new sample. This feature is
quite sensitive to the nature of the source material though, so you might find that you must resort to
manual tuning.
Tip: For manual tuning, try using a 'known' sample in another program or group playing with the new
sample group and then adjust the root and fine tune graphically in the mapping view.
When satisfied with the sample so far, use the 'Trim' or 'Range to New' option in the sample view
menu to either trim or create a new wave from the range we've mapped. Click the sample name in
the sample list to give it a more useful name.
1.3.2 Loops
Our sample does not sustain well yet. To create a loop in our new wave, right-click the sample view
and choose 'Add loop'. Then choose a loop mode from the 'Mode' menu. You may now adjust the
loop points similar to how you modified the start and end points.
Tip: You can assign more meaningful names to your loop by shift-clicking the loop in the loop selector.
Tip: Click the '<' and '>' buttons next to the loop start and end numerical displays to move to
previous/next zero-crossing in the wave. Zero-crossings make good loop points.
When you play keyboard you might notice that the wave is still not looping while playing. This is
because we need to assign the loop to the split we created before. This is normally done
automatically when mapping a preexisting wave, but since we mapped this wave before any loops
existed we need to choose one now. Go to the keyboard mapper.
Don't forget to assign both sustain and release loop. The release loop will play during the 'Release'
stage of the AEG cycle, i.e. the portion of the sound played after you release a key.
Now the wave plays back correctly. However, the loop might not be perfect. Try using the crossfade
option in the sample editor to smooth the transition between start and end. This usually fixes most
issues.
We can now continue making more samples and add to the group by inserting further split points.
TIP: Non-pitched material will be mapped in the order of the dropped files. You can quickly reorder
the mapped waves by dragging the splits in the group list.
Now we can do some fixing up. I want the hi-hats to choke each other. Let's move them to a separate
group. Right-click on the first hi-hat split and choose 'Separate', repeat on the sample above the
second.
With the new group selected, assign it a choke group. The two samples will now choke each other.
Also set the groups trigger mode to Oneshot. We'll send this group to a separate Mono output as
The group output setting overrides any setting in the channel slot. Repeat this procedure until
satisfied with the mappings, chokes and outputs.
Tip: The Oneshot play mode is useful for drums. In this mode, the samples are played without held
sustain, going direct from the decay phase to release.
Tip: You can separate a group, move and rearrange the parts and then use the 'Combine' command
from the group list menu to put them back into one group. Sometimes this is easier than reassigning
waves into splits.
Keep browsing until you find the sound you like, and simply click 'Open'. The sample is replaced.
Tip: The same technique can be used to load programs into program slots. If you have a library of
'txproj' files, you can enable preview in the program load dialog for a channel slot. The currently
playing program will be temporarily replaced by whatever program you click in the open dialog. Like
with waves, you can preview how a playing song would sound with the new program.
If the slices don't look correct, try experimenting with the threshold value. You can also select any of
the created slices and set their mode to Pinned Slice to force keeping them when running the
detector again.
The beat detector will also try to detect the tempo of the loop. If the result is wrong, you can
manually set this in the tempo field.
To quickly map the slices to the keyboard, either select Layout slices from the sample menu, or drag
the sliced sample into the key mapper to lay out the slices in a group. To use the sliced loop with
your DAW you can drag the newly created group into a host track to export MIDI data with the
detected beats played as a loop into the project.
2 Important options
2.1 Places
Once you start building performances, programs and song projects, you should make sure to setup
your 'Places', search paths for sound data. Without this setup, all your TX files will be saved with
absolute path references unless you copy all data into the save location. If you ever reorganize or
relocate your sound library, you might find that all paths suddenly are inaccessible. Using places
enables you to reference wave files in your sound library with path-relative references.
2.2 Settings
See the reference manual for an explanation of these options.
3 Conclusion
This has been a short guide to getting started with TX16Wx. There are many areas that has been only
touched upon briefly if at all. If you have suggestions or material for updating and complementing
this document, please contact CWI Technology via http://tx16wx.wilund.net/