TX16Wx Quick Start Guide

TX16Wx Quick Start Guide

November 1, 2012 Page 1 CWITEC 2012

TX16Wx CWITEC 2012 Software Sampler - Quick Start Guide



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.

1.1 Create the first performance We'll start by creating a new project, and after this, a new instance of TX16Wx on a new track.

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



1.2 Building the first Program

1.2.1 Mapping some samples

Look at the keyboard mapper editor, in the left pane of the TX16Wx UI.

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.



TX16Wx has now auto-mapped the samples by root key to a new

group. If we play some notes on the keyboard we should hear the new

instrument. In the keyboard mapper view we can see the splits we're

triggering light up on incoming notes.

1.2.2 Editing sound parameters

Select the new group to enable the sound controls for this group.

Whenever one or more groups are active, you can use the sound

control dials to tweak the sounds shaping parameters of the group(s).

Check out the reference manual for a more detailed description of

each control.

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.

Now, LFO1:s amplitude is set to zero, so when we play

notes now, we still hear nothing. We'll add a modulation

wheel control for this in the next row of the modulation

matrix.

Now, play the keyboard and with and without

modulation wheel. We've added a vibrato modifier. Try

adding a similar row for pitch bend.

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.



Click on the modulation preset selector and type a name of your

choosing, then press return to save. You can now recall this setup by selecting it from the preset list.

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.

1.2.4 External controllers

If you haven't configured your external controllers already, jump to the settings panel, the 'X-Ctrl'

subpanel.

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.

1.2.5 Play mode

If we jump into the keyboard mapping view again, we can check the program and group layout and

play parameters.

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.

1.2.6 Adding a velocity-faded second layer

I want some upper "sparkle" to the sound, so I'll add a second group to this program. Let's find

another set of samples, and add them to the key mapping, similar to we did before.

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.

A new group is created from the layed out waves.

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.

1.2.7 Mapping an envelope

Let's add another modulation slot with ENV1 affecting pitch.

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.

To start sampling, switch to the 'Sample' view:

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.

Now, we'll create a new program for the sample.

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.

1.3.1 Sampling faster

Most of the steps we took in the section before can be automated for us. If we enable the Auto key

map and Auto pitch detect buttons in the sampler, whenever we record new material, the

resulting wave will be analyzed for pitch and then mapped into the current program for us.

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 '' 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.

1.4 More keyboard mapping -

creating a drum kit To quickly build a drum kit, we'll just create

a new program and then locate some

percussive material in the file browser.

Now, simply drag the drum kit into the key

mapper like before, dropping the set onto

where you would like the drum kit to start

(usually C2). TX16Wx will detect that the

samples lack tonal info (root keys) and lay

them out on single keys.

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



well, so we can add some reverb to them inside the DAW.

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.

1.4.1 Choosing other samples

So, the kit is ok, and we program some drum tracks. While playing we realize that the bass drum does

not sound so great for this track. We should load something else. While the track is playing, right-

click the split of the bass drum and choose 'Load wave'. In the load dialog, make sure the 'preview'

checkbox is ticked. Now when we click any sample in the dialog, the split's sample will be temporarily

replaced by the new wave and we can hear how the track will sound with this sample.



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.



1.5 Slicing a loop A popular way of working with rhythmic samples (drum loops) is slicing them into their individual

beats and playing them in variations and with sounds tweaked to add some spice to the sound. Lets

load a drum loop into the sample editor. We can auto-slice the sample quickly by enabling the Beat

detector button in the sample editor.

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/

TX16Wx Quick Start Guide

Documents

tx16wx cwitec

quick tutorial guide

tx16wx software sampler

new project

keyboard mapping

small song

certain sections

beta release