The Akai S20 has been with me for a while now, quite a while in fact...
I bought it around 2006 when I was working a lot more with my s5000 and Cubase.
Now the question that always comes up is WHY? ...Why when I have something like a S5000 would I bother with something like an S20? Well the answer comes in two parts.
First off the Akai S5000 is undoubtedly a beast of a sampler, and due to its size and the fact it was part of the studio for me gave it a portability factor of zero.
The second thing is that an S20 was small so able to be taken around for sampling and loading in to the 5k at some later point if needed. (something that is still relevant today). **and the MPC500 had not been released
The S20 is a pretty limited sampler compared to others of the Akai range (like the S3000), it is basically an S01 in a different box. ...But who said there was anything wrong with the S01?
The fact is if I want a particular sound I can either attempt to recreate that sound or I can simply create that sound in the first place... so if I want an old skool sampler style sample or loop taken all I need to do is sample using a sampler that will capture the right kind of sound. ...So the S20 remains ^_^
Things the S20 has going for it (as far as I'm concerned) are :
The downsides
I have read about people experiencing problems with triggering multiple samples for some unexplained reason.
I myself have on occasion experienced sample trigger failure but on closer inspection of the sequence always found it has been because I have exceeded the polyphonic range of the device.
You can do a few more things when connected to a sequencer than you can do in normal (DJ) use,
When triggering from a sequencer you can control the note velocity of each hit (like you would expect from a rack sequencer).Also because you are not relying on the internal sequencer the 4 sample limit is lifted givingyou access to the whole sound set for playback in your mix/track/project.
I love rack samplers but the biggest problem I have with the S01 is it's memory - coming with 1mb standard and having an upper limit of 2mb.
This 17MB vs 2MB actually balances its self out when we bring storage back in to the equation as if were only taking about 'loaded samples' ...how much does a floppy hold? its far more likely that even though 17mb is present its going to be a 1mb vs 1.7mb (floppy hd capacity) fight - and in that case the S20 wins at a more fair 2:1 rather than the less fair 17:2 ^_^
To compare the S20 to an MPC would be a joke, the same would go for the many grooveboxes that come in the decade after its release, this isnt due to 'sound quality' its all down to the limitations of the internal sampler and its reliance on floppy disk. *I should probably point out it is possible to MIDI DUMP samples if required.
Synth pads can be sampled and then retriggered at new pitches giving that oldskool jungle pad sound - in fact all bright instruments like pianos etc aquire a warm sound (without annoying upper frequency wierdness).
Bitcrushing sounds takes a second, and using the sequencers levels as a kind of internal mixer low crunch midi backing tracks or loops can created for recording (for later use in tracks).
Granular sysnthesis - yes I said it. - it requires tweaking though.
Additive Synthesis. - its quite obvious but if you can get the tones in and looped correctly in corresponding pads and then pitch together (using midi for VCA) you will achieve basic additive.
Mpc style jamming - It wasn't designed to be an MPC but there is nothing stopping you recording a jam using external recorders... (with help from a midi sequencer if needed).
Custom drum machine - Combined with collection of floppies (or Zip/HD and a S20 compatible sampler *that can save in the correct format to floppy*) it is just another 16 track drum machine *only one that is limited to playing 8 notes at a time.
I bought it around 2006 when I was working a lot more with my s5000 and Cubase.
Now the question that always comes up is WHY? ...Why when I have something like a S5000 would I bother with something like an S20? Well the answer comes in two parts.
First off the Akai S5000 is undoubtedly a beast of a sampler, and due to its size and the fact it was part of the studio for me gave it a portability factor of zero.
The second thing is that an S20 was small so able to be taken around for sampling and loading in to the 5k at some later point if needed. (something that is still relevant today). **and the MPC500 had not been released
The S20 is a pretty limited sampler compared to others of the Akai range (like the S3000), it is basically an S01 in a different box. ...But who said there was anything wrong with the S01?
The fact is if I want a particular sound I can either attempt to recreate that sound or I can simply create that sound in the first place... so if I want an old skool sampler style sample or loop taken all I need to do is sample using a sampler that will capture the right kind of sound. ...So the S20 remains ^_^
Things the S20 has going for it (as far as I'm concerned) are :
- Size - portability
- Standalone - pads/buttons ..nothing else required.
- Storage - Floppies are readable by all akai samplers (inc my S5000)
- AD/DA - The Akai sound = the Akai AD/DA
- Midi - Ability to trigger etc and so use as a midi sampling drum module. (8 voice).
- Bitcrushing! & Resampling
- Pads for triggering sounds etc - unlike the rack samplers (though they do have a play button)
- Expandable - Memory only
- Midi Dump - not that it will ever be used
- Akai Legacy compatibility
- Built in (though limited) sequencer - 4 track sequencer with 30k notes
- Looping & reversing - it loops, it reverses.
The downsides
- No LFO
- No internal FX, filter
- No Scsi - So no loading of samples off Zip/hd
- Basic numeric display - no visual sample editing. (the trimming is VERY precise though).
- Portable but not battery powered
- Limited Sequencer - But the sequencer makes perfect sense for the use the S20 was designed for.
- Stereo Out only.
- Looping - If you intend to transpose a track (with loops) be sure you trim like a god.
In use
The S20 becomes a little more than a DJ's tool once you connect it to your sequencer. - For me it becomes a sound module.I have read about people experiencing problems with triggering multiple samples for some unexplained reason.
I myself have on occasion experienced sample trigger failure but on closer inspection of the sequence always found it has been because I have exceeded the polyphonic range of the device.
You can do a few more things when connected to a sequencer than you can do in normal (DJ) use,
When triggering from a sequencer you can control the note velocity of each hit (like you would expect from a rack sequencer).Also because you are not relying on the internal sequencer the 4 sample limit is lifted givingyou access to the whole sound set for playback in your mix/track/project.
Vs Akai S01
Originally this beast was sold at between £400-500 (without memory) and what you basically got for your money was an akai S01 and a akai SR16 ...or as I see it an upgraded, compacted, S01.I love rack samplers but the biggest problem I have with the S01 is it's memory - coming with 1mb standard and having an upper limit of 2mb.
This 17MB vs 2MB actually balances its self out when we bring storage back in to the equation as if were only taking about 'loaded samples' ...how much does a floppy hold? its far more likely that even though 17mb is present its going to be a 1mb vs 1.7mb (floppy hd capacity) fight - and in that case the S20 wins at a more fair 2:1 rather than the less fair 17:2 ^_^
To compare the S20 to an MPC would be a joke, the same would go for the many grooveboxes that come in the decade after its release, this isnt due to 'sound quality' its all down to the limitations of the internal sampler and its reliance on floppy disk. *I should probably point out it is possible to MIDI DUMP samples if required.
Creative Use
Okay so most people with think there is nothing creative to be done with this device... and they would be wrong.Synth pads can be sampled and then retriggered at new pitches giving that oldskool jungle pad sound - in fact all bright instruments like pianos etc aquire a warm sound (without annoying upper frequency wierdness).
Bitcrushing sounds takes a second, and using the sequencers levels as a kind of internal mixer low crunch midi backing tracks or loops can created for recording (for later use in tracks).
Granular sysnthesis - yes I said it. - it requires tweaking though.
Additive Synthesis. - its quite obvious but if you can get the tones in and looped correctly in corresponding pads and then pitch together (using midi for VCA) you will achieve basic additive.
Mpc style jamming - It wasn't designed to be an MPC but there is nothing stopping you recording a jam using external recorders... (with help from a midi sequencer if needed).
Custom drum machine - Combined with collection of floppies (or Zip/HD and a S20 compatible sampler *that can save in the correct format to floppy*) it is just another 16 track drum machine *only one that is limited to playing 8 notes at a time.
Yo Beat Scientist,
ReplyDeleteyou know where I might get some info on how to MIDI dump samples?
Can't find answers ANYwhere.
thanks
Its pretty straight forward if you have a wave editor that supports midi sds. Otherwise, there are some 3rd party utilities that will do it.
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