Sound Design / Sound Libraries

KEYBOARDS LA CARTE!
By Angel Diego Merlo

What are the specials for today?

If you thought a sound library was a
dull concept, or that it meant having all
your old CDs in order, or that it was
about organizing a collection of sound
effects, this article will shine some light
(or sound?) on your ideas, so you can
get the best out of your gear.

The basic functions of a keyboard

Without getting into details of the electronics of a musical instrument, we will try to brief you on
the sections that conform that beautiful music-making-machine that you have just purchased.
In the first place and under the most academic point of view, a keyboard would be classified in
the group of the MEMBRANOPHONES. And even though we all roughly agree on the fact that a
synthesizer has little to do with a drum, the truth is that both of them require a moving membrane
to produce sound in the air. In the case of electronic keyboards, they cant be heard unless it is
through a speaker (which, ultimately, is a membrane that produces changes in the air pressure).
In order for that sound pressure to manifest in the air, it first needs to go through a series of
processes that define different sections in an electronic keyboard. One of our moves either
pressed a key, or turned a knob, or moved a joystick or pedal, we gave a command via a Control
Section: That command travelled to the CPU of the instrument (most times the command is
expressed as a MIDI message) and produced a DSP DEMAND. We give the name DSP (Digital
Signal Processor) to the ability of the instrument to digitally process a signal, based upon different
demands coming from the user -and taking into account its BASIC RESOURCES, and produce an
audible sound.
The basic resources of a synthesizer are no less than the heart of the sound. They are defined
by some fundamental concepts:

TYPE OF
SYNTHESIS

The model by which the synth produces its sound. In some cases, there may be
more than one type of synthesis in the same instrument (FM Synthesis, Additive
Synthesis, Substractive Synthesis, PCM (Pulse Code Modulation) Synthesis, etc).

MEMORY

The memory -that may be ROM or RAM- is important because it is the place
where the resources are kept. This could be for their immediate use (RAM for
working) or to keep them in store until they are needed in the working RAM.

It is in the memory where the most elemental resources of the synthesis are stored. In this place
we can also save the sequence of MIDI commands, in case our synthesizer has Workstation
and/or Arranger functions.
Therefore the MEMORY is a critical issue to take into account when evaluating the performance
of a keyboard.

Pa 900

Pa 300

Pa 4X

Imagine, if we were guitar players, that just by pressing a button we could make nylon strings
sound like steel, then like electric and finally as a violins. As if we could instantly change the
strings together with the acoustics of the instrument. THATS WHAT LIBRARIES DO!
They provide new sounds for your KORG keyboards, and let you expand the sounds anytime you
want. All KORG keyboards have more or less RAM MEMORY destined for the USER. For you to
load new sounds in it. For you to load new styles. For you to have more freedom, not having to limit
yourself to the pre-set factory sounds. And without having to spend lots of money on an open or
high range keyboard (Where we record all the sounds and call them Samplers)

KROSS

KROME

KRONOS 2

What is a library?
A library is a collection of basic resources, mainly of
fundamental elements of the synthesis engine that with
memory available, can be loaded and used as a breeze of
fresh air in your synth, keyboard or arranger. In order to be
able to use a library, it is vital that the keyboards have a
certain memory. Memory destined for the user to load the
resources he/she desires (as much as it allows, according
to the size of the library).
Further into this, some KORG models such as KRONOS, Pa 3x or Pa 4x, also allow us to record
external resources from their audio inputs -acting as sampling hardware- or also import them
through their USB ports.
Something important about this concept of USER MEMORY, is that by no means we need to
sacrifice the original sounds coming from the factory. Which means that the memory is an added
value to the instrument.

How is a sound library created?

Even though in many cases we may use sound libraries designed by third parties, or converted via
format conversion in the models that include that function, it is important that we understand the
processes involved in the creation of those new resources for the keyboards, for what we will now
summarize in a simple way for your best understanding. The process of creating a professional
sound library that has a real impact -not only because of its sounds but also because of the
workflow of the player- requires the thorough comprehension of the sub-processes involved in the
obtainment of the final product.

1. PRE-PRODUCTION

It is important that the sounds we intend to create in our keyboard, are put through a series of
critical questions: Is there an existing solution to this sound in any keyboard already? How does
the instrument Im interested in work in the real world? What does a player of that instrument use
as an expressive resource? How can I make those articulation resources available for a keyboard
player in the most simple and intuitive way? Does the program of the keyboard let me deliver that
idea of expression that I have, through its control inputs? As we will see, it is neither a linear nor
a single process. It is necessary to take a serious amount of time to think, listen and see the
instrument, and to fully understand the architecture of the keyboard for which we want to make the
sound. We should read all the small details in the users manual. Make tests. Make mistakes. Try
again, make notes and finally have a production plan that, even though it may not solve the totality
of the issues, delivers a useful view of the sound that we want to express. And also being open
to new things that might come up in the studio. Being open is always a way of achieving creative
views that unfold new roads.

2. RECORDING
In the studio, we must be practical and go straight to the point, so as not to get the performer
tired and not to increase the costs. If our pre-production work has been done, we will know what
to ask from the musician. And we already know which type of sound we need to capture, so the
recording technician will deliver all his technology and expertise. Special attention should be given
to the order of the recordings. We should take care to save each set of recordings under a name
that defines whatever we intend to sample.

In this stage, we are capturing the basic resource in its maximum expression. Anything we lose
here in terms of quality or cleanliness wont be easily recovered in future processes. Therefore
Calmness, Precision, Attention and Exigency are the approaches we must have when recording the
basic resources. Also, having related documentation in the studio at the moment of the recording
might come in very useful to later understand details in the edition that we could skip. If we record
the session in video, not only will we have promotional material, but also we may count on it to
observe or describe a technique o mannerism that we could have missed in the process.

3. EDITION

At this point, after coming out of the studio we

proceed to the first rough edition of the material.
Changing formats according to the specs of the
destination keyboard, normalization, denoising,
tuning and cutting. And, if required by the type of
sound, we also start making the loops edition.
During this process, we might deal with the first
memory optimization issues. This is when we
decide which samples are really useful and
how we can use the least amount of memory
possible. Knowing that everything we save,
without compromising on quality, will enable us
to make our sounds collection more complex
and varied. It is always a battle between the best
sound and the least memory.
For this reason we must always make a back-up of the masters, in case we lose quality in trying
to save too much. The conservation of the original material will let us go back to the source of
that recording.

4. MOUNTING OF UNIQUE LAYERS

Once all the samples have been properly treated,
we need to make the first multi-sample mounting
sometimes called layers. A layer is a mapping
of samples throughout the keyboard, which also
contains the specific data of each sample (Loop
Points, Root Key, Key Range, etc.) and in which
we can perform some control parameters. The
strategy of editing each multi-sample in a unique
layer is convenient in order to make our sound
universal, because the different KORG keyboards
have some programming variations. We should
keep this stage of the edition safely stored
because it is our second master in importance.

From this point onwards and according to the model we are using, we will be able of do various
things with different MIDI messages, that involve more than one layer of multi-samples. This
edition is usually done hands-on the keyboard, or using some external conversion software, usually
called librarian editors.

5. PROGRAMS EDITION

Once the previous steps have been finished, it is time to start programming our gear and loading
all the multi-samples that we have already edited. Most KORG models let us import those multisamples from a USB device through the MEDIA command. Once we have uploaded the multisamples in the unit, we must continue with our programming plan: starting with the Sound Program
(PCG), adjusting the MIDI control commands in each model and the expected reaction to each
command.
Only after having everything under control, we can dedicate ourselves to the programming of
COMBIS, MULTIS or PERFORMANCE SETS.

6. DOCUMENTATION AND QUALITY CONTROL

Once all the programming process is finished, it is good to feed the library with documentation
sounds, audiovisual material and texts, that explain how to use it, how its MIDI implementation
works and it is also important to have a making of video mainly to proof the authenticity of the
process, even when it is registered in the software regulation control or other institutions that
manage intellectual property rights. This is absolutely necessary. Before handing it to the end
users, you must also put the library through a testing process, trying it in different playing and
production situations.

At times, because of some programming settings, the total sum of bytes in the library may be
superior to the simple addition of bytes from the samples, which could prevent the file from fitting
into the memory assigned to it in a particular keyboard model. Therefore, this would be the right
time to go back and optimize the memory.

What is the difference between an open

and a localized library?

There are no significant differences between an open and a localized library. The main difference
is that the localized library has samples that have been ENCRYPTED in the factory by KORG
and can only be used in the territory where it was set to be distributed. Whereas an open library
can be used in any territory. A localized library may be loaded or unloaded from the keyboard or
even copied into a USB device, but will only work in the models within their territory of distribution.
For example: if we buy a keyboard in the USA but live in Argentina, and we want to load the
FOLKLORE ARGENTINO free library in it, it wont be loaded because the keyboard was not bought
in that territory. An open library will do this. You will even be able to download the samples from it.
Obviously, the fact that its open does not give us the right of property over the programming and
samples, which are legally protected even though the user may manipulate them.

Angel Diego Merlo

diego.merlo@importmusicusa.com

USEFUL LINKS

IMPORT MUSIC USA

IMPORT MUSIC ARG

KORG USA

KORG LATINOAMERICA

WWW

CREDITS
Article & Tango Library video: Angel Diego Merlo
Translation: Denise Francia
Illustration: Silvana Noya
Tango library spot & article design: Romina Noel Campanelli
Tango sampling pictures: Gonzalo Repoll
Folklore sampling pictures: Fico Azurmendi

Import Music Argentina SA

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