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Akai CD3000XL

Akai's new CD3000XL features the 32‑voice polyphony, expansion options, DSP functions and other goodies of the S3000XL, but adds a built‑in CD‑ROM drive for good measure. Paul Ward takes it for a spin.

In 1993, following the success of the S3000, Akai took the important step of releasing the world's first dedicated CD‑ROM sampler, the CD3000. The main objective of this machine was to take advantage of the large CD‑ROM library that had already built up for the Akai range of samplers. As the CD3000 was to the S3000, so Akai's new CD3000XL builds upon the capabilities of the S3000XL, to become the company's second dedicated CD‑ROM sampler with a dedicated quad‑speed CD‑ROM drive fitted as standard.

Physical Attributes

The CD3000XL is three rack spaces high, following familiar Akai aesthetics. Over to the far left of the front panel are the shrouded power switch, the CD‑ROM drive and the 3.5‑inch HD floppy disk drive. To the centre is the 'oh‑how‑we‑wish‑it‑were‑just‑a‑little‑larger' LCD, with its attendant 'they'd‑line‑up‑if‑the‑LCD‑was‑just‑a‑little‑larger' soft keys just below. The contrast of the LCD is adjustable by a control to the far right, the same control doubling up as a push‑switch to turn the LCD backlight on and off, to preserve the screen's operating life. Beneath the soft keys are the eight Mode keys that allow you to find your way around the CD3000XL's operating pages.

To the right of the LCD are the data wheel and the cursor navigation keys. Gone, however, is the numeric keypad that appeared on most of Akai's samplers, including the CD3000 and the S3000XL — though I don't greatly mourn its passing. I have rarely used the numeric keys for data input (other than for naming and hitting '9999' for loop hold values) and, having witnessed many other Akai sampler users in action, I'm obviously not alone! It comes as little surprise, then, that the long tradition of using the operating buttons to double up for naming duties has gone by the board too, leaving us to use the data input knob for the task (although someone ought to tell the guys who write the manual — oops!). I am happy to say that operation does not suffer for either of the above and, indeed, the less cluttered control surface makes for generally quicker operation. The increment/decrement buttons arguably benefit most for their new‑found prominence, consequently becoming much more useful tools than before. (These are the controls that step the cursor across the digits of a numeric parameter field, by the way, allowing you to choose the magnitude of change you want to implement.)

To the right of the data wheel are the Record Gain control knob and the Main Volume knob. The Mark and Jump keys, also in this vicinity, mark page positions and jump back to them (strangely enough), the Name key names programs, samples, setups, and so on, and the Enter/Play key is used for data entry and for triggering programs/samples from the front panel when editing. Whilst repeatedly stabbing away at the cursor buttons, I occasionally found myself hankering for the old S1000/S1100's cursor wheel, but that's probably a result of my familiarity with that system, rather than anything inherently flawed in this one.

The rear panel hosts eight separate polyphonic audio outputs, along with the master left/right, which are all on standard quarter‑inch jack sockets. Unusually for Akai, the left audio output, when used in isolation, does not carry a sum of the left and right signals.

I always felt that Akai's CD3000 was hampered by its lack of audio inputs — and digital inputs, for that matter. As soon as I discovered the omission, I crossed it off my shopping list. Maybe I wasn't the only one, because the CD3000XL sports a pair of audio inputs on balanced quarter‑inch jack sockets — an adaptor will be necessary for the direct connection of a standard balanced microphone cable. A pair of digital in/out phono connectors is also provided for audio transfer, or for backing up hard disk data to a standard DAT recorder. Little has changed from the S3000XL by way of the sample rates supported at the digital inputs — all is well at 44.1kHz, but the manual still says that the CD3000XL "has difficulty recording at 48kHz" and suggests that it is "advisable not to record at 48kHz". This is hardly the type of Yes/No answer that we've become accustomed to in the digital age! My circle of recording friends have a phrase for machines that are unwell, but not quite broken enough to make them of no use at all: "bustish". "The 48kHz digital sampling option is bustish" — yeah, that has a nice ring to it...

A single SCSI socket allows for the connection of external storage devices. Oh, and there's a trio of sockets marked MIDI In, Out and Thru or something...

Compatibility

The CD3000XL is compatible with existing library material for the S900, S950, S1000, S1100, the S2000 range, and the S3000 range (including the newer XL models) of samplers. CD‑ROMs for other manufacturers' machines can be accessed, although a little tweaking is always necessary when porting samples and programs across this great divide. I tried a couple of Emu disks with no real problems. There's still no support for foreign floppy disk formats, which is a shame. This, coupled with Akai's insistence on perpetuating their proprietary disk format, can make life difficult on occasions. Many's the time I would like to have sent and received Akai samples across the Internet via my PC, but with no support for the DOS disk format (other than for loading MIDI song files) this just isn't possible. I get around the problem by using my Kurzweil K2000 as an intermediary for converting Akai samples to/from WAV format on DOS disks. This is hardly the way it should be done, and I feel that Akai really ought to be addressing such problems by now.

Memory

Eight megabytes of sample RAM is supplied as standard with the CD3000XL. The maximum RAM capacity is 32Mb, by way of standard 72‑pin SIMMs. Over and above this, the CD3000XL will also house up to 16Mb of Flash ROM (the S3000XL manages 8Mb). Flash ROM will retain data stored in it between power‑ons, making this sampler much more like a contemporary sample‑based synthesizer with customisable waveforms.

Sampling

Sampling with the CD3000XL is as simple as we've come to expect from a machine of the Akai pedigree. Recording can be set to start automatically as the input level crosses a user‑defined threshold, or on receipt of a MIDI note message. In either case, an override feature allows for initiation by pressing a function key, and recording may also be terminated before completion. Mono or stereo recording is possible from either the analogue or digital inputs, or from an audio CD placed in the CD‑ROM drive. The method of sampling from audio CD is excellent, giving you the best possible chance of getting the job done properly in the smallest possible time. When used in pause mode, audio will begin playback as soon as sampling commences, and the CD will be paused immediately after the sample is taken. Anyone who has spent any amount of time with a CD player and a sampler will be well aware of the time and heartache that this can save.

However, to every silver lining there is a cloud. The manual warns that data from the CD is actually sampled in its analogue form and that an external CD player with digital output is required for true digital sampling from audio CD! So we have an internal CD‑ROM drive, reading digital data at 44.1kHz, that somehow finds it impossible to pass that digital data stream to the internal sampling process. Sigh. I'm sure Akai have their reasons...

If the CD3000XL can't make something of your sample, you perhaps ought to ask yourself whether it's worth keeping anyway!

Sample trimming and looping functions are all present and correct, together with a time‑saving option for automatically trimming around loop points. The left and right portions of stereo samples are handled together seamlessly, although it would be nice to 'see' them as one object on disk or in memory. Zero crossing point searches and crossfade looping help in the fight for the killer loop. But am I the only person who absolutely detests Akai's looping system of 'position' and 'length' (ie. the user defines a point from which the sample is to loop back and then sets the length of the loop)? All I want to do is set a pair of points that act independently — "loop back there, and loop to here". If I wanted the loop‑start to shift every time I moved the loop‑end point, I'd ask it to! When defining rhythm loops the problem is exacerbated, since you can't move the 'loop‑at' parameter back in time if the loop length would push the left‑hand loop point back before the sample start. I don't know what advantage Akai believe this 'at/length' system has over left/right loop markers, but since they're sticking with it, might I suggest a 'de‑coupling' mode, whereby the loop length automatically adjusts itself to keep the left‑hand loop point in place?

Sectional editing permits a portion of an existing sample to be extracted and 'copied' to a new sample name (the original sample is left intact), 'cut' (the sample is 'zeroised' over the selected range) or 'chopped' (the selected range is removed from the sample and the range start and end points are butted together) from an existing sample and given a new sample name. Picking out individual drum beats from a rhythm loop is an enjoyable experience, and removing sniffs and wheezes from a section of vocals is child's play. Various other editing options are available, including all the splicing, dicing, joining and fading that your heart could desire. If the CD3000XL can't make something of your sample, you perhaps ought to ask yourself whether it's worth keeping anyway! Volume normalising is included, so you can be sure that you're making the most of your sampler's bit resolution, and besides the instant editing features, Akai also provide a smattering of off‑line DSP functions, namely time‑stretching, resampling, and equalisation.

Single/Multi Mode

Once your samples have undergone their digital make‑over, it's time to place them in a program for presentation to the world at large.

Akai, to their credit, have retained 'Single' program mode, with its accompanying Mix page, to enhance compatibility with their older models. For myself, I'd be quite happy to re‑organise my old disk volumes to make use of Multi mode, which has considerable advantages. Akai helpfully point out the pros and cons of both methods of working, and I'm happy to see them offer this kind of information to give users an informed choice. I'm disappointed that the number of multi slots hasn't been increased from the S3000XL, though. If, like me, you prefer to keep your drum sounds in individual programs, you're out of slots by the time you've reached the cowbell! Once you have a multi‑mode configuration that you're happy with, you can name it and hive it off to disk.

Each Program is free to take full advantage of the CD3000XL's vast armoury of synth processing features. I won't go over these again here, but suffice it to say that they are pretty much identical to those of the S3000XL (See Sound On Sound December 1995 for my full review of the S3000XL). Of particular note is the resonant 12dB/octave low‑pass filter, which is very musical, if a tad lacking in aggression for some uses. The optional IB304F filter board will give you the capability of producing a 24dB/octave cutoff slope if you really require it.

Global Mode

Global mode takes care of tuning, basic MIDI channel selection, DAT backup facilities, the SMF (Standard MIDI File) playback feature, and the direct‑to‑disk recording pages. On the tuning page, there's now also a setting for the overall output level of the instrument, with adjustment between ‑18dB and +18dB, in 6dB steps to match your mixer's ideal signal level. Other manufacturers please take note!

SMFs (Standard MIDI Files) are supported for playback, providing they arrive in the floppy drive on DOS‑compatible disk. The files can be in format 0 or 1, and up to 50 songs of 999 bars or less are allowed in memory at any one time, subject to a 300K memory limit. Unfortunately, there's no way to save the SMFs to another connected storage device (such as Flash ROM), which would probably be more convenient for stage use.

Direct‑to‑disk recording is achieved at the cost of six of the CD3000XL's voices, reducing polyphony to 26 notes. Only one 'take' may be played back at any point, so crossfades are unfortunately not possible, but normal sampler functions are unaffected — even during recording. Recording a take is similar in many ways to recording a normal sample, with the process initiated manually, from input threshold, a MIDI note message (with or without definable delay offset) or a MIDI Song Start command. The recording source may be analogue or digital.

Once safely recorded, takes can be edited, copied and named. On playback, takes may be processed by the optional effects units (if fitted) and assigned to appear at any individual output. Advanced take parameters include panning, level and fade in/out times. A 'Song' list allows takes to be compiled for sequential playback or MIDI triggering, with the ability to repeat steps, insert new steps, or delete unwanted ones. Songs may be named and saved to disk much as any other RAM object, and takes can be backed up to DAT to free up valuable hard disk space for further recording.

Load And Save

Load mode permits data to be loaded into the CD3000XL from any of its attached storage devices. When loading from a partitioned device, such as hard disk or the CD‑ROM drive, the loading display can be switched to show a list of volume names, which is a nice touch. The Find command offers a simple or partial name search within the current partition. Objects held within a partition on hard or magneto‑optical disk may also be tagged with a category, such as 'Bass', or 'Favourite', for easier retrieval. Happily, once a program is tagged, the CD3000XL will ensure that, on loading, its associated samples are loaded in too. The tagging system is obviously a powerful way to keep disk data in a manageable form, and could save considerable time.

Saving samples and programs is familiar territory to any seasoned Akai user, as is the inability to save single samples across more than one floppy disk. Come on, Akai, it's about time we cracked this one! After all, floppy disks remain a good back‑line defence in making sure that important data is not lost.

Setups

One of the problems with CD‑ROM is that you can't edit the sounds and re‑save them, except to another storage device. Akai have an ingenious way around this problem that was first introduced with the CD3000. Basically, you can make edits to samples and then save a small file to floppy disk that details the changes, rather than the sample data itself. These files of changes are known as 'Setups'. When reloaded from floppy, these Setup files will load in the relevant CD‑ROM data and apply your changes. Setups can even be activated from MIDI program changes. Brilliantly simple. As a long‑time CD‑ROM Luddite, I have to say that this system did manage to convince me, once I'd seen it in action for myself. It's important to note that Setups can only be defined for CD‑ROM discs that have been named. Although all the Akai discs I tried were named, I did find one third‑party disc that wasn't. Owners would be wise to check this out before buying discs.

Options

I've already mentioned some of the optional upgrades that can be added, including the Flash ROM and the IB304F filter board. I would recommend that anyone looking at the CD3000XL as a production tool consider the EB16 multi‑effects board as a near‑essential purchase. Having used this board in an S3000XL, I can attest to its quality and to the way it integrates with the sampler's operating environment, particularly in multi mode. The machine I had for review here didn't include the EB16, but after scanning the manual, I have little doubt that its use is much the same as in the S3000XL.

Bundled Bits & Pieces

Once again, Akai supply the MESA Macintosh editing software to unlock the power of the CD3000XL with a computer‑based editor. And once again I feel that those of us with PCs and Ataris are being sold short. How long must we wait for other versions of MESA to appear?

The accompanying manual is generally very good. Other manufacturers could learn a lot from reading this! Everything from the theory of sampling to installing the upgrade options is covered in detail, in a friendly, conversational manner. There are one or two mistakes, most notably the description of how to use the function and soft keys for entering text, a procedure which has not been implemented on the CD3000XL! But most of these are minor and certainly won't cause any serious difficulties. My only real gripe is that there is no index.

Conclusion

I have never been disappointed by an Akai sampler, and that record stands unbroken. The beauty of the 'Setup' approach, as mentioned above, is that it removes the inflexibility of CD‑ROM‑based data — something which has made me deeply wary of the format until now. The fact that, unlike the original CD3000, Akai have included sampling inputs on this new machine means that budding samplists can begin with a CD3000XL, make use of the burgeoning CD‑ROM sample libraries out there, and then get into true sampling without having to sell it and buy a machine with inputs. I'm still uncomfortable about the perpetuation of Akai's proprietary disk format, making sample acquisition from the Internet an awkward prospect. There also seems to be a lot of button‑pushing going on for some of the simplest jobs, but the CD3000XL is far from being the worst offender in this respect.

In terms of competition, the CD3000XL's closest rival in this price range is likely to be found in Emu's E64. The Emu offers 64‑voice polyphony and more sophisticated real‑time processing, but only comes with 2Mb of sample RAM as standard, has no internal CD‑ROM drive, and lacks the CD3000XL's direct‑to‑disk recording facility.

This review, by necessity, has really only skimmed the surface of the CD3000XL's powers. Here is a superb sampler, with all the editing and synthesis facilities that we've come to expect from Akai. The various optional upgrades are commendable and worthwhile, particularly, I feel, the EB16 effects board. The bottom line is that you can take the basic machine and bend it to your personal requirements and budget. If you are considering buying a digital synthesizer, with a view to checking out a sampler later, this machine might be a better alternative. If you're specifically looking for a sampler, you really should try to spend some time with the CD3000XL before you make a choice — I think you'll be impressed.

Buy it, love it, then let me borrow it.

Features

  • 32‑note polyphony.
  • 8Mb of sample RAM, expandable to 32Mb.
  • Built‑in quad‑speed CD‑ROM drive.
  • Stereo outputs plus eight assignable individual outputs.
  • Stereo sampling from audio CD, analogue inputs, or S/PDIF digital inputs.
  • DSP functions, including time‑stretching, resampling and digital EQ.
  • 12dB/octave resonant low‑pass filter.
  • SMF capability.
  • S/PDIF DAT backup and real‑time output.
  • Upgrade options include up to 16Mb of Flash ROM, 4‑channel multi‑effects processor and additional filter card.

Bundled CD‑Roms

The four CD‑ROMs that come bundled in the box are packed with good, solid sounds that alone would provide enough material for a lifetime's happy recording. These discs comprise the S1000/S1100 sound library, the S3000/S3000XL sound library, a whole disc of rhythm loops and a truly excellent disc full of drum sounds. This latter disc I really can't praise enough for its sheer quality and diversity. Any of these discs would be worth paying extra money for — that Akai UK have seen fit to bundle them with the machine is good news indeed.

Pros

  • Speed and convenience of CD‑ROM coupled with the flexibility of disk setups.
  • Vast world‑wide library support.
  • Good range of tried and trusted upgrade options.
  • SMF playback.

Cons

  • No onboard effects as standard.
  • Still no support for foreign floppy disk formats.

Summary

Couples the best aspects of CD‑ROM with a very flexible way of customising that data with floppy disk‑based Setups — a winning combination.The analogue and digital sampling inputs also make the CD3000XL a true sampler, and all the best aspects of Akai's samplers are in here. But for a machine with such excellent stand‑alone production capabilities, you'd be hard put to come up with a reason for not installing the EB16 effects board — if you decide that the CD3000XL is for you, I'd strongly advise you to add it to your shopping list.