The ultimate would be to have a separate output for each sample that the unit can store. But would 32 outputs be even better? Of course it would, but we are taking a flight of fancy now. 16 outputs on an S1100, one per voice, would be good. The other limitation, which, like the limitation on the number of voices, applies to other samplers too, is that there are only eight individual outputs for multitimbral operation. The difference between 32 voices (on the Proteus) and 16 voices is considerable, but amply compensated for by access to an unlimited range of sounds and all the other benefits offered by the mostly excellent S1100. ![]() I have to say that moving from an Emu Proteus, that I had been using as a stop gap while I decided which sampler to upgrade my S900 to, came as a bit of a shock. There is usually a decay envelope on a sound, so that although you are playing a 'monophonic', the end of each note will overlap the start of the next - if you were to use stereo sounds, you could only use four such 'monophonic' instruments without note-stealing. ![]() Also, remember that notes don't end when your finger leaves the key and triggers a MIDI note off message. The sustain pedal may be known as the 'soul of the piano' but it does nothing for your sampled piano sound other than bring the notes of your chords to an earlier conclusion than you might have expected or liked. This, not unnaturally, halves the number of notes that can be played at the same time. The first voice limiting mechanism comes into play when you are sampling in stereo. Enough for most applications, you might think, but voices have a way of disappearing quite rapidly. The first limitation is the maximum number of simultaneous voices: 16. Speaking as an S1100 owner myself, I am aware that even though it is one of the most capable and flexible samplers around, it has its limitations. ![]() So, if you insist that a single S1100 isn't enough, then here is the product for you - an S1100 expander which gives you all the power and flexibility of the S1100 itself, but misses out the parts you don't need, such as a duplicate set of input sockets, controls and circuitry, and comes in at a price that may cause any S1100 owner, even those who were formerly quite satisfied, to feel a twinge of temptation. No, this is for the type of person who has an Akai S1100 and still isn't satisfied. This review isn't for the ordinary sampler user, such as you or me. Let's be clear about this from the start.
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