E-mu E4XT Ultra

Emulator Operating System (EOS) 4.0 — Operations Manual
E-mu Systems, Scott's Valley, California

"Your Emulator is a special purpose sound computer — the physical machine with the buttons, keys, and gadgets that generates sound, and the EOS software that tells the hardware what to do."

Overview & Key Specifications
Sound Organization Hierarchy
Getting Started — Instant Gratification
Arpeggiator
Keyboard Modes (Whole / Split / Layer / Multi)
Master Menu
Effects (Chapter 3)
Sequencer (Chapter 4)
Sample Manage (Chapter 5)
Sample Edit (Chapter 6)
Preset Manage (Chapter 7)
Preset Edit (Chapter 8) — Synthesis Engine
Disk Menu (Chapter 9)
Appendix — SCSI, MIDI Implementation, Menu Maps

1. Overview & Key Specifications

The E-mu E4XT Ultra is a flagship professional sampler from E-mu Systems, running EOS (Emulator Operating System) version 4.0. EOS is the same operating system used across the entire E-mu Emulator family — E-IV, e-64, E4K, E-6400, E4X, E-Synth, and the E4 Ultra series. This manual applies to all EOS 4.0 machines; where features are Ultra-specific, they are noted explicitly.

The E4XT Ultra is not merely a playback device — it is a complete sound design system combining a professional sampler, a deep Z-plane synthesis engine, a 48-track onboard sequencer, a suite of non-realtime DSP tools, and extensive import compatibility with Akai, Roland, and legacy E-mu formats.

Specification	E4XT Ultra
Polyphony	128 voices (dynamic channel allocation)
Multitimbral	32-part (32 MIDI channels)
Sample RAM	Expandable up to 128 MB (with Sound ROM disabled)
CPU RAM	8 MB (Ultra series); ~4 MB usable for presets + sequences
Sound Storage	Up to 1,000 samples per bank; up to 1,000 presets per bank
Sequencer	48-track onboard; up to 50 sequences per bank; Flash RAM adds 50 more
Digital I/O	AES/EBU, S/PDIF, ADAT optical (20-bit)
Analog Outputs	Main L/R + 3 Submix pairs (8 outputs total)
Sample Rates	22.05, 24, 44.1, 48 kHz (analog); external clock rates via AES/ADAT/BNC
Filter Engine	Z-plane filters — 21 types including morphing, vocal formant, phaser, flanger, swept EQ
Envelopes	3 per voice (Amp, Filter, Auxiliary) — 6-stage rate/level type
LFOs	2 per voice — 16 waveforms including Pattern LFOs, Sine+Noise
Modulation	24 patchcords per voice; 64 sources, 60 destinations; Modulation Processors
Effects	Dual processor: Effect A (reverbs, delays) + Effect B (chorus, flange, distortion) — 76 types total
SCSI	Internal hard disk + external SCSI chain (up to 7 devices)
MIDI	Standard 5-pin DIN; 32-channel capability with optional expander card (standard on E4XT Ultra)
Format Compatibility	Native E-mu (EIV, EIII, ESI-32, E4K, E-6400, E4X, E-Synth, Emax II), Akai S1000/S1100/S3000, Roland S-700 series
Flash RAM	Sound ROM (16 MB, standard on E-Synth; optional on others) + Flash RAM for sequences and presets
DSP Tools	Non-realtime: Gain Change, Compressor, Parametric EQ, FIR Filter, Aphex Aural Exciter, Doppler, Time Compression, Pitch Change, Bit Converter, Beat Munger, Transform Multiplication

📝 EOS 4.0 features are periodically enhanced. The E4XT Ultra's 32-channel MIDI expander capability is standard — on older rack Emulators it was an optional add-on card.

[↑ Top]

2. Sound Organization Hierarchy

Understanding EOS's sound hierarchy is essential before using the machine. Everything in the E4XT is organized in a strict hierarchy from the disk drive down to the individual sequence.

Level	Description
Disk Drive	Floppy disk, internal hard disk, CD-ROM, optical drive, or ROM chip — the physical storage medium
Folder	Container used to group and organize collections of Banks on a disk
Bank	Everything currently in RAM — all samples, voices, presets, and sequences loaded at once. Up to 1,000 samples and 1,000 presets per bank.
Preset	One complete keyboard setup containing one or more voices. The playable unit.
Voice	One complete sound — one or more samples + filter + amplifier + 3 envelope generators + 2 LFOs + 24 modulation Cords
Sample	An individual digital recording with name, sample rate, and looping information. The raw material.
Sequence	A recorded sequence of MIDI data. Up to 50 per bank (50 more in Flash RAM). Can be exported as Standard MIDI Files.

Samples

A sample is the raw recorded material. Each sample has an original key (the pitch it was recorded at), a low key and high key defining the keyboard range it covers, tuning, volume, and pan. A bank can hold up to 1,000 samples. Samples can be transposed up or down in pitch to cover keyboard ranges without recording every note individually.

Voices

A voice is a complete sound built from one or more samples. It contains: the sample(s), a Z-plane dynamic filter, a dynamic amplifier, three 6-stage envelope generators (Amp, Filter, Auxiliary), two multi-wave LFOs, and up to 24 modulation Cords. Multiple voices can overlap on the keyboard and be crossfaded using velocity, key position, or any modulation source. A voice can be assigned to a single note or transposed polyphonically across a range.

Presets

A preset is one complete keyboard setup containing one or more voices. Building a preset is a three-step process:

Create the preset and name it
Place voices in keyboard ranges — up to 256 voices per preset, with positional and velocity crossfading between them
Set global options: effects, transpose, volume, MIDI settings, and realtime controller initial values

SoundSprint™

SoundSprint is E-mu's proprietary method for loading presets from the hard disk while the keyboard remains active with the last preset. As you browse presets, each one loads automatically in the background (1–3 seconds). Sprint presets are placed at positions 990–999 in bank memory; once you load more than 10, the oldest is erased. SoundSprint will not overwrite conventionally loaded presets.

Bookmarks

Bookmarks are shortcuts to frequently used presets within SoundSprint folders, providing instant access to up to 10 favorites. The Lock button can set the current rank of 10 Bookmarks in SoundSprint mode.

Memory Types

Memory Type	Description
Sample RAM	Stores audio sample data. Expandable via SIMM modules up to 128 MB (64 MB with Sound ROM active).
CPU RAM (Preset Memory)	Stores presets, voices, and sequences. Ultras have ~4 MB usable. Configurable split between presets and sequences.
Sound ROM	Optional 16 MB ROM containing factory samples — always on-line, no load time. Standard on E-Synth; optional on others. Disable to use >64 MB Sample RAM.
Flash Sound RAM	Writable flash memory for storing frequently used samples permanently without disk loading.
Flash Preset/Sequence RAM	50 additional sequence locations (z050–z099) stored in Flash, plus preset flash locations.

📝 Sample numbers in EOS are assigned automatically. The system manages memory allocation dynamically — you don't need to specify locations manually.

[↑ Top]

3. Getting Started — Instant Gratification

Power Up

Turn on the E4XT Ultra and wait for the main preset selection screen to appear. If you have a Sound ROM or E-Synth ROM bank installed, you can select and play presets immediately — no disk loading required. Without ROM, you must first load a bank from the hard disk.

Loading a Bank from Hard Disk

From the main screen, press the Load function key (F4). The disk browser appears showing drive info, folders, and banks.
Use the cursor buttons to navigate to the desired folder (e.g., Combos).
Select the bank using the Data Entry Control or INC/DEC buttons.
Press OK to load. The bank loads and the first preset appears.

💡 The Disk button can be configured (Master → Setup → SCSI/Disk) to jump directly to SoundSprint mode or to the last Disk Browser screen used.

Selecting Presets

EOS provides multiple methods for preset selection from the main screen:

Data Entry Control — scroll quickly through all presets
Left/Right cursor buttons or INC/DEC buttons — step through one at a time
Page buttons — jump ten presets at a time
Numeric keypad — type a 1, 2, or 3-digit number, then press Enter/Go

Lock Button (Digit Lock)

The +/– button doubles as a Lock button on the preset selection screen. It sets the number of digits required to select a preset via the numeric keypad. Lock 1 mode (one digit locked): enter 2 digits for 100-preset range; a popup lists the 10 presets in that rank. Lock 2 mode: single button press selects from a range of 10. Press Lock repeatedly to cycle through modes.

Saving a Bank

From the main screen, press the Save function key (F5).
Select the bank location — defaults to the currently loaded bank.
Press OK to overwrite, or select an empty bank slot to save as new.

⚠️ Nothing is saved permanently until you Save. All edits are lost if you power off or load another bank without saving first. Save to an empty bank slot if you want to keep both the original and edited versions.

Using the Browser

The Browser provides a hierarchical view of the disk with icons identifying each object type (Bank, Folder, Preset, Sample, Sequence). Navigate using cursor buttons and select using function keys. The Browse key (F2) drills into the selected object.

[↑ Top]

4. Arpeggiator

The onboard arpeggiator plays a held chord's notes sequentially, cycling them over a range of the keyboard. It is performance-oriented and shares a clock with the sequencer — tempo changes in either module affect both.

Access: From the main preset screen, press Mode (F6), then Arp (F5).

Parameter	Options / Function
Octave Extension	0–3 octaves. Shifts the arpeggio up by the specified number of octaves each time the pattern repeats. Press F2 repeatedly to toggle between values.
Direction	Up / Down / Up-Down / Random. Determines the order the held notes are played and how octave extensions are applied.
Division	Note value per step: 1/2, 1/2 triplet, 1/4, 1/4 triplet, 1/8, 1/8 triplet, 1/16, 1/16 triplet, 1/32, 1/32 triplet.
Tempo	Entered numerically or via Tap Tempo (tap F4 at least 4 times; tempo updates as average after each tap).
ReSync	Resets the arpeggiator clock at the exact moment pressed — synchronize with an external beat on the fly.
Key Sync / Free Run	Key Sync: note sounds the instant a key is pressed. Free Run: note waits until the next arpeggiator clock cycle. Saved to EEPROM.
Triplets	Access from Multimode; Triplets remain on when switching back to Omni or Poly mode.

💡 Arpeggiated notes are transmitted on the MIDI Out port and can be recorded directly into the onboard sequencer.

📝 On a split keyboard, the arpeggiator plays on the preset that was selected when it was turned on. The arpeggiator continues on the current MIDI channel if you switch to Multi mode.

[↑ Top]

5. Keyboard Modes

Keyboard modes process incoming MIDI (or keyboard input on E4K/E-Synth models) for performance use. Access from the main preset screen via Mode (F6).

Mode	Description
Whole	Normal mode — keyboard is not split or layered. Places EOS in Omni or Poly mode. One preset plays across the full keyboard range.
Split	The preset on the Basic Channel plays the lower half; the preset on Basic Channel +1 plays the upper half. Split point is set by pressing SetSplit (F4) then playing the first key of the upper preset.
Layer	Both presets play across the entire keyboard simultaneously. Selection and transpose work identically to Split mode.
Multi	32-part multitimbral mode. The E4XT responds to all MIDI channels simultaneously, playing the preset assigned to each channel. The MIDI Mix screen displays and adjusts preset, volume, pan, and output for up to 32 channels.

Split Mode Controls

Use the Data Entry Control or INC/DEC to change the preset shown in bold (the selected/active preset)
Use the Left/Right cursor buttons to transpose the selected preset up or down
The Upper Preset is always displayed on top in the screen

Multimode — MIDI Mix

In Multimode, the main display transforms into the MIDI Mix screen. Use Up/Down cursor to select MIDI channel; Left/Right cursor to select preset, volume, pan, or output. Volume and pan changes made over MIDI (CC #7 and CC #10) are reflected here in real time.

📝 Omni mode plays the current preset from any MIDI channel. Poly mode responds only on the Basic Channel. Multimode responds on all channels with individual preset assignments per channel.

💡 Pan in Multimode ADDS to the pan setting made in the voice — it is not an absolute override.

💡 To change program banks via MIDI: send CC #00 = 0, then CC #32 = Bank Number, then Program Change. This allows access to presets above 128.

[↑ Top]

The Master Menu is the global control center for the E4XT. Press the Master button (LED illuminates) to access the Memory Statistics screen, from which all Master submenus are reached.

Memory Statistics

Displays current memory usage: Sample RAM used/free, Preset RAM used/free, Sequence RAM used/free, and the number of samples, voices, presets, and sequences currently loaded in the bank.

Master Utilities

Function	Description
Assignable Keys	Six assignable front-panel keys can be programmed to jump to any EOS menu or function. Default: Key 1 = Sequencer, Key 2 = FX menus, Key 3 = jump between RAM and ROM preset locations.
Channel Volume	Sets global MIDI channel volume levels independently from the preset programming.
Tones	Controls system alert tones (audible feedback for operations).
Recalibration	Recalibrates the front-panel Data Entry Control and other analog controls.
Test Access	Hardware diagnostic tests. For service use.
About…	Displays EOS version, serial number, and installed hardware options.

Bank Operations

Function	Description
Erase Bank	Erases the entire bank from RAM (samples, voices, presets, sequences). Cannot be undone — save first if needed.
Name Bank	Assigns a name of up to 16 characters to the current bank.
Auto Bank Load	Selects a bank to load automatically on power-up. Choose the bank folder and bank name; it loads every time the machine starts.
Flash Utilities	Manages the Flash RAM — Clear Flash, Compact Flash, and view flash usage. Compact Flash defragments flash storage. Sound Flash RAM stores samples permanently for instant access without disk loading.

Setup — Tune

Parameter	Description
Tuning Offset	Global master tune offset for the entire machine, in cents.
Transpose	Global semitone transposition applied to the entire machine.
Audition Key	Sets the key used to audition samples in the Sample Manage and Sample Edit menus.

Setup — Input/Output

Parameter	Description
Headroom	Sets the internal headroom (headroom trim). Affects the gain structure throughout the signal path. Adjust if clipping or if output is too low.
Output Boost	Adds gain to the analog outputs. Use to match output level to other equipment.
Output Format	Selects the digital output format: Analog, S/PDIF, or AES Pro. S/PDIF uses RCA connector; AES Pro uses XLR with a pin adapter (Pin 1 = GND, Pin 2 = +, Pin 3 = −).
ADAT Output Dither	On/Off. Enable when transferring 20-bit ADAT data to a 16-bit ADAT recorder. Disable when the receiving device accepts 20-bit data.
Default Clock	Sets the system output sample rate: 44.1 kHz or 48 kHz. On Ultra series, this also determines which analog sample rates are available (44.1 kHz setting = 22.05 and 44.1 kHz available; 48 kHz setting = 24 and 48 kHz available).
Word Clock In	Ultra feature. Selects word clock source: Internal (crystal), BNC (external word clock), AES (from AES digital input), or ADAT (from optical data stream).
WC Phase In/Out	Ultra feature. Adjusts the phase relationship between input and output clocking to compensate for phase delays in other equipment. Useful when word clock is daisy-chained.

Setup — Miscellaneous

Parameter	Description
Contrast	LCD contrast adjustment, +7 to −8. Set for comfortable viewing angle.
Wrap Field Selection	On: cursor wraps from last to first field in a window. Off: cursor stops at last field.
Screen Saver	LCD backlight dims after 10–60 minutes of inactivity (in 10-min increments), or Never. Prolongs LCD backlight life.
Disable Sound ROM	Disables Sound ROM access to allow Sample RAM expansion beyond 64 MB (up to 128 MB). Only shown if Sound ROM SIMMs are installed. Requires reboot after change.
Zero Crossing Threshold	Sets the level a signal must exceed before the next positive-slope zero crossing is selected. Range: −96 dB (most sensitive) to −30 dB (least sensitive). Used in auto-truncate and manual zero-crossing navigation.
Undo/Redo Enable	On/Off. When enabled, sample processing operations are backed up to the system drive, allowing one-step Undo and Redo. Disable if disk space is critically low.

SCSI/Disk

Parameter	Description
SCSI ID	Sets the E4XT's SCSI bus ID number (0–7). Change if it conflicts with another device on the chain.
SCSI Termination	On/Off. Both ends of the SCSI chain must be terminated. Leave On unless the E4XT is in the middle of the chain.
Avoid Host on ID	Sets the SCSI ID of the computer connected to the bus. Macintosh = ID 7. This prevents SCSI conflicts between the E4XT and the host computer.
Disk Button Goes To	Sprint: Disk button jumps to SoundSprint mode. Last: Disk button returns to the last-used Disk Browser screen.

Import Options

EOS can read Akai S1000, S1100, S3000 and Roland S-700 series disks transparently via SCSI — no awkward conversion routines required.

Option	Description
Combine L/R into Stereo	Automatically pairs Akai or Roland left/right samples (matching first 10 characters, ending in "-L" and "-R") into a single stereo sample.
Akai Conversion	Basic: samples and keymaps only. Full: complete preset assembly, simulating original Akai programming as closely as possible.
Adjust Fractional Loops	Automatically repairs loop tick artifacts from Akai S1000 loop format differences. Adds ~15% to transfer time.
Foreign Sampler SCSI ID	Set this ID if a non-Akai/Roland sampler is connected to the SCSI bus, to avoid SCSI conflicts.

Memory Configuration

Adjusts the balance of CPU RAM allocated between the Sequencer and Presets. Increase Sequence Memory if large sequences fail to load. Increase Preset Memory if preset space runs out. Press Save to confirm the new configuration.

Master Effects

Sets the two effects processors globally for all presets — useful in Omni/Poly modes and essential in Multimode (where per-preset effects cannot be used since there are only two processors total).

Effect A types: Room 1–3, Hall 1 & 2, Plate, Delay, Panning Delay, Multitap, Gated Reverbs, DelayVerb, Concert spaces, and more — 38 reverb/delay algorithms
Effect B types: Chorus 1–5, Flange 1–7, Doubling, Slapback, Symphonic, Ensemble, Delay, Vibrato, Distortion 1 & 2, Distorted variants — 25 modulation/delay algorithms

💡 You can create special "effects-only" presets (no samples) assigned to the Multi mode Effects Control Channel, then use Program Change commands to switch effects during a sequence.

MIDI — Mode

Parameter	Description
Basic Channel	The MIDI channel transmitted (on E4K/E-Synth keyboard) and used in Poly mode. Set 1–16.
MIDI Mode	Omni: responds to all channels, plays current preset. Poly: responds only on Basic Channel. Multi: 32-channel multitimbral operation.
MIDI Device ID	ID for SysEx communication. Multiple Emulators on the same system must have different IDs. Transferring SysEx between two EOS units requires matching IDs.
Local Control	E4K/E-Synth keyboard only. Off disconnects the keyboard/controllers from the sound engine while still transmitting MIDI. Use when recording into an external sequencer with Echo Thru enabled.

MIDI Controllers

Up to 15 MIDI continuous controllers can be assigned globally. Controllers A–H on page 2 are available as modulation sources (labeled "MIDI A" through "MIDI H") in the Preset Edit Cords screens. The destination for each controller is assigned per-preset in the Cords module.

📝 CC #7 is permanently assigned to volume; CC #10 is permanently assigned to pan. Using these numbers for other functions can have unpredictable results.

MIDI Preferences

Parameter	Description
Velocity Curve	14 curves available (plus Linear). Scales incoming velocity to match your playing style or MIDI controller. The curve shape is displayed graphically.
Controller #7 Sensitivity	Adjusts the sensitivity/range of MIDI volume controller response.
Controller #7 Curve	Shapes the volume response curve of CC #7.
Global Pedal Override	Overrides the sustain pedal polarity setting globally for all presets.
Receive Program Change	On/Off. Controls whether incoming MIDI Program Change messages change the current preset.
Send Program Change	On/Off. Controls whether EOS sends Program Change on preset selection (E4K/E-Synth keyboard only).
Magic Load Preset	When On, loading a bank via MIDI Program Change automatically selects the first preset in the new bank.

[↑ Top]

7. Effects (Chapter 3)

The E4XT Ultra has a dual effects processor — Effect A and Effect B — running in parallel by default. Each preset can have its own effects settings (in Omni/Poly mode) or effects can be assigned globally via the Master Effects module.

Effects Architecture

Aspect	Description
Processor A	Primarily reverbs, delays, and spatial effects. 38 algorithms.
Processor B	Primarily chorus, flange, modulation, and distortion effects. 25 algorithms.
Normal routing	A and B run in parallel. Each preset (or the Master module) independently feeds signal to each processor via Send amounts.
B→A series routing	Output of Effect B feeds into Effect A input. Creates series processing — e.g., chorus through reverb for a lush string sound. B→A amount is controllable.
Four Output Busses	Main (stereo), Sub 1, Sub 2, Sub 3. Each voice can be individually routed. Send amounts for each effects processor can be set independently per output bus.

Three-Way Effects Control

Preset mode: Effects programmed per-preset (Omni or Poly mode). Each preset carries its own effect settings and they change when the preset changes.
Master mode: Effects set globally in the Master module, used by all presets (set preset Effect Type to "Master" or "Default"). The same reverb follows every preset you select.
Multimode channel control: One designated MIDI channel's preset controls the effects for the entire machine. Change effects during a sequence by sending Program Changes on that control channel.

Effect Descriptions — Type A (Reverbs/Delays)

Type	Character
Room 1–3	Small rooms with high-frequency absorption from drapes and furniture
Hall 1 & 2	Large, open concert hall ambience
Plate	Dense early reflections and sharp reverb buildup typical of plate reverbs
Delay / Panning Delay	Mono and stereo echo with controllable feedback. Panning echoes alternate between speakers.
Multitap / 3-Tap Pan	Early reflection clusters only — no reverb tail. Multiple delay taps at different spacings.
Soft/Warm/Perfect Room	Refined room simulations with different absorption and reflection characteristics
Gymnasium / B-Ball Court / Cavern	Large, hard-surfaced spaces with long, bright reverb tails
Concert 9–11 / Medium/Large Concert	Full-scale concert hall simulations of varying sizes
Reverse Gate / Gate 2 / Gate Pan	Gated reverbs — ambience only while signal is above threshold; cut off when signal falls below
DelayVerb 1–9	Combined delay and reverb algorithms
Canyon	Extended, dramatic reverb simulation

Effect Descriptions — Type B (Modulation/Dynamics)

Type	Character
Chorus 1–5	True stereo chorus — two delay lines with separate timing and inverted LFO phase on one channel. LFO Rate and Depth are key parameters.
Flange 1–7	Short modulated delay creating comb filter effect. Feedback deepens the notches. LFO varies the notch frequencies.
Doubling	~26ms delay creates a second audio image — two-voice illusion with slight modulation
Slapback	50–60ms single echo — discrete separate image for thickening or reverb pre-delay simulation
Big Chorus / Symphonic / Ensemble	Richer, denser chorus variants for strings and pads
Stereo Delay 1 & 2	Stereo delay with slightly offset channels to create a stereo image from mono input
Dual Tap 1/3 and 1/4	Delay lines tapped at two unevenly spaced points — complex echoes with feedback
Vibrato	LFO-modulated delay with no dry signal — pure pitch modulation via Doppler shift. Sounds very different from synthesizer-generated vibrato.
Distortion 1 & 2	Soft-clipping distortion — progressive harmonic addition as level increases, transitioning toward square wave
Distorted Flange / Distorted Chorus / Distorted Double	Distortion combined with flange or chorus processing

Effect Parameters (Type A)

Parameter	Description
Decay Time	Time for reverb/echo to fade away. Controls apparent room size and reflectivity.
HF Damping	High-frequency energy fades first in real spaces. Higher HF Damping simulates soft, absorptive rooms; lower simulates hard, reflective surfaces.
FX Amounts (per output bus)	Wet/dry ratio for each of the four output busses (Main, Sub 1–3). Analogous to effect send levels on a console.
FX B Through FX A (B→A)	Percentage of Effect B output routed into Effect A. Set to 100% for full series processing.

Effect Parameters (Type B)

Parameter	Description
Feedback Amount	Amount of delayed signal fed back through the delay line. Intensifies chorus/flange by creating multiple cancellations or images.
LFO Rate	Rate of the modulation oscillator. Faster rates generally need less depth; slower rates need more for a natural effect.
Delay Time	Length of the delay line (0–635 ms on standard delay types). Determines echo timing or the base delay for chorus/flange.
FX Amounts	Wet/dry ratio per output bus, same as Effect A.

💡 Insert a plug into any Sub Output jack and the dry signal from that bus is removed from the effects processor — allowing an "effects only" mix from the Main Outputs and three dry mixes from the Sub Outputs simultaneously.

💡 Effects Bypass (Master → FX → Setup) performs a true bypass of the entire effects engine — useful when using external effects at the console.

[↑ Top]

8. Sequencer (Chapter 4)

The EOS 4.0 onboard sequencer is a full 48-track MIDI production center, always available regardless of what bank is loaded. Sequences are stored with the bank (up to 50 per bank) or exported as Standard MIDI Files. The sequencer shares its clock and tempo with the Arpeggiator.

Access: Hold the Decimal Point key and press Assignable Key 1 — or, on the E4K/E-Synth keyboard, press the Sequencer key.

Sequence Manage

Function	Description
Sequence Select	Use Data Entry Control, INC/DEC, Page keys, or Left/Right cursor to select among the 50 sequence locations (plus flash locations z050–z099).
Name Sequence	Assign a name of up to 16 characters using numeric keys, Data Entry Control, or ASCII keyboard.
Export	Exports the current sequence as a Standard MIDI File (Type 0 or 1) or in EIV format to floppy or hard disk.
Loop	Sets sequence to repeat continuously or stop at the end.
Erase	Erases the entire sequence from memory. Cannot be undone.
Copy	Copies the current sequence to any other location including Flash RAM slots (z050–z099).
Jukebox	Links up to 7 sequences for automatic back-to-back playback. After the last plays, loops back to first. You must remain in the Jukebox screen for it to operate.
Sequencer Memory	Displays current sequence memory usage. Can be monitored while recording.

Recording SysEx

The sequencer functions as a MIDI data filer — connect the MIDI Out of an external device to the E4XT MIDI In, start recording, send the SysEx, then stop. Playback retransmits the SysEx to the receiving device.

Standard MIDI Files

EOS can load and play Standard MIDI File sequences (Type 0 and 1) from DOS-formatted HD floppy disks. File naming requirement: up to 8 characters + ".MID" extension. MIDI files appear as Banks in the Sequence Browser. Maximum 48 tracks — files with more than 48 tracks will not load.

💡 Plan your tracks before exporting from a computer. Combine kick, snare, and hi-hat onto a single track before export to stay within the 48-track limit.

Transport Controls

Access the transport from Sequence Manage via Menu/Transport (F6). Functions: Return to Zero, Stop, Rewind, Fast Forward, Play, Record (combined with Play), Abort (stop + erase current recording).

Sequence Edit Screen

The Sequence Edit screen is the primary working view, containing all editing capabilities for recorded sequences. 48 tracks are shown 4 at a time; navigate with Up/Down cursor. Each track displays: Track Mode, Track Number, MIDI Channel, Tempo, Preset Assigned, Volume, Pan, Submix output.

Track Modes

Mode	Symbol	Function
Play	P	Plays the track normally
Mute	M	Silences the track without erasing it
Solo	S	Silences all other tracks; plays only tracks in solo mode
Record	R	Puts the track in record mode
Empty	–	Empty sequence location, ready to record
Overdub	o	Records additional data onto an existing track
Re-record	r	New data replaces existing data between start and stop points

📝 Counter display shows position in Bars-Beats-Ticks (480 ticks per beat). The counter may slow during heavy recording — this does not affect recording accuracy.

Editing — Cut, Copy, Paste

Cut/Copy/Erase and Paste tools allow section-level editing. Paste modes include: Merge (mix clipboard into destination), Overwrite (replace destination with clipboard), and Xfade Mix (crossfade blend with adjustable source amount and crossfade size).

Sequencer Tools

Tool	Description
Quantize	Snaps recorded notes to a selectable note grid. Quantize percentage controls the strength of correction.
Transpose	Transposes notes in a track or section by semitones. Applies to a selected track or all tracks.
Sequence Velocity	Scales note velocity across a track or section by percentage.
Channelize	Changes all note data in a track to a single MIDI channel.
Channel Extract	Extracts notes of a specific MIDI channel from a multi-channel track into a separate track.

Sequencer Setup

Function	Description
Metronome	Audible click track during recording. Configurable pitch and volume.
Sequence Clock	Internal clock or external sync (MIDI Clock In). Count-in bars configurable.
Sequence Input	Input quantize (quantize notes as they are played in), and input filter (block certain MIDI data types during recording).
Sequence Record	Auto-punch in/out: set punch-in and punch-out points for automatic recording within a section.
Sequence Loop	Loop playback between defined start and end points.
Transport / Locate	MMC (MIDI Machine Control) receive settings. Locate: jump to a specific bar/beat/tick position.

💡 Multitimbral recording procedure: (1) Enter Multimode, (2) Set Track Mode to "R", (3) Set MIDI channel, (4) Select a Preset, (5) Press Transport → Record + Play, (6) Play, then repeat for additional tracks.

📝 When sequencing on a rack Emulator with dual MIDI ports, use Port A for MIDI input only — Port B is not routed to the sequencer.

[↑ Top]

9. Sample Manage (Chapter 5)

Sample Manage is the control center for recording new samples and managing existing ones in the bank. It also handles automatic sample processing and placement.

Sample Utilities

Function	Description
Erase Sample	Permanently erases a sample from RAM. Cannot be undone once bank is saved.
Copy Sample	Duplicates a sample in RAM under a new name.
Sample Dump	Exports a sample via MIDI SMDI (SCSI MIDI Device Interface) to an external sampler or computer. Also exports to disk in EIV, WAVE, or AIFF formats.
Defragment Memory	Consolidates fragmented Sample RAM into contiguous blocks. Required periodically after many erase/copy operations.
Name Sample	Rename a sample. Include the original pitch in the name (e.g., "Piano_C3") for easy keyboard placement later.

New Sample — Recording Parameters

Parameter	Description
Threshold	Recording starts automatically when input exceeds this level. Set to ensure the attack of the sound is captured.
Input Channels	Left, Right, or Both (stereo). Stereo recording uses twice the memory.
Sampling Source & Rate	Analog input (ADC), digital input (AES, S/PDIF, or ADAT optical). Sample rate: 22.05, 24, 44.1, or 48 kHz depending on Default Clock setting.
Dither	On/Off. Add dither when recording at lower bit depths to improve perceived dynamic range.
ADC Gain	Adjusts the analog-to-digital converter gain to optimize the recording level.
Sample Length	Maximum recording time in seconds. Limits how much RAM is allocated for the recording.
Arm / Force / Keyboard Sample Trigger	Arm: arms recording, waits for threshold. Force: starts recording immediately. Keyboard: recording triggered by a keypress.
Monitor On/Off	Routes the analog input directly to the outputs for monitoring before sampling begins.

Automatic Parameters

EOS can automatically process a sample as it is recorded, saving significant editing time:

Auto Function	Description
Auto Truncate	Automatically trims silence from the start and/or end of the sample after recording. Uses the Zero Crossing Threshold setting.
Auto Normalize	Automatically raises the sample's level to 0 dB headroom after recording.
Auto Loop	Attempts to find loop points automatically using Auto Correlation after recording.
Auto Placement	Places the recorded sample into a voice and assigns it to the keyboard automatically. Set Original Key, Low Key, and High Key before recording.

Place Sample

Manually places an existing sample into a voice and assigns it to the keyboard. Specify: Original Key (recorded pitch), Low Key, High Key, Destination Voice number, and whether to create a new preset or add to an existing one.

Export Sample

Exports a sample to disk in EIV (native E-mu), WAVE (.WAV), or AIFF format. WAVE and AIFF files can be loaded into computer DAWs and other samplers.

💡 When naming samples, include the original pitch (e.g., "Violin_G4") to make keyboard placement fast and accurate later.

[↑ Top]

10. Sample Edit (Chapter 6)

Sample Edit provides non-realtime digital processing tools for shaping raw samples. All operations act directly on the sample data. Undo is available for most operations when Undo/Redo is enabled in Master Setup.

Background Concepts

Scrub Wheel: The Data Entry Control acts as a "scrub wheel" in Sample Edit — holding it while moving allows high-resolution navigation through the sample waveform.

Zero Crossings: The Left/Right cursor buttons navigate to the next zero crossing in the sample (positive-slope zero crossings). Used to set loop and edit points cleanly to avoid clicks.

Undo/Redo: Most sample operations back up the sample to disk before processing. Press Undo (F6) to restore the original; press Undo again (Redo) to restore the processed version.

About Looping

Looping repeats a section of the sample continuously while a key is held, allowing short samples to sustain indefinitely. Good loop points are where the wave level and slope at the loop end exactly match the loop start — creating a seamless transition.

Auto Correlation: EOS analyzes the waveform to find likely loop points. Works best when you've already found a good approximate point by ear. With Fix Size On, adjusts the Start Point; with Fix Size Off, adjusts the End Point.
Fix Size: Locks the loop length while allowing you to move the start point — essential for groove loops and single-cycle loops.
Crossfade Looping: Smooths loop discontinuities by crossfading sample data across the splice point. Equal Power (natural-sounding, compensates for level shifts) and Linear (better for already-close loops) modes available.
Loop Compression: "Evens out" level variations within the looped portion — reduces perceived amplitude modulation ("breathing") in the loop.

Utilities — Cut, Copy, Paste, Truncate, Taper

Function	Description
Cut Section	Removes a section of the sample and places it on the clipboard. Sample closes up around the cut.
Copy Section	Copies a section to clipboard without altering the original.
Paste Section	Inserts the clipboard at the specified position. Paste modes: Insert (expands sample), Overwrite (replaces), Mix (blends clipboard with destination at specified mix percentage), Xfade Mix (crossfade blend).
Truncation	Trims the start and/or end of a sample. Removes unneeded silence/noise and saves RAM. Can also remove the attack of a sound (e.g., plucked string percussive attack) to change character.
Taper	Creates artificial fade-in or fade-out on a section. Set Start Amount and End Amount (±96 dB), fade Type (Linear, Exp 1–3), and optionally Truncate after the taper. Use to clean up clicks at the start of a sample or create artificial decays on drum samples.

Tools 1 — Looping and Pitch

Tool	Description
Loop	Set and edit loop Start, End, and Size points. Access Auto Correlate, Fix Size, and Crossfade Looping options.
Loop Type	Off: sample plays straight through. On (Forward Loop): sample loops continuously while key is held. Loop in Release On/Off: controls whether the loop continues after key release during the envelope release phase.
Digital Tuning	Permanently retunes a sample ±1 octave in cents. Filtering options: Crunchy (retain highs), Smooth (medium LP), Creamy (maximum LP). Use to fix slightly out-of-tune samples once rather than retuning every time in the voice.
Sample Rate Convert	Converts the sample to any rate between 7,000 Hz and 200,000 Hz. Coarse/Fine modes for fast or precise editing. Same three filtering modes as Digital Tuning.
Sample Calculator	Calculates the number of samples in a single-cycle loop at a given note and sample rate. Use to find a sample rate where single-cycle count is an integer for a perfect loop.

Tools 2 — Stereo and Utility Operations

Tool	Description
DC Filter	Removes DC offset from a sample, centering the waveform on the zero axis. Check peak values first — if a peak is near ±32767, DC Filtering may cause clipping; attenuate by 2 dB first.
Swap Left & Right	Swaps the two sides of a stereo sample, or moves a mono sample to the opposite channel.
Stereo ↔ Mono	Convert stereo to mono (sums both sides, divides by two) or mono to stereo (duplicates sample to both sides with slight detuning for width).
Reverse Section	Reverses all or part of a sample. Left/Right cursor sets start/end at zero crossings to minimize clicks.
Sample Integrity	Reconstructs corrupted sample headers — fixes tick artifacts in imported samples from format conversion. Processes all samples in the bank at once.

Tools 3 — Dynamics and EQ

Tool	Description
Gain Change	Applies level adjustment (−96 to +96 dB) to all or part of a sample. Fade In/Out parameters create smooth transitions into and out of the gain change. Linear and Exponential curve types available.
Compressor	Full-featured non-realtime compressor with: Mode (RMS or Peak), Threshold (Above/Center/Below, as percentage of 16-bit full scale), Compression Ratio, Attack Time (1–999 ms), Release Time (1–999 ms). Use cases: Limiter (Above threshold, >10:1 ratio, fast attack), Musical Compression (Center threshold, ~4:1), Noise Reduction (Below threshold, ~0.7:1 expansion).
Parametric EQ	Digital parametric equalizer with +12 dB boost / −48 dB cut, variable Center Frequency, and variable Bandwidth. Non-realtime — permanently processes the sample data.
FIR (Phase Linear Filter)	Phase-linear filter for Lowpass, Highpass, Bandpass, Allpass, and Notch responses. Points parameter (5–99) controls filter slope quality and steepness. Extremely high Q values. The Allpass filter allows phase-matched signal recombination for frequency boosting without standard filter phase distortion.
Aphex Aural Exciter™	Licensed Aphex Systems processor. Generates new high-order harmonics related to the source material, adding brilliance and presence. Effective on vocals; keeps effect subtle at <40% Amount. Tune parameter selects the frequency range of the effect.

Tools 4 — Advanced DSP (Ultra Series)

Tool	Description
Transform Multiplication	Merges two samples using convolution — frequencies common to both are accentuated; uncommon frequencies are discarded. Creates unusual, complex timbres. Works best with harmonically rich sources. Result length equals the current sample length. Try: same sound doubled, speech through pitched instruments, or silence-padded short samples.
Doppler	Applies a pre-computed spatial path to a mono sample — the result is stereo with pitch shifts and L/R gains adjusted for the path. 12 paths available: left-right flyby (fast/slow), near/far movement (fast/slow), and circle sizes (8 ft to 250 ft). Auto-panner mode available (Pitch Shift Off). Threshold limits maximum attenuation.
Time Compression	Changes sample length (50%–200% in 0.1% steps) without changing pitch. Use the Tempo Calculator to match a sampled groove to a new BPM: set original tempo and target tempo; EOS calculates the compression ratio.
Pitch Change	Changes pitch ±1,200 cents (±1 octave) without changing sample length. Complementary to Time Compression.
Bit Converter	Reduces bit resolution of a sample — deliberately introduces lo-fi character (8-bit grit, etc.).
Beat Munger™	Ultra-exclusive. Analyzes drum loops and phrases, then allows real-time changes to tempo, time signature, swing amount, and individual beat timing. A powerful groove manipulation tool for remixing and production.

💡 Start/End points are remembered between modules — you can perform successive operations (truncate, then EQ, then compress) on the same section without re-setting the points each time.

💡 Detuning a copy of a sample by a few cents then combining it with the original creates a natural flange/chorus effect.

[↑ Top]

11. Preset Manage (Chapter 7)

Preset Manage handles administrative operations on individual presets — creation, naming, copying, exporting, and deletion.

Function	Description
Erase Preset	Permanently removes a preset from RAM. The samples and voices it referenced remain; only the preset structure is erased.
Dump Preset	Exports preset data via SysEx to an external device or librarian software.
Name Preset	Assigns or changes the preset's name (up to 16 characters).
New Preset	Creates a blank preset with a new number. The starting point for building a preset from scratch.
Copy Preset	Duplicates an existing preset — copies the preset structure (voices, parameters, effects settings) but references the same original samples (does not duplicate sample data).
Export Preset	Saves a single preset to disk in EIV format. Allows saving individual presets without saving the entire bank.
Get Info	Displays preset information: number of voices, number of samples referenced, memory usage.

[↑ Top]

12. Preset Edit (Chapter 8) — Synthesis Engine

Preset Edit is the heart of the E4XT's sound design capability. It contains two levels:

Preset Definition Level: Global preset parameters, Links (layering/splitting), and Voice placement on keyboard and velocity ranges
Dynamic Processing Level: Per-voice synthesis — tuning, modifiers, amplifier, filter, envelopes, LFOs, and modulation Cords

Preset Definition — Global

Parameter	Description
Transpose	Global semitone transposition applied to all voices in the preset.
Volume	Global output level for the preset.
Initial Controllers A–D	Sets the initial values of MIDI controllers A–D when the preset is loaded. On E4K/E-Synth, sets the starting positions of the front-panel realtime sliders.
Edit All	Selects all voices simultaneously and jumps directly to the Dynamic Processing level — the fastest way to make global preset-wide changes.

Links

Links call up other presets from the bank and combine them with the current preset — the primary method for layering and splitting. Links are non-destructive; the linked preset is not altered, simply referenced and played.

Link Parameter	Description
Link Type	Internal (references another preset in the bank) or External MIDI (sends Program Change on a specified MIDI channel — turns the E4XT into a master controller).
Link Volume	Volume offset for the linked preset relative to the current preset.
Link Pan	Stereo pan offset for the linked preset.
Link Transpose	Semitone transposition offset for the linked preset.
Link Fine Tuning	Fine tuning offset in cents for the linked preset.
Key Window	Sets the keyboard range (Low Key / High Key) over which the linked preset responds.
Velocity Window	Sets the velocity range over which the linked preset responds — enables velocity switching and crossfading between layers.
MIDI Filter Window	Controls which MIDI data types pass through to the linked preset or MIDI link channel.

💡 On a rack Emulator, MIDI Links can process and re-output incoming MIDI data from your keyboard — turning any MIDI keyboard into a master controller with up to 16 split points and layers across different MIDI channels.

Voices — Key, Velocity & Realtime Windows

Voices are placed on the keyboard using three overlay windows that can be viewed simultaneously:

Key Window: Defines the keyboard range (Low Key, High Key, Original Key) and fade zones for positional crossfading between voices.
Velocity Window: Defines the velocity range (Low Velocity, High Velocity) and fade zones for velocity crossfading and switching.
Realtime Window: Assigns a realtime controller (modulation wheel, footpedal, etc.) to crossfade or switch voices in real time during performance.

Groups

Voices can be tagged with a group number (1–32) to organize related voices for batch selection and editing. Select all voices in a group at once using the EditGrp key. A voice can only be in one group at a time.

Voice Selection

From the Preset Editor windows: move cursor to a voice-related field and press Edit (F6)
Hold the Decimal Point and play a keyboard key — selects the voice(s) assigned to that key. Repeated key presses cycle through overlapping voices.
Auto Voice Selection mode (available in Dynamic Processing Utilities): playing the keyboard automatically selects the voice(s) at those keys.
Edit All: Preset Global → Edit All — selects every voice in the preset instantly.

Dynamic Processing — Voice Tuning & Modifiers

Parameter	Description
Key Transpose	Transposes the voice's pitch on the keyboard by semitones.
Coarse Tuning	±36 semitone coarse pitch adjustment for the voice.
Fine Tuning	±100 cents fine pitch adjustment.
Non-Transpose Mode	When On, the voice plays at a fixed pitch regardless of which key is pressed — useful for sound effects, atonal elements, or fixed-pitch percussion layers.
Chorus Amount	Thickens the sound by detuning a doubled version in stereo. Amount sets detuning depth (Off–100%). Stereo Width sets L/R spread (0% = mono, 100% = maximum separation). Inter-Aural Time Delay (ITD) creates through-zero flange at 0% width, or panning chorus at 100% width. Chorus doubles the voice's channel usage.
Delay	Delays the voice's onset from 0–10,000 ms after MIDI Note-On. Creates echo effects or thickens layered sounds.
Start Offset	Sets where in the sample playback begins when a key is pressed. Higher values skip further into the sample — removes the attack, changes transient character.
Glide Rate & Curve	Portamento — smooth pitch slide between notes. Rate: 0 (Off) to 32.738 seconds. Curve: 0 = linear; higher = more exponential. Polyphonic by default; monophonic in Solo modes. Fingered Glide mode enables glide only during legato playing.

Solo Modes

Mode	Behavior
Multiple Trigger	Last note priority. Envelopes and samples retrigger on every new keypress. No key-up action.
Melody (last)	Last note priority. Legato playing: envelopes continue from current position; samples jump to loop. Staccato: full retrigger from zero.
Melody (low)	Same as Melody (last) but low-note priority — higher notes played while a lower note is held are ignored.
Melody (high)	Same as Melody (last) but high-note priority.
Synth (last)	Melody (last) with key-up action: releasing the current solo key reverts to the highest remaining held key in legato fashion.
Synth (low)	Synth (last) with low-note priority. Classic MiniMoog behavior.
Synth (high)	Synth (last) with high-note priority.
Fingered Glide	Synth (last) with automatic glide enabled in legato playing, disabled in staccato.

Assign Group (Voice Channel Allocation)

Controls how many output channels (polyphony "slots") are allocated to each voice — protects important parts from voice stealing and enables hi-hat cancellation:

Mode	Channels Allocated
Poly All (default)	All 128 channels — standard polyphonic operation
Poly 16 A–B	Two bins of 16 channels each
Poly 8 A–D	Four bins of 8 channels each
Poly 4 A–D	Four bins of 4 channels each
Poly 2 A–D	Four bins of 2 channels each
Mono A–I	Nine monophonic channels — voices sharing the same letter cancel each other (open hat cancels when closed hat plays)

Latch Mode

When Latch is On, a key press latches the voice on; pressing the key again unlatches it. Designed for sustained sound effects and groove loops. Any voices on the same key also latch. Combining Latch and Solo modes may produce unpredictable results.

Dynamic Processing — Amplifier & Filter

Amplifier Parameters

Parameter	Description
Volume	Initial voice volume from −96 dB to +10 dB. Default = 0 dB (leaves headroom for modulation addition). Reduce to balance voices or eliminate clipping.
Pan	Initial stereo pan position. Modulation adds to or subtracts from this initial setting.
Amp Envelope Depth	Maximum attenuation from the amplifier envelope, −96 dB to −48 dB. Moving toward −48 dB with longer attacks creates more natural-sounding volume envelopes.
Submix	Routes the voice to one of the output channel pairs: Main, Sub 1, Sub 2, or Sub 3. Uses automatic plug-sensing — submix routing is ignored if no plug is in that output jack.

Amplifier Envelope

The Amplifier Envelope is permanently connected to the VCA. It uses the 6-stage rate/level format. Unlike the Filter Envelope, the Amp Envelope does not allow negative levels.

Z-Plane Filter

The E4XT's Z-plane filter is its most distinctive synthesis feature — a filter that changes its function over time by interpolating between two complex filter "frames" via a single Morph parameter. Any modulation source can drive the Morph, creating complex, evolving timbres that would require dozens of simultaneous parameter changes on a traditional filter.

The Morph parameter can be controlled by: Filter Envelope, LFO, modulation wheel, velocity, aftertouch, pedal, keyboard position, or any Cord source — including the unique Pattern LFOs for rhythmic filter sequences.

Filter Types — All 21

Filter Type	Description
2-Pole Lowpass	12 dB/oct LP filter with Q control. Gentle slope, suitable for subtle filtering.
4-Pole Lowpass	24 dB/oct LP filter with Q control. Classic analog-sounding cut. Can self-oscillate at maximum resonance.
6-Pole Lowpass	36 dB/oct LP filter with Q control. Extremely steep slope for dramatic filtering.
2nd Order Highpass	12 dB/oct HP filter with Q control.
4th Order Highpass	24 dB/oct HP filter with Q control.
2nd Order Bandpass	6 dB/oct rolloff on each side of passband. Q controls bandwidth.
4th Order Bandpass	12 dB/oct rolloff on each side. Tighter passband with Q control.
Contrary Bandpass	Novel filter where frequency peaks and dips cross midway in the frequency range — unusual resonant character.
Swept EQ, 1-octave	Parametric EQ with 24 dB boost/cut and 1-octave bandwidth. Realtime-controllable center frequency.
Swept EQ, 2→1-octave	Variable bandwidth: 2 octaves wide at low frequencies, narrowing to 1 octave at high frequencies.
Swept EQ, 3→1-octave	Variable bandwidth: 3 octaves wide at low end, 1 octave at high end.
Phaser 1	Comb filter recreating classic phase-shifter sound. Frequency sweeps notch positions. Resonance varies notch depth.
Phaser 2	Alternative notch spacing from Phaser 1 — different character phase shift effect.
Bat Phaser	Phase-shift filter with both peaks and notches — more complex resonant character than standard phasers.
Flanger Lite	Three-notch comb filter. Frequency moves notch positions; Resonance controls flanging depth.
Vocal Ah-Ay-Ee	Formant morph filter sweeping from "Ah" through "Ay" to "Ee". Body Size varies the apparent mouth cavity size.
Vocal Oo-Ah	Formant morph filter sweeping from "Oo" through "Oh" to "Ah". Body Size varies cavity size.
Dual EQ Morph	Programmable 2-frame morphing filter with two EQ sections. Interpolates between two complete EQ configurations. Create custom vocal formant filters.
2EQ + Lowpass Morph	Two EQ sections plus a lowpass filter whose cutoff is also controlled by Morph. Lowpass opens fully at 255; EQ and LP both morph together.
2EQ Morph + Expression	Two EQ sections plus a lowpass with independent Expression control over LP frequency — simultaneous Morph sweeping EQ while Expression (velocity, etc.) independently controls LP cutoff.
Peak/Shelf Morph	Independent Frequency, Shelf, and Peak for each of two frames. Negative Shelf = low shelving; positive Shelf = high shelving; zero Shelf = peak response. Frame selection displayed left-to-right rather than low-to-high.

Filter Envelope

The Filter Envelope uses the same 6-stage rate/level format as the Amp Envelope but allows negative levels — enabling the envelope to sweep the filter cutoff below the initial setting. Use the Scale display toggle for time-based or level-based visual representation. Connect to the filter via a Cord with the desired amount (positive or negative).

Dynamic Processing — LFOs & Auxiliary Envelope

LFO Parameters

Parameter	Description
Shape	16 waveforms: Random (S&H), Triangle, Sawtooth, Sine, Square, 33%/25%/16%/12% Pulse, Pattern LFOs (Octaves, Fifth+Octave, Sus4 trip, Neener), Sine 1,2 and 1,3,5 (additive sine harmonics), Sine+Noise (ideal for trumpet/flute vibrato), Hemi-quaver (generates scales when routed to pitch at ±38 or ±76 cord amount).
Delay	Time before LFO modulation begins after key-on (0–20 seconds). Simulates musicians bringing in vibrato after establishing the initial pitch.
Variation	Random note-to-note variation in LFO rate. Higher values create subtle ensemble detuning — each voice has a slightly different modulation rate on each keypress.
Sync	Key Sync: LFO resets to start of cycle on each key-on. Free Run: LFO continues from a random point in its cycle on each key-on (natural-sounding).

💡 Pattern LFOs (Octaves, Fifth+Octave, Sus4 trip, Neener) routed to pitch with a Cord amount of +38 generate musical intervals. Combining multiple Pattern LFOs creates complex rhythmic pitch sequences.

💡 Hemi-quaver routed to pitch: +38 = major scale, −38 = phrygian scale, +76 = whole tone scale. Two cords summing +38 and +76 = diminished scale.

Lag Processors

Two Lag Processors (accessible in the LFO 2 screen) slow down rapid changes in a modulation signal — the output "lags" behind the input. Rate: 0 (least lag) to 10 (slowest). Lag Processors are also available as summing amplifiers (Lag0in and Lag1in as modulation sources) for combining multiple modulation signals before routing to a destination.

Auxiliary Envelope

A general-purpose 6-stage envelope generator identical to the Filter Envelope, including negative level capability. Not permanently connected to anything — route freely via Cords to any destination (pitch, filter, pan, LFO rate, etc.). Use to create attack "blips" on pitch, stutter effects, or any time-varying parameter change that doesn't fit the Amp or Filter envelopes.

Dynamic Processing — Modulation System

Modulation Sources (64 total)

Category	Sources
Performance	Pitch Wheel, Mod Wheel, Pressure (channel aftertouch), Pedal, Foot Switch 1 & 2, Flip-Flop Foot Switch 1 & 2, MIDI Volume (CC#7), MIDI Pan (CC#10)
MIDI Controllers	MIDI A–H (the 8 assignable controllers), Key # (keyboard note number), Velocity (+, ~, <), Release Velocity, Gate
Envelope Generators	Volume Envelope (+, ~, <), Filter Envelope (+, ~, <), Auxiliary Envelope (+, ~, <)
LFOs	LFO 1 & 2 (+, ~)
Random / Noise	White Noise, Pink Noise, Key Random 1 & 2 (different value per voice at key-on), Crossfade Random (same value for all voices)
Timing	Clock Divisors (double whole, whole, half, quarter, eighth, sixteenth note), Key Glide
Modulation Processors	DC Offset, Summing Amp, Switch, Absolute Value, Diode, Flip-Flop, Quantizer, 4x Gain, Lag Processor 0 & 1, Lag 0 in / Lag 1 in (summing amp outputs)

Modulation Destinations (60 total)

Category	Destinations
Pitch	Pitch, Fine Pitch, Key Sustain (holds pitch at current value)
Sample	Sample Start, Sample Loop, Sample Retrigger (negative-going zero crossing retriggers from start)
Filter	Filter Freq (Morph), Filter Resonance (Q, Gain, Body Size, Peak — note-on only)
Amplifier	Amplifier Volume, Amp Pan, Amplifier Crossfade
Performance	Glide Rate, Chorus Amount, Chorus Position ITD
Volume Envelope	All Rates, Attack Rate, Decay Rate, Release Rate
Filter Envelope	All Rates, Attack Rate, Decay Rate, Release Rate, Filter Envelope Trigger
Auxiliary Envelope	All Rates, Attack Rate, Decay Rate, Release Rate, Aux Envelope Trigger
LFOs	LFO 1 & 2 Rates, LFO 1 & 2 Trigger
Modulation Processors	Lag Processor In 0 & 1, Summing Amp, Switch, Absolute Value, Diode, Flip-Flop, Quantizer, 4x Gain, Cord 0–23 Amount (modulate the amount of other cords)

Modulation Cord Amount Modes

Symbol	Behavior
+ (positive)	Modulation ADDS to the initial parameter value. Normal operation.
~ (centered)	Modulation centers around zero — use for LFOs and Filter Frequency to get bidirectional sweep.
< (subtractive)	Modulation SUBTRACTS from the initial value. Inverts the direction of the source.

Modulation Processors

Modulation Processors modify control signals in the Cords path — enabling patching tricks impossible with simple linear routing:

Processor	Function
Switch	Outputs a digital "1" when input exceeds zero. Use with Velocity ~ source to create a velocity threshold — pitches snap up a fifth at velocities above 64, for example.
Summing Amp	Mixes several modulation signals together before routing to a destination. Saves cords when the combined signal feeds multiple destinations.
Lag Processors 0 & 1	Slows rapid changes in the input signal. Rate 0 = fastest response; 10 = slowest. Route Pink Noise through Lag for a smooth random control signal ideal for subtle filter animation.
Absolute Value	Inverts negative values; passes positive values unchanged. Output is always positive.
Diode	Passes only positive values; blocks negative values. One-way gate for modulation.
Flip-Flop	Output alternates between digital "1" and "0" each time input goes positive from zero or negative. An LFO input produces a square wave at half the input frequency.
Quantizer	Converts a smooth input into discrete steps. Input cord amount controls number of steps (100% = 16 steps with sawtooth input); output cord amount controls step interval/size. Route LFO+ through Quantizer to Pitch for ascending arpeggios. Use 4x Gain to increase step count or interval.
4x Gain	Multiplies input modulation value by 4 — amplifies low-level modulation sources.

💡 Clock Divisors as modulation sources: Cord Amount MUST be positive (+) for the clock to pass. Modulate the Cord Amount with a controller to selectively gate clocked modulation in real time.

💡 Processors can be chained: e.g., Pink Noise → Lag → Filter Cutoff for smooth random filter animation; LFO+ → Quantizer → Pitch for rhythmic arpeggios; DC Offset → Switch (for adjustable velocity switch point).

Sample Retrigger

A special Cord destination. A negative-going zero crossing in the modulation source triggers the sample from its start point. Use LFO (~), envelope, or noise to create echo effects, stutters, or random retriggering. Set the Amp Envelope to create an artificial decay for the retrigger echo effect.

The Disk Menu provides full access to the storage hierarchy — drives, folders, banks, presets, samples, and sequences. Access via the front-panel Disk button.

Disk Browser

A hierarchical browser with icon-based navigation. Icons identify object type (disk drive, folder, bank, preset, sample, sequence). Navigate with cursor buttons; press Browse (F2) to drill in; function keys provide context-sensitive operations.

Disk Operations

Function	Description
Mount Drives	Mounts newly connected SCSI drives. Must be run after powering on new SCSI devices.
Copy System	Copies the entire EOS system (operating system) to a disk — for system drive backup or creating a bootable disk.
Format Disk	High-level format for a disk drive. Creates an EOS-compatible file structure. Destructive — all data is erased.
Low Level Format	Deep magnetic formatting of the disk. Use only for new drives or to repair severely corrupted disks.
Backup	Complete backup of all banks, presets, samples, and sequences from one drive to another.
Load Bank	Loads a bank from disk into RAM. All current RAM contents are replaced (unless Merge is used).
Save Bank	Saves the current bank (all samples, voices, presets, sequences) to the selected disk location.
View	Shows the contents of a disk object without loading it.
Info	Displays size, date, format information for drives, folders, banks, presets, or samples.
Lock Drive	Write-protects a drive in software — prevents accidental overwriting.
Sleep	Spins down the hard disk to save wear when not in use.

Folder Operations

Function	Description
New	Creates a new folder on the disk.
Delete	Deletes a folder and all of its contents. Destructive — cannot be undone.
Rename	Renames a folder.
Find…	Searches across the disk for banks, presets, or samples by name.

Preset Browser (from Disk)

Function	Description
SoundSprint™	Browses and automatically loads presets from the selected folder as you move through them. Sprint presets load into positions 990–999.
Bookmarks	View and select Bookmarked presets within SoundSprint.
Find…	Search for a preset by name across all folders on the disk.
Load Preset	Loads a single preset from disk into the current bank RAM without loading the entire bank.
Audition	Plays the currently selected preset's samples through the Audition Key while browsing — hear before loading.

Sample Browser (from Disk)

Browse, find, audition, and load individual samples (.WAV, AIFF, and native E-mu formats) from disk into RAM. Load .WAV and AIFF files directly from DOS-formatted floppy or hard disk — compatible with most computer DAW formats.

[↑ Top]

14. Appendix — SCSI, MIDI Implementation, Menu Maps

SCSI

SCSI (Small Computer System Interface) is the storage bus used by the E4XT Ultra for hard disks, CD-ROM drives, optical drives, and SCSI connections to computers.

Topic	Key Points
SCSI IDs	Each device on the SCSI bus must have a unique ID (0–7). The E4XT defaults to ID 0. Macintosh uses ID 7 — set "Avoid Host on ID" to 7 when a Mac is connected. PCs use various SCSI IDs — match the setting to your SCSI card.
SCSI Chain	Up to 7 SCSI devices can be chained together. Both ends of the chain must be terminated. SCSI termination can be toggled in software on the E4XT.
Cable Types	Use proper SCSI cables — both 50-pin (narrow) and 68-pin (wide) variants exist. Proper termination at both physical ends of the chain prevents signal reflections (standing waves) that cause malfunctions.
SMDI	SCSI MIDI Device Interface — a standardized protocol for transferring samples between the E4XT and external computers or samplers at SCSI speeds (much faster than MIDI SysEx). Requires a SCSI connection and SMDI-compatible software.
Multiple Samplers	Multiple EOS machines can share the same SCSI bus. EOS software allows multiple "master" devices to coexist without bus conflicts, provided each has a unique SCSI ID and the Avoid Host ID is configured correctly.

MIDI Implementation Chart

Function	Transmitted	Recognized	Notes
Basic Channel (Default)	E4K/E-Synth keyboard only	Channel 1	Memorized
Basic Channel (Changed)	E4K/E-Synth keyboard only	1–16
MIDI Mode	No	Mode 1 (Omni/Poly), 3, 4; MONO, POLY, OMNI
Note Number	E4K/E-Synth keyboard only	0–127
Velocity (Note On)	E4K/E-Synth keyboard only	Yes, v=1–127
Velocity (Note Off)	E4K/E-Synth keyboard only	No
Aftertouch (Key)	E4K/E-Synth keyboard only	No
Aftertouch (Channel)	E4K/E-Synth keyboard only	Yes
Pitch Bender	E4K/E-Synth keyboard only	Yes
Control Change (Bank Select)	No	Yes	32 channels with expander option
Program Change	E4K/E-Synth keyboard only	Yes, 0–127
All Notes Off	No	Yes
All Sound Off	No	No
Reset All Controllers	No	Yes
System Exclusive	Yes	Yes	Extensive SysEx for librarian/editor support. Contact E-mu for specifications.
MIDI Clock	No	Yes	For sequencer and arpeggiator sync
Active Sense	No	Yes
Submix via MIDI	N/A	CC #79	0=voice, 1=main, 2=sub1…8=sub7

Menu Maps (Summary)

The E4XT's major menu trees for quick reference:

Top-Level Button	Submenus
Master	Memory Statistics → Utilities (Assignable Keys, Channel Volume, Tones) / Bank (Erase, Name, Auto Load, Flash) / Setup (Tune, In/Out, Misc, SCSI/Disk, Import, Memory Config) / FX (Master FX A, Master FX B, Effects Setup, Effects Control) / Sequence Manage / MIDI (Mode, Controllers 1&2, Preferences 1&2)
Preset Edit	Global (Transpose, Volume, Init Controllers, FX A, FX B) / Links (Main, Key Window, Velocity Window, MIDI Filters) / Voices (Main, Key Window, Velocity Window, RT Window, Sample Zone) → Dynamic Processing (Tuning, Amp/Filter, LFO/Aux, Cords)
Sample Manage	Utilities (Erase, Copy, Dump, Defrag) / Name / New Sample (Threshold, Input, Source, Rate, Dither, Gain, Length, Arm/Force/Keyboard Trigger, Monitor) / Automatic (Auto Truncate, Auto Normalize, Auto Loop, Auto Placement) / Place Sample / Export Sample / Get Info
Sample Edit	Utilities (Cut, Copy, Paste, Truncation, Taper) / Tools 1 (Loop, Loop Type, Digital Tuning, Sample Rate Convert, Sample Calculator) / Tools 2 (DC Filter, Swap L/R, Stereo↔Mono, Reverse, Sample Integrity) / Tools 3 (Gain Change, Compressor, Parametric EQ, FIR, Aphex AX) / Tools 4 (Transform Multiply, Doppler, Time Compression, Pitch Change, Bit Converter, Beat Munger) / Undo
Disk (Browser)	Disk (Mount, Copy System, Format, Backup, Load Bank, Save Bank, Info, Lock, Sleep) / Folder (New, Delete, Rename, Find, View, Info) / Bank (Delete, Name, Find, Load, Save, View, Info) / Preset (SoundSprint, Bookmarks, Find, Load, View, Audition, Info) / Sample (Find, View, Load, Load .WAV/.AIFF, Audition, Info) / Sequence (Find, View, Load, Info)
Sequencer	Sequence Manage (Select, Utilities, Name, Export, Loop, Edit, Transport) → Sequence Edit (Track Mode, Cut/Copy/Paste, Tools: Quantize/Transpose/Velocity/Channelize/Channel Extract, Setup: Metronome/Clock/Input/Record/Loop/Transport/Locate)

Support

E-mu Systems: www.emu.com (note: E-mu Systems was acquired by Creative Technology in 1993; the E4XT Ultra was manufactured during the Creative Labs era; product support has since been discontinued by the manufacturer).

[↑ Top]

fortinable.com Manual Library — E-mu E4XT Ultra

E-mu E4XT Ultra

Table of Contents

1. Overview & Key Specifications

2. Sound Organization Hierarchy

Samples

Voices

Presets

SoundSprint™

Bookmarks

Memory Types

3. Getting Started — Instant Gratification

Power Up

Loading a Bank from Hard Disk

Selecting Presets

Lock Button (Digit Lock)

Saving a Bank

Using the Browser

4. Arpeggiator

5. Keyboard Modes

Split Mode Controls

Multimode — MIDI Mix

6. Master Menu

Memory Statistics

Master Utilities

Bank Operations

Setup — Tune

Setup — Input/Output

Setup — Miscellaneous

SCSI/Disk

Import Options

Memory Configuration

Master Effects

MIDI — Mode

MIDI Controllers

MIDI Preferences

7. Effects (Chapter 3)

Effects Architecture

Three-Way Effects Control

Effect Descriptions — Type A (Reverbs/Delays)

Effect Descriptions — Type B (Modulation/Dynamics)

Effect Parameters (Type A)

Effect Parameters (Type B)

8. Sequencer (Chapter 4)

Sequence Manage

Recording SysEx

Standard MIDI Files

Transport Controls

Sequence Edit Screen

Track Modes

Editing — Cut, Copy, Paste

Sequencer Tools

Sequencer Setup

9. Sample Manage (Chapter 5)

Sample Utilities

New Sample — Recording Parameters

Automatic Parameters

Place Sample

Export Sample

10. Sample Edit (Chapter 6)

Background Concepts

About Looping

Utilities — Cut, Copy, Paste, Truncate, Taper

Tools 1 — Looping and Pitch

Tools 2 — Stereo and Utility Operations

Tools 3 — Dynamics and EQ

Tools 4 — Advanced DSP (Ultra Series)

11. Preset Manage (Chapter 7)

12. Preset Edit (Chapter 8) — Synthesis Engine

Preset Definition — Global

Links

Voices — Key, Velocity & Realtime Windows

Groups

Voice Selection

Dynamic Processing — Voice Tuning & Modifiers

Solo Modes

Assign Group (Voice Channel Allocation)

Latch Mode

Dynamic Processing — Amplifier & Filter

Amplifier Parameters

Amplifier Envelope