Software version 2.0 Operator's Manual By Roger Linn Copyright 1987, 1988, 1989 Akai Electric Co., LTD.
READ THIS BEFORE YOU START! Power requirements Power requirements for electrical equipment differ from area to area. The operating voltage of this machine is preset at the factory according to its intended destination. However, some models are equipped with a voltage selector. If your machine is so equipped, before connecting, check to see that the VOLTAGE SELECTOR on the rear panel is set to the voltage for your area.
• Avoid using spray type insecticide near the Akai MPC60. It can damage the finish and might ignite suddenly. • To avoid damaging the finish, never use denaturated alcohol, paint thinner or other similar chemicals to clean the Akai MPC60. • Place the Akai MPC60 on a flat and solid surface. WARNING! Warning - This equipment generates, uses, and can radiate radio frequency energy and if not installed and used in accordance with the instructions manual, may cause interference to radio communications.
Table of contents SECTION 1: INTRODUCTION 1.1 Welcome! 1.2 How to use this manual SECTION 2: THE BASICS 2.1 Overview 2.2 Hooking up your system and turning the MPC60 on 2.3 The CURSOR keys 2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys 2.5 The SOFT KEYS (1-4) 2.6 The HELP key 2.7 The Dynamic drum pads 2.7.1 The FULL LEVEL and 16 LEVELS keys 2.7.2 The BANK 2 key 2.7.3 The HIHAT DECAY slider and the AFTER key 2.8 The DRUM MIX key - adjusting the stereo drum mixer 2.9 Playing the preset sequences 2.9.
3.14 The recording metronome 3.15 The two FOOT SWITCH inputs 3.16 The "Free sequence memory" display 3.17 Recording Midi system exclusive data 3.18 Transferring sequences to and from other sequencers 3.19 The "Analyzing sequence. Please wait..." message SECTION 4: EDITING SEQUENCES 4.1 Overview 4.2 The ERASE key 4.2.1 Erasing notes while overdubbing ("Live erase" mode) 4.2.2 The Erase screen 4.3 The EDIT key 4.3.1 Viewing time signature changes 4.3.2 Creating a new sequence 4.3.
SECTION 7: SAVING TO AND LOADING FROM DISK 7.1 Overview 7.2 Saving a sequence 7.3 Saving all sequences and songs 7.4 Saving a drum sound 7.5 Saving all drum sounds 7.6 Saving a parameter file 7.7 Loading, erasing or renaming files 7.7.1 Files which automatically load on power-up 7.8 Formatting a disk 7.9 Copying an entire disk 7.10 "Attention" screens encountered during disk operations 7.11 The "Save warning" light above the DISK key SECTION 8: SYNCING TO TAPE AND OTHER DEVICES 8.1 Overview 8.
Section 1: Introduction
1.1 Welcome! Thank you for purchasing the Akai MPC60. The Akai engineering team, my engineering team and myself have all worked very hard to bring to you a product which we truly believe answers the needs of today's professional musician. I am sure you will find that the combination of innovative features, high sound quality, ease of use and attention to detail will be very useful in the process of composition, recording and performing.
Section l: Introduction 1.2 How to use this manual The MPC60 and this manual were designed for people who don't like reading manuals and want to start working immediately. The manual teaches the MPC60's operation in a logical, step-by-step manner. The sections are presented in the order that most people want to learn them.
Section 2: The Basics
2.1 Overview This section is a simple introduction to operating the MPC60. In this section you will learn to: • Hook up the MPC60 to your system.
Section 2: The Basics 2.2 Hooking up your system and turning it on: To get started using the drum machine section: 1. Connect the power cord to an AC outlet. 2. Connect the STEREO OUT LEFT and STEREO OUT RIGHT jacks to the inputs of an amplifier or mixer. Note: If you are only using the MPC60 as a drum machine right now, you don't need any other connections. Skip down to the section "Turning the MPC60 on". To also use the sequencer section with a single integrated keyboard synthesizer: 1.
Turning the MPC60 on 1. Of the disks which are included with the MPC60, find the disk "STUDIO SET and SYSTEM ALL" and place it into the disk drive. This disk contains a general purpose set of drum sounds and a collection of demonstration sequences. Note: Every time you turn the MPC60's power on, you must re-load the drum sounds (and sequences if desired) from disk. This is because ALL SOUND AND SEQUENCE MEMORY IS LOST WHEN YOU TURN THE POWER OFF.
Section 2: The Basics This is the PLAY/RECORD screen. It is the main operating mode of the MPC60 and all playing and recording of sequences is done while this screen is displayed. This screen will be discussed further in the section entitled "Recording sequences'". If at any time while operating the MPC60 you are confused and want to return to this mode, press the MAIN SCREEN key.
2.3 The CURSOR keys While the PLAY/R,ECORD screen is showing, notice that a small rectangular block is blinking near the upper left corner. This is called the CURSOR. It is possible to move the cursor around the screen using the four grey direction keys in the CURSOR section of the panel. Try doing this, then return the cursor to the upper left corner where it was.
Section 2: The Basics 2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys The NUMERIC KEYPAD To change the data in a field, move the cursor to it and type in the new number using the numeric keypad, followed by ENTER. For example, to change to sequence number 2: 1. Move the cursor to the SQNC field; 2. Type 2, followed by ENTER. Notice that the sequence name (located immediately to the right of the sequence number) now automatically changes, because it must now display the name of sequence 2.
selections, but only one may be active at a time. In this case, the DATA CONTROL is used to select from the available options. For example, press the OTHER key and move the cursor to the RATE field, which is a "choice" field. Now turn the DATA CONTROL and notice that with each step of the control, a different preset option appears. The + and - keys Pressing the "+" key has the same effect as turning the DATA CONTROL one step to the right.
Section 2: The Basics 2.5 The SOFT KEYS (1 - 4) In the upper right corner of the front panel are four buttons labeled SOFT KEY 1, SOFT KEY 2, SOFT KEY 3 and SOFT KEY 4. The functions of these buttons change from one screen to another and are always displayed on the lowest line of the screen. For example, while the PLAY/RECORD screen (accessed by pressing the MAIN SCREEN button) is showing. notice the lowest line: There are four titles enclosed in angle brackets ("<" and ">").
2.6 The HELP key Whenever this key is pressed and held down, the contents of the screen will be temporarily replaced with a paragraph of further explanation about the function you are currently working with. To return to the previous screen, release the HELP key. There is a different help screen for every data field in every screen in the MPC60. To demonstrate this: 1. Press HELP, notice the screen, then release it; 2. Move the cursor to a different field; 3.
Section 2: The Basics 2.7 The DYNAMIC DRUM PADS The 16 drum pads are dynamic- the harder you strike them, the louder the drum will sound. 2.7.1 The FULL LEVEL and 16 LEVELS keys • The FULL LEVEL key: The FULL LEVEL key defeats the variable dynamics of the drum pads, causing all drums to play at full dynamic level, regardless of how hard or soft the pad is struck. However, this has no effect on drums which are playing back from sequences.
2. "16 TUNINGS": If this option is selected, the 16 LEVELS key will cause a single sound to play from all 16 pads, but at 16 fixed chromatic tunings, with the lowest tuning (-12 semitones) on the lower leftmost pad, and the highest tuning (+3 semitones) on the upper rightmost pad. If this mode is active and the pads are played while recording, these tunings are remembered within the sequence. After recording, the tuning of each note may be adjusted in Step edit mode.
Section 2: The Basics 2.7.3 The HIHAT DECAY slider & the AFTER key The slider controls the decay time of any notes played on the hihat pad, similar to how the foot pedal on a real hihat controls its decay time. Also, to add realism, one of three samples is played, depending on the position of the slider: 1. If a hihat is played while the slider is in the lower 1/3 of its range, a "closed hihat" sample is played; 2.
2.8 The DRUM MIX key - adjusting the stereo drum mix To adjust the individual volume and pan settings for the stereo mix outputs, press the DRUM MIX key and this screen will appear: This is a graphic simulation of a 16 channel stereo mixer. For each channel, there is a four letter abbreviation of a drum, a graphic representation of a volume slider, and a graphic representation of a rotary pan control.
Section 2: The Basics 2.9 Playing the preset sequences To play some of the preset sequences included with the MPC60, perform the following steps: 1. If you have not already done so, load the preset sounds and sequences from disk as described in the section "Turning on the MPC60" or Section 7 - "Saving to and loading from disk". Make sure the STEREO MIX VOLUME control and your amplifier/mixer controls are set properly. 2. Make sure the PLAY/R,ECORD screen is showing. If not, press MAIN SCREEN; 3.
This indicates that the MPC60 is NOT enabled for recording. This process will NOT operate if the MPC60 is enabled for recording, indicated by the following top line of the PLAY/RECORD screen: If these words are displayed, you must first disable recording by doing the following: 1. Select a different sequence; then 2. Re-select the original sequence This feature is very useful for creating the structure of a song in real time while the MPC60 is playing.
Section 2: The Basics 2.10 Adjusting the playing tempo To adjust the playing tempo: 1. From the PLAY/RECORD screen, move the cursor to the TMPO field - this is the tempo setting; 2. Change the tempo either by typing in a new tempo number and pressing ENTER, or by turning the DATA CONTROL; There are other ways to adjust the tempo and many other tempo related parameters. These will be discussed later in the section entitled "RECORDING SEQUENCES".
2.11 The MAIN SCREEN key- how to exit any function Pressing the MAIN SCREEN key at almost any time will return you back to the main PLAY/R,ECORD screen of the MPC60 without damaging any data. Use this key as a "panic" button - if you find yourself in some function you don't understand and want to get out.
Section 2: The Basics 2.12 The RESET TO DEFAULTS function The contents of most of the data fields in each of the screens in the MPC60 are retained after the power is turned off and on again. Even though all sounds and sequences are lost when power is removed, these settings are retained by a special battery powered memory. Because of this, there is no need to reset the MPC60's settings to your personal taste every time you power on.
Section 3: Recording Sequences
3.1 Overview This section describes functions which are used in the process of recording sequences. In this section you will learn: • How sequences, tracks and channels are organized • How to use the PLAY/R.
Section 3: Recording sequences 3.2 How sequences, tracks and channels are organized Sequences: The MPC60 holds 99 sequences in memory at one time. A sequence can be thought of as a segment of mufti-track tape of variable length. Depending on the sequence contents, it could be a 2 bar repeating drum pattern, an eight bar verse, or a 200 bar song with time signature and tempo changes.
3.3 The PLAY/RECORD screen - the main operating mode of the MPC60 When the MPC60 is first powered on (with the STUDIO SET and SYSTEM ALL disk in the drive), the following screen appears after the disk has loaded: Note: It is also possible to turn on the MPC60 without any disk in the drive. In this case, no sounds or sequences will be loaded and the MPC60 may be used as a sequences only. At this point, the device is in its standard operating mode, in which all recording and playing of sequences is done.
Section 3: Recording sequences The "sequence name" field: This is the 16 character name for the current sequence. This field has no on-screen title, but is located directly to the right of the SQNC field. To change the sequence name, move the cursor to this field and turn the DATA CONTROL one step in either direction. This will cause the keys which have the alphabetic letters printed next to them to change to their alpha functions.
• The LOOP field: This is a choice field and has two options: 1. OFF: If this option is selected, the sequence stops playing when it reaches its end. However, if in RECORD mode, recording continues past the end, adding one measure (at the time signature of the previous bar) onto the end of the sequence as each new bar is entered, until the sequence is stopped. 2.
Section 3: Recording sequences active track to play through midi channel 5 on output jack 3, select 5C in these fields. If you want the active track to be a "drums" track, this should be set to 16, which is the midi channel the internal drums sound generator normally receives its notes from (in this case the port selection - A, B, C, or D - is only used for additionally triggering an external drum sound generator). For more information on "drums" and "non-drums" tracks, see section 3.
section 4.3.10 "Changing the velocity or duration of a group of notes after recording". • The PROG field: This field permits a midi program number (1-128) to be assigned to the active track. Each track may have a unique program number assigned to it. To assign a program number for the active track, enter the desired number into the PROG field. To select no program assignment for the active track, enter a "0" in this field.
Section 3: Recording sequences • The NOW field This field displays the current position within the sequence simultaneously both in musical terms and as a SMPTE number. The left side of this field shows the current position in musical terms - as a 3 part number separated by decimal points.
This function operates by removing one track and inserting it before another, which causes all tracks between to be re-numbered. Many of these operations may be required to put the tracks in the desired order. To perform this function, enter the track number to be removed in the MOVE TRACK field; enter the track number you want to insert the "moved" track before in the BEFORE TRACK field, then press , and the PLAY/R,ECORD screen will be re-displayed.
Section 3: Recording sequences 3.4 How to assign "drums" and "non-drums" tracks Each of the 99 tracks within a given sequence may individually be assigned to act as either a "drums" track or a "non-drums" track, but not both simultaneously.
form. This method has the advantage of being able to change the assignments of keyboard note numbers to drums at any time without affecting the sequence data. (These two assignment functions are accessed by pressing the MIDI key and selecting option 2.
Section 3: Recording sequences 3.5 The PLAY/RECORD keys These ten keys operate similarly to the transport keys on a tape recorder, with some very useful additions: • The PLAY START key: This key causes the sequence to begin playing from the beginning. • The PLAY key: This key causes the sequence to begin playing from the current position within the sequence, displayed in the NOW field in the PLAY/RECORD screen. • The STOP key: This key causes the sequence to stop playing.
erased, just like a tape recorder. While RECORD mode is active, the light above the RECORD key goes on. It is also possible to "punch in" into record mode while playing. To do this: 1. The top line of the PLAY/RECORD screen must display the words "Play/Record (Record ready)". This means that the sequence is ready to record. If the words "(Record ready)" do not appear in the title, simply press and release the RECORD or OVERDUB keys once while stopped. 2.
Section 3: Recording sequences The ">" key This key normally causes the current position within the sequence to fast forward to the next 1/16 note. However, the amount of movement is set by the NOTE VALUE field in the TIMING CORRECT screen, which is usually set to "1/16 NOTE". To change the amount of movement, simply change the setting in this data field. • The LOCATE key: This key is used to instantly go to a specific position within the active sequence.
3.6 An example of recording a drum sequence The MPC60 is both a "linear" type sequences and a "pattern oriented" sequences. The following examples use short sequences with the loop function turned on, and are therefore examples of "pattern-oriented" recording. To record linearly, simply set the LOOP field (in the PLAY/RECORD screen) to "OFF". Then, the sequence length will automatically increase as you record past the existing end. See the description of the LOOP field to learn more about this.
Section 3: Recording sequences the nearest 1/16 note. (This may be defeated- it is explained further in the section "The TIMING CORRECT key"). 8. Press STOP. Note: To learn how to select a different time signature or number of bars when creating the sequence, read section 4.3.2, "Creating a new sequence". To turn the loop off or change the loop setting, change the LOOP field. Note 2: To adjust the TIMING CORRECT function or turn it off, read section 3.8, "The TIMING CORRECT key".
3.7 An example of recording a sequence containing both drums and keyboard instruments The following is a step-by-step example of recording a multi-track sequence with a format of 4 bars of 4/4 time, containing the following tracks: Track 1: Drums Track 3: Bass Track 5: Piano melody Track 2: Percussion Track 4: Piano chords First, set up the instruments: 1. Connect the MIDI OUTPUT of a midi keyboard to the MIDI IN 1 of the MPC60. You may alternatively use input 2. Both inputs merge together. 2.
Section 3: Recording sequences MIDI SOFT THRU field may be set incorrectly. If so, please read section 9.2 to learn more about this field. Next, create the new sequence format of 4 bars of 4/4 time: 1. Move the cursor to the SQNC field and select 80 (ENTER) or any other sequence which is currently empty. 2. Press the EDIT key. The following screen will appear: 3. Select option 2: "Create sequence". The following screen will appear: 4. Enter the data fields as shown in the above screen. 5.
Now, record the drums on track 1: 1. Move the cursor to the TRAK field and select 1 (Enter) to make track number 1 active. We are going to record the drums on track 1. 2. Move the cursor to the upper CH field (5th line) and select "16" (ENTER), then select "A" in the field immediately to the right, to assign the output of track 1 to midi channel 16 (the channel of the internal drums) and to midi output jack 1.
Section 3: Recording sequences 3. Enter OVERDUB mode again by holding OVERDUB and pressing PLAY START. 4. Record the percussion part by playing the PERC1 through PERC4 pads in time to the drums already recorded on track 1. Keep adding drums until your percussion part is complete. 5. If any mistakes were made, use either of the two erase methods described above. Don't worry - they won't erase information on other tracks - they only erase notes from the active track unless you specify otherwise.
quickly play the correct note. You may now either "punchout" by pressing RECORD again or continue recording from that point. Don't worry- when the sequence loops back to bar 1, it will automatically switch from RECORD to OVERDUB modes so that those notes in the earlier part of the sequence won't be erased. Now, overdub the piano chords part on track 4: 1. Move the cursor to the TRAK field and type "4" (ENTER) to make track 4 active. 2.
Section 3: Recording sequences 3.8 The TIMING CORRECT key The TIMING CORRECT function has many uses: • It can correct timing errors made while recording. • It can add a shuffle or swing timing to your performance. • It can shift notes earlier or later in the sequence to compensate for synthesizer delays, etc. • It is used to set the STEP SIZE, used in STEP EDIT • It can assist in the recording of repeating notes, such as rolls and repeated 1/16 notes or 1/32 notes. 3.8.
This screen presents various parameters relevant to the timing correct function. A description of each of the fields follows: • The NOTE VALUE field: Timing correction works by moving your recorded notes to a preset note value. This field is used to select that note value. The options are: l.l/8 NOTE: All notes are moved to the nearest 1/8 note 2.1/8 TRPLT: All notes are moved to the nearest 1/8 note triplet 3.1/16 NOTE: All notes are moved to the nearest 1/16 note 4.
Section 3: Recording sequences 57 The FROM and TO fields: These 2 fields are used to specify the region of the sequence which will be altered when the soft key is pressed. These are BAR.BEAT.CLOCK fields - the region starts at the location entered in the FROM field and ends one clock before the location entered in the TO field. • The TRACK(0=ALL) field: This field is only used in conjunction with the soft key.
• NOTE VALUE = 1/16, SHUFFLE = 54% to 58%, Tempo = 100 BPM: This removes the "stiffness" from 1/16 notes and is especially useful on drum sequences using 1/16 note hihats. • NOTE VALUE = 1/8, SHUFFLE = 60%, Tempo = 100BPM: This creates an 1/8 note shuffle which could be described as more relaxed than a perfect shuffle (66%). As with timing correction, shuffle moves your notes in real time as they are recorded into the sequence, so your notes are instantly played back with the specified shift.
Section 3: Recording sequences performed, because there is no space before the start of the sequence for them to be moved to. To avoid this problem, insert a blank bar before bar 1 of the sequence before performing the shift operation, then be sure to include this extra bar within the range of bars to be shifted. This way, the notes which would have been lost will now be moved earlier onto this newly inserted bar. 3.8.
6. Press STOP to stop playing. 7. Press TIMING CORRECT and select "1/32 TRPLT" in the NOTE field. 8. Press MAIN SCREEN to return to the PLAY/RECORD screen. 9. Enter OVERDUB mode again. 10. While holding TIMING CORRECT, also hold the SNAREI pad, varying the pressure as you hold it. You should hear a snare drum roll. This same procedure can be used in exactly the same way when recording keyboard sequences. In this case, hold TIMING CORRECT while holding the key on the midi keyboard.
Section 3: Recording sequences 3.9 Tempo There are many functions in the MPC60 associated with tempo. First, there is the TMPO field in the PLAY/R,ECORD screen: To change the tempo at any time while playing or recording, move the cursor to the TMPO field and change it. Another way to quickly change the tempo is using the soft key in the PLAY/RECORD screen. When pressed, it instantly switches between two preset tempo settings, the MASTER and SEQUENCE tempo.
• The TEMPO SOURCE SELECT field: There are two tempo settings, SEQUENCE and MASTER, only one of which may be active at a time. This field is used to select which one is active: SEQUENCE: The SEQUENCE tempo is the tempo setting which is stored within each sequence. If SEQUENCE mode is currently active, then whenever the sequence number is changed, the newly selected sequence's tempo will become active.
Section 3: Recording sequences • The FRAMES/SEC field: This field selects one of four FRAMES PER SECOND standards, used to calculate the current FPB (frames per beat) setting. The four options are: "30" (30 frames per second, non-drop): This is the standard for black and white television in the United States. Using this mode, the tempo range of the MPC60 is from 60.0 to 6.0 FPB. This mode is the most common standard in use today for music production in the United States and Japan.
4 taps: Initially, the tempo is recalculated after the first two taps. If you tap a third time, the tempo will be recalculated using an average of the three taps. If you continue to tap successive 1/4 notes, the tempo is continuously recalculated on each successive tap by averaging the last four successive tap intervals. This is very useful if your timing is not very accurate, because it smooths out your timing errors.
Section 3: Recording sequences The following is a description of each of these 4 fields: • CHANGE#: This field displays the number of the tempo change currently displayed. There may be many tempo changes within the sequence, but only one may be viewed at a time. By changing this number, each of the existing tempo changes may be viewed. The and soft keys may also be used to decrement or increment this field.
tempo change with a value of 50% at bar 5 (120 BPM X 50% = 60 BPM). To delete the currently displayed tempo change, press the soft key. The field at the top of the screen, TEMPO CHANGES, is a choice field with 2 options: ON and OFF. If set to ON, tempo changes are used; if set to OFF, all tempo changes within the sequence are ignored. 3.9.3 The TAP TEMPO key The TAP TEMPO key allows the tempo to be quickly set by tapping 2 beats (1/4 notes) on the TAP TEMPO key.
Section 3: Recording sequences sequence to slip out of sync when syncing to an external sync source. If you have one of these complex sequences and notice these occassional timing irregularities when playing at a fast tempo, the problem may be caused by having too many unused "channel pressure" events (sometimes called "after touch") in your sequence.
3.10 The WAIT FOIL KEY key This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC60 console. If PLAY, RECORD or OVERDUB mode is entered while the WATT FOR KEY function is on, the sequence will not begin to play until a key - any key - is played on the midi keyboard. This acts as a remote play switch to start the sequence.
Section 3: Recording sequences 3.11 The AUTO PUNCH key The auto punch function, when set to ON, enables OVERDUB or RECORD modes to be automatically entered and exited at preset times while playing. This can be very useful when it is desired to execute a very tight punch-in and there isn't enough time to get from the console keys to the keyboard to play the new notes after the punch-in. The AUTO PUNCH function punches in automatically for you, allowing you to concentrate on playing the new part.
To perform the AUTO PUNCH: Once you have entered the punch-in and punch-out locations, and you have turned AUTO PUNCH mode on, locate to a position within the sequence which is a few bars before the punch-in point. Then enter RECORD mode as usual by pressing PLAY and RECORD simultaneously. However, since the AUTO PUNCH function is on, RECORD mode cannot yet be entered. Instead, the RECORD light blinks until the PUNCH-IN point is reached.
Section 3: Recording sequences 3.12 The 2ND SEQUENCE key This function allows the MPC60 to play an additional sequence while simultaneously playing or recording the active sequence. For example, you could use the active sequence to linearly record all of your keyboard tracks while simultaneously using the 2ND SEQUENCE to play a looped drum sequence. The 2ND SEQUENCE may also play simultaneously with the active song, if SONG MODE is selected.
3.13 The COUNT IN key This function causes a single bar of metronome clicks to play before the sequence starts playing or recording, acting as a count in or count down before the sequence starts playing, to help you to adjust to the sequence tempo. To turn COUNT IN on, press the COUNT IN key (the light will go on); to turn it off, press COUNT IN again (the light will go off).
Section 3: Recording sequences 3.14 The recording metronome Whenever RECORD or OVERDUB mode is entered, a click sound is heard through the stereo mix outputs on every U4 note, with a louder click at the start of each bar. This is the recording metronome.
3.15 The two Foot switch inputs There are two foot switch inputs on the rear of the MPC60. Each of the two foot switch inputs may be independently assigned to one of a number of different purposes. To assign the foot switches, press the OTHER key, and the following screen will appear: The FOOT1 and FOOT2 fields are used to assign the functions of the two foot switches. Each may be independently assigned to one of the following functions: • PLAY/STOP: Press once for PLAY, again for STOP.
Section 3: Recording sequences function of punching out of RECORD mode back into PLAY mode. • OVRDUB IN/OUT (Overdub in/out): Press once to duplicate the function of punching in to OVERDUB mode while playing; press again to duplicate the function of punching out of OVERDUB mode back into PLAY mode. • "<”: Press to duplicate the function of pressing the "<" key. This is very useful for stepping backwards through the sequence while STEP EDIT is on.
3.16 The "Free sequence memory" display To see how much memory is currently available for sequence recording, press the OTHER key: The FREE SEQUENCE MEMORY field displays the percentage of total sequence memory which is available for new recording.
Section 3: Recording sequences 3.17 Recording Midi System Exclusive data The MPC60 has the capability to record patch library data or any other Midi System Exclusive messages directly into tracks. To do this, simply send the System Exclusive message to the MPC60 while in RECORD or OVERDUB modes, or while in STEP EDIT mode, and it will be recorded into the active track, just like any other midi data. The only limitation is that the message must be less than 1000 bytes.
3.18 Transferring sequences to and from other sequencers Transferring sequences from the MPC60 to an external sequences: Some sequencers are able to record data from all 16 midi channels independently and simultaneously onto one track. To transfer a sequence from the MPC60 to a sequences of this type: 1. Set the MPC60 to generate MIDI CLOCK (explained in section 8 of this manual), 2. Set the external sequences to receive MIDI CLOCK, 3.
Section 3: Recording sequences 2. Go to the SYNC screen and set the MPC60 to sync to "MIDI CLOCK W/SONG POSITION POINTER". Also, set the MIDI field to "1" (if the external sequences was connected to midi input 1). 3. Press the OTHER key, then select SOFT KEY 2, , which causes the following screen to be displayed: This screen allows you to select the sequence to be recorded into, and the time signature of the new sequence which will be created.
LOOP is set to "OFF" in the PLAY/RECORD screen, additional bars are added to the end of the sequence as it is recorded past the last bar. This way, the sequence will continue to add bars as you record, even though the display initially shows "Bars: 1". As the screen states, the NOTE VALUE setting in the TIMING CORRECT screen is forced to "OFF(1/384)" during 16 channel recording. 5. While holding the RECORD key on the MPC60, start the external sequences playing from the beginning of its sequence.
Section 3: Recording sequences 3.19 The "Analyzing sequence. Please wait..." message Occasionally, and very infrequently, you will see the "Analyzing sequence. Please wait..." message on the lowest line of the screen, requiring you to wait briefly while the MPC60 does some "thinking". This occurs only under the following conditions: 1. When you first select a sequence which is very long, then play it, then press STOP. 2.
Section 4: Editing Sequences
4.1 Overview This section of the manual describes the functions which relate to the editing of sequence data. In this section, you will learn to: • Erase drums or notes in real time while in overdub mode. • Erase selected drums, notes, or other midi events while stopped. • View a list of the sequence's time signature changes and number of bars for each change. • Create a new format of time signature / number of bars . • Insert blank bars into a sequence. • Delete selected bars from a sequence.
Section 4:Editing sequences 4.2 The ERASE key There are two main areas of the erase function: • Erasing notes while in overdub mode ("Live erase" mode) • Erasing specific events while stopped Each is described in detail in the following sections. 4.2.1 Erasing notes while overdubbing ("Live erase" mode) One of the ways to erase notes is called "live erase" mode.
These two screens allow a specified selection of either drums or keyboard notes to be erased from a single track while the MPC60 is not playing. To erase the notes, enter the appropriate data in each of the data fields, then press SOFT KEY1: . Each of the screen fields and soft keys is described below: • The TRACK(0=ALL) field: This field specifies the track from which the data will be erased. The active track is automatically inserted here.
Section 4:Editing sequences individually named as listed in the "Midi 1.0 Detailed Specification, Document Revision 4.0". 3. ALL EXCEPT: If this option is selected, all midi event type EXCEPT one will be erased, and the type of event which will NOT be erased appears in a "choice" field appearing directly to the right on the same line. In this rightmost field, all event types are listed, including all 128 midi controllers, each individually named as listed in the "Midi 1.
4.
Section 4:Editing sequences This screen displays all time signature changes within the active sequence, and the number of bars for each change. If no time signature changes exist, the existing single time signature and the total number of bars in the sequence will be displayed. Space is given for 10 time signature changes with 2 changes per line. If more exist, the soft key is used to view further pages of changes, and the soft key is used to re-display earlier pages. 4.3.
onto the end). If set to TO BAR 1, the newly created sequence will loop back to bar 1 when it plays to the end; or if you want the sequence to loop to a bar other than 1, move the cursor to the number 1 and change it to the number of the bar you want the sequence to loop to. • The TEMPO field: This sets the "sequence" tempo for the newly created sequence (not the "master" tempo).
Section 4:Editing sequences The on-screen fields are: • The NUMBER OF BARS field: This is the number of blank bars to be inserted. • The TIME SIGN field (time signature): This is the time signature of the bars to be inserted. This is actually two fields- one for each part of the time signature. The range of the first part is from 1 to 31; the second part is a "choice" field with 4 selections: 4, 8, 16, and 32.
The on-screen fields are: • The FROM BAR, field: This is the 1st bar to be deleted. • The TO BAR field: This field specifies the end of the region to be deleted (the bar number following the last bar to be deleted). For example, to delete bars 3 and 4, you would enter a 3 in the FROM BAR field and a 5 in the TO BAR field, because bar 5 is the end of the region to be deleted. This field cannot accept a value less than that of the FROM BAR, field.
Section 4:Editing sequences The on-screen fields are described below: • The SEQUENCE field (in the COPY ALL TRACKS FROM section): This field is used to specify the sequence number to be copied from. • The FROM BAR and TO BAR fields: These fields set the range of bars to be copied from. FROM BAR sets the 1st bar which is to be copied, and TO BAR sets the end of the region to be copied (the bar number following the last bar to be copied).
track. In this function, only the events from the source track are copied- no time signature or tempo data is copied. Unlike the COPY ALL TRACKS function which inserts the copied data into the sequence, increasing the overall length, this form of the copy function either replaces the existing events or merges with the existing events, without adding any additional bars. Therefore, in this function, the overall length is unchanged after the copy.
Section 4:Editing sequences • The COPIES field: This field specifies the number of copies, end onto end, which are to be added into the new sequence. This is normally "1". • The START COPY AT field: The copied data may be added into the destination sequence and track starting at any location. This field specifies the starting location for the copied data to be placed. This is a BAR.BEAT.CLOCK type field, allowing the copied data to be placed at any location, in increments as small as one clock.
NOTE 3: If the copied data is longer than the sequence to be copied into, the portion of the copied data which extends past the end will not be copied. If an attempt is made to copy past the end of the destination sequence, the following warning screen will appear when is pressed: At this point, you may either press to copy it anyway, or press MAIN SCREEN to cancel the copy.
Section 4:Editing sequences • The INTO SEQUENCE field: This is the sequence whose contents will be replaced by the contents of the above specified sequence number. The lowest numbered empty sequence is automatically inserted here when this screen is entered. • SOFT KEY 1- : Pressing this soft key performs the above specified copy. 4.3.8 Converting a song into a single long sequence "Song mode" is useful in creating the format of a song quickly.
• SOFT KEY 1- : Pressing this soft key performs the copy as specified. This may take as much as 30 seconds or more. NOTE: ALWAYS BE SURE THAT EACH OF THE SEQUENCES IN THE SONG HAVE IDENTICAL MIDI CHANNEL ASSIGNMENTS FOR THEIR TRACKS. When playing a song in song mode, it is possible for each of the sequences within a song to have different midi channel assignments from sequence to sequence because each sequence uses its own set of assignments.
Section 4:Editing sequences remove one 1/8 note from the end of a 4/4 bar, you would change its time signature to 7/8. To use this function, press the EDIT key and select option 9 from the menu, and the following screen will appear: First, select the bar number to be changed in the BAR field in the top line. The existing time signature for that bar will be displayed in the FROM field in the second line. Next, enter the time signature you wish to change to in the TO field in the second line.
This is a choice field with 2 options: VELOCITY and DURATION. It is used to select which of these 2 parameters the function will affect. • The VALUE field: This field works in conjunction with the ACTION field and sets the number which will be used to change the velocities or durations. • The ACTION field: This is a choice field and has 4 options: 1. ADD "VALUE" TO EACH: This selection adds the number in the VALUE field to each note in the range. 2.
Section 4:Editing sequences 4.4 The STEP EDIT key The STEP EDIT function allows the contents of the active track to be edited in precise detail. When the STEP EDIT key is pressed, any notes or events which exist in the active track at the current sequence position are displayed on the screen as a series of data fields, which may then be edited. Also, any notes played at this time are recorded into the active track at the current sequence position. STEP EDIT can also be thought of as "note edit" mode.
LOCATE keys. As this value changes, the event display area is constantly updated to display the events contained at this displayed location. As in the PLAY/RECORD screen, the distance moved by pressing the "<" or ">" keys is set in the NOTE VALUE field in the TIMING CORRECT screen. • SOFT KEY 1- : Pressing this soft key causes a new event to be inserted at the current sequence position. The type of event inserted is determined by the EVENT TO INSERT field in the STEP EDIT OPTIONS screen.
Section 4:Editing sequences next 1/16 after playing each key. If this field is set to NO, this effect is defeated. • The DURATION OF RECORDED NOTES field: This field is used to determine the method by which durations are assigned to notes recorded from the midi keyboard while in STEP EDIT mode. This is a choice field and has 2 options: SAME AS STEP and AS PLAYED: 1.
4.4.2 Using STEP EDIT Using STEP EDIT is simple: 1. Use the FAST FORWARD, REWIND, or LOCATE functions to find the desired approximate location (or just play the sequence until you hear the desired location, then press STOP); 2. Press STEP EDIT. The NOW field will change to the nearest timing correct location (usually the nearest 1J16 note), and any notes existing in the active track at that location will be displayed on the screen. 3.
Section 4:Editing sequences locations, and you are currently viewing notes falling on nonshifted locations. Here's more details about STEP EDIT: The step edit screen may display up to five events, one on each line, which exist at the current sequence position, or "step". The format of the event line is different for each type of event, but the first two fields of each event type are the same: At the left edge of the screen is the event number within the current step.
settings in the TUNE DRUMS screen and the EDIT A SOUND screen. The range is from -120 to +60, in increments of 1/10 of 1 semitone. 4. DUR (duration): This field shows the duration from the "note on" to the "note off", measured in clocks (1J384 notes). The range is 1 - 9999. 1>01-NOte> HIHT Ve1:064 Dcy:064 Dur: 931 This is a special case drum note event for the hihat. The difference is that the TUN field is replaced by the DCY field, indicating the decay time of the hihat. The range is from 0 to 127).
Section 4:Editing sequences used (described in section 6.9), many of these events are recorded into the active track to simulate a smooth and continuous mixer volume change. There are two fields: DRUM (which of the 32 drums this event applies to) and VAL (the new mixer setting, 0 127). 1>O1-Mix Pan> Drum:TOM4 Val: 127 This is a MIX PAN event, and is used to change the stereo mixer pan setting of a particular drum in mid-sequence. When the RECORD LIVE CHANGES feature is used (described in section 6.
current step will be played (output through midi), just as though the sequence had been played at that step only. If you don't want to hear a particular track, turn that track OFF from the PLAY/RECORD screen. As you step through the sequence step by step, the screen is updated by placing the first event within that step at the "active event" line. To edit any of the fields in the line, move the cursor left or right to the desired field and change the contents as desired.
Section 4:Editing sequences while stopped, and automatically play them back as perfect 1/16 notes. To do this: 1. Set up your sequence and track for recording from your midi keyboard as you would to record in real time; 2. Rewind to the start of the sequence; 3. Press STEP EDIT; 4. Press SOFT KEY 4, ; 5. Set the AUTO STEP INCREMENT ON KEY RELEASE field to YES; 6. Press STEP EDIT again; 7. Play a series of notes (or chords), one at a time; 8.
4.5 The EDIT LOOP key This function allows a specified number of bars within a sequence to repeat in a loop while playing or overdubbing. This allows for quick recording or editing of the looped section. Pressing EDIT LOOP displays the following screen: The screen fields and soft keys are: • The NUMBER OF BARS field: This field specifies the number of bars which will be looped when the edit loop is created. • The 1ST BAR field: This field specifies the starting bar of the work loop.
Section 4:Editing sequences 4.5.1 Using EDIT LOOP as an "UNDO" function Because the EDIT LOOP function allows you the option to ignore all recording and editing which was done while the EDIT LOOP was on, it serves very well as an UNDO function. For example, if you want to record a drum fill on bar 4 of a 4 bar sequence, but you aren't sure if you want to keep it, simply following these steps will allow you to try it first, then restore the sequence back to its original state if you don't like it: 1.
4.6 The TRANSPOSE key This function allows you to transpose a track up or down by a specified amount in real time. This function is only a temporary change - the sequence data is not altered, unless SOFT KEY1,
Section 4:Editing sequences Transposing in real time while playing To transpose a sequence in real time while playing, follow these steps: 1. Play the sequence; 2. Press the TRANSPOSE key; 3. Locate middle "C" on the midi keyboard. Pressing any key above middle "C" will instantly transpose the sequence up by an amount equal to the distance the key is from middle "C". Pressing any key below middle "C" will instantly transpose the sequence down by the distance the key is from middle "C".
Section 5: Song Mode
5.1 Overview One way to create a song in the MPC60 is to record all the parts in one long sequence, using the copy functions to duplicate repeating sections. Another way is use SONG MODE. In song mode, a number of sequences are entered into a list, each representing a different section of the whole song. Once the entire list is entered, song mode automatically plays the list of sequences in the order they were entered.
Section 5: Song mode 5.2 The Song Mode screen To enter song mode, press the SONG MODE key. The following screen will appear: While this screen is showing, the MPC60 is in SONG mode, meaning that if play is entered, the active song will play instead of the active sequence.
SMPTE number which, when syncing to SMPTE, is assigned to the exact beginning of the song. Normally, this is set to all zeroes. • The CONTENTS OF STEP field: This is the current step number (1 - 256) within the current song. The data displayed below this field is the data contained within this step number. • The SQNC field: This field indicates the sequence number contained in the current step. To the right is the selected sequence's 16 character name.
Section 5: Song mode 5.3 An example of creating and playing a song The following is an example of creating a song in song mode on the MPC60: 1. Load the preset sequences into the MPC60 (the SYSTEM.ALL file). 2. Enter SONG MODE by pressing the SONG MODE key. 3. In the SONG field, select an unused song number. An unused song is indicated by "(unused)" in the song name field. 4. Set the CONTENTS OF STEP field to 1, which sets the current step to 1. 5.
next, it will play 1 repetitions of sequence 7; next, it will play 2 repetitions of sequence 12; after that, it will repeat steps 2 and 3 indefinitely. Notice that the NOW field always indicates the position within the song, not the position within each sequence. 15. To return to the Play/record screen, press the MAIN SCREEN key. NOTE: Occasionally you may see the "Analyzing sequence. Please wait...
Section 5: Song mode Converting a song into a long sequence: While song mode is very useful for quickly creating a song format, it can be very cumbersome for detailed editing, because of the constant switching back to sequence mode, the necessity of copying sequences, and the necessity of remembering which sequence plays at which step.
Section 6: Sampling and Editing Drum Sounds The SOUNDS key
6.1 Overview The MPC60 may hold up to 34 drum sounds in memory at one time, and each may be up to 5.3 seconds in length, as long as the total combined length does not exceed the total sampling time of 13.1 seconds, or 26.2 seconds if your machine has the sound memory expansion option. Each of these drum sounds is referred to as a SOUND. Each of the sounds in memory is assigned to one of the front panel drum pads- 16 in bank 1, and 16 in bank 2, for a total of 32.
Section 6: Sampling and editing sounds The SOUNDS key provides access to all functions associated with the creation, editing and tuning of drum sounds. When the SOUNDS key is pressed, this screen appears: Press a single number to select one of the displayed options. The screens which follow are described in the following sections. This section of the manual does not describe the process of loading or saving sounds to disk. To learn how to do these operations, consult the "Disk" section of this manual.
6.2 Sampling a new sound This function is used to sample new sounds into your MPC60. The SAMPLE NEW SOUND screen: To access the screen used for sampling new sounds, press the SOUNDS key, then press `f to select the SAMPLE NEW SOUND option. This will cause the following preliminary screen to appear: At this point, you must decide which drum you want to sample into, because once is pressed, the drum you select and all sequence memory will be erased to provide maximum space for new sampling.
Section 6: Sampling and editing sounds the new sound should be named in this field. To name it, use the same method of naming as used in naming a sequence: 1. Move the cursor to this field. 2. Turn the DATA CONTROL one step in either direction to change the keys to their alphabetic functions. 3. Type in the new name. 4. Press ENTER to enter the name and to return the alphabetic keys to their previous functions.
• The METER field: This is a simulation of an analog record level meter. While this screen is present, the meter is constantly displaying the level of the signal at the input. The threshold setting is represented by a "T". If the range is exceeded, "!!" is displayed to the right of the full scale meter to indicate clipping. • SOFT KEY 1 - : Pressing this soft key causes the sound just sampled to be played at full volume. • SOFT KEY 2 -
Section 6: Sampling and editing sounds 3. You must now decide which of the 34 drums you want to sample the new sound into (31 normal drums plus 3 for the hihat). Use the DATA CONTROL to select one of the 34 drums. As you rotate the knob, the NAME field will display the current sound (if any) which is assigned to the displayed drum. If you select a drum which already contains a sound, that sound will be erased from memory to make room for the new sound you will be sampling.
more than you need, because you can always remove the unused portion later by using the EDIT A SOUND function. A good length for snare drums and toms is 1.0 to 1.5 seconds. A good starting length for cymbals is 1.5 to 3.0 seconds. To learn more about common sampling times for various drums, load one of the preset sounds disks, then inspect the various sampling times using the EDIT A SOUND function. 5. Move the cursor to the PRE-RECORD(MSECS) field and select a pre-record time of 1 millisecond or more.
Section 6: Sampling and editing sounds meter, displayed to the right of the METER field. Set the record level so that the meter goes as far to the right as possible when the sound plays, but not into the clipping region (indicated by "!!" to the right of the meter, if full level is exceeded). If the meter does not go high enough with a record level of 99, move the GAIN switch to MID or HIGH.
always one higher than the last sample taken, even if the last sample was taken before the power was last turned off. This is done so that if you don't name your samples before saving them to disk, they will still always have unique names. To name the new sound: A) Move the DATA CONTROL either one step to the left or right. This will change the COMMAND keys to their LETTER functions. B) Type in the new name, followed by ENTER. The COMMAND keys will return to their normal functions. 15.
Section 6: Sampling and editing sounds 6.3 Editing an existing sound This function is used to edit a drum sound in your MPC60. The available features are: • Edit the sound name. • Change the start or end address. • Adjust the attack time or fadeout time. • Adjust velocity control of start address, attack time, or volume. • Cause a drum to automatically play when another is played, or to select between playing 2 sounds depending on the note velocity. • Set the initial volume and tuning.
• The ALSO PLAYS field: This is a choice field and any of the 32 drums may be selected here, or "NONE" may be selected. Whatever drum is selected here will automatically play whenever the drum in the DRUM field is played. Normally this field is set to NONE, which defeats the double play feature. • The VELSW (velocity switch) and IF OVER fields: VELSW is a choice field with two options: ON and OFF.
Section 6: Sampling and editing sounds won't load it again, but will instead use the existing sound in memory for both drum pads. C) Using Double play mode, assign RIDE2 to play whenever RIDE1 is played. D) Using the TUNING field, tune RIDE1 to "+ 0" and tune RIDE2 to "+ 1". E) Now, whenever you play RIDE1, RIDE1 and RIDE2 will each play the same ride cymbal sound, but at two slightly different pitches, causing a chorus effect.
As the screen warns, pressing will permanently delete the unused ends of the sound. To cancel the deletion, press . NOTE: If a sound is currently loaded into more than one drum (for example, a tom-tom is loaded into both TOM3 and TOM4 at two different tunings) and you press the soft key, the truncation will not occur. This is because the other drum which is also using this sound may need the ends of the sound which you want to cut off.
Section 6: Sampling and editing sounds drums because all four drums used that same sound, which is now reversed. • SOFT KEY 3- : This soft key allows you to delete the currently displayed sound from memory. Pressing this soft key causes the following screen to appear: Press causes the sound to be deleted from memory. To cancel this function, press .
• The FADEOUT(MSECS) field: This field sets the amount of time over which the sound fades down to silence at its end, measured in milliseconds. This is different than common "initial decay" or "release" envelope parameters since the decay will always end exactly at the end of the sample, this setting actually sets the position within the sound at which the decay will begin. This field is identical to the field of the same name in the SAMPLE NEW SOUND screen.
Section 6: Sampling and editing sounds 6.4 Tuning the drums Each of the 32 drums may be independently tuned over a 1 1/2 octave range, in .1 semitone increments. In addition to being very useful in adjusting the tone of a drum, some spectacular special effects can be created by tuning a sound by a large amount. To tune the drums, press the SOUNDS key, then type 3 to select the TUNE DRUMS option, and the following screen will appear: This screen is used to adjust the tuning of any of the drums.
2. MASTER: In addition to the sequence tunings described above, there is also a single set of "master" tunings, which are not stored within any one sequence, and apply to all sequences. If MASTER is selected here, this single master set of tunings is used. It is better to use MASTER mode if you'd prefer the tunings to always stay where you last set them, even after changing sequences. This set of tunings is stored to disk when a ".SET" file is saved to disk, and therefore whenever a ".
Section 6: Sampling and editing sounds 6.5 The Echo Mixer This function provides an additional 32 input mono mixer specifically intended as a send signal to a reverberation device. However, it may be used as an auxiliary mono mix for any purpose, or as a 9th individual mix output.
6.6 Assigning the 8 assignable mix outputs There are 8 assignable mix outputs on the rear panel. Each may be assigned to output a single drum or any combination of the 32 drums.
Section 6: Sampling and editing sounds 6.7 Transferring sounds over midi: Midi Sample Dump The Midi Sample Dump standard is a format which manufacturers agree upon for transferring samples between sampling devices over midi. To use this feature, you must first connect the MPC60 to the external sampler using 2 midi cables ("closed loop" mode)- the MPC60 will not allow midi sample dump transfers using a single midi cable ("open loop" mode). To connect the MPC60 to the external sampler: 1.
• The MIDI OUTPUT field: This is the Midi output jack number (1 - 4) through which the sound data will be sent. Set this field to the number of the midi output jack you used to connect to the external sampler. • The FORMAT field: This is a choice field and has 2 options: STANDARD and 5900. Select 5900 if you are transferring to or from an Akai 5900 sampler; use STANDARD for any other sampler which supports the Midi Sample Dump standard.
Section 6: Sampling and editing sounds to send. The range is 0 to 9999, although most samplers contain only up to 128 samples. • SOFT KEY 1 - soft key: Pressing this soft key starts the process of receiving an incoming sample dump. At this point, the MPC60 sends out a "dump request" signal to the external sampler to start sending the sample indicated by the setting of the REQUEST CHAN field.
Sending a Midi sample dump to an external sampler To send a Midi sample dump to an external sampler, press the SOUNDS key, then type 6, then press SOFT KEY 2, , and the following screen will appear: This is the "Send sample dump" screen. The screen fields and soft keys are described below: • The MIDI INPUT, MIDI OUTPUT, and FORMAT fields: These fields operate exactly as in the "receive" screen, described in the previous section.
Section 6: Sampling and editing sounds The transfer may take as long as a few minutes. When finished, the previous screen status will be re-displayed. If a transmission error occurs, or if the sample dump is cancelled by the other sampler, the dump will be cancelled and the previous screen will be re-displayed. If you wish to cancel the sample dump, press the soft key. NOTE: It is not necessary to press to initiate the outgoing midi sample dump.
6.8 Triggering a sound from an external signal-the Audio trigger This feature of the MPC60 allows one of the internal drums to be triggered by an external audio signal. The triggering is nondynamic. If dynamic triggering, or triggering of more than one drum is needed, you must use a trigger to midi converter, available from many manufacturers, and trigger the drums over midi.
Section 6: Sampling and editing sounds 6.9 Mixer modes, What decay thresholds, muitipitch mode Option 8 from the SOUNDS screen, "Mixer/hihat/other", displays a single screen which provides access to the following functions related to drum sounds: • Setting the stereo mixer mode (SEQUENCE or MASTER). • Setting the echo mixer mode (SEQUENCE or MASTER). • Using the stereo mixer as an automated mixer, remembering all changes made while recording.
3. MASTER: There is a single set of stereo mix settings which is not stored in any sequence. If the stereo mix mode is set to MASTER, this single set of mix settings is used instead of the sequence settings. In this mode, mix settings and changes are not stored to disk with the sequence, and if the sequence number is changed, the mix settings remain unchanged. In this mode, any mid-sequence mix changes (see RECORD LIVE CHANGES field, below), are ignored.
Section 6: Sampling and editing sounds NOTE 2: A large number of these mix change events can cause minor slowing of playback due to the large processing requirement. To reduce the number of these events, increase the MINIMUM CHANGE field's setting for these event types (in the MIDI INPUT FILTER screen) to as high a number as acceptable before recording mix changes. This will "thin-out" the mix data, lessening the processing requirement.
to 1; to control the decay from a midi keyboard's foot controller, set it to 4. Normally, this field is set to 20. • The FUNCTION OF `16 LEVELS' field: This field is used to determine the function of the front panel 16 LEVELS key. It is a choice field and has two options: 16 VOLUMES and 16 TUNINGS: 1.
Section 7: Saving to and loading from disk
7.1 Overview The MPC60 has a built-in 3 1/2" disk drive for storage of sequences and drum sounds. This section describes the procedure for saving and loading all of the various types of files. Since the MPC60 loses all sequence and sound data when the power is removed, it is important to always save any changes to disk before turning the power off. The five different file types: All sounds and sequences are stored to disk in things called "Files".
Section 7: Saving to l loading from Disk This screen displays a list of disk options. To select one, type the number of the desired option. Each of the options are described in detail in the following sections.
7.2 Saving a sequence This function saves a single sequence to a disk file, called a "sequence" file (the 3 letter file extension is "SEW). From the disk menu screen, type 1 to select SAVE SEQUENCE and the following screen will appear: To save a sequence file: 1. Select the sequence number to be saved using the SELECT SEQUENCE TO SAVE field. The active sequence is automatically inserted here when this screen is first displayed. This may be changed with the numeric keypad or the DATA CONTROL.
Section 7: Saving to / loading from Disk 7.3 Saving all sequences and songs This function saves all 99 sequences and all 20 "songs" to disk in one file, called an "All" file (the 3 letter file extension is ".ALL"). From the disk menu screen, type 2 to select "SAVE ALL SEAS/SONGS" and the following screen will appear: To save an "All" file: 1. Assign the 16 character name for the "All" file to be saved.
7.4 Saving a drum sound This function saves a single drum sound to a disk file, called a "sound" file (the 3 letter file extension is "SND"). From the disk menu screen, type 3 to select SAVE A SOUND and the following screen will appear: To save a drum sound: 1. Select the sound to be saved using the DRUM field. As you change the drum, the NAME field will change to reflect the sound contained in the selected drum. The disk file name will be created from the sound name.
Section 7: Saving to / loading from Disk 7.5 Saving all drum sounds This function saves all 34 drum sounds to disk in one file, called a "SET" file (the 3 letter file extension is "SET"). NOTE: If your MPC60 has the standard amount of sound memory (13.1 seconds), saving a SET file when the sound memory is 100% full will require nearly all of one disk! For this reason, it is a good idea to use empty disks when saving very large SET files.
If you press SOFT KEY 1, , the existing disk file will be overwritten by the file you are saving. If you press SOFT KEY 2, , the save operation is cancelled and the previous screen is redisplayed. If your MPC60 has the sound memory expansion option: Normally, your MPC60 may contain up to 13.1 seconds of sampling time at full bandwidth. If you have the SAMPLING MEMORY EXPANSION OPTION, the maximum sampling time is 26.2 seconds at full bandwidth.
Section 7: Saving to l loading from Disk 7.6 Saving a Parameter file The settings of most of the MPC60's data fields which are not normally saved to disk are retained after power is removed, so that you don't have to set them again every time you turn the power on. This function allows you to save a special file called a "Parameter file" (file extension: "PAR") which contains the current settings of these data fields.
(Step edit options screen) • Event to be inserted • Auto step increment on key release on/off • Duration of recorded notes • Display filter settings for all midi events and all 128 midi controllers (Midi key, screen 1) • Midi input filter: "Pass event" and "Min change" settings for all midi events and controllers • Velocity mode normal/fixed • Fixed velocity • Midi soft thru on/off • Default channel • Sustain pedal processing on/off (Midi key, screen 2) • Incoming notes play drums on/off • 128 assignme
Section 7: Saving to l loading from Disk (Timing correction screen) • Note value • Shuffle • Shift timing (later/earlier) • Shift amount (Drum mix screen) • Master stereo mix settings (32) (Sample new sound screen) • Default drum to sample into or edit • Default 3 digit number for new samples • Sample length • Pre-record time • Default fadeout time • Hear input on/off • Record level • Record threshold (Tune drum screen) • Master tuning settings (32) • Tuning mode master/sequence (Echo mix screen) • Master
To save a parameter file: 1. Assign the 16 character name for the parameter file to be saved. To name the file, use the same method as used to name sequences: A) Rotate the DATA CONTROL one step in either direction to change the alphabetic keys to their letter functions. B) Type in the new name, followed by ENTER. There are two on-screen fields to determine whether there is enough space on disk to save the file: SIZE and DISK SPACE AVAILABLE.
Section 7: Saving to l loading from Disk 7.7 Loading, erasing or renaming files This function is used to either load, erase or rename any files on the currently inserted disk. In the case of a load, depending on the file extension, subsequent screens will guide you to load the file into the proper place. From the disk screen, type 6 to select LOAD/ERASE/RENAME and the following screen will be displayed: To select a file for either loading, erasing or renaming, use the DATA CONTROL.
• If an ALL file is selected and is pressed, the following screen will be displayed, warning you that all sequences and songs currently in memory will be erased: Press to load it. Once finished, the previous screen will be re-displayed. • If a SND file is selected and is pressed, the following screen will be displayed, asking you to select the drum to load the sound into: Select the drum to be loaded into, then press .
Section 7: Saving to / loading from Disk If 1 is selected, the entire file is loaded, and the bottom line changes to "Loading files...". However, if 2 is selected, the following screen appears: Use the DATA CONTROL in the SELECT DRUM TO LOAD FROM FILE field to select the drum (within the SET file) containing the sound you wish to load. As you change this field, the sound which is assigned to that drum in the disk file will appear in the SOUND field.
As the screen warns, loading this file will replace all existing system parameters with the newly loaded file's settings. To load the file, press . After loading, the previous screen will be redisplayed. Erasing files • If is pressed, the following warning screen is presented, asking you to verify that you want to erase the selected file: If you are sure, press , and the file will be erased permanently from the disk. Once erased, the previous screen is redisplayed.
Section 7: Saving to l loading from Disk 1. Turn the DATA CONTROL one step to change the alphabetic keys to their letter functions. 2. Type in the new 16 character name, followed by ENTER. Once the new name has been entered, press . The file name on the disk will be changed to the newly entered name. Once complete, the previous screen is re-displayed.
7.8 Formatting a disk This function is used to format a new disk or to completely erase an existing disk. ALL DISKS MUST BE FORMATTED BEFORE THEY CAN BE USED IN THE MPC60! To use this function, from the disk screen, type a 7 to select the FORMAT DISK option, and the following screen will appear: To format the disk currently in the drive, press . This will take about 1 1/2 minutes. Once complete, the previous screen will be re-displayed.
Section 7: Saving to l loading from Disk 7.9 Copying an entire disk This feature permits an entire MPC60 disk to be copied. This provides an easy way to backup your data disks. To copy a disk, have both your original disk and a blank formatted disk available and select option 8 from the disk menu. The following screen will appear: The disk copy function requires the use of the sequence memory and therefore will erase all existing sequences before making the copy.
7.10 "Attention" messages encountered during disk operations: There are a number of special "Attention" screens which will appear during disk operations if either the operator is doing something incorrect, or an error is detected on the disk. Here is an example: When an "Attention" screen such as this is displayed, the current operation is suspended, awaiting an action from the operator.
Section 7: Saving to / loading from Disk 7.11 The "Save warning" light (above the DISK key) Whenever you sample a new sound, or record a new sequence or song, or edit any of the above, the light above the DISK key will go on to warn you that if you don't save these changes to disk before turning the power off, you will lose them. Once you save to disk whatever you have changed, the DISK light will automatically go off, indicating that the changes have been safely saved to disk.
Section 8: Syncing to tape and other devices
8.1 Overview This section encompasses all functions in the MPC60 which are related to syncing to tape or other devices. In this section, you will learn to: • Use the SYNC screen. • Write and sync to SMPTE time code. • Sync to Midi Clock signals. • Sync to Midi Time Code. • Sync to FSK and PULSE sync codes. • Sync to 1/4 note clicks.
Section 8: Syncing to tape and other devices 8.2 The SYNC screen To access the SYNC screen, press the TEMPO/SYNC key, then press the soft key. The following screen will be displayed: This screen presents all parameters related to syncing to tape or external devices. However, additional data fields will appear in the SYNC INPUT SETTINGS section depending on the selected sync input mode (the MODE field in the second line of the screen).
If MIDI CLOCK is selected in the MODE field, the following screen is displayed: If MIDI CLOCK W/SONG POINTER is selected in the MODE field, the following screen is displayed: If FSK24 is selected in the MODE field, the following screen is displayed: If PULSE96 is selected in the MODE field, the following screen is displayed: Finally, if 1/4 NOTE CLICKS is selected in the MODE field, the following screen is displayed:
Section 8: Syncing to tape and other devices All of the data fields in each of the screens are described below: • The MODE field (in the SYNC INPUT SETTINGS section of the screen): This field is used to select the type of sync signal for the MPC60 to receive sync from an external device or tape. There are seven possible types of sync which the MPC60 will accept, but only one may be active at one time.
them to play in sync. Because of this, the MPC60 always plays from bar 1 when sync is first received, if this sync setting is selected. This code does contain tempo information, so the MPC60's tempo settings are not used when syncing to PULSE96. 3. SMPTE: This is SMPTE time code. It may be sent from tape or from other devices. SMPTE time code is a standard sync code used both in video/film and music. It has the advantage over FSK24 of containing location information in the code.
Section 8: Syncing to tape and other devices 6. MIDI CLOCK: This is the same as "MIDI CLOCK W/SONG PNTR° above, except that the "Song position pointer" signals are ignored. This setting would be rarely used. 7. 1/4 NOTE CLICKS: In the event that no sync signal exists on tape, this feature allows the MPC60 to sync to standard 1/4 note metronome clicks. To smooth out any variations in tempo, the playback is averaged over time.
field. This setting is stored with the active sequence when it is saved to disk. • The SHIFT SYNC EARLY(MSECS) field (appears in all modes except SMPTE and MIDI TIME CODE): This field is used to compensate for any sync delays or delays produced by slow synthesizer attacks. It accomplishes this by shifting the MPC60's playback earlier by a specified number of milliseconds. If the sync playback appears to be late, adjust this field until the sync playback is exactly on time.
Section 8: Syncing to tape and other devices 40 milliseconds after 5 minutes. This caused no problem when using only the MPC60 for all sequenced overdubs to a recording. However, when using the MPC60 for some overdubs to SMPTE, and a different SMPTE to MIDI CLOCK converter for other overdubs to SMPTE on the same recording in (all at the same tempo), an inaccuracy would exist between the 2 units, causing them to gradually slip out of sync. This inaccuracy problem has been corrected in version 2.0 software.
stands for "Frequency Shift Keying at 24 2400 Hz/1200 Hz transitions per 1/4 note". This code contains only timing clocks. It does not contain positioning information, so when syncing back from tape, you must start the MPC60 from the beginning of the song in order for it to play in sync. This code does contain tempo information, so be sure the MPC60 is set to the intended tempo when recording this signal onto tape. 2.
Section 8: Syncing to tape and other devices output through the SYNC OUT jack. The fields and soft keys are described hereunder: • The "START=" field: This is the SMPTE time code number at which the generated time code will start. This is a HOURS:MINUTES:SECONDS:FRAMES field. Normally, this should be set to 00:00:00:00. While the SMPTE code is being generated (when is pressed), this field will continuously update to show the current time code number being output.
8.3 Syncing to SMPTE Of the seven types of signals which the MPC60 can sync to, only three are used to sync to tape: SMPTE, FSK24 and 1/4 NOTE CLICKS. Of these, SMPTE has the greatest advantages and should therefore be used as the standard method of tape sync for all new recordings using the MPC60. SMPTE time code may only be generated by the MPC60 when it is not playing. Before recording your song to tape, record SMPTE time code onto one channel of the multi-track tape recorder.
Section 8: Syncing to tape and other devices To play back a sequence in sync to SMPTE: 1. Connect the output of the tape recorder track you have just recorded to the SYNC INPUT of the MPC60. 2. From the PLAY/R,ECORD screen, select the sequence which you intend to record to tape. 3. Press the TEMPO/SYNC key and the tempo screen will appear: 4. Set the TEMPO SOURCE SELECT field to SEQUENCE.
played for 10 seconds (if the SEQUENCE STARTS AT SMFTE# field has been set to 10 seconds), the MPC60 will automatically start playing from the beginning and will not stop until the sequence has completed. To stop it early, press the STOP key on the MPC60. 12. Now, to overdub further parts onto the tape in sync, just play the tape recorder at any point within the sequence and the MPC60 will automatically start playing from the correct location within the sequence in perfect sync. 13.
Section 8: Syncing to tape and other devices 8.4 Syncing to FSK24 The ability to sync to FSK24 is provided to allow the MPC60 to sync to recordings using sync signals created by machines using the FSK method, such as drum machines and simple sequencers. It is not recommended to use this method for new recordings because of its inferiority to SMPTE time code. FSK24 sync code is generated in real time as the MPC60 plays.
2. Set the SYNC INPUT LEVEL control on the rear panel to about halfway. 3. Press the TEMPO/SYNC key, then press the soft key, and the sync screen will appear: 4. Set the MODE field (Sync input section) to FSK24. 5. Press the MAIN SCREEN key. 6. Record the parts to be overdubbed into the MPC60. 7. Rewind the tape to the point at which you started recording the sync tone. 8. Play the tape.
Section 8: Syncing to tape and other devices 8.5 Syncing to 1/4 note clicks This method of syncing uses 1/4 note metronome clicks or any cleanly recorded percussive audio signal as a sync source. Using this method of sync, the playing tempo is provided from the external 1/4 note clicks. To play the ASQ10 in sync to 1/4 note clicks: 1. Connect the output of the tape track containing the 1/4 note click signal (or other percussive audio source) into the SYNC INPUT. 2.
8.6 Syncing to Midi Clock and Song Position Pointer Midi Clock is a standard sync signal which is transmitted over Midi. It is not used for tape sync, but rather for syncing drum machines, sequencers and other devices together. Midi Clock only contains tempo information, but no song position information. Song position information is provided by a different signal, Midi Song Position Pointer, which is mixed in with the Midi Clock signal.
Section 8: Syncing to tape and other devices 3.Set the MODE field (Sync input section) to MIDI CLOCK W/SONG POINTER if you want to receive midi clock and song pointer messages. If you want to ignore any incoming song pointer messages, set it to MIDI CLOCK 4.Set the MIDI INPUT field to 2. 5.Press the MAIN SCREEN key. 6.Create your sequence on the MPC60. 7. Now, start the external device and the ASQ10 will automatically play in sync.
8.7 Syncing to Midi Time Code Midi Time Code is basically SMPTE time code encoded over Midi. Since it is a Midi signal, it cannot be recorded on tape, but it is used rather to sync to devices such as drum machines and sequencers. The MPC60 does not generate Midi Time Code, but does sync to it when generated from an external source. To play back a sequence in sync to Midi Time Code: 1. Connect a Midi cable from the output of the device sending the Midi Time Code to the Midi input 2 of the MPC60.
Section 8: Syncing to tape and other devices 7.Move the cursor to the upper left field, MODE and select the option MIDI TIME CODE. 8. Move the cursor to the SEQUENCE STARTS AT SMPTE# field and enter the number of the incoming Midi Time Code location you want your sequence to start at. If you don't know, use 00:00:10:00.00. This will cause your sequence to start at a location 10 seconds after the start of the incoming Midi Time Code signal.
Section 9: Midi Functions
9.1 Overview The MIDI key provides access to a number of parameters related to Midi.
Section 9: Midi functions 9.2 The midi input filter, midi soft through, sustain pedal processing If option 1 is selected from the MIDI screen, the following screen appears: This screen has two main sections: MIDI INPUT FILTER and OTHER MIDI.
While one of these event types is selected, the PASS EVENT? field displays either a YES indicating that event will be recorded into sequences or a NO indicating that event type will be removed from the midi input data stream when encountered. This status may be changed using the DATA CONTROL. An example of a good use of this function is to prevent "channel pressure" data (also called "aftertouch") from being recorded into your tracks.
Section 9: Midi functions value received. The range of this field is 0 - 127, with 127 being the full range of the controller. (Pitch bend is an exception- even though the pitch bend messages actually have a range of ± 8191, 0 to 127 represents the full range here. For example, to specify that only a change of 10% or more in the total range of the bend wheel may be recorded, enter a 12 here, because 12 is approximately 10% of 127, which here represents the full range of the bend wheel.
• The DEFAULT CHAN field: Each track within a sequence must be assigned to one of the 64 midi channels. If none is selected, a default channel is automatically inserted by the MPC60. This field determines which channel is automatically inserted when a new track is selected. This is actually two fields: the channel number (1 - 16), and the output jack selection (A, B, C, or D). • The SPECIAL SUSTAIN PEDAL PROCESSING field: This is a choice field with 2 options: ON and OFF.
Section 9: Midi functions all available voices are used, because the synthesizer "thinks" the keys are still held. 2. Some synthesizers have the ability to use midi controller 64 for other purposes than sustain, so it is desirable to record it into the sequence. For these reasons, the MPC60's special sustain processing may be defeated. To defeat this special feature and record midi sustain messages (controller 64) into sequences, set the SPECIAL SUSTAIN PEDAL PROCESSING field to OFF.
9.3 External drum triggering, the midi "drums" channel If option 2 is selected from the MIDI screen, the following screen appears: This screen has three main sections: The ASSIGN INCOMING NOTES TO DRUMS section: In the MPC60, it is possible to play the internal drums from an external Midi keyboard. This section of the screen is used to assign each of the keys on the incoming keyboard to one of the 32 internal drums.
Section 9: Midi functions 1. To set the MPC60 to play its drums in response to incoming notes on the "drums" channel only (normally channel 16), select a "non-drums" track in the PLAY/RECORD screen (or set both CH fields to any channel other than 16). This works because the internal drum generator always responds to incoming notes on the drums channel, even if the active track is routing all incoming channels to the active track's assigned channel. 2.
NOTE: Because "NONE" is the default setting (for highest timing efficiency), it is normal that no "note on" messages will be sent out over midi when drum tracks play. If you are using an external drum generator in addition to the MPC60's internal sounds and therefore want these messages to be sent out while drum tracks play, you must select "DRUM NOTES" in this field.
Section 9: Midi functions 9.4 The ME-35T interface screen This screen is specifically used to remotely control the Akai ME35T Audio/Midi Trigger unit. This product accepts 8 inputs from electronic drum trigger pads or other input devices and converts them to midi "note on" messages to remotely trigger drum sound generators. The fast response and wide range of controls on this device make it particularly well suited to the needs of the professional drummer.
of this field. If only one ME-35T is being used, this should be set to "1". • UNIT CH: This field selects the midi channel over which the selected ME-35T (unit 1 or 2) receives its data. This should be set to the same midi channel as the selected ME35T unit is set to receive on. Because the ME-35T is set to receive on channel 1 when shipped from the factory, this field would normally be set also to 1.
Section 9: Midi functions velocity coding and curves 5 through 8 work best with synthesizers using linear velocity coding. The MPC60 uses linear coding, so curves 5 through 8 should work best. • MIDI CHANNEL: This parameter is used to set the midi channel over which the selected input will send its notes.
9. 5 The Midi implementation charts This section contains the Midi implementation charts for the MPC60. There are two charts- one for the drum sampler section, and one for the sequences section. These charts are useful to determine if any incompatibilities exist between the MPC60 and your other Midi instruments.
Section 9: Midi functions Model: MPC60 (Sequencer section) Midi Implementation Chart Function Basic Channel Mode Note Number Velocity Default Channel Default Messages Altered True Voice Note ON Note OFF Key's Ch's After Touch Pitch Bender Control 0-127 Change Prog Change True# System Exclusive System :Song Pos :Song Sel Common :Tune System :Clock Real Time :Commands Aux :Local ON/OFF Mes:All Notes Off sages :Active Sense :Reset Transmitted 1-16 1-16 3 X X 0-127 0-127 O O O O O O Recognized 1-16 1-16 1
01000111 0000xxxx 01000100 01000xxx 00000001 000xxxxx 0xxxxxxx Drum mixer pan change: 11110000 01000111 0000xxxx 01000100 01000xxx 00000010 000xxxxx 0000xxxx Akai ID (47H) Unit number (midi channel # 1-16) 44H Akai product ID (MPC60 = 45H, ASQ10=46H) Parameter ID: 01 = Drum mix volume Drum number (0-31) Data: 0 (off) - 127 (full volume) System exclusive header Akai ID (47H) Unit number (midi channel # 1-16) 44H Akai product ID (MPC60 = 45H, ASQ10=46H) Parameter ID: 02 = Drum mix pan Drum number (0-31
SECTION 10: APPENDEX
10.1 Features Here is a list of some of the advanced features of the MPC60: General: • Small, portable design - fits easily under your arm. • Large 320 character LCD display (8 lines by 40 characters) with graphics. • Built-in 3 1/2" disk drive stores both sequence and sound data. • Fast, easy to understand operation provided by large screen and logical, intuitive design. • Interactive "Help" function, providing a full paragraph of explanation for each data field of every function screen.
Section 10: Appendex • Sequences may be looped, and recording is possible with real-time timing correction while loop is on. Also, a sequence may be set to loop back to any bar once the end is reached, not just the beginning of the sequence. • "Step edit" feature allows very fast viewing, recording, editing or deletion of any event within a sequence. • Versatile editing system allows copying, merging, inserting, deleting of any sequence data.
Sampler section: • 32 drums may be held in memory at one time. • 16 velocity and pressure sensitive front panel drum pads. • Very high sound quality - 40 khz sampling rate for 18 khz frequency response on all drum sounds. 16 bit A/D and D/A converters are used and samples are compressed into exclusive non-linear 12 bit format, providing much lower noise than standard 12 bit linear systems. • Long sample time - maximum of 13.1 seconds of sampling time at full 18 khz frequency response, expandable to 26.
Section 10: Appendex 10.2 Technical specifications General: • 320 character LCD display with graphics • Disk drive: 3.5 inch 2DD (793K bytes formatted capacity) • Computer: 80186 (10 MHz) • Dimensions: 495(VV) X 127(H) X 471(D) mm • Weight: 10.5 kg • Power consumed: 30 W at AC 100V (50/60 Hz); 32 W at AC 120V (60 Hz), AC220V (50 Hz), or AC240V (50 Hz) Sampler section: • 40 KHz fixed sampling rate • Sampling time (at 40 KHz): 13.1 seconds standard (750K bytes), or 26.
218 • Assignable mix outputs: 8 • Assignable mix output level: 0 dBv (standard), Imp. 600 • Stereo outputs: 2 (left and right) • Stereo outputs level: -3 dBv (standard), Imp. 600 • Echo send mixer output: 1 • Echo send mixer output level control: 1 • Echo send mixer output level: -1.5 dBv (standard), Imp. 600 • Echo return inputs: 2 (left and right) • Echo return input level: -3 dBv (standard), Imp.
Section 10: Appendex 10.3 What to do if your MPC60 isn't working properly If you discover a problem in your MPC60, please follow these steps: 1. Unless the problem is major and obvious, please read the section of the manual related to that function THOROUGHLY AND SLOWLY. The MPC60 is a very complex product, and sometimes it's possible to think that something is not working correctly if you don't fully understand how it is supposed to operate. 2.
SECTION 11: INDEX
+ and - keys, 2.4 2ND SEQUENCE key, 3.12 16 LEVELS key, 2.7.1 AFTER key, 2.7.3 Analyzing sequence. Please wait..., 3.19 ASSIGNABLE MIX OUTPUT jacks, 6.6 Audio trigger, 6.8 AUTO PUNCH key, 3.11 BANK 2 key, 2.7.2 BPM, 3.9.1 Changing sequences while playing, 2.9.1 Choice fields, 2.4 Converting a song into a single long sequence, 4.3.8 Copying a section, including all tracks, and inserting it elsewhere, 4.3.5 Copying a single track to another area or merging it with other data, 4.3.
Section 11: Index Fadeout time (sounds), 6.2, 6.3 FAST FORWARD keys (>>, >), 3.5 Features list, 10.1 FOOT SWITCH inputs, 3.15. FPB, 3.9.1 Frames/sec, 3.9.1 Free sequence memory display, 3.16 Free sound memory, 6.2, 7.7 FULL LEVEL key, 2.7.1 GAIN switch, 6.2 Hear input (sampling), 6.2 HELP key, 2.6 HIHAT DECAY slider, 2.7.3 Hihat decay thresholds, 6.9 Hooking it up and turning it on, 2.2 How to use this manual, 1.2 Inserting blank bars into a sequence, 4.3.3 Inserting/deleting events in step mode, 4.4.
Playing the preset sequences, 2.9 Pre-record, 6.2 Program number, assigning a track's, 3.3 REC IN jack, 6.2 RECORD key, 3.5 Record all 16 channels, 3.18 Record level meter, 6.2 Record level, 6.2 Record threshold, 6.2 Recording a drum sequence, 3.6 Recording a sequence with drum and keyboard parts, 3.7 Reset to defaults, 2.12 REWIND keys (<<, <), 3.5 RS-232 COMPUTER PORT, 2.2 Sampling a new sound, 6.2 Sequence name, 3.3 Sequence number, changing the, 3.3, 2.9 Sequence starts at SMPTE number, 8.2, 8.
Section 11: Index Syncing to Midi Clock and Song Position Pointer, 8.6 Syncing to Midi Time Code, 8.7 Syncing to SMPTE, 8.3 Syncing to tape and other devices, 8.X System exclusive data, editing, 4.4.2 System exclusive data, recording, 3.17 TAP TEMPO key, 3.9.3 Tap averaging, 3.9.1 Technical specifications, 10.2 Tempo screen, 3.9.1 Tempo source select (sequence or master), 3.9.1 Tempo, mid-sequence changes, 3.9.2 Time signature l number of bars, creating a new format of, 4.3.
