MIDI PRODUCTION CENTER Software version 3.0 WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
MIDI PRODUCTION CENTER
MIDI Production Center Software version 3.0 Operator’s Manual By Roger Linn Copyright 1987-1994 Akai Electric Co., LTD.
WARNING!! To prevent fire or shock hazard, do not expose this appliance to rain or moisture. 1-En CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A).
WARNING The MPC3000 is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your MPC3000 meets the power requirements in your area. If in doubt, consult a qualified electrician or Akai Professional dealer. 120V 220V – 230/240V 240V @60Hz for USA and Canada @50Hz for Europe @50Hz for Australia PROTECTING YOURSELF AND THE MPC3000 • Never touch the AC plug with wet hands.
WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows: 1) Remove the fuse cover and old fuse. 2) Fit a new fuse which should be a BS1362 5 Amp A.S.T.A or BSI approved type. 3) Refit the fuse cover.
LITHIUM BATTERY This product uses aLithium Battery for memory back-up. The lithium battery should only be replaced by qualified service personnel. improper handling may cause risk of explosion. 24A-En FCC warning This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment.
FRONT PANEL INTEGRATED RHYTHM MACHINE 16BIT DRUM SAMPLER/MIDI SEQUENCER STEREO VOLUME MPC3000 MIDI PRODUCTION CENTER DATE ENTRY 7 COMMANDS 8 9 RECORD LEVEL 4 5 6 b MIDI 1 SOFT KEY 2 SOFT KEY 3 2 3 OTHER e SEQ EDIT g SOFT KEY 4 c SONG d SOFT KEY 1 MIXER/ EFECTS PROGRAM/ SOUNDS DISK a f STEP EDIT EDIT LOOP h i DISPLAY CONTRAST 0 • ENTER TEMPO/SYNC TRANSPOSE SIMUL SEQ j SOFT KEY 1 SOFT KEY 2 SOFT KEY 3 k l SOFT KEY 4 AUTO PUNCH COUNT IN WAIT FOR KEY m – A C n o +
Table of Contents Chapter 1: Introduction ......................................................................................................... 1 Welcome! ......................................................................................................................... 2 Features .......................................................................................................................... 3 What’s Different From the MPC60? ..............................................................
Copying Events ................................................................................................ 82 Copying an Entire Sequence to Another ......................................................... 84 Shifting the Timing of Many Notes ................................................................. 85 Global Editing of Note Event Data ................................................................. 86 Editing Note Velocity or Duration Data .............................................
Loading, Erasing, or Renaming Files ........................................................................ 173 Loading a SEQ File (Single Sequence) ......................................................... 175 Loading an ALL File (All Sequences and Songs) ......................................... 177 Loading a SND File (Single Sound) .............................................................. 177 Loading a PGM File (Single Program and Sounds) .....................................
Chapter 1: Introduction Chapter 1: Introduction Page 1
Chapter 1: Introduction Welcome! Since its release in 1988, the MPC60 MIDI Production Center has earned a reputation not only as the world’s greatest drum machine but also as a powerful sequencer for those who desire an alternative to the complexity and confusion of computer sequencers. But over the years users asked for more: 16-bit stereo sampling, more sample memory, enhanced sound design features, faster sequence processing, enhanced sequence recording and editing features, SCSI, and much more.
Chapter 1: Introduction Features The following is a summary of some of the advanced features of the MPC3000. General • Large 320-character LCD display (8 lines by 40 characters) with graphics. • Built-in 1.44 megabyte disk drive for storing both sequence and sound data. • Built-in SCSI interface for storing data to external hard disk. • Interactive Help function provides a full screen of explanation for every data field of every function screen.
Chapter 1: Introduction • The Best Start feature automatically finds the point within a sound at which the drum strike begins, bypassing any dead space at the beginning of the sound which could cause playback delays. • Up to three sounds can be assigned to a MIDI note number or pad. The sounds can either play simultaneously, switch depending on note velocity, or switch depending on envelope decay (to simulate the MPC60’s hi-hat decay slider function).
Chapter 1: Introduction • Programmable tempo changes in mid-sequence or mid-song are supported. • Mid-sequence time signature changes are supported. • Auto Punch feature allows automated punch-in and/or punch-out at preset times within the sequence. • Two foot switch inputs allow functions such as Play/Stop and Punch In/Out to be remotely controlled. • Swing feature provides a useful method of adjusting the rhythmic feel of your tracks.
Chapter 1: Introduction What’s Different From the MPC60? The MPC3000 contains many changes and improvements over the MPC60. The major changes are listed below. Sound Generator Changes • Sampling resolution is increased from 12-bit non-linear to 16-bit linear. • Sampling rate is increased from 40 kHz to 44.1 kHz. • Stereo sampling is supported. • A digital sampling input is included for direct recording from digital sources. • Sound memory is increased: 2 megabytes standard (21.9 seconds mono or 10.
Chapter 1: Introduction This allows independent send-level mixing to the internal effects generator, or for any one of the individual outputs to be used as a full external echo send mixer. • The Double Play feature has been removed. Instead, up to three sounds can be assigned to play from an incoming MIDI note number or pad. The sounds can either play simultaneously, switch depending on note velocity, or switch depending on envelope decay (to simulate the MPC60’s hi-hat decay slider function).
Chapter 1: Introduction • The new Edit Note Number Assignment feature permits reassigning specific drum notes from one note number (instrument) to another. • The Count In feature may now be set to activate only before recording. • The Punch In feature may now be set to punch-in only or punch-out only. • New MIDI Local Mode internally disconnects the pads from the sound generator. This is useful when using the pads and sound generator with external sequencers.
Chapter 1: Introduction dynamic filter and other data. This is explained further in Chapter 6: “Creating and Editing Programs”. MPC60 SET files are replaced by the new Program files. In the MPC60, all sounds and sound assignments are saved in one large SET file. In order to change all pad assignments, it is necessary to load a new SET file. Because of the MPC3000’s new Program system of sound assignments, SET files have been replaced by PGM (program) files.
Chapter 1: Introduction 3. Notes may be recorded from MIDI directly into drum tracks without the need for the MPC60’s “Assign incoming notes to pads” conversion table, which has been removed. Now, when viewing a drum note in Step Edit, the actual MIDI note number received is displayed, as well as the currently assigned pad number (A01-D16) and sound name. 4.
Chapter 1: Introduction New Note Variation system and revised 16 Levels function In the MPC60, the Hi-hat Decay Slider controlled decay time and sound selection for the hi-hat pad only. In the MPC3000, the new Note Variation Slider provides all functions of the hi-hat decay slider, but may be assigned to any pad and may alternately control either tuning, attack or filter frequency. As with the Hi-hat Decay Slider, this information is recorded into each drum note.
Chapter 2: The Basics Chapter 2: The Basics Page 13
Chapter 2: The Basics Hooking Up Your System The following diagram shows how to hook up the MPC3000 to a MIDI keyboard and two sound modules.
Chapter 2: The Basics Getting Around on the MPC3000 Before you can use the MPC3000, you must learn how to use the cursor keys, data fields, command keys, the data entry keys and data entry control, the soft keys and the HELP key. While no disk is in the drive, turn the power on. After a few seconds, the LCD screen will display the following text: ============== Play/Record ============= Seq: 1-(unused) BPM:120.
Chapter 2: The Basics sequence. To the right of this field is another field containing the name for the selected sequence. The Play/Record screen is one of many display screens available on the MPC3000. Most of the panel keys present a unique screen, and each screen has its own unique data fields. Try pressing a few of the different keys in the Commands section of the panel, such as DISK or TEMPO/SYNC.
Chapter 2: The Basics the on-screen number will decrement. Continuously turning the data entry control will repeatedly increment or decrement the onscreen value. It is not necessary to press ENTER after turning the data entry control. There is a special type of data field called a choice field. Fields of this type do not contain numeric data, but rather a specific number of preset text selections, though only one can be active at a time.
Chapter 2: The Basics The HELP key Whenever this key is pressed and held down, the contents of the screen will be temporarily replaced by text explaining the function of the data field where the cursor is currently located. To return to the previous screen, release the HELP key. There is a different help screen for every data field of every screen in the MPC3000.
Chapter 2: The Basics Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program Here are some definitions of terms used in the MPC3000 that you should know: Sequence A sequence can be thought of as a segment of multitrack tape of variable length. Depending on the sequence contents, it could be a two-bar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC3000 holds 99 sequences in memory at one time.
Chapter 2: The Basics Sound Each individual sampled recording in the MPC3000 is called a sound. A sound could be a recording of a single strike of a snare drum or cymbal, a sound effect, or a 30 second stereo recording of backing vocals. Sounds are sampled in 16-bit linear format at a sampling rate of 44.1kHz in either mono or stereo and can be any length up to the limit of sound memory. A maximum of 128 sounds can reside in sound memory.
Chapter 2: The Basics select which drum will play—one key for bass drum, one for snare, one for high tom, etc. This system of using MIDI note numbers to select drums is used in the MPC3000’s sound assignment system. In programs (described below), sounds are assigned directly to one of 64 MIDI note numbers (35-98). In sequences, drum notes are also assigned to one of 64 note numbers (35-98) to indicate which sound to play.
Chapter 2: The Basics Loading and Playing Sounds and Programs All sounds and programs are held in RAM memory and are therefore lost whenever the power is turned off. In order to play any sounds after turning the power on, you must load them in from disk. The procedure for loading files from disk is described in the “Saving To and Loading From Disk” chapter of this manual, but to get you started quickly, you’ll learn how to load a disk automatically when the power is turned on. Follow these steps: 1.
Chapter 2: The Basics Pads in bank A: A01 through A16 Pads in bank B: B01 through B16 Pads in bank C: C01 through C16 Pads in bank D: D01 through D16 Each of these 64 bank/pad combinations (A01-D16) is referred to as a pad. The 16 pads are dynamic—the harder you play them, the louder the sound will play. If desired, however, this touch sensitivity can be defeated. Press the FULL LEVEL key (the light goes on), and no matter how hard you play the pads, the sound will play at its maximum dynamic level.
Chapter 2: The Basics 4. Repeat step 3, except select program 3 and play the sounds. Repeat this procedure to hear the other programs. 5. To return to the Play/Record screen, press MAIN SCREEN. The Note Variation Slider, ASSIGN and AFTER keys The Note Variation slider can be used in real time to change the tuning, attack, decay, or filter frequency for a sound played from a single pad.
Chapter 2: The Basics 3. Press MAIN SCREEN to return to the Play/Record screen. 4. Play the selected pad while moving the Note Variation slider. Each time the pad is played, the selected parameter (tuning, attack, decay or filter) will change according to the slider position. Here is additional information about the four fields: • The Note field: This field contains the note number to which the slider is assigned (35-98). To change the assignment, press a pad.
Chapter 2: The Basics The AFTER key Note Variation information may be recorded into sequences. Each drum note in a sequence contains two pieces of data related to Note Variation: 1. The Note Variation Parameter: This identifies which parameter the Note Variation Data will affect (tuning, decay, attack or filter frequency). 2. The Note Variation Data: This is the actual tuning, attack, decay or filter frequency information, representing the position of the slider when the note was recorded.
Chapter 2: The Basics • The Note field: This field is used to assign the 16 Levels function to one of the 64 possible note numbers (35-98). When 16 Levels mode is on, all 16 pads will play one sound but at 16 evenly spaced levels of either velocity, tuning, decay, attack, or filter frequency. Select a sound by pressing a pad. This will automatically select the note number that is currently assigned to the selected pad.
Chapter 2: The Basics the 16 pads will play the sound at no tuning change. Regardless of this center pad, higher numbered pads play higher chromatic tunings and lower numbered pads play lower chromatic tunings. In order to limit the entire tuning range of the 16 pads to within +/- one octave, only pads 4 through 13 can be selected. For example, if pad 4 is selected, the tuning range is from -30 (-3 semitones at pad 1) through 0 (no tuning change at pad 4) to +120 (+12 semitones at pad 16).
Chapter 3: Recording Sequences
Chapter 3: Recording Sequences How Sequences are Organized A sequence can be thought of as a segment of multitrack tape of variable length. Depending on the sequence contents, it could be a two-bar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC3000 holds 99 sequences in memory at one time.
Chapter 3: Recording Sequences beat number, and tick number. (A beat is the timing value of the lower half of the time signature. For example, in 4/4 time, a beat is one quarter note.) In bar.beat.tick fields, you enter the three parts separated by decimal points (.), followed by ENTER. For example, to enter bar 1, beat 3 and tick 24, type 1, decimal point, 3, decimal point, 24, ENTER.
Chapter 3: Recording Sequences The MAIN SCREEN Key & Play/Record Screen When the MPC3000 is first powered on, the LCD screen shows the following contents: ============== Play/Record ============= Seq: 1-(unused) BPM:120.0 (SEQ) Sig: 4/ 4 Bars: 0 Loop:TO BAR 1 ============== Track Data ============== Trk: 1-(unused) Type:DRUM On:YES Chn:OFF-(off) & OFF Vel%:100 Pgm:OFF ===== Now:001.01.00 (00:00:00:00) ====== This is called the Play/Record screen.
Chapter 3: Recording Sequences 2. Record ready: ==== Play/Record (Record ready) === In this mode, it is possible to “punch in” to Record or Overdub mode while playing the sequence. To punch in: while playing a sequence, hold both PLAY and either RECORD or OVERDUB simultaneously—the MPC3000 will immediately enter either Record or Overdub mode. In this mode it is impossible to change sequences while playing.
Chapter 3: Recording Sequences should be set to the desired frame rate. 120.0 (SEQ) in the above ex• The Active Tempo field (BPM:120.0 ample): This is the active playing tempo. If the sequence contains tempo changes, this shows the active tempo at the current sequence position displayed in the Now field. • The Tempo Source field (BPM:120.0 (SEQ) in the above example): This is a choice field with two options: 1. SEQ (sequence): Within each sequence is a unique tempo setting.
Chapter 3: Recording Sequences displayed to the right of the word BAR. To set the number of the bar to which the sequence loops back, move the cursor to the field to the right of the word BAR and enter the new number. COMMENT: If the bar to loop to is bar number 1 and the sequence is in Record mode, the MPC3000 will automatically switch from Record to Overdub mode at the moment the sequence loops back—this will prevent accidental erasure of any notes just recorded.
Chapter 3: Recording Sequences selected not by note number only as in MIDI tracks, but also by the pad number and sound name currently assigned to the displayed note number. D. Drum tracks are not affected by the Transpose function. YES in the example screen): • The Track On/Off field (On:YES This choice field turns the output of the active track on (YES) or off (NO). Pressing SOFT KEY 1 toggles the field’s state between YES and NO.
Chapter 3: Recording Sequences fields allow the active track to play simultaneously through an additional channel/port combination. If no additional output channel/port is desired, select OFF here. 100 in the example screen): • The Velocity% field (Vel%:100 This is an overall output volume control for active track. However, unlike a normal volume control, this function actually scales the velocities of all notes that play from the track in real time, acting as a real-time dynamics control.
Chapter 3: Recording Sequences The first part is the bar number; the second is the beat number within the bar (the beat is equal to the denominator of the time signature); and the third is the tick number within the beat (there are 96 ticks to a quarter note). Bars and beats start at 1; ticks start at 0. To the right of the above-described bar.beat.tick number is another four-part number, displayed in parentheses.
Chapter 3: Recording Sequences 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 active sequence to begin playing from the start of bar 1. • The PLAY key: This key causes the sequence to begin playing from the current position displayed in the Now field in the Play/Record screen. • The STOP key: This key causes the sequence to stop playing.
Chapter 3: Recording Sequences It is also possible to punch-in to Record mode while playing. To do this: 1. The MPC3000 must be in Record Ready mode. (The top line of the Play/Record screen must display the words Play/Record (Record ready).) If not, simply press and release the RECORD or OVERDUB key once while the sequence is stopped. 2. While the sequence is playing, simultaneously press the RECORD and PLAY keys. Record mode is now active, as indicated by the light above the RECORD key.
Chapter 3: Recording Sequences Edit Options” section in the “Editing Sequences” chapter of this manual. • The LOCATE key: This key is used to instantly move to a specific position within the active sequence. When pressed, the following screen is displayed: ================ Locate ================ Hit softkeys or LOCATE to go to markers: Marker A: 001.01.00 Marker B: 001.01.00 Marker C: 001.01.00 ===== Now:001.01.
Chapter 3: Recording Sequences Sequence Recording Example 1: A Looped Drum Pattern The MPC3000 is both a linear-type sequencer and a pattern-oriented sequencer. The following examples use short, looped sequences 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.
Chapter 3: Recording Sequences Overdub mode to avoid erasing your new notes. The notes you played will be heard at the position they were recorded, except that the Timing Correct function has automatically moved all of your notes to the nearest 1/16-note. (This can be defeated, as explained in “The TIMING CORRECT Key” section, later in this chapter.) 8. Press STOP. COMMENT: To initialize a sequence to a different time signature or number of bars, press ERASE and select .
Chapter 3: Recording Sequences Sequence Recording Example 2: A Multitrack Sequence The following is a step-by-step example of recording a multitrack sequence with a format of 4 bars of 4/4 time, containing the following tracks: Track 1: Drums Track 2: Percussion Track 3: Bass Track 4: Piano First, set up the instruments: 1.
Chapter 3: Recording Sequences 2. Press the ERASE key, then select SOFT KEY 2 (). The following screen will appear: ========== Initialize Sequence ========= Select sequence: 2-(unused) ===== General ===== ==== Track: 1 ==== Bars: 2 Sig: 4/ 4 Status:UNUSED BPM:120.0 (SEQ) Type:DRUM Pgm:OFF Loop:TO BAR 1 Chn:OFF & OFF ======================================== 4. Enter 4 in the Bars field then press .
Chapter 3: Recording Sequences the nearest value specified in the Timing Correct screen (in this case, 1/16-note). 5. Without stopping the sequence, record a 1/16-note hi-hat part by simultaneously holding the TIMING CORRECT key and the HIHAT CLOSED pad, varying the pressure on the pad as the sequence plays. After four bars, release both the key and the pad. Notice that closed hi-hats have now been recorded on all 1/16notes.
Chapter 3: Recording Sequences 2. Set the Type field to MIDI, indicating that this track will not play the internal drum sounds. 3. Set the Chn field to 1A, indicating that track 3 will play through MIDI channel 1 and MIDI output port A. The Chn field is actually two fields—move the cursor to the position indicated by the underline below and select 1: Chn:OFF becomes—> Chn: 1A 4. If you play the MIDI keyboard now, the synthesizer that is set to receive on MIDI channel 1 should play a bass sound.
Chapter 3: Recording Sequences 2. Set the Type field to MIDI, indicating that this track will not play the internal drum sounds. 3. Set the Chn field to 2A, indicating that track 4 will play through MIDI channel 2 and MIDI output port A. 4. If you play the MIDI keyboard now, the synthesizer that is set to receive on MIDI channel 2 and port A should play a piano sound. If not, check the previous steps and your MIDI hookup. 5. Enter Record mode by holding RECORD and pressing PLAY START. 6.
Chapter 3: Recording Sequences The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing The MPC3000 corrects timing errors made as you are recording by moving notes to the nearest perfect timing location. For example, if the timing correct function is set to 1/16-notes, then all notes are moved to the nearest perfect 1/16-note. The result is that all recorded notes play back as perfectly even 1/16-notes. It is also possible to correct the timing of notes after they have been recorded.
Chapter 3: Recording Sequences 2. It sets the amount by which the current sequence position will change when either the REWIND [<] or FAST FORWARD [>] key is pressed. • The Swing% field: This field only appears if the Note Value field is set to either 1/16- or 1/8-notes. The swing feature is a variation of timing correction. Whereas normal timing correction moves your notes to perfect 1/16or 1/8-note intervals, the swing feature moves your notes to swingtiming intervals.
Chapter 3: Recording Sequences set these two fields to EARLY, 1 tick. This would cause all new notes to be recorded onto 1/16-notes but at 1 tick earlier than normal. COMMENT: It is not possible for this function to shift the timing of notes without also correcting their timing. This also means that the range of shift depends on the current Note value field’s setting.
Chapter 3: Recording Sequences The Note Repeat Feature Another very useful feature of the TIMING CORRECT key is the ability to automatically repeat either drum or keyboard notes at a preset timing interval. This is useful in creating: • Drum rolls • Repeating-note drum patterns, such as 1/16-note hi-hat patterns • Repeating keyboard notes, such as a repeated 1/16-note bass part The Note Repeat feature is used in real time while recording or playing.
Chapter 3: Recording Sequences Tempo and the TEMPO/SYNC Key Many of the functions in the MPC3000 are associated with controlling the playing tempo. First, there is the Tempo field in the Play/ Record screen (shown below in bold): ============== Play/Record ============= 120.0 (SEQ) Seq: 1-(unused) BPM:120.0 Sig: 4/ 4 Bars: 0 Loop:TO BAR 1 ============== Track Data ============== Trk: 1-(unused) Type:DRUM On:YES Chn:OFF-(off) & OFF Vel%:100 Pgm:OFF ===== Now:001.01.
Chapter 3: Recording Sequences tempo or the master tempo is currently active. It is a choice field with two options: 1. SEQUENCE: Within each sequence is a unique tempo setting. If this option is selected, this unique sequence tempo is used. In this case, whenever the active sequence number is changed, the newly selected sequence’s tempo immediately becomes active. When playing sequences, this is useful if you want each newly selected sequence to play at its own preset tempo.
Chapter 3: Recording Sequences 29.97 DROP (29.97 frames per second, drop frame): This is the standard for NTSC color television in the United States. Using this mode, the tempo range of the MPC3000 is from 59.7 to 6.0 FPB. COMMENT: In the MPC60 version 2 software, this selection was erroneously called 30DROP, although it was actually 29.97 frames per second drop frame time code. Sorry. 25 (25 frames per second): This is the standard for European television (PAL /SECAM standard).
Chapter 3: Recording Sequences • The soft key : This screen is described in the chapter entitled “Syncing to Tape and Other Devices.” • The soft key: The function of this soft key is described in the following section. Mid-Sequence Tempo Changes This feature allows the tempo to change automatically at preset locations within a sequence.
Chapter 3: Recording Sequences • The Bar# field: This field shows the location within the sequence where the currently displayed tempo change will occur. This is a bar.beat.tick field. • The %Change field: This field shows, as a percentage of the main starting tempo (either MASTER or SEQUENCE), the amount of tempo change that the currently displayed tempo will produce.
Chapter 3: Recording Sequences The TAP TEMPO Key The TAP TEMPO key allows the tempo to be set quickly by tapping two beats (1/4-notes) on the TAP TEMPO key. After two taps, the MPC3000 automatically assumes the two taps to be 1/4-notes and recalculates a new tempo to match those 1/4-notes. For example, to quickly change to a tempo of 80 BPM, tap two 1/4notes at a tempo of approximately 80 BPM on the TAP TEMPO key.
Chapter 3: Recording Sequences The WAIT FOR and COUNT IN Keys These two keys make the process of real-time sequence recording easier. The WAIT FOR KEY key This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC3000. If Play, Record or Overdub mode is entered while the Wait For Key function is on, the sequence will not begin to play until a key is played on the MIDI keyboard. This acts as a remote switch to start the sequence playing.
Chapter 3: Recording Sequences The AUTO PUNCH Key The Auto Punch function allows Overdub or Record modes to be entered and exited automatically at preset times while playing. This can be very useful when you want to execute a very tight punch-in and there isn’t enough time to get from the console keys to the MIDI keyboard to play the new notes after the punch-in. The Auto Punch function punches in for you, allowing you to concentrate on playing the new part.
Chapter 3: Recording Sequences • The Last Punch In= and Out= fields: These two fields are indicators only—they cannot be manually changed. They are used to indicate the exact locations of the punch-in and punch-out that was last performed manually. • The soft key: Pressing this turns on the Auto Punch function, as indicated by the status light above the key. If Auto Punch is already on, the soft key text shows and pressing it turns both Auto Punch and the light off.
Chapter 3: Recording Sequences The SIMUL SEQUENCE Key This function allows the MPC3000 to play two sequences simultaneously. For example, you could use the active sequence to linearly record all of your keyboard tracks while simultaneously using the Simul Sequence to play a looped drum sequence. The Simul Sequence can also play simultaneously with the active song, if song mode is active.
Chapter 3: Recording Sequences The OTHER Key The OTHER key gives you access to a number of additional features, many of which are related to sequence recording: • Metronome controls: Provides adjustments for the recording metronome and Count In function. • Foot Switches: Allows the two foot switch inputs to be assigned. • Free sequence memory display: Shows the current percentage of sequence memory available for recording.
Chapter 3: Recording Sequences 1. NO: The metronome is only heard during Record or Overdub modes, but not while in Play mode. 2. YES: The metronome is heard in Play, as well as in Record and Overdub modes. • The Output field: This choice field determines which audio output the metronome will play through. The options are STEREO and INDIV 1 (individual out 1) through INDIV 8 (individual out 8.) • The Count IN field: This is a choice field with two options: 1.
Chapter 3: Recording Sequences TIMING CORECT (Timing correct): Press to duplicate the function of pressing TIMING CORRECT. This is very useful for hands-free use of the Note Repeat function. ‘+’: Press to duplicate the function of turning the data entry control one step to the right. ‘-’: Press to duplicate the function of turning the data entry control one step to the left.
Chapter 3: Recording Sequences • The soft key: Pressing this soft key presents a screen used for setting up multichannel recording. This is described in the section “The Record 16 Channels Function: Multichannel Recording”, later in this chapter. Initializing System Parameters There are a number of parameters in the MPC3000 that are not saved in SEQ, ALL, SND, PGM, or APS disk files.
Chapter 3: Recording Sequences The Record 16 Channels Function: Multichannel Recording In its normal operating mode the MPC3000 can only record one track at a time. There is, however, a special mode of recording that allows you to record on all 16 MIDI channels at once. This is very useful when transferring sequences to the MPC300 from other sequencers.
Chapter 3: Recording Sequences • The Sig field (time signature): This is actually two fields—the upper and lower half of the time signature to be used for recording. When is pressed, the selected sequence will be initialized to one bar of the time signature entered in these two fields. • The Drums on ch field (drums on channel): If one of the incoming MIDI channels will contain drum data and you would like the corresponding MPC3000 track to be a DRUM track, specify that MIDI channel here.
Chapter 3: Recording Sequences • The Sig field (time signature): This field shows the time signature entered in the previous screen. It is for display only and cannot be changed. • The Bars field This shows the total number of bars in the newly initialized sequence, which is always initialized to 1 bar. When recording begins, additional bars will be added to the end of the sequence as needed, as is normal when the Loop field is set to OFF in the Play/Record screen.
Chapter 3: Recording Sequences Recording MIDI System-Exclusive Data The MPC3000 can record patch data or any other MIDI systemexclusive messages from external synthesizers directly into tracks. To do this, simply send the system-exclusive message to the MPC3000 while in Record, Overdub, or Step Edit mode, and it will be recorded into the active track, just the same as any other MIDI data. The only limitation is that the message must be smaller than 1000 bytes.
Chapter 4: Editing Sequence Chapter 4: Editing Sequences Page 71
Chapter 4: Editing Sequence The ERASE Key The ERASE key provides three main functions: • Erasing notes in real time while in Overdub mode • Erasing notes or other events while stopped • Initializing or deleting sequences Erasing Notes in Real Time While in Overdub Mode If the ERASE key is pressed and held while in Overdub mode, the top line of the Play/Record screen changes to the following for as long as ERASE is held: ==== (Hold pads or notes to erase) ===== If during this time you hold a drum pad (if t
Chapter 4: Editing Sequence • The Seqnc (sequence) field: In this field, enter the sequence number from which the data will be erased. The sequence name is shown to the right for convenience. • The Track field: This field specifies the track from which the data will be erased. The active track is automatically inserted here. To erase all tracks at once, enter a 0 here.
Chapter 4: Editing Sequence (Hit pads) to the right. When a pad is pressed, its currently assigned note number will appear in the field, followed by the pad number and currently assigned sound name. On the right side of the line is the text (1 pad) indicating that 1 pad is selected for erasure: Notes:36/A02-SNARE_DRUM (1 pad) If another pad is then pressed, its note number, pad number, and assigned sound are displayed instead, and the text to the right displays (2 pads).
Chapter 4: Editing Sequence ========= Delete All Sequences ========= Pressing will erase all sequences and set them to unused state as when power is turned on!!!! ======================================== To delete all sequences, press . Initializing a Sequence To erase a sequence and initialize it to preset values, press the ERASE key, followed by SOFT KEY 2 ().
Chapter 4: Editing Sequence • The Loop field: In this field enter the loop status (OFF or TO BAR) and the loop bar number, if TO BAR is selected, for the initialized sequence. The “Track” section • The Track field: Any or all of the sequence’s tracks can be initialized. To enter the settings for each track, first select the track number in this field, then enter the initialization data for that track in the fields below.
Chapter 4: Editing Sequence The SEQ EDIT Key The SEQ EDIT key provides access to many features related to sequence editing. Pressing it will display the following menu screen: ============= Edit Sequence ============ 1)View/chng T sig 6)Copy events 2)Chng track order 7)Copy a sequence 3)Insert blank bars 8)Shift timing 4)Delete bars 9)Edit note data 5)Copy bars ======================================== Select option: Pressing a single number key causes the screen for the selected function to appear.
Chapter 4: Editing Sequence Changing the time signature of a single bar To change the time signature of a specific bar, press . The following screen will appear: ======== Change Time Signature ========= Change the time signature of bar: 1 from 4/ 4 to 4/ 4. (If the new time sig is shorter, the end of the bar is truncated; if longer, blank space is added to the end.
Chapter 4: Editing Sequence To rearrange tracks, first enter the desired sequence number. Then enter the track number to be moved in the Place track field. In the Before track field, enter the number of the track that the moved track will be inserted before. Press to execute the move. Inserting Blank Bars Into a Sequence This feature inserts a specified number of blank bars into the current sequence.
Chapter 4: Editing Sequence the Loop field will automatically be increased to compensate for the insertion. Deleting Bars From a Sequence This function allows you to delete a specified number of bars from the active sequence. To use this function, select option 4 (Delete bars) from the SEQ EDIT key menu.
Chapter 4: Editing Sequence Copying Bars (All Tracks) This function allows you to copy a specified range of bars (across all tracks) from one sequence and insert the copied data at any point within the same sequence or any other sequence. In this mode of copying, the overall length of the destination sequence will always be increased. To use this function, select option 5 (Copy bars) from the SEQ EDIT key menu.
Chapter 4: Editing Sequence COMMENT: If the sequence is set to loop to an earlier bar (in the Play/Record screen) and the copied bars are inserted before the loop bar, the bar number specified in the Loop field will automatically be increased to compensate for the insertion. COMMENT : When copying from one sequence to another, be careful to copy MIDI track data only to MIDI tracks and Drum track data only to Drum tracks. Otherwise, keyboard notes can cause drum sounds to play or vice versa.
Chapter 4: Editing Sequence rightmost field. These are bar.beat.tick fields, enabling you to specify the region in units as small as one tick. • The Notes field: This field determines which notes will be copied. It appears in one of two ways depending on whether the selected track is a Drum track or a MIDI track: 1. If the source track is a Drum track, this field is used to select the specific drum notes, represented as MIDI note numbers, that are to be copied.
Chapter 4: Editing Sequence 2. MERGE: In this mode, the copied data are merged, or added, to the existing events. • The Copies field: This field specifies the number of repetitions of the copied data that will be added to the new sequence. • The Start field: The copied data can be added into the destination sequence and track starting at any location. This field specifies the start location where the copied data will be placed. This is a bar.beat.
Chapter 4: Editing Sequence • The Over contents of seq field: This specifies the sequence whose contents will be replaced by the contents of the above specified sequence number. The lowestnumbered empty sequence is automatically inserted here when this screen is entered. • The soft key: Pressing this soft key performs the above specified copy. Shifting the Timing of Many Notes This feature shifts a group of notes within a single track forward or backward in time.
Chapter 4: Editing Sequence of 0 to 127; the equivalent note name (C-2 to G8) is shown to the right of each field. Alternately, these fields can be set by pressing two notes on the MIDI input device’s keyboard. The fields will automatically be set to the lowest and highest keys pressed. 2. If the source track is a Drum track, this field is used to select specific drum notes, represented as MIDI note numbers, that are to be copied.
Chapter 4: Editing Sequence ============ Edit Note Data ============ 1.Edit velocity/duration 2.Edit note number assignment 3.Edit note variation data ======================================== Select option: These options are described in the three sections below. Editing Note Velocity or Duration Data To edit the velocity or duration data of a group of notes in one operation, select 1 from the Edit Note Data menu.
Chapter 4: Editing Sequence range of 0 to 127; the equivalent note name (C-2 to G8) is shown to the right of each field. Alternately, these fields can be set by pressing two notes on the MIDI input device’s keyboard. The fields will automatically be set to the lowest and highest keys pressed. 2. If the source track is a Drum track, this field is used to select specific drum notes, represented by MIDI note numbers, that are to be edited.
Chapter 4: Editing Sequence • The Value field: This field works in conjunction with the Do field and sets the number that will be used to change the velocities or durations. • The soft key: Pressing this soft key performs the edit specified in the above fields. Editing Note Number Assignment of Drum Note Events This feature affects Drum tracks only. It is used to change all notes of one drum to that of another drum.
Chapter 4: Editing Sequence • The To notes field: This field determines the note number to which the selected drum notes will be reassigned. While the cursor is in this field, press the pad of the drum note to be changed to—its currently assigned note number and sound will appear in the field. (You can also send a Note On message to the MIDI input or enter the note number directly.) • The soft key: Pressing this soft key performs the edit as specified in the above fields.
Chapter 4: Editing Sequence • The Notes field: This field determines which notes will be affected. It cannot be accessed by the cursor. It can only be changed by pressing pads or receiving external MIDI notes. When the screen is first displayed, it appears as shown above with the word ALL (affect all notes) and the text (Hit pads) to the right. When a pad is pressed, the pad’s currently assigned note number appears in the field, followed by the pad number and currently assigned sound name.
Chapter 4: Editing Sequence 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 that exist in the active track at the current sequence position are displayed on the screen as a series of data fields, which can then be edited. Also, any notes played at this time are recorded into the active track at the current sequence position. To enter step edit mode, press the STEP EDIT key.
Chapter 4: Editing Sequence • SOFT KEY 1 ( or ): This soft key has one of two functions, depending on the current setting of the Function of soft key 1&2 field in the Step Edit Options screen (described below): 1. : When pressed, a new event is 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. 2.
Chapter 4: Editing Sequence move to the previous or next step within the active track. (It is also possible to change the function of the [<] and [>] keys to search forward or backward to the next event within the track. This option is selected in the Step Edit Options screen.) 3. You can now edit any of the data fields for any of the displayed events by moving the cursor to the desired field and editing it.
Chapter 4: Editing Sequence another event of the same type at the beginning of the sequence to set the controller to an initial value. Step Edit Event Types The Step Edit screen can display up to five events, one on each line, that exist in the active track at the current Now field position. The format of the event line is different for each type of event. The following is a description of each event type: • The Drum Note event >N:64/A01-My_Sound V:127 Tun:-120 D: 96 The fields are: 64 1.
Chapter 4: Editing Sequence 7. The Duration field (D: 96): This field shows the note duration in ticks (96 ticks = one quarter note). The range is 1-9999 ticks. • The MIDI Note event >Note: 60(C.3 ) V:127 ^V: 64 D: 96 The fields are: 1. The Note Number field (Note: 60 60(C.3 ): This is the MIDI note number (0-127) of the note, indicating the pitch. C.3 )): 2. The Note Name field (Note: 60(C.3 This field shows the note name (C-2 to G8) for the note number shown to the left. 127): 3.
Chapter 4: Editing Sequence • The Poly Pressure event >Poly_pressure Note: 60(C.3 ) Val:127 There are three fields: 1. The Note Number field (Note: 60 60(C.3 )): This is the note to which the pressure message applies. C.3 )): 2. The Note Name field (Note: 60
Chapter 4: Editing Sequence • The Stereo Pan event >Stereo_pan Pad:A01 Val:C This message is exclusive to the MPC3000 and is used to change the stereo mixer pan setting of a particular sound in mid-sequence. When the Record Live Changes feature is used (accessed by pressing MIXER/EFFECTS, then 4), many of these events are recorded into the active track to simulate a smooth and continuous mixer pan change. There are two fields: 1.
Chapter 4: Editing Sequence 127): 2. The Val field (Val:127 This field contains the data value of the displayed controller event. • The Tune Request event >Tune request This event type has no data fields.
Chapter 4: Editing Sequence • The Duration of recorded notes field: This field is used while in Step Edit mode to determine the method by which durations are assigned to notes recorded from a MIDI keyboard or the MPC3000 pads. This is a choice field and has two options: SAME AS STEP and AS PLAYED: 1. If set to SAME AS STEP, durations are always four ticks less than the current step size (the current Note Value field setting in the Timing Correct screen). 2.
Chapter 4: Editing Sequence 1/16-notes will NOT be heard as you step through the sequence, because only notes existing in swung 1/16-note locations will be viewed.
Chapter 4: Editing Sequence Step Recording Step Edit also makes it possible to record new notes from a MIDI keyboard while the sequence is not playing. To record a note while in Step Edit mode, move to the desired position within the sequence, then play and release the desired note on the MIDI keyboard. This note will then appear as the new active event, with its pitch, velocity, release velocity, and duration displayed numerically.
Chapter 4: Editing Sequence 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.
Chapter 4: Editing Sequence Using Edit Loop as an Undo Function Because the Edit Loop function allows you the option of ignoring all recording and editing that was done while 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, following these steps will allow you to try the fill, then restore the sequence to its original state if you don’t like it: 1. Fast forward to bar 4. 2.
Chapter 4: Editing Sequence 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 are not altered unless SOFT KEY 1, , is pressed. Also, the MPC3000 does not transpose Drum tracks—only MIDI tracks can be transposed. (Though if you do want to transpose a Drum track, temporarily changing its type to MIDI on the Play/Record screen will allow you to transpose it.
Chapter 4: Editing Sequence and the second field sets a location one tick after the last tick of the region to be transposed. • The soft key: Pressing this soft key causes the above-specified transposition to be made permanent by actually changing each of the note events within the specified region of the sequence. After this operation, the Amount field is reset to 0 and the transpose light goes off.
Chapter 5: Song Mode Chapter 5: Song Mode Page 107
Chapter 5: Song Mode Overview One way to create a song in the MPC3000 is to record all of the parts in one long sequence, either playing the entire song manually or using the copy functions to duplicate repeating sections. Another way is use Song mode. In Song mode, several sequences are entered into a list, with each sequence being 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.
Chapter 5: Song Mode The SONG Key and Song Mode Screen To enter Song mode, press the SONG key. The Song Mode screen will appear: =============== Song mode ============== Song: 1-(unused) Loop:TO STEP 1 Song starts at SMPTE#:00:00:00:00.00 ========= Contents of step: 1 ========= Sqnc: 1-(unused) Reps(0=end): 1 Bars: 0 Tempo:120.0 BPM ===== Now:001.01.
Chapter 5: Song Mode • The SMPTE start field: This five-part field sets the SMPTE number associated with the exact beginning of the song. Also called SMPTE offset, this is the SMPTE number which, when the MPC3000 is syncing to SMPTE, denotes the beginning of the song. Normally, this is set to all zeroes (00:00:00:00.00). The five parts are Hours:Minutes:Seconds: Frames.HundrethFrames. • The Contents of step field: This shows the current step number (1-250) within the active song.
Chapter 5: Song Mode === Insert Step === Ins before step: 1 (This and all higher steps will be moved up and a new step will be inserted.) =================== === Delete Step === Delete step: 1 (This step will be deleted and all higher steps will be moved down. =================== To insert a new step into the song, enter the step number before which the new step will be inserted in the Ins before step field, then press .
Chapter 5: Song Mode An Example of Creating and Playing a Song The following demonstrates how to use Song mode to create a song on the MPC3000: 1. Record some drum or MIDI data into sequences 1, 2, and 3. 2. Enter Song mode by pressing the SONG key. 3. In the Song field, select an unused song number. An unused song is indicated as (unused) in the Song Name field. 4. Set the Contents of step field to 1, which sets the active step to step number1. 5.
Chapter 5: Song Mode COMMENT: Occasionally you may see the message Analyzing sequence. Please wait... on the lowest line of the screen, asking that you wait briefly while the MPC3000 does some thinking. This occurs after you make changes in the song, but only if the song contains a large number of different sequences. Once this process is done, all subsequent fast-forward, rewind, and locate operations will be immediate.
Chapter 5: Song Mode Converting a Song Into a Long Sequence Song mode is useful for quickly creating the format of a song. However, it is cumbersome compared to Sequence mode when finetuning the details of a complex song. It is therefore useful to create a song initially using Song mode, then convert that song into a long sequence. This allows you to use the more versatile sequence editing features to complete the song. The Convert Song to Sequence function does this conversion.
Chapter 6: Creating and Editing Programs Chapter 6: Creating and Editing Programs Page 115
Chapter 6: Creating and Editing Programs What Are Programs? A program can be thought of as a drum set. It is a collection of up to 64 sound assignments with accompanying sound modifying parameters. When a sound is loaded into the MPC3000’s sound memory, it cannot be played by pads or from MIDI until it is assigned within a program. In a program, each of 64 legal MIDI note numbers (35-98) is assigned to one of the 128 possible sounds currently residing in memory.
Chapter 6: Creating and Editing Programs The following is a graphical representation of how data is organized within programs: Program 24: Acoustic drum set 128 Sounds (for all programs) Data for each note number: Program 3: Jazz drum set Program 2: Brushes drum set Program 1: Rock drum set Pad: A01 A02 A03 A04 A05 Note#: 35 36 37 38 39 D16 98 Data for each note number: Attack: . . . Mix vol Sound used: 20 . . . 100 HAT_OPN 0 . . . 98 HI_SNARE 311 . . . 45 HI_SNARE 23 . . . 91 AMB_KICK 0 . . .
Chapter 6: Creating and Editing Programs Accessed by pressing the Note Variation ASSIGN key. This is described in the “Basics” chapter of the manual. How to create a program To create a program, either copy an existing program and modify it, or start a new one: 1. Load in from disk the sounds you intend to use in the program. 2. If you want to change the note number assignments for any of the pads, press the MIDI key and select option 1. 3.
Chapter 6: Creating and Editing Programs Selecting the Active Program, Assigning Sounds A single screen allows the selection of the current program, as well as the creation of a program’s sound assignments. To access this screen, press the PROGRAM/SOUNDS key. The following menu screen will appear: ===== Programs ===== 1.Sel pgm, asn snds 2.Envel,veloc,tune.. 3.Dynamic filter 4.Copy, initialize ===== Sounds ===== 5.Sample new sound 6.Edit sound 7.Renam,cpy,delete 8.
Chapter 6: Creating and Editing Programs The Edit Sound Assignments section of the screen: • The Assign note field: The Assign note and Sound field work together to assign sounds to MIDI note numbers. To assign a sound, first select the note number to be assigned (35-98) in the Assign note field. Then select the desired sound for that note number in the Sound field.
Chapter 6: Creating and Editing Programs sounds.
Chapter 6: Creating and Editing Programs assignments. These fields are used to play one of three sounds depending on the velocity of the note received: 1. If the received note’s velocity is less than or equal to the value in the first If over field, then only the sound selected in the Sound field plays. 2.
Chapter 6: Creating and Editing Programs ============ Select Program ============ Active program:24-PROGRAM NAME ========== Assign Note:37/A01 ========== Sound:Sound_name (ST) Mode:DCY SW If over:1013,use:38/A06-Good snare drum If over:5000,use:39/B16-Some other drum ======================================== The fifth and sixth lines now contain four additional fields—two decay thresholds and two new note number assignments.
Chapter 6: Creating and Editing Programs used. The advantage of this is that it is only necessary to adjust the volume and pan, for example, of the main sound in the mix instead of all three sounds. Soft keys: • The soft key: Pressing this key has the same effect as playing the selected note number at full velocity.
Chapter 6: Creating and Editing Programs Envelope, Velocity Modulation, Tuning, Poly Mode To edit these program parameters, press the PROGRAM/SOUNDS key, then select option 2 and the following screen will appear: === Env,Veloc..
Chapter 6: Creating and Editing Programs ately following the attack phase. This is similar to the “envelope initial decay” parameter on most synthesizers. 2. END: The decay phase of the envelope always ends exactly at the end of the sound playback. The point at which the decay starts is determined by the decay parameter. This was called fadeout on the MPC60 and is very useful for creating a smooth fade down just before the end of a sampled sound.
Chapter 6: Creating and Editing Programs 2. MONO: Multiple plays of the sound use the same voice, terminating and restarting playback of the sound (no polyphonic overlap). This is useful for producing stuttering effects. 3. NOTE OFF: When the pad is released (or a MIDI Note Off message is received), the sound is terminated. This is useful for controlling long samples. • The two Cutoff fields: Each of these two fields allows a note number to be entered.
Chapter 6: Creating and Editing Programs The Dynamic Filter Each of the 32 voices in the MPC3000 has a 12 dB per octave dynamic resonant lowpass filter and a second envelope generator dedicated to modulating the filter frequency.
Chapter 6: Creating and Editing Programs • The Reson (resonance) field: This is the resonance of the filter at the cutoff frequency. The range is from 0 (no resonance) to 15 (highest resonance). Raising this value accentuates changes in the filter frequency. The Filter Envelope section: • The Attack field: This is the filter envelope attack time. There are 101 values, exponentially spaced from 0 to 5000 milliseconds. • The Decay field: This is the filter envelope decay time.
Chapter 6: Creating and Editing Programs Copying and Initializing Programs Selecting option 4 from the initial PROGRAM/SOUNDS key menu presents the following menu screen, allowing programs to be copied or initialized: ======= Copy, Initialize Program ======= 1.Copy program Data of 1 Note 2.Copy 1 program over another 3.Initialize 1 program 4.
Chapter 6: Creating and Editing Programs 5. Press the soft key to perform the copy. If 2 is selected from the Copy, Initialize Program menu: ===== Copy 1 Program over Another ====== Copy from program:24-Program_name____ Copy to program:24-Program_name____ ======================================== This command copies all data from one program to a different program number. To perform the copy: 1. Enter the source program number in the Copy from program field.
Chapter 6: Creating and Editing Programs If 4 is selected from the Copy, Initialize Program menu: ======= Initialize All Programs ======== Press to initialize all programs!! ======================================== This feature initializes all programs to default values with no sounds assigned. When is pressed, all programs are initialized.
Chapter 7: The MIXER/EFFECTS Key Chapter 7: The MIXER/EFFECTS Key Page 133
Chapter 7: The MIXER/EFFECTS Key The Stereo Output Mixer The MPC3000 has a 64 channel stereo mixer, providing a unique volume and pan value for each of the 64 note number assignments (35-98) in the active program. To adjust the stereo mixer, press the MIXER/EFFECTS key, then select option 1. The following screen will appear: This is a graphic simulation of a multi-channel stereo mixer, showing a simulated volume slider and pan knob for each of the 16 pads in pad bank A (A01-A16).
Chapter 7: The MIXER/EFFECTS Key its pad assignment, use the All Mix Data (Text) function, accessed by selecting option 3 from the initial MIXER/EFFECTS key menu. COMMENT: The data values used for the volume and pan displays are normally taken from the active program. Because of this, whenever the active program is changed, the newly selected program’s stereo mix settings will immediately become active.
Chapter 7: The MIXER/EFFECTS Key The Individual Outputs/Effects Mixer In addition to the stereo outputs, the MPC3000 provides eight individual mix outputs and an internal effects generator. The mixer described in this chapter allows each of the sounds to be assigned to one of the eight assignable mix outputs or to the internal effects generator. The level of this assignment is controllable independently of the stereo mix level.
Chapter 7: The MIXER/EFFECTS Key 3. Rotate the data entry control.
Chapter 7: The MIXER/EFFECTS Key • SOFT KEY 1: Even though no soft key functions are displayed on the screen, there is one active soft key: If SOFT KEY 1 is pressed while the triangular cursor is pointing downward???, the mixer changes to a mode in which all sliders or output assignments are moved simultaneously, indicated by 16 cursor triangles across the screen. To return to normal operation, press SOFT KEY 1 again.
Chapter 7: The MIXER/EFFECTS Key Viewing the Mix Data in Text Form The graphic screens for the stereo mixer and individual outputs/ effects mixer (menu options 1 and 2) are normally used for the adjusting the stereo mix and individual outputs/effects mix. However, an additional screen containing the same data in text form is also provided. You can access it by pressing the MIXER/EFFECTS key and selecting option 3.
Chapter 7: The MIXER/EFFECTS Key • The Pan field. This is the current pan position for the selected sound within the stereo mix. The range is 50L to C to 50R. This is the same parameter set by the graphic pan control in the Stereo Mix screen. The Indiv Out section: • The Volume field: This is the volume for the selected sound at the individual outputs or at the effects generator input. This is the same parameter set by the graphic volume slider in the Individual Outputs/Effects Mixer screen.
Chapter 7: The MIXER/EFFECTS Key hardware mixing consoles. It provides the advantage of automatically changing the level to the individual outputs or effects whenever the stereo volume is changed. 2. NO: The level of the Individual Outputs/Effects send is made completely independent of the stereo volume. Changing the stereo volume will have no effect on the Individual Outputs/Effects volume for the same sound. This is similar to the Pre Fader Echo Send function on hardware mixing consoles.
Chapter 7: The MIXER/EFFECTS Key Mixer Source Select, Automated Mix Selecting option 4 from the MIXER/EFFECTS menu presents a screen containing four fields that alter the performance of the mixer: ========= Mixer Source Select ========== Stereo mix:PROGRAM Indiv out / effect mix:PROGRAM Effects:PROGRAM =========== Automated Mixer ============ Record live mix changes:YES ======================================== The fields are: The Mixer Source Select section: • The Stereo mix field: This choice field all
Chapter 7: The MIXER/EFFECTS Key 3. MASTER: There is a set of stereo mix settings (volume and pan) that is stored within each APG (all programs) file and that applies globally to all sequences and programs. If MASTER is selected in this field, this set of global data is used in the mixer screen. In this mode, the stereo mixer settings never change unless you change them, even if the active sequence or program is changed.
Chapter 7: The MIXER/EFFECTS Key MIDI continuous controllers, as a series of many discrete events (in this case, STEREO VOLUME, STEREO PAN, or OUTPUT/EFFECT VOLUME system exclusive events). These discrete events can be edited in detail in Step Edit mode. 2. NO: Real time mixer changes are not recorded. If prerecorded real time mix changes already exist in drum tracks, they are ignored.
Chapter 7: The MIXER/EFFECTS Key Effects Generator The MPC3000 contains an internal effects generator capable of a number of delay effects. To access the settings of the effects generator, select option 5 from the MIXER/EFFECTS menu screen. The following screen will appear: ============ Effects (Delay) =========== Vol: Pan: Time: Fdbk: Delay 1= 100 50L 1486 100 Delay 2= 0 C 1486 100 Delay 3= 0 C 1486 100 ======================================== (FX=ON ) There are three separate delays.
Chapter 7: The MIXER/EFFECTS Key effects data, or to use a single master set of effects data so that the selected effect never changes. This choice may be made in the Mixer Source Select fields, accessed by pressing option 4 from the MIXER/EFFECTS menu.
Chapter 8: Creating and Editing Sounds Chapter 8: Creating and Editing Sounds Page 147
Chapter 8: Creating and Editing Sounds Sampling a New Sound This function is used to record new sounds into your MPC3000. All sampling is done in 16-bit linear format at the full 44.1kHz sampling rate, as with compact discs. COMMENT: As with all samplers, all sounds are lost when the power is removed.
Chapter 8: Creating and Editing Sounds 3. STEREO: Sampling is done in stereo, using both the left and right sampling inputs (or both parts of the signal arriving at the digital input). • The Monitor field: This choice field has two options: ON and OFF. If ON, the signal from the sampling input is heard in the stereo mix outputs. If OFF, it is not. If you are sampling with a microphone in the same room as the speakers, select OFF to avoid audio feedback.
Chapter 8: Creating and Editing Sounds because the Soft Start parameter (in the Edit a Sound screen) is automatically set to the first sample which exceeded the threshold. To hear the pre-record portion of the sound, you must set the Soft Start field to an earlier position within the sound. COMMENT: The number entered here is actually the minimum pre-record time.
Chapter 8: Creating and Editing Sounds As the screen explains, sampling is finished. The Meter section of the screen shows the highest peak levels received during recording. You can now hear the new sound by pressing . If you don’t like it and want to sample again, press .
Chapter 8: Creating and Editing Sounds An example of sampling a new sound: The following is a step-by-step example of how to record a mono sound from the analog input: 1. Connect a mono audio signal source to the LEFT RECORD IN jack. 2. Press the PROGRAM/SOUNDS key, then select 5 from the menu screen. The Sample New Sound screen will appear. 3. Set the fields to the following values: Set Input to ANALOG Set Mode to MONO-LFT Set Monitor to ON Set Length to 1 (1 second) Set Thres to 1 Set Pre-rec to 1 4.
Chapter 8: Creating and Editing Sounds If you liked it, press to keep it and go on to a screen that allows you to name the new sound. 8. The sound must be assigned to a note number within a program before it can be played by pads, sequences or the MIDI input. To do this, press the PROGRAM/SOUNDS key and select option 1. Follow the instructions in the “Creating and Editing Programs” chapter of this manual. 9. It is a good idea to save your sound to disk now.
Chapter 8: Creating and Editing Sounds Editing a sound This function is used to edit a sound in your MPC3000. The available editing features are: • Edit the sound’s parameter data, including: • Initial volume • Initial tuning • Soft start address • Soft end address • Automatically find the best soft start address • Edit the sound’s sample data, including: • Copy a portion of the sound and insert the copy at any other point within the same sound or a different sound.
Chapter 8: Creating and Editing Sounds If the sound is stereo, (ST) will appear to the right of the sound name. Also, once a sound is selected, the Soft St, Soft end, Vol%, and Tune fields will immediately be updated to show the newly selected sound’s settings. • The Soft St (soft start) field: When a sound is played, play actually starts not at the absolute beginning of the sound but rather at the position within the sound specified in this field. It is actually three interrelated fields: 1.
Chapter 8: Creating and Editing Sounds • The soft key: Pressing this soft key plays the selected sound, from soft start address to soft end address, at full velocity level through the stereo mix outputs, panned center. • The (best start) soft key: This function automatically finds the point within a sound at which the drum strike begins, bypassing any dead space at the beginning of the sound which could cause play delays.
Chapter 8: Creating and Editing Sounds ALL (the entire sound) ZONE (from the start to the end of the zone) TEMP (the current contents of the temporary storage area) BEFORE ZONE (the portion of the sound before the zone start) AFTER ZONE (the portion of the sound after the zone end) BEFR SOFT ST (the portion of the sound before the soft start) AFTR SFT END (the portion of the sound after the soft end) COMMENT: Because of the way the MPC3000 internally plays sounds, up to approximately 20 milliseconds (ra
Chapter 8: Creating and Editing Sounds Renaming, Copying, and Deleting a Sound To rename, copy, or delete a sound, convert a stereo sound to mono, or delete all sounds, select option 7 from the PROGRAM/SOUNDS menu.
Chapter 8: Creating and Editing Sounds • The soft key: Pressing this soft key causes a new field, Name for copy, to appear below the Select sound field: ============== Copy Sound ============== Select sound:Sound_name Name for copy:Sound_name ======================================== Enter the name for the copy in the Name for copy field, using the same method as editing the Sequence Name field in the Play/ Record screen. Once the new name is entered, press .
Chapter 8: Creating and Editing Sounds 1. DELETE SOUND: The entire stereo sound will be deleted. 2. DELETE LEFT SIDE (CONVERT MONO): The stereo sound will be converted to mono by deleting only the left side. 3. DELETE RIGHT SIDE (CONVERT MONO): The stereo sound will be converted to mono by deleting only the right side. Pressing performs the selected function on the sound.
Chapter 8: Creating and Editing Sounds Triggering a Sound from an External Signal— the Audio Trigger This feature of the MPC3000 allows one of its internal sounds to be triggered by an external transient audio signal. The triggering is non-dynamic. If dynamic triggering or triggering of more than one sound is needed you must use an analog trigger-to-MIDI converter, available from various manufacturers. To select this feature, choose option 8, Audio Trigger, from the PROGRAM/SOUNDS screen.
Chapter 9: Saving to and Loading from Disk Chapter 9: Saving to and Loading from Disk Page 163
Chapter 9: Saving to and Loading from Disk Overview The MPC3000 has a built-in 3-1/2" disk drive for storing data. This chapter describes the procedures for saving and loading the various types of files. Since the MPC3000 loses all sequence and sound data when the power is removed, it is important always to save any changes to disk before turning the power off. The five different file types: All data are stored to disk as files.
Chapter 9: Saving to and Loading from Disk To access the disk functions, press the DISK key. The following screen will appear: == Save to Disk == === Load, Other === 1)A sequence 7)Load,erase,rename 2)All seqs & songs 8)Load S3000 disk 3)A sound 9)Copy, format disk 4)A program 0)Select disk 5)All programs 6)System parameters Select option: This screen displays a list of disk options. To select one, type the number of the desired option. Each of the options is described in detail in the following sections.
Chapter 9: Saving to and Loading from Disk Saving Files There are six options in the DISK key menu for saving files: 1. Save a sequence 2. Save all sequences and songs 3. Save a sound 4. Save a program 5. Save all programs and sounds 6. Save system parameters The screens for all of these save operations are very similar. All are discussed in the following sections. Saving a SEQ File (Single Sequence) To save a single sequence, select 1 (A sequence) from the DISK key menu screen.
Chapter 9: Saving to and Loading from Disk • The Free field: This shows the amount of free space on disk. • The soft key: Pressing this soft key saves the selected sequence to disk. • The
Chapter 9: Saving to and Loading from Disk The fields and soft keys are: • The File name field: Enter the file name in this field. The name can be changed in the same manner as the Sequence Name field in the Play/Record screen. The file’s extension will be ALL. • The Disk, Size, and Free fields: These fields have the same functions as in the Save Sequence screen described above. • The soft key: Press this key to save the file to disk.
Chapter 9: Saving to and Loading from Disk • The
Chapter 9: Saving to and Loading from Disk • The Free field: This shows the amount of free space on the selected disk. COMMENT: The MPC3000 will allow large programs to be saved onto multiple disks. If the total size of the PGM file and its sound files exceeds the free space on the inserted floppy disk, a warning will appear on the screen, informing you how many disks will be needed. The MPC3000 will save the PGM file and as many sound files as will fit onto the first disk.
Chapter 9: Saving to and Loading from Disk 1. The All Programs and Sounds file (APS), which contains the data for all 24 programs and the names of all sounds in memory (but not the sound data itself), is saved. 2. Each sound in memory (even sounds not currently assigned to a program) is individually saved as a sound file. If a sound file on the disk has the same name as the sound being saved, the new sound won’t be saved.
Chapter 9: Saving to and Loading from Disk • The
Chapter 9: Saving to and Loading from Disk Loading, Erasing, or Renaming Files This function is used to either load, erase, or rename files on the current disk. In the case of a load, the screens will guide you to load the file into the proper place, according to the file extension (the three letters after the period in a file name, e.g., PGM). To load, erase, or rename a file on disk, select 7 (Load,erase, rename) from the DISK key menu.
Chapter 9: Saving to and Loading from Disk • The Disk field: This field only appears if a hard disk is connected to the SCSI port. It shows the active disk device, either the floppy drive or one of the hard disk partitions. It is for display only and cannot be edited. To change from floppy disk to hard disk or vice versa, you must press
Chapter 9: Saving to and Loading from Disk To select a different disk device, choose it in the Disk field, then press the
Chapter 9: Saving to and Loading from Disk =========== Load V2 SEQ File =========== Use the same assigments for loading SET or ST1 files. If confused, just load it. -------- Conversion Table ---------MPC60 pad:HIHT (A01) Becomes note:56 (Gen MIDI:COWBELL ) ======================================== In MPC60 version 1 or 2 SEQ files, notes in drum tracks were assigned to one of 32 pad names (HIHT-DR16).
Chapter 9: Saving to and Loading from Disk sure that the same settings are used when loading any MPC60 SET or ST1 files that you plan to use with the converted SEQ files. If you modify the conversion table from the factory-preset defaults, your changes will be retained in memory even after power is turned off, so that the next time you load an MPC60 sequence, it will be converted using your edited conversion assignments.
Chapter 9: Saving to and Loading from Disk Loading a PGM File (Single Program and Sounds) If a PGM file is selected for load, an additional screen is presented, in which you are asked which program number (1-24) to load the program into: ============= Load Program ============= Program to load into: 1-PROGRAM_01 (Sound files with same name as a sound already in memory won't be loaded.) ======================================== Select a program number, then press .
Chapter 9: Saving to and Loading from Disk Press to load the APS file. The APS file will be loaded, followed by each sound file used in the APS file. (APS files contain a list of sound names but not sound data itself.) If one of the sound files to be loaded already exists in memory, that file won’t be loaded from disk. COMMENT: If the selected APS file’s sound files span multiple disks, the MPC3000 will first load the APS file, then all of its sound files from the first disk.
Chapter 9: Saving to and Loading from Disk ====== Load MPC60 SET or ST1 file ====== Load the file's assignments into Program:24-Program_name (Sounds will be added to memory.) ======================================== As the screen shows, all sounds contained in the SET file will be separated into individual sounds and added to the sound memory.
Chapter 9: Saving to and Loading from Disk • The Becomes note field: This field shows the note number to which the displayed pad name assignment will be converted. There is a unique note number assignment for each of the 32 MPC60 pad names. To change the note number assignment, edit the contents of this field. For convenience in deciding which note number to use, the General MIDI instrument assignment for the displayed note number is shown to the right. It is not necessary to edit the table.
Chapter 9: Saving to and Loading from Disk === Load One Sound From SET/ST1 File === Sound:BIG_SOUND Size: 0K Free(snd): 793K ======================================== The fields and soft keys are: • The Sound field: This field contains an alphabetical list of the sounds in the file. Use the data entry control to select one of the sounds. • The Size field: This shows the amount of memory in kilobytes that will be required in order to load the selected sound.
Chapter 9: Saving to and Loading from Disk sound files used by the PGM files). Next, the first ALL file (all sequences and songs) that is found will be loaded. To cause specific programs, sounds, sequences, and songs to load automatically when power is turned on, save a single APS file to a disk that contains the desired programs and sounds, then save an ALL file that contains the appropriate sequences and songs to the same disk.
Chapter 9: Saving to and Loading from Disk Loading Sample Files From Akai S1000/S3000 Disks This function allows the loading of sample files from disks formatted and saved on Akai S1000- or S3000-series samplers. Only sample files may be loaded—no program files or other file types may be loaded. Saving to S1000/S3000 disks is not supported. To load a sample file from a S1000/S3000 disk, insert the disk in the drive and select option 8 from the DISK key menu.
Chapter 9: Saving to and Loading from Disk Loading stereo S1000/S3000 samples In the S1000 and S3000, stereo samples are stored on disk as two different mono sample files having the same name followed by -L (left side) or -R (right side).
Chapter 9: Saving to and Loading from Disk Formatting a Floppy Disk This function is used to format a new disk or to completely erase an already-formatted disk. ALL DISKS MUST BE FORMATTED BEFORE THEY CAN BE USED IN THE MPC3000! Disks that are pre-formatted for MS-DOS computers will work, but they will save and load faster if you reformat them on the MPC3000. To format a disk, select option 9 (Copy, format disk) from the DISK key menu, followed by option 2 from the subsequent menu.
Chapter 9: Saving to and Loading from Disk Using a SCSI Hard Disk The MPC3000’s SCSI port permits an external SCSI hard drive to be used for all disk save and load operations. A 25-pin D-type SCSI connector is used, which is compatible with hard drives used with the Apple Macintosh. All that is required for interfacing with hard drives that use 50-pin connectors is the appropriate SCSI adapter cable.
Chapter 9: Saving to and Loading from Disk == Change Power-On SCSI Search Delay === Power-on SCSI search delay (secs):30 (If no hard disk attached, enter 0 to bypass delay at power-on.) ======================================== The single data field sets the amount of time that the SCSI port is scanned when the power is turned on. By default, it is set to 30 seconds. To eliminate the power-on delay, change the field’s contents to 0.
Chapter 9: Saving to and Loading from Disk Now press . The display will change to the following: =========== Format Hard Disk =========== Enter number of partitions: 4 (A-D) Each partition will be 27 mbytes, for a total of 110 mbytes. ======================================== At this point you must enter the number of partitions to divide your hard disk into.
Chapter 9: Saving to and Loading from Disk To do this, select option 0 (Select disk) from the initial DISK key menu. The following screen will appear: ============== Select Disk ============= Select disk, then press
Chapter 9: Saving to and Loading from Disk Copying an Entire Floppy Disk This feature permits an entire 1.4MB MPC3000 disk to be copied to another 1.4MB MPC3000 disk. This provides an easy way to back up your data disks. 793K disks, however, cannot be copied. To copy a disk, have both your original disk and a blank formatted disk available.
Chapter 9: Saving to and Loading from Disk ============== Copy a disk ============= Insert disk to be copied TO, then press . ======================================== Remove the original disk and insert the blank formatted disk, then press . The bottom line will change to Writing to destination disk. Please wait. If all the disk data have not been copied, the cycle of inserting the source disk, followed by the destination disk, will be repeated until all data have been copied.
Chapter 10: Syncing to Tape and Other Devices Chapter 10: Syncing to Tape and Other Devices Page 193
Chapter 10: Syncing to Tape and Other Devices The SYNC Screen To access the sync input and output settings, press the TEMPO/ SYNC key, followed by the soft key. The following screen will be displayed: ===== Sync In ====== Mode:MIDI CLOCK Shift early (ms):20 MIDI Input:2 Song pointer:ON ==== Sync Out ==== MIDI sync:OUT A ==================== ================== This screen has two sections, Sync In and Sync Out.
Chapter 10: Syncing to Tape and Other Devices 3. MIDI TIME CODE: MIDI Time Code is similar to SMPTE timecode except that the timing information is converted into a signal that is sent over MIDI. As such, it cannot be recorded on tape. 4. FSK24: This is the general-purpose tape sync code commonly used by inexpensive drum machines and sequencers. FSK24 stands for Frequency Shift Keying at 24 2400Hz/1200Hz transitions per 1/4note.
Chapter 10: Syncing to Tape and Other Devices sync and the other to other real-time MIDI messages, thus reducing the amount of data that has to flow on one MIDI cable. • The Song pointer field: When set to ON, MIDI Song Position Pointer messages are recognized. This allows the external device to change the MPC3000’s current bar position within the sequence or song. If this field is set to OFF, incoming Song Position Pointer messages will be ignored.
Chapter 10: Syncing to Tape and Other Devices 1. 30 (30 frames per second, non-drop): This is the old NTSC standard for black and white television, and is the most popular standard for SMPTE-based music production in the U.S. and Japan. To assure widest compatibility for your recordings, use this standard if you are working in this field. 2. 29.97 DROP (29.97 frames per second, drop frame): This is the NTSC standard for color television.
Chapter 10: Syncing to Tape and Other Devices • The MIDI in field: This field is used to select which of the two MIDI inputs, input 1 or input 2, will be used to receive the MIDI sync signal.
Chapter 10: Syncing to Tape and Other Devices Regardless of which sync mode is selected, there is one soft key in the Sync In section: • The soft key: Pressing this soft key turns the sync input on or off. The soft key text shows the current state. If ON, the MPC3000 always stands ready to sync to the incoming sync signal. If OFF, incoming sync signals are ignored.
Chapter 10: Syncing to Tape and Other Devices • The Start= field: This is the SMPTE timecode number at which the generated time code will start. The four parts of the field are hours, minutes, seconds and frames. 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 timecode number being output. When is pressed, the starting value will be redisplayed.
Chapter 10: Syncing to Tape and Other Devices Syncing to Tape and Other Devices: Examples This section provides step-by-step examples of how to sync to each of the five sync signals. Syncing to MIDI Clock To generate MIDI clock with Song Position Pointer: 1. In the Sync screen, set the MIDI sync field (in the Sync Out section) to the MIDI port that you want the sync signal to be sent from (OUT A, OUT B, OUT C or OUT D.) 2. Play a sequence (or, if in Song mode, play a song).
Chapter 10: Syncing to Tape and Other Devices 1. Connect the SYNC OUT jack of the MPC3000 to the input of one track of your multitrack tape recorder. 2. Access the Generate SMPTE screen by pressing TEMPO/SYNC, then the soft key, followed by the soft key. 3. Set the Start field to 00:00:00:00 or the desired start time. 4. Set the Frames/sec field to the desired SMPTE mode. In the U.S., the standard for music production using SMPTE is 30. 5.
Chapter 10: Syncing to Tape and Other Devices sequence you intend to use is selected before setting this parameter. 7. Press the MAIN SCREEN key to return to the Play/Record screen. 8. Play the tape from a point just before the beginning of the SMPTE timecode. Once the code reaches the start time you have entered into the Start field, the MPC3000 will automatically start playing from the beginning of the sequence, and will not stop until the sequence comes to its end (or the tape recorder is stopped).
Chapter 10: Syncing to Tape and Other Devices SMPTE location where you want your song to start. If you don’t know, use 00:00:10:00.00. This will cause your song to start at a location 10 seconds after the start of the SMPTE code you recorded in the example above. This will allow you to add some new parts in those first 10 seconds if you should later decide to do so. This setting only applies to the active song, so be sure that the song you intend to use is selected before setting this parameter. 5.
Chapter 10: Syncing to Tape and Other Devices acceptance of SMPTE, and is still used by many drum machines and sequencers. If you don’t have the SMPTE option, FSK24 provides a very good alternative. FSK24 sync code is generated in real time as the MPC3000 plays. Remember that FSK24 sync code contains tempo information, so it is important that the tempo is properly set before the FSK sync tone is recorded to tape. To record the sync tone to tape: 1.
Chapter 10: Syncing to Tape and Other Devices Syncing to 1/4-note Clicks This method of syncing uses any cleanly recorded, percussive sound playing on 1/4-notes as a sync source. This allows you to add sequenced parts to a recording that contains no sync track. For example, the sync track could consist of a drummer recording a track of 1/4-note drumstick clicks throughout the song. Using this method of sync, the playback tempo is derived from the external 1/4-note clicks.
Chapter 11: MIDI Function Chapter 11: MIDI Functions Page 207
Chapter 11: MIDI Function Assigning Pads to Note Numbers In the MPC3000, sounds in programs and drum notes in sequences are assigned not to pad numbers but to MIDI note numbers in the range 35-98. Each of the 64 pad/bank combinations (A01-D16) is assigned to a unique MIDI note number (35-98) and it is the pad’s assigned note number that is sent to the sound generator, sequencer, and/or MIDI output when the pad is played.
Chapter 11: MIDI Function Assigning pads to note numbers is done in the following screen, accessed by pressing the MIDI key then selecting option 1 from the menu: ====== Assign Pads to Note Numbers ===== Mode:PROGRAM Pad:A01 = Note:37 (Gen MIDI:SIDE STICK ) ======================================== The fields are: • The Mode field: This choice field allows you to choose one of two sets of pad-to-notenumber assignments: 1. PROGRAM: The active program’s pad-to-note assignments will be used.
Chapter 11: MIDI Function MIDI Receive Channel, Local Mode, Soft Thru, Note Variation Controller Assign and Sustain Pedal Processing Selecting option 2 from the MIDI key menu will display a screen that provides access to a variety of MIDI-related parameters: ============= MIDI Routing ============= Active track receive channel:ALL Local mode:ON Soft thru:ON Assign Note Var slider to controller: 20 Convert sustain pedal to duration:ON ========================================
Chapter 11: MIDI Function they aren’t. If you are using a single keyboard synthesizer (the keyboard and sound generator are together in one unit), this field should be set to OFF (or set the keyboard’s Local Control to OFF). In this case, there is no need for incoming MIDI notes to be immediately sent out to the synthesizer’s sound generator because it is already receiving notes directly from its keyboard. If you are using a MIDI master keyboard and separate synthesizer modules, set this field to ON.
Chapter 11: MIDI Function The MPC3000 eliminates these problems by specially processing sustain pedal messages. If the Convert sustain pedal to duration field is set to ON, when the MPC3000 receives a Sustain On message during record, it will NOT record it. Instead, any notes that are currently pressed will be internally held on, even after they are released, until a Sustain Off message is received.
Chapter 11: MIDI Function MIDI Input Filter Selecting option 3 from the MIDI key menu presents the MIDI Input Filter screen, which allows specific types of MIDI events to be either received or ignored by the MPC3000: ===== Sound Generator Input Filter ===== MIDI volume:RECEIVE MIDI vol now:127 Prog change:IGNORE ======= Sequencer Input Filter ========= Event:NOTES Pass event?:YES Min change:5 Velocity mode:NORMAL Fixed veloc: 64 ======================================== There are two sections, the Sound Ge
Chapter 11: MIDI Function NOTES PROGRAM CHANGE PITCH BEND CHANNEL PRESSURE POLY PRESSURE SYSTEM EXCLUSIVE MIXER VOLUME MIXER PAN OUTPUT/EFFECT LEVEL C0-BANK SELECT MSB C1-MODULATION WHEEL C2-BREATH CONT . . . C127-POLY MODE ON TUNE REQUEST While one of these event types is selected, the Pass event? field displays either YES, indicating that the event will be recorded into sequences, or NO, indicating that the event type will be removed from the MIDI input data stream when encountered.
Chapter 11: MIDI Function The Min change field is used to thin out the event data for the above specified event types, thereby reducing the total number of events that will be recorded into tracks. It works by only recording events that have changed more than a specified amount since the last received event of the same type. This amount is set in the Min change field. As with the Pass event? field, the Min change field shows the value associated with the event type shown in the Event field.
Chapter 11: MIDI Function Turning All Notes Off Occasionally, a note from an externally-connected synthesizer may stick on. This may be due to sending the synthesizer too much data, or switching an external MIDI switching box at the wrong time, or many other reasons. Regardless of the reason, to turn all notes off on all MIDI channels and ports, press the MIDI key and select option 4, All notes off. The MPC3000 will send MIDI Note Off messages for every note (0-127) on every channel.
Chapter 11: MIDI Function The MIDI Implementation Charts This section contains the MIDI implementation charts for the MPC3000. There are two charts—one for the sequencer section, and one for the pad and sound generator section. These charts are useful to determine if any incompatibilities exist between the MPC3000 and your other MIDI instruments.
Chapter 11: MIDI Function Model: MPC3000 (sequencer section) Function MIDI Implementation Chart Transmitted Recognized Basic Channel Default Channel 1-16 1-16 1-16 1-16 Mode Default Messages Altered 3 ✕ ✕ 1 ✕ ✕ True Voice 0-127 0-127 0-127 0-127 Velocity Note ON Note OFF ❍ ❍ ❍ ❍ After Touch Key’s Ch’s ❍ ❍ ❍ ❍ ❍ ❍ 0-127 ❍ ❍ True# ❍ 0-127 ❍ 0-127 System Exclusive ❍ ❍ System Common :Song Pos :Song Sel :Tune ❍ ✕ ✕ ❍ ❍ ✕ System Real Time :Clock :Commands ❍ ❍ ❍ ❍ Aux Me
Appendix Appendix Page 219
Appendix Technical Specifications General • Display: 320 character (240 x 64 dot graphic) LCD • Disk drive: 3.5 inch HD (1.44MB formatted) • CPU: V53 @ 16MHz • Dimensions: 440(W) x 121(H) x 405(D) mm • Weight: 9 kg • Power requirements: 120 VAC 60Hz 40W 220-240 VAC 50Hz Sound Generator • Sampling rate: 44.1kHz (frequency response: 20Hz-20kHz) • Sampling capacity: 2MB standard (21.9 seconds mono or 10.9 seconds stereo), expandable to 16MB (188.3 seconds mono or 94.1 seconds stereo).
Appendix • Level of 8 individual outputs: 6dBm, 600Ω • Sync/Trigger input level: 0.5V p-p level (with input control at maximum) • Sync output level: 2.
Appendix Answers to Frequent Questions If you discover a problem in your MPC3000, we would appreciate it if you would please read the relevant section of the manual to make sure you correctly understand the operation before you before call your Akai representative. Here are some answers to commonly asked questions and problems: When I play a particular sequence or song, the timing is irregular.
Appendix 1. Erase any unnecessary events from the sequence. For example, erase any channel pressure, poly pressure and system exclusive events if you are not using them. Many keyboards send out large amounts of channel pressure messages while playing, which are recorded into your tracks. If you are not using these messages, removing them from the tracks will improve the playback timing. To block these messages from being recorded into new sequences, use the MIDI Input Filter. 2.
Appendix If you ever forget these instructions, just press the soft key. It’s in the screen accessed by pressing the MIDI key and selecting option 2. I want to use the MPC3000’s pads to program drum parts on an external sequencer, but I can’t get any of the MIDI outputs to send note-on messages when I play the pads. How do I do it? 1. In the Play/Record screen, set the Type field to DRUM or select a track that has a Type of DRUM.
Appendix Contents of Disk Files The following is a list of the contents of each of the six file types.
Appendix The PGM (single program) file Program name (file name is used) For each of the 64 pads (A01-D16): • Note number assignment For each of the 64 note numbers 35-98: • Sound name (name only—program contains no sound data) • Sound assignment mode (normal, simultaneous, velocity switch or decay switch) • Alternate note number assignments (2) • Velocity or decay switch thresholds (2) • Envelope attack, decay and decay mode • Velocity modulation of attack, start address and volume • Tuning • Poly mode (po
Appendix The PAR (system parameters) file (Play/Record screen) For each of the 64 MIDI output channel/port combinations: • MIDI channel name (16 Levels screen) Parameter select for 16 levels (velocity or note variation) (Tempo screen) Master tempo Tempo display mode (BPM or FPB) Frames per second (24, 25, 29.
Appendix (Auto Punch screen) all settings (Initialize Sequence screen) all settings (Erase screen) all settings (Sample New Sound screen) Input (analog or digital) Mode (stereo, mono-left or mono-right) Monitor setting (on/off) Record length Record threshold Pre-record time (Copy Events screen) Mode select (merge or replace) (Edit Velocity/Duration screen) Edit Velocity Or Duration select Edit Action select (add, subtract, multiply or replace) Value (Simul Sequence screen) Sequence number (Hard Disk Format
Appendix MPC3000 Options This section describes the various options available for the MPC3000. To purchase any of these items, contact your Akai retailer. These options should be installed only by an authorized Akai retailer or service center. The SMPTE Option The I-0055 SMPTE option gives your MPC3000 the ability to play in sync to externally received SMPTE sync signals in one of four frame formats: 24, 25, 29.97 drop, and 30. This option is not needed to generate SMPTE code.
Appendix There are four possible combinations: • Akai standard 2MB board + a pair of 1MB SIMMs: 4MB total • Akai standard 2MB board + a pair of 4MB SIMMs: 10MB total • Akai EXM3008 8MB board + a pair of 1MB SIMMs: 10MB total • Akai EXM3008 8MB board + a pair of 4MB SIMMs: 16MB total Akai’s EXM3008 board can be purchased and installed at your Akai retailer.
Index Index Page 231
Index + and – keys 17 16 LEVELS key 26 Active Track, defined 35 All Notes Off 216 Analyzing Sequence message 223 Answers to frequent questions 222 Appendix 219 Audio Trigger 161 AUTO PUNCH key 60 Example 61 Bar.beat.
Index Partitions of hard disk 188 Renaming files 173 S1000/S3000 files, loading 184 S1000/S3000 stereo files, loading 185 Saving a PAR file (system parameters) 172 Saving a sequence 166 Saving a single program (and its sounds) 169 Saving a single sound 168 Saving an ALL file (all sequences and songs) 167 Saving an APS file (all programs and sounds) 170 Saving files 166 Drum Tracks 30, 35 EDIT LOOP key 103 Edit Loop, using as an undo function 104 Edit Note Data (global editing of note events) 86 Effects 145
Index MIDI Tracks 30, 35 Mix Data, setting all channels at once 141 Mix, automated 143 Mixer source select 142 MIXER/EFFECTS Key 133 Mixers, text view 139 Multichannel Sequence Recording 67 Note Number Assignment, globally editing 89 Note Number, defined 20 Note Repeat 52 Note Variation 16 LEVELS key 26 AFTER key 26 ASSIGN key 24 Controlling from external MIDI controller 211 Defined 24 Globally editing 90 Slider 24 Now field (current location counter) 37 Numeric Keypad 16 Options for MPC3000 229 OTHER key
Index Stereo Mixer 134 Switching sounds depending on Envelope Decay 122 The MIXER/EFFECTS Key 133 Tuning 126 Velocity modulation of attack, start address & volume 126 Velocity Switching between sounds.
Index Record Ready mode 32 Recording 29, 39 Recording with multiple tracks, example 44 Recording, example 42 SEQ EDIT key 77 Shift Timing 85 Step Editing (visual editing) 92 Step Recording 102 Ticks 30 Track, defined 19 Transposing 105 Shift Timing 85 Shift Timing (in Timing Correct) 50 SIMUL SEQ key 62 Soft Keys 17 Soft Thru, MIDI 210 Songs An example of creating 112 Converting a song into a long sequence 114 Defined 19 Overview 108 SONG key 109 Song Mode screen 109 Sound Module, using the MPC3000 as a 22
Index Swing 50 Sync 1/4 note clicks 198 1/4 note clicks, syncing to 206 1/4-note clicks 195 FSK24 195, 198 FSK24, syncing to 204 MIDI clock 194, 195 MIDI clock, generating 199 MIDI clock, syncing to 201 MIDI time code 194, 197 MIDI time code, syncing to 204 Outputting sync 199 SMPTE 194, 196 SMPTE option 229 SMPTE, generating 199 SMPTE, syncing to 201 Sync screen 194 Turning sync input on and off 199 System Parameters, initializing 66 System-Exclusive Data, recording 70 Tap Averaging 55 TAP TEMPO key 58 Te
Index Undo, using Edit Loop key 104 Velocity modulation of attack, start address & volume 126 Velocity or duration data, globally editing 87 Video output option 230 WAIT FOR KEY key 59 [<<] and [>>] keys 40 [<] and [>] keys 40 Page 238
SOFTWARE UPDATE MIDI PRODUCTION CENTER Software version 3.1 WARNING To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
New Features of Version 3.1 Saving and Loading Standard MIDI Files .................................................... 1 Loading Sample Files From Akai S1000/S3000 CD-ROMs or Hard Disks .............................................................................. 5 Connecting Multiple SCSI Devices, Making a SCSI Device Active Without Recycling Power ................................................. 7 MIDI Machine Control .....................................................................................
MPC3000 Software Update Version 3.1 Operator’s Manual Saving and Loading Standard MIDI Files MPC3000 sequences may be saved to floppies as Standard MIDI Files, and Standard MIDI Files may be loaded from floppies into MPC3000 sequences. This permits the transfer of sequences between the MPC3000 and any MSDOS/Windows or Macintosh sequencer. A Standard MIDI File is an industry-standard file format for the exchange of MIDI sequences between sequencers.
MPC3000 Software Update Version 3.
MPC3000 Software Update Version 3.1 Operator’s Manual Loading a Standard MIDI File In order to load a MIDI file, it must exist on a MS-DOS/Windows floppy disk formatted to either 1.44 MB or 720 KB. (The MPC3000’s 1.44 MB floppy disk format is the same as MS-DOS/Windows 1.44 MB floppy disks.) It must have a standard eight character MS-DOS/Windows filename with a three letter extension of either MID, SMF or MFF. MIDI files on Macintosh disks may not be loaded directly.
MPC3000 Software Update Version 3.1 Operator’s Manual 2. ONE PER MIDI OUTPUT: In this option is selected, one track is created for each channel/port assignment in use within the MIDI file, and all events are mapped to tracks with the same channel/port assignment, regardless of their original track numbers.
MPC3000 Software Update Version 3.1 Operator’s Manual Loading Sample Files From Akai S1000/S3000 CD-ROMs or Hard Disks Earlier versions of the MPC3000 system software supported the loading of sample files from S1000 or S3000 formatted floppy disks. Now, sample files may also be read from S1000/S3000 hard disks or CD-ROMs.
MPC3000 Software Update Version 3.1 Operator’s Manual • The Volume field: On S1000 or S3000 hard disks or CD-ROMs, each partition may contain up to 100 volumes, in which the actual files are contained. Volumes act as directories— files are contained within volumes, and volumes are contained within partitions. This field displays the active volume and only appears if a SCSI disk partition, not the floppy, is selected in the Disk field. It is for display only and cannot be edited.
MPC3000 Software Update Version 3.1 Operator’s Manual Connecting Multiple SCSI Devices, Making a SCSI Device Active Without Recycling Power In previous versions of the system software, the only way to make a SCSI hard disk active (recognized as ready for use by the MPC3000) was to turn the MPC3000’s power on while the SCSI disk was connected and turned on. Also, it was impossible to connect two or more SCSI devices to the MPC3000 and switch between them while working.
MPC3000 Software Update Version 3.1 Operator’s Manual Only addresses 0 - 6 may be used for external SCSI devices. Address 7 cannot be used because it is the address of the MPC3000. • The SCSI device address to make active field: This field determines which SCSI address will be made active when the power is turned on or when is pressed.
MPC3000 Software Update Version 3.1 Operator’s Manual • The soft key: Press this soft key to make the connected SCSI hard disk active. Whenever the MPC3000 is turned on, it automatically performs the same function as pressing this soft key. In either case, the Status field will subsequently show that the hard disk is active. Hard Disk Format now allows selection of SCSI address When formatting a SCSI hard disk, it is now possible to specify the SCSI address of the hard disk to be formatted.
MPC3000 Software Update Version 3.1 Operator’s Manual MIDI Machine Control MIDI Machine Control (abbreviated “MMC”) is a standard system of communication over MIDI that allows the MPC3000 to remotely control the transport of an MMC-compatible audio or video recorder. By using MIDI Machine Control, the MPC3000 can remotely play, record, stop or reposition an external recorder.
MPC3000 Software Update Version 3.1 Operator’s Manual “<<”, “<”, LOCATE, “>”, and “>>”: In addition to their normal MPC3000 functions, these keys cause MMC “Locate” commands to be sent out, repositioning the external recorder. RECORD + PLAY pressed together: This does not enter record mode on the MPC3000’s sequencer. Instead, it sends an MMC “Record strobe” command to the external recorder, causing it to enter record mode.
MPC3000 Software Update Version 3.1 Operator’s Manual Sending MIDI Time Code In Real Time While Playing The MPC3000 may now send MIDI Time Code out over MIDI in real time as a sequence or song plays. MIDI Time Code is an industry-standard for sending SMPTE time code data over MIDI.
MPC3000 Software Update Version 3.1 Operator’s Manual MIDI Sample Dump MIDI Sample Dump is an industry-standard format for transferring sample data between sampling devices over MIDI. To use this feature, you must first connect the MPC3000 to the external sampler using either one or two MIDI cables: 1. Using one MIDI cable: This is called “open loop” mode and although simpler is also less reliable and often slower than closed loop mode.
MPC3000 Software Update Version 3.1 Operator’s Manual Receiving a MIDI sample dump from an external sampler To receive a MIDI Sample Dump, make sure that the receive screen is showing. If not, press . The screen fields and soft keys are described below: • The MIDI input field: This is the MIDI input jack number (1 or 2) through which the sound data will be received. Set this field to the number of the MIDI input jack you used to connect to the external sampler.
MPC3000 Software Update Version 3.1 Operator’s Manual field to the sound number (in the external sampler) that you want transferred. Then, press . Immediately, the MPC3000 sends out a “dump request” message to the external sampler, telling it to start sending the specified sound number.
MPC3000 Software Update Version 3.1 Operator’s Manual • The MIDI input, MIDI output, and MIDI channel fields, and the soft key: These fields and soft key operate exactly as in the receive screen described in the previous section. • The Sound field: In this choice field, select the sound to be sent from an alphabetical list of sounds in memory. To the right of this field is the selected sound’s number within the list of sounds.
MPC3000 Software Update Version 3.1 Operator’s Manual Saving Program or APS Files Without Sounds, Optional Overwriting of Sounds During Program Save or Load In previous system software versions, three conditions existed that are now enhanced: When a program was saved to disk, all sounds used by the program were automatically saved to disk at the same time. Also, when saving an APS file, all sounds in memory were automatically saved to disk at the same time.
MPC3000 Software Update Version 3.1 Operator’s Manual Two new fields exist: • The Save field: Program files contain no sound data so when saving a program, the sounds used by the program are normally also saved at the same time. This choice field permits the option of saving the program file by itself without the accompanying sound files. The two options are: 1. PROGRAM+SOUNDS (NORMAL): This is the normal setting, saving first the program file then each sound file used within the program. 2.
MPC3000 Software Update Version 3.1 Operator’s Manual Two new fields exist: • The Save field: Program files contain no sound data, so when saving a program the sounds used by the program are normally also saved at the same time. This choice field permits the option of saving the program file by itself without the accompanying sound files. The two options are: 1. APS FILE + SOUNDS (NORMAL): This is the normal setting, saving first the APS file then each sound file currently in memory. 2.
MPC3000 Software Update Version 3.1 Operator’s Manual A new field exists: • The Replace same sounds in memory field: This choice field has two options: 1. NO(FASTER): When loading a program (and its sounds), if a sound file exists in memory with the same name as one of the sounds to be loaded, the sound is not overwritten by the sound on disk, and the program will use the sound of the same name already in memory.
MPC3000 Software Update Version 3.1 Operator’s Manual New Sound Edit Options— Delete Before Soft Start and Delete After Soft End In previous system software versions, the Edit a Sound screen enabled the deletion of any portion of a sound by setting the beginning and end of a “zone”, then deleting it. However, this was cumbersome for performing the most common deletion: removing the unused portion of a sound before the soft start and after the soft end.
MPC3000 Software Update Version 3.1 Operator’s Manual Improved Speed of Saving to Hard Disk In previous system software versions, saving to hard disk was slow. In this version, the speed of saving to hard disk has been greatly improved.
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