MPC60 Software Version 3.
Document revision date: January 22, 2002 Copyright 1995-1999 Roger Linn Design Roger Linn Design 2269 Chestnut St. Suite 602, San Francisco, CA 94123 Phone: (415) 474-0903 Fax: (415) 474-1118 E-mail: Mail@RLinnDesign.com Web: www.RLinnDesign.
Table of Contents Chapter 1: Introduction............................................................................................................. 1 Welcome!........................................................................................................................ 2 What Are the New Features in Version 3.1?.................................................................. 3 Chapter 2: The Basics.................................................................................................
Editing Note Number Assignment of Drum Note Events ..................... 82 Editing Note Variation Data of Drum Note Events ............................... 83 The STEP EDIT Key....................................................................................................... 85 Using Step Edit.................................................................................................. 86 Step Edit Event Types .......................................................................................
Saving and Loading MIDI Files ...................................................................................... 177 Copying an Entire Floppy Disk ....................................................................................... 181 Formatting a Floppy Disk................................................................................................ 182 Floppy disk errors ...........................................................................................................
Chapter 1: Introduction
Chapter 1: Introduction Welcome! Since its release in 1988, the Akai 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. In developing the successor to the MPC60 — the new MPC3000 — we expanded the MPC60’s popular features, added many new ones, and reworked some concepts to make them more powerful, efficient, and intuitive.
Chapter 1: Introduction What Are the New Features in Version 3.1? The MPC60 Version 3.1 software contains many changes and improvements over version 2. The major changes are listed below. Sound Generator Changes • • • • • • • • • • • The former 4.5 second limit on new samples has been eliminated. New samples may now be as long as available memory, up to 26.2 seconds in an expanded MPC60. Also, it is no longer necessary to erase all sequence memory before sampling. You may now sample stereo sounds.
Chapter 1: Introduction Sequencer Changes • • • • • • • • • • • • • • MIDI Files are now supported, allowing you to move your sequences between the MPC60 and an external computer sequencer. In Step Edit, the REWIND [<] and FAST FORWARD [>] keys can now be used to search to the previous or next event within a track. In Step Edit, events can be cut and pasted by changing the function of Soft Keys 1 and 2 from and to and .
Chapter 1: Introduction New Software Concepts — More Detail Most of the operational differences between the old and new software should be relatively simple for veteran MPC60 users to understand, but some changes are more complex than others. Here is additional information about the more complex changes. The new Programs system Version 3 software uses a new system of sound assignments called programs. A program is a set of 64 sound assignments and sound modifying parameters.
Chapter 1: Introduction Version 3, sounds in programs and drum notes in sequences are assigned instead to one of 64 MIDI note numbers (35–98), as are each of the 64 pad/bank combinations (A01–D16). The fixed four-character drum names are no longer used. This new note number assignment method provides the following advantages over the old pad-assign method: 1.
Chapter 1: Introduction MIDI tracks, but also by the pad number and sound name currently assigned to the displayed note number. 4. Drum tracks are not affected by the Transpose function. Independently, each track (DRUM or MIDI) can be assigned to any MIDI channel and MIDI output port. As a result of this change, the old Drums Channel and Drum Data Sent Out fields have been removed.
Chapter 2: The Basics
Chapter 2: The Basics Hooking Up Your System The following diagram shows how to hook up the MPC60 to a MIDI keyboard and two sound modules. (Note that the MIDI OUT jacks on older MPC60s are labeled 1–4, not A–D.) TO AUDIO CONSOLE MPC60 RS-232C WARNING: SHOCK HAZARD - DO NOT OPEN ! AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR! AKAI ELECTRIC CO., LTD. MODEL NUMBER MPC60 A VORSICHT : BERUHRUNGSGEFAHR - HICHT OFFNEN! CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER.
Chapter 2: The Basics Getting Around on the MPC60 Before you can use the MPC60, you must learn how to use the cursor keys, data fields, command keys, the data entry keys and data entry knob, 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 ============A Seq: 1-(unused) BPM:120.
Chapter 2: The Basics The Play/Record screen is one of many display screens available on the MPC60. 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. The Numeric Keypad, Data Entry Knob, and [+] & [–] Keys Make sure that the Play/Record screen is showing. If not, press MAIN SCREEN.
Chapter 2: The Basics data entry knob is used to select from the available options. For example, press the OTHER key and move the cursor to the Rate field, which is a choice field. Now turn the data entry knob and notice that with each step of the knob, a different preset option appears in the data field. When finished, set this field back to 1/4 NOTE. Pressing the [+] key has the same effect as turning the data entry knob one step to the right.
Chapter 2: The Basics Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program Here are some definitions of terms used in the MPC60 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 twobar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC60 holds 99 sequences in memory at one time.
Chapter 2: The Basics Sound Each individual sampled recording in the MPC60 is called a sound. A sound could be a recording of a single strike of a snare drum or cymbal, or a sound effect. Sounds are sampled in a proprietary 12-bit non-linear format at a sampling rate of 40kHz and can be any length up to the limit of sound memory. A maximum of 128 sounds can reside in sound memory. Pad When sounds are loaded into the MPC60, each pad plays a particular sound.
Chapter 2: The Basics visual identification in these Note fields, the note number is accompanied by both the currently assigned pad number and sound name.) Program Once a sound is loaded into memory, it cannot be played by pads or from MIDI until it is assigned within a program. A program is a collection of 64 sound assignments and can be thought of as a drum set. In a program, each of 64 MIDI note numbers (35–98) is assigned to one of the 128 possible sounds currently residing in memory.
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, here’s how to load sounds from disk.
Chapter 2: The Basics Playing the Pads, the BANK 2, & FULL LEVEL Keys Each sampled recording in the MPC60 is called a sound. To hear some of the drum sounds you have just loaded, play the 16 dynamic pads on the front panel. To hear other sounds, press the BANK 2 key once so that the light above the key is lit, then play the pads again. The MPC60 has four pad banks (A, B, C and D). To hear the sounds assigned to pad bank C, press BANK 2 again and play the pads, and do the same to hear bank D.
Chapter 2: The Basics ============ Select Program ===========A Active program: 1-PROGRAM_NAME ========== Assign Note:41/A08 ========== Sound:BIG_BAD_DRUM Mode:NORMAL General MIDI name for note:LO FLOR TOM ======================================== 2. Move the cursor to the Active Program field. It should display 1. Select program 2 using the data entry knob. 3.
Chapter 2: The Basics === Assign Note Var Slider (Pgm: 1) ===A Note:64/A01-Sound_name Param:TUNING Low range:-120 High range: 60 ======================================== To assign the slider to a pad and parameter: 1. Press the desired pad (the note number, pad number and sound name of the pad you pressed will appear in the Note field). 2. Move the cursor to the Param field and select the desired parameter (TUNING, ATTACK, or DECAY). 3. Press MAIN SCREEN to return to the Play/Record screen. 4.
Chapter 2: The Basics • The Low range and High range fields: These two fields control the range of the slider. The Low range field determines the parameter value that will be produced when the pad is hit while the slider is at the bottom of its travel; the High range field determines the parameter value that will be produced when the pad is hit while the slider is at the top of its travel. Any position in between produces a proportionate value between these two values.
Chapter 2: The Basics ========== Assign '16 Levels' =========A Note:64/A06-Sound_name Param:NOTE VAR (TUNING) Center pad:13 ======================================== The fields and soft keys are: • 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, attack, or decay. Select a sound by pressing a pad.
Chapter 2: The Basics • The Center pad field: This field only appears if the Param field is set to NOTE VAR and the Note Variation Parameter field is set to (TUNING). It is used to set the tuning range of the 16 pads by selecting which of the 16 pads will play the sound with no tuning change. Regardless of this center pad, higher numbered pads play higher chromatic tunings and lower numbered pads play lower chromatic tunings.
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 twobar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC60 holds 99 sequences in memory at one time. Only one sequence can play at one time. Within each of the 99 sequences are 99 tracks that contain the actual MIDI events.
Chapter 3: Recording Sequences The MAIN SCREEN Key & Play/Record Screen When the MPC60 is first powered on, the LCD screen shows the following contents: ============== Play/Record ============A 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 ==== Play/Record (Record Ready) ==A 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 MPC60 will immediately enter either Record or Overdub mode. In this mode it is impossible to change sequences while playing. COMMENT: The letter at the right end of the title line indicates which pad bank (A–D) is active.
Chapter 3: Recording Sequences • The Active Tempo field (BPM:120.0 (SEQ) in the above example): 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 switch from Record to Overdub mode at the moment the sequence loops back—this will prevent accidental erasure of any notes just recorded. In the event that the bar to loop to is bar number 2 or higher and the sequence is in Record or Overdub mode the MPC60 will automatically switch to Play mode at the moment the sequence loops back to the specified bar.
Chapter 3: Recording Sequences • The MIDI Channel/Port fields (Chn:OFF-(off) in the example screen): There are actually two fields here, which together are used to determine which MIDI channel and MIDI output port the active track will output its data to. The to fields are: 1. The MIDI Channel field (Chn: 1A-(off)): This field determines which of the 16 MIDI channels the active track will play through. If you don’t want the track to play through any MIDI channels, select 0 and the word OFF will appear. 2.
Chapter 3: Recording Sequences a 0 in this field and OFF will be displayed. Whenever a new sequence is selected, if any of the sequence’s tracks contain program number assignments, those program numbers will be immediately sent out over the track’s assigned MIDI channel/port (not the auxiliary MIDI channel/port) to the external synthesizer, causing it to change to the assigned program number.
Chapter 3: Recording Sequences • The soft key: Pressing this soft key toggles the Track On/Off field between YES and NO. • The soft key: Pressing this soft key turns solo mode ON or OFF. If set to ON, only the active track is heard and all other tracks are temporarily muted. The text of the soft key indicates whether solo mode is ON or OFF. • The and soft keys: These soft keys decrement or increment the active track number by one.
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 (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. To punch-out of Record mode, simply press the RECORD key once, and the light above the RECORD key will turn off.
Chapter 3: Recording Sequences ================ Locate ===============A Hit softkeys or LOCATE to go to markers: Marker A: 001.01.00 Marker B: 001.01.00 Marker C: 001.01.00 ===== Now:001.01.00 (00:00:00:00) ====== There are three sequence position markers, labeled A, B, and C. Pressing SOFT KEY 1, 2 ,or 3 causes the MPC60 to move immediately to the location shown in either marker A, B, or C, respectively, and the Play/Record screen to be redisplayed.
Chapter 3: Recording Sequences Sequence Recording Example 1: A Looped Drum Pattern The MPC60 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 above of the Loop field to learn more about this.
Chapter 3: Recording Sequences 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 ========== Initialize Sequence ========A 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 . The Play/Record screen will reappear, showing that the sequence has been initialized to 4 bars of 4/4.
Chapter 3: Recording Sequences repeat and is described further in the “Timing Correct” section, later in this chapter. If at any time you want to erase what you’ve recorded and start over, go back to step 3. 5. If you accidentally played one or two wrong notes, you can erase them without affecting any other notes by following these steps: A) While still in Overdub mode, hold down the ERASE key.
Chapter 3: Recording Sequences 5. Press the COUNT IN key—the light will go on. This will cause the metronome to play one bar before the sequence plays to cue you to start playing. By default, the count in will only play before you start recording or overdubbing but not before playing. This can be changed by pressing the OTHER key and changing the setting of the Count in field in the screen that appears. 6. Enter RECORD MODE by holding RECORD and pressing PLAY START. 7.
Chapter 3: Recording Sequences The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing The MPC60 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 • The Swing% field: This field only appears if the Note Value field is set to either 1/16- or 1/8notes. The swing feature is a variation of timing correction. Whereas normal timing correction moves your notes to perfect 1/16- or 1/8-note intervals, the swing feature moves your notes to swing-timing intervals. The amount of swing is measured as a percentage of time given to the first note in each pair of 1/16- or 1/8-notes. The range of values is from 50% to 75%.
Chapter 3: Recording Sequences maximum shift amount is 5 ticks, or slightly less than 1/2 of one 1/32 note; and if the Note Value field is set to OFF(1/384), the Shift amount is fixed at 0, meaning that no shift is possible since timing correction is not being used. If you wish to shift the timing of a track independently of the timing correction function, use the Shift Timing function, accessed by pressing the EDIT key.
Chapter 3: Recording Sequences Overdub, or Record mode. The top line of the Play/Record screen will change to: ==== (Hold pads or keys to repeat) ===== If any drum pads (when the active track is a drum track) or keys (when the active track is a MIDI track) are held while TIMING CORRECT is being held, they will automatically be repeated at the timing interval selected in the Note value field of the Timing Correct screen.
Chapter 3: Recording Sequences Tempo and the TEMPO/SYNC Key Many of the functions in the MPC60 are associated with controlling the playing tempo. First, there is the Tempo field in the Play/Record screen (shown below in bold): ============== Play/Record ============A 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.
Chapter 3: Recording Sequences 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. Only the sequence’s tempo is saved to disk when a sequence is saved. 2.
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 MPC60 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 Mid-Sequence Tempo Changes This feature allows the tempo to change automatically at preset locations within a sequence. To insert tempo changes into the active sequence or to view existing tempo changes, press the TEMPO/SYNC key, then press the soft key. The following screen will appear: ====== Mid Sequence Tempo Changes =====A Tempo changes:ON Location for inserted change:001.01.00 Change#: Bar#: %Change: Tempo: 2 002.03.00 150.00 180.
Chapter 3: Recording Sequences the main tempo setting (either SEQUENCE or MASTER) is changed. • The Tempo field: This field displays the new tempo at which the sequence will play once the tempo change is active. This number is automatically computed from the displayed percentage of change multiplied by the main playing tempo (either MASTER or SEQUENCE). To view the entire list of tempo changes, simply modify the Change# field and notice the different settings of the other three fields as you change it.
Chapter 3: Recording Sequences tap intervals. This is set in the Tap averaging field, located in the Tempo screen. More information about using the TAP TEMPO key is contained in the “Tempo and the TEMPO/SYNC Key” section of the manual, earlier in this chapter.
Chapter 3: Recording Sequences The WAIT FOR KEY 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 MPC60. 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 punchout 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 2nd SEQ Key This function allows the MPC60 to play two sequences simultaneously. For example, you could use the active sequence to record all of your keyboard tracks linearly while simultaneously using the Second Sequence to play a looped drum sequence. The Second 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 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 Count in field: This is a choice field with two options: 1. REC+PLAY: If the Count In light is on, the count in will be heard before recording, overdubbing, or playing. 2. REC ONLY: If the Count In light is on, the count in will only be heard before recording.
Chapter 3: Recording Sequences '-': Press to duplicate the function of turning the data entry knob one step to the left. RECORD IN/OUT: Press once to duplicate the function of punching in to Record mode while playing; press again to duplicate the function of punching out of Record mode and back into Play mode.
Chapter 3: Recording Sequences Initializing System Parameters There are a number of parameters in the MPC60 that are not saved in SEQ, ALL, SND, PGM, or APS disk files. These settings, called system parameters, are retained in a special memory that doesn’t lose its contents when the power is turned off. These settings include: • Names for all 64 MIDI channels • Master tempo • BPM/FPB select and frames per second select • MIDI Input Filter settings • Default settings for initializing sequences . . .
Chapter 3: Recording Sequences 16 tracks of a newly-created empty sequence, with each track assigned to the like-numbered MIDI channel. That is, track 1 records MIDI channel 1, track 2 records MIDI channel 2, and so on up to track 16, which records MIDI channel 16. Track assignments are made automatically. To use the Record 16 Channels function to transfer a sequence from an external sequencer to the MPC60, you must first synchronize the MPC60 to the other sequencer using MIDI Clock. To do this: 1.
Chapter 3: Recording Sequences that MIDI channel here. When is pressed, this track number will have its Type field set to DRUM. • The soft key: When all of the above fields have been entered, press this soft key to initialize the selected sequence and move on to the second Record 16 Channels screen: ======== Record All 16 Channels =======A Seq: 1-Sequence⁄name BPM:120.
Chapter 3: Recording Sequences This is for display only and cannot be changed. It indicates that the sequence’s Loop field is forced to OFF because loop recording is not permitted during 16 channel recording. • The soft key: When finished recording, press this soft key to exit to the Play/Record screen with your new sequence intact. To record the incoming sequence: While holding the RECORD key on the MPC60, start the external sequencer playing from the beginning of its sequence.
Chapter 3: Recording Sequences Recording MIDI System-Exclusive Data The MPC60 can record patch data or any other MIDI system-exclusive messages from external synthesizers directly into tracks. To do this, simply send the system-exclusive message to the MPC60 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 Sequences
Chapter 4: Editing Sequences 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 keys to erase) ===== If during this time you hold a drum pad (if
Chapter 4: Editing Sequences • 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 Sequences 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). This continues until you select all of the pads you intend to erase.
Chapter 4: Editing Sequences To erase a sequence and initialize it to preset values, press the ERASE key, followed by SOFT KEY 2 (). The following screen will appear: ========== Initialize Sequence ========A Select sequence: 1-(unused) ===== General ===== ==== Track: 1 ==== Bars: 2 Sig: 4/ 4 Status:UNUSED BPM:120.
Chapter 4: Editing Sequences MIDI channel 6, for example. The contents of the five fields in this section apply only to the track (1 of 99) that is selected in this field. • The Status field: This is a choice field with two options: 1. UNUSED: The track number displayed in the Track field will not be initialized. Instead, it will be set to an unused state (as when power is turned on), which requires the least amount of memory.
Chapter 4: Editing Sequences The EDIT Key The EDIT key provides access to many features related to sequence editing. Pressing it will display the following menu screen: ============= Edit Sequence ===========A 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 feature to appear.
Chapter 4: Editing Sequences 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 ========A 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 Sequences To rearrange tracks, enter the desired sequence number, source track number and destination track number in the screen fields, then 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 Sequences This feature allows you to delete a specified number of bars from the active sequence. To use this feature, select option 4 (Delete bars) from the EDIT key menu. The following screen will be displayed: ============== Delete Bars ============A Sequence:12-Sequence_name First bar: 1 Last bar: 2 ======================================== The on-screen fields and soft keys are: • The Sequence field: This is the sequence from which the bars will be deleted.
Chapter 4: Editing Sequences ============ Copy Bars From ===========A Seq:12-Sequence_name First bar: 1 Last bar: 2 ============= Copy Bars To ============= Seq:12-Sequence_name Before bar: 1 Copies: 1 ======================================== The fields and soft key are described below: • The Seq field (in the Copy Bars From section): This field is used to specify the sequence number to be copied from. • The First bar and Last bar fields: These fields set the range of bars to be copied.
Chapter 4: Editing Sequences source track are copied—no time signature or tempo data are copied. Unlike the Copy Bars feature, which inserts the copied data into the sequence, thus increasing its overall length, this copy feature either replaces the existing events or merges the copied data with existing events, without adding additional bars. Therefore, in this feature, the track’s overall length is unchanged after the copy has been executed.
Chapter 4: Editing Sequences Notes:36/A02-SNARE_DRUM ( 1 pad ) If another pad is pressed, its note number, pad number, and assigned sound are displayed instead, and the text to the right displays ( 2 pads). This continues until the user has selected all of the pads he or she intends to copy. 2. If the source track is a MIDI track, two numeric fields—used to set the lowest and highest notes of the note range that is to be erased—will appear.
Chapter 4: Editing Sequences ===== Copy One Sequence To Another ====A Copy contents of seq: 1-Sequence_name Over contents of seq: 2-Sequence_name ======================================== A description of the screen fields and soft keys follows: • The Copy contents of seq field: This specifies the sequence to be copied from. • The Over contents of seq field: This specifies the sequence whose contents will be replaced by the contents of the above specified sequence number.
Chapter 4: Editing Sequences • The Ticks fields: These two bar.beat.tick fields are used to determine the region within the track that will be shifted. The leftmost field sets the start point of the region and the rightmost field holds the location that is one tick after the region to be shifted. • The Notes field: This field determines which notes will be shifted. It appears in one of two ways depending on whether the selected track is a drum or MIDI track: 1.
Chapter 4: Editing Sequences ============ Edit Note Data ===========A 1.Edit velocity/duration 2.Edit note number assignment 3.Edit note variation data ======================================== Select option: These these functions 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 Sequences 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 Sequences 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. It does this by searching for all drum notes of the specified note number and changing them to another note number assignment.
Chapter 4: Editing Sequences Editing Note Variation Data of Drum Note Events This feature affects Drum tracks only and is used to edit the Note Variation data of many drum notes in one operation. Select 3 (Edit note variation data) from the Edit Note Data menu. The following screen will appear: ======= Edit Note Variation Data ======A Seqnc: 1-Seqnc_name Track: 1-Track_name Ticks:001.01.00-003.01.
Chapter 4: Editing Sequences • The Value field: This field selects what value of tuning, attack, or decay the selected notes’ Note Variation data will be set to. • The soft key: Pressing this key performs the edit as specified in the above fields.
Chapter 4: Editing Sequences The STEP EDIT Key The Step Edit feature 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 Sequences • 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 Sequences editing it. Also, any notes played from the pads or external MIDI keyboard at this time will be recorded into this location and immediately displayed on the screen. 4. To view other locations within the sequence, use the REWIND, FAST FORWARD, and LOCATE keys. 5. Once you’re finished editing, press MAIN SCREEN to return to the Play/Record screen. Of the five on-screen events, only the uppermost line can be edited.
Chapter 4: Editing Sequences >N:64/A01-My_Sound V:127 Tun:-120 D: 96 The fields are: 1. The Note Number field (N:64/A01-My_Sound): This is the note number assignment (35–98) of the drum note event. 2. The Pad Number field (N:64/A01-My_Sound): This is the pad number (A01–D16) that is currently assigned to the note number displayed to the left. This field is for display only and cannot be edited. 3.
Chapter 4: Editing Sequences 5. 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 Program Change event >Program_change Val: 1 The single field, Val, with a range of 1–128, is used to select the MIDI program number. • The Pitch Bend event >Pitch_bend Val:+ 0 The single field, Val, contains the actual numeric value of the pitch bend event. It is a signed field, with a range from -8192 to 8191.
Chapter 4: Editing Sequences This displays the total number of data bytes. The maximum size of a system-exclusive event in the MPC60 is 999 bytes. 2. The Byte field: The number of the byte whose contents are currently displayed in the Val field. 3. The Val field: The current value of the byte number displayed in the Byte field.
Chapter 4: Editing Sequences track to simulate a smooth and continuous individual echo send level change. There are two fields: 1. The Pad field: This field determines which of the 64 pad numbers/mixer sliders (A01–D16) this message affects. 2. The Val field: This field contains the actual mixer slider value (0–100). • The Control Change event >Control:C1-MODULATION WHEEL Val:127 There are two fields: 1.
Chapter 4: Editing Sequences • The Event to insert field: This parameter selects which type of MIDI event will be inserted when the soft key from the Step Edit screen is pressed. The options include all the available MIDI event types and 128 MIDI controllers. If one of these controllers is selected, the name assigned to that controller number is also displayed.
Chapter 4: Editing Sequences 1. NEXT STEP: This is the default setting. Pressing the REWIND [<] key moves to the previous step within the sequence. Pressing the FAST FORWARD [>] key moves to the next step within the sequence. (The timing value of a step is set in the Timing Correct screen’s Note Value field.
Chapter 4: Editing Sequences 3. ALL EXCEPT: This option is similar to ONLY VIEW, detailed above, except that all event types except the event displayed to the right of the words ALL EXCEPT are displayed. 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.
Chapter 4: Editing Sequences The EDIT LOOP Key This feature 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 Sequences Using Edit Loop as an Undo Function Because the Edit Loop feature 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 Sequences The TRANSPOSE Key This feature allows you to transpose a track up or down by a specified amount in real time. Transposition is only a temporary change—the sequence data are not altered unless SOFT KEY 1, , is pressed. Also, the MPC60 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 Sequences 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. Transposing in Real Time While Playing To transpose a sequence in real time while playing, follow these steps: 1. Play the sequence. 2. Press the TRANSPOSE key. 3. Make sure the Track field is set to 0. 4.
Chapter 5: Song Mode
Chapter 5: Song mode Overview One way to create a song in the MPC60 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 MODE Key and Song Mode Screen To enter Song mode, press the SONG MODE key. The Song Mode screen will appear: =============== Song mode =============A Song: 1-(unused) Loop:TO STEP 1 SMPTE start: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 (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. The data displayed below this field are the data contained within this step. • The Sqnc field: This field indicates the sequence number contained in the current step. The selected sequence’s name is displayed to the right.
Chapter 5: Song mode To delete a step, select the step number to be deleted in the Delete step field and press . The Song screen will be redisplayed and the specified step deleted, with all higher-numbered steps moved down by one position. To delete all steps in the song or to delete all songs, press and follow the instructions on the screens that appear.
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 MPC60: 1. Record some drum or MIDI data into sequences 1, 2, and 3. 2. Enter Song mode by pressing the SONG MODE key. 3. In the Song field, select an unused song number. An unused song is indicated 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 MPC60 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 fine-tuning 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 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 MPC60’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 Program 8: 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 . . . 76 22"_RIDE . . . 20 . . .
Chapter 6: Creating and Editing Programs 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 SOUNDS key. The following menu screen will appear: ===== Programs ===== 1.Sel pgm, asn snds 2.Envel,veloc,tune.. 3.Note Variation Sldr 4.Copy, initialize ===== Sounds ====A 5.Sample new sound 6.Edit sound 7.Renam,cpy,delete 8.
Chapter 6: Creating and Editing Programs • 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. You can also select a note number by pressing one of the drum pads—the note number currently assigned to that pad will be selected automatically.
Chapter 6: Creating and Editing Programs ============ Select Program ===========A Active program: 8-PROGRAM NAME ========== Assign Note:37/A03 ========== Sound:Tiny_tom Mode:SIMULT Also play note:38/A06-Big snare drum Also play note:39/B16-Doomsday tom ======================================== In the above example, whenever note number 37 is played, note numbers 38 and 39 will also play—Tiny tom will be layered with Big snare drum and Doomsday tom.
Chapter 6: Creating and Editing Programs 2. If the received note’s velocity is greater than the value in the first If over field but less than or equal to the value in the second If over field, then only the note number selected in the first use field plays. 3. If the received note’s velocity is greater than the value in the second If over field, then only the sound assigned to the note number selected in the second use field plays.
Chapter 6: Creating and Editing Programs The fifth and sixth lines now contain four additional fields— two decay thresholds and two new note number assignments. These fields are used to play one of three sounds depending on the envelope decay setting: 1. If the received note’s envelope decay 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 Envelope, Velocity Modulation, Tuning, Poly Mode To edit these program parameters, press the SOUNDS key, then select option 2. The following screen will appear: === Env,Veloc..
Chapter 6: Creating and Editing Programs • The Dcy md (decay mode) field: This is a choice field with two options: 1. START: The decay phase of the envelope begins immediately 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.
Chapter 6: Creating and Editing Programs 3. NOTE OFF: When the pad is released (or a MIDI Note Off message is received), the sound is terminated. This is useful for gating long samples. • The two Cutoff fields: Each of these two fields allows a note number to be entered. Whenever the note selected in the top line’s Note field is played, then any currently playing sounds assigned to either of the note numbers in these two fields are immediately terminated.
Chapter 6: Creating and Editing Programs Copying and Initializing Programs Selecting option 4 from the initial SOUNDS key menu presents the following menu screen, allowing programs to be copied or initialized: ======= Copy, Initialize Program ======A 1.Copy program data of 1 note 2.Copy 1 program over another 3.Initialize a program 4.
Chapter 6: Creating and Editing Programs If 2 is selected from the Copy, Initialize Program menu: ===== Copy 1 Program to Another =====A Copy from program: 5-Program_name Copy to program: 8-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. The program name is displayed to the right for convenience. 2.
Chapter 6: Creating and Editing Programs If 4 is selected from the Copy, Initialize Program menu: ======= Initialize All Programs =======A 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 DRUM MIX Key
Chapter 7: The Drum Mix key The Stereo Output Mixer The MPC60 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 DRUM MIX key, then select option 1. The following screen will appear: This is a graphic simulation of a multichannel 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 Drum Mix Key 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 Drum Mix key The Individual Outputs/Echo Send Mixer In addition to the stereo outputs, any sound may be assigned to play through any one of the 8 polyphonic assignable mix outputs. Independently, any sound may be sent to the echo mix output. The echo send mix level is independent for each sound; the level to the assignable mix outputs is not adjustable. To access the Individual Output Assign / Echo Send Mixer screen, press the DRUM MIX key, then select option 2.
Chapter 7: The Drum Mix Key [-] 1 2 3 4 5 6 7 8 The pad’s sound has no output assignment The pad’s sound is sent out individual output 1 The pad’s sound is sent out individual output 2 The pad’s sound is sent out individual output 3 The pad’s sound is sent out individual output 4 The pad’s sound is sent out individual output 5 The pad’s sound is sent out individual output 6 The pad’s sound is sent out individual output 7 The pad’s sound is sent out individual output 8 Or, if the assigned sound is stereo,
Chapter 7: The Drum Mix key Viewing the Mix Data in Text Form The graphic screens for the stereo mixer and individual output/echo send mixer (menu options 1 and 2) are normally used for the adjusting the stereo mix and individual output assign/echo send mix. However, an additional screen containing the same data in text form is also provided. You can access it by pressing the DRUM MIX key and selecting option 3.
Chapter 7: The Drum Mix Key • The Stereo output> 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 Echo output> Volume field: This is the volume for the selected sound at the echo send output. This is the same parameter set by the graphic volume slider in the Individual Outputs/Echo Send Mixer screen.
Chapter 7: The Drum Mix key Pressing this soft key displays the following screen, which allows the mix data for all 64 note numbers to be set in one step: ====== Set Mix Data For All Notes =====A Parameter:ECHO SEND FOLLOW STER VOL Set all 64 notes to:YES ======================================== To set a single mix parameter for all 64 note numbers: 1. Set the Parameter field to the desired mix parameter.
Chapter 7: The Drum Mix Key Mixer Source Select, Automated Mix Selecting option 4 from the DRUM MIX menu presents a screen containing four fields that alter the performance of the mixer: ========= Mixer Source Select ========== Stereo mix:PROGRAM Indiv out asn / echo mix:PROGRAM =========== Automated Mixer ============ Record mix changes:YES (If source = SEQ) ======================================== The fields are: The Mixer Source Select section: • The Stereo mix field: This choice field allows you to c
Chapter 7: The Drum Mix key mixer screen. In this mode, the stereo mixer settings never change unless you change them, even if the active sequence or program is changed. This option is useful for people who always want the mix settings to stay where they last put them. Note that these settings must be saved to the APS file before power is removed, or any mix changes will be lost.
Chapter 7: The Drum Mix Key region, but since the mix changes are on a separate track, any drum notes will not be erased. COMMENT: A large number of these mix change events can cause minor slowing of playback due to the large processing requirement. To reduce the number of these events, increase the Minimum Change field’s setting for these event types (in the MIDI Input Filter screen) to as high a number as acceptable before recording mix changes.
Chapter 8: Creating and Editing Sounds
Chapter 8: Creating and Editing Sounds Sampling a New Sound This function is used to record new sounds into your MPC60. All sampling is done using a 16 bit analog-to-digital converter at a 40kHz sampling rate, and compressing the data into a special 12-bit non-linear storage format. While the MPC60 is essentially a mono sampler, there does exist a way to sample stereo sounds. See the section below entitled “Sampling stereo sounds” for more information.
Chapter 8: Creating and Editing Sounds MPC60 will prompt you afterwards to insert the disk containing the associated part 2 file. The part 2 file cannot be loaded by itself. Also, to load one of these two-part “split” MPC60 sound files into an MPC3000, the MPC3000 must be running software version 3.12 or higher, available from Roger Linn Design.
Chapter 8: Creating and Editing Sounds pressed. If the soft key is pressed during this time, the Record Ready status is canceled and the previous screen status is re-displayed. When the incoming audio signal exceeds the record threshold, the light above the REC button will turn on. When the entire sample has been recorded, the screen changes to: =========== Sample New Sound ==========A Sound has been recorded. To hear it, press . If you like it, press to name the new sound.
Chapter 8: Creating and Editing Sounds separately as two mono sounds, then later combining them into a single stereo sound. To create a stereo sound: 1. Sample the left side of your stereo sound as a mono sound. 2. Sample the right side of your stereo sound as another mono sound. 3. Press SOUNDS, then 9, then 1, “Make stereo from 2 mono sounds”. Read “Stereo sampling” further in this chapter for more information.
Chapter 8: Creating and Editing Sounds =========== Sample New Sound ==========A Sound has been recorded. To hear it, press . If you like it, press to name the new sound. If you don't like it, press to discard it and sample again. ======================================== As the screen explains, sampling is finished. To hear the newly sampled sound, press the soft key.
Chapter 8: Creating and Editing Sounds Editing a sound This function is used to edit a sound in your MPC60. 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 Once a sound is selected, the Soft St, Soft end, Length, Vol%, and Tune fields will immediately be updated to show the newly selected sound’s settings. Also, if the selected sound is stereo, “(ST)” appears to the right of the sound name. • 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.
Chapter 8: Creating and Editing Sounds sound which could cause playback delays. Pressing this soft key causes the following screen to appear: ========= Find Best Soft Start ========A Start threshold%: 5 Press to change SOFT START to earliest sample that exceeds threshold. ======================================== It works by searching through the sound for the earliest sample that exceeds the threshold entered into the Start threshold field.
Chapter 8: Creating and Editing Sounds end of a sound is not heard. Take this into account when playing a portion of a sound. For example, when playing a region from 001.000.00 to 002.000.00, you may only hear all but the last 20 milliseconds of this region. • The Do field: This field works in conjunction with the soft key. It is a choice field, used to select one of a number of editing operations that will be performed when the soft key is pressed.
Chapter 8: Creating and Editing Sounds Renaming, Copying, and Deleting a Sound To rename, copy, or delete a sound, or delete all sounds, select option 7 from the SOUNDS menu. The following screen will appear: ====== Rename, Copy, Delete Sound =====A Select sound:Sound_name ======================================== The fields and soft keys are: • The Select sound field: This field is used to select the sound to be renamed, copied, or deleted.
Chapter 8: Creating and Editing Sounds ============== Copy Sound =============A 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 was used to edit the Sequence Name field in the Play/Record screen. Once the new name is entered, press .
Chapter 8: Creating and Editing Sounds ==== DELETE ALL SOUNDS FROM MEMORY! ===A ARE YOU SURE YOU WANT TO DELETE ALL SOUNDS FROM MEMORY? ======================================== Pressing will delete all sounds from memory.
Chapter 8: Creating and Editing Sounds Triggering a Sound from an External Signal—the Audio Trigger This feature of the MPC60 allows one of its internal sounds to be triggered by an external transient audio signal. The triggering is nondynamic. 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 SOUNDS screen.
Chapter 8: Creating and Editing Sounds Stereo Sampling Stereo sampling is accomplished by sampling each side of a stereo signal separately as two mono sounds, then combining them to a single stereo sound. Two new features help to synchronize the two sides into a stereo sound. To create a stereo sound, first sample each side of the incoming signal as two mono sounds.
Chapter 8: Creating and Editing Sounds Select the new stereo sound in the SOUND field. The LEFT START and RIGHT START fields have a similar function to the SOFT START field in the EDIT SOUND screen—they display the location within the sound that play starts, as SECONDS.MILLISECONDS.SAMPLES. The difference is that in this screen, there is a separate Soft Start parameter for each side.
Chapter 8: Creating and Editing Sounds 5. To test the synchronization, press to return the right side to normal phase, pan the left and right outputs to normal stereo in your mixer, and press . 6. If it sounds good, make your changes permanent by pressing , then save the sound to disk. If necessary, adjust the SOFT END or SOFT START in the EDIT SOUND screen. COMMENT: To load an MPC60 stereo sound into an MPC3000, the MPC3000 must be running software version 3.
Chapter 8: Creating and Editing Sounds Sound Compression Sounds may be compressed to ½ their original size to save sound memory space. This gives an MPC60 with memory expansion (26.2 seconds) an equivalent maximum sound memory of 52.4 seconds! Compression does, however, add distortion and reduce clarity in the treble frequencies, and can add much distortion to sounds containing a large amount of high frequencies such as crash cymbals.
Chapter 9: Saving to and Loading from Disk
Chapter 9: Saving and Loading From Disk Overview The MPC60 has a built-in 3.5-inch double sided, double density disk drive for storing data. An optional interface, sold by Roger Linn Design, lets you connect SCSI drives such the Iomega Zip drive for vastly increased storage and save/load speed. (See the appendix for ordering information.) This chapter describes the procedures for saving and loading the various types of files.
Chapter 9: Saving and Loading From Disk will work, but they will have higher capacity (793K vs. 720K) if you format them again on the MPC60. • The 3.5-inch disks used in the MPC60 should be double-sided, doubledensity disks (2DD). • NEVER REMOVE A DISK FROM THE DISK DRIVE WHILE THE LIGHT ON THE FRONT OF THE DISK DRIVE IS ON! To access the disk functions, press the DISK key. The following screen will appear: == Save to Disk == === Load, Other ==A 1.A sequence 7.Load,erase,rename 2.All seqs & songs 8.
Chapter 9: Saving 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 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 and Loading From Disk ====== Save All Sequences & Songs =====A File name:All_file_name Size: 0K Disk:SCSI DISK PART A Free:27793K ========================================
Chapter 9: Saving and Loading From Disk • 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. • The
Chapter 9: Saving and Loading From Disk 2. Each sound used by the 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. The fields and soft keys are: • The Program field: In this field, enter the program number to be saved (1–8). The program’s name is shown to the right. The program file name will be created from the program name, and the file’s extension will be PGM.
Chapter 9: Saving and Loading From Disk 1. NO (FASTER): When saving a program (and its sounds), if a sound file exists on disk with the same name as one of the sounds to be saved, the file is not overwritten by the sound in memory. If when saving a program you know that the sounds have not changed, this option will permit a faster save. 2.
Chapter 9: Saving and Loading From Disk The fields and soft keys are: • The File name field: Enter the name for the file in this field. The name can be changed in the same way as the Sequence Name field in the Play/Record screen. The file’s extension will be APS. • The Disk field: This field has the same function as in the Save Sequence screen described above. • The Size field: This field shows the combined size of the APS file and all individual sound files to be saved. (APS files require 48K.
Chapter 9: Saving and Loading From Disk file is not overwritten by the sound in memory. If when doing an APS save you know that the sounds have not changed, this option will permit a faster save. 2. YES: When saving an APS file and sounds, if a sound file exists on disk with the same name as one of the sounds to be saved, the file is overwritten by the sound in memory. If when doing an APS save you know that the sounds have changed, you should select this option.
Chapter 9: Saving and Loading From Disk The fields and soft keys are: • The File name field: Enter the name for the file in this field. The name can be changed in the same way as the sequence name field in the Play/Record screen. The file’s extension will be PAR. • 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 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 and Loading From Disk 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 and Loading From Disk To select a different disk device, choose it in the Disk field, then press the
Chapter 9: Saving and Loading From Disk After pressing : =========== Load V2 SEQ File ==========A 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 software version 1 or 2 SEQ files, notes in drum tracks were assigned to one of 32 pad names (HIHT-DR16).
Chapter 9: Saving and Loading From Disk that the next time you load a Version 1 or 2 MPC60 sequence, it will be converted using your edited conversion assignments. Loading an ALL File (All Sequences and Songs) If an ALL file is selected and is pressed, the following screen appears, asking if you want to load the entire file or only one sequence: ============= Load All File ===========A 1.Load entire file 2.
Chapter 9: Saving and Loading From Disk To load a single sequence, enter the sequence number from the ALL file that you want to load in the Load seq field, and the destination sequence number in memory in the Into seq field, then press . If the file is an MPC60 version 1 or 2 ALL file If the ALL file is a MPC60 version 1 or 2 file, additional screens are presented, just as when an MPC60 version 1 or 2 SEQ file is loaded. (See the section above entitled, “Loading an MPC60 Version 1 or 2 SEQ file.
Chapter 9: Saving and Loading From Disk ============= Load Program ============= Program to load into: 1-PROGRAM_01 Replace same sounds in memory:NO(FASTER) ======================================== The fields are: • The Program to load into field: Enter here the number of the program in memory that you wish to load into (1 - 8). • The Replace same sounds in memory field: This choice field has two options: 1.
Chapter 9: Saving and Loading From Disk the second disk. If the program used more than two disks, this process will repeat until all of the needed sound files are loaded. Loading an APS File (All Programs and Sounds) If an APS file is selected for load, an additional screen is presented, warning you that all programs and sounds currently in memory will be erased when the APS file is loaded: ====== Load All Programs & Sounds =====A Press to load 'APS' file (all programs and all sounds).
Chapter 9: Saving and Loading From Disk ========= Load SET or ST1 file ========A 1.Load entire file (add sounds to memory and load assignments into a program) 2.Load one sound from the SET file ======================================== Select option: To load the entire SET or ST1 file If 1 is selected, the SET file’s assignments will be loaded into a program.
Chapter 9: Saving and Loading From Disk ========= Load SET or ST1 File ========A Use the same assignments for loading SEQ or ALL files. If confused, just load it. -------- Conversion Table ---------MPC60 Pad:HIHT-CLSD (A01) Becomes note:56 (Gen MIDI:COWBELL ) ======================================== In MPC60 Version 2 SET or ST1 files, sounds were assigned to one of 32 pad names (HIHT-CLSD, HIHT-MEDM, HIHT-OPEN, SNR1, SNR2 ... DR15, and DR16.
Chapter 9: Saving and Loading From Disk 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 a Version 2 sequence, it will be converted using your edited conversion assignments. COMMENT: An ST1 file is a SET file that is too large to fit on a single disk, so it is saved in two parts: FILENAME.ST1 (the first disk) and FILENAME.ST2 (the second disk).
Chapter 9: Saving and Loading From Disk Loading a PAR File (System Parameters) If a PAR file is selected for loading in the Load File screen and is pressed, a screen will appear warning you that all existing system parameters in memory will be erased. To load the file, press in that screen.
Chapter 9: Saving and Loading From Disk Saving and Loading MIDI Files MIDI Files are an industry-standard file format used for moving sequences from one sequencer to another. The MPC60 will permit you to convert your sequences to MIDI Files or your MIDI files to MPC60 sequences. This is particularly useful for exchanging sequences between your MPC60 and an external computer sequencer. There was not enough room in the MPC60’s software ROM chips to hold all of the features of version 3.
Chapter 9: Saving and Loading From Disk To load a MIDI file, the disk must be a Windows 720K disk. The file must have a standard DOS eight character file name and a three-character file name extension of either “.MID”, “.MFF” or “.SMF”. From the “Convert To/From MIDI File” screen, select the MIDI file to be converted and press .
Chapter 9: Saving and Loading From Disk COMMENT: If a type 0 file is selected for loading, the message “(Format 0 file, will auto-map tracks)” appears in place of this field. This indicates that, as with the ONE PER MIDI OUTPUT selection, one track will be created for each channel/port assignment that exists in the file’s single track.
Chapter 9: Saving and Loading From Disk SIZE field shows the size of the MIDI file to be saved. The FREE field shows the amount of free space on disk. The SAVE AS field has two options: MIDI FILE TYPE 0: This type of MIDI file has only one track containing all of the sequence events, each event having a unique MIDI channel assignment. This option should only be used if you intend for your MIDI file to be played on a simple MIDI file player.
Chapter 9: Saving and Loading From Disk Copying an Entire Floppy Disk This feature permits an entire 793KB MPC60 disk to be copied to another MPC60 disk. This provides an easy way to back up your data disks. To copy a disk, have both your original disk and a blank formatted disk available.
Chapter 9: Saving 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 MPC60! You should use Double Sided Double Density (DS/DD) disks. Disks of this type are usually sold preformatted to Windows 720K format. These 720K formatted disk will work in the MPC60, but they will store only 720K instead of the MPC60’s 793K.
Chapter 9: Saving and Loading From Disk Floppy Disk Errors If you are getting lots of floppy disk error messages during file save or load, your floppy drive probably needs cleaning. This is done using a 3.5” cleaning diskette, commonly available at computer or office supply stores. Follow the instructions on the cleaning diskette, then place it in the floppy drive and press DISK, then 7 (read the disk).
Chapter 9: Saving and Loading From Disk Using the Marion Systems MPC-SCSI Interface for External Hard Disk Storage The MPC60 can be fitted with an optional SCSI port, permitting an external SCSI drive (such as the Iomega Zip drive) to be used for all disk save and load operations. This option, manufactured by Marion Systems and sold by Roger Linn Design, provides a 25-pin D-type SCSI connector which is compatible with hard drives used with the Apple Macintosh.
Chapter 9: Saving and Loading From Disk To connect your external SCSI hard disk to the MPC60, turn power off for both the hard drive and the MPC60. Then, connect the hard drive to the MPC60’s SCSI port. (WARNING: Never connect or disconnect any SCSI device while power is on. This could damage both the device itself and the MPC60.) Turn the power on to both the SCSI drive and the MPC60, press the DISK key, then press 8, then 3.
Chapter 9: Saving and Loading From Disk =========== Format Hard Disk =========== The disk must now be divided into ‘partitions’ of up to 30 mbytes each. Enter number of partitions: 4 (27 mbytes each, A - D, for a total of 110 mbytes.) ======================================== The lower portion of the screen warns that the hard disk’s storage space must be divided into up to 26 partitions of no more than 30 megabytes each. These partitions are called partition A, partition B, and so on.
Chapter 9: Saving and Loading From Disk ============= SCSI Status ============== Status:NO SCSI DEVICE IN USE ======= Make SCSI Device Active ======== SCSI device address to make active:AUTO Timeout for SCSI scan:30 ======================================== The fields and soft key are: • The Status field: This field shows whether a SCSI device is currently in use and if so, tells the SCSI address of that device. There are eight possible SCSI addresses, 0 - 7.
Chapter 9: Saving and Loading From Disk enter the specific address of the device you want to make active (0 - 6). Then, when is pressed or when power is turned on, the SCSI port will be scanned and only the device with the specified address will be made active. • The Timeout for SCSI scan field: When is pressed or when power is turned on, the MPC60 continuously scans the SCSI port for a device to make active.
Chapter 10: Syncing to Tape and Other Devices
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(msec):20 MIDI input:2 Song pointer:ON ==== Sync Out ==== MIDI clock:OUT A ==================== ================== This screen has two sections, Sync In and Sync Out.
Chapter 10: Syncing to Tape and Other Devices 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. This code contains no location information, so when syncing to it, you must start both devices from the beginning of the song in order for them to play in sync. Because of this, the MPC60 always plays from bar 1 when FSK24 sync is received.
Chapter 10: Syncing to Tape and Other Devices this field is set to OFF, incoming Song Position Pointer messages will be ignored. If SMPTE is selected in the Mode field, the following screen is displayed: ===== Sync In ====== Mode:SMPTE Start:00:00:00:00.
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 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 MPC60 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 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. • The Frames/sec field: This field has the same function as the similarly-labeled fields in the Tempo screen and the Sync Input section of the Sync screen. Use it to select which of the four SMPTE rates (30, 29.
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 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. To set the proper recording level, press ; this will start the SMPTE generation. Then set the recording level of the tape recorder to about -3dB. Press to stop generating. 6. Start the tape recorder recording. 7.
Chapter 10: Syncing to Tape and Other Devices COMMENT: If the MPC60 doesn’t respond properly to the sync signal, try adjusting the SYNC IN LEVEL control on the rear panel. Find the lowest setting to which the MPC60 responds, then increase the level by about 1/4 turn. COMMENT: When playing a sequence from bar 1 in response to incoming SMPTE, the timing of the first note in bar 1 will be slightly late. To get around this problem, insert a blank bar at the start of the sequence (or song).
Chapter 10: Syncing to Tape and Other Devices MIDI Time Code is SMPTE timecode encoded over MIDI. Since it is a MIDI signal, it cannot be recorded on tape. Rather, it is used to sync to devices such as drum machines and sequencers. The MPC60 does not generate MIDI Time Code, but does sync to it when received from an external source.
Chapter 10: Syncing to Tape and Other Devices To play back the MPC60 in sync to the tape: 1. Connect the output of the tape track that contains the FSK24 signal to the SYNC IN jack of the MPC60. 2. Set the SYNC IN LEVEL control on the rear panel to about 1/2. 3. In the Sync screen, set the Mode field (Sync Input section) to FSK24 and press SOFT KEY 1 until it reads . 4. Set up the MPC60 to play your sequence or song. 5.
Chapter 10: Syncing to Tape and Other Devices COMMENT: To smooth out any variations in tempo, the playback tempo is averaged over time. It is possible for the MPC60 to follow slight tempo changes, but larger changes will cause it to temporarily lag behind or lead. It is possible to use almost any clean signal rather than metronome clicks, but the signal used must be very distinct and short, such as a cowbell or closed hi-hat, and there must be a minimum of background noise.
Chapter 11: MIDI Functions
Chapter 11: MIDI Functions Assigning Pads to Note Numbers In the MPC60, 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 Functions ====== Assign Pads to Note Numbers ====A 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. These 64 assignments are stored within each program (and saved in the PGM file).
Chapter 11: MIDI Functions MIDI Receive Channel, Local Mode, Soft Thru, Note Variation Controller Assign and Sustain Pedal Processing Selecting option 2 (MIDI routing, note var cntl, sust pdl) from the MIDI key menu will display a screen that provides access to a variety of MIDIrelated parameters: ============= MIDI Routing ============A 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 Functions are using a single keyboard synthesizer (the keyboard and sound generator are together in one unit), this field should be set to OFF (or the keyboard’s Local Control should be set 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 Functions advantage of allowing you to adjust durations of sustained notes individually in Step Edit mode. There are some situations in which converting sustain pedal to duration is undesirable: 1. On some synthesizers, this special sustain method will cause the synthesizer to ignore any new notes played after all available voices are used, because the synthesizer thinks the keys are still held. 2.
Chapter 11: MIDI Functions MIDI Input Filter Selecting option 3 (MIDI input filter) 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 MPC60: ===== Sound Generator Input Filter ====A 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 sec
Chapter 11: MIDI Functions The Sequencer Input Filter section: • The Event and Pass event? fields: The Event field is a choice field and can be set to any one of the following event types: 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 . . .
Chapter 11: MIDI Functions large numbers of these events exist in a sequence. In many cases, however, many more of these events are output from the keyboard than are necessary to produce the desired effect. 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.
Chapter 11: MIDI Functions Using the MPC60 with External Sequencers If you use the MPC60 with an external sequencer, here’s how to use only the sound generator or pads over MIDI. How to use the MPC60 only as a sound generator receiving notes from another sequencer 1. Press the MIDI key and select option 2. In the screen that appears, set the Active track receive channel field to the channel you want the MPC60 to receive on. 2.
Chapter 11: MIDI Functions 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 MPC60 will send MIDI Note Off messages for every note (0–127) on every channel.
Chapter 11: MIDI Functions The MIDI Implementation Charts This section contains the MIDI implementation charts for the MPC60. 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 MPC60 and your other MIDI instruments.
Chapter 11: MIDI Functions Model: MPC60 (sequencer section) Function Basic Channel Mode Note Number Velocity Default Channel Default Messages Altered True Voice Note ON Note OFF Key’s Ch’s After Touch Pitch Bender Control 0–127 Change Prog Change True# System Exclusive System :Song Pos :Song Sel Common :Tune System :Clock Real Time :Commands Aux :Local ON/OFF Mes:All Notes Off sages :Active Sense :Reset Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY MIDI Implementation Chart Version: 3.
Appendix
Appendix Technical Specifications of Akai MPC60 General • Display: 320 character (240 x 64 dot graphic) LCD • Disk drive: 3.5 inch DD (793KB formatted) • CPU: 80186 @ 10MHz • Dimensions: 495(W) x 127(H) x 471(D) mm • Weight: 10.5 kg • Power requirements: 100 VAC (50/60Hz)/30W; 120VAC (60Hz)/32W; 220VAC (50Hz)/30W; 240VAC (50Hz)/30W Sound Generator • Sampling rate: 40kHz (frequency response: 20Hz–18kHz) • Sampling capacity (mono): 13.1 seconds standard; 26.
Appendix • Sync output level: 1.
Appendix Answers to Frequent Questions If you discover a problem in the Version 3.1 software, we at Roger Linn Design would appreciate it if you would please read the relevant section of the manual to make sure you correctly understand the operation before calling us. Here are some answers to commonly asked questions and problems: When I play a particular sequence or song, the timing is irregular.
Appendix 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 (MIDI key, option 3). 2. Erase any tracks that are turned off but still exist in the sequence. Turning a track off (the On field in the Play/Record screen) reduces the processing requirement for playing the track, but doesn’t eliminate it. 3.
Appendix the external sequencer, then set both the Soft thru and Local mode fields to OFF. These fields are in the screen accessed by pressing the MIDI key and selecting option 2. When I play a key on my keyboard synthesizer while connected to the MPC60, two voices play in my keyboard for every one key pressed. Why? When you play a key on the synthesizer keyboard, it plays the note internally and also sends a note over MIDI to the MPC60.
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) MIDI channel name for each of the 64 MIDI output channels (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) Monitor setting (on/off) Record length Record level 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 (Second Sequence screen) Sequence number (Hard Disk Format screen) Disk Type select (standard or Syquest) (Lo
Appendix MPC60 Options This section describes the two options available for the MPC60. Expanding the Sound Memory The MPC60 includes 750KB of sound memory (13.1 seconds) but is expandable to 1.5MB (26.2 seconds) using a special 750KB memory board. This expansion board can be purchased from a California company called Mountain International. They can be reached at (619) 473-8374.
Appendix Using Version 3.1 Software in the Akai ASQ10 Sequencer Version 3.1 software may be installed in the Akai ASQ10 MIDI Sequencer, substantially enhancing its sequencing capabilities to that of an updated MPC60. This is because the ASQ10 is internally identical to the MPC60’s sequencer section, lacking the MPC60’s sound generation, sampling and drum pad functions. However, version 3.
Index
Index [<] and [>] keys, 35 [<<] and [>>] keys, 35 + and – keys, 13 16 LEVELS key, 22 2nd SEQ key, 56 Active Track, defined, 30 All Notes Off, 213 Analyzing Sequence message, 221 Answers to frequent questions, 220 Appendix, 217 ASQ10 Sequencer, installing version 3.1 software in, 228 Audio Trigger, 148 AUTO PUNCH key, 54 Example, 55 BANK 2 key, 18 Bar.beat.
Index Loading an MPC60 version 1 or 2 SET or ST1 file, 172 Loading files, 165 Loading MPC60 version 1 or 2 ALL files, 170 Loading MPC60 version 1 or 2 sequence files, 167 Making a SCSI device active, 186 MIDI Files, 177 Partitions of hard disk, 185 Renaming files, 165 Saving a PAR file (system parameters), 163 Saving a sequence, 156 Saving a single program (and its sounds), 159 Saving a single sound, 158 Saving an ALL file (all sequences and songs), 157 Saving an APS file (all programs and sounds), 161 Sav
Index MIDI channels, 26 MIDI System-Exclusive Data, recording, 64 MIDI Tracks, 26, 30 Mix Data, setting all channels at once, 129 Mix, automated, 132 Mixer source select, 131 Mixers, text view, 128 Multichannel Sequence Recording, 60 Note Number Assignment, globally editing, 82 Note Number, defined, 15 Note Repeat, 45 Note variation Globally editing, 83 Note Variation 16 LEVELS key, 22 AFTER key, 21 Assigning slider to performance parameters, 20 Controlling from external MIDI controller, 207 Defined, 19 Sl
Index Punching in and out, 28, 34 Record 16 Channels, 60 RECORD key, 34 Record Level Control, 139 Record Ready mode, 27 Reversing sample data, 143 REWIND keys, 35 Sample data, editing, 143 Sampling a new sound, 136 Sampling, an example, 139 Sampling, parameters, 136 SCSI option, 227 Searching SCSI for hard disk, eliminating the power-on delay, 188 Sequence, defined, 14 Sequencer, using the MPC60’s sounds and pads with another, 212 Sequencer, using the MPC60’s sounds and pads with another;, 221 Sequencers,
Index Track, defined, 14 Transposing, 97 Shift Timing, 78 Shift Timing (in Timing Correct), 44 Soft Keys, 13 Soft Thru, MIDI, 206 Software version, 59 Songs An example of creating, 104 Converting a song into a long sequence, 106 Defined, 14 Overview, 100 SONG MODE key, 101 Song Mode screen, 101 Sound Module, using the MPC60 as a, 212, 221 Sounds Compressing, 152 Defined, 15 Deleting all, 146 Finding the Best Soft Start, 142 Gain Switch (rear panel), 139 Record Level Control, 139 Renaming, copying and delet
Index SMPTE, 190, 192 SMPTE, generating, 195 SMPTE, syncing to, 197 Sync screen, 190 Turning sync input on and off, 195 System Parameters, initializing, 60 System-Exclusive Data, recording, 64 Tap Averaging, 49 TAP TEMPO key, 51 Technical specifications, 218 Tempo Adjusting, 29, 47 BPM/FPB, 48 BPM/FPB select, 28 Frames/second, 48 Source select (master or sequence), 29, 47 Sync, external, 189 TAP TEMPO key, 51 Tap Tempo, Tap Averaging, 49 Tempo changes, mid-sequence, 50 Tempo screen, 47 TEMPO/SYNC key, sync
