SAMPLING UNIT Owner's Manual
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Thank you for your purchase of the Yamaha SU700 sampling unit. The SU700 is a combination sampler, sequencer, mixer, and multi-effector— a powerful new tool for a wide range of performance and recording environments. This manual will help you learn what you need to know to make effective use of all of the SU700’s many features. Please read through the essential parts of the manual carefully before beginning work with the SU700, and refer back to the manual for additional information as necessary.
Intro Features The SU700 is an ideal tool for artists in need of sampling and sequencing capabilities for their recording and performance work. Here is just an abbreviated list of what’s included. ◆ Forty-two tracks. With 40 sample tracks plus 2 special tracks, you can make your songs as complex as you wish. ◆ Three different sample track types.
Please check your SU700 package to confirm that all of the following accessories are present. If any items are missing or damaged, please contact your Yamaha dealer for assistance.
Intro ■ Chapter 3: Basic Concepts, Track Types, and Memory Introduces basic concepts underlying SU700 operation. Also provides a detailed explanation of the different track types, and explains how the SU700 memory is organized. You should read through this chapter before you begin serious work with the SU700. ■ Chapter 4: SU700 Operating Modes Describes the six operating modes.
Appendix 1 provides detailed instructions for installing each of the SU700’s supported options. Appendix 2 gives the SU700 specifications. Appendix 3 offers a number of helpful usage tips. Appendix 4 explains the SU700 error messages. Appendix 5 lists and describes the 43 built-in effects and their associated parameters. Appendix 6 explains the MIDI implementation. Notations This manual employs the following notational conventions.
Intro Finally, please note that screen illustrations and other drawings presented in this manual are for explanatory purposes only, and in some cases may differ from actual displays and configurations.
Table of Contents Yamaha SU700 Sampling Unit Owner’s Manual Features ............................................................................................................. 6 Accessories ........................................................................................................ 7 Using the Manual .............................................................................................. 7 Notations ........................................................................................
Table of Contents Chapter 8 Knob Functions 8.1 8.2 8.3 8.4 Chapter 9 Overview .............................................................................................. 194 Knob Settings for Each Track ............................................................ 195 Quantize and Resolution .................................................................... 196 Parameter Descriptions ...................................................................... 197 Editing Functions 9.1 9.2 9.3 9.
CHAPTER 1 Chapter 1 SU700 Components, Connections, and Startup This chapter describes the SU700’s layout and screen displays, shows you how you can connect the SU700 to other devices, and takes you through the SU700 startup procedure. CONTENTS 1.1 SU700 Layout 14 1.2 SU700 Display Configuration 23 1.3 Connecting Up 29 1.
Chapter 1 SU700 Components, Connections, and Startup 1.1 SU700 Layout This section explains all of the SU700 components. 1.1.1 Main Panel N L M K J H I G F O E D C B A P 0 1 9 8 7 2 3 4 5 6 1 Display The display provides all the information you need to work effectively at the SU700. For a detailed explanation of common screen displays and indications, see page 23.
The SU700 provides four track banks, each with ten sample tracks. This gives you a total of 40 sample tracks. This means that each song can utilize anywhere from 1 to 40 samples. 3 Sample Track Pads You use these 10 pads to control play on the sample tracks, and to select tracks for sample recording, track editing, and track setup. Each pad can be used to control a variety of operations. At any given time, each pad controls a single operation only.
Chapter 1 SU700 Components, Connections, and Startup 7 Knobs You use these knobs to control the values of multiple parameters (or knob settings) on each track. At any given time each knob controls a single parameter only. You use the KNOB FUNCTION panel (see item 9 below) to switch the parameter controlled by the knobs. When you are working the main screen, each knob controls its default parameter. You can set these default separately for each track using the TRACK SET | MAIN job (→ p.231).
Available functions include most of the knob functions, and a special scratch function that lets you scratch out the sound of a selected track—the same kind of sound that you would get by manually turning a vinyl record forward or backward. For more information about ribbon use, see page 172. C [CANCEL] and [OK] Buttons Use these buttons to confirm or cancel various operations, or to move forward or backward through the various job screens. Actual operation varies according to the SU700’s current state.
Chapter 1 SU700 Components, Connections, and Startup J [UNDO/REDO] Button You use this button to undo or redo all changes that you recorded into your song during your previous recording pass. This feature is useful for undoing poor results, or for comparing “before” and “after” versions to determine which you want to keep. The [UNDO/REDO] button operates only while the sequencer is in PLAY STANDBY mode. (→ p.183) K Sequencer Controls Use these buttons to control the sequencer.
Note that you can store and initialize scenes only while the sequencer is in PLAY or PLAY STANDBY mode. You can recall scenes at any time. For more information about scenes, refer to page 176. If MARKER: Use markers [1] to [8] to store song positions or to immediately jump the song to a stored position. These buttons only work while the sequencer is in PLAY or PLAY STANDBY mode. To store the current position, hold down one of the marker buttons for about 1.5 seconds, until the screen says MARKER STORED.
Chapter 1 SU700 Components, Connections, and Startup 1.1.2 Front Panel 3 1 2 4 1 Floppy-Drive Slot The drive accepts 3.5" floppy disks (2HD or 2DD). You can use the disks to save and reload all data, and to import commercially available sample or voice data. 2 Floppy Eject Button Press this button to eject the floppy disk currently inserted in the slot. Remember: Do not eject the disk while the access lamp is lit.
7 9 8 CHAPTER 6 1 1.1.3 Rear Panel SCSI OPTICAL IN OUT DIGITAL IN OUT AS6 AS5 ASSIGNABLE OUT AS4 AS3 AS2 AS1 POWER ON/ OFF MIDI OUT STEREO OUT R L/MONO IN ANALOG INPUT R L AC INLET CAUTION RISK OF ERECTRIC SHOCK DO NOT OPEN ATTENTION :RISQUE DE CHOC ELECTRIQUE ME PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ERECTRIC SHOCK WARNING DO NOT EXPOSETHIS PRODUCTTO RAIN OR MOISTURE. 1 2 3 4 5 ∗ Circled numbers indicate standard connectors. Numbers enclosed in squares indicate options.
Chapter 1 SU700 Components, Connections, and Startup 4 AC Inlet Connects to SU700 power cord. CAUTION Use the supplied power cord only. Use of a different cord may result in electric shock or device damage. 5 POWER Switch Switches the SU700 power ON and OFF. 6 OPTICAL IN/OUT connectors 7 DIGITAL IN/OUT connectors Use the OPTICAL connectors to input or output digital audio signals over opticalfiber cable.
You refer to the SU700 screen for information and guidance during all SU700 operations. This section presents an overview of the various screen displays. The first part, “Screen Layout,” introduces the various elements of the display panel. The second part, “Main-Screen and Function-Screen Displays,” shows screen examples for the two most frequently used working environments. The third part, “Other Screen Indication,” gives an overview of less commonly encountered screen indications. 1.2.
Chapter 1 SU700 Components, Connections, and Startup 5 Track indicator .......... When you are working at the main screen or a function screen, each vertical bar meter (or track meter) indicates the relevant knob-function value for the corresponding track (of the current bank). The brackets (above and below the meter) are visible if the track is not muted; they disappear if the track is muted.
The screen display content varies according to the current machine state. This section shows screen displays for two most commonly used machine states. Main Screen This screen that appears immediately following power-on. It is also the default screen, and will reappear when you exit from job mode, when you finish sample recording, and when you press [OK] to escape from a function screen. Note that this screen can appear only while the sequencer is operating in PLAY STANDBY or PLAY mode. (→ p.
Chapter 1 SU700 Components, Connections, and Startup Function Screen You enter this screen from the main screen when you press any knob-function or pad-function button, or when you press the [REC] button. When you are working at a function screen, knob functions and pad functions are the same on all tracks. A typical display appears as follows. 1 2 4 3 6 5 Appears only if you have pressed to set the sequencer into RECORD mode. Indicates the current pad function. Indicates the current knob function.
NOTE: For TRACK EDIT | EVENT COPY, TRACK EDIT | EVENT INIT etc., it is also important to know whether a selected track contains recorded sequence data. For these jobs, six bars will appear at the center of the bracketed area to indicate that the track contains both a sample and some sequence data. Sample only: Sample plus sequence data: Sample Recording Meter When you are standing by to record a sample (or to execute a resampling job), the meter operates as a two-bar horizontal level meter.
Chapter 1 SU700 Components, Connections, and Startup Flashing Parameters When you are working at a screen that allows you to set more than one parameter value, the parameter currently selected for setting will be blinking, indicating that you can proceed to change its value by turning the dial (or pressing an appropriate button). Note that only one parameter can be blinking at any given time. In the screen illustration shown above, for example, the 44K value (frequency setting) is flashing.
Power Connect the power as follows. that the power switch (on the rear panel) is in the OFF position (pro1. Confirm truding from the panel). If the switch is ON, press it so that it pops out into the OFF position. the small end of the supplied power cable to the power inlet on the rear 2. Connect panel. 3. Connect the other end to a standard wall outlet. CAUTION Do not connect the power while the power switch is ON.
Chapter 1 SU700 Components, Connections, and Startup To enable input, you must set the AUDIO IN parameter to the source you wish to use. You can set the parameter using the SYSTEM | SETUP job; see page 302. The SU700 can only accept input from one source at a time. CD Record (turntable) Microphone STEREO OUT R L/MONO ANALOG INPUT R L Electric keyboard Output You can connect any or all of the following.
1 CHAPTER STEREO OUT R L/MONO ANALOG INPUT R L Using the AIEB1-board outputs If you have installed the optional AIEB1 board (input/output expansion board), you will be able to use the board’s assignable and digital/optical outputs. Note the following points. • Under factory defaults, the output goes to the STEREO OUT jacks. • The signal to the STEREO OUT jacks is also directed to the DIGITAL OUT and OPTICAL OUT connectors.
Chapter 1 SU700 Components, Connections, and Startup MIDI Connections ● If you are going to use an external MIDI device to synchronize SU700 playback or to control track play, run a MIDI cable from the MIDI OUT connector of the controlling device (or the MIDI THRU connector on an intermediate device) to the MIDI IN connector on the SU700.
● If you are connecting multiple devices in a chain, the SU700 must be at one end of the chain. It cannot be in the middle of the chain. ● If you are connecting to a single SCSI device, that device must be terminated. If you are connecting to a chain of SCSI devices, the device at the other end of the chain must be terminated. For information about SCSI termination, refer to the instructions provided with your external SCSI device(s).
Chapter 1 SU700 Components, Connections, and Startup 34 Chapter 1 SU700 Components, Connections, and Startup
This chapter takes you through a tutorial that will give you some quick hands-on experience with the SU700. The first part of the tutorial how to play the demo song and how to use various features. The second part of the tutorial takes you through the procedures for recording samples and building a song. CONTENTS 2.1 Setting Up 36 2.2 Listening to the Demo Song 37 2.3 Building Your Own Song 47 2.
Chapter 2 Tutorial 2.1 Setting Up First you will need to connect your audio system so that you can listen to the demo song and monitor the process of creating a song. You will also need to connect a CD player so that you can playback the sampling sources from the included audio CD. Connections Before you make connections, be sure that the power of the SU700, your CD player, and your audio system is turned off. 1.
2 CHAPTER Headphones PHONES 3. Turn the MASTER VOLUME of the SU700 and the volume controls of your CD player and audio system all the way down to 0. Turn down to 0 Do not turn on the power yet. We still need to prepare the SU700 to auto-load the demo song when its power is turned on. 2.2 Listening to the Demo Song This section shows you how to load and play the demo song included in the accessory floppy disk.
Chapter 2 Tutorial Procedure the accessory floppy into the slot on the SU700 front panel. 1. Insert Insert with label facing up and shutter facing the front panel. Push in lightly until the ● disk clicks into place. 2. Switch on the power to the SU700. SU700 begins automatic loading of the song data. While data is being loaded, 3. The the display will indicate “LOADING …” ● Do not eject the floppy disk or switch off the SU700 power while the word LOADING...
2 Playing the Demo ■ You’re now ready to play the song. Press the sequencer start button ( ) to begin playback of the song. ● Adjust the volume by turning the MASTER VOLUME knob. ● You can stop playback by pressing the stop button ( ● You can jump back to the top of the song by pressing CHAPTER ● ). . Use this knob to adjust the volume.
Chapter 2 Tutorial ■ Changing the Tempo 1. Press the [BPM] button. ◆ The BPM indication on the screen begins blinking. 2. Turn the dial to change the tempo. Turn right to increase the tempo, or left to reduce it. Another way to set the BPM: You can use the [BPM COUNTER] button to tap out the tempo that you want to use. The SU700 automatically detects the tempo and displays it in the BPM area. If you wish to use the newly displayed tempo, press [OK].
ON MUTED (These tracks (These tracks are audible.) are silenced.) ■ Using the ROLL Pad Function The roll function generates a drum-roll (machine-gun) type of sound by rapidly repeating the first part of the sample. The repetition rate is set by the interval, or “resolution.” Let’s try it out now. 1. Set the roll rate (the “resolution”). Press the [NOTE] button once. Then hold down the [ROLL] pad-function button.
Chapter 2 Tutorial ■ Using the LOOP START Pad Function You can use this feature to restart the loop on any of the LOOP or COMPOSED LOOP tracks. Press the [LOOP RESTART] pad-function button. The upper part of the display 1. will indicate “LOOP RESTART.” the song playing, try pressing the pad on any (un-muted) LOOP or COM2. With POSED LOOP track that you wish to restart. The track’s loop phrase jumps back to the top when you press the pad.
3. Now press the [PLAY] pad-function button, so that pads can be used to play the Now you can use the pads to play the samples. Try pressing the pad for each track to hear the sample. By doing this you can identify all of the song’s samples and the tracks they are located on. ■ Adjusting the Levels The sound from each track is conditioned by numerous parameter settings. These are called knob settings, since you control them using the track knobs.
Chapter 2 Tutorial 2. To adjust the level on any track, turn the track’s knob. You can listen to the result by hitting the track’s pad. Rotate the knob for the LOOP1 track to adjust the volume ■ Adjusting the Other Parameters Now try adjusting some of the other parameters in the same way. First press the button on the Knob Function panel, and then turn the knobs on each track while at the same time hitting the pad so that you can hear the sound.
■ Trying Out the Scratch Function Under factory defaults, the ribbon is set to control the scratch function. Assuming you haven’t changed the ribbon setup, you can proceed without making any adjustment. NOTE: If you have already changed the ribbon function to something other than SCRATCH, you can change the setting using the SYSTEM | SETUP job, as described following the procedure given below. 1. Hold down the [RIBBON TRACK] button and press the pad for the first LOOP track.
Chapter 2 Tutorial NOTE: To provide this function, the SU700 maps the sample to the ribbon, with the start point of the sample mapped to the bottom of the ribbon. Each point on the ribbon corresponds to a specific location on the sample waveform. For more information, see page 173. Sample start point ■ Using the Ribbon to Control the Level Now let’s change the ribbon function so that the ribbon can be used to control the LEVEL on each track. 1. Select the SYSTEM | SETUP job.
NOTE: Touching the ribbon at the very bottom causes the track’s LEVEL setting to immediately drop to 0; touching the ribbon at the top causes the tracks LEVEL setting to jump to 127. You can also slide your finger up or down the ribbon so as to adjust the value more gradually. ■ Using the Ribbon to Control Other Parameters Now try using the ribbon to control some of the other functions. Repeat the above procedure but at step 3 select some function other than LEVEL or SCRATCH.
Chapter 2 Tutorial ● Track Structure Our song will use all of the tracks in bank 1 plus FREE tracks 1–4 of bank 2, for a total of fourteen tracks. Tracks 79–92 of the included audio CD (SU700 Sampling Audio) contain the sample sources that we will use for this tutorial. First let’s sample these sources and use them to create a song. NOTE: Tracks 79-92 were created by processing sources from tracks 1-78.
As with the sample on FREE 1, we’ll set the sound up in two different ways for track banks 1 and 2, so we can get different sounds in different sections. * This CD features samples from the world’s foremost sample developer — AMG. ● Structure of the song Our song will consist of 10 sections, as outlined below. Measure Section Description 001 : : : : Intro A • Track bank 2 samples are used for FREE tracks 1–4. • We’ll play the sample on FREE 1 continuously (all the way through to the end of Intro B).
Chapter 2 Tutorial The above design plan is intended to give you an idea of how we will go about building the song. But note that when building your own songs, you do not need to set up a detailed plan ahead of time. You can use knobs, pads, and the ribbon controller freely to try out different ideas while listening to the sounds and using mutes to switch different combinations of samples on and off.
2 press [OK] once more. Dial [OK] button With this setting, the included audio CD can be used as a source for sampling. NOTE: You can also supply sound through a microphone connected to the ANALOG IN input(s), provided that you first set ANALOG INPUT to MIC . If you have installed the optional AIEB1 board (optional I/O expansion board), you can also record samples directly through the board’s OPTICAL or DIGITAL connectors. 4. Press the [SAMPLING] button. The screen displays the SELECT TRACK message.
Chapter 2 Tutorial select the track you want to record on. In this case we are going to record on 5. Now the first LOOP track in bank 1. (We will call this track “LOOP 1.”) So press TRACK BANK button [1], and then hit the first (leftmost) LOOP pad. The brackets move to this track to indicate that it is selected.
To adjust, press the right arrow button twice to select the format parameter, so that the parameter is blinking on the screen. Then turn the dial to select MONO L. Press twice let’s adjust the input level from the CD. First, start playback of track 79 on the 7. Now sampling CD. ▼ If the CD player is correctly connected to the SU700, you will hear the sound coming through the SU700 and you will see the level meter moving on the screen.
Chapter 2 Tutorial NOTE: If you are recording to a digital input on the optional AIEB1 board, the parameter settings and level settings are fixed. you have finished setting the level, press the [SAMPLING] button on the SU700 8. After to begin recording. To stop sampling, press the button once again. ● Track 79 repeats the same phrase four times. You can sample at any location that is convenient. NOTE: You generally want to include excess material at the beginning and end of your recording.
NOTE: • If the recording results are not acceptable, you can simply repeat the previous procedure to record the sample again. When you select the same track as the recording destination, the SU700 will display the query REPLACE?, asking you whether you wish to replace the data that you have already recorded. Simply press [OK] to proceed. • The following steps show how to edit the sample’s length. When working on your own, you may also want to edit the sample in other ways as well.
Chapter 2 Tutorial press the top job selector if you wish to adjust the start point, or the second job 3. Next, selector if you wish to adjust the end point. You can move back and forth between the two adjustments as necessary by pressing these two buttons. Then press here or here to move to start-point or endpoint adjustment screen. Press here first (one time only.) selecting the start point (or end point) adjustment screen, you can adjust the 4. After start point (end point) by turning the dial.
■ Recording the Sample Using the same procedure as we did for the LOOP 1 track, we will now sample Track 80 (bass phrase) from the included audio CD to the LOOP 2 track. Procedure the [SAMPLING] button to enter sample-recording mode. 1. Press The screen displays the [SELECT TRACK] message. 2. Press the second LOOP pad to select the track. Then press [OK]. 3. Set the sampling parameters as follows: the CD player, play the sample, and adjust the level (using the ANALOG LEVEL 4.
Chapter 2 Tutorial NOTE: You can also listen to the both loop tracks together by starting the sequencer (by pressing ).You may want to try this to get an idea of how the loops sound when playing together. But remember that you must stop the sequencer before you can proceed to edit the sample length. use the SAMPLE | START POINT and SAMPLE | END POINT jobs to adjust the 2. Now playback range (the length) of the LOOP 2 sample. (Again, you can find full details about these jobs on page 258.
LOOP LENGTH=008 means that the loop is 8 beats long when calculated at BPM=172. If the display indicates the wrong loop length for the two loops, use the dial to correct the settings to LOOP LENGTH = 004 for LOOP 1, and LOOP LENGTH=008 for LOOP 2. The BPM will be recalculated automatically, and should be a value in the region of 172. ● Adjusting the volume balance Here’s how to adjust the volume balance between the LOOP 1 track and the LOOP 2 track. Procedure 1. Press the SOUND group [LEVEL] button.
Chapter 2 Tutorial ● Adjusting the groove When you listen to LOOP 1 (drums) and LOOP 2 (bass) together, the groove may not match precisely. There are several possible reasons. ● Loop point connections If the loop points of the sample do not coincide with beats, the groove will not feel right. → Try making fine adjustments to the start/end points of the sample. Even if the loop length is identical, the location of the connection between start/ end points can affect the groove.
Notice how the groove changes. ). CHAPTER For this example, let’s set this parameter to an 8th note ( MEASURE BPM NOTE ● Aligning the left and right channels of a stereo sample In the case of a stereo sample, skewed timing between the left and right channels may impair the groove. → This can be solved by converting the stereo sample to a mono sample. (SAMPLE | PROCESS/STEREO TO MONO. p.270) Here we will end our work on the LOOP 1 and LOOP 2 tracks. Next let’s proceed to the COMPOSED LOOP tracks. 2.
Chapter 2 Tutorial ■ Recording to the Sequencer Now we will record the CL1 track sample to the sequencer. The sample of a COMPOSED LOOP track will playback as a loop over the specified length (number of measures). The CL1 track sample will play as a loop of 16 quarter-note beats (i.e., 4 measures), and will sound for five beats starting at the beginning of the third measure. (See diagram below.
ensure that pads can be used to record notes. ◆ The SU700 displays a function screen (similar to the one shown below). Note that the “REC” and “PLAY” indications appear along the top of the screen. we want to set the quantize interval. Press the [NOTE] button, so that the 2. Now QUANTIZE= indication is blinking. Then turn the dial to set the quantize value to quarter note ( ).
Chapter 2 Tutorial to start song recording (to switch the sequencer into REC mode), and 3. Press get ready to press the CL1 pad to record the note event for your loop. Watch the location indicator as the SU700 plays through the lead-in measures and the first two measures of the song. Press the pad when the indicator is reaches 003:1, hold it for five beats, and release it just before the indicator reaches 004:2. Allow the sequence to keep playing.
CL1 sample Undo Redo disappears ● To delete a sample that was recorded by mistake + ), and at the location where the sample Put the sequencer in recording mode ( you wish to delete is played, hold down the JOB group [NOTE DEL] button and press the CL1 pad to delete any note-on data for the CL1 sample that occurs in that area. Since the CL1 track is a loop, the samples deleted from that area will disappear from the entire song.
Chapter 2 Tutorial ● Tips for recording ● If the tempo is too fast for you to achieve accurate timing, use the dial to lower the BPM setting and try recording at a slower tempo. ● You can press the [MEASURE] button, use the dial to move to the desired measure location, and begin recording from there. ● If you do not wish to listen the sound of other tracks while you record, you can mute those tracks before you begin recording.
If there is more than one note event, use to the first event. the next event, or to move to the previous event, to ● In addition to the location of a note event, you can also modify its velocity and gate time. 2.3.4 Setting Up The Second COMPOSED LOOP track (“CL2”) ■ Sampling As you did for the LOOP 1 track, sample Track 82 from the included audio CD to COMPOSED LOOP 2 (subsequently referred to as CL2). ● Set the sampling grade to “22K 8BIT MONO L.
Chapter 2 Tutorial 2.3.5 Setting Up The Third COMPOSED LOOP track (“CL3”) ■ Sampling Using the same procedure as you did for the LOOP 1 track, sample Track 83 of the included audio CD to the COMPOSED LOOP 3 track (hereafter referred to as “CL3”). ● Set the sampling grade to “22K 8BIT MONO L.” ■ Setting the Loop Length Using the same procedure as you did for the LOOP 2 track, set the CL3 track to “LOOP LENGTH=016.” ■ Recording the Loop Phrase Now we’ll record the sample to the CL3 track of the sequencer.
■ Recording the Loop Phrase The CL4 track is a loop 32 quarter-notes long (eight measures), and will play the sample starting at the first beat of measure 3 and extending for four beats. CL4 sample Record this phrase using the same method you used to record on the other CL tracks. Start the sequencer in REC mode, press the CL4 pad when the location indicator reaches 003:1, hold it for four beats, and release it just before the indicator reaches 004:1. 2.3.
Chapter 2 Tutorial ● For each sample, set the sampling grade to “22K 8BIT MONO L.” The sampling procedure is the same as for the LOOP 1 track. (→ p.50) When sampling to track bank 1, press the TRACK BANK button [1] before selecting the sampling track (the “SELECT TRACK” display). When sampling to track bank 2, press the TRACK BANK button [2]. Example: to select TRACK BANK=2 and FREE track 1 2.3.
NOTE: • You can also adjust the overall sound using the MASTER VOLUME knob. But the MASTER-track setting can be stored into a scene and reproduced each time you play the song. The MASTER VOLUME setting is not stored as song data. • LEVEL settings Track bank 1 LOOP 1 ........................... 127 LOOP 2 ........................... 075 COMPOSED LOOP 1 ...... 085 COMPOSED LOOP 1 ...... 080 COMPOSED LOOP 1 ...... 090 COMPOSED LOOP 1 ...... 075 FREE 1 ............................. 127 FREE 2 .................
Chapter 2 Tutorial 2.3.10 Putting the Song Together Now we’ll build a song using the samples we have recorded into our ten sample tracks in bank␣ 1. The song will consist of ten sections, as outlined on page 49 and again below. For each section we will use a different muting arrangement. For FREE tracks only, we’ll prepare two different sound setups (Setup “A” and Setup “B”), and use one or the other of these in each section.
Measure Section 001:1 : 009:1 : : 023:1 : : 025:1 : : 041:1 : : 057:1 : : 071:1 : : 073:1 : : 105:1 : : 121:1 : : 130:1 Intro A *1: Track Mutes *1 TRACK LOOP C.
Chapter 2 Tutorial ■ Storing the mute settings of each block to a scene button Let’s store the mute settings of the tracks for each song block to a scene button. ● Intro A = scene button [TOP] ● Ending B = scene button [G] Intro A and Ending B have the same mute settings. We will defeat muting only for the FREE 1–4 tracks of track bank [2], and mute all the other tracks. The same settings will be stored to scene buttons [TOP] and [G].
▼ This completes mute settings. Now we will store this condition to the [TOP] and [G] scene buttons. 5. Set the [SCENE/MARKER] switch to the SCENE position. 6. Continue pressing the [TOP] button until the display indicates “SCENE STORED.” set to the SCENE position 7. Release the [TOP] button. The settings have now been stored to the [TOP] button. store the same mute settings to the [G] button. 8. Next ▼ Press and hold the [G] button until the display indicates “SCENE STORED.” 9. Release the [G] button.
Chapter 2 Tutorial Procedure 1. Press the PAD FUNCTION [ON/MUTE] button. will start with the settings of the [TOP] and [G] scenes, and un-mute the CL1/2 2. We tracks of track bank [1]. ▼ Press the TRACK BANK [1] button to select track bank [1]. Then press the pads of CL1/2 tracks to make the bracket ( ) appear for the CL1/2 tracks. 3. Press the PAD FUNCTION [PLAY] button. 4. Set the [SCENE/MARKER] switch to the SCENE position. 5. Continue pressing the [A] button until the display indicates “SCENE STORED.
TRACK BANK [1] [2] LOOP 1 2 × × × × C.LOOP 1 2 3 4 × × × × FREE 1 2 3 4 × × × × ● Section D = scene button [F] Un-mute CL3/4 tracks of track bank [1] and FREE 1–4 tracks of track bank [2] so that they will be heard. TRACK BANK [1] [2] LOOP 1 2 × × × × C.LOOP 1 2 3 4 × × × × × × FREE 1 2 3 4 × × × × ■ Recording Scene-Recall Events Into the Song Now that we’ve set up the scenes, we’re ready to record the scene-recall events into our songs.
Chapter 2 Tutorial the location indicator. You now want to press and release the Scene [A] but3. Watch ton, timing your action so that you release the button as the song location is changing from 008:4 to 009:1. Then press scene buttons to record the remaining scene changes at the measure locations shown below.
NOTE: • Even if the song returns automatically to the top position when you finish recording, you must nevertheless press the button (or the [TOP] button, briefly) to restore the top scene. • If you are not happy with the results, you can use the UNDO/REDO feature to remove them. This feature works only while the sequencer is in PLAY STANDBY mode, and only on the events recorded during the last recording pass. (→ p.
Chapter 2 Tutorial 2.3.11 Recording the FREE Tracks Now that we’ve set up the basic structure for our song, we’ll proceed to record note and ribbon events onto our FREE tracks. This is the final step in the building of our song. NOTE: • If the PAD SENS parameter (in the TRACK SETUP | SETUP job) is set to ON, the COMPOSED LOOP and FREE track pads are velocity sensitive. This means that the loudness of the recorded note depends on the force with which you hit the pad (stronger force produces a louder sound).
2 MEASURE NOTE to begin recording. Allow the lead-in measures to pass, while watching the 4. Press location indicator. When the position reaches 001:1 (the actual start of the song), press and hold the FREE 1 track pad. Continue to hold the pad down for 22 measures, releasing it when the location reaches 023:1. NOTE: The number of lead-in measures is determined by the COUNTDOWN parameter in the SYSTEM | SETUP job (→ p.299).
Chapter 2 Tutorial the dial until the screen indicates that the function is set to SCRATCH, and press 3. Turn [OK]. let’s assign the ribbon so that it works with the second FREE track (FREE␣ 2). To 4. Now do this, hold down the [RIBBON TRACK] button and press and release the FREE 2 pad. ▼ Now you can use the ribbon controller to record scratch actions onto the FREE 2 track. Press to start recording. Slide your finger up and down the ribbon to record 5.
■ Building Sections A and B 2 Now we will record FREE tracks 1–4 of track bank 1 for sections A and B. For the other FREE tracks (FREE 2, 3, 4), you can strike pads to record notes (pad presses) at any locations you like while listening to the playback from the other tracks. ● Since the FREE track pads are velocity-sensitive, the force with which you strike the pads can be used to change the volume or record other types of data.
Chapter 2 Tutorial Recording on Other Free Tracks (FREE 2, 3, and 4) Put the sequencer in recording mode, and press the pads for FREE tracks 2/3/4 at the locations shown in the table below. MEASURE Section A Section B 025:1 028:1 032:1 032:4 036:1 040:1 040:4 041:1 044:1 048:1 048:4 052:1 056:1 056:3 FREE Tracks 2 3 4 ● ● ● ● ● ● ● ● ● ● ● ● ■ Building Sections C and D In sections C and D, the LOOP tracks 1 and 2 are muted.
Section E is simply two repetitions of Section B (16 measures). Record section E in the same way that you did for Section B. MEASURE 073:1 076:1 080:1 080:4 084:1 088:1 088:4 089:1 092:1 096:1 096:4 100:1 104:1 104:3 1 ● CHAPTER Record each track as shown in the following table. FREE Tracks 2 3 4 ● ● ● ● ● ● ● ● ● ● ● ● ● Building the Endings (Ending A and Ending B) Ending A is identical to Intro B, and Ending B to identical to Intro A. FREE 1 of track bank 2 is a long sample.
Chapter 2 Tutorial ● In the same way as for [LEVEL] settings, the parameters set by the KNOB FUNCTION buttons can be modified and stored again to a scene button. When the song is played back, the modified settings will be recalled. ● Detailed adjustments to note events can be made using the Event Edit function “LOCATION & VALUE” (→ p.246). ● Note, mute, roll, loop restart, and scene events can be deleted using an Event Edit function (→ p.246). 2.3.
CHAPTER the original name and return to the main screen.) The main screen will show the song name that you specified. 2 the same procedure to finish entering the name. Then press [OK] to register the 6. Use song name and return to the main screen. (Or press [CANCEL] at any time to restore Naming rules ● Names are limited to eight characters. ● The following characters can be used in a song name.
Chapter 2 Tutorial ● All names must be unique. If you attempt to use a name already in use by another song in memory, the screen will briefly display the NAME EXISTS message and then return you to the editing screen. You can then re-edit the name, or else press [CANCEL] to restore the original name. ● If you press the [OK] button when the song name consists only of blank spaces, the display will indicate “ILLEGAL NAME” for several seconds, and will then return you to the song name editing screen. 2.3.
3. Turn the dial as necessary to select the following, and press the [OK] button. 4. Confirm that the display appears as follows. ▼ If you have installed an ASIB1 board and mounted a SCSI drive, you may need to turn the dial to select FDD at the above screen. [OK]. The screen will display the volume name for the volume your are saving. 5. Press The default volume name for floppy-disk saves is FD VOLUM.
Chapter 2 Tutorial 8. When saving is completed, the main screen will reappear. 2.3.15 Loading a song Here’s how data (a volume) previously saved to a floppy disk can be loaded back into the SU700. When you load a volume, the previously-created song data as well as the SU700 setup data will be loaded. ● It is also possible to load individual samples from data that was saved as a volume. (→ p.
the [OK] button, and the load source volume select display will appear. Since 5. Press a floppy disk can contain only one volume, that volume name will be displayed. [OK] to load the volume. During this process, the display will indicate “LOAD6. Press ING…” ▼ At this time it is not possible to use [CANCEL] to cancel the loading process. loading volume data that was distributed across two or more floppy disks, 7.
Chapter 2 Tutorial 2.3.16 Techniques for song playback By taking advantage of various techniques as you playback a song, you can add variety to the performance. ● Using the function knobs ● When you press a KNOB FUNCTION button, the knobs of all tracks will perform the specified function. When the power is turned on, the knobs will control the volume (LEVEL) of each track. → When the [LEVEL] parameter is selected, you can create fade-in/out effects for an individual track.
● Use scene memory to change the settings of various parameters ● Function knob data and mute on/off settings can be stored in the scene buttons. (→ p.176) The scene buttons offer a wide range of possibilities; for example you might program a scene button to raise the pitch of all non-rhythm instrument by a semitone, or switch the LOOP tracks to other tracks, etc. ● By using SYSTEM/SETUP/REC MODE (→ p.300) to set the sequencer recording mode to “OVERDUB,” you can add scene changes to existing song data.
Chapter 2 Tutorial ● When a song is played back, the NOTE area of the display may indicate “QUANTIZE” or “RESOLUTION,” depending on the selected knob function or pad function. By setting “QUANTIZE,” you can correct the timing at which a sample is played. (The accuracy is specified as a note value.) “RESOLUTION” will appear when you use GROOVE to set the groove, or when you set the cyclic frequency of an effect, or when you use the [ROLL] button to roll-playback a sample.
In this section, we will sample these original sources, use effects, equalizer, and filter settings to modify them, and finally create a song. Track Structure Our song will use ten samples—thereby making use of all tracks in Bank 1. All tracks will use samples recorded from the included sampling CD (SU700 Sampling Audio). Using the procedure described in “Building Your Own Song,” go ahead and sample these unprocessed sources (tracks 79–92).
Chapter 2 Tutrial COMPOSED LOOP 4: ... Source: Track 45-13 (*Radiator) We’ll build an eight-measure effect-type phrase. We’ll drop the pitch of the original sample, and apply LFO modulation, filtering, and effects. FREE 1: ......................... Source: Track 64-1 (*Japaneez Rev) We’ll use a long sample, with a duration of at least four measures (16 beats). We’ll set the sound up in two different ways, and use the different sounds in different sections of the song. FREE 2: .........................
Measure Section Description 001 . . . . Intro A Sound type B settings are used for FREE tracks 1–4. We’ll play the sample on FREE 1 continuously (all the way through to the end of Intro B). We’ll use the ribbon control to scratch out the sound on FREE tracks 2–4 (both in Intro A and again in Intro B). 009 . Intro B FREE tracks continue as in Intro A, using the sound type B settings. At start of Intro B, begin bass loop phrases on COMPOSED LOOP 1 and 2. . 023 . .
Chapter 2 Tutrial Before you sample! Make sure that you have sufficient memory before you begin sampling. If you have loaded the demo song or created a song as described in the previous section, turn the power off and then on again to clear the memory before you begin creating the song described below. 2.4.1 Creating the LOOP 1 track ■ Sampling On the LOOP 1 track, we will record the last measure from track 14-2 “Dear John B (wet)-102 bpm” (drum phrase) of the included audio CD.
the amp simulator effect is a system effect (→ p.189), you can use the knobs to 2. Since independently adjust the depth of the effect for each track. ▼ Use the LOOP 1 track knob to set “AMP SIM=040.” At this time you can press the pad to hear the result. Rotate the LOOP 1 track knob to set In this example, we simply used the amp simulator that was assigned to [EFFECT 1] by default. However you are free to choose from 43 types of effect, and adjust the effect parameters as desired.
Chapter 2 Tutrial ● Equalizer (EQ) settings Next we will use the EQ/[LO GAIN] button to raise the level of the low-frequency region. Procedure 1. Press the EQ/[LO GAIN] button. display will indicate “EQ LO GAIN = +00.” Rotate the LOOP 1 track knob to 2. The make the display read “EQ LO GAIN = +24.” At this time you can press the pad to hear the results. LO GAIN setting of LOOP 1 track LOOP 1 track LO GAIN setting display for each track ● Pitch settings We will raise the playback pitch of the sample.
CHAPTER 2 2. Rotate the LOOP 2 track knob to make the display read “PITCH =+003.” ● Filter resonance settings We will raise the filter resonance to emphasize the overtones of the sound. Procedure 1. Press the FILTER/[RESONANCE] button. 2. Rotate the LOOP 2 track knob to make the display read “RESONANCE=000.” 2.4.2 Creating the LOOP 2 track ■ Sampling We will sample track 77-5 “Jumping Jaks” from the included audio CD to the LOOP 2 track.
Chapter 2 Tutrial ■ Track editing (creating a loop phrase) The LOOP 2 track is a loop that plays back endlessly, as is the LOOP 1 track. We will adjust the start/end point of the sample to create a loop that is suitable for our song. ● The loop phrase editing procedure is the same as described on page 55 of “Building Your Own Song.” ■ Modifying the sound ● Applying a band-pass filter We will use a band-pass filter to modify the sound of the LOOP 2 sample.
2 CHAPTER group of the knob function buttons, press the [CUTOFF] button, and ro3. IntatethetheFILTER LOOP 2 track knob to make the display read “FILTER CUTOFF=024.” press the FILTER/[RESONANCE] button, and rotate the LOOP 2 track knob to 4. Next make the display read “RESONANCE=050.” ● Effect settings The amp simulator effect that is assigned to the [EFFECT 1] button will be applied to the LOOP 2 track as well. Procedure 1. Press the EFFECT/[EFFECT 1] button. 2.
Chapter 2 Tutrial ● Pitch settings Since we want to use the sample of the LOOP 2 track to play the bass, we will lower its pitch. Procedure 1. Press the SOUND/[PITCH] button. 2. Rotate the LOOP 2 track knob to make the display read “PITCH=-045” At the location where you want to audition the sound, press the sequencer button and listen to the LOOP 1 and LOOP 2 tracks. When you start the sequencer, the samples of the LOOP 1 and LOOP 2 tracks will loop repeatedly.
2 CHAPTER 2. Rotate the dial to select “LOOP LENGTH,” and press the [OK] button. current loop length (which was set automatically) will be displayed. Rotate the 3. The dial to make the display read “LOOP LENGTH=008,” and press the [OK] button. ● BPM setting button, and while you listen to check that LOOP 1 (drums) Press the sequencer and LOOP 2 (bass) are suitably synchronized, set the BPM. Press the [BPM] button, and set the BPM display to “172.0.
Chapter 2 Tutrial 2.4.3 Creating the COMPOSED LOOP 1 track ■ Sampling We will sample track 75-1“Lo Note Rezo C2” from the included audio CD to the COMPOSED LOOP 1 track (subsequently referred to as CL1). ● The sampling procedure is the same as described on page 50 of the preceding section, “Building Your Own Song.” ● Set the sampling grade to “22K 8BIT MONO L.” ■ Modifying the sound For the CL1 track, we will set the following four parameters. [Settings] SOUND group .......... [PITCH] +042 FILTER group ..
) will be shown in the effect has several parameters which adjust some aspect of the effect. By modi3. Each fying the parameter settings, you can change the speed or depth etc. of the effect. , ) to select the desired parameter, and use the dial ▼ Use the cursor buttons ( to modify its value. For this example, we will set the parameters of the 1DELAY effect to the following values. (Parameters marked by * differ from their default values.) FBLVL ............ +32 FBHIDMP ...... 008 LOWGAIN .....
Chapter 2 Tutrial 6. Turn the knob for track CL1 to make the display read “1DELAY=020.” let’s set the delay interval of 1DELAY to match the BPM of the song. 7. Now Press the [NOTE] button to that “RESOLUTION=” is blinking. Then turn the dial to select a note value of . ■ Loop length setting Using the same procedure as you did for LOOP 2, set the sample loop length of the CL1 track to “LOOP LENGTH=016.” ■ Recording to the sequencer Now we will record the sample for the CL1 track on the sequencer.
2. Press the [NOTE] button, and turn the dial to set Quantize to a quarter note ( ). the sequencer button to start recording, and at the beginning of measure 3 3. Press (MEASURE display 003:1), press and hold the CL1 pad for five beats. Release the pad immediately before you reach 004.2. 2.4.4 Creating the COMPOSED LOOP 2 track ■ Sampling The CL2 track will use the same sample as the CL1 track, but we will modify its pitch. For this reason, we won’t need to sample a sound for the CL2.
Chapter 2 Tutrial ■ Modifying the sound For the CL2 track, only the pitch will be different. [Settings] SOUND group .......... [PITCH] +100 Use the same procedure as for the LOOP 1 and 2 tracks to make settings. ■ Loop length setting Using the same procedure as when you set the LOOP 2 track, set the sample loop length of the CL2 track to “LOOP LENGTH=016.” ■ Recording to the sequencer Now we will record the sample for the CL2 track on the sequencer.
■ Sampling We will sample track 45-1 “*Harp Gliss Down” from the included audio CD to the COMPOSED LOOP 3 track (subsequently referred to as CL3). ● The sampling procedure is the same as described on page 47 of the preceding section, “Building Your Own Song.” ● Set the sampling grade to “22K 8BIT MONO L.” ■ Modifying the sound For the CL3 track, we will set the following parameters. [Settings] SOUND group .......... [PAN] L30 [PITCH] +062 LFO group ................ [SPEED] 026 [FILTER] 068 FILTER group ...
Chapter 2 Tutorial Begin recording using the same procedure as for the CL1 track, and at the first beat of the first measure (MEASURE display 001:1), press and hold the CL3 pad. Continue holding it for three beats, and release it immediately before 001:4. 2.4.6 Creating the COMPOSED LOOP 4 track ■ Sampling We will sample track 45-13: “*Radiator” from the included audio CD to the COMPOSED LOOP 4 track (subsequently referred to as CL3).
CL4 sample Begin recording using the same procedure as for the CL1 track, and at the first beat of the third measure (MEASURE display 003:1), press and hold the CL4 pad. Continue holding it for four beats, and release it immediately before 004:1. 2.4.7 Creating the FREE tracks Later, we will record all of the FREE tracks into the sequencer. First, let’s sample the sounds for the FREE tracks 1–4, and modify the sounds.
Chapter 2 Tutorial [Settings] ● FREE 1 track SOUND group .......... [PITCH] FILTER group ........... [CUTOFF] [RESONANCE] EFFECT group ......... [EFFECT 1] [EFFECT 2] [EFFECT 3] +24 068 070 005 080 65 FREE 2 track SOUND group .......... [PITCH] [RELEASE] EFFECT group ......... [EFFECT 1] [EFFECT 3] +005 088 041 050 ● 114 ● FREE 3 track SOUND group .......... [PITCH] +006 [RELEASE] 086 LFO group ................ [SPEED] 003 [FILTER] 085 FILTER group ...........
Procedure the PAD FUNCTION [ON/MUTE] button, and then press the MASTER track pad 1. Press twice to defeat muting for all tracks. (All tracks will now be able to sound.) the PAD FUNCTION [PLAY] button, and then press the SOUND/[LEVEL] but2. Press ton. the sequencer 3. Press LOOP 1/2/3/4 tracks. button to loop-playback the LOOP 1/2 and COMPOSED the volume of the LOOP 1/2 and COMPOSED LOOP 1/2/3/4 tracks, using 4. Adjust their respective knobs.
Chapter 2 Tutorial Effect settings On the SU700, you can assign any desired effect type to each of the three buttons [EFFECT 1]-[EFFECT 3], and then specify how each of the three effects will be applied to each track. Procedure ● Select the effect type and the depth of the effect 1. Press the EFFECT SETUP/[SETUP 1] (or [SETUP 2] or [SETUP 3]) button. display will indicate the currently selected effect type. 2. The Rotate the data dial to select the desired effect type.
Indicates the depth at which the 1DELAY effect is applied to each track Resolution at which the effect will change ▼ In the case of an Insertion effect, brackets ( ) will be displayed only in the meter display of the tracks to which the effect is connected. The effect will apply only to the sample of the tracks that you selected by pressing their pad. The effect depth is adjusted by the MASTER track knob. It cannot be adjusted separately for each track (sample).
Chapter 2 Tutorial ● Setting the effect parameters effect has several parameters that determine how it will process the sound. By 3.Each modifying the parameter settings you can change the speed or depth etc. of the effect. , ) to access the parameter that you wish to modify, ▼ Use the cursor buttons ( and use the dial to set the value. NOTE: • For details on the parameters of each effect, refer to “Effect parameter list” (→ p.335).
you press an EFFECT/[EFFECT 1]-[EFFECT 3] buttons, the effect type selected 5. When for the corresponding button will be displayed. ▼ In the case of a system effect, the specified effect can be applied to all tracks. Turn the knob of the track to which you wish to apply the effect, and specify the effect depth for that track. You can strike the pad and hear the sound processed by the effect.
Chapter 2 Tutorial 2.4.9 Song structure Now we have provided samples for the ten pads (tracks) of track bank 1. In the previous section “Building Your Own Song,” we switched between two banks to play a total of eight samples on FREE tracks 1–4. However this time, we will use only the four samples of one bank. We will store two different types of sound settings (knob data) in the scene buttons, and switch scenes during the song to play a total of eight sampled sounds.
● Section A = scene button [C] We will mute only the CL4 and CL4 tracks, and store these settings to scene button [C]. LOOP 1 2 C.LOOP 1 2 3 4 × × FREE 1 2 3 4 Procedure 1. Press the PAD FUNCTION [ON/MUTE] button. 2. Press the pads of CL tracks 3 and 4 to mute them (so that they will not sound). the PAD FUNCTION [PLAY] button. 3. Press ▼ This completes the mute settings. Since the FREE tracks 1–4 are currently set to type A sounds, we will store these settings in scene button [B]. 4.
Chapter 2 Tutorial For the following song sections, use the same procedure to store the mute settings to scenes. ● Sections B and E = scene button [D] Defeat muting on all tracks (so that they will sound), and store the settings in scene button [D]. ● Break = scene button [B] Mute all tracks (so that they will not sound), and store the settings in scene button [B].
FREE 4 SOUND group........... [LEVEL] [PAN] [ATTACK] LFO group................. [SPEED] EQ group................... [HI GAIN] [LO GAIN] [LO FREQ] FILTER group ........... [RESONANCE] EFFECT group ......... [EFFECT 1] [EFFECT 2] [EFFECT 3] 082 R57 097 010 +60 -64 200 075 000 120 120 2 116 078 000 110 100 CHAPTER ● LFO group................. [PITCH] FILTER group ........... [RESONANCE] EFFECT group .........
Chapter 2 Tutorial ● Section C = Scene button [E] Using the same procedure as you did for the type A sounds, mute only the LOOP tracks 1 and 2, and store the mute settings in scene button [E]. ● Section D = Scene button [F] Using the same procedure as you did for the type A sounds, mute LOOP tracks 1/2 and CL tracks 1/2, and store the mute settings in scene button [F]. ■ Recording scene recall operations on the sequencer Now we will record scene recall data on the sequencer for these scene buttons.
the sequencer button to stop recording. Press the sequencer button to 4. Press button to hear the song. When return to the beginning of the song, and press the the song reaches a location at which a scene change was recorded, the track mute settings will change automatically, as will the sounds (samples) that are played back when you press the pads of FREE tracks 1–4.
Chapter 2 Tutorial 2.4.10 Recording the FREE tracks Now that the overall form of the song is complete, we have come to the last step — recording the FREE tracks 1–4 on the sequencer. ■ Recording intro A and B The FREE 1 track sample which is used in Intro A and B is a long sample that plays for more than 16 measures. Since we want to record this from the beginning of the song (001:1), you should first set a count-in of 2 or 1. (→ SYSTEM/SETUP/COUNTDOWN: p.
CHAPTER You can record sections A–E and endings A and B in the same way as explained on pages 83 to 85 of “Building Your Own Song.” Refer to these pages and following, and complete your recording. 2 ■ Recording the sections and endings When you have finished recording the FREE tracks, your song is complete! ● ● ● Play back the song, and adjust the overall volume balance and other final adjustments. You can assign an original song name to your completed song. (→ p.
Chapter 2 Tutorial Note timing chart This table shows the timing of the scene changes and the timing of the pad on/off (note on/off) events for the completed version of the SU700 tutorial song that is included as track 93 of the included audio CD (SU700 Sampling Audio).
2 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 10 89 10 90 10 91 10 92 10 93 10 94 10 95 10 96 10 97 10 98 10 99 100 10 101 10 102 10 103 10 104 10 106 107 108 109 110 111 112 CHAPTER SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE (TOP) FREE1 FREE2 FREE3 FREE4 105 SCENE FREE1 FREE2 FREE3 Scratch freely Scratch freely FREE4 Scratch freely 113 114
Chapter 2 Tutorial 130 Chapter 2 Tutorial
This chapter explains the relationship between songs, samples, and tracks, and introduces some important concepts required for operating the SU700 effectively. It explains the three different types of sample tracks (LOOP, COMPOSED LOOP, and FREE). Finally, it describes the SU700 memory implementation. CONTENTS 3.1 Basics 132 3.2 Sample-Track Types 135 3.
Chapter 3 Basic Concepts, Track Types, and Memory 3.1 Basics To use the SU700 effectively, you need to understand how songs are generated and how they are related to samples and tracks. In particular, you need to understand the following basic points about SU700 operation. ◆ The main objective at the SU700 is to build and perform multitrack sequences called songs. ◆ The SU700 can hold up to 20 songs within its internal memory.
Scenes make it possible for you to change the entire song sound with a single button press. Each scene stores an entire environment: knob settings, mute settings, and the effects setup. You create the scene by setting up an environment and then storing it into scene memory. Once the scene is stored, you can recall it at any time by pressing the corresponding scene button.
Chapter 3 Basic Concepts, Track Types, and Memory ◆ Each track stores multiple parameters (level, pan, pitch, and so on) that condition its sound. For each track, you control all of these parameters using a single knob. For this reason, these parameters are called knob settings. At any given time, a knob will control only one of the available parameters. You use the KNOB FUNCTION buttons to select the parameter to be controlled by the knobs. Not all knob functions are supported on all tracks.
◆ The SU700 internal memory will lose all samples, sequence data, scenes, effect setup, and track settings when power goes off. If you wish to retain your work, you must save your results to disk before turning off the unit. (→ p.287) 3.2 Sample-Track Types Sample tracks come in three types: LOOP, COMPOSED LOOP, and FREE. Specifically, you get eight LOOP tracks, 16 COMPOSED LOOP tracks, and 16 FREE tracks. Each track type reproduces samples in a different way.
Chapter 3 Basic Concepts, Track Types, and Memory Loop generation and playback is automatic: you do not use the pad to record note-on and note-off events. You can, however, use the pad MUTE function to switch the sound on or off at any point in the song. The following shows what LOOP playback looks like. If sample = and loop length = 4 Sample playback Song location (measure:beat) 1:1 :2 :3 :4 2:1 :2 :3 :4 3:1 :2 :3 :4 4:1 :1 Play back is automatic and continuous.
FREE Tracks The sample in the FREE track is played only when you hit the pad (in PLAY mode) to register a Note On. Playback ends when you release the pad (generating a Note Off) or when the end of the sample is reached. These tracks do not loop; you will get sound only in those places where you record a pad press. These pads are great for punctuation your song with odd effect-type sounds. 3.3 Memory Implementation Internal Memory The SU700 includes the following types of internal memory.
Chapter 3 Basic Concepts, Track Types, and Memory External Memory If you wish to retain your samples, sequence data, and volatile settings, you must save these to a volume on disk before switching the power off. (→ p.287). The SU700 comes standard with a built-in floppy disk drive that you can use to save and load data. The SU700 also supports an optional SCSI board (ASIB1 board) that enables use of external SCSI disk drives. When saving data to disk, you can select two save types.
This chapter briefly describes each of the SU700’s operating modes. When using the SU700 you will be switching modes often, so it will be helpful keep in mind that basic purpose of each mode, the conditions that cause the SU700 to switch from one mode and another, and the basic operations that you can carry out from each mode. CONTENTS 4.1 Introduction 140 4.2 Sequencer Modes 141 4.
Chapter 4 SU700 Operating Modes 4.1 Introduction The SU700 has six operating modes—four sequencer modes, and two modes that temporarily disable use of the sequencer. The six modes are listed below. Sequencer Modes ● ● ● ● PLAY STANDBY PLAY REC STANDBY REC Other Modes ● ● JOB SAMPLE RECORDING The following diagram shows how the SU700 moves from one mode to another.
The table on page 145 shows the operations available from each of the sequencer modes. OVERVIEW The general use for each of these modes is as follows. ● PLAY STANDBY Lets you adjust the song location and set the knob settings, mutes, effects, and tempo to be used for start of playback (or recording). Also can be used to set up scenes and markers. Finally, you must also move through this mode when you want to transition into job mode (to execute a job) or to sample-recording mode (to record a sample).
Chapter 4 SU700 Operating Modes ● REC Plays the song and records your actions into the song. Advancing PLAY STANDBY DESCRIPTION This mode becomes active at power-on, and provides direct access to all other operating modes (with the exception of REC mode). While the sequencer is in this mode, the song remains locked at its current location. You use this mode to set up for song playback (or recording).
● Press to return to PLAY STANDBY. (The song will stop at its current location.) 4 HOW YOU EXIT THIS MODE DESCRIPTION You must enter this mode before you can begin recording. While the sequencer is in this mode, the song remains locked at its current location. You can use this mode to set up for the start of recording (although in many cases you will complete setup work in PLAY STANDBY mode), and to wait for the appropriate time to move into REC mode.
Chapter 4 SU700 Operating Modes MAIN SCREEN and FUNCTION SCREEN When you are working in PLAY STANDBY or PLAY mode, the SU700 may display either the main screen or else a function screen. The main screen shows the song number and song name, while the function screen shows the name of the currently selected knob function. (For a detailed description of the display confent of main and function screens, refer to pages 25 to 26.
Operations Accessible From Each Sequencer Mode MODE PLAY STBY Screen Type Main Function PLAY Main REC STBY REC Function Function Function Start playback Start recording ●*1 Store scene ● ● Recall scene Store/recall marker ● ● ● ● ● ● ● ● ●*1 ● ● Change to different song Adjust song location with seq.
Chapter 4 SU700 Operating Modes 4.3 Other Modes The SU700 offers two special modes that you use for work that is not directly related to the sequencer. You can access these modes from the sequencer’s PLAY STANDBY mode. JOB MODE DESCRIPTION Use this mode to carry out one or more of the SU700 jobs. For details, see Chapter 10, “Jobs.” (→ p.223) WHAT YOU CAN DO IN THIS MODE ● Carry out any of the SU700 jobs. Once you are in this mode you can move from job to job.
DESCRIPTION Use this mode to record your samples. While you are working in this mode all sequencer operations and all normal pad and knob operations are disabled. For information about how to record samples, see Chapter 5, “Samples and Sampling.” (→ p.149) WHAT YOU CAN DO IN THIS MODE ● Record a sample into a selected sample track. HOW YOU GET TO THIS MODE ● Press the [SAMPLING] button while the sequencer is in PLAY STANDBY mode.
Chapter 4 SU700 Operating Modes 148 Chapter 4 SU700 Operating Modes
This chapter tells you more than you will want to know about SU700 samples. The chapter’s first section explains samples and sample parameters and presents important information about editing and handling of your samples. The second section presents step-by-step instructions for recording your own samples. CONTENTS 5.1 All about Samples 150 5.
Chapter 5 Samples and Sampling 5.1 All about Samples Introduction Samples are the sounds you use to build up your songs. You can get samples for the SU700 by recording them yourself, by loading them from commercially available sampling CDs or other such media, by porting them from other samplers, or by resampling (re-recording) existing SU700 data. The SU700 provides you with 40 sample tracks. This means that you can use up to 40 samples for each song (one sample per track).
● Sampling Frequency The rate at which digital readings are taken is referred to as the sampling rate or sampling frequency. A conventional audio CD uses a sampling frequency of 44.1kHz (44,100 readings per second). The SU700 supports frequencies of 44.1, 22.05, and 11.025 kHz frequencies. Note that higher frequencies produce higher-fidelity sound reproduction, but also consume a greater quantity of sampling memory.
Chapter 5 Samples and Sampling ● Start Point and End Point The start point and end point settings determine the points on the recorded waveform at which playback actually begins and ends. You can adjust these values to eliminate playback of unnecessary material recorded at the beginning and end of the waveform, and to fine-tune the playback length for LOOP-track samples. You use the SAMPLE | START POINT and SAMPLE | END POINT jobs to perform this adjustment (→ p.259 to 261).
DELETE....................... Deletes the sample from memory, freeing up additional sampling memory. Also deletes any sequence data stored on the track. (→ p.271) Selecting the Appropriate Track for the Sample When recording, loading, or importing a sample, you must select the track that you want to place it on. Placing the sample on an inappropriate track is not a critical error, since you can always move it to a different track using the TRACK | COPY job (→ p.135).
Chapter 5 Samples and Sampling Listening to Samples Once you have recorded, loaded, or imported a sample into the SU700, you can listen to the sample by hitting the corresponding pad—provided that the track mute is off and that the pad function is set to PLAY. In general, you will want to set the sequencer into PLAY STANDBY when using pads to listen to your samples.
Memory Considerations Samples require large quantities of data to produce short intervals of sound, and can fill up available RAM faster than you might think. It is very likely that at some point you will find yourself running up against memory limitations. The total available sampling time on the SU700 will depend on the amount of installed memory and the sampling parameters that you use, but will in no case exceed more than several minutes.
Chapter 5 Samples and Sampling 5.2 Sample Recording Procedure The step-by-step instructions below take you through the entire sample-recording procedure. Getting Ready the SYSTEM | SETUP job and set the AUDIO IN parameter to match your in1. Open put source you are going to use. (See page 302.) Then press [OK] to exit the job and return to the main screen. · If using a microphone: Set to AUDIO IN=MIC. · · 2. If using analog output from an audio device: Set to AUDIO IN=LINE.
NOTE: • From this point on, you can use the [CANCEL] button to move back to a preceding step or to return to the main screen. • If you selected DIGITAL or OPTICAL as your audio input source, the cable must be properly connected and the audio device must be switched on. If the audio device is disconnected or off, the SU700 will display the message DIG-IN UNPLUGGED. If the device is connected incorrectly, the SU700 will display the message DIG-IN PARITY ER.
Chapter 5 Samples and Sampling Frequency Lowest segment of horizontal level meter. Selected track Bit resolution Format (stereo or mono) 7. Adjust the recording parameters and input level as follows. If you have already adjusted these values during the current session, the screen begins by showing your most recent settings; otherwise, the screen will show the defaults (44K, 16BIT, and STEREO).
Remaining time indicators Selected track. you reach the point at which you want to stop sampling, hit the [SAMPLING] 9. When button one last time. ▼ Sampling stops. If the SU700 requires significant time to post-process the new sample data, it may display the WAIT... message. When post-processing is completed, the SU700 returns you to the main screen.
Chapter 5 Samples and Sampling 160 Chapter 5 Samples and Sampling
This chapter provides detailed information about how to use each of the SU700’s main features during song recording, song performance, and song setup work.
Chapter 6 Using the Features Using the Sequencer: Recording, Playing, and Adjusting the Position This section presents an overview of sequencer operations you will need to use repeatedly when recording and playing songs. How To Start Recording If the sequencer is not currently in PLAY STANDBY mode, press the 1. CEL] button to set the sequencer into PLAY STANDBY. or [CAN- necessary, adjust the song to the location at which you want to begin recording. 2. If(See “How to Adjust the Location,” below.) 3.
How To Stop Recording ● 6 button to stop recording. The sequencer displays PROCESSING... briefly, then jumps back to the position at which you started the recording session. NOTE: The SU700 does not update the environment when jumping back to the earlier position; the knob settings, scenes, and mutes remains exactly as they were when you finished recording. If you wish to restore the song’s true environment, you must set up and recall scenes as necessary.
Chapter 6 Using the Features Using the Dial The screen’s MEASURE indication must be blinking. If it is not blinking, press the [MEASURE] button once—so that it begins blinking. 1. the dial to the right to advance the song position, or to the left to move back 2. Turn in the song. Using Markers If you have stored locations into markers, you can use these markers to jump from location to location. But note that markers can be used only while the sequencer is in PLAY or PLAY STANDBY mode.
● Tap a beat on the [BPM COUNTER]. The SU700 detects the tempo you are tapping and displays it in the BPM display area. If you wish to use this tempo, press the [OK] button to lock it in. (If you do not press [OK] within several seconds, the original BPM setting is restored.) Using the Knobs You use the knobs to set and adjust the various knob settings (level, pan, pitch, and so on) on each track. At any given time each knob controls one setting on a single track.
Chapter 6 Using the Features KNOB USAGE and SEQUENCER MODE Knob usage varies according to the sequencer state as follows. In REC mode: You use the knobs to record knob changes onto each track. If you select the SOUND/[PITCH] function and then turn the knob on the first LOOP track, for example, the sequencer records a pitch-change event onto that track at the current song position (as corrected by quantizing). In PLAY mode: You use the knobs to change the sound in real time.
Function screen. All pads now control the MUTE function. Press pad once to switch track on; again to switch track mute. ● If you wish to use the ROLL function, you must hold down the [ROLL] button while pressing the pad(s). When you release the [ROLL] button, the function selection automatically switches to PLAY. ● While you are working at a function screen, the top line of the screen indicates the currently selected function (see illustration directly above).
Chapter 6 Using the Features PLAY Function Purpose: Description: Use to play notes (to play the sample sound). Use the pad to record note-on events (sample-playback events) onto COMPOSED LOOP and FREE tracks, and to play samples out in real time. Operation in Each Mode: REC mode Pad press records a Note-On; pad release records a Note-Off. (Effective only on COMPOSED LOOP and FREE tracks.) Any other mode Pad press causes sample to play out; pad release causes sample playback to stop.
6 Recorded sample = Roll might look like this: At slower RESOLUTION (Roll at ) :1 :2 :3 :4 :1 :2 :3 :4 At fast RESOLUTION (Roll at ) Description: Hold down [ROLL] button and press pad to record or play a “roll” sound. Operation in Each Mode: REC mode Holding down the [ROLL] button and pressing the pad records a roll onto the track at the current resolution (see below).
Chapter 6 Using the Features 2 Hold down the [ROLL] button and turn the dial to select the new rate. You can select any of the following 18 roll rates: 3 3 3 3 3 3 ● Although it is possible to change the roll resolution while you are rolling a note (while you are holding down both [ROLL] button and a pad), the roll rate will not change until the pad is released. ● When you press the [ROLL] button, the pad-function indicator on the screen displays PLAY (and not ROLL).
Sequencer Mode Track Type Operation ● ● LP REC ● CL ● PLAY AU, MA Pressing the pad generates a Note On; releasing it generates a Note Off. These events are recorded with respect to their location in the song. ● The pad does not operate. ● If track is muted, no sound.
Chapter 6 Using the Features Using the Ribbon Controller The ribbon controller is a special feature that you can use to control one selected function on a preselected track. Once you have selected the function, you can control it by tapping or rubbing the ribbon. The ribbon gives you a tactile type of control not provided by the knobs. For the controlled function you can choose one of the knob functions (pitch, pan, etc.
6 (Example: LEVEL) Tap here Track’s LEVEL becomes 0. Track’s LEVEL becomes 100. Track’s LEVEL rises from 0 to 127. If Scratch: If you set the ribbon to control the scratch function, the SU700 maps the first part of the sample along the span of the ribbon, starting from the bottom of the ribbon. If you set your finger on the bottom of the ribbon and run it upwards, you can scratch out the sound in the forward direction.
Chapter 6 Using the Features Using Quantizing You use the quantizing feature to automatically adjust the timing of knob and pad actions that you input when recording a song. The purpose of the quantize feature is to allow you to get clean timing even when your input is slightly off time or sloppy. Quantizing is particularly useful when you need to record precise rhythm patterns (precise pad PLAY actions) onto your COMPOSED LOOP tracks.
6 Examples 1:1 :2 If QUANTIZE = 1:1 :2 If QUANTIZE = 1:1 :2 If QUANTIZE = 1:1 :2 :3 :4 :1 :2 :3 :4 CHAPTER Note-On :1 , adjusted as follows : :3 :4 :1 :2 :3 :4 :1 :2 :3 :4 :1 :4 :1 , adjusted as follows : :3 :4 :1 , Knob events are pulled as follows : :3 :4 :1 :2 :3 Once you have used quantizing, there is no direct way to restore your original timing, since the SU700 the will not remember your original timing.
Chapter 6 Using the Features How to Set the Quantize Value To change the quantize setting, proceed as follows. Note that you can change the quantize setting at any time when working at the main screen or a function screen, regardless of the sequencer’s current state. Note that the quantize setting is a temporary state (→ p.137); it cannot be saved into scenes or onto disk. The SU700 simply retains the current setting until you change it or switch the power off.
● To hold complete or partial environments temporarily as you build your songs, or to create temporary backup environments when testing out new possibilities that you may not want to keep. Overview ● Each song contains memory space for eight scenes: TOP, A, B, C, D E, F, and G. ● When you begin working on a new song (after setting the power on and loading some samples) all scenes (TOP, A,...,G) are empty.
