Akai MPC3000 User Manual
MIDI PRODUCTION CENTER
Software version 3.0
WARNING
To prevent fire or shock hazard, do not
expose this appliance to rain or moisture.
Operator's Manual
MIDI PRODUCTION CENTER
MIDI Production Center
Software version 3.0
Operator’s Manual
By Roger Linn
Copyright 1987-1994 Akai Electric Co., LTD.
Document Revision date: May 1994
WARNING!!
To prevent fire or shock hazard, do not expose this appliance to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
THE SYMBOLS ARE RULED BY UL STANDARDS (U.S.A).
The lightning flash with the arrowhead symbol superimposed across a graphical
representation of a person, within an equilateral triangle, is intended to alert the user
to the presence of uninsulated “dangerous voltage” within the product’s enclosure;
that may be of sufficient magnitude to constitute a risk of electric shock.
The exclamation point within an equilateral triangle is intented to alert the user
to the presence of important operating and maintenance (servicing) instructions
in the literature accompanying the appliance.
1-En
5A-En
ii
WARNING
The MPC3000 is designed to be used in a standard household environment.
Power requirements for electrical equipment vary from area to area. Please ensure
that your MPC3000 meets the power requirements in your area. If in doubt, consult
a qualified electrician or Akai Professional dealer.
120V @60Hz for USA and Canada
220V – 230/240V @50Hz for Europe
240V @50Hz for Australia
PROTECTING YOURSELF AND THE MPC3000
• Never touch the AC plug with wet hands.
• Always disconnect the MPC3000 from the power supply by pulling on the plug, not
the cord.
• Allow only an “Akai Professional” dealer or qualified professional engineer to
repair or reassemble the MPC3000. Apart from voiding the warranty, unauthorized engineers might touch live internal parts and receive a serious electric
shock.
• Do not put, or allow anyone to put any object, especially metal objects, into the
MPC3000.
• Use only a household AC power source. Never use a DC power source.
• If water or any other liquid is spilled into or onto the MPC3000, disconnect the
power, and call your dealer.
• Make sure that the MPC3000 is well-ventilated, and away from direct sunlight.
• To avoid damage to internal circuitry, as well as the external finish, keep the
MPC3000 away from sources of direct heat (stoves, radiators, etc.).
• Avoid using aerosol insecticides, etc. near the MPC3000. They may damage the
surface, and may ignite.
• Do not use denaturated alcohol, thinner or similar chemicals to clean the
MPC3000. They will damage the finish.
• Place the MPC3000 on a flat and solid surface.
iii
WARNING
THIS APPARATUS MUST BE EARTHED
IMPORTANT
This equipment is fitted with an approved non-rewireable UK mains plug.
To change the fuse in this type of plug proceed as follows:
1) Remove the fuse cover and old fuse.
2) Fit a new fuse which should be a BS1362 5 Amp A.S.T.A or BSI approved type.
3) Refit the fuse cover.
If the AC mains plug fitted to the lead supplied with this equipment is not suitable for your type of
AC outlet sockets, it should be changed to an AC mains lead, complete with moulded plug, to the
appropriate type. If this is not possible, the plug should be cut off and a correct one fitted to suit
the AC outlet. This should be fused at 5 Amps.
If a plug without a fuse is used, the fuse at the distribution board should NOT BE GREATER than 5 Amp.
PLEASE NOTE: THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE
SHOCK HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET
ELSEWHERE.
The wires in this mains lead are coloured in accordance with the following code:
GREEN and YELLOW —EARTH
BLUE —NEUTRAL
BROWN —LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the
coloured markings identifying the terminals in your plug, please proceed as follows:
The wire which is coloured GREEN and YELLOW must be connected to the terminal which is
marked with the letter E or with the safety earth symbol
GREEN and YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the
letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with
the letter L or coloured RED.
THIS APPARATUS MUST BE EARTHED
Ensure that all the terminals are securely tightened and no loose strands of wire exist.
Before replacing the plug cover, make certain the cord grip is clamped over the outer sheath of
the lead and not simply over the wires.
or coloured GREEN or coloured
6D-En
This equipment conforms to No. 82/499/EEC, 87/308/EEC standard
CONFORME AL D.M. 13 APRILE 1989 DIRETTIVA CEE/87/308
iv
3A-En
3B-It
LITHIUM BATTERY
This product uses aLithium Battery for memory back-up. The lithium battery should only be
replaced by qualified service personnel. improper handling may cause risk of explosion.
FCC warning
This equipment has been tested and found to comply with the limits for a Class A digital
device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference when the equipment is operated in
a commercial environment. This equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the instruction
manual, may cause harmful interference to radio communications. Operation of this
equipment in a residential area is likely to cause harmful interference in which case the
user will be required to correct the interference at his own expense.
AVIS POUR LES ACHETEURS CANADIENS DU MPC3000
Le présent appareil numérique n’ément pas des bruits radioélectriques dépassant les
limites applicables aux appareils numériques de la Class A prescrites dans le Règlement
sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.
24A-En
21A-En
27-F
This digital apparatus does not exceed the Class A limits for radio noise emissions
from digital apparatus set out in the Radio Interference Regulations of the Canadian
Department of Communications.
FÜR KUNDEN IN DER BUNDESREPUBLIK DEUTSCHLAND
Bescheinigung von AKAI
Hiermit wird bescheinigt, daß das Gerät AKAI
MPC3000
in Übereinstimmung mit den Bestimmungen der
Amtsblattverfügung 1046/1984
funkentstört ist.
Der Deutschen Bundespostwurde das Inverkehrbringen dieses Gerätes angezeigt und
die Berichtigung zur Überprüfung der Serie auf Einhaltung der Bestimmungen eingeräumt.
AKAI ELECTRIC CO., LTD.
17B-G
COPYRIGHT NOTICE
The AKAI MPC3000 is a computer-based instrument, and as such contains and uses
software in ROMs and disks. This software, and all related documentation, including this
Operator’s Manual, contain proprietary information which is protected by copyright laws. All
rights are reserved. No part of the software or its documentation may be copied, transferred
or modified. You may copy the operating software and any samples, programs, etc.
contained on disks for your own personal use. All other copies of the software are in violation
of copyright laws. You may not distribute copies of the software to others, or transfer the
software to another computer by electronic means. You may not modify, adapt, translate,
lease, distribute, resell for profit or create derivative works based on the software and its
related documentation or any part there of without prior written consent from AKAI Electric
Co., Ltd, Yokohama, Japan.
v
27-En
FRONT PANEL
INTEGRATED RHYTHM MACHINE
16BIT DRUM SAMPLER/MIDI SEQUENCER
STEREO VOLUME
RECORD LEVEL
DISPLAY
CONTRAST
ACB
PAD BANK
FULL LEVEL
16 LEVELS
NOTE VARIATION
ASSIGN
AFTER
10010
MIDI PRODUCTION CENTER
SOFT KEY 1
SOFT KEY 1 SOFT KEY 2 SOFT KEY 3 SOFT KEY 4
D
CRASH
HIGH TOM MID TOM LOW TOM FLOOR TOM
ALT SNARE HIHAT OPEN HIHAT PEDALSNARE
SIDE STICK BASS HIHAT CLOSED HIHAT LOOSE
0
SOFT KEY 2 SOFT KEY 3 SOFT KEY 4
CRASH2 RIDE CYMBAL
1 31 41 51 6
91 01 11 2
5678
1234
MPC3000
DRUMS
RIDE BELL
DATE ENTRY COMMANDS
87 9
54 6
21 3
•0 ENTER
+–
DATA ENTRY
REAL TIME
r
s t
TIMING
ERASE
CORRECT
u v w
Z # &
REC
OVER DUB STOP PLAY
TAP
TEMPO
PLAY / REC
LOCATE
DISK
a b c
MIDI
d e f
SEQ EDIT
g
TEMPO/SYNC
j
AUTO PUNCH
m
x y
space
PROGRAM/
SOUNDS
SONG OTHER
STEP EDIT EDIT LOOP
h i
TRANSPOSE SIMUL SEQ
k l
COUNT IN
n o
CURSOR
p
q
MAIN
SCREEN
A / a
MIXER/
EFECTS
WAIT FOR KEY
HELP
PLAY
START
REAR PANEL
POWER
ON OFF
SCSI
FOOT SW
1 2
MIDI IN
1 D2 A B C
SYNC
LEVEL IN OUT
MIDI OUT
vi
AKAI ELECTRIC CO.,LTD.
MODEL NUMBER MPC3000
RECORD IN
DIGITAL
GAIN
LOW MID HI
123 4 5 6 7 8
MADE IN JAPAN
STEREO OUT
LEFT RIGHT LEFT RIGHT PHONS
INDIVIDUAL MIX OUTPUTS
Table of Contents
Chapter 1: Introduction.........................................................................................................1
Welcome! ......................................................................................................................... 2
Features .......................................................................................................................... 3
What’s Different From the MPC60?.............................................................................. 6
If You Already Know the MPC60 ...................................................................... 8
Chapter 2: The Basics...........................................................................................................13
Hooking Up Your System............................................................................................. 14
Getting Around on the MPC3000 ................................................................................ 15
The Cursor, Cursor Keys, Data Fields, and Command Keys ........................ 15
The Numeric Keypad, Data Entry Control, and [+] & [–] Keys .................... 16
The Soft Keys ................................................................................................... 17
The HELP key .................................................................................................. 18
Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program ....... 19
Loading and Playing Sounds and Programs............................................................... 22
Playing the Pads, the PAD BANK, & FULL LEVEL Keys ........................... 22
Selecting Programs .......................................................................................... 23
The Note Variation Slider, ASSIGN and AFTER keys.................................. 24
The 16 LEVELS key......................................................................................... 26
Chapter 3: Recording Sequences....................................................................................... 29
How Sequences are Organized .................................................................................... 30
The MAIN SCREEN Key & Play/Record Screen........................................................ 32
The Play/Record Keys .................................................................................................. 39
Sequence Recording Example 1: A Looped Drum Pattern......................................... 42
Sequence Recording Example 2: A Multitrack Sequence........................................... 44
The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing ................ 49
The Note Repeat Feature ................................................................................ 52
Tempo and the TEMPO/SYNC Key............................................................................. 53
Mid-Sequence Tempo Changes........................................................................ 56
The TAP TEMPO Key...................................................................................... 58
The WAIT FOR and COUNT IN Keys ........................................................................ 59
The AUTO PUNCH Key .............................................................................................. 60
The SIMUL SEQUENCE Key ..................................................................................... 62
The OTHER Key........................................................................................................... 63
Metronome, Foot Switches, and Free Sequence Memory .............................. 63
Initializing System Parameters ...................................................................... 66
The Record 16 Channels Function: Multichannel Recording ........................ 67
Recording MIDI System-Exclusive Data .................................................................... 70
Chapter 4: Editing Sequences ............................................................................................ 71
The ERASE Key ........................................................................................................... 72
Erasing Notes in Real Time While in Overdub Mode .................................... 72
Erasing Notes or Other Events While Stopped.............................................. 72
Initializing a Sequence .................................................................................... 75
The SEQ EDIT Key ...................................................................................................... 77
Viewing and Changing Time Signature.......................................................... 77
Rearranging the Track Order.......................................................................... 78
Inserting Blank Bars Into a Sequence............................................................ 79
Deleting Bars From a Sequence ...................................................................... 80
Copying Bars (All Tracks) ............................................................................... 81
vii
Copying Events ................................................................................................ 82
Copying an Entire Sequence to Another......................................................... 84
Shifting the Timing of Many Notes................................................................. 85
Global Editing of Note Event Data ................................................................. 86
Editing Note Velocity or Duration Data ............................................. 87
Editing Note Number Assignment of Drum Note Events ................. 89
Editing Note Variation Data of Drum Note Events........................... 90
The STEP EDIT Key .................................................................................................... 92
Using Step Edit ................................................................................................ 93
Step Edit Event Types ..................................................................................... 95
Step Edit Options............................................................................................. 99
Step Recording ............................................................................................... 102
The EDIT LOOP Key ................................................................................................. 103
Using Edit Loop as an Undo Function.......................................................... 104
The TRANSPOSE Key ............................................................................................... 105
Transposing in Real Time While Playing ..................................................... 106
Chapter 5: Song Mode ........................................................................................................ 107
Overview ..................................................................................................................... 108
The SONG Key and Song Mode Screen .................................................................... 109
An Example of Creating and Playing a Song............................................................ 112
Converting a Song Into a Long Sequence ................................................................. 114
Chapter 6: Creating and Editing Programs..................................................................115
What Are Programs? .................................................................................................. 116
Selecting the Active Program, Assigning Sounds..................................................... 119
Envelope, Velocity Modulation, Tuning, Poly Mode................................................. 125
The Dynamic Filter .................................................................................................... 128
Copying and Initializing Programs ........................................................................... 130
Chapter 7: The MIXER/EFFECTS Key ........................................................................... 133
The Stereo Output Mixer ........................................................................................... 134
The Individual Outputs/Effects Mixer ...................................................................... 136
Viewing the Mix Data in Text Form ......................................................................... 139
Mixer Source Select, Automated Mix........................................................................ 142
Effects Generator ....................................................................................................... 145
Chapter 8: Creating and Editing Sounds ...................................................................... 147
Sampling a New Sound.............................................................................................. 148
Editing a sound........................................................................................................... 154
Renaming, Copying, and Deleting a Sound .............................................................. 158
Triggering a Sound from an External Signal—the Audio Trigger .......................... 161
Chapter 9: Saving to and Loading from Disk ............................................................... 163
Overview ..................................................................................................................... 164
Saving Files ................................................................................................................ 166
Saving a SEQ File (Single Sequence)............................................................ 166
Saving an ALL File (All Sequences and Songs) ........................................... 167
Saving a SND File (Single Sound) ................................................................ 168
Saving a PGM File (Single Program & Sounds)........................................... 169
Saving an APS File (All Programs and Sounds) .......................................... 170
Saving a PAR File (System Parameters) ...................................................... 172
viii
Loading, Erasing, or Renaming Files........................................................................ 173
Loading a SEQ File (Single Sequence) ......................................................... 175
Loading an ALL File (All Sequences and Songs) ......................................... 177
Loading a SND File (Single Sound) .............................................................. 177
Loading a PGM File (Single Program and Sounds) ..................................... 178
Loading an APS File (All Programs and Sounds) ........................................ 178
Loading an MPC60 Version 1 or 2 SET or ST1 File..................................... 179
Loading a PAR File (System Parameters) .................................................... 182
Files That Automatically Load on Power-Up ............................................... 182
Loading Sample Files From Akai S1000/S3000 Disks ............................................. 184
Formatting a Floppy Disk..........................................................................................186
Using a SCSI Hard Disk ............................................................................................ 187
Copying an Entire Floppy Disk ................................................................................. 191
Chapter 10: Syncing to Tape and Other Devices ......................................................... 193
The SYNC Screen....................................................................................................... 194
Syncing to Tape and Other Devices: Examples ........................................................ 201
Syncing to MIDI Clock................................................................................... 201
Syncing to SMPTE ......................................................................................... 201
Syncing to MIDI Time Code .......................................................................... 204
Syncing to FSK24...........................................................................................204
Syncing to 1/4-note Clicks.............................................................................. 206
Chapter 11: MIDI Functions ............................................................................................. 207
Assigning Pads to Note Numbers.............................................................................. 208
MIDI Receive Channel, Local Mode, Soft Thru, Note Variation Controller
Assign and Sustain Pedal Processing................................................................. 210
MIDI Input Filter ....................................................................................................... 213
Turning All Notes Off................................................................................................. 216
The MIDI Implementation Charts ............................................................................ 217
Appendix ............................................................................................................................... 219
Technical Specifications............................................................................................. 220
Answers to Frequent Questions ................................................................................ 222
Contents of Disk Files ................................................................................................ 225
MPC3000 Options ...................................................................................................... 229
The SMPTE Option........................................................................................ 229
Expanding the Sound Memory...................................................................... 229
The Video Output Option .............................................................................. 230
Index ...................................................................................................................................... 231
ix
Chapter 1: Introduction
Chapter 1:
Introduction
Page 1
Chapter 1: Introduction
Welcome!
Since its release in 1988, the MPC60 MIDI Production Center has
earned a reputation not only as the world’s greatest drum machine
but also as a powerful sequencer for those who desire an alternative
to the complexity and confusion of computer sequencers.
But over the years users asked for more: 16-bit stereo sampling,
more sample memory, enhanced sound design features, faster
sequence processing, enhanced sequence recording and editing
features, SCSI, and much more. The MPC3000 fulfills the majority
of the requests we received. And in keeping with the MPC60’s
tradition of ease of use, we have tried our best to implement these
new features in the most intuitive way possible.
Since the advent of sequencers I have tracked their evolution with
great interest and in my view, sequencers have evolved to a point
where they are now a legitimate instrument on their own. Many of
today’s musicians could be better described as sequencer players
than as keyboardists or guitarists. Album credits often read “programming by...” to denote a musician who has used a sequencer to
create the backing track for a recording. These new musicians think
and compose in terms of total arrangement as opposed to single
instruments. In many ways, the sequencer’s panel and display
screens are their strings and keys, allowing them to reach heights of
creativity never before possible.
In this light, I like to think of the MPC3000 as the piano or violin of
our time, and of you as an MPC3000ist. In the same way a violinist’s
style is identified by his or her vibrato and phrasing, your MPC3000
virtuosity may be identified by your particular swing settings, your
creative use of Note Repeat, or your real-time use of the Note
Variation feature. As an MPC3000ist, if you find the instrument
useful in your creative process, please let the world know. Next time
you perform on a recording, ask to be credited not with, “Keyboards
played by...” or “Programming by...” but rather with, “MPC3000
played by....”
Thanks for buying the MPC3000. I hope you enjoy using it as much
as we have enjoyed creating it.
Page 2
Features
Chapter 1: Introduction
The following is a summary of some of the advanced features of the
MPC3000.
General
• Large 320-character LCD display (8 lines by 40 characters) with
graphics.
• Built-in 1.44 megabyte disk drive for storing both sequence and
sound data.
• Built-in SCSI interface for storing data to external hard disk.
• Interactive Help function provides a full screen of explanation for
every data field of every function screen.
• Four soft keys provide one-button execution of many functions.
• The contents of many data fields and other settings are retained
while the power is turned off.
• Fast internal 16MHz V53 16-bit microprocessor (equivalent to an
80286) provides accurate timing in complex sequences and fast
response to MIDI.
Sound Generator
• 16-bit, 44.1kHz stereo sampling.
• High capacity sound memory: 2 megabytes standard (21.9 seconds
mono or 10.9 seconds stereo), expandable to 16 megabytes (188.3
seconds mono or 94.1 seconds stereo).
• Digital sampling input for direct recording from digital sources.
• 128 sounds (samples) may be held in memory at one time.
• 32 simultaneous playback voices.
• Dynamic lowpass filter with envelope generator (and resonance!)
for each voice.
• Built-in effects generator for versatile delay effects.
• 10 polyphonic audio outputs, including stereo mix out and 8
individual outputs.
• 24 programs (sets of sound assignments) exist, each having 64
unique sound assignments from a common bank of 128 sounds, and
unique sound modifying parameters for each assignment. Switching
programs instantly changes all sound assignments and sound
parameters.
• Multiple iterations of a single sound may be assigned to use
multiple voices (polyphonic) or the same voice (monophonic), and
may either respond to Note Off messages or not. Also, any sound
may be set to terminate the playing of any two other sounds.
• Extensive sample editing allows any portion of a sound to be
copied or removed and inserted into another sound at any location.
Any portion may also be silenced or reversed.
Page 3
Chapter 1: Introduction
• The Best Start feature automatically finds the point within a
sound at which the drum strike begins, bypassing any dead space at
the beginning of the sound which could cause playback delays.
• Up to three sounds can be assigned to a MIDI note number or pad.
The sounds can either play simultaneously, switch depending on
note velocity, or switch depending on envelope decay (to simulate
the MPC60’s hi-hat decay slider function).
• The stereo and individual output mixers are automated. Any
changes made while recording will be automatically repeated on
playback.
Sequencer
• Both linear and pattern-style (looped) recording are supported.
• Both drum machine and sequencer-oriented features are integrated into one easy-to-use operating system.
• 75,000 note sequencer capacity.
• 99 sequences may be held in memory at once. Each sequence
contains 99 individual tracks, each of which can be output to any
one or two MIDI channels.
• 4 independent MIDI output ports permit 64 simultaneous MIDI
output channels.
• 2 mergeable MIDI inputs.
• The MPC3000 may be slaved to five sync sources: MIDI Clock,
MIDI Time Code, FSK24, sync to any sound playing 1/4-notes, and
SMPTE (optional).
• 2 sequence record modes: Record (erasing existing notes while
recording) and Overdub (merge with existing notes). You can switch
between modes at any time.
• Step Edit feature allows fast viewing, recording, editing, or
deletion of any event within a sequence.
• The Simul Sequence feature allows two sequences, or one sequence and one song, to play simultaneously. For example, you could
play a short, looped drum sequence while simultaneously recording
your multitrack keyboard sequence.
• Versatile editing system allows erasing, time shifting, copying,
merging, inserting, and deleting of any sequence data.
• Individual parameters within note events may be changed for
multiple notes globally.
• Each track has an adjustable output level, allowing output velocities to be scaled in real time while playing.
• All 16 MIDI channels can be recorded simultaneously, allowing
sequences to be transferred to the MPC3000 from an external
sequencer in one pass.
• The Edit Loop feature allows a portion of a sequence to be looped
while overdubbing, and allows changes to be undone.
• Sequences may be transposed, either in real time while playing or
by altering note data.
• The Tap Tempo feature allows the playback tempo to be set by
tapping a key in the time of 1/4-notes.
Page 4
Chapter 1: Introduction
• Programmable tempo changes in mid-sequence or mid-song are
supported.
• Mid-sequence time signature changes are supported.
• Auto Punch feature allows automated punch-in and/or punch-out
at preset times within the sequence.
• Two foot switch inputs allow functions such as Play/Stop and
Punch In/Out to be remotely controlled.
• Swing feature provides a useful method of adjusting the rhythmic
feel of your tracks.
• 16 velocity- and pressure-sensitive front panel drum pads and 4
pad banks provide a total of 64 pad/bank combinations.
• Note Variation feature allows a unique value of tuning, decay,
attack or filter frequency to be recorded with each drum note.
• MIDI sustain pedal messages can be specially processed so that
multiple overdubs on the same track of a sequence can use the
sustain pedal independently, without interaction.
Page 5
Chapter 1: Introduction
What’s Different From the MPC60?
The MPC3000 contains many changes and improvements over the
MPC60. The major changes are listed below.
Sound Generator Changes
• Sampling resolution is increased from 12-bit non-linear to 16-bit
linear.
• Sampling rate is increased from 40 kHz to 44.1 kHz.
• Stereo sampling is supported.
• A digital sampling input is included for direct recording from
digital sources.
• Sound memory is increased: 2 megabytes standard (21.9 seconds
mono or 10.9 seconds stereo), expandable to 16 megabytes (188.3
seconds mono or 94.1 seconds stereo). The maximum sampling time
per sound is no longer limited to 5 seconds, but rather only by
available sound memory. Also, sampling no longer requires erasing
sequence memory.
• Total sound capacity is increased from 34 to 128 sounds.
• Number of playback voices is increased from 16 to 32.
• A dynamic lowpass filter with envelope generator (and resonance)
exists for each playback voice.
• A built-in effects generator permits versatile delay effects.
• The new programs system of sound assignment allows all sound
assignments to be instantly changed merely by changing the active
program number, instead of by loading a new SET file as in the
MPC60. There are 24 programs, each with a unique set of sound
assignments from a common bank of 128 sounds. Unlike Set files,
saving a program to disk only saves assignment and parameter
information; the sounds used by the program are saved as individual sound files. This allows multiple programs to be saved to the
same disk without redundantly saving sound data as with SET files.
• Sounds are now assigned to MIDI note numbers instead of to pad
names. This permits simpler operation of the MPC3000 as a MIDI
sound module, eliminating the need to translate MIDI note numbers
into pad names as in the MPC60.
• New Mono Mode parameter causes a voice to restart, terminating
earlier plays. Also, any sound can be set to terminate any two other
sounds.
• Sample files from Akai S1000 & S3000 floppy disks may be loaded.
• Sample editing is enhanced. Now, any portion of a sound may be
copied or removed and then inserted into another sound at any
location. Also, any portion may be silenced or reversed.
• The Echo Mixer has been removed. It is replaced by the Individual
Outputs/Effects Mixer. This new mixer allows any sound to be
routed to any one of the individual outputs or the internal effects
generator, and the volume level of this assignment is adjustable
independently of the stereo volume.
Page 6
Chapter 1: Introduction
This allows independent send-level mixing to the internal effects
generator, or for any one of the individual outputs to be used as a
full external echo send mixer.
• The Double Play feature has been removed. Instead, up to three
sounds can be assigned to play from an incoming MIDI note number
or pad. The sounds can either play simultaneously, switch depending on note velocity, or switch depending on envelope decay (to
simulate the MPC60’s hi-hat decay slider function).
• The Best Start feature automatically finds the point within a
sound at which the drum strike begins, bypassing any dead space at
the beginning of the sound which could cause playback delays.
• The envelope decay parameter is now switchable between two
modes: END (same as the MPC60’s Fadeout parameter) and START
(decay begins immediately following attack).
Sequencer Changes
• Sequence memory capacity is expanded by 30% to 75,000 notes.
• In Step Edit , the REWIND [<] and FAST FORWARD [>] keys
may now be used to search to the previous or next event within a
track.
• In Step Edit, events may be cut and pasted by changing the
function of soft keys 1 and 2 from <Insert> and <Delete> to <Paste>
and <Cut>.
• The number of pad banks has been increased from 2 to 4 for a
total of 64 pad/bank combinations. The active pad bank is indicated
by the LEDs above the PAD BANK key.
• In drum tracks, drum notes are now assigned to MIDI note
numbers instead of to pads. This provides easier compatibility with
external MIDI devices and allows pad assignments to be rearranged
without affecting sequence or program data. MPC60 version 2
sequences are automatically converted from pad assignment to note
number assignment when loaded.
• The MPC60’s fixed four-letter drum names are no longer used.
Instead, notes in drum tracks are visually identified in editing
screens by pad number, MIDI note number and currently assigned
sound name.
• The new Note Variation Slider replaces the MPC60’s Hi-hat Decay
Slider, expanding its capabilities to provide a unique value of either
decay, tuning, attack, or filter frequency for every note.
• The 16 Levels function can now provide 16 levels of velocity,
tuning, attack, decay or filter frequency for every note.
• The Copy/Merge a Track feature has been renamed to Copy
Events and now permits specific drum notes to be copied.
• The Change Velocity/Duration feature now allows specific drum
notes to be edited.
• The new Shift Timing feature shifts track timing independently of
timing correction.
Page 7
Chapter 1: Introduction
• The new Edit Note Number Assignment feature permits
reassigning specific drum notes from one note number
(instrument) to another.
• The Count In feature may now be set to activate only before
recording.
• The Punch In feature may now be set to punch-in only or
punch-out only.
• New MIDI Local Mode internally disconnects the pads from the
sound generator. This is useful when using the pads and sound
generator with external sequencers.
General Changes
• Floppy disk capacity is expanded to 1.44 megabytes.
• Built-in SCSI interface allows data to be saved to and loaded from
external hard disk.
• Faster internal computer (16MHz V53—equivalent to a 80286) for
improved timing accuracy in complex sequences and enhanced
timing response to MIDI input.
• Many screens are changed and some functions moved in order to
make operation simpler and more intuitive.
If You Already Know the MPC60
Most of the operational differences between the MPC60 and
MPC3000 should be relatively simple to understand for MPC60
users, but some changes are more complex than others. Here is
additional information about the more complex changes to the
MPC3000.
The new Programs system
The MPC3000 uses a new system of sound assignments called
programs. A program is a set of 64 sound assignments and
sound modifying parameters. There are 24 different programs,
each with a unique set of sound assignments to a common
bank of up to 128 sounds in memory. Only one program may
be active at a time. As result of this new system, changing a
pad’s assignment from one sound to another is done merely by
changing the contents of a data field. Changing from one
entire set of sound assignments to another is done by changing
the active program number. In addition to the sound
assignments, each program contains a unique set of sound
modifying parameters for each sound assignment. These
parameters include envelope, tuning, velocity modulation,
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Chapter 1: Introduction
dynamic filter and other data. This is explained further in Chapter
6: “Creating and Editing Programs”.
MPC60 SET files are replaced by the new Program files.
In the MPC60, all sounds and sound assignments are saved in
one large SET file. In order to change all pad assignments, it
is necessary to load a new SET file. Because of the MPC3000’s
new Program system of sound assignments, SET files have
been replaced by PGM (program) files. A PGM file contains
all assignment information but no sound data. Instead, when
a PGM file is saved, all sounds used by the program are also
saved as individual sound files. This new method allows
different PGM files on the same disk to use the same sound
files, eliminating the problem of saving sound data redundantly
in multiple SET files. However, SET files may be loaded—the
assignments are loaded into a program and the sounds are added
to sound memory.
There is another new save operation called Save All Programs and
All Sounds. This saves a file with the extension APS containing the
data of all 24 programs, followed by a sound file for every sound
currently in memory.
Saving of PGM and APS files is explained further in chapter 9:
“Saving To and Loading From Disk”.
Sounds and sequenced drum notes are now assigned to note
numbers instead of to pad names.
In the MPC60, sounds and sequenced drum notes are assigned to
one of a number of fixed drum pad names (HIHT, SNR1, DR01 etc.)
In the MPC3000, 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 4
character drum names are no longer used. This new note number
assignment method provides the following advantages over the
MPC60’s pad-assign method:
1. Because pads are assigned to MIDI note numbers independently of sound assignments in programs or note
assignments in drum tracks, the pad assignments may be
freely rearranged to personal preference without affecting
sequences or sound assignments.
2. When using the MPC3000 as a sound generator, it is no
longer necessary to use the MPC60’s “Assign incoming
notes to pads” conversion table, which has been removed.
Instead, simply assign the received MIDI note number
directly to a sound.
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Chapter 1: Introduction
3. Notes may be recorded from MIDI directly into drum
tracks without the need for the MPC60’s “Assign incoming notes to pads” conversion table, which has been
removed. Now, when viewing a drum note in Step Edit,
the actual MIDI note number received is displayed, as
well as the currently assigned pad number (A01-D16) and
sound name.
4. Drum notes are sent out over MIDI without the need for
the MPC60’s “Assign pads to outgoing note numbers”
conversions, a function which has been removed. When
viewing a drum note in Step Edit, the actual MIDI note
number displayed is sent out.
When MPC60 SEQ or ALL files are loaded, a screen is presented
explaining that the pad assignments of drum notes will be converted
to note number assignments and offering conversion options.
For a more detailed explanation of how the MPC3000 uses note
numbers, please refer to the beginning of chapters 6 and 11: “Creating and Editing Programs” and “MIDI Functions”.
Assigning tracks as either Drum or MIDI
In the MPC60, a track is assigned to drums by assigning its output
MIDI channel to the Drums Channel, which is the input MIDI
channel of the internal sound generator. In the MPC3000, assigning
a track to drums is simpler: a new data field in the Play/Record
screen permits each track to be assigned as either DRUM or MIDI.
MIDI tracks contain normal MIDI data recorded from the MIDI
input and played out through the MIDI outputs. Drum tracks are
the same as MIDI tracks except for the following:
1. The output of the track plays to the internal drum sound
generator.
2. You can record drum notes into the track using the front
panel pads.
3. In sequence editing screens, note events in Drum tracks
are visually identified and selected not by note number
only as in MIDI tracks, but also by the pad number and
sound name currently assigned to the displayed note
number.
4. Drum tracks are not affected by the Transpose function.
Independently, each track (DRUM or MIDI) may be assigned to any
MIDI channel and MIDI output port. As a result of this change, the
MPC60’s Drums Channel and Drum Data Sent Out fields have been
removed.
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Chapter 1: Introduction
New Note Variation system and revised 16 Levels function
In the MPC60, the Hi-hat Decay Slider controlled decay time and
sound selection for the hi-hat pad only. In the MPC3000, the new
Note Variation Slider provides all functions of the hi-hat decay
slider, but may be assigned to any pad and may alternately control
either tuning, attack or filter frequency. As with the Hi-hat Decay
Slider, this information is recorded into each drum note.
The 16 Levels function does everything it did in the MPC60. In
addition, it can produce 16 levels of either attack, decay or filter
frequency by working in conjunction with the Note Variation system.
Delete Bars and Copy Bars: Last bar field has different function that MPC60’s To bar field
In the Delete Bars function, the Last Bar field now contains the
actual last bar of the region to be deleted. This is different from the
MPC60’s To Bar field that contained the first bar after the region to
be deleted.
In the Copy Bars function, the Last Bar field now contains the
actual last bar of the region to be copied. This is different from the
MPC60’s To Bar field that contained the first bar after the region to
be copied.
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Chapter 2: The Basics
Chapter 2:
The Basics
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Chapter 2: The Basics
Hooking Up Your System
The following diagram shows how to hook up the MPC3000 to a
MIDI keyboard and two sound modules.
MPC3000
1 2 IN OUT
POWER
OFF ON
12ABCD
MIDI IN
TO
1—2
POWER
MIDI OUT
MULTI TIMBRAL MIDI KEYBOARD
MULTI TIMBRAL MIDI SOUND MODULE
LEVEL PHONESLEFTDIGITAL GAIN
MIDI OUT
A---B---C---D
TO AUDIO CONSOLE
SCSI
SYNCFOOT SW
MIDI OUTMIDI IN
1
MIDI IN
RECORD IN
LOW MID HIGH
INDIVIDUAL MIX OUTPUTS
23456 78
STEREO OUT
RIGHTMONO RIGHT
MIDI IN
MIDI IN
MULTI TIMBRAL MIDI SOUND MODULE
If you only want to use the MPC3000 as a drum machine for now,
don’t connect the MIDI keyboard, the sound modules, or make any
MIDI connections. If you choose to make the MIDI connections, you
can daisy chain all of the sound generators to MIDI Output A of the
MPC3000. (Connect MIDI Out A of the MPC3000 to the MIDI in of
the keyboard; connect the keyboard’s MIDI thru to the MIDI in of
the first sound generator; and connect its MIDI thru to the MIDI in
of the next sound generator.) This method of connection, however,
will limit the total number of MIDI channels on all sound generators to 16. By using the four independent MIDI outputs shown in
the connection method above, you can use all 16 MIDI channels on
each of the four MIDI Outputs.
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Getting Around on the MPC3000
Before you can use the MPC3000, you must learn how to use the
cursor keys, data fields, command keys, the data entry keys and
data entry control, the soft keys and the HELP key.
While no disk is in the drive, turn the power on. After a few seconds,
the LCD screen will display the following text:
============== Play/Record =============
Seq: 1-(unused) BPM:120.0 (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) ======
<Tk on/off> <Solo=OFF> <Track-> <Track+>
Chapter 2: The Basics
This is known as the Play/Record screen, as indicated by the title at
the top of the screen. It’s also known as the Main Screen.
It is the main operating state of the MPC3000 and most playing and
recording of sequences is done when this screen is in view. It will be
discussed further in the chapter entitled “Recording Sequences.” If
at any time while operating the MPC3000 you are confused and
want to return to this screen, press the MAIN SCREEN key.
COMMENT: If you can’t clearly see the text on the screen, try
adjusting the LCD CONTRAST control.
The Cursor, Cursor Keys, Data Fields, and Command Keys
Make sure that the Play/Record screen is showing. If not, press
MAIN SCREEN.
Notice that a small rectangular block is blinking somewhere on the
screen. This is called the cursor. It is possible to move the cursor
around the screen using the four gray direction keys located in the
Cursor section of the panel. These four keys are referred to as the
CURSOR LEFT, CURSOR RIGHT, CURSOR UP and CURSOR
DOWN keys. Try moving the cursor around the LCD, then move it
to the upper left corner.
Notice that the cursor does not move from letter to letter, but rather
jumps across many letters at a time, landing only in certain locations, usually to the right of a colon (:). These areas are called data
fields and each one controls a specific parameter. For example, the
upper left-most data field is called Seq, an abbreviation for
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Chapter 2: The Basics
sequence. To the right of this field is another field containing the
name for the selected sequence.
The Play/Record screen is one of many display screens available on
the MPC3000. Most of the panel keys present a unique screen, and
each screen has its own unique data fields. Try pressing a few of the
different keys in the Commands section of the panel, such as DISK
or TEMPO/SYNC.
The Numeric Keypad, Data Entry Control, and [+] & [–] Keys
Make sure that the Play/Record screen is showing. If not, press
MAIN SCREEN.
To change the data in a data field, move the cursor to the field and
type in the new number using the numeric keypad, followed by
ENTER. For example, to change to sequence number 2:
1. Move the cursor to the Seq field in the upper left corner;
2. Type 2, followed by the ENTER key.
Notice that the sequence name (located immediately to the right of
the sequence number) now changes automatically, because it must
now display the name of sequence 2.
Another use of the numeric keypad is to select from a list of menu
options presented on the screen. For example, pressing the PROGRAM/SOUNDS key causes the following menu to be displayed:
===== Programs ===== ===== Sounds =====
1.Sel pgm, asn snds 5.Sample new sound
2.Envel,veloc,tune.. 6.Edit sound
3.Dynamic filter 7.Renam,cpy,delete
4.Copy, initialize 8.Audio trigger
==================== ==================
Select option:
When a screen like this is displayed, you are expected to select one
of the options by pressing a single number—it is not necessary to
press ENTER afterwards. Press MAIN SCREEN to return to the
Play/Record screen.
Another way of changing on-screen data is to use the data entry
control. While the cursor is in a data field, if the data entry control
is rotated one step to the right, the on-screen number will
increment. If the data entry control is rotated one step to the left,
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Chapter 2: The Basics
the on-screen number will decrement. Continuously turning the
data entry control will repeatedly increment or decrement the onscreen value. It is not necessary to press ENTER after turning the
data entry control.
There is a special type of data field called a choice field. Fields of
this type do not contain numeric data, but rather a specific number
of preset text selections, though only one can be active at a time. In
this case, the data entry control is used to select from the available
options. For example, press the OTHER key and move the cursor to
the Rate field, which is a choice field. Now turn the data entry
control and notice that with each step of the control, 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
control one step to the right. It either increments a number in a
numeric field or chooses the next option in a choice field.
Pressing the [-] key has the same effect as turning the data entry
control one step to the left. It either decrements a number in a
numeric field or chooses the previous option in a choice field.
The Soft Keys
Make sure that the Play/Record screen is showing. If not, press
MAIN SCREEN.
Immediately below the LCD screen are four keys labeled SOFT
KEY 1, SOFT KEY 2, SOFT KEY 3, and SOFT KEY 4. The
functions of these keys change from one screen to another; these
functions are always displayed on the lowest line of the screen. For
example, while the Play/Record screen is showing, the lowest line
appears as:
<Tk on/off> <Solo=OFF> <Track-> <Track+>
The bottom line shows four titles enclosed in angle brackets. The
titles are <Tk On/Off >, <Solo=OFF>, <Track-> and
<Track+>. These four titles indicate the functions of the four soft
keys, but only while this screen is showing. Most of the screen
displays in the MPC3000 have soft key functions, and the lowest
line of each of these screens indicates the function of the four soft
keys while that screen is showing. You can see this by pressing the
ERASE key, then the TIMING CORRECT key, then MAIN SCREEN
to return to the Play/Record screen. Some screens have fewer than
four active soft keys and some have none.
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