Akai MPC3000 User Manual

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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

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.

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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.

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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

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This equipment conforms to No. 82/499/EEC, 87/308/EEC standard

CONFORME AL D.M. 13 APRILE 1989 DIRETTIVA CEE/87/308

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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.

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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

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.

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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

CRASH

HIGH TOM MID TOM LOW TOM FLOOR TOM

ALT SNARE HIHAT OPEN HIHAT PEDALSNARE

SIDE STICK BASS HIHAT CLOSED HIHAT LOOSE

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

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

TEMPO/SYNC

AUTO PUNCH

x y

space

PROGRAM/

SOUNDS

SONG OTHER

STEP EDIT EDIT LOOP

h i

TRANSPOSE SIMUL SEQ

k l

COUNT IN

n o

CURSOR

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

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

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

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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

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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

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.

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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.

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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.

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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.

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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.

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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.

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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,

Page 8

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

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

MIDI IN

RECORD IN

LOW MID HIGH

INDIVIDUAL MIX OUTPUTS

23456 78

STEREO OUT

RIGHTMONO RIGHT

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:

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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Chapter 2: The Basics

The HELP key

Whenever this key is pressed and held down, the contents of the screen will be temporarily replaced by text explaining the function of the data field where the cursor is currently located. To return to the previous screen, release the HELP key. There is a different help screen for every data field of every screen in the MPC3000.

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Chapter 2: The Basics

Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program

Here are some definitions of terms used in the MPC3000 that you should know:

Sequence

A sequence can be thought of as a segment of multitrack tape of variable length. Depending on the sequence contents, it could be a two-bar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC3000 holds 99 sequences in memory at one time. Normally, only one sequence can play at one time, unless the Simul Sequence feature is on, which allows two sequences or one sequence and one song to play simultaneously.

Track

Within each of the 99 sequences are 99 tracks that contain the actual MIDI events. These can be thought of as the tracks on a multitrack tape recorder—they each contain a specific instrument or piece of the total arrangement, but they all play simultaneously. For example, track 1 could be drums, track 2 percussion, track 3 bass, track 4 piano, track 5 horns, track 6 more horns, etc. Each track can be assigned as a Drum track or a MIDI track, but not both. MIDI tracks contain normal MIDI data recorded from the MIDI input and played out through the MIDI output. 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.

Song

A song is a list of sequences that play consecutively, with each sequence representing a section of a composition. In the MPC3000 there are 20 songs, each having up to 250 steps. Each step holds one sequence and can repeat a specified number of times before the song moves to the next step.

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Chapter 2: The Basics

Sound

Each individual sampled recording in the MPC3000 is called a sound. A sound could be a recording of a single strike of a snare drum or cymbal, a sound effect, or a 30 second stereo recording of backing vocals. Sounds are sampled in 16-bit linear format at a sampling rate of 44.1kHz in either mono or stereo and can be any length up to the limit of sound memory. A maximum of 128 sounds can reside in sound memory.

Pad

When sounds are loaded into the MPC3000, each pad plays a particular sound. Though there are only 16 pads, the MPC3000 can hold many more than 16 sounds, To access more than 16 sounds from the pads, the MPC3000 provides four banks of pad assignments permitting up to 64 sounds to be played from the 16 pads. Only one bank can be active at a time. The four banks are named A, B, C, and D, and the pads are numbered 1 through 16. The 64 bank/ pad combinations are named by combining the bank letter (A-D) with the pad number:

Pads in bank A: A01 through A16 Pads in bank B: B01 through B16 Pads in bank C: C01 through C16 Pads in bank D: D01 through D16

Each of these 64 bank/pad combinations (A01-D16) is referred to as a pad.

Notice that sounds are not assigned directly to pads, but rather to MIDI Note Numbers. In order for a pad to play a sound, it is first assigned to a MIDI note number, then that note number is assigned to a sound. This is described further in the “MIDI Functions” and “Creating and Editing Programs” chapters of this manual.

Note Number

In MIDI terminology, note number refers to the element in a MIDI Note On event that supplies the pitch of the note. The note number range is from 0 to 127. For example, if Middle C is played on a MIDI keyboard, a Note On event is sent out over MIDI containing note number 60; the receiving sound generator interprets this as Middle C and plays the appropriate pitch. If the sound generator is playing drum sounds, the note number is not used for pitch, but rather to

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Chapter 2: The Basics

select which drum will play—one key for bass drum, one for snare, one for high tom, etc.

This system of using MIDI note numbers to select drums is used in the MPC3000’s sound assignment system. In programs (described below), sounds are assigned directly to one of 64 MIDI note numbers (35-98). In sequences, drum notes are also assigned to one of 64 note numbers (35-98) to indicate which sound to play. Because of this assignment method, there are many data fields in the MPC3000 called Note, in which you enter either the note number you wish to assign in a program, or the note number you wish to edit in a sequence’s drum track. (For easy visual identification in these Note fields, the note number is accompanied by both the currently assigned pad number and sound name. )

Program

Once a sound is loaded into memory, it cannot be played by pads or from MIDI until it is assigned within a program. A program is a collection of 64 sound assignments and can be thought of as a drum set. In a program, each of 64 MIDI note numbers (35-98) is assigned to one of the 128 possible sounds currently residing in memory. Once assigned to a note number, a sound can be played in one of three ways:

1. By receiving a Note On message from the MIDI input;

2. By playing a front panel drum pad (each pad is also assigned to one of the 64 MIDI note numbers 35-98);

3. By playing drum tracks in sequences (each note event in a drum track is assigned to one of the 64 MIDI note numbers 35-98).

In addition to the 64 sound assignments, each program also contains a number of sound modifying parameters for each of the 64 sound assignments, including envelope, tuning, filter, mixer, and velocity response data. Each program also contains some parameters, such as the settings of the effects generator, that collectively affect all sounds.

The MPC3000 has 24 different programs (one of which can be active at a time) each with its own unique set of 64 assignments. Simply by changing the active program number (1-24), all 64 sound assignments and their sound modifying settings will instantly change.

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Chapter 2: The Basics

Loading and Playing Sounds and Programs

All sounds and programs are held in RAM memory and are therefore lost whenever the power is turned off. In order to play any sounds after turning the power on, you must load them in from disk. The procedure for loading files from disk is described in the “Saving To and Loading From Disk” chapter of this manual, but to get you started quickly, you’ll learn how to load a disk automatically when the power is turned on. Follow these steps:

1. Of the 4 sound disks that are included with the MPC3000, select

one and place it in the disk drive. Each disk contains a variety of drum sounds and programs.

2. Turn the power on and wait for the MPC3000 to load the sounds

and sequences into memory. While loading, the LCD screen will display the following message:

============= Akai MPC3000 =============

======================================== Loading files...

When the disk has finished loading, the Play/Record screen (the Main Screen) will be displayed. All sounds and programs from the disk are now loaded into the MPC3000’s memory.

Playing the Pads, the PAD BANK, & FULL LEVEL Keys

Each sampled recording in the MPC3000 is called a sound. To hear some of the drum sounds you have just loaded, play the 16 dynamic pads on the front panel. To hear other sounds, press the PAD BANK key once so that the [B] light above the key is lit, then play the pads again. The MPC3000 has four pad banks (A, B, C and D). To hear the sounds assigned to pad bank C, press PAD BANK again and play the pads, and do the same to hear bank D. Each time you press the PAD BANK key you change to the next pad bank, and with each bank the 16 pads play different sounds.

The 64 bank/pad combinations are named by combining the bank letter (A-D) with the pad number:

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Each of these 64 bank/pad combinations (A01-D16) is referred to as a pad.

The 16 pads are dynamic—the harder you play them, the louder the sound will play. If desired, however, this touch sensitivity can be defeated. Press the FULL LEVEL key (the light goes on), and no matter how hard you play the pads, the sound will play at its maximum dynamic level. Press FULL LEVEL again to return to normal dynamic operation.

Selecting Programs

Chapter 2: The Basics

Pads in bank A: A01 through A16 Pads in bank B: B01 through B16 Pads in bank C: C01 through C16 Pads in bank D: D01 through D16

The 64 sound assignments you have just heard (four pad banks of 16 sounds each) comprise a program. The MPC3000 can hold up to 24 programs. Each program has a unique set of 64 sound assignments, so you can think of programs as drum sets. If you change from one program to another, playing the four banks of pads will produce entirely different sounds.

When you just played the pads and heard the sounds, you were hearing the sounds assigned in Program 1. To change to Program 2:

1. Press the PROGRAM/SOUNDS key and select 1, “Select program, assign sounds”, from the menu. The following screen will appear:

============ Select Program ============ Active program: 1-PROGRAM NAME ========== Assign Note:35/A01 ========== Sound:BIG BAD DRUM (ST) Mode:DCY SW General MIDI name for note:LO FLOR TOM

======================================== <Play>

2. Move the cursor to the Active Program field. It should display 1. Select program 2 using the data entry control.

3. Play the sounds in program 2: Select Pad Bank A and play the sounds, then select Pad Bank B and play the sounds, then play bank C, then bank D.

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Chapter 2: The Basics

4. Repeat step 3, except select program 3 and play the sounds. Repeat this procedure to hear the other programs.

5. To return to the Play/Record screen, press MAIN SCREEN.

The Note Variation Slider, ASSIGN and AFTER keys

The Note Variation slider can be used in real time to change the tuning, attack, decay, or filter frequency for a sound played from a single pad. Once the slider is assigned to single pad and parameter, moving the slider while playing the pad will cause the sound’s tuning, attack, decay, or filter frequency to be determined by the current slider position.

Here are some examples of uses of Note Variation:

1. The slider can control decay for a hi-hat sound. This would simulate the action of a drummer’s hi-hat pedal, allowing a unique hi-hat decay time each time the pad is played.

2. The slider can be assigned to tuning for a tom tom sound. By moving the slider while playing the tom pad, a wide range of tom tunings is possible.

3. The slider can control filter frequency for a sound containing a resonant filter setting. This would allow each note played to have a different resonant filter frequency, simulating old analog synthesizer sample and hold filter effects.

The ASSIGN Key

To assign the Note Variation Slider to a pad and parameter, press the ASSIGN key. The following screen will appear:

==== Assign Note Var Slider (Pgm:24) === Note:64/A01-Sound_name Param:TUNING Low range: 0 High range:5000

========================================

To assign the slider to a pad and parameter:

1. Press the desired pad (the note number, pad number and sound name of the pad you pressed will appear in the Note field).

2. Move the cursor to the Param field and select the desired parameter (TUNING, ATTACK, DECAY or FILTER).

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Chapter 2: The Basics

3. Press MAIN SCREEN to return to the Play/Record screen.

4. Play the selected pad while moving the Note Variation slider. Each time the pad is played, the selected parameter (tuning, attack, decay or filter) will change according to the slider position.

Here is additional information about the four fields:

• The Note field:

This field contains the note number to which the slider is assigned (35-98). To change the assignment, press a pad. The note number to which the pad is assigned will instantly appear in the Note field, along with the pad number of the pad you pressed and the name of the sound currently assigned to the note number. Alternately, you can enter the desired note number by direct cursor editing.

• The Param (parameter) field:

This field determines which of the four possible parameters the slider will control. The four choices are:

1. TUNING: If selected, the slider alters tuning. This data is added to the tuning settings used in the program and sound.

2. DECAY: If selected, the slider alters envelope decay time. This data overrides the program’s envelope decay setting.

3. ATTACK: If selected, the slider alters envelope attack time. This data overrides the program’s envelope attack setting.

4. FILTER: If selected, the slider alters filter frequency. This data is added to the program’s filter frequency setting.

• The Low range and High range fields: These two fields control the range of the slider. The Low range field determines the parameter value that will be produced when the pad is hit while the slider is at the bottom of its travel; the

High range field determines the parameter value that will be

produced when the pad is hit while the slider is at the top of its travel. Any position in between produces a proportionate value between these two values. The type of data shown in these fields is determined by the parameter selected in the Param field. If

TUNING is selected, these fields contain a signed tuning number

(e.g., -120 to +120); if ATTACK or DECAY is selected, they contain a millisecond value (0-5000); if FILTER is selected, these fields contain a number representing the range of filter frequencies (-50~50).

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Chapter 2: The Basics

The AFTER key

Note Variation information may be recorded into sequences. Each drum note in a sequence contains two pieces of data related to Note Variation:

1. The Note Variation Parameter: This identifies which parameter the Note Variation Data will affect (tuning, decay, attack or filter frequency).

2. The Note Variation Data: This is the actual tuning, attack, decay or filter frequency information, representing the position of the slider when the note was recorded.

Normally, the slider only affects new notes—it has no effect on notes played back from sequences. However, if the AFTER key is pressed (and the associated light goes on), the slider also overrides the Note Variation data of any drum notes playing back from sequences, but only drum notes that are assigned to the same note number (drum pad) and parameter currently selected in the ASSIGN key’s screen. Further, if in Overdub mode while the AFTER key light is on, these changes are recorded into the active track.

To return to normal operation, press AFTER again and the light will go off.

The 16 LEVELS key

When the 16 Levels function is on, a single sound will play from all 16 pads but each pad will produce a different value of either velocity, tuning, attack, decay, or filter frequency.

To set the parameters and turn 16 Levels mode on, press the 16 LEVELS key. The following screen will appear:

========== Assign '16 Levels' ========== Note:64/A06-Sound_name Param:NOTE VAR (TUNING) Center pad:13

======================================== <Turn on, exit>

The fields and soft keys are:

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Chapter 2: The Basics

• The Note field: This field is used to assign the 16 Levels function to one of the 64 possible note numbers (35-98). When 16 Levels mode is on, all 16 pads will play one sound but at 16 evenly spaced levels of either velocity, tuning, decay, attack, or filter frequency. Select a sound by pressing a pad. This will automatically select the note number that is currently assigned to the selected pad. For convenience, the sound name currently assigned to the selected note number in the active program is displayed.

• The Param field: This is a choice field with two choices:

1. VELOCITY: If this option is selected, and 16 LEVELS mode is on, then the selected note number and sound will play from all 16 pads, but at 16 fixed velocity levels with the softest level on the lower leftmost pad and the loudest level on the upper rightmost pad.

2. NOTE VAR: If this option is selected, and 16 LEVELS mode is on, then the selected note number and sound will play from all 16 pads, but at 16 fixed levels of tuning, decay, attack, or filter frequency using the Note Variation data stored with each drum note in the sequence.

• The Note Variation Parameter field (NOTE VAR

(TUNING)(TUNING)

(TUNING) in the

(TUNING)(TUNING)

screen example above): This field has no label and appears only if NOTE VAR is selected in the Param field. It is a choice field and is used to determine which of the four Note Variation parameters is active. The four choices are:

1. (TUNING): If selected, the 16 pads play a single sound but at 16 chromatic tunings. The tuning range is controlled by the

Center pad field to the right.

2. (DECAY): If selected, the 16 pads play a single sound but at 16 evenly spaced levels of envelope decay. The range of decay values is set in the Assign Note Variation screen.

3. (ATTACK): If selected, the 16 pads play a single sound but at 16 evenly spaced levels of envelope attack. The range of attack values is set in the Assign Note Variation screen.

4. (FILTER): If selected, the 16 pads play a single sound but at 16 evenly spaced levels of filter frequency. The range of filter frequency values is set in the Assign Note Variation screen.

• The Center pad field: This field only appears if the Param field is set to NOTE VAR and the Note Variation Parameter field is set to (TUNING). It is used to set the tuning range of the 16 pads by selecting which of

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Chapter 2: The Basics

the 16 pads will play the sound at no tuning change. Regardless of this center pad, higher numbered pads play higher chromatic tunings and lower numbered pads play lower chromatic tunings. In order to limit the entire tuning range of the 16 pads to within +/- one octave, only pads 4 through 13 can be selected. For example, if pad 4 is selected, the tuning range is from -30 (-3 semitones at pad 1) through 0 (no tuning change at pad 4) to +120 (+12 semitones at pad 16).

To turn the 16 Levels function on:

1. Press the 16 LEVELS key. The 16 Levels screen will appear.

2. Press the pad of the drum you want to use. The Note field will immediately show the note number assigned to that pad along with the pad number pressed and the currently assigned sound name.

3. Set the Param field to the desired parameter, and, if

NOTE VAR is selected, also set the Note Variation Pa-

rameter field to the right.

4. Press the <Turn on, exit> soft key. This will turn the light above the 16 LEVELS key on and cause the Play/ Record screen to be displayed. Now the sound you selected will play from all 16 pads, but at 16 fixed levels of the parameter you selected.

To turn the 16 Levels function off:

Press the 16 LEVELS key again. The light will go out, indicating that normal pad function has returned.

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Chapter 3:

Recording

Sequences

Chapter 3: Recording Sequences

How Sequences are Organized

A sequence can be thought of as a segment of multitrack tape of variable length. Depending on the sequence contents, it could be a two-bar repeating drum pattern, an eight-bar verse, or an entire 200-bar multitrack composition with time signature and tempo changes. The MPC3000 holds 99 sequences in memory at one time. Normally, only one sequence can play at one time, unless the Simul Sequence feature is on, which allows two sequences, or one sequence and one song, to play simultaneously.

Within each of the 99 sequences are 99 tracks that contain the actual MIDI events. These can be thought of as the tracks on a multitrack tape recorder—they each contain a specific instrument or piece of the total arrangement, but they all play simultaneously. For example, track 1 could be drums, track 2 percussion, track 3 bass guitar, track 4 piano, track 5 horns, track 6 more horns, etc. Each track can be assigned as a Drum track or a MIDI track, but not both. MIDI tracks contain normal MIDI data recorded from the MIDI input and played out through the MIDI output. 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.

4. Drum tracks are not affected by the Transpose function.

In order for the sequencer to play external synthesizers, it must send its notes out through MIDI on one of the 64 output MIDI channels (16 channels for each of the 4 MIDI output jacks). On the MPC3000, each track can be independently assigned to output its notes through any one or two of these 64 output MIDI channels.

Ticks and Bar.Beat.Tick fields

The timing resolution of the sequencer is 96 divisions per quarter note (96 ppq). Each one of these divisions is called a tick.

In many of the sequence editing screens it is necessary to enter the start and end of the region to be edited. This is done using a threepart field, called a bar.beat.tick field, containing a bar number,

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beat number, and tick number. (A beat is the timing value of the lower half of the time signature. For example, in 4/4 time, a beat is one quarter note.) In bar.beat.tick fields, you enter the three parts separated by decimal points (.), followed by ENTER. For example, to enter bar 1, beat 3 and tick 24, type 1, decimal point, 3, decimal point, 24, ENTER. If you only want to enter the bar number, type it followed by ENTER—The beat and tick portions will be reset to the start of the bar.

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Chapter 3: Recording Sequences

The MAIN SCREEN Key & Play/Record Screen

When the MPC3000 is first powered on, the LCD screen shows the following contents:

This is called the Play/Record screen. It is the main operating screen of the MPC3000 and most playing and recording of sequences is done while this screen is showing. To return to this screen at any time, press the MAIN SCREEN key. The following is an explanation of each of the data fields and soft keys contained in this screen:

• The title line (===== Play/Record =====) : The title line not only displays the title of this screen but also indicates whether Record Ready status is enabled or disabled by appearing in one of two views:

1. Record disabled:

========== Play/Record ============

This is the normal mode for sequence playing. In this mode, it is impossible to “punch in” to Record or Overdub mode while playing the sequence. However, in this mode it is possible to change sequences while playing. To do this, simply select a new sequence while playing using the numeric keypad. When the previously selected sequence finishes, the newly selected one begins playing. This feature is very useful for creating the structure of a song in real time while the MPC3000 is playing.

COMMENT: If you use the data entry control to select a new sequence while playing, only the next highernumbered or next lower-numbered sequence can be selected. If you want to select a sequence whose number is greater than one higher or lower, you must use the numeric keypad (remember to press ENTER after you have entered the new sequence number).

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Chapter 3: Recording Sequences

2. Record ready:

==== Play/Record (Record ready) ===

In this mode, it is possible to “punch in” to Record or Overdub mode while playing the sequence. To punch

in: while playing a sequence, hold both PLAY and either RECORD or OVERDUB simultaneously—the MPC3000 will immediately enter either Record or Overdub mode. In this mode it is impossible to change sequences while playing.

• The Sequence Number field (Seq:

1-(unused) in the example

screen): This field displays the active sequence number, from 1 to 99. This is the sequence that will play when either PLAY START or PLAY is pressed. If you change the sequence number while a sequence is playing, the new sequence will start playing when the current sequence finishes playing.

COMMENT: If you select a new sequence number while playing by using the data entry control, only the next higher or next lower sequence can be selected. To select other sequences while playing, use the numeric keypad.

• The Sequence Name field (Seq:

1-(unused) in the example

screen): This is the 16-character name for the active sequence. To change the sequence name, move the cursor to this field and turn the data entry control one step in either direction. This will cause the keys that have alphabet letters printed above them to function as alphabet entry keys. To indicate that alphabet mode is active, the cursor changes from the normal blinking block to a blinking underline. Now change the name by typing the letters printed above the keys. The CURSOR LEFT and CURSOR RIGHT keys do not type letters, but allow you to move the cursor left or right within the name. For punctuation, use the data entry control. When finished, press ENTER and the cursor will return to a blinking block at the beginning of the field, indicating that the alpha keys have returned to their normal functions. To discard any changes and return to the old name before ENTER is pressed, press and release HELP.

• The Tempo Display Mode field (

BPMBPM

BPM:120.0 (SEQ) in the

BPMBPM

example screen): This is a choice field with two options:

1. BPM: The tempo is displayed in Beats Per Minute with one digit to the right of the decimal point.

2. FPB: The tempo is displayed in Frames Per Beat with one digit to the right of the decimal point indicating 1/8s of a frame. If this option is selected, the Frames field (in the Tempo/Sync screen)

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should be set to the desired frame rate.

• The Active Tempo field (BPM:

120.0120.0

120.0 (SEQ) in the above ex-

120.0120.0

ample): This is the active playing tempo. If the sequence contains tempo changes, this shows the active tempo at the current sequence position displayed in the Now field.

• The Tempo Source field (BPM:120.0

(SEQ)(SEQ)

(SEQ) in the above

(SEQ)(SEQ)

example): This is a choice field with two options:

1. SEQ (sequence): Within each sequence is a unique tempo setting. If this option is selected, the sequence’s unique tempo is used in the Active Tempo field. In this case, whenever the active sequence number is changed, the newly selected sequence’s tempo immediately appears in the Active Tempo field. When playing sequences, this is useful if you want each newly selected sequence to play at its own preset tempo. The sequence’s tempo is saved to disk when a sequence is saved.

2. MAS (master): The master tempo is a single tempo setting that applies to all sequences and songs. When playing sequences this is useful if you always want each newly selected sequence to play at the same tempo. This tempo setting is not saved in the sequence file.

4/4/

• The Time Signature field (Sig:

4 in the above example):

4/4/

This field shows the time signature of the current bar (displayed in the Now field) of the active sequence. It is for display only and cannot be changed. For information on how to change the time signature of a bar or to insert time signature changes, see the “Editing Sequences” chapter of this manual.

• The Bars field: This shows the total number of bars in the active sequence. It is for display only and cannot be changed.

• The Loop field: This is a choice field with two options:

1. OFF: If this option is selected, the sequence stops playing when it reaches its end. However, if in Record mode, recording continues past the end, adding one measure (at the time signature of the last bar) onto the end of the sequence as each new bar is entered, until the sequence is stopped.

2. TO BAR 1: If this option is selected, when the sequence plays to the end, it immediately loops back to the bar number

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displayed to the right of the word BAR. To set the number of the bar to which the sequence loops back, move the cursor to the field to the right of the word

BAR and enter the new number.

COMMENT: If the bar to loop to is bar number 1 and the sequence is in Record mode, the MPC3000 will automatically switch from Record to Overdub mode at the moment the sequence loops back—this will prevent accidental erasure of any notes just recorded. In the event that the bar to loop to is bar number 2 or higher and the sequence is in Record or Overdub mode the MPC3000 will automatically switch to Play mode at the moment the sequence loops back to the specified bar.

The Track Data area (lines 4-6):

Chapter 3: Recording Sequences

• The Active Track field (Trk:

1-(unused) in the example

screen): This field displays the active track number within the sequence. The active track is the track that, when Record or Overdub mode is entered, will be recorded into from the MIDI keyboard or pads. Also, if the Soft thru field is on (described in the “MIDI Functions” chapter of this manual) and the pads or MIDI keyboard is played, the played notes will be sent out over MIDI in real time using the active track’s MIDI channel and port assignments. Only one track can be active at a time.

• The Track Name field (Trk: 1-

(unused)(unused)

(unused) in the example

(unused)(unused)

screen) This field has no on-screen title, but is the 16-character name of the active track, and is located directly to the right of the active track number. It is changed in the same manner as the sequence name, detailed above.

• The Type field: This is a choice field with two options—MIDI and DRUM:

1. MIDI: Select this option if you want to record normal non-drum MIDI data from an external MIDI keyboard into the selected track. MIDI tracks do not use the internal sound generator or pads.

2. DRUM: Select this option if you want to record drum data into the selected track. Drum tracks are the same as MIDI tracks except for the following:

A. The output of the track plays to the internal

drum sound generator.

B. You can record drum notes into the track using

the front panel pads.

C. In sequence editing screens, note events in

drum tracks are visually identified and

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selected not by note number only as in MIDI tracks, but also by the pad number and sound name currently assigned to the displayed note number.

D. Drum tracks are not affected by the Transpose

function.

• The Track On/Off field (On:

YESYES

YES in the example screen):

YESYES

This choice field turns the output of the active track on (YES) or off (NO). Pressing SOFT KEY 1 toggles the field’s state between YES and NO.

• The MIDI Channel/Port fields (Chn:

OFFOFF

OFF-(off) in the example

OFFOFF

screen): There are actually two fields here, which together are used to determine which MIDI channel and MIDI output port the active track will output its data to. The to fields are:

1. The MIDI Channel field (Chn:

1A-(off)):

This field determines which of the 16 MIDI channels the active track will play through. If you don’t want the track to play through any MIDI channels, select 0 and the word

OFF will appear.

2. The MIDI Port field (Chn: 1

A-(off)):

This choice field determines which of the four MIDI output ports (A, B, C, or D) the active track will play through. (If OFF is selected in the MIDI channel field to the left, this field can’t be seen.)

COMMENT: If OFF is displayed in this field (no MIDI output assignment) and you want to select a MIDI channel or port, first move the cursor to the letter “O” of OFF and turn the data entry control one step to the right.

• The MIDI Channel/Port Name field (Chn:OFF-

(off)(off)

(off) in the

(off)(off)

example screen): This is the eight-character name for the currently selected MIDI output channel/port combination. This would commonly contain the name of the synthesizer that is being played from the displayed MIDI channel/port combination. There are 64 names—one for each of the 64 output MIDI channel/port combinations. The name is changed in exactly the same way as the sequence name field.

COMMENT: These 64 names are intended to be used to identify the MIDI devices that are externally connected—not the data contained in the track. For this reason, they are not saved within sequence files or ALL files. They are, however, retained in memory after power is removed and are also saved within Parameter files.

• The Auxiliary MIDI Channel/Port fields (& OFF in the example screen): These two fields have exactly the same function and operation as the MIDI Channel/Port fields shown to the left. These two

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fields allow the active track to play simultaneously through an additional channel/port combination. If no additional output channel/port is desired, select OFF here.

• The Velocity% field (Vel%:

100100

100 in the example screen):

100100

This is an overall output volume control for active track. However, unlike a normal volume control, this function actually scales the velocities of all notes that play from the track in real time, acting as a real-time dynamics control. The range is from 0 to 200%. Values from 0 to 99 reduce velocities; values from 101 to 200 increase them. Select 100 for no effect.

• The Program Number field (Pgm:OFF ): This field permits a MIDI program number (1-128) to be assigned to the active track. To select no program assignment for the active track, enter a 0 in this field and OFF will be displayed. Whenever a new sequence is selected, if any of the sequence’s tracks contain program number assignments, those program numbers will be immediately sent out over the track’s assigned MIDI channel/port (not the auxiliary MIDI channel/port) to the external synthesizer, causing it to change to the assigned program number. This way, all external synthesizers are immediately changed to the correct program numbers by merely selecting the sequence. If a track’s

Type field is set to DRUM, the assigned program number will

change the internal sound generator’s active program number.

COMMENT: It is also possible to record MIDI program change events at any location within a track, either in real time or in Step Edit mode. (See the “Step Edit” section in the “Editing Sequences” chapter of this manual for more details about this.) It is important to note that if one of these program change events is inserted mid-sequence and the portion of the sequence containing the change is played (causing the external synthesizer to change to the new program), the original program number (as set up in the Program Number field) will not be re-sent over MIDI until the sequence is reselected in the Sequence Number field. Simply restarting the sequence will not implement the program change. If the MPC3000 did send out all assigned program numbers whenever PLAY START were pressed, this problem would be corrected, but there would also be a brief delay at the start of the sequence because the external synthesizers must take time to change their program data. If you do want a program change to be sent out whenever PLAY START is pressed, it is better to insert a MIDI Program Change event at the start of the track, using Step Edit.

• The Now field (Now:

001.01.00001.01.00

001.01.00 (

001.01.00001.01.00

00:00:00:0000:00:00:00

00:00:00:00) in the

00:00:00:0000:00:00:00

example screen): This field displays the current position within the sequence. The left side of this field shows the current position in musical terms—as a three-part number separated by decimal points.

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Chapter 3: Recording Sequences

The first part is the bar number; the second is the beat number within the bar (the beat is equal to the denominator of the time signature); and the third is the tick number within the beat (there are 96 ticks to a quarter note). Bars and beats start at 1; ticks start at 0.

To the right of the above-described bar.beat.tick number is another four-part number, displayed in parentheses. This field shows the current position of the sequence as a function of elapsed time from the beginning of the sequence, in hours, minutes, seconds, and frames. However, the number displayed when the sequence is set to the start is not necessarily 00:00:00:00, but rather is equal to the SMPTE start time. SMPTE operation is described in the chapter 10: “Syncing to Tape and Other Devices”.

This field is for display only and cannot be edited directly with the cursor. It is normally changed by using the REWIND, FAST FORWARD and LOCATE keys, described in the “Play/Record Keys” section of this chapter. These fields change in real time while the sequence plays. However, the right-most part of each field—the ticks and frames parts—are replaced with two dashes (—) while playing because they would otherwise change too quickly to be useful.

The four soft keys are:

• The <Tk on/off> soft key: Pressing this soft key toggles the Track On/Off field between YES and NO.

• The <Solo=OFF> soft key: Pressing this soft key turns solo mode ON or OFF. If set to ON, only the active track is heard and all other tracks are temporarily muted. The text of the soft key indicates whether solo mode is ON or OFF.

• The <Track-> soft key: Pressing this soft key decrements the active track number by one.

• The <Track+> soft key: Pressing this soft key increments the active track number by one.

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The Play/Record Keys

These ten keys operate similarly to the transport keys on a tape recorder, with some very useful additions:

• The PLAY START key: This key causes the active sequence to begin playing from the start of bar 1.

• The PLAY key: This key causes the sequence to begin playing from the current position displayed in the Now field in the Play/Record screen.

• The STOP key: This key causes the sequence to stop playing.

Chapter 3: Recording Sequences

• The OVERDUB key: This key, when held down while PLAY is pressed, causes Overdub mode to be entered, in which new notes can be recorded into the active track without erasing existing notes. While Overdub mode is active, the light above the OVERDUB key is on.

It is also possible to punch-in to Overdub mode while playing. To do this:

1. The MPC3000 must be in Record Ready mode. (The top line of the Play/Record screen must display the words

Play/Record (Record ready).) If not, simply

press and release the RECORD or OVERDUB key once while the sequence is stopped.

2. While the sequence is playing, simultaneously press the OVERDUB and PLAY keys. Overdub mode is now active, indicated by the light above the OVERDUB key.

To punch-out of Overdub mode, simply press the OVERDUB key once, and the light above the OVERDUB key will turn off.

COMMENT: If Overdub mode is entered while the sequence is set to loop to a higher-numbered bar than bar number1, Overdub mode will automatically be turned off at the moment the sequence reaches the end and starts to loop.

• The RECORD key: This key, when held down while PLAY is pressed, causes Record mode to be entered, in which new notes can be recorded into the active track while existing notes are erased, just as with a tape recorder. While Record mode is active, the light above the RECORD key is on.

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Chapter 3: Recording Sequences

It is also possible to punch-in to Record mode while playing. To do this:

To punch-out of Record mode, simply press the RECORD key once, and the light above the RECORD key will turn off.

1. The MPC3000 must be in Record Ready mode. (The top line of the Play/Record screen must display the words

Play/Record (Record ready).) If not, simply

press and release the RECORD or OVERDUB key once while the sequence is stopped.

2. While the sequence is playing, simultaneously press the RECORD and PLAY keys. Record mode is now active, as indicated by the light above the RECORD key.

COMMENT: If Record mode is entered while the sequence is set to loop to bar number1 (or a portion of the sequence is looped with the Edit Loop function), Record mode automatically switches to Overdub mode at the moment the sequence reaches the end and starts to loop. This prevents accidental erasure of any data that were recorded on the previous pass through the loop. If, however, Record mode is entered while the sequence is set to loop to a higher-numbered bar than bar 1, Record mode will automatically be turned off at the moment the sequence reaches the end and starts to loop.

COMMENT: If an empty sequence is selected (the sequence name field shows “unused”), and either RECORD or OVERDUB is pressed, the sequence will instantly be initialized using the settings in the Initialize Sequence screen. This function is normally accessed by pressing the ERASE key and selecting SOFT KEY 2.

• The REWIND [<<] and FAST FORWARD [>>] keys: Use these two keys to change the current position within the sequence to either the previous or next bar boundary. The actions of these keys repeat when they are held.

• The REWIND [<] and FAST FORWARD [>] keys: Use these two keys to move the current position within the sequence to either the previous or next note boundary, as determined by the value in the Note Value field of the Timing Correct screen (normally set to 1/16 NOTE). To change the amount of movement, simply change the setting in this data field. The actions of these keys repeat when they are held.

While the Step Edit function is active, it is possible to set these keys to an alternate function—to search to the previous or next event of a specific type within the track. To learn how to do this, see the “Step

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Chapter 3: Recording Sequences

Edit Options” section in the “Editing Sequences” chapter of this manual.

• The LOCATE key: This key is used to instantly move to a specific position within the active sequence. When pressed, the following screen is displayed:

================ Locate ================ Hit softkeys or LOCATE to go to markers: Marker A: 001.01.00 Marker B: 001.01.00 Marker C: 001.01.00

===== Now:001.01.00 (00:00:00:00) ====== <Goto A> <Goto B> <Goto C> <Load'Now'>

There are three sequence position markers, labeled A, B, and C. Pressing SOFT KEY 1, 2 ,or 3 causes the MPC3000 to move immediately to the location shown in either marker A, B, or C, respectively, and the Play/Record screen to be redisplayed. Pressing SOFT KEY 4, <Load'Now'>, causes the contents of the Now field to be loaded into the marker field that currently contains the cursor. To load any of the three markers, move the cursor to it and enter the desired bar numbers in the format bar.beat.tick (separated by decimal points), using the numeric keypad. If you only want to enter the bar number, type it, followed by ENTER, and the beat and tick numbers will be automatically reset to 01.00.

There is a faster way to use locate. While the Locate screen is showing, press the LOCATE key again, and the MPC3000 will immediately move to the sequence location of the marker (A, B, or C) where the cursor is currently positioned, exactly as if the SOFT KEY for that marker (SOFT KEY 1, 2, or 3) had been pressed. Therefore, from the Play/Record screen, “double-clicking” LOCATE will instantly move to location A, B, or C, depending on where the cursor was last positioned in the Locate screen.

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Chapter 3: Recording Sequences

Sequence Recording Example 1: A Looped Drum Pattern

The MPC3000 is both a linear-type sequencer and a pattern-oriented sequencer. The following examples use short, looped sequences and are therefore examples of pattern-oriented recording. To record linearly, simply set the Loop field (in the Play/Record screen) to OFF. Then, the sequence length will automatically increase as you record past the existing end. See the description of the

Loop field to learn more about this.

The following is a step-by-step example of how to record a repeating two-bar drum sequence:

1. Load some sounds into sound memory by loading a program file from one of the sound disks included with your MPC3000. If you don’t know how to do this, see the chapter “Saving To and Loading From Disk”.

2. Press MAIN SCREEN to view the Play/Record screen.

3. Move the cursor to the Seq field and select 1 (ENTER) or any other empty sequence.

4. The upper line of the screen should display:

====== Play/Record (Record ready) ======

If not, press either the RECORD or OVERDUB keys once. This will

make the current sequence ready for recording.

5. Set the Trk field to 1 and the Type field to DRUM.

6. While holding RECORD, press PLAY START. The RECORD and PLAY lights should go on, and the metronome should be heard through the stereo outputs. The metronome will play on 1/4notes, with a louder click at the start of each bar. Also, the Now display will be constantly changing to reflect the current position within the sequence. If you want to adjust the tempo, move the cursor to the Active Tempo field (to the right of the word BPM in the upper left corner) and enter the desired tempo.

7. Start recording your drum pattern by playing the drum pads in time to the metronome. Since no specific format of time signature or number of bars has been entered, the sequence format defaults to two bars of 4/4 time signature. When the two-bar pattern loops back to the start, Record mode switches automatically to

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Chapter 3: Recording Sequences

Overdub mode to avoid erasing your new notes. The notes you played will be heard at the position they were recorded, except that the Timing Correct function has automatically moved all of your notes to the nearest 1/16-note. (This can be defeated, as explained in “The TIMING CORRECT Key” section, later in this chapter.)

8. Press STOP.

COMMENT: To initialize a sequence to a different time signature or number of bars, press ERASE and select

<Initialize>.

If you don’t think your pattern sounds as good as you intended, you may need some practice in following the metronome. If you want to erase what you’ve just recorded and start again, simply repeat steps 6 through 8 above.

To erase a particular drum from your new sequence

1. Press the ERASE key. The following screen will appear:

================= Erase ================ Seqnc: 1-SEQ01 Track: 1-TRK01 (0 = all) Ticks:001.01.00-003.01.00 Erase:ALL EVENTS Notes:ALL (Hit pads) ======================================== <Do it> <Initialize><Delete><Delete All>

2. To select a particular drum to erase, press the drum pad that was used to record its notes. Immediately, the Notes field will display the note number (35-98), pad number, and currently assigned sound for the selected pad. To erase additional notes, continue pressing pads. The Notes field will always display the last pad pressed, and the total number of pads selected is displayed on the right side of the same line.

3. Press Soft key 1: <Do it>. When you press this soft key, all notes assigned to the note number(s) you selected will be erased throughout the track, after which the Play/Record screen will be displayed.

4. Now, enter Overdub mode by holding OVERDUB and PLAY START simultaneously and re-record that pad into your track. (Unlike Record mode which erases existing notes as you record new notes, Overdub mode merges the new notes into the existing notes.)

To hear your new drum pattern, press STOP then PLAY START.

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Sequence Recording Example 2: A Multitrack Sequence

The following is a step-by-step example of recording a multitrack sequence with a format of 4 bars of 4/4 time, containing the following tracks:

Track 1: Drums Track 2: Percussion Track 3: Bass Track 4: Piano

First, set up the instruments:

1. Using the connection diagram in the “Hooking Up Your System” section (in the “Basics” chapter) as a guideline, connect the MIDI Out connector of a MIDI keyboard to MIDI Input 1 of the MPC3000 and connect MIDI Output A of the MPC3000 to a multitimbral synthesizer that is set to play both bass and piano sounds simultaneously. (Alternately, you could connect two synthesizers in a daisy chain, with the MIDI thru connector of the first synthesizer connecting to the MIDI input of the second.)

2. Set up the synthesizer(s) so that a bass sound plays from MIDI channel 1A and a piano sound plays from MIDI channel 2A. If you are using a single integrated keyboard, set Local Control on your keyboard to OFF during this tutorial.

3. If no sounds are loaded into sound memory, load a program file from one of the sound disks included with your MPC3000. If you don’t know how to do this, see the chapter “Saving To and Loading From Disk”.

4. The Play/Record screen should be showing. If not, press MAIN SCREEN.

5. The upper line of the screen should display Play/Record

(Record ready)

DUB key once. This will make the current sequence ready for recording.

Next, initialize the sequence to 4 bars of 4/4 time:

1. Move the cursor to the Seq field and select 2 (ENTER) or any other sequence that is currently empty.

. If not, press either the RECORD or OVER-

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Chapter 3: Recording Sequences

2. Press the ERASE key, then select SOFT KEY 2 (<Initialize>). The following screen will appear:

========== Initialize Sequence ========= Select sequence: 2-(unused) ===== General ===== ==== Track: 1 ==== Bars: 2 Sig: 4/ 4 Status:UNUSED BPM:120.0 (SEQ) Type:DRUM Pgm:OFF Loop:TO BAR 1 Chn:OFF & OFF ======================================== <Do it> <Track-> <Track+>

4. Enter 4 in the Bars field then press <Do it>. The Play/Record screen will reappear, showing that the sequence has been initialized to 4 bars of 4/4.

COMMENT: Whenever you select an empty sequence followed by pressing either RECORD or OVERDUB, the sequence will be initialized using the settings in this screen. Now that you have changed these settings to 4 bars of 4/4, looped, whenever you now select an empty sequence in the Play/Record screen and press either RECORD or OVERDUB, the sequence will be initialized instantly to 4 bars of 4/4, looped, instead of the factory default of 2 bars of 4/4, looped. These settings, as well as the contents of many other data fields in the MPC3000, are remembered when the power is turned off, so this new default will remain in effect until changed.

Now, record the drums on track 1:

1. Move the cursor to the Trk field and select 1 (Enter) to make track number 1 active.

2. Set the Type field to DRUM.

3. While holding RECORD, press PLAY START. The RECORD and PLAY keys’ lights should go on, and the metronome should be heard through the stereo outputs. The metronome will play on 1/ 4-notes, with a louder sound at the start of each bar. Also, the

Now field will be changing constantly to reflect the current

position within the sequence.

4. Record the bass drum and snare drum parts by playing the pads labeled with those names. Notice that when the sequence loops back to bar 1, Record mode automatically changes to Overdub mode so that the new part won’t get erased. Notice also that every time the four-bar pattern loops back to the start, any drums recorded on the last pass will be heard at the position they were recorded, except that your notes will have been moved to

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Chapter 3: Recording Sequences

the nearest value specified in the Timing Correct screen (in this case, 1/16-note).

5. Without stopping the sequence, record a 1/16-note hi-hat part by simultaneously holding the TIMING CORRECT key and the HIHAT CLOSED pad, varying the pressure on the pad as the sequence plays. After four bars, release both the key and the pad. Notice that closed hi-hats have now been recorded on all 1/16notes. This feature is called note repeat and is described further in the “Timing Correct” section, later in this chapter. If at any time you want to erase what you’ve recorded and start over, go back to step 3.

If you accidentally played one or two wrong notes, you can erase

them without affecting any other notes by following these steps:

A) While still in Overdub mode, hold down the ERASE key. B) Just before the wrong notes are about to play, hold that

drum’s pad down, then quickly release it as soon as the wrong notes have passed.

C) Release the ERASE key. The wrong notes have now been

permanently erased from the sequence.

6. Press STOP.

Next, overdub the percussion part on track 2:

1. With the Play/Record screen showing, move the cursor to the Trk field and select 2.

2. Set the Type field to DRUM.

3. Enter Record mode again by holding RECORD and pressing PLAY START. You will hear the drum part you just recorded on track 1. Don’t worry about erasing it: since track 2 is now the active track, all recording and erasing occurs only on track 2.

4. Record the percussion part by playing pads assigned to percussion instruments. (Try Pad Bank B.) Keep adding drums until your percussion part is complete.

5. If any mistakes were made, use either of the two erase methods described above.

Next, overdub the bass part on track 3:

1. With the Play/Record screen showing, move the cursor to the Trk field and select 3 to make track 3 active.

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2. Set the Type field to MIDI, indicating that this track will not play the internal drum sounds.

3. Set the Chn field to 1A, indicating that track 3 will play through MIDI channel 1 and MIDI output port A. The Chn field is actually two fields—move the cursor to the position indicated by the underline below and select 1:

Chn:OFF becomes—> Chn: 1A

4. If you play the MIDI keyboard now, the synthesizer that is set to receive on MIDI channel 1 should play a bass sound. If not, check the previous steps and your MIDI hookup.

5. Press the COUNT IN key—the light will go on. This will cause the metronome to play one bar before the sequence plays to cue you to start playing. By default, the count in will only play before you start recording or overdubbing but not before playing. This can be changed by pressing the OTHER key and changing the setting of the Count in field in the screen that appears.

6. Enter RECORD MODE by holding RECORD and pressing PLAY START.

7. Once the COUNT IN bar has passed, record your bass part in time to the drums and percussion parts.

8. Press the COUNT IN key again to turn it off.

9. If you make a mistake while recording, you can correct it by punching in the new note:

A) Press the REWIND keys [<] or [<<] until the Now field

shows a location about one bar before the mistake.

B) Press PLAY (not PLAY START). The sequence will start

playing from the position shown in the Now field.

C) Just before the wrong note plays, press RECORD and

PLAY simultaneously to enter Record mode (in which existing notes are erased while new notes are recorded) then play the correct note. You can now either punch out by pressing RECORD again or continue recording from that point. Don’t worry: when the sequence loops back to bar 1, it will automatically switch from Record to Overdub mode so that those notes in the earlier part of the sequence won’t be erased.

Now, overdub the piano part on track 4:

1. Move the cursor to the Trk field and select 4 to make track 4 active.

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2. Set the Type field to MIDI, indicating that this track will not play the internal drum sounds.

3. Set the Chn field to 2A, indicating that track 4 will play through MIDI channel 2 and MIDI output port A.

4. If you play the MIDI keyboard now, the synthesizer that is set to receive on MIDI channel 2 and port A should play a piano sound. If not, check the previous steps and your MIDI hookup.

5. Enter Record mode by holding RECORD and pressing PLAY START.

6. Record your piano part in time to the drums, percussion and bass parts.

7. Press STOP.

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The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing

The MPC3000 corrects timing errors made as you are recording by moving notes to the nearest perfect timing location. For example, if the timing correct function is set to 1/16-notes, then all notes are moved to the nearest perfect 1/16-note. The result is that all recorded notes play back as perfectly even 1/16-notes. It is also possible to correct the timing of notes after they have been recorded.

To inspect or change the timing correction settings, press TIMING CORRECT while the MPC3000 is not playing. The following screen will appear:

====== Timing Correct / Step Size ====== Note value:1/16 NOTE Swing%:50 Shift timing:LATER Shift amount: 0 ========= Move Existing Notes ========== Track: 1-(unused) Ticks:001.01.00-001.01.00 Notes:ALL (Hit pads) <Move existing>

This screen presents various parameters relevant to the timing correct function. A description of each of the fields follows:

• The Note value field:

Timing correction works by moving your recorded notes to a preset note timing value. This field is used to select that note value. The options are:

1.1/8 NOTE: All notes are moved to the nearest 1/8-note

2.1/8 TRPLT: All notes are moved to the nearest 1/8-note triplet

3.1/16 NOTE: All notes are moved to the nearest 1/16-note

4.1/16 TRPLT: All notes are moved to the nearest 1/16note triplet

5.1/32 NOTE: All notes are moved to the nearest 1/32-note

6. 1/32 TRPLT: All notes are moved to the nearest 1/32note triplet

7. OFF(1/384): No timing correction—in this setting, the highest resolution of the MPC3000 is used—96 divisions per 1/4-note.

This value also affects two other functions in the MPC3000:

1. It sets the Note Repeat timing value, described later in this chapter.

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• The Swing% field: This field only appears if the Note Value field is set to either 1/16- or 1/8-notes. The swing feature is a variation of timing correction. Whereas normal timing correction moves your notes to perfect 1/16or 1/8-note intervals, the swing feature moves your notes to swingtiming intervals. The amount of swing is measured as a percentage of time given to the first note in each pair of 1/16- or 1/8-notes. The range of values is from 50% to 75%. For example:

2. It sets the amount by which the current sequence position will change when either the REWIND [<] or FAST FORWARD [>] key is pressed.

• A swing setting of 50% gives perfectly even timing with no

swing effect; the first and second notes of each pair of 1/16or 1/8-notes have equal (50%) timing.

• A swing setting of 66% indicates a technically perfect

swing; the first note of each pair of 1/8 or 1/16 notes has a timing value of twice that of the second note, giving the effect of 1/16- or 1/8-note triplets where the middle note of each triplet is silent.

• A swing setting of 75% is the highest swing setting; the

first note of each pair of 1/8 or 1/16 notes has a timing value of three times that of the second note. This creates a very exaggerated swing timing.

A very important use of the swing feature is to add a human rhythm feel to the timing of your music. Here are a couple of useful settings to experiment with:

• Note Value = 1/16, Swing = 54%, Tempo = 100 BPM:

While not enough swing for a true swing feel, this small amount of swing timing removes the stiffness from perfect 1/ 16-note timing and is especially useful on drum sequences using 1/16-note hi-hats.

• Note Value = 1/16, Swing = 62%, Tempo = 100 BPM:

This creates an 1/16-note swing feel that could be described as more relaxed than a perfect triplet swing (66%).

As with timing correction, swing moves your notes in real time as they are recorded into the sequence, so your notes are instantly played back with the specified shift. Also, as with timing correction, this effect can be used on existing sequence data by using SOFT KEY 1 (<Move existing>).

• The Shift timing and Shift amount fields: These two fields work in conjunction with the Note value and

Swing% fields to move your notes to shifted timing locations. The Shift timing field sets the direction of shift (EARLIER or

LATER) and the Shift amount field sets the amount of timing shift in ticks (1/96 of a 1/4-note). For example, in order to compensate for the slow attack time of a particular synthesizer, you might

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set these two fields to EARLY, 1 tick. This would cause all new notes to be recorded onto 1/16-notes but at 1 tick earlier than normal.

COMMENT: It is not possible for this function to shift the timing of notes without also correcting their timing. This also means that the range of shift depends on the current Note

value

field’s setting. For example, if the Note value field is set to 1/16-notes, the maximum shift amount is 11 ticks, or slightly less than 1/2 of one 1/16-note; if the Note

value

field is set to 1/32 notes, the maximum shift amount is 5 ticks, or slightly less than 1/2 of one 1/32 note; and if the Note Value field is set to OFF(1/384), the Shift amount is fixed at 0, meaning that no shift is possible since timing correction is not being used. If you wish to shift the timing of a track independently of the timing correction function, use the Shift Timing function, accessed by pressing the SEQ EDIT key.

COMMENT: If the Shift Timing function is set to shift notes early and one or more notes exist at the start of the sequence, these starting notes will be deleted when the

<Move existing> operation is performed, because

there is no space before the start of the sequence for them to be moved to. To avoid this problem, insert a blank bar before bar 1 of the sequence before performing the shift operation, then be sure to include this extra bar within the range of bars to be shifted. This way, the notes that would have been lost will now be moved onto this newly inserted bar.

• The Ticks fields: These two fields are used to specify the region of the sequence that will be altered when the <Move existing> soft key is pressed. These are bar.beat.tick fields—the region starts at the location entered in the leftmost field and ends one tick before the location entered in the rightmost field.

• The Track field: This field is only used in conjunction with the <Move existing> soft key. It is used to specify the track number that is to be altered. Entering a 0 indicates all tracks will be altered.

• The <Move existing> soft key: Normally, the timing correct function operates in real time, correcting notes before they are recorded into the sequence. It is also possible to correct the timing (or add swing or shift the timing) of an existing sequence. Pressing this soft key will cause the region of the active sequence specified by the Ticks and Track fields to be corrected according to the settings of the Note value, Swing%,

Shift timing and Shift amount fields.

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The Note Repeat Feature

Another very useful feature of the TIMING CORRECT key is the ability to automatically repeat either drum or keyboard notes at a preset timing interval. This is useful in creating:

• Drum rolls

• Repeating-note drum patterns, such as 1/16-note hi-hat patterns

• Repeating keyboard notes, such as a repeated 1/16-note bass part The Note Repeat feature is used in real time while recording or

playing. To use this feature, press and hold TIMING CORRECT while in Play, Overdub, or Record mode. The top line of the Play/ Record screen will change to:

==== (Hold pads or keys to repeat) =====

If any drum pads (when the active track is a drum track) or keys (when the active track is a MIDI track) are held while TIMING CORRECT is being held, they will automatically be repeated at the timing interval selected in the Note value field of the Timing Correct screen. Furthermore, the velocity level of each repeating note is set by the current pressure applied to the drum pad or key being played (if your MIDI keyboard has channel pressure capability). To demonstrate this effect:

1. Set up a sequence for recording, select a drum track to record, and initiate recording.

2. While holding TIMING CORRECT, also hold the drum pad assigned to the closed hi-hat, varying the pressure as you hold it. You should hear repeating 1/16-note hi-hats.

3. Press STOP to stop playing.

4. Press TIMING CORRECT and select 1/32 TRPLT in the Note field.

5. Press MAIN SCREEN to return to the Play/Record screen.

6. Enter Overdub mode.

7. While holding TIMING CORRECT, also hold the pad assigned to snare drum, varying the pressure as you hold it. You should hear a snare drum roll with varying dynamics.

This same procedure can be used in exactly the same way when recording keyboard sequences. In this case, hold TIMING CORRECT while holding one or more keys on the MIDI keyboard. In order to use the varying pressure technique, you will need to use a keyboard that sends channel pressure messages.

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Tempo and the TEMPO/SYNC Key

Many of the functions in the MPC3000 are associated with controlling the playing tempo. First, there is the Tempo field in the Play/ Record screen (shown below in bold):

============== Play/Record ============= Seq: 1-(unused) BPM: 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+>

To change the tempo at any time while playing or recording sequences, move the cursor to the Tempo field and change it with the data knob or the numeric keypad.

The Tempo screen

To display the Tempo screen, press the TEMPO/SYNC key:

================ Tempo ================= Tempo:120.0 Tempo source:SEQUENCE ============= Display mode ============= BPM/FPB:BPM Frames:30 DROP ============== Tap Tempo =============== Tap averaging:3 ======================================== <SyncScreen ><TempoChanges>

120.0120.0

120.0 (SEQ)

120.0120.0

This screen presents most of the parameters that are associated with tempo. A detailed description of the individual screen fields and soft keys follows:

• The Tempo field:

This is the active playing tempo. It is either the sequence’s assigned tempo or the master tempo, depending on the setting of the Tempo

source

in the Play/Record screen except that this field doesn’t display tempo changes.

• The Tempo source field:

This field has the same function as the Tempo Source field in the Play/Record screen: It determines whether the sequence’s

field. This has the same function as the Active Tempo field

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tempo or the master tempo is currently active. It is a choice field with two options:

1. SEQUENCE: Within each sequence is a unique tempo setting. If this option is selected, this unique sequence tempo is used. In this case, whenever the active sequence number is changed, the newly selected sequence’s tempo immediately becomes active. When playing sequences, this is useful if you want each newly selected sequence to play at its own preset tempo. Only the sequence’s tempo is saved to disk when a sequence is saved.

2. MASTER: The master tempo is a single tempo setting that applies to all sequences and songs. When playing sequences this is useful if you want each newly selected sequence to always play at the same tempo.

• Tempo Display Mode field (BPM/FPB:

BPMBPM

BPM):

BPMBPM

This field has the same function as the Tempo Display Mode field in the Play/Record screen: it determines whether the active tempo is displayed as Beats Per Minute or Frames Per Beat. It is a choice field with two options:

1. BPM: The tempo is displayed in Beats Per Minute, with the digit to the right of the decimal point indicating tenths of a beat. This is the most common format used to specify a tempo setting. In this mode, the range of tempo settings in the MPC3000 is from 30 BPM to 300 BPM. Beats Per Minute is also sometimes referred to as metronome marking, or MM.

2. FPB: This is another way of specifying tempo settings and is often used in the making of music for film or video soundtracks, because the tempo is referenced to the number of film or video frames that pass for every beat of music. Frames Per Beat is also sometimes referred to as click. If the FPB setting is in use, the digit to the right of the decimal point in any of the numeric tempo settings indicates eighths (1/8 of a frame). The range is from 0 to

7. There are four different types of FPB tempo, described in the Frames field below.

• The Frames field: This field selects one of four Frames Per Second standards, used to calculate the current FPB (frames per beat) setting. It also sets the frame rate (and therefore affects the tempo) for received SMPTE sync or MIDI Time Code. The four options are:

30 (30 frames per second, non-drop):

This is the most common frame rate for music production in the United States. It was also the standard for black and white television in the U.S. Using this mode, the tempo range of the MPC3000 is from 60.0 to 6.0 FPB.

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29.97 DROP (29.97 frames per second, drop frame):

This is the standard for NTSC color television in the United States. Using this mode, the tempo range of the MPC3000 is from 59.7 to 6.0 FPB.

COMMENT: In the MPC60 version 2 software, this selection was erroneously called 30DROP, although it was actually 29.97 frames per second drop frame time code. Sorry.

25 (25 frames per second):

This is the standard for European television (PAL /SECAM standard). Using this mode, the tempo range of the MPC3000 is from 50.0 to 5.0 FPB.

24 (24 frames per second):

This is the standard for film. However, since film is usually transferred to video for scoring, the composer still works with the video standard frame rates. Using this mode, the tempo range of the MPC3000 is from 48.0 to 5.0 FPB.

• The Tap averaging field This parameter is used in conjunction with the TAP TEMPO key. The TAP TEMPO key is used for quick setting of the playing tempo by repeatedly tapping 1/4-notes on the key at the desired tempo. (This is described further in the section “The Tap Tempo key.”) Repeated taps are averaged to help reduce timing errors; this field sets the number of taps that must be played successively before the tempo is recalculated. The options are:

2 taps:

The tempo is recalculated after only two taps. This should be used only if your timing is very good, or if you want to set the new tempo roughly.

3 taps:

Initially, the tempo is recalculated after the first two taps. If you continue to tap successive 1/4-notes, the tempo is continuously recalculated by averaging the last three successive tap intervals. This is a good average setting.

4 taps:

Initially, the tempo is recalculated after the first two taps. If you tap a third time, the tempo will be recalculated using an average of the three taps. If you continue to tap successive 1/ 4-notes, the tempo is continuously recalculated on each successive tap by averaging the last four successive tap intervals. This is very useful if your timing is not very accurate, because it smoothes out your timing errors.

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• The <SyncScreen> soft key : This screen is described in the chapter entitled “Syncing to Tape and Other Devices.”

• The <TempoChanges> soft key: The function of this soft key is described in the following section.

Mid-Sequence Tempo Changes

This feature allows the tempo to change automatically at preset locations within a sequence. To insert tempo changes into the active sequence or to view existing tempo changes, press the TEMPO/ SYNC key, then press the <TempoChanges> soft key. The following screen will appear:

====== Mid-sequence tempo changes ====== Tempo changes:ON Location for inserted change:001.01.00

Change#: Bar#: %Change: =Tempo: 2 002.03.00 150.00 180.0 BPM ======================================== <Insert new> <Delete> <Previous> <Next>

In the center of the screen is a group of fields, labeled Change#,

Bar#, %Change and =Tempo. In this case, the labels are located

directly above the actual data fields. These four fields work together to allow you to view or edit any tempo changes that exist in the sequence.

There can be many tempo changes in the sequence. These four fields show one of these changes at a time. The Change# field shows the number of the currently displayed tempo change within the list of changes; the other fields show the contents of that tempo change. For example, the above screen example shows that tempo change number 2 will occur at bar 2, beat 3, and will change the tempo by 150% to 180 beats per minute.

The following is a description of each of these four fields:

• The Change# field:

This field displays the number of the tempo change currently displayed. There can be many tempo changes within the sequence, but only one can be viewed at a time. By changing this number, each of the existing tempo changes can be viewed. The <Previous> and <Next> soft keys can also be used to decrement or increment this field.

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• The Bar# field:

This field shows the location within the sequence where the currently displayed tempo change will occur. This is a bar.beat.tick field.

• The %Change field:

This field shows, as a percentage of the main starting tempo (either MASTER or SEQUENCE), the amount of tempo change that the currently displayed tempo will produce. Tempo changes are always specified as a percentage of the main starting tempo setting (not the previous tempo change), regardless of whether the SEQUENCE or MASTER tempo setting is currently active. This way, all tempo changes are automatically re-scaled when the main tempo setting (either SEQUENCE or MASTER) is changed.

• The =Tempo field:

This field displays the actual tempo number that will play once the tempo change is active. This number is automatically computed from the displayed percentage of change multiplied by the main playing tempo (either MASTER or SEQUENCE).

To view the entire list of tempo changes, simply modify the

Change# field and notice the different settings of the other three

fields as you change it. Even if no changes have been entered, every sequence has one change—to 100% at bar 1. This is because the current tempo setting is always returned to when the sequence plays bar 1, whether it does so by playing from the start or by looping back to the start.

To insert a new tempo change, enter the location within the sequence where you want the change to occur into the Location

for inserted change

field, which is a bar.beat.tick field. Then press the <Insert new> soft key. Immediately, a new tempo change will be inserted into the list, displayed on the screen with a default value in the %Change field of 100%. You must now enter a percentage of the main starting tempo. As you enter the percentage, the =Tempo field will show the actual tempo. For example, to insert a tempo change to 60 BPM at bar 5 from a main starting tempo of 120 BPM, you must insert a tempo change with a value of 50% at bar 5 (120 BPM X 50% = 60 BPM).

To delete the currently displayed tempo change, press the

<Delete> soft key.

The field at the top of the screen, Tempo changes, is a choice field with two options: ON and OFF. If set to ON, tempo changes are used; if set to OFF, all tempo changes within the sequence are ignored.

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The TAP TEMPO Key

The TAP TEMPO key allows the tempo to be set quickly by tapping two beats (1/4-notes) on the TAP TEMPO key. After two taps, the MPC3000 automatically assumes the two taps to be 1/4-notes and recalculates a new tempo to match those 1/4-notes.

For example, to quickly change to a tempo of 80 BPM, tap two 1/4notes at a tempo of approximately 80 BPM on the TAP TEMPO key. After the second tap, the new tempo will appear in the Active Tempo field of the Play/Record screen. This can also be done while the sequence is playing.

Normally, only two taps are required before the MPC3000 recalculates the new tempo. However, it is possible to set this feature so that it recalculates the tempo by averaging the last three (or four) successive tap intervals. This is set in the Tap averaging field, located in the Tempo screen. More information about using the TAP TEMPO key is contained in the “Tempo and the TEMPO/SYNC Key” section of the manual, earlier in this chapter.

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The WAIT FOR and COUNT IN Keys

These two keys make the process of real-time sequence recording easier.

The WAIT FOR KEY key

This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC3000. If Play, Record or Overdub mode is entered while the Wait For Key function is on, the sequence will not begin to play until a key is played on the MIDI keyboard. This acts as a remote switch to start the sequence playing. Note that the first key that is played to start the sequence is NOT recorded into the sequence—it only starts the sequence. All keys played after recording has been initiated are recorded into the sequence.

To turn Wait For Key mode on, press the WAIT FOR KEY key once; the light goes on to indicate it has been activated. To turn the mode off, press the WAIT FOR KEY key again and the light will go off. If set to ON, it will automatically go OFF after it has been used once (for playback, recording, or overdubbing a sequence). You must turn it on again each time you want to use it.

The COUNT IN key

If the Count In function is on, one bar of metronome clicks will precede the playing of the sequence or song whenever you initiate playback of a sequence or song. The clicks provide a tempo guide to prepare you to record or play along with the sequence.

Press COUNT IN to turn the function on and again to turn it off. While on, the light above the key is lit.

It is possible to select a mode in which the count in only occurs before recording and not before playing. To select this mode and to adjust other metronome parameters, press the OTHER key. These features are explained in the “OTHER Key” section, later in this chapter.

COMMENT: While the Count In bar is playing, keys played on the MIDI keyboard will not be output through MIDI (via the MPC3000 ‘s Soft Thru function) until the Count In bar has finished. For example, if you were to play a chord during the count in bar, the chord would not sound until bar 1 started playing. This is normal operation and serves as a reminder that no notes can be recorded during the count in bar, and that any notes played during that time will be held and recorded at the start of the sequence.

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The AUTO PUNCH Key

The Auto Punch function allows Overdub or Record modes to be entered and exited automatically at preset times while playing. This can be very useful when you want to execute a very tight punch-in and there isn’t enough time to get from the console keys to the MIDI keyboard to play the new notes after the punch-in. The Auto Punch function punches in for you, allowing you to concentrate on playing the new part.

Press AUTO PUNCH to display the following screen:

============== Auto Punch ============== Mode:IN+OUT Auto Punch: In=001.01.000 Out=003.01.000 Last Punch: In=001.01.000 Out=003.01.000

======================================== <Turn on ><Use 'Last'>

The following is a detailed description of the fields and soft keys:

• The Mode field: This field is used to select one of three Auto Punch modes:

1. IN+OUT: Both the punch-in and the punch-out is automated.

2. PUNCH IN ONLY: Only the punch-in is automated. Once Record or Overdub mode is automatically entered by the Auto Punch function, it will not punch out—you must manually exit Record or Overdub mode.

3. PUNCH OUT ONLY: Only the punch-out is automated. You must enter Record or Overdub mode manually, after which Auto Punch will automatically exit Record or Overdub mode at the preset punch-out time.

• The Auto Punch In= and Out= fields: These two fields are used to specify the locations within the sequence at which the punch-in and punch-out will occur. To enter a number into either of these two fields, type the bar number, a decimal point, the beat number, a decimal point, and the tick number, followed by ENTER. If the number you wish to enter is at the start of a bar, simply enter the bar number followed by ENTER, and the beat and tick numbers will automatically be reset.

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• The Last Punch In= and Out= fields: These two fields are indicators only—they cannot be manually changed. They are used to indicate the exact locations of the punch-in and punch-out that was last performed manually.

• The <Turn on > soft key: Pressing this turns on the Auto Punch function, as indicated by the status light above the key. If Auto Punch is already on, the soft key text shows <Turn off> and pressing it turns both Auto Punch and the light off.

• The <Use 'Last'> soft key: Pressing this soft key causes the contents of the Last Punch

In=

and Out= fields to be copied into the Auto Punch In= and Out= fields. This is useful when you want Auto Punch to automatically repeat the last manual punch.

To perform the AUTO PUNCH:

Once you have entered the punch-in and punch-out locations and you have turned Auto Punch mode on by pressing SOFT KEY 1, locate to a position within the sequence that is a few bars before the punch-in point. Then enter Record mode as usual by pressing PLAY and RECORD simultaneously. Since the Auto Punch function is on, however, Record mode is not yet entered. Instead, the RECORD light blinks until the punch-in point is reached. When it is reached, Record mode is automatically entered and the RECORD light stops blinking and stays on continuously. When the punch-out point is reached, Record mode is automatically exited and the RECORD light goes off, but play continues.

It is also possible to use Auto Punch to enter and exit Overdub mode automatically. To do this, follow the example given above, but instead of pressing RECORD, press OVERDUB. The mode that is entered is determined by which key is pressed, RECORD or OVERDUB.

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The SIMUL SEQUENCE Key

This function allows the MPC3000 to play two sequences simultaneously. For example, you could use the active sequence to linearly record all of your keyboard tracks while simultaneously using the Simul Sequence to play a looped drum sequence. The Simul Sequence can also play simultaneously with the active song, if song mode is active.

To use this feature, press the SIMUL SEQ key, and the following screen will appear:

============ Simul Sequence ============ On/off:ON Sequence:23-A_funny_sequence (This sequence will play simultaneously with the active sequence or song.)

========================================

To turn the Simul Sequence on, first enter the number of the sequence that you would like to play simultaneously with the active sequence in the Sequence field. The name of the selected sequence is displayed to the right of the number for convenience. Next, move the cursor to the On/off field and select ON. The light above the key will turn on as an indicator. Now, when you play the active sequence or song, the sequence you selected in the Simul Sequence screen will also play. To turn the feature off, return to the Simul Sequence screen and select OFF in the On/off field.

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The OTHER Key

The OTHER key gives you access to a number of additional features, many of which are related to sequence recording:

• Metronome controls: Provides adjustments for the recording metronome and Count In function.

• Foot Switches: Allows the two foot switch inputs to be assigned.

• Free sequence memory display: Shows the current percentage of sequence memory available for recording.

• Initialize system parameters: Provides access to the Initialize PAR File Data screen, which allows the initialization of all general parameters in the MPC3000. This function is further described in the “Initializing System Parameters” section later in this chapter.

• Record 16 channels simultaneously: Provides access to the Record 16 Channels function, which allows all 16 incoming MIDI channels to be recorded simultaneously, useful when transferring sequences from another sequencer to the MPC300. This function is detailed in the “Record 16 Channels Function: Multichannel Recording” section later in this chapter.

Chapter 3: Recording Sequences

Metronome, Foot Switches, and Free Sequence Memory

When the OTHER key is pressed, the following screen appears:

============== Metronome =============== Volume:100 In play:YES Output:STEREO Count IN:REC ONLY Rate:1/4 NOTE ====== Foot Switches / Free Memory ===== Foot1:PLAY-STRT/STP Foot2:RECORD IN/OUT Free seq mem:100% ======================================== <Init PAR><Rec 16 Chs>

The fields and soft keys are:

The Metronome section:

• The Volume field: This field controls the volume of the metronome, from 0 to 100.

• The In play field: This is a choice field that has two options:

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• The Output field: This choice field determines which audio output the metronome will play through. The options are STEREO and INDIV 1 (individual out 1) through INDIV 8 (individual out 8.)

• The Count IN field: This is a choice field with two options:

• The Rate field: This choice field controls the note value of the metronome. Normally, the metronome plays 1/4-notes. In this field it is possible to change that value to one of eight options:

1. NO: The metronome is only heard during Record or Overdub modes, but not while in Play mode.

2. YES: The metronome is heard in Play, as well as in Record and Overdub modes.

1. REC+PLAY: If the Count In light is on, the count in will be heard before recording, overdubbing, or playing.

2. REC ONLY: If the Count In light is on, the count in will be heard before recording only.

1/4 NOTE 1/4 TRIPLET 1/8 NOTE 1/8 TRIPLET 1/16 NOTE 1/16 TRIPLET 1/32 NOTE 1/32 TRIPLET

The Foot Switches /Free Memory section:

• The Foot1 and Foot2 fields: These two fields determine the function of foot switches connected to the rear panel FOOT SW 1 and 2 inputs. These are choice fields, each of which can be set independently to one of the following options:

PLAY/STOP:

Press once for PLAY, press again for STOP.

PLAY-STRT/STP (Play start /stop):

Press once for PLAY START, press again for STOP.

ERASE:

Press to duplicate the function of pressing ERASE. This is very useful for hands-free use of the real-time erase function.

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TIMING CORECT (Timing correct):

Press to duplicate the function of pressing TIMING CORRECT. This is very useful for hands-free use of the Note Repeat function.

‘+’: Press to duplicate the function of turning the data entry control one step to the right.

‘-’: Press to duplicate the function of turning the data entry control one step to the left.

RECORD IN/OUT:

Press once to duplicate the function of punching in to Record mode while playing; press again to duplicate the function of punching out of Record mode and back into Play mode.

OVRDUB IN/OUT (Overdub in/out):

Press once to duplicate the function of punching in to Overdub mode while playing; press again to duplicate the function of punching out of Overdub mode and back into Play mode.

‘<’: Press to duplicate the function of pressing the REWIND [<] key. This is very useful for stepping backward through the sequence while Step Edit is on.

‘>’: Press to duplicate the function of pressing the FAST FORWARD [>] key. This is very useful for stepping forward through the sequence while Step Edit is on.

TAP TEMPO:

Press to duplicate the function of pressing the TAP TEMPO key.

• The Free seq mem field: This field shows the total amount of sequence memory currently available for recording. It is for display only and cannot be edited.

The soft keys:

• The <Init PAR> soft key: Pressing this soft key presents a screen used for initializing all general system parameters, which are stored in PAR files. This function is described in the following section of this chapter.

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• The <Rec 16 chs> soft key: Pressing this soft key presents a screen used for setting up multichannel recording. This is described in the section “The Record 16 Channels Function: Multichannel Recording”, later in this chapter.

Initializing System Parameters

There are a number of parameters in the MPC3000 that are not saved in SEQ, ALL, SND, PGM, or APS disk files. These settings, called system parameters, are retained in a special memory that doesn’t lose its contents when the power is turned off. These settings include:

• Names for all 64 MIDI channels

• Master tempo

• BPM/FPB select and frames per second select

• MIDI Input Filter settings

• Default settings for initializing sequences

. . .and many more (see the Appendix for a complete list).

To initialize these system parameters to their factory preset state, press the OTHER key, then select the <Init PAR> soft key. The following screen will appear:

==== Initialize Parameter File Data ==== Initialize:ALL PAR FILE DATA

======================================== <Do it>

The fields and soft keys are:

• The Initialize field: This choice field is used to select whether all or only some of the system parameters will be initialized. The options are:

ALL PAR FILE DATA PAD TO NOTE ASSIGNMENTS MIDI INPUT FILTER MIDI CHANNEL NAMES MISC. SINGLE DATA FIELDS

• The <Do it> soft key: Pressing this soft key initializes the selected data.

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The Record 16 Channels Function: Multichannel Recording

In its normal operating mode the MPC3000 can only record one track at a time. There is, however, a special mode of recording that allows you to record on all 16 MIDI channels at once. This is very useful when transferring sequences to the MPC300 from other sequencers. This feature works by recording the 16 incoming MIDI channels into the first 16 tracks of a newly-created empty sequence, with each track assigned to the like-numbered MIDI channel. For example, track 1 records MIDI channel 1, track 2 records MIDI channel 2, and so on up to track 16, which records MIDI channel 16. Track assignments are done automatically.

To use the Record 16 Channels function to transfer a sequence from an external sequencer to the MPC3000, you must first synchronize the MPC3000 to the other sequencer using MIDI Clock. To do this:

1. Set the sending sequencer to generate MIDI clock and song position pointer data.

2. Set the MPC3000 to synchronize to incoming MIDI clock and song position pointer data. (See the “Syncing to tape and Other Device” chapter of this manual for details.)

Press the OTHER key, then press SOFT KEY 2, <Rec 16 Chs>, to view the first Record 16 Channels screen:

======== Record All 16 channels ======== Seq: 1-SEQ01 Sig: 4/ 4 Drums on ch:10 ======================================== Tracks 1-16 recv from chans 1-16. Timing corr = off. Enter data, then <Proceed>. ======================================== <Proceed>

In this screen, you must select a sequence for recording, a time signature for the new sequence, and select which channel will receive drum data, if any. The fields and soft key of this screen are:

• The Seq field:

This is the sequence to be recorded into. When <Proceed> is pressed, the contents of this sequence will be completely erased so that it can be used for recording.

• The Sequence Name field (Seq: 1-

screen): This field shows the name of the current sequence. Once you have selected the sequence number to be used, you can enter the new sequence name here. It can be changed in the same manner as the Sequence Name field in the Play/Record screen.

SEQ01SEQ01

SEQ01 in the above example

SEQ01SEQ01

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• The Sig field (time signature):

This is actually two fields—the upper and lower half of the time signature to be used for recording. When <Proceed> is pressed, the selected sequence will be initialized to one bar of the time signature entered in these two fields.

• The Drums on ch field (drums on channel):

If one of the incoming MIDI channels will contain drum data and you would like the corresponding MPC3000 track to be a DRUM track, specify that MIDI channel here. When <Proceed> is pressed, this track number will have its Type field set to DRUM.

• The <Proceed> soft key:

When all of the above fields have been entered, press this soft key to initialize the selected sequence and move on to the second Record 16 Channels screen:

======== Record all 16 channels ======== Seq: 1-Sequence_name BPM:120.0 (SEQ) Sig: 4/ 4 Bars: 1 Loop:OFF ======================================== While holding RECORD, play ext sequencer with MIDI clock. ===== Bar:001.01.00 (00:00:00.00) ====== <Done>

This is the screen in which the actual recording will take place. The selected sequence has now been initialized to contain one bar of the time signature entered in the previous screen. The first 16 tracks have been assigned to MIDI channels 1 through 16, as described above. All tracks have their Type assigned to MIDI except for the track number specified in the Drums on ch field in the previous screen, which has been initialized to DRUM.

The fields and soft key are:

• The Seq field:

This field shows the sequence number that was entered in the previous screen. In this screen it is for display only and cannot be changed.

• The Sequence Name field (Seq: 1-

SEQ01SEQ01

SEQ01 in the above example

SEQ01SEQ01

screen): This is the selected sequence’s name. It can be changed in the same manner as the Sequence Name field in the Play/Record screen.

• The Tempo Display Mode, Active Tempo, and Tempo Source fields:

These three fields operate exactly as their counterparts in the Play/ Record screen do.

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• The Sig field (time signature):

This field shows the time signature entered in the previous screen. It is for display only and cannot be changed.

• The Bars field

This shows the total number of bars in the newly initialized sequence, which is always initialized to 1 bar. When recording begins, additional bars will be added to the end of the sequence as needed, as is normal when the Loop field is set to OFF in the Play/Record screen.

• The Loop field:

This is for display only and cannot be changed. It indicates that the sequence’s Loop field is forced to OFF because loop recording is not permitted during 16 channel recording.

• The <Done> soft key:

When finished recording, press this soft key to exit to the Play/ Record screen with your new sequence intact.

To record the incoming sequence:

While holding the RECORD key on the MPC3000, start the external sequencer playing from the beginning of its sequence. As soon as the MPC3000 receives the sync signals, it will enter Record mode and begin recording the data from the other sequencer in real time. (Note: The OVERDUB key is disabled during 16 channel recording.) Once the transfer is finished, stop the external sequencer (the MPC3000 will stop automatically) or manually stop the MPC3000.

The MPC3000 now contains the transferred sequence, which can be played using the PLAY, PLAY START, REWIND, FAST FORWARD and LOCATE keys. Play the sequence; if the transfer was successful, press <Done> to return to the Play/Record screen. If the transfer didn’t come out as intended, try again by holding RECORD and starting the other sequencer.

COMMENT: If the incoming multitrack sequence contains a large amount of data or is playing at a very fast tempo, it is possible for the MPC3000 to become overloaded, causing delays in the timing of the recorded sequence. If this occurs, reduce the tempo of the sending sequencer. This will lower the MPC3000’s processing requirement, and should eliminate any overload errors.

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Recording MIDI System-Exclusive Data

The MPC3000 can record patch data or any other MIDI systemexclusive messages from external synthesizers directly into tracks. To do this, simply send the system-exclusive message to the MPC3000 while in Record, Overdub, or Step Edit mode, and it will be recorded into the active track, just the same as any other MIDI data. The only limitation is that the message must be smaller than 1000 bytes. If an attempt is made to record a message that is larger than that, the entire message will be rejected. 1000 bytes is enough to accommodate a single voice patch data dump from virtually any synthesizer, but it is not large enough for many voice bank data dumps (large files containing an entire bank of synthesizer patches).

One way of using this feature is to insert a blank bar at the beginning of your sequence and record the voice data dumps for each track into that first bar. When the sequence is played from the start, each external synthesizer will immediately receive the voice data in the first bar, so it will be ready to play the note data starting in the second bar with the proper sound.

There is one problem with playing system-exclusive messages from sequences: there is no standard method for identifying the MIDI channel number within the message, and therefore the MPC3000 cannot assign the output MIDI channel over which the message will be sent. This means, for example, that a system-exclusive message received over MIDI channel 3 while recording into the MPC3000 will always be played out of the MPC3000 on MIDI channel 3, regardless of the track’s output MIDI channel. To overcome this problem, you must send the system-exclusive message on the desired MIDI channel while recording it into the MPC3000. Most synthesizers allow you to select the transmit channel. Note, however, that some older synthesizers, such as the original Yamaha DX7, always transmit on MIDI channel 1.

However, there is a way to change the MIDI channel of a systemexclusive message while it is in the MPC3000—by using Step Edit. The MIDI channel is assigned to a single byte within the message and the Step Edit function allows you to change the contents of any byte within the message. If you know which byte a particular manufacturer uses for the channel number, you can change the contents of that byte to the desired MIDI channel number. For example, the Yamaha DX-7 system-exclusive messages contain the MIDI channel in byte number 3, so whatever number you put into byte number 3 of the message will be the new output MIDI channel number. To learn more about editing in Step Edit mode, read “The STEP EDIT Key” section in the “Editing Sequences” chapter of this manual.

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Chapter 4:

Editing Sequences

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The ERASE Key

The ERASE key provides three main functions:

• Erasing notes in real time while in Overdub mode

• Erasing notes or other events while stopped

• Initializing or deleting sequences

Erasing Notes in Real Time While in Overdub Mode

If the ERASE key is pressed and held while in Overdub mode, the top line of the Play/Record screen changes to the following for as long as ERASE is held:

==== (Hold pads or notes to erase) =====

If during this time you hold a drum pad (if the active track is a Drum track) or hold a key on the MIDI keyboard (if the active track is a MIDI track), any notes assigned to that pad or key in the selected track will be erased.

Erasing Notes or Other Events While Stopped

While not playing, the MPC3000 allows the erasure of specific events from any region within a sequence, on one or all tracks. This is done using the ERASE key.

If the ERASE key is pressed while the MPC3000 is not playing, the Erase screen appears:

================= Erase ================ Seqnc: 1-SEQ01 Track: 1-TRK01 (0 = all) Ticks:001.01.00-003.01.00 Erase:ALL EVENTS Notes: 0(C.-2)-127(G.8 ) (Press keys) ======================================== <Do it> <Initialize><Delete><Delete All>

To erase the notes, enter the appropriate data into each of the data fields, then press the <Do it> soft key. Each of the screen fields and soft keys is described below:

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• The Seqnc (sequence) field:

In this field, enter the sequence number from which the data will be erased. The sequence name is shown to the right for convenience.

• The Track field:

This field specifies the track from which the data will be erased. The active track is automatically inserted here. To erase all tracks at once, enter a 0 here. In that case, the Notes field will be forced to ALL because it is not possible to select specific notes for erasure when erasing all tracks.

• The Ticks fields:

These two fields are used to set the region to be erased, starting with the location specified in the leftmost field, through one clock before the location specified in the rightmost field. They are both bar.beat.tick fields, allowing you to set the region to be erased in increments as small as one tick.

• The Erase field:

This field allows you to select which types of events will be erased. It is a choice field with three options:

1. ALL EVENTS: If this option is selected, all possible MIDI event types will be erased.

2. ONLY ERASE: If this option is selected, only one event type will be erased, and the type of event to be erased will appear in a choice field directly to the right on the same line. In this rightmost field, all event types are listed, including all 128 MIDI controllers.

3. ALL EXCEPT: If this option is selected, all MIDI event types EXCEPT one specific type will be erased; the event type that will NOT be erased will appear in a choice field directly to the right on the same line. In this rightmost field, all event types are listed, including all 128 MIDI controllers.

• The Notes field: This field determines which notes will be erased. It appears in one of two ways depending on whether the selected track is a Drum track or a MIDI track:

1. If the source track is a MIDI track, two numeric fields— used to set the lowest and highest notes to erase within the MIDI keyboard’s range—will appear as above. Each of these numeric fields is editable and has a range of 0 to 127; the equivalent note name (C-2 to G8) is shown to the right of each field. Alternately, these fields can be set by pressing two notes on the MIDI input device’s keyboard. The fields will automatically be set to the lowest and highest keys pressed.

2. If the source track is a Drum track, this field is used to select specific MIDI note numbers for erasure, but cannot be accessed by the cursor—it can only be changed by pressing pads or by receiving external MIDI notes. When the screen is first displayed, it contains the word ALL (erase all notes) and the text

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• The <Do it> soft key: Pressing this soft key performs the erasure specified by the data in the screen fields. After the erasure has been performed, the Play/ Record screen is redisplayed.

• The <Initialize> soft key: This soft key is used to erase and initialize the entire sequence to specific values. Please see the following section, “Initializing a Sequence,” for an explanation of this feature.

(Hit pads) to the right. When a pad is pressed, its

currently assigned note number will appear in the field, followed by the pad number and currently assigned sound name. On the right side of the line is the text (1 pad) indicating that 1 pad is selected for erasure:

Notes:36/A02-SNARE_DRUM (1 pad)

If another pad is then pressed, its note number, pad number, and assigned sound are displayed instead, and the text to the right displays (2 pads). This continues until the user has selected all of the pads he or she intends to erase.

• The <Delete> soft key: This soft key is used to delete the entire sequence, which erases all data and sets the sequence to the same unused state as when power is first turned on. When a sequence is deleted, it uses the least amount of memory, less than if it is initialized. When SOFT KEY 3 (<Delete>) is pressed, the following screen appears:

============ Delete Sequence ========== Sequence: 23-Sequence_name (This will set sequence to unused state with no contents.)

======================================== <Do it>

To delete the sequence, enter the desired sequence number and press <Do it>.

• The <Delete all> soft key: This soft key is used to delete all 99 sequences, setting them to the same state as when power is first turned on (maximum available sequence memory). When <Delete all> is pressed, the following screen appears:

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========= Delete All Sequences ========= Pressing <Do it> will erase all sequences and set them to unused state as when power is turned on!!!!

======================================== <Do it>

To delete all sequences, press <Do it>.

Initializing a Sequence

To erase a sequence and initialize it to preset values, press the ERASE key, followed by SOFT KEY 2 (<Initialize>). The following screen will appear:

Chapter 4: Editing Sequence

========== Initialize Sequence ========= Select sequence: 1-(unused) ===== General ===== ==== Track: 1 ==== Bars: 2 Sig: 4/ 4 Status:UNUSED BPM:120.0 Type:DRUM Pgm:OFF Loop:TO BAR 1 Chn:OFF & OFF ======================================== <Do it> <Track-> <Track+>

The fields and soft keys are:

• The Select sequence field: This field is used to enter the number of the sequence that is to be initialized. The selected sequence’s name is shown for convenience.

The “General” section:

• The Bars field: In this field enter the number of bars for the initialized sequence.

• The Sig (time signature) field: In this field enter the time signature for the initialized sequence. It is actually two fields, one for the upper and one for the lower parts of the time signature.

• The BPM field: In this field enter the tempo to which you want the sequence to be initialized. To view the tempo in frames per beat, move the cursor to the word BPM and use the data entry control to change it to FPB, just as in the Play/Record screen.

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• The Loop field: In this field enter the loop status (OFF or TO BAR) and the loop bar number, if TO BAR is selected, for the initialized sequence.

The “Track” section

• The Track field: Any or all of the sequence’s tracks can be initialized. To enter the settings for each track, first select the track number in this field, then enter the initialization data for that track in the fields below. The contents of the five fields in this section apply only to the track (1 of 99) that is selected in this field.

• The Status field: This is a choice field with two options:

1. UNUSED: The track number displayed in the Track field will not be initialized. Instead, it will be set to an unused state (as when power is turned on), which requires the least amount of memory. However, if this track is later recorded into, it will immediately be initialized to default values.

2. IN USE: The track number displayed in the Track field will be initialized to the values entered in the Type, Pgm and Chn fields.

• The Type field: The Type field for the selected track will be initialized to the option selected in this field (DRUM or MIDI).

• The Pgm field: The Pgm field for the selected track will be initialized to the option selected in this field (1-128 or OFF).

• The Chn field: In this field enter the output MIDI channel (1-16 or OFF) and port (A-D) to which the selected track will be initialized, using the same data entry method as in the Chn field in the Play/Record screen. To the right of this field is another field for the auxiliary MIDI output channel assignment.

• The <Do it> soft key: After values for all the fields have been entered, press this soft key to initialize the sequence.

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The SEQ EDIT Key

The SEQ EDIT key provides access to many features related to sequence editing. Pressing it will display the following menu screen:

============= Edit Sequence ============

1)View/chng T sig 6)Copy events

2)Chng track order 7)Copy a sequence

3)Insert blank bars 8)Shift timing

4)Delete bars 9)Edit note data

5)Copy bars ======================================== Select option:

Pressing a single number key causes the screen for the selected function to appear. These functions are described below:

Chapter 4: Editing Sequence

Viewing and Changing Time Signature

This feature displays the time signature and number of bars in the active sequence as well as any time signature changes. Press 1 (View/chng T sig) from the SEQ EDIT key menu and the following screen will be displayed:

========== View Time Signature ========= Bar 1 - 2: 4/ 4

======================================== <Page -> <Page +> <Change TSig>

This screen displays all time signature changes within the active sequence, and the number of bars associated with each change. If no time signature changes exist, the existing single time signature and the total number of bars in the sequence will be displayed. Space is given for ten time signature changes, with two changes per line. If more exist, the <Page +> soft key is used to view more pages of changes, and the <Page -> soft key is used to display earlier pages.

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Changing the time signature of a single bar

To change the time signature of a specific bar, press <Change

Tsig>

======== Change Time Signature ========= Change the time signature of bar: 1 from 4/ 4 to 4/ 4. (If the new time sig is shorter, the end of the bar is truncated; if longer, blank space is added to the end.) ======================================== <Do it>

This function allows you to change the length of a particular bar within a sequence by changing its time signature. It works like this: if the time signature you change to is shorter than the existing one, the unused end of the bar is truncated. For example, if you need to remove one 1/8-note from the end of a 4/4 bar, you would change its time signature to 7/8. If the new time signature is longer than the existing one, a small amount of blank space will be added onto the end of the bar.

. The following screen will appear:

To change the time signature of a bar, first select the bar number to be changed in the top line. The existing time signature for that bar will be displayed in the from field in the second line. Next, enter the time signature you wish to change to in the to fields (2 parts) in the second line. To perform the change, press the <Do it> soft key.

Rearranging the Track Order

This feature rearranges the track order by removing one track and inserting it before another, causing all tracks in between to be renumbered. Multiple operations may be required to put the tracks in the desired order. Select 2 (Chng track order) from the SEQ EDIT key menu and the following screen will appear:

========== Change Track Order ========== Sequence: 1-Seqnc_name Place track: 1-Track_name Before track: 2-Track_name (Tracks in between will be renumbered.)

======================================== <Do it>

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To rearrange tracks, first enter the desired sequence number. Then enter the track number to be moved in the Place track field. In the Before track field, enter the number of the track that the moved track will be inserted before. Press <Do it> to execute the move.

Inserting Blank Bars Into a Sequence

This feature inserts a specified number of blank bars into the current sequence. Select option 3 (Insert blank bars) from the SEQ EDIT key menu, and the following screen will appear:

========== Insert Blank Bars =========== Sequence:12-Sequence_name Number of bars: 4 Time signature: 4/ 4 Insert before bar: 4

Chapter 4: Editing Sequence

======================================== <Do it>

The fields and soft key are:

• The Sequence field: This is the sequence into which the bars will be inserted. The sequence’s name is shown to the right.

• The Number of bars field: This is the number of blank bars to be inserted.

• The Time signature field: This is the time signature of the bars to be inserted. This is actually two fields—one for each part of the time signature. The range of the first part is from 1 to 31; the second part is a choice field with four selections: 4, 8, 16, and 32.

• The Insert before bar field: This field specifies the bar number before which the new bars will be inserted. To insert bars after the end of the sequence, enter a number one higher than that of the last bar in the sequence.

• The <Do it> soft key: Pressing this soft key performs the insertion according to the abovedisplayed parameters.

COMMENT: If the sequence is set to loop to an earlier bar (in the time signature/ending status screen) and the new bars are inserted before the loop bar, the bar number specified in

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the Loop field will automatically be increased to compensate for the insertion.

Deleting Bars From a Sequence

This function allows you to delete a specified number of bars from the active sequence. To use this function, select option 4 (Delete

bars

) from the SEQ EDIT key menu. The following screen will be

displayed:

=========== Delete Bars ============ Sequence:12-Sequence_name___ First bar: 1 Last bar: 2

======================================== <Do it>

The on-screen fields and soft keys are:

• The Sequence field: This is the sequence from which the bars will be deleted. The sequence’s name is shown to the right.

• The First bar field: This is the first bar to be deleted.

• The Last bar field: This is the last bar to be deleted.

COMMENT: For those of you familiar with the MPC60 version 2 operating software, this field has a different function than the To bar field in the MPC60’s Delete Bars function. This field contains the last bar of the range of bars to be deleted, whereas the MPC60’s To Bar field contained the first bar number after the region to be deleted.

• The <Do it> soft key: Pressing this soft key performs the specified deletion.

COMMENT: If the sequence is set to loop to an earlier bar (in the Play/Record screen) and the deleted bars are before the loop point, the bar number specified in the Loop field will automatically be decreased to compensate for the deletion.

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Copying Bars (All Tracks)

This function allows you to copy a specified range of bars (across all tracks) from one sequence and insert the copied data at any point within the same sequence or any other sequence. In this mode of copying, the overall length of the destination sequence will always be increased. To use this function, select option 5 (Copy bars) from the SEQ EDIT key menu. The following screen will appear:

============ Copy Bars From ============ Seq:12-Sequence_name First bar: 1 Last bar: 2 ============= Copy Bars To ============= Seq:12-Sequence_name Before bar: 1 Copies: 1 ======================================== <Do it>

The fields and soft key are described below:

Chapter 4: Editing Sequence

• The Seq field (in the Copy Bars From section): This field is used to specify the sequence number to be copied from.

• The First bar and Last bar fields: These fields set the range of bars to be copied. First bar sets the first bar in the range that is to be copied, and Last bar sets the last bar to be copied.

COMMENT: For those of you familiar with the MPC60 version 2 operating software, this field has a different function than the To bar field in the MPC60’s Copy Bars function. This field contains the last bar of the range of bars to be copied, whereas the MPC60’s To Bar field contained the first bar number after the region to be copied.

• The Seq field (in the Copy Bars To section): This field is used to specify the sequence number to be copied to.

• The Before bar field: This field specifies the bar number before which the copied data will be inserted. To insert the bars at the end of the sequence, enter a number one higher than that of the last bar in the sequence.

• The Copies field: This field specifies how many repetitions of the source data will be inserted into the destination sequence.

• The <Do it> soft key: Pressing this soft key executes the copy according to the entered parameters.

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Copying Events

This function permits the copying of all events within a specified region of a single track to a different point in the same or another track in the same or another sequence. In this function, only the events from the source track are copied—no time signature or tempo data are copied. Unlike the Copy Bars function, which inserts the copied data into the sequence, thus increasing its overall length, this copy function either replaces the existing events or merges the copied data with existing events, without adding additional bars. Therefore, in this function, the track’s overall length is unchanged after the copy has been executed.

COMMENT: If the sequence is set to loop to an earlier bar (in the Play/Record screen) and the copied bars are inserted before the loop bar, the bar number specified in the Loop field will automatically be increased to compensate for the insertion.

COMMENT : When copying from one sequence to another, be careful to copy MIDI track data only to MIDI tracks and Drum track data only to Drum tracks. Otherwise, keyboard notes can cause drum sounds to play or vice versa.

To use this function, select option 6 (Copy events) from the SEQ EDIT key menu. The following screen will be displayed:

=========== Copy Events From =========== Sequence: 1 Track: 1-Track_name Ticks:001.01.00-001.01.00 Notes:ALL (Hit pads) ============ Copy Events To ============ Sequence: 1 Track: 1-Track_name Mode:REPLACE Copies: 3 Start:001.01.00 <Do it>

A description of the fields and soft key follows:

• The Sequence field (in the Copy Events From section): This is the sequence from which the data will be copied.

• The Track field (in the Copy Events From section): This is the track from which the data will be copied. Enter a 0 here to copy all tracks at once. If you do this, the lower Track field (in the Copy Events To section) will be forced to 0 also, because the destination must also be all tracks.

• The Ticks fields: These two fields are used to set the region of the track that will be copied from, starting at the tick specified in the leftmost field and including all data up to (but not including) the tick specified in the

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rightmost field. These are bar.beat.tick fields, enabling you to specify the region in units as small as one tick.

• The Notes field: This field determines which notes will be copied. It appears in one of two ways depending on whether the selected track is a Drum track or a MIDI track:

1. If the source track is a Drum track, this field is used to select the specific drum notes, represented as MIDI note numbers, that are to be copied. It cannot be accessed with the cursor; notes can only be entered by pressing pads or via the reception of external MIDI notes. When the screen is first displayed, it contains the word ALL (copy all notes) and the text (Hit pads) to the right. When a pad is pressed, the pad’s currently assigned note number appears in the field, followed by the pad number and currently assigned sound name. On the right side of the line is the text ( 1 pad ) indicating that 1 pad is selected for copying:

Notes:36/A02-SNARE_DRUM ( 1 pad )

If another pad is pressed, its note number, pad number, and assigned sound are displayed instead, and the text to the right displays ( 2 pads). This continues until the user has selected all of the pads he or she intends to copy.

2. If the source track is a MIDI track, two numeric fields— used to set the lowest and highest notes of the note range that is to be erased—will appear. Each of these numeric fields is editable via the cursor and has a range of 0 to 127; the equivalent note name (C-2 to G8) is shown to the right of each field. Alternately, these fields can be set by pressing two notes on the MIDI input device’s keyboard. The fields will automatically be set to the lowest and highest keys pressed.

• The Sequence field (in the Copy Events To section): This is the sequence into which the data will be copied.

• The Track field (in the Copy Events To section): This is the track to be copied to. If this field can’t be changed from

0—(all tracks), then the upper Track field (in the Copy

Events From section) must have been set to 0, indicating that all tracks will be copied.

• The Mode field: This is a choice field with two options:

1. REPLACE: In this mode, all existing events in the destination track are overwritten by the newly copied data.

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• The Copies field: This field specifies the number of repetitions of the copied data that will be added to the new sequence.

• The Start field: The copied data can be added into the destination sequence and track starting at any location. This field specifies the start location where the copied data will be placed. This is a bar.beat.tick field, allowing the copied data to be placed starting at any location, in increments as small as one tick.

• The <Do it> soft key: Pressing this soft key performs the copy as specified in the above fields.

2. MERGE: In this mode, the copied data are merged, or added, to the existing events.

COMMENT : Be careful to copy MIDI track data only to MIDI tracks and Drum track data only to Drum tracks. Otherwise, keyboard notes can cause drum sounds to play or vice versa.

Copying an Entire Sequence to Another

This function is useful if you want to make a perfect copy of a sequence, including all parameters, to another sequence number, replacing all data and parameters previously contained in the destination sequence. To use this function, select option 7 (Copy a

sequence

will appear:

===== Copy One Sequence To Another =====

Copy contents of seq: 1-Sequence_name Over contents of seq: 2-Sequence_name

======================================== <Do it>

A description of the screen fields and soft keys follows:

• The Copy contents of seq field: This specifies the sequence to be copied from.

) from the SEQ EDIT key menu. The following screen

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• The Over contents of seq field: This specifies the sequence whose contents will be replaced by the contents of the above specified sequence number. The lowestnumbered empty sequence is automatically inserted here when this screen is entered.

• The <Do it> soft key: Pressing this soft key performs the above specified copy.

Shifting the Timing of Many Notes

This feature shifts a group of notes within a single track forward or backward in time. To use this feature, select 8 (Shift timing) from the SEQ EDIT key menu. The following screen will appear:

============= Shift Timing ============= Seqnc: 1-Sequence_name Dir:EARLIER Track: 1-Track_name Amount: 0 Ticks:001.01.00-001.01.00 Notes: 0(C.-2)-127(G.8 ) (Press keys)

Chapter 4: Editing Sequence

======================================== <Do it>

The fields and soft keys are:

• The Seqnc field: This specifies the sequence to be shifted.

• The Track field: This specifies the track to be shifted. Only one track can be shifted at a time.

• The Ticks fields: These two bar.beat.tick fields are used to determine the region within the track that will be shifted. The leftmost field sets the start point of the region and the rightmost field holds the location that is one tick after the region to be shifted.

• The Notes field: This field determines which notes will be shifted. It appears in one of two ways depending on whether the selected track is a drum or MIDI track:

1. If the source track is a MIDI track, two numeric fields— used to set the lowest and highest notes of the note range that is to be shifted—appear as above. Each of these numeric fields is editable via the cursor, and has a range

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Chapter 4: Editing Sequence

of 0 to 127; the equivalent note name (C-2 to G8) is shown to the right of each field. Alternately, these fields can be set by pressing two notes on the MIDI input device’s keyboard. The fields will automatically be set to the lowest and highest keys pressed.

2. If the source track is a Drum track, this field is used to select specific drum notes, represented as MIDI note numbers, that are to be copied. It cannot be accessed with the cursor; notes can only be entered by pressing pads or via the reception of external MIDI notes. When the screen is first displayed, it contains the word ALL (shift all notes) and the text (Hit pads) to the right. When a pad is pressed, the pad’s currently assigned note number appears in the field, followed by the pad number and currently assigned sound name. On the right side of the line is the text ( 1 pad ) indicating that one pad is selected for shifting:

Notes:36/A02-SNARE_DRUM ( 1 pad )

If another pad is then pressed, its note number, pad number, and assigned sound are displayed instead, and the text to the right displays ( 2 pads). This continues until the user has selected all of the pads he or she intends to shift.

• The Dir (direction) field: This choice field is used to determine the direction of shift and has two options: EARLIER and LATER.

• The Amount field: This field is used to determine the amount of shift in ticks.

• The <Do it> soft key: Pressing this soft key performs the shift specified in the above fields.

Global Editing of Note Event Data

If option 9 (Edit note data) is selected from the SEQ EDIT key menu, the following menu, which contains three choices for editing note data, appears:

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Chapter 4: Editing Sequence

============ Edit Note Data ============

1.Edit velocity/duration

2.Edit note number assignment

3.Edit note variation data

======================================== Select option:

These options are described in the three sections below.

Editing Note Velocity or Duration Data

To edit the velocity or duration data of a group of notes in one operation, select 1 from the Edit Note Data menu. The following screen will appear:

======== Edit Velocity/Duration ======== Seqnc: 1-Seqnc_name Edit:VELOCITY Track: 1-Track_name Do:ADD VALUE Ticks:001.01.00-001.01.00 Value:120 Notes: 0(C.-2)-127(G.8 ) (Press keys)

======================================== <Do it>

The fields and soft keys are:

• The Seqnc field: This specifies the sequence to be edited.

• The Track field: This specifies the track to be edited. Only one track can be edited at a time.

• The Ticks fields: These two bar.beat.tick fields are used to determine the region within the track that will be edited. The leftmost field sets the start of the region and the rightmost field holds a location one tick after the region to be edited.

• The Notes field: This field determines which notes will be edited. As shown above, it appears in one of two ways depending on whether the selected track is a Drum or MIDI track:

1. If the source track is a MIDI track, two numeric fields— used to set the lowest and highest notes of the note range that is selected for editing—appear as above. Each of these numeric fields is editable via the cursor, and has a

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Akai MPC3000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

WARNING

FRONT PANEL

Table of Contents

Chapter 1: Introduction

Welcome!

Features

What’s Different From the MPC60?

If You Already Know the MPC60

Chapter 2: The Basics

Hooking Up Your System

Getting Around on the MPC3000

The Cursor, Cursor Keys, Data Fields, and Command Keys

The Numeric Keypad, Data Entry Control, and [+] & [–] Keys

The Soft Keys

The HELP key

Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program

Loading and Playing Sounds and Programs

Playing the Pads, the PAD BANK, & FULL LEVEL Keys

Selecting Programs

The Note Variation Slider, ASSIGN and AFTER keys

The 16 LEVELS key

How Sequences are Organized

The MAIN SCREEN Key & Play/Record Screen

The Play/Record Keys

Sequence Recording Example 1: A Looped Drum Pattern

Sequence Recording Example 2: A Multitrack Sequence

The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing

The Note Repeat Feature

Tempo and the TEMPO/SYNC Key

Mid-Sequence Tempo Changes

The TAP TEMPO Key

The WAIT FOR and COUNT IN Keys

The AUTO PUNCH Key

The SIMUL SEQUENCE Key

The OTHER Key

Metronome, Foot Switches, and Free Sequence Memory

Initializing System Parameters

The Record 16 Channels Function: Multichannel Recording

Recording MIDI System-Exclusive Data

The ERASE Key

Erasing Notes in Real Time While in Overdub Mode

Erasing Notes or Other Events While Stopped

Initializing a Sequence

The SEQ EDIT Key

Viewing and Changing Time Signature

Rearranging the Track Order

Inserting Blank Bars Into a Sequence

Deleting Bars From a Sequence

Copying Bars (All Tracks)

Copying Events

Copying an Entire Sequence to Another

Shifting the Timing of Many Notes

Global Editing of Note Event Data

Editing Note Velocity or Duration Data