Akai MPC4000 User Manual

User Guide

WARNING

To prevent fire or shock hazard, do not expose this appliance to rain or moisture.

Important Notice

The material in this document is copyright to AKAI professional M.I. Corp., and may not be quoted or reproduced in any form without written permission from the company.

LIMITED SOFTWARE WARRANTY POLICY All the software provided with, or purchased especially for, AKAI professional products has been tested for functionality. AKAI professional M.I. Corp. will make its best efforts to correct reported software defects for future releases subject to technical practicabilities. AKAI professional M.I. Corp. makes no warranty or representation either expressed or implied with respect to the system's performance or fitness for a particular purpose. In no event will AKAI professional M.I. Corp. be liable for direct or indirect damages arising from any defect in the software or its documentation. Further, AKAI professional M.I. Corp. will not accept any liability for any programs, sounds, audio recording or sequences stored in or used with AKAI professional products, including the cost of recovery of such data. The warranties, remedies and disclaimers above are exclusive and take precedence over all others, oral or written, express or implied, to the extent permitted by law in the geographical area of the product's use. No employee of AKAI professional M.I. Corp., agent, distributor or employee of an agent or distributor is authorised to offer any variation from this policy.

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 arrowhead symbol, 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 to persons.

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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5B-En

Lithium battery

This product uses a lithium battery for memory backup. The lithium battery should only be replaced by qualified service personnel. Improper handling may cause risk of explosion.

3/5/2002

24A-En

WARNING: WHEN USING ELECTRIC PRODUCTS, BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED, INCLUDING THE FOLLOWING:

WARNING

The Z4/Z8 is designed to be used in a standard household environment. Power requirements for electrical equipment vary from area to area. Please ensure that your Z4/Z8

meets the power requirements in your area. If in doubt, consult a qualified electrician or AKAI professional dealer.

120 V AC @ 60 Hz for USA and Canada 220~240 VAC @ 50 Hz for Europe 240 VAC @ 50 Hz for Australia

PROTECTING YOURSELF AND THE Z4/Z8

• Never touch the AC plug with wet hands.

• Always disconnect the Z4/Z8 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 Z4/Z8. Apart from voiding the warranty, unauthorized engineers might touch live internal parts and receive a serious electrical shock. There are no user serviceable parts inside.

• Do not put, or allow anyone to put any object, especially metal objects, into the Z4/Z8.

• Use only a household AC power supply. Never use a DC power supply.

• If water or any other liquid is spilled into or onto the Z4/Z8, disconnect the power, and call your dealer.

• Make sure that the unit is well-ventilated, and away from direct sunlight.

• To avoid damage to internal circuitry, as well as the external finish, keep the Z4/Z8 away from sources of direct heat (stoves, radiators, etc.).

• Avoid using aerosol insecticides, etc. near the Z4/Z8. They may damage the surface, and may ignite.

• Do not use denatured alcohol, thinner or similar chemicals to clean the Z4/Z8. They will damage the finish.

• Modification of this equipment is dangerous, and can result in the functions of the Z4/Z8 being impaired. Never attempt to modify the equipment in any way.

• Make sure that the Z4/Z8 is always well-supported when in use (either in a specially-designed equipment rack, or on a firm level surface).

• When installing the Z4/Z8 in a 19” rack system, always allow 1U of ventilated free space above it to allow for cooling. Make sure that the back of the rack is unobstructed to allow a clear airflow.

• In order to assure optimum performance of your Z4/Z8, select the setup location carefully , and make sure the equipment is used properly . Avoid setting up the Z4/Z8 in the following locations:

1. In a humid or dusty environment

2. In a room with poor ventilation

3. On a surface which is not horizontal

4. Inside a vehicle such as a car, where it will be subject to vibration

5. In an extremely hot or cold environment

For U.K. customers only

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 or coloured GREEN or coloured 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.

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FCC WARNING

This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is

connected.

• Consult the dealer or an experienced radio/TV technician for help. 21B-En

AVIS POUR LES ACHETEURS CANADIENS DU Z4/Z8

Le présent appareil numérique n’ément pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la Class B prescrites dans le Règlement sur le brouillage radioélectrique édicté par le ministère des Communications du Canada.

27-F

This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications.

27-En

VENTILATION

Do not prevent the unit’s ventilation, especially by placing the unit on soft carpet, in a narrow space, or by placing objects on the unit’s chassis—top, side, or rear panels. Always keep the unit’s chassis at least 10 centimeters from any other objects.

31C-En

CHANGES OR MODIFICA TIONS NOT EXPRESSL Y APPROVED BY THE MANUF ACTURER FOR COMPLIANCE COULD VOID THE USER’S AUTHORITY TO OPERATE THE EQUIPMENT.

32-En

The AKAI professional Z4/Z8 is a computer-based device, and as such contains and uses software in ROMs. 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 not modify , adapt, translate, lease, distribute, resell for profit or create derivative works based on the software and its related documentation or any part thereof without prior written consent from AKAI professional M.I. Corp., Yokohama, Japan.

Contents

1 Parts and their functions . . . . . . . . . . . . . . . . . . . . . . . . . 1

Parts and their functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Top panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Upper part of the top panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Q-LINK section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Pad section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Data entry section

Mode section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Control section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

............................................ 3

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Audio/MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Connecting USB devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Connecting SCSI devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2 Introducing the MPC4000 . . . . . . . . . . . . . . . . . . . . . . . . 8

How the MPC4000 is structured . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Sampler section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Sequencer section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Tracks and sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Pad section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pads 1–16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pad banks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

About the memory of the MPC4000 . . . . . . . . . . . . . . . . . . . . . . . . 11

Basic operation on the MPC4000 . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Switching modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Accessing a page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Operating the function keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Editing a value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Accessing a popup window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Editing a name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Locating to a specific place. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Playing a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

3 Creating and editing a sequence . . . . . . . . . . . . . . . . 17

About sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Preparations for creating a sequence . . . . . . . . . . . . . . . . . . . . . . . . 18

Realtime input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Realtime-recording a drum program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Realtime-recording a key group program . . . . . . . . . . . . . . . . . . . . . . . . . 22

Auto punch-in/out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Step recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Editing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Using the Graphic Editor to edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

About the editing commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Using the event list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Copying a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Deleting a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Contents

Editing a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Copying a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Deleting a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Viewing the parameters of all tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Saving and loading a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Saving all sequences/songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Saving a single sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Loading an ALL file (all sequences/songs) or a single sequence. . . . . . . . 40

4 Creating and editing a song . . . . . . . . . . . . . . . . . . . . . 43

About songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Creating a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Editing a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Deleting a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Converting a song into a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 46

5 Using multis and parts . . . . . . . . . . . . . . . . . . . . . . . . . . 48

About parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

About multis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Editing part parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Assigning a program to a part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Adjusting the mix parameters of a part . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Setting the receive MIDI port/MIDI channel of a part. . . . . . . . . . . . . . . . 50

Adjusting the note range of a part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Adding or deleting a part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Creating a multi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Copying a multi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Deleting a multi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Saving or loading a multi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Saving a multi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Loading a multi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

6 Mixer mode operations . . . . . . . . . . . . . . . . . . . . . . . . . 57

About Mixer mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Using the Part Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

7 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Basic effect operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Editing the effect parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

8 Recording and editing samples . . . . . . . . . . . . . . . . . . 63

About samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Recording (sampling) an external source . . . . . . . . . . . . . . . . . . . . . 64

Preparations before recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Actual recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Making various settings for a sample you recorded . . . . . . . . . . . . . 67

Applying Q-FX and resampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Using edit commands to edit a sample . . . . . . . . . . . . . . . . . . . . . . . 72

Dividing a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Specifying the area to be divided . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Adjusting the region start and region end points . . . . . . . . . . . . . . . . . . . . 74

Using the divided sample to create a sequence and program. . . . . . . . . . . 75

Playing the track you created . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Changing the pitch of the program you created . . . . . . . . . . . . . . . . . . . . . 76

Adjusting the tempo of the phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Contents

Saving and loading samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Saving samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Loading samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

9 Creating and editing programs . . . . . . . . . . . . . . . . . . 80

About programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Creating a new program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Assigning samples to a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Assigning samples to a key group program . . . . . . . . . . . . . . . . . . . . . . . 81

Assigning samples to a drum program . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Pad assignments for a drum program . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Editing sound parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Using zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Other settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Saving or loading programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Saving programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Loading a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

10 Using storage devices . . . . . . . . . . . . . . . . . . . . . . . . . . 95

The ﬁle structure of the MPC4000 . . . . . . . . . . . . . . . . . . . . . . . . . . 95

File operations for a storage device . . . . . . . . . . . . . . . . . . . . . . . . . 95

Deleting a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Finding a file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Formatting a storage device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

11 Using Q-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

About Q-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Assigning parameters to knobs and sliders . . . . . . . . . . . . . . . . . . . . 99

Using Q-LINK sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

12 MIDI and synchronization operations . . . . . . . . . . . . 103

MIDI event transmission and reception . . . . . . . . . . . . . . . . . . . . . 103

Changing the MIDI event routing . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Filtering the incoming MIDI events . . . . . . . . . . . . . . . . . . . . . . . . 104

Monitoring MIDI events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Viewing an event list for a specific channel . . . . . . . . . . . . . . . . . . . . . . 104

Synchronized operation with other devices . . . . . . . . . . . . . . . . . . 105

Synchronizing the MPC4000 to an external device . . . . . . . . . . . . . . . . 105

Synchronizing an external device to the MPC4000 . . . . . . . . . . . . . . . . 107

Specifications .....................................................................109

vii

1 Parts and their functions

This chapter describes the parts of the MPC4000 and their functions, and explains how to make connections.

Parts and their functions

This chapter explains the names and functions of each part of the MPC4000.

* Names of panel knobs and keys and of the various jacks and connectors are printed in square brackets

[ ] to distinguish them from the “virtual” buttons that appear in the display.

Top panel

Upper part of the top panel

Parts and their functions

5 6 71

A [POWER] button: This switch turns the power on/off. B Display: This is a backlit liquid crystal display (LCD). The angle can be adjusted in ﬁve positions. C [CONTRAST] knob: This knob adjusts the contrast of the display. D [F1]–[F6] keys: These keys are used to access the pages indicated in the bottom ro w of the display , and

to execute the function assigned to each key. The actual function will depend on the screen that is currently displayed.

E [GAIN] switch: This switch selects the gain of the signal that is input from the [LINE/MIC] jacks or

[PHONO] jacks. Set this to HI if mics are connected to the [LINE/MIC] jacks, or to LOW if a line-lev el device such as a CD player is connected. When inputting signals from a turntable connected to the [PHONO] jacks, always set this switch to LOW.

F [REC GAIN] knob: This knob adjusts the recording level of the signal that is input from the

[LINE/MIC] jacks or [PHONO] jacks. The inner knob adjusts the right channel, and the outer knob adjusts the left channel.

[MAIN VOLUME] knob: This adjusts the output lev el of the signal that is sent from the [MAIN OUT] jacks.

Chapter 1—Parts and their functions

Q-LINK section

Y ou can assign internal MPC4000 parameters or MIDI messages to the knobs and sliders of this section, and control them in realtime.

A [SETUP] key: This key accesses the Q-LINK Setup page, where you can

select the parameter that will be assigned to each knob and slider.

B [SEQUENCE] key: This key accesses the Q-LINK Sequence page, where you

can record Q-LINK values and play them back automatically.

C [Q1]–[Q4] knobs: A control change or any of different internal parameters

can be assigned to these knobs, allowing you to control values in realtime.

D [Q5]/[Q6] sliders: These sliders are used to control internal parameters and

control changes in realtime. The parameters and control changes that can be assigned to the sliders are the same as for the Q-LINK control knobs.

E [ACTIVE] keys: These keys specify whether knob/slider operations will take

priority over the events recorded in the sequencer. If these keys are on (LED lit), the actual positions of the knobs/sliders will take priority even if changes for the same parameters are recorded in the sequencer.

Pad section

In this section you can operate the velocity-sensitive pads, and make various settings for them.

1 2

4 3

A Pads 1–16: These are velocity sensiti ve pads used to play the MPC4000’s sampler section and external

MIDI devices. In some pages, these pads are used to select tracks or sequences.

B PAD BANK [A]–PAD BANK [F] keys: These keys switch the combination of sounds/note numbers

that are assigned to pads 1–16 (the “pad bank”). The PAD BANK [A]–PAD BANK [F] keys select pad banks A–F respectively.

C [NEXT SEQUENCE] key: This key accesses the Next Sequence page, where you can use the pads to

switch sequences in realtime.

D [TRACK MUTE] key: This key accesses the Track Mute page, where you can use the pads to switch

track muting in realtime.

E [Q-LINK SEQUENCE] key: This key is an on/of f switch for the Q-LINK Sequence function, which lets

you play back Q-LINK values.

F [PAD ASSIGN] key: This key accesses the Pad Assign page, where you can change the note numbers

that are assigned to the pads.

G [FULL LEVEL] key: When this key is on (LED lit), sounds will be played at the maximum velocity (127)

regardless of how strongly you strike the pads.

H [16 LEVEL] key: When this key is on (LED lit), the sound of a speciﬁc pad will be assigned to all six-

teen pads, allowing you to play the sound using sixteen gradations of velocity.

Top panel

I [ERASE] key: This key is used to erase events from within a track. Events can be erased in realtime

while overdubbing, or individual e vents can be erased while the sequencer is stopped. F or details, refer to p.22, 24, 27.

J [NOTE REPEAT] key: When you hold down this key and press one of the pads, the sound assigned to

that pad will be triggered repeatedly. The interval of the repetitions can be adjusted in a range from an 8th note to a 64th note triplet.

Data entry section

This section lets you input numerical values.

A Numeric keys: These keys are used to input a numerical v alue directly into

the selected ﬁeld in the display.

B [ENTER] key: This key ﬁnalizes the value that was input by the numeric

keys.

C [–/+] keys: These keys switch the sign (negative/positive) of the value that

was input by the numeric keys.

Mode section

In this section you can switch between the various modes of MPC4000. Each key corresponds to the following mode.

A [RECORD] key: Record mode B [SAMPLE] key: Sample mode

C [PROGRAM] key:

Program mode

D [MULTI] keyMulti mode:

E [MIXER] key: Mixer mode

N O

F [EFFECT] key: Effect mode G [SAVE] key: Save mode H [LOAD] key: Load mode

3 2

I [GLOBAL] key: Global mode J [SONG] key: Song mode K [MISC.] key: Misc. mode L [MIDI] key: MIDI mode M [MAIN] key: Main mode N [SEQ EDIT] key: Sequence Edit

mode

O [STEP EDIT] key: Step Edit mode

Control section

In this section you can perform basic sequencer operations such as locate/playback/record, and change the setting of various fields that are shown in the display.

1 5

2 6

J K

M N O P Q

A [TIMING CORRECT] key: This key is an on/of f switch for the Timing Correct function, which corrects

the timing of the note data that is being recorded in the sequencer. T iming Correct is enabled if the LED is lit, and the note data will be recorded at timing intervals of the currently selected note value.

[MASTER TEMPO] key: This key selects the tempo source used for sequencer playback. If the LED is lit, all sequences will play at a common tempo. If the LED is dark, each sequence will play at its own tempo.

C [UNDO SEQ] key: This key is used to cause e vents recorded in the sequencer to revert to their pre vious

condition (the Undo function). The LED will light if Undo is available.

Chapter 1—Parts and their functions

D [TAP TEMPO] key: This key is used to manually specify the tempo. Striking this key repeatedly will

automatically set the tempo to the corresponding quarter-note interval.

E [WINDOW] key: This key opens a window for making detailed settings. When you move the cursor

to a speciﬁc ﬁeld in the display and press this key , a windo w for that ﬁeld will open. Press this key once again to close the window.

F [SHIFT] key: This key is used in conjunction with other keys as a shortcut for certain functions, or to

specify a range.

G CURSOR [

display.

H [JOG] dial: This dial adjusts the value of the parameter at which the cursor is located. I BLOCK CURSOR [

move the cursor upward or downward between blocks.

J STEP [

]/[>] key: These keys are used to move backw ard or forward within the sequence in units of

one step. By holding down the [GO TO] ke y and pressing one of these k eys, you can mo v e to the e v ent that is immediately before or after the current location.

K [GO TO] key: This ke y is used to mov e the current location to a speciﬁed locate point, or to access the

Locate window where you can register a locate point. For details on the Locate windo w , refer to page 14.

L BAR [

]/[>>] keys: These keys are used to move backward or forward within the sequence in

units of one measure. By holding down the [GO TO] ke y and pressing one of these ke ys, you can mov e to the start point or end point of the sequence.

M [REC] key: When you hold down this ke y and press the [PLAY] key or [PLAY START] key, recording

on the sequencer will begin. If the track contains previously-recorded events, they will be replaced by the new events.

N [OVER DUB] key: This key has essentially the same function as the [REC] key, with the dif ference that

newly recorded events will be added to the track without erasing the previously-recorded events.

O [STOP] key: This key stops sequence playback or recording. P [PLAY] key: This key starts playback or recording from the current location within the sequence. Q [PLAY START] key: This key starts playback or recording from the start point of the sequence.

]/[†]/[√]/[®] keys: These keys are used to move the cursor up/down/left/right in the

]/[†] keys: If the currently displayed page is divided into blocks, these keys

Rear panel

1 43 R2 5

8 K

J L M N O P Q S

A [SIGNAL GND] terminal: Connect the grounding wire of your turntable to this terminal. B REC IN [PHONO] jacks: These are turntable input jacks.

* A phono equalizer will be applied to compensate the frequency response of the signal that is input to

these jacks. Do not connect any device other than a turntable to these jacks.

C REC IN [LINE/MIC] jacks: Mics or line level devices such as CD players can be connected to these

jacks. Either XLR or phone plug cables can be connected. Balanced phone plug connections are also supported.

D [INPUT SELECT] switch: This switch selects the input signal. The signal from the [PHONO] jacks will

be input if this switch is in the PHONO position, and the signal from the [LINE/MIC] jacks will be input if this switch is in the LINE/MIC position.

E [MAIN OUT] jacks (XLR): These are balanced main output jacks that output the signal from the sam-

pler section and the metronome click sound. Cables with XLR plugs can be connected.

Front panel

F [MAIN OUT] jacks (phone): These are balanced main output jacks for connecting phone plug cables.

They output the same signal as the [MAIN OUT] (XLR) jacks.

G [MIDI IN I]/[MIDI IN II] connectors: These connectors receive MIDI messages. MIDI messages

can be received independently at each connector.

H [MIDI OUT A]–[MIDI OUT D] connectors: These connectors transmit MIDI messages. MIDI mes-

sages can be transmitted independently from each connector A–D.

I [USB] connector (slave): This connector allows the MPC4000 to be connected to a computer (Win-

dows/Macintosh) for ﬁle transfer or remote control.

J SCSI connector:

SCSI-compatible devices. SCSI-type CD-R OM dri ves or hard disks can be connected. F or details on SCSI connections and supported devices, contact your Akai dealer or Akai Professional M.I Service Department.

This is a D-sub half-pitch 50-pin (high pitch 50 pin) connector for connecting

K [FOOT SWITCH 1]/[FOOT SWITCH 2] jacks: Foot switches can be connected to these jacks to per-

form operations such as punch-in/out.

L [SMPTE IN] jack: This jack receives SMPTE time code (LTC) from an external device. Use this when

you want an external device to be the time code master , and the MPC4000 to operate in synchronization with the external device.

M [SMPTE OUT] jack: This jack transmits SMPTE time code from the MPC4000 to an external device.

Use this when you want the MPC4000 to be the time code master, and an external device to operate in synchronization with it.

N [DIGITAL IN] jack: This is a coaxial type digital input jack. The digital output jack of a CD player or

DAT can be connected to this.

O [DIGITAL OUT] jack: This is a coaxial type digital output jack. It outputs the same signal as the

[MAIN OUT] jacks.

P [WORDCLOCK IN] jack: This is a BNC jack for receiving a word clock signal from an external

device. Use this when the MPC4000’s digital audio signal processing must be synchronized with that of an external digital recorder or digital mixer.

Q [TERMINATOR] switch: This is an on/off switch for word clock termination. If a word clock signal is

being supplied from an external device to the MPC4000’ s [WORDCLOCK IN] jack, you will normally set this to the ON position.

R Option slot: This slot allows a separately sold interface card to be installed. S Power supply connector: Connect the included power cable to this connector.

* You must use the cable that is included with the MPC4000.

Front panel

A [USB] connector (host): This USB connector allows a USB-type CD-R OM drive, remo vable driv e, or

B [PHONES] jack: This is a stereo phone jack for connecting headphones. It outputs the same signal as

C [PHONES LEVEL] knob: This is a dedicated volume knob for the [PHONES] jack. D 3.5 inch bay: An ATAPI-type internal hard disk or ZIP drive can be installed in this bay. E 5 inch bay:

PHONES LEVEL

USB keyboard etc. to be connected. Unlike the rear panel USB connector , this connector cannot be connected to a computer. For details on USB connections and supported devices, contact your Akai dealer or Akai Professional M.I Service Department.

the [MAIN OUT] jacks.

An AT API-type CD-R OM driv e can be installed in this bay . A 3.5 inch drive can also be installed

here. For compatible devices, contact your Akai dealer or Akai Professional M.I Service Department.

Note: If a removable disk drive is installed in the MPC4000, protect the disk by taking it out of the drive when you are not actually loading or saving data on it.

Chapter 1—Parts and their functions

Audio/MIDI connections

When connecting external audio or MIDI devices to the MPC4000, make connections as sho wn in the diagram below.

Mic

CD player

Monitor speakers

GND

Turntable

LINE OUT L

MIDI OUT

LINE OUT

LINE OUT R

MIDI keyboard

Mixer

INPUT INPUT

MIDI IN

MIDI sound module

Foot switches

DIGITAL OUT DIGITAL IN

DAT recorder/MD recorder

to an electrical

outlet

PHONES LEVEL

Connecting USB devices

[USB] connectors are provided on the front panel and the rear panel of the MPC4000. The rear [USB] connector (slave) can be connected to a USB-equipped computer (W indows or Macintosh),

allowing you to control the MPC4000 from an editing program. The front panel [USB] connector (host) can be connected to a USB storage device such as a hard disk or

CD-ROM drive to save the MPC4000’s internal data, or to a USB-compatible ASCII keyboard for easier input of names.

TYPE B

USB port

PC/MAC

Headphones

PHONES LEVEL

TYPE A

USB port

CD-ROM

Keyboard

USB devices support “hot plugging,” which means you can connect or disconnect them even when the power is on. When you connect a USB device, the MPC4000 will recognize it automatically.

Connecting SCSI devices

The MPC4000’s rear panel has a [SCSI] connector that lets you connect devices such as a SCSI hard disk. Up to seven SCSI devices (including the MPC4000 itself) can be connected, and each device is distin-

guished by its own SCSI ID number . Please observe the follo wing cautions when connecting SCSI devices.

• The power of all devices must be turned off before you connect SCSI devices.

• Set the ID numbers of the SCSI devices so that they do not conﬂict with each other.

• At the factory, the MPC4000 is set to a SCSI ID of 6. However, you may change this if necessary. For details, refer to the PDF reference manual.

• Use high-quality SCSI cables (high impedance cables) to connect the devices.

• You must use a terminator to terminate the last device in the SCSI chain. (The MPC4000 contains an active terminator that is always on.)

• You must turn on the power in the order of SCSI devices → MPC4000.

Connecting SCSI devices

Terminator

CD-ROMHard disk

Chapter 2—Introducing the MPC4000

2 Introducing the MPC4000

This chapter describes how the MPC4000 is structured, and explains the special terms you will need to know when using it. This chapter also explains the user interface of the MPC4000, and basic operating procedures.

How the MPC4000 is structured

Broadly speaking, the MPC4000 consists of the following three sections.

• Sampler

• Sequencer

• Pads/controllers

These sections internally communicate with each other using MIDI events (performance data). The follo wing diagram shows how MIDI events will ﬂow within the MPC4000 when it is in the default state.

MPC4000

Sampler

MIDI sound module

A MIDI note number is assigned to each pad on the top panel, and when you strike a pad, the corresponding note-on message is sent to the sequencer section or the [MIDI OUT] connectors.

The sequencer section records the MIDI events that it receiv es from the pads or the [MIDI IN] connectors. When you play back the sequencer, these MIDI events are sent to the sampler section or the [MIDI OUT] connectors.

The sampler section receives MIDI ev ents from the sequencer section, pads, and [MIDI IN] connectors, and produces sounds.

Now let’s take a closer look at how each section is structured.

Sampler section

Samples

The sounds of the sampler section are created from pieces of audio waveform data called “samples.” The MPC4000 can use samples with 16-bit or 24-bit quantization and 44.1/48/96 kHz sampling rates (stereo or monaural).

Programs

The units of sound used by the sampler section are called “programs.” A program consists of one or more samples (waveform data) together with ﬁlter , envelope, LFO and other parameters. The MPC4000 has two types of program.

• Drum programs

This type of program assigns a different sample to each note number. You will use drum programs mainly to play drum or percussion kits, or to play phrase samples.

A drum program provides “zones” (areas) to which you can assign up to four samples for each note number. You can specify the range of velocities that will play each zone. This lets you layer multiple samples, or switch samples by velocity.

When you use the pads to play drums, you will use one of these drum programs. The program will be played according to the note numbers that are assigned to the pads.

Pads

MIDI sequencer

MIDI IN/MIDI OUT

MIDI keyboard

Sampler section

The following diagram is an example of a drum program in which one sample is assigned to each pad.

The following diagram is an example where two samples are assigned to each pad number. For some note numbers, two samples are crossfaded by velocity.

Note number: 48

Note number: 40

Note number: 37

• Key group programs

This type of program uses a region of consecutive note numbers to play a sample at varying pitches. You will use key group programs to play sounds such as bass or piano.

The region of note numbers to which one sample is assigned is called a “key group,” and the range of notes that play a key group is called the “key span.”

Just as for a drum program, you can use up to four zones in a key group. The following diagram is an example of a single sample assigned to a key group that consists of only one

zone. The key span for this key group is speciﬁed as the entire keyboard.

Note number: 48 Note number: 40

Note number: 37

Zone1: TOM1 Zone2: TOM5

Zone1: SNARE Zone2: RIM

Zone1: SIDE STICK Zone2: SIDE STICK2

Zone1: TOM 1

Zone1: SNARE

Zone1: SIDE STICK

P LOOP PTO P FROM

PAD 13 PAD 14 PAD 15 PAD 16

PAD 9 PA D 10 PA D 11 PA D 12

PAD 5 PAD 6 PAD 7 PAD 8

PAD 1 PAD 2 PAD 3 PAD 4

P LOOP PTO P FROM

PAD 13 PAD 14 PA D 15 PAD 16

PAD 9 PA D 10 PAD 11 PAD 12

PAD 5 PAD 6 PAD 7 PAD 8

PAD 1 PAD 2 PAD 3 PAD 4

PLAY

Note number: 53

Note number: 43 Note number: 94

Note number: 53

Note number: 43

Note number: 94

Zone1: RIDE

Zone1: TOM 4 Zone1: PEDAL HH

Zone1: RIDE Zone2: Crach Cym

Zone1: TOM4 Zone2: TOM8

Zone1: PEDAL HH Zone2: MID HH

Keygroup 1/Zone 1: Samp 1

The following diagram shows an example using tw o key groups, each with their o wn key span. The two key groups are cross-faded by pitch.

KG1/ZN1: Samp 1 KG2/ZN1: Samp 2

The following diagram shows an example using tw o key groups, each with four zones. The tw o key groups are switched by pitch.

KG1/ZN4: Samp 7 KG2/ZN4: Samp 8 KG1/ZN3: Samp 5 KG2/ZN3: Samp 6 KG1/ZN2: Samp 3 KG2/ZN2: Samp 4 KG1/ZN1: Samp 1 KG2/ZN1: Samp 2

Chapter 2—Introducing the MPC4000

The following diagram also shows two key groups, each with four zones. However, the difference here is that the two key groups are crossfaded.

KG1/ZN4: Samp 7 KG2/ZN4: Samp 8 KG1/ZN3: Samp 5 KG2/ZN3: Samp 6 KG1/ZN2: Samp 3 KG2/ZN2: Samp 4 KG1/ZN1: Samp 1 KG2/ZN1: Samp 2

• Multi

A “multi” consists of performance settings for one or more programs that allow the program(s) to be played from the pads or sequencer.

Within a multi, a “part” refers to each of the areas for which you make individual settings for a program. One multi lets you use up to 128 parts.

T o play the MPC4000’s programs, you assign programs to parts within the multi, and specify the level, output destination, pan, and effect send level etc. for each part.

Multi

Part Part Part Part

Program A Program B Program C Program D Program E Program F

The MPC4000’s internal memory can store numerous multis. By loading a different multi from internal memory, you can instantly switch the settings of all parts.

Sequencer section

Tracks and sequences

“Sequences” are the basic unit from which an MPC4000 song is created. The MPC4000 lets you create up to 128 sequences in internal memory, and you can specify the length (1–999 measures), tempo, and time signature separately for each sequence.

Each internal area within a sequence that records a performance you play on the pads or a MIDI keyboard is called a “track.” A sequence consists of 128 tracks.

The MIDI events recorded in the 128 tracks can be sent to the sampler section or transmitted from the [MIDI OUT] connectors. You can freely select the output destination for each track.

• Songs

You can arrange multiple sequences in the desired playback order to create a “song.” To create a song, you specify the number of the sequence, and how many times it will be played. By specifying up to 250 such “steps,” you can create a song consisting of sequences placed in the desired order.

A song you create can be saved as is, or can be converted into a sequence and written.

• • • •

Track 1 Track 2 Track 3 Track 4

• • • •

Track 127

Track 128

Step 1 Step 2 Step 3 Step 4 Step 5

Sequence A

Sequence

Sequence A

(repeat x 1)

Pad section

Pads 1–16

The top panel contains sixteen velocity-sensitive pads. These pads are a user interface that corresponds to the keyboard of a synthesizer . Ho we ver , the pads dif fer from a MIDI k eyboard in that you can freely assign a note number to each pad.

If you have selected a drum program, you can assign a different drum/percussion sound to each pad and play them. If you have selected a key group program, you can assign the necessary pitches to the pads to play a melody.

Pad banks

A set of note numbers assigned to pads 1–16 is called a “pad bank.” The MPC4000 pro vides six pad banks, A–F . By switching pad banks you can use the sixteen pads to play 96 dif ferent sounds (or different pitches).

About the memory of the MPC4000

The programs, samples, multis, sequences, and songs we have discussed so far are all held in the internal memory of the MPC4000. However, internal memory is volatile, and will be lost when you turn off the power.

This means that if you want to keep your data, you must save it on an external or internal storage device (e.g., hard disk).

You can store data to (or load data from) a storage device in units of programs, samples, multis, sequences, and songs.

You also have the option of loading/saving the sequences/songs of the sequencer section and the programs/samples/multis of the sampler section as a single collection of data.

Pad section

Basic operation on the MPC4000

Here’s how to perform the basic operations that are common to each screen of the MPC4000.

Switching modes

In order to perform an operation on the MPC4000, you must ﬁrst use the keys of the mode section (→p.3) to access the desired mode.

The screen will switch according to the mode you selected. The following illustration shows the Main mode screen that you will see when you turn on the power. Operations for the Sequencer section are mainly performed in this screen. If a different screen is shown, you can press the [MAIN] key of the mode section to access this screen.

Chapter 2—Introducing the MPC4000

Accessing a page

Each mode consists of multiple screens. Each of the screens in a mode is called a “page.” Each page is divided into blocks that contain related items, and each block contains one or more items that you can set. An area in which you can change the setting of an item is called a “ﬁeld”

Block

Fields

Operating the function keys

Six function keys ([F1]–[F6] keys) are placed below the display in the top panel. The function of these function keys will change according to the mode or page you select. The lowest line

of the display will indicate the function key functions that can be used in the currently selected mode and page. By pressing the corresponding function key, you can execute the displayed function.

For example in the Main mode Main page, the following functions are assigned to the function keys.

In this page, pressing the [F2] key (TR LIST) will access the Main mode T rack List page. Pressing the [F3] key (TRACK+) or [F4] key (TRACK–) will switch the track numbers displayed in the main page.

Editing a value

When you want to edit the value of a ﬁeld in the screen, move the cursor (the highlighted area) to that ﬁeld, and turn the [JOG] dial.

T o mo v e the cursor within a block, use the CURSOR [ to the block above or below, use the BLOCK CURSOR [

Place the cursor at the appropriate location, and turn the [JOG] dial to change the value of that ﬁeld.

Accessing a popup window

Some items in the screen have a popup window that lets you set various options. To access the popup window, move the cursor to the ﬁeld for that item, and press the [WINDOW] key.

As an example, here’s how to access the clock function that is built into the MPC4000.

1. Press the [GLOBAL] key, and then press the [F1] key (GLOBAL).

The Global page will appear.

2. Use the CURSOR [ key.

The Set Date/Time popup window will appear.

]/[†]/[√]/[®] keys. To move the cursor directly

]/[†] keys.

]/[†] keys to move the cursor to the Date field, and press the [WINDOW]

Editing a value

3. Use the CURSOR [π]/[†] keys to select the item that you want to set, and use the [JOG] dial to set the current date and time.

4. Press the [F6] key (SET).

The popup window will close, and the speciﬁed date and time will be set for the internal clock.

Note: The speciﬁed date and time will be used as the time stamp when saving a ﬁle.

Hint: A popup window may also appear when you set the value of certain ﬁelds, or when you execute a function

assigned to the [F1]–[F6] keys.

Editing a name

When you want to edit a sequence name or program name, move the cursor to the name ﬁeld, and turn the [JOG] dial to access the following popup window.

In this window, use the CURSOR [√]/[®] keys to move the cursor to the character that you want to edit, and turn the [JOG] dial to select a character. When you are ﬁnished, press the [F6] key (ENTER) to ﬁnalize the name.

Locating to a speciﬁc place

The MPC4000 gives you various ways to change the current time location within a sequence or song.

• Using the Now ﬁeld to specify the measure/beat/tick

Screens such as the main page have a Now ﬁeld that shows the current measure/beat/tick. You can move the cursor to any of the following ﬁelds and turn the [JOG] dial to change the current location.

132

A Measure ﬁeld B Beat ﬁeld C Tick ﬁeld

These ﬁelds specify the current location in measures, beats, and ticks. In the T ick ﬁeld, you can use the CURSOR [

√

]/[®] keys to switch the tick unit (10 ticks/1 tick).

• Using the STEP [

If the MPC4000 is in a state in which you can play back a sequence or song, you can use the STEP [ keys, BAR [ key has the following operation.

STEP [

[GO TO] key + STEP [ BAR [

[GO TO] key + BAR [

<][>

] keys/BAR [<<]/[>>] keys/[GO TO] keys

]/[>>] keys, and [GO TO] key to move the current location forward or backward. Each

Keys Result

]/[>] keys

]/[

] keys

]/[>] keys

]/[

] keys Move to the beginning (BAR [

Move the current location forward or backward by the amount you speciﬁed in Timing Correct.

Move the current location in steps of the events recorded in the track (refer to Reference for the type of events).

Move the current location in step of one measure.

] key) or end (BAR [

key) of the sequence.

]/[>]

]

Chapter 2—Introducing the MPC4000

Hint: You are fr ee to c hang e the functions assigned to these ke ys. F or details, refer to the PDF reference

manual.

• Using the Locate popup window

If the MPC4000 is in a state in which you can play back a sequence, you can press the [GO TO] key to access a popup window where you can perform locate operations. IN this window you can memorize the current location as a locate point, or specify a locate point in measures/beats/ticks.

Hint: Locate points 1/2 are also used as the auto punch-in/out points (→p.24).

Go to ﬁeld: Here you can specify the locate

destination in measures/beats/ticks.

Locate 1 ﬁeld – Locate 3 ﬁeld: Here you

can specify locate points. The MPC4000 can remember up to three locate points.

[F1] key (CLOSE): This key closes the win-

dow and locates to the position of the Go to

ﬁeld .

[F2] key (LOCATE 1)–[F4] key (LOCATE 3):

These keys locate to the corresponding locate points.

E [F6] key (CAPTURE): This key inputs the

current location of the sequence into the currently selected ﬁeld.

Playing a program

Immediately after you have turned on the power of the MPC4000, the internal memory does not contain an y programs. In order for you to use pads 1–16 to play a program from the sampler section, you must load a program from an external or internal storage device into memory, and assign it to a part. Here’s how to do this.

1. If you are using an external storage device, make sure that the storage device is connected correctly and that its power is turned on.

For details on connecting storage devices, refer to p.6, 7.

2. Press the Load section [LOAD] key.

The MPC4000 will enter Load mode.

3. Move the cursor to the Disk block in the upper part of the page, and turn the [JOG] dial to access the following popup window.

In this window you can select the storage device from which you want to load a program.

4. Use the CURSOR [

]/[†] keys or the [JOG] dial to select a storage device.

Editing a value

5. Press the [F5] key (SELECT).

The contents of the storage device will be displayed as a tree in the ﬁle list block in the upper part of the screen.

6. Move the cursor to the View field in the center of the display, and use the [JOG] dial to select

“PROGRAM.”

In the V iew ﬁeld you can select the type of ﬁles that will be displayed in the ﬁle list. If you choose PROGRAM, only program ﬁles will be displayed.

7. Move the cursor to the file list, and use the CURSOR [ want to load.

In the ﬁle list, use the CURSOR [ select a ﬁle or folder within the current level.

For example when you ﬁrst access a storage device, the left side of the ﬁle list will by the [ROOT] folder, and the right side will display the ﬁles or folders contained in the [ROOT] folder.

√

]/[®] keys to move between le vels, and the CURSOR [π]/[†] keys to

]/[†]/[√]/[®] keys to select the file you

When the [ROO T] folder is selected, press the CURSOR [ of the ﬁle list.

If you want to move to a lev el below the [R OOT] folder , use the CURSOR [ and then press the CURSOR [ now show the contents of the newly selected folder. (To return to the next upper level, press the CURSOR [

√

] key.)

T o select a ﬁle from the currently selected level (folder), use the CURSOR [ to the folder.

8. When you have selected a program file, press the [F6] key (DO IT button).

The Load a Program window will appear.

] key to scroll the tree display to the right. The right side of the ﬁle list will

] key once to move the cursor to the right side

]/[†] keys to select the folder

]/[†] keys to move the cursor

Chapter 2—Introducing the MPC4000

9. Make sure that the Load field is set to WITH SAMPLES, and press the [F5] key (DO IT button).

The MPC4000 will load the program. If the Load ﬁeld is set to WITH SAMPLES, the necessary samples will be loaded into memory along with the program.

The program has now been loaded into memory. In order to play the program, you will need to assign it to a part.

10. Press the mode section [MAIN] key.

The main page will appear. Here you can create and play sequences.

11. In the Track block located in the middle of the page, make sure that the Out1 field is set to PART, and the PART field is set to a value of 1.

12. Move the cursor to the right side of the PART field, and turn the [JOG] dial.

The following popup window will appear.

13. Turn the [JOG] dial to select the program, and press the [F6] key (SELECT) to finalize the program.

The program has now been assigned to part 1. Now you can strike the pads to play the selected program.

3 Creating and editing a sequence

This chapter explains how to record MIDI ev ents into a sequence, and how to edit the recorded MIDI e vents.

About sequences

A “sequence” is the smallest unit from which an MPC4000 song is made up. You can specify the length (1–999 measures), tempo, and time signature of each sequence. On the MPC4000, you can create a song that consists of only one sequence, or you can create separate sequences and then arrange them later into a complete song.

The internal memory of the MPC4000 contains 128 sequences. When you turn on the power , all sequences will be empty. To create a new sequence, you must select an empty sequence and record or edit it.

Note: The contents internal memory will be cleared when you turn off the power, and the sequences you create will be lost. If you want to keep your sequences, you must save them to a storage device before turning off the power.

A sequence consists of 128 tracks. Each track can independently record the performance data (MIDI events) such as note-on/off and control change that is sent from the pads and from the [MIDI IN I]/[MIDI IN II] connectors.

Track 1 Track 2 Track 3 Track 4

Creating and editing a sequence

• • • •

Track 127 Track 128

There are two types of track.

• DRUM .............. This type of track lets you view and edit the recorded MIDI events in a matrix-type

graphic editor (→p.27). This type of track is conv enient for drum or percussion sounds.

• INST................. This type of track lets you view and edit the recorded MIDI events in a piano-roll type

graphic editor (→p.27). This is convenient for pitched sounds such as bass or piano.

Hint: You are free to change the track type even after MIDI events have been recorded in the track.

The recorded MIDI events are sent to the output destination that you specify for each track. Y ou can choose from the following outputs.

• [MIDI OUT A] connector – [MIDI OUT D] connector

• INT-A/INT-B (virtual MIDI reception ports of the sampler section)

• Speciﬁc parts of the sampler section

CONTRAST

Sampler

Part

REC GAIN

Sequencer section

Sequence

SETUP SEQUENCE

T rac k 1

Q 2

Q 1

MIN MAX

ACTIVE ACTIVE

Q 3

MIN MAX

ACTIVE ACTIVE

Q 5

ACTIVE ACTIVE

T rac k 2

MIN MAX

T rac k 3 T rac k 4

Q 4

T rac k 5

MIN MAX

T rac k 6

Q 6

BCDEFGH

Q-LINK SEQUENCE

PAD ASSIGN

FULL LEVEL

16 LEVELS

ERASE

(

• • • •

NOTE REPEAT

)

F 1 F 2 F 3 F 4 F 5 F 6

PAD BANK

PAD 13 PAD 14 PAD 15 PAD 16

PAD 9 PAD 10 PAD 11 PAD 12

PAD 5 PAD 6 PAD 7 PAD 8

PAD 1 PAD 2 PAD 3 PAD 4

DRUMS

P LOOP PTO P FROM

INT A

INT B

NEXT SEQUENCE

PLAY

TRACK

789

MUTE

456

123

0 ENTER

TIMING CORRECT

WINDOW

MASTER TEMPO

SHIFT

UNDO SEQ

REC

TAP TEMPO

MAIN VOLUME

Part

GAIN

HIGH LOW

MAX

MINMIN MAX

Part

RECORD

PROGRAM

SAMPLE

IJK

MULTI

MIXER

EFFECT

• • • •

LMN

SAVE LOAD

GLOBAL

OPQ

SONG MISC.

MIDI

RST

STEP EDIT

MAIN

SEQ EDIT

UVW

CURSOR

JOG

[MIDI OUT A] connector

BLOCK CURSOR

[MIDI OUT B] connector

LOCATE

GO TO

STEP

EVENT START END

BAR

PLAY/ REC

OVER DUB

PLAY

STOP

PLAY

START

[MIDI OUT C] connector

[MIDI OUT D] connector

Chapter 3—Creating and editing a sequence

Preparations for creating a sequence

Before you can record MIDI events in a track, you must specify certain parameters such as the number of measures, the time signature, and the tempo.

1. Press the [MAIN] key.

The main page will appear. Most of the steps in volv ed in creating a sequence are performed in this page. Set the parameters of the sequence in the sequence block described below.

2 3 7

45 6

L M

A Position bar: This sho ws the current position within the sequence. The full length of the bar graph cor -

responds to the length of that sequence.

B Now ﬁeld: This shows the current position within the sequence in measures/beats/ticks. C Time ﬁeld: This shows the current position within the sequence in hours/minutes/seconds/frames. D TC ﬁeld: Here you can specify the note value that will be the minimum unit for timing correction (quan-

tization).

E Swing ﬁeld: In this ﬁeld you can specify the amount of “swing” by which the backbeats will be moved

forward or backward. This will be displayed if you have selected 1/8, 1/16, 1/32, or 1/64 in the TC ﬁeld .

F Metronome ﬁeld: Here you can switch the metronome on/off. G Seq ﬁeld: Here you can select the sequence that you want to record or edit. The ﬁeld will show the name

of the currently selected sequence.

H Tempo ﬁeld: Here you can set the tempo of the sequence. I Loop ﬁeld: Here you can switch loop playback on/off for the sequence. The ﬁeld immediately below

the Loop ﬁeld lets you change the loop region. The loop region is shown as in the position bar.

J Bars ﬁeld: This opens the Change Bars popup window which lets you specify the number of measures

in the sequence.

K Time signature ﬁeld: This opens the Change Time Signature popup window which lets you specify the

time signature of the sequence.

L A.Punch ﬁeld: Here you can switch the auto punch-in/out function on/off. M Sync ﬁeld: Here you can switch synchronization with external devices on/off. N Sequence trans. ﬁeld: This lets you transpose an entire INST type track in a range of –12–+12 semi-

tones.

2. Move the cursor to the Seq field, and turn the [JOG] dial to select an empty sequence.

When an empty sequence is selected, the Seq ﬁeld will indicate “x- (Unused)” (x will be a sequence number in the range of 1–128). An empty sequence will ha ve default settings of time signature = 4/4, measures = 2, and tempo = 120.

Hint: When you turn on the power, all sequences will be empty. When you record MIDI events into a sequence, a sequence name of “Sequence_xxx” (where xxx is a sequence number in the range of 1–128) will be assigned automatically. If the cursor is in the Seq ﬁeld, you can press the [WINDOW] ke y to access the Sequence popup window in which

→

you can change the sequence name or edit the entire sequence (

3. Move the cursor to the Bars field, and turn the [JOG] dial.

p.36).

Realtime input

The Change Bars popup window will appear . In this window you can specify the number of measures in the sequence.

4. Turn the [JOG] dial to specify the number of measures, and then press the [F6] key (DO IT) to finalize the setting.

If you increased the setting, measures will be added after the current measure. If you decreased the setting, measures will be deleted from the end of the sequence.

5. If you want to change the time signature of the sequence, move the cursor to the field that displays the time signature, and turn the [JOG] dial to access the following popup window.

A Measure numbers: These indicate the mea-

sure numbers within the sequence.

B Time signature ﬁeld: Here you can specify

6. Move the cursor to the time signature field, and turn the [JOG] dial to set the time signature.

Hint: By moving the cursor to the measure number and turning the [JOG] dial to specify a measure number, you can change the time signature mid-way through the sequence. Y ou can select multiple measures by holding down the [SHIFT] key and pressing the CURSOR [ ing the time signature in this state, you can change the time signature for all measures within the selected rang e.

7. To finalize your changes, press the [F6] key (DO IT).

The popup window will close.

8. If you want to make settings for the metronome, move the cursor to the Metronome field and press the [WINDOW] key.

The Metronome popup window will appear.

31 2

4 5

the time signature of the sequence. You can select a time signature in the range of 1/4–16/4, 1/8–16/18, 1/16–16/16, 1/32–32/32.

] key . By chang-

A Count in ﬁeld: Specify how the pre-count

will be sounded; OFF (pre-count= off), REC ONL Y (only when recording), or REC+PLA Y (when recording or playing).

B In Play ﬁeld:

will sound while the sequence plays back.

In Rec ﬁeld: Specify whether the metronome will sound while the sequence is being recorded.

Specify whether the metronome

D Rate ﬁeld: Select the note value at which the metronome will sound. Choose from a range of 1/4 (quar-

ter notes)–1/32(3) (thirty-second note triplets).

E Wait for key ﬁeld: If you turn this ﬁeld ON, recording will begin the instant you press a pad or play

your MIDI keyboard.

9. Make settings for each field, and then press the [WINDOW] key to close the popup window.

10. Make sure that the setting in the metronome field is ON.

11. Move the cursor to the tempo field, and turn the [JOG] dial to set the tempo as desired.

Hint: You can also set the tempo in realtime by tapping the [T AP TEMPO] ke y . This method is convenient when you want to match the tempo of a sequence to a sampled rhythm loop.

12. If you want the sequence to loop as you play or record it, make sure that the setting of the Loop field is ON.

You are now ﬁnished with preparations for creating a sequence.

Realtime input

Here we will explain how your performance on the pads or a MIDI keyboard can be recorded on a track in realtime.

Realtime-recording a drum program

Here’s how you can use the pads to play a drum program of the internal sampler or a rhythm machine connected to a [MIDI OUT] connector, and record your performance on an empty track.

Chapter 3—Creating and editing a sequence

1. If you want to use a drum program of the internal sampler as your sound source, load the desired program into the internal memory of the MPC4000.

2. If you want to use an external rhythm machine as your sound source, connect one of the [MIDI OUT A]–[MIDI OUT D] connectors to the MIDI IN connector of your MIDI sound source.

3. Press the [MAIN] key to access the main page.

The Track block of the main page lets you select the track that you want to record, and specify the output destination.

1 2 3

MIDI IN

MIDI sound source

879

A Trk ﬁeld: Selects the track that you want to record. B Type ﬁeld: Selects the type of track. C Play ﬁeld: Switches the track on/off. D Pgm Change ﬁeld: Speciﬁes the program change number that will be sent to the output destination

when you play back the sequence.

E Velocity ﬁeld: Speciﬁes an offset value of 0–200% that will be applied to the velocities of all note

events when the track is played back.

F Duration ﬁeld: Speciﬁes an offset value of 0–200% that will be applied to the duration of all note

events when the track is played back.

G Out1 ﬁeld H Out2 ﬁeld:

ﬁeld to different output destinations, you can transmit the events of one track to two output destinations.

These ﬁelds specify the output destinations of the track. By setting the OUT1 ﬁeld and OUT2

I Part ﬁeld: Selects the part number(s) and program(s) to which the track will be sent. This ﬁeld will be

displayed only if PART is selected as the output destination for the Out1/Out2 ﬁelds.

J K

J Ch ﬁeld: Selects the MIDI channel(s) to which the track will be sent. This ﬁeld will be displayed only

if you have selected OUT-A–OUT-D or INT-A/INT-B as the output destination for Out1/Out2.

K Device ﬁeld: This ﬁeld displays the device name that you have assigned to the devices connected to

the [MIDI OUT A]–[MIDI OUT D] connectors. To assign a device name, move the cursor to this ﬁeld and press the [WINDOW] key.

4. Move the cursor to the Trk field, and turn the [JOG] dial to select the track that you want to record.

Immediately after the power is turned on, all tracks in the sequence will be empty. Empty tracks will be assigned a track name of “(Unused).”

Hint: You can directly switch to the next upper or lower track by using the [F4] key (–) or [F5] key (+).

When you recor d MIDI events, a track name of “tr ack_xxx” (wher e xxx is a track number 001–128) will be assigned.

When the cursor is located at the Trk ﬁeld, you can press the [WINDO W] ke y to access the T rack popup window , where you can edit the track name or edit the entire track.

Realtime input

5. Make sure that the Type field is set to DRUM.

Hint: You can change this setting later as necessary.

6. Move the cursor to the Out1 field, and turn the [JOG] dial to select one of the following output

destinations for the track.

PART...............A speciﬁc part of the sampler section

OUT A ............[MIDI OUT A] connector

OUT B ............[MIDI OUT B] connector

OUT C ............[MIDI OUT C] connector

OUT D............[MIDI OUT D] connector

INT-A..............Virtual MIDI input port A of the sampler section

INT-B..............Virtual MIDI input port B of the sampler section

You will normally choose PART if you want to play a program on the internal sampler, or OUT A–OUT D if you want to play an external rhythm machine.

The ﬁelds at the right of the OUT1 ﬁeld will change as follows, depending on the output destination you selected.

7. Move the cursor to the PART field or the Ch field, and turn the [JOG] dial to specify a part

number (if you selected PART) or a MIDI channel (if you selected OUT A–OUT D).

When you strike the pads or play back the sequencer, the MIDI e vents will be transmitted to the part or MIDI channel you speciﬁed here.

Hint: If you selected a virtual MIDI port (INT -A/INT -B) of the sampler section as the output destination, specify the MIDI channel in the same way as described above. (Set it to match the MIDI receive channel of the part you want to play.) You can use the same steps to set the Out2 ﬁeld.

8. If you selected PART as the output destination, move the cursor to the right of the PART field

and select the desired part number. Then move the cursor to the right again, select the drum program that you will play using this part.

The program will be assigned to the part you selected. For details on how to select a program, refer to p.14.

Hint: If desired, you can specify a pro gram c hange number by moving the cursor to the Pgm Change ﬁeld and turning the [JOG] dial. When you play back the sequence, the program change speciﬁed by this ﬁeld will be sent to the output destination.

9. Strike the pads, and make sure that you can hear the program or MIDI sound source.

If you want to switch pad banks, press the P AD B ANK [A]–[F] keys. The display for the In ﬁeld will change according to the pad that you strike.

A : This will blink when a MIDI event is

received.

BBar: This will indicate the velocity value of the

note event that is received. A longer bar indicates a larger velocity value.

Hint: The Out ﬁeld shows the output status of the track. The contents of the display are the same as for the In ﬁeld.

10. Move the cursor to the TC field, and turn the [JOG] dial to select one of the following choices as

the minimum timing interval at which note events will be recorded in the track.

1/8...8th notes, 1/8(3)...8th note triplets, 1/16...16th notes, 1/16(3)...16th note triplets, 1/32...32nd notes, 1/32(3)...32nd note triplets, 1/64...64th notes, 1/64(3)...64th note triplets,

OFF(96)...10 ticks (1/96th of a quarter note), OFF...Timing Correct=off (1/960th of a quarter note) Timing Correct is a function that aligns the timing of note ev ents to the speciﬁed note value interv al as the y

are recorded in the track. If Timing Correct is turned on, the [TIMING CORRECT] key LED will light.

Hint: Y ou may also record note events with Timing Corr ect turned off, and apply timing correct later. F or details, refer to the PDF reference manual. Use the [TIMING CORRECT] key to switch Timing Correct on/off.

Chapter 3—Creating and editing a sequence

11. To start recording, hold down the [REC] key and press the [PLAY] key. Then play the pads while you listen to the metronome.

The [REC] key and [PLAY] key LEDs will light, and recording will begin on the currently selected track.

Hint: If you press the [PLAY START] key instead of the [PLAY] key, recording will always start from the beginning of the sequence. If you press the [OVER DUB] key instead of the [REC] key, the existing MIDI events will be kept, and the newly-recorded MIDI events will be added to them. If the Loop ﬁeld is set to ON/1-END, and you reach the end of the sequence, you will automatically return to the beginning and continue recording. At this time, the [OVER DUB] key LED will light instead of the [REC] key LED, and the newly-recorded MIDI events will be added.

12. To stop recording, press the [STOP] key.

When you record or edit a track, the [UNDO SEQ] LED will light. If you press the [UNDO SEQ] key in this state, the track will return to the state in which it was before you modiﬁed it.

13. To hear the content that you recorded, press the [PLAY] key (or the [PLAY START] key).

14. To erase a note event that you input by mistake, hold down the [OVER DUB] key and press the [PLAY] key. Then immediately before the note event that you want to erase, hold down the [ERASE] key and press the corresponding pad.

The corresponding note event(s) will be erased as long as you hold down the pad.

12341234

Pad 1 Pad 2

[ERASE] key + Pad 1 [ERASE] key + Pad 2

• • • •

12341234

Pad 1 Pad 2

• • • •

15. Save the sequence if desired (→p.38).

Realtime-recording a key group program

Here’s how you can use the pads or a MIDI keyboard to play a key group program of the internal sampler or an external MIDI sound module, and record your performance.

1. If you want to use a key group program as your sound source, load the desired program into the MPC4000’s internal memory.

2. If you want to use an external MIDI sound module as your sound source, connect your MIDI sound module to the MPC4000 (→p.6).

3. If you want to use an external MIDI keyboard as the controller instead of the pads of the MPC4000, connect the MIDI OUT of your keyboard to the MPC4000’s [MIDI IN I] connector or [MIDI IN II] connector.

You can use a MIDI keyboard connected to the [MIDI IN I]/[MIDI IN II] connectors to play programs and record sequences in the same way as when using the pads.

MIDI IN

MIDI keyboard

4. Press the [MAIN] key to access the main page of Main mode.

5. Move the cursor to the Trk field, and turn the [JOG] dial to select a new track.

6. Move the cursor to the Type field, and turn the [JOG] dial to change the setting to INST.

Realtime input

7. Move the cursor to the Out1 field, and turn the [JOG] dial to select the output destination for

the track.

8. Move the cursor to the PART or Ch field, and turn the [JOG] dial to select the part number or

MIDI channel.

If you selected PART as the output destination, you can also select the program that will be played by that part (→p.14).

9. Strike the pads (or play your MIDI keyboard), and make sure that you can hear the program or MIDI sound source.

10. If you want to change the note numbers that are assigned to the pads, press the [PAD ASSIGN] key.

The Pad Assign page will appear, allowing you to change the note number for each pad.

A Global pad assign ﬁeld: Here you can

change the note numbers that will initially be assigned to the pads. Choose either DEF AUL T or CHROMATIC.

B Pads: This area shows the note number that is

assigned to each pad.

Note: Some programs of the internal sampler are set up so that you can use the pads to play the program in an ideal conﬁguration. The Global pad assign ﬁeld will not be displayed for a track for which such a program is selected.

To change the pad assignments of this type of program, you will need to edit the program (→p.85).

11. Move the cursor to the Global pad assign field, and turn the [JOG] dial to change the setting to CHROMATIC.

The note numbers assigned to pads 1–16 will change. The initial DEFAULT setting (a pad assignment suitable for drum programs) will change to CHROMATIC (a pad assignment in which note numbers are assigned in semitone steps).

When you have ﬁnished making the setting, press the [MAIN] key to access the Main page.

P LOOP PTO P FROM

PAD 13 PAD 14 PAD 15 PAD 16

49/Db2 55/G2 51/Eb2 53/F2

PAD 9 PAD 10 PAD 11 PAD 12

43/F1

45/G1

47/B1

48/C2

PAD 5 PAD 6 PAD 7 PAD 8

44/Gb1

46/Ab1

38/D1

40/E1

PAD 1 PAD 2 PAD 3 PAD 4

82/Bb4

42/Gb1

36/C1

37/Db1

PLAY

P LOOP PTO P FROM

PAD 13 PAD 14 PAD 15 PAD 16

44/Ab1 45/A1 46/Bb1 47/B1

PAD 9 PAD 10 PAD 11 PAD 12

43/G1

42/Gb1

41/F1

40/E1

PAD 5 PAD 6 PAD 7 PAD 8

39/Eb1

38/D1

37/Db1

36/C1

PAD 1 PAD 2 PAD 3 PAD 4

35/B0

34/Bb0

33/A0

32/Ab0

PLAY

Hint: You can press the PAD BANK [A]–[F] keys to switch the pitch range of pads 1–16.

12. Move the cursor to the TC field, and specify the desired timing correct setting.

13. To start recording, hold down the [REC] key and press the [PLAY] key. Then play the pads while you listen to the metronome.

The [REC] key and [PLAY] key LEDs will light, and recording will begin on the currently selected track. If the Loop ﬁeld is set to ON/1-END, and you reach the end of the sequence, you will automatically return to the beginning and continue recording. At this time, the [OVER DUB] key LED will light instead of the [REC] key LED, and the newly-recorded MIDI events will be added.

Hint: If you operate the pitch bend wheel or controllers of your MIDI keyboard while recording, these continuously-variable events will be recorded along with the note events.

14. To stop recording, press the [STOP] key.

Chapter 3—Creating and editing a sequence

15. To hear the content that you recorded, press the [PLAY] key (or the [PLAY START] key).

16. To erase a note event that you input by mistake, hold down the [OVER DUB] key and press the [PLAY] key. Then immediately before the note event that you want to erase, hold down the [ERASE] key and press the corresponding pad or note.

If you erase the beginning (note-on) of a note event, that entire note event will be erased.

• • • •• • • •

17. Save the sequence if desired (→p.38).

[ERASE] key

+ Pad (E2)

• • • •

[ERASE] key

+ Pad (G2)

Auto punch-in/out

Use the auto punch-in/out function when you want to re-record just a speciﬁc portion of the performance you recorded on a track by playing the pad or your MIDI keyboard.

1. Make sure that the main page is displayed.

You will make settings for the auto punch-in/out function in the Sequence block.

2. Move the cursor to the A.Punch field, and press the [WINDOW] key to access the following popup window.

1 2

A Type ﬁeld: Here you can choose one of the

following three auto punch-in/out methods; PUNCH IN ONLY (only punch-in will occur automatically), PUNCH OUT ONLY (only punch-out will occur automatically), or PUNCH IN-OUT (punch-in/out will occur automatically).

B In time ﬁeld: Specify the punch-in point in

measures/beats/ticks.

C Out time ﬁeld: Specify the punch-out point in measures/beats/ticks.

3. Make sure that the Type field is set to PUNCH IN-OUT.

If the setting is other than PUNCH IN-OUT, move the cursor to the Type ﬁeld and turn the [JOG] dial to select PUNCH IN-OUT.

The graphic in the center of the popup window will change according to the punch-in/out type you select.

4. Move the cursor to the In time field, and turn the [JOG] dial to specify the punch-in point.

The punch-in point is shown as a symbol on the position bar of the main page.

Realtime input

5. In the same way, move the cursor to the Out time field, and turn the [JOG] dial to set the

punch-out point.

The punch-out point is shown as a symbol on the position bar of the main page.

6. Press the [F1] key (CLOSE) to close the popup window.

7. Make sure that the cursor is located at the A.Punch field, and turn the [JOG] dial to change the

setting to ON.

This enables the auto punch-in/out function.

8. Move the cursor to the Trk field of the track block, and select the track on which you want to

record.

9. Locate the sequence to a point earlier than the punch-in point.

10. Hold down the [REC] key and press the [PLAY] key (or the [PLAY START] key).

The [PLAY] key LED will light, the [REC] key LED will blink, and the sequence will begin playing. When you reach the punch-in point, the [REC] key LED will change from blinking to lit, and recording will

begin. When you reach the punch-out point, the [REC] key LED will go dark, and playback will resume.

REC PLAY

recording playingplaying

REC

blinking blinking

11. When you are finished recording, press the [STOP] key.

12. Move the cursor to the A.Punch field, and change the setting to OFF.

This disables the auto punch-in/out function.

Step recording

Step recording allows you to input note events one by one while the sequence is stopped. This method is convenient when you want to record a phrase that w ould be difﬁcult to play in realtime. Here’s how to use the event list to step-record note events.

1. In the main page, move the cursor to the Trk field and select the track that you want to step-record.

2. Select the output destination for the track, and specify the part number and program or MIDI

channel that you want to play (→p.19).

3. Press the [STEP EDIT] key.

The step edit page will appear, where you can input and edit MIDI events. In the center of the display you will see the event list that displays the MIDI events in the track.

1 2

REC

lit

REC

A Track ﬁeld: Selects the track into which you

step-record.

B Now ﬁeld: Indicates the current location, and

lets you specify the location at which you want to input a note event.

C Event list: Displays the type and value of

each MIDI event recorded in the track.

D View ﬁeld: Here you can select the type of

MIDI events that will be displayed in the ev ent list.

4. Press the [F1] key (OPTION) to access the Step Edit Option popup window.

In this popup window you can set options for step-recording.

A Duration of recorded notes ﬁeld: Selects

how to specify the duration of the note events you input.

B Auto Step increment on key release ﬁeld:

Selects whether the current location will be advanced after you input a note event (YES) or whether you will remain at the previous location (NO).

Chapter 3—Creating and editing a sequence

5. Move the cursor to the Auto Step increment on key release field, and turn the [JOG] dial to make the field show YES.

6. Move the cursor to the Duration of recorded notes field, and turn the [JOG] dial to make the field show VALUE.

If you select TC VALUE, the note value you speciﬁed in the Timing correct ﬁeld will be input here. The numerical value at the right of the ﬁeld indicates the proportion of the duration relative to the timing correct value. If this value is 100%, the duration will be the same as the length of the note.

Hint: If you set this ﬁeld to AS PLAYED, the duration of the note event will depend on the length that you continue pressing the pad or your MIDI keyboard. For details, refer to the PDF reference manual.

7. Press the [F1] key (CLOSE).

The settings will be ﬁnalized and the popup window will close.

8. Move the cursor to the Timing Correct field, and set timing correct to the shortest note value that you will want to input (normally an 8th note or 16th note, etc.).

9. Move the cursor to the measure/beat/tick areas of the Now field, and specify the location at which you want to begin step-recording.

10. Press the [REC] key or the [OVER DUB] key.

The [OVER DUB] key LED will light, and you are now ready to begin step-recording.

11. Strike the pads (or play your MIDI keyboard).

Note events will be recorded at intervals of the Timing Correct setting, and the current location will adv ance by the length of the note value. The velocity v alue will be the strength with which you strike the pad or your MIDI keyboard.

The recorded note events will appear in the event list as follows.

23 4

A Measure/beat/tick: Indicates the location at which the note event was recorded. B Note number: Indicates the note number that was recorded, and the corresponding pad number (for a

DRUM type track) or note name (for an INST type track).

C D ﬁeld: Indicates the duration of the note event in units of ticks. D V ﬁeld: Indicates the velocity of the note event.

If you changed the setting at the right of TC VALUE in step 6, that proportion will determine the duration of the note events that you input. For example if T iming Correct is set to 16th note and Duration is 50%, the result would be as follows.

Note event

(50% of a 16th note)

16th note

Hint: You can input a chord by simultaneously pressing two or more pads or notes on your MIDI keyboard.

12. To input a rest, press the STEP [

The current location will advance by the Timing Correct note value.

13. Continue step-recording in the same way.

If you have arriv ed at the end of the sequence and would like to continue step-recording from the beginning of the sequence, move the cursor to the Now ﬁeld, and use the [JOG] dial to change the current location.

Hint: You can r eturn instantly to the beginning of the sequence by holding down the [GO TOP] ke y and pressing the BAR [

14. When you are finished step-recording, press the [STOP] key.

You will exit step-recording.

Hint: Step-recording can also be performed in the Sequence Edit page. When you step-record in the Sequence Edit page, the note events you record will be shown in a graphic editor.

] key.

Editing a track

2749

The following pages explain how to edit the note ev ents and continuously-variable ev ents recorded in a track.

Using the Graphic Editor to edit

On the MPC4000 you can use a graphic display to visually edit note events and continuously-variable e vents such as control changes. Here’s how to use the graphic display to edit MIDI events.

Editing a drum-type track

Y ou can use a graphic matrix editor to copy , delete, and modify the note ev ents recorded in a drum type track.

1. In the main page, select a drum-type track and press the [SEQ EDIT] key to access the Sequence Edit page.

When you select a drum-type track and press the [SEQ EDIT] key, the graphic matrix editor will appear.

3 5

LJ K

Editing a track

A Track ﬁeld: Indicates the track that you are

editing.

B Tempo ﬁeld: Indicates the tempo of the

sequence.

C Timing correct ﬁeld: Indicates the minimum

unit for timing correction. The setting of this ﬁeld will also affect the resolution of the horizontal axis (time ruler) of the graphic editor).

D Swing ﬁeld: Speciﬁes the amount of “swing”

for timing correction.

E Now ﬁeld: Indicates the current location

within the sequence in measures/beats/ticks. You can move the current location by changing this value.

F Graphic editor: This area graphically displays the note events and continuously-variable events that

are recorded in the track, and lets you select the area that you want to edit.

G Time ruler: Indicates the time axis of the track. The units in the ruler are the smallest steps by which

you can select an area.

H Pad number: Indicates the pad number corresponding to the note events recorded in the track. I Grid: Use this grid to specify the editing region. If a box in the grid contains one or more note events,

it will display a ● symbol.

J Vertical marker: This indicates the current location. You can use it to select the editing region on the

time ruler.

K Horizontal marker: Use this to select the pad number that you want to edit. L View ﬁeld: Here you can select the type of MIDI events that will appear in the graphic editor.

Hint: If the graphic editor does not show the matrix display, change the View ﬁeld setting to NOTE. You can also use the Track ﬁeld to select a different track for editing at any time.

2. If you want to change the pad bank that is shown by the graphic editor, press a PAD BANK [A]–[F] key to view the corresponding pad bank.

The graphic matrix editor shows note events in groups of a single pad bank. If you change the pad bank, the display will switch to the set of notes for the newly-selected pad bank.

3. Move the cursor to the Timing correct field, and specify the resolution of the time ruler.

Normally you will set the grid resolution to the smallest interval at which the notes you want to edit are located.

4. Move the cursor to either the measure, beat, or tick area of the Now field, and move the vertical marker to the location that you want to edit.

When the cursor is located within the graphic editor, you can also use the CURSOR [ [JOG] dial to move the vertical marker.

5. Use the BLOCK CURSOR [

6. Select the grid area that you want to edit.

]/[†] keys to move the cursor into the graphic editor.

√

]/[®] keys or the

Chapter 3—Creating and editing a sequence

• To select a single grid location

Press the pad that corresponds to the note event you want to edit. The horizontal marker will move to the location for that pad.

• To select multiple grid locations

Press the pad that corresponds to the note event you want to edit, and hold down the [SHIFT] key and use the CURSOR [

]/[†]/[√]/[®] keys to extend the selected region.

The grid locations where the vertical and horizontal markers intersect will be selected. Your editing operations will affect all note events in the selected grids.

Hint: You can press the [F6] key (PLAY) to play back the selected region. When you specify a region, the command assigned to the [F5] key (PASTE) will change to EDIT. Y ou can press the [WINDOW] ke y and use the event list (

7. Use the [ERASE] key or the [F2] key (MOVE)–[F5] key (EDIT) to access the editing command that you want to use.

When you press one of these keys, a popup window for the corresponding editing command will appear. The following commands are assigned to these keys.

• [ERASE] key: Erases the selected region.

• [F2] key (MOVE): Moves the selected region.

• [F3] key (COPY): Copies the selected region.

• [F4] key (CUT): Cuts the selected region.

• [F5] key (EDIT): Converts the velocities/durations of all note events in the selected region.

8. Execute the editing command.

For details on the procedure, refer to the next section.

→

p.34) to view just the note events of the selected region.

About the editing commands

The following pages explain the editing commands assigned to the [ERASE] key and [F2] k eys – [F4] ke ys in the sequence edit page.

■ [ERASE] key

This erases the selected region. When you press the key, the Erase popup window will appear.

1 2 3 4

A Track ﬁeld: Displays the name of the track

from which data will be erased.

B Time ﬁeld: Displays the region of the time

axis in which data will be erased.

C Erase ﬁeld: Displays the type of MIDI events

that will be erased.

D Notes ﬁeld: Displays the range of note num-

bers/pad numbers that will be erased.

E [F1] key (CANCEL): Cancels the Erase command and closes the popup window. F [F6] key (DO IT): Executes the Erase command.

■ [F2] key (MOVE)

This command moves the selected region. When you press this key, the following ﬁelds will appear in the lower part of the display.

2 3 4

Editing a track

A Move ﬁeld: Indicates the direction in which the data will be mov ed. If this ﬁeld is set to T ime, the data

can be moved along the time axis. If set to Note, the notes can be moved upward or downward. If the track is a drum-type track, this ﬁeld can be set only to Time.

B From ﬁeld: Indicates the current position of the MIDI event(s) that will be moved. C to ﬁeld: Speciﬁes the location to which the data will be moved, in units of measures/beats/ticks. D Mode ﬁeld: Selects whether any MIDI events e xisting in the move-destination region will be combined

with the MIDI events that are moved (MERGE), or will be overwritten by them (REPLACE).

E [F1] key (CANCEL): Cancels the editing command and closes the popup window. F [F2] key (DO IT): Moves the MIDI events.

Hint: You can use the [F3] key (–) and [F4] key (+) to make ﬁne adjustments to the selected region in units of one tick.

■ [F3] key (COPY)

This command copies the MIDI events to the clipboard (an area of memory in which data is stored temporarily), or saves them as a library. If you press this key when a single grid is selected, the note event(s) in that grid will be copied to the clipboard. If you press this key when multiple grids are selected, the Copy Data popup window will appear.

A Time ﬁeld: Indicates the measure region that

1 2

is currently selected.

B Notes ﬁeld: Indicates the note event range

that is currently selected.

C New name ﬁeld: Here you can input the

library name that will be used if you save the copied region as a phrase library.

D [F1] key (CANCEL): Cancels the editing

456

command and closes the popup window.

E [F5] key (LIBRARY): Saves the selected region as a phrase library. F [F6] key (CLIP BD): Copies the selected region to the clipboard.

■ [F4] key (CUT)

This command cuts the MIDI events that are in the selected region. The MIDI events that are cut can be placed in the clipboard or saved as a phrase library. If you press this key when a single grid is selected, the note event(s) in that grid will be cut. If you press this key when multiple grids are selected, the Cut Data popup window will appear.

The ﬁelds in this popup window are the same as for the COPY command.

Hint: The [F4] key (CUT) copies the selected event(s) and then erases them. This means that you can also use this command to delete events.

Chapter 3—Creating and editing a sequence

■ [F5] key (EDIT)/(PASTE)

The editing command assigned to the [F5] key will depend on whether you have selected a region in the graphic editor. EDIT will be assigned to this ke y if you have selected a region, and PASTE if you have not selected a region.

• EDIT

This command converts the MIDI e vents in the selected region. If this command is assigned to the [F5] k ey, the Edit Multiple popup window will appear when you press the key.

• SUB VALUE: The setting of the V alue ﬁeld will be subtracted from the current values.

• MULT VAL%: The current values will be multiplied by the setting of the Value ﬁeld.

• SET TO VAL: The current values will all be replaced by the setting of the Value ﬁeld.

C Value ﬁeld: Here you can input the value by which the adjustment will be made. D Time ﬁeld: Indicates the time region you selected. You can edit these values to make ﬁne adjustments

to the selected region.

E Notes ﬁeld: Indicates the region of note numbers you selected. You can edit these values to adjust the

selected range of pitches.

F [F6] key (DO IT): Executes the editing command.

A Edit ﬁeld: Here you can choose the element

(velocity or duration) that will be modiﬁed. This ﬁeld will be displayed only if you have selected note events.

B Edit type ﬁeld: Here you can choose one of

the following four ways in which to modify the value.

• ADD VALUE: The setting of the V alue ﬁeld will be added to the current values.

• PASTE

This command pastes the MIDI events that were copied or cut. If this command is assigned to the [F5] key, the Paste Data popup window will appear when you press the key.

1 2 3

A Phrase Library ﬁeld: This displays a list of

the phrase libraries that have been stored in the MPC4000’s ﬂash ROM.

B Paste event ﬁeld: Here you can choose the

type of MIDI events that will be pasted. If you choose NOTE, only the note data included in the library will be pasted.

C Paste mode ﬁeld: Here you can choose how

any MIDI events already existing in the destination will be handled: MERGE (the pasted

56 87 49

data will be combined with the existing MIDI events) or REPLACE (the pasted data will overwrite the existing MIDI events).

D Copies ﬁeld: Specify the number of times the data will be copied. E [F2] key (RENAME): Renames the selected phrase library. F [F3] key (DELETE): Deletes the selected phrase library. G [F4] key (PLAY): Plays the selected phrase library. H [F5] key (LIBRARY): Pastes the selected phrase library into the location of the Now ﬁeld. I [F6] key (CLIP BD): Pastes the MIDI events that you cut/copied into the location of the Now ﬁeld.

Editing a track

Editing an INST type track

You can use a piano-roll graphic editor to perform editing operations such as Copy or Delete on the note events recorded in an INST type track.

1. Select an INST type track in the main page, and press the [SEQ EDIT] key.

When you select an INST type track and press the [SEQ EDIT] key , the piano-roll graphic editor will appear .

1 2 3

A Track ﬁeld: Selects the track that will be dis-

played in the graphic editor.

B Timing correct: Indicates the note value that

will be the minimum unit for timing correction. The setting of this ﬁeld also determines the resolution of the horizontal axis (time ruler) of the graphic editor.

C Now ﬁeld: Indicates the current location

within the sequence in measures/beats/ticks.

D Graphic editor: This area graphically dis-

plays the note events and continuously vari-

J798

able events, and lets you select the range that you want to edit.

E Time ruler: This indicates the time axis of the track. The markings on the ruler will be the smallest units

by which you can select a region.

F Note numbers: This area indicates the note numbers of the note events recorded in the track. G Vertical marker: This indicates the current location. Use this to specify the editing region in the time

ruler.

H Horizontal marker: Use this to specify the range of note numbers that you want to edit. I Note event: Note ev ents recorded in the track are displayed as bars. The length (left to right) of the bar

indicates the duration of the note event.

J Field: Here you can select the type of MIDI event that will be displayed in the graphic editor.

Hint: If the graphic editor does not show the piano-roll type display, change the View ﬁeld to NOTE. You can use the TRACK ﬁeld to select a different track for editing at any time.

2. To switch the range of notes shown in the graphic editor, move the cursor into the graphic editor and press the CURSOR [

Hint: You can switch the displayed range of notes instantly by pressing the pad or note on your MIDI keyboar d that corresponds to the note number you want to see.

3. Move the cursor to the Timing correct field, and specify the resolution of the time ruler.

Normally you should set the grid resolution to the smallest interval between the note events that you want to edit.

4. Move the cursor to the measure, beat, or tick of the Now field, and move the vertical marker to the beginning of the range that you want to edit.

If the cursor is located within the graphic editor, you can also use the CURSOR [ dial to move the vertical marker.

5. Use the BLOCK CURSOR [

6. Select the note event that you want to edit.

• To select a single note

Press the pad or MIDI key for the note event you w ant to edit. The horizontal mark er will mov e to that note number.

]/[†] keys repeatedly to scroll the piano-roll upward or downward.

√

]/[®] keys or the [JOG]

]/[†] keys to move the cursor into the graphic editor.

Chapter 3—Creating and editing a sequence

• To select multiple notes

Press the pad or MIDI key for one of the note events you w ant to edit. Then hold do wn the [SHIFT] key and use the CURSOR [

The region in which the vertical and horizontal markers intersect will be the selected region. All note e vents whose beginning (note-on) is included in this region will be selected for editing.

Hint: You can press the [F6] key (PLAY) to play back the selected region. When you select a region, the function assigned to the [F5] key (PASTE) will change to EDIT. If you press the [WINDOW] key, the note events included in the selected region will be displayed in the event

→

p.34).

list (

7. Use the [ERASE] key or [F2] key (MOVE)–[F5] key (EDIT) to choose an editing command.

Refer to page 28 for the functions assigned to each key and details on operation.

]/[†]/[√]/[®] keys to extend the selected range.

Editing continuously-variable events

Y ou can use the graphic editor to graphically vie w continuously-variable ev ents such as control changes and pitch bend. Here we will explain how to use the graphic editor to view and edit continuously-v ariable ev ents such as control change that have been recorded in a track.

1. In the main page, select the track that you want to edit, and press the [SEQ EDIT] key.

The Sequence Edit page will appear. Editing for continuously-variable events is the same for both DRUM type and INST type tracks. Regardless of which type of track you are editing, you can use the following procedure to edit continuously-variable events.

Hint: You can use the Track ﬁeld to select a different track for editing at any time.

2. Move the cursor to the View field and turn the [JOG] dial to select the continuously-variable event that you want to edit.

In the graphic editor, use the View ﬁeld to select the type of MIDI events you want to edit. If you select a continuously-variable event, the contents of this type of event will be displayed as a graph.

1 2

You can edit the following types of continuously-variable event.

• PITCH BEND

• CONTROL CHANGE

• CH PRESSURE (Channel Key Pressure)

• POLY PRESSURE (Polyphonic Key Pressure) If you select CONTROL CHANGE or POL Y PRESSURE, a ﬁeld will appear at the right, letting you specify

the control change number or note number.

3. If you selected CONTROL CHANGE or POLY PRESSURE, press the CURSOR [ cursor, and turn the [JOG] dial to select the control change number or note number.

A Graph: This shows the continuously-variable

event. The left/right direction is the time axis, and the up/down direction is the value of the continuously-variable event.

B Time ruler: This indicates the time axis of the

track. The markings on this ruler will be the smallest units by which you can select a region.

C Continuously-variable event value: This

area indicates the value of the continuously-variable event.

D Marker: This indicates the current location.

Use it to select the continuously-variable events you want to edit.

] key to move the

Editing a track

4. Move the cursor to the Timing correct field, and turn the [JOG] dial to specify the resolution of

the time ruler.

5. Move the cursor to the Now field, and move the marker to the beginning of the area that you

want to edit.

6. Use the BLOCK CURSOR [

You can use the CURSOR [

7. Hold down the [SHIFT] key and press the CURSOR [ edit.

8. Press the [ERASE] key or [F2] key (MOVE)–[F5] key (EDIT) to select an editing command.

Refer to page 28 for the functions assigned to each key and details on operation.

]/[†] keys to move the cursor into the graph area.

√

]/[®] keys to move the marker in steps of the units shown on the time ruler.

] key to select the region that you want to

Adding continuously-variable events

You can use the INSERT command to add continuously-variable e vents according to a curv e that you specify. For example, this is a convenient way to create a fade-in/out at a speciﬁc point in a sequence.

1. In the main window, select the track to which you want to add continuously-variable events, and press the [SEQ EDIT] key.

The Sequence Edit page will appear.

2. Move the cursor to the View field, and turn the [JOG] dial to select the type of continuously-variable events that you want to add.

3. If you selected CONTROL CHANGE or POLY PRESSURE, press the CURSOR [ cursor, and turn the [JOG] dial to select the control change number or note number.

4. Move the cursor to the Timing correct field, and turn the [JOG] dial to specify the resolution of the time ruler.

5. Move the cursor to the Now field, and move the marker to the location at which you want to start adding events.

6. Use the BLOCK CURSOR [

7. Hold down the [SHIFT] key and press the CURSOR [ will add continuously-variable events.

8. Press the [OVER DUB] key.

In this state, you can add MIDI events to the track. The INSERT command will be assigned to the [F6] key.

9. Press the [F6] key (INSERT).

The Insert Event popup window will appear . In this popup window , you can add the currently-displayed type of continuously-variable events according to a curve that you specify.

]/[†] keys to move the cursor into the graphic editor.

] key to specify the region in which you

A Time ﬁeld: Speciﬁes the start and end loca-

tions (in measure/beat/tick units) of the continuously-variable events that will be added.

] key to move the

B Start value ﬁeld: Speciﬁes the value of the

3 4

continuously-variable event at the start location.

C End value ﬁeld: Speciﬁes the value of the

continuously-variable event at the end location.

5 6

D Interval ﬁeld:

the continuously-variable ev ents will be added.

Speciﬁes the spacing at which

E Curve ﬁeld: Speciﬁes the curve of the events that will be added. F Curve graph: This area displays a graph sho wing the curve of the continuously-variable e vents that will

be added. The left edge is the Start location, and the right edge is the End location.

Hint: If the gr aphic editor is displaying a matrix or piano-roll, you can use this popup window to add note events.

10. Make sure that the Time field shows the start location and end location that you specified in step 7.

If you speciﬁed a region before opening the Insert Event popup window, the start and end times of that region will automatically be input in the Time ﬁeld. However, you are free to change these settings later.

Hint: If you want to input only a single continuously-variable event, set the start and end times to the same position and value.

11. Move the cursor to the Start value field and turn the [JOG] dial to specify the starting value.

12. Move the cursor to the End value field and turn the [JOG] dial to specify the ending value.

Chapter 3—Creating and editing a sequence

13. If desired, move the cursor to the Interval field and turn the [JOG] dial to specify the spacing at

which the continuously-variable events will be added.

You can set this ﬁeld in a range of 1/4 (quarter note)–1 tick (1/960th of a quarter note). As you decrease the value of this setting, the continuously-variable events will change more smoothly.

14. Move the cursor to the Curve field, and turn the [JOG] dial to select one of the following curves.

• LINEAR

The value will change in a straight line from the start to the end points.

• LOGARITHM

The value will change in a logarithmic curve from the start to the end points. In the case of an increasing value, the change will become greater as you approach the end point. In the case of a decreasing value, the change will become less as you approach the end point.

• EXPONENTIAL

The value will change exponentially from the start to the end points. In the case of an increasing value, the change will become less as you approach the end point. In the case of a decreasing value, the change will become greater as you approach the end point.

15. To execute the command and add the continuously-variable events, press the [F6] key (DO IT).

Hint: Continuously-variable events can also be added in the Step Edit page (see the section that follows).Using the Event List to edit

Using the event list

The event list lets you view and edit the data values of individual MIDI events that are recorded in a track. This is convenient when you want to edit only a speciﬁc MIDI event, or when you want to make detailed adjustments to the value or timing of a MIDI event.

1. Press the [STEP EDIT] key.

The Step Edit page will appear. In this page you can use the event list to edit MIDI events.

A Event list: The area at the far left (Time ﬁeld)

shows the location of the MIDI event in measures/beats/ticks. To its right, the list shows the type of event and data values. The ﬁelds other than the Time ﬁeld will dif fer according

to the type of MIDI event.

B View ﬁeld: Here you can select the type of

MIDI event(s) that will be displayed in the event list.

2. Use the BLOCK CURSOR [

3. Move the cursor to the Time field of the MIDI events, and turn the [JOG] dial to display the

MIDI event that you want to edit.

When the cursor is in the Time ﬁeld, you can turn the [JOG] dial to scroll the list.

4. Press the CURSOR [

MIDI events will be displayed as follows.

• Note events

Note number (pad number)/duration/velocity

]/[†] keys to move the cursor into the event list.

] key to move the cursor to the MIDI event.

• Continuously-variable events

Event type/control change number or note number (for control change/poly-pressure)

MIDI event type/continuously-variable event value (for other events)

• System exclusive

Each byte of the message (hexadecimal)

5. Turn the [JOG] dial to edit the value of the MIDI event.

When editing a system exclusive, use the CURSOR [

6. If you want to edit the timing of an event, press the [F2] key (MOVE).

Use the to ﬁeld to specify the move-destination location in measures/beats/ticks, and press the [F2] key (DO IT) to move the event to the speciﬁed location

7. Repeat steps 3–6 to finish editing the track.

Hint: The event list also lets you specify a region and use commands such as copy and paste, just as in the graphic editor. To specify a region, move the cursor to the Time ﬁeld, then hold down the [SHIFT] key and press the

CURSOR [ Y ou can press the [O VER DUB] ke y to add note events or continuously-variable events (see page 25 for the procedure).

]/[†] keys.

] key to move to each byte.

Copying a track

Here’s how you can copy a track to another track within the sequence.

1. Access the main page, and move the cursor to the Trk field.

2. Press the [WINDOW] key.

The Track popup windo w will appear . In this popup window you can edit the track name or copy/delete individual tracks.

A Track name ﬁeld: Edits the track name. B Trk ﬁeld: Edits the default name for tracks.

Editing a track

3. Press the [F6] key (COPY).

The Copy Track popup window will appear.

1 2

4. Move the cursor to the Copy contents of Trk field, and turn the [JOG] dial to select the copy-source track.

5. Move the cursor to the Over contents of Trk field, and turn the [JOG] dial to select an empty track.

Hint: A track in which MIDI events have already been recorded can also be selected as the copy-destination. In this case, the contents of the copy-destination track will be overwritten.

6. To execute the copy command, press the [F6] key (DO IT).

A Copy contents of Trk ﬁeld: Selects the

copy-source track.

B Over contents of the Trk ﬁeld: Selects the

copy-destination track.

Chapter 3—Creating and editing a sequence

Deleting a track

Here’s how to delete a track from the sequence.

1. Access the main window and move the cursor to the Trk field.

2. Press the [WINDOW] key.

The Track popup window will appear.

3. Press the [F4] key (DELETE).

The Delete Track popup window will appear.

4. Move the cursor to the Delete track field, and turn the [JOG] dial to select the track that you

want to delete.

5. To execute the delete command, press the [F6] key (DO IT).

The speciﬁed track will be deleted, becoming an empty track. The track name will revert to “(Unused).”

Editing a sequence

A Delete track ﬁeld: Selects the track to be

deleted.

The following pages explain how to perform editing operations that apply to an entire sequence, such as copying or deleting a sequence.

Copying a sequence

Here’s how to copy a sequence in the memory of the MPC4000 to an empty sequence.

1. Access the main window, and move the cursor to the Seq field.

2. Press the [WINDOW] key.

The Sequence popup window will appear. In this popup window you can edit the sequence name, or copy/delete a sequence.

A Sequence name ﬁeld: Edits the sequence

name.

B Default name ﬁeld: Edits the default name

3. Press the [F6] key (COPY).

The Copy Sequence popup window will appear.

for sequences.

A Copy source ﬁeld: Selects the copy-source

1 2

sequence.

B Copy destination ﬁeld: Selects the

copy-destination sequence.

4. Move the cursor to the Copy source field, and turn the [JOG] dial to select the copy-source

sequence.

5. Move the cursor to the Copy destination field, and turn the [JOG] dial to select the copy-destination

sequence.

Hint: A sequence in which MIDI events have already been recorded can also be selected as the copy-destination. In this case, the copy-destination sequence will be overwritten by the copy-source sequence.

6. To execute the copy command, press the [F5] key (DO IT).

Editing a sequence

Hint: If you press the [F3] key (PARAMS) instead of the [F5] key (DO IT), only settings such as the sequence name and track parameters will be copied, and the MIDI events will not be copied. This is useful when you want to create two or more sequences with the same settings.

Deleting a sequence

Here’s how to delete a sequence in the memory of the MPC4000.

1. Access the main window, and move the cursor to the Seq field.

2. Press the [WINDOW] key.

The Sequence popup window will appear.

3. Press the [F4] key (DELETE).

The Delete Sequence popup window will appear.

A Delete sequence ﬁeld: Selects the sequence

4. Move the cursor to the Delete Sequence field, and turn the [JOG] dial to select the sequence you want to delete.

5. To execute the Delete command, press the [F6] key (DO IT).

The corresponding sequence will be deleted, and will become empty. The sequence name will revert to “x-(Unused)” (x will be a sequence number 1–128).

Hint: If you press the [F3] key (DEL ALL) instead of the [F6] key (DO IT), the Delete ALL Sequences popup window will appear, allowing you to delete all sequences from the memory of the MPC4000.

that will be deleted.

Viewing the parameters of all tracks

Y ou can vie w a list of all tracks in the sequence, to see the output destination selection and mute on/off status of each track. You can also move the cursor to the v arious parameters that are displayed and edit their settings.

1. Access the main page and select the sequence whose parameters you want to view.

2. Press the [F2] key (TR LIST).

The ﬁrst time you press the [F2] key after starting up the MPC4000, the Out1 page will appear, listing the Out1 ﬁeld settings for each track.

3. As necessary, press the [F2] key (OUT 1)–[F4] key (PARAMS) to view the parameters that you want to edit.

The track list is divided by parameter into three pages.

• Out1 page

For each track, this displays the Out1 ﬁeld setting (output destination setting, part number or MIDI channel setting), the track type, and mute on/off.

3 4 5

1 6 7

A Seq transpose ﬁeld: Indicates the transpose

setting that will be applied to all INST type tracks in the sequence.

B No./Name ﬁeld: Indicates the track number

and track name.

C Type ﬁeld: Indicates the type of each track.

DRUM type tracks are indicated by the symbol, and INST type tracks are indicated by the symbol.

D Mute ﬁeld: Indicates the mute on/off status of each track. The symbol indicates off, and the

symbol indicates on.

E Out1 ﬁeld: Indicates the setting of the Out1 ﬁeld for each track.

Chapter 3—Creating and editing a sequence

F Chﬁeld/Device ﬁeld: Indicates the MIDI channel and device name to which each track is being out-

put. This ﬁeld will be displayed if OUT A–OUT D/INT-A/INT-B are selected as the output destination.

G Part number/program ﬁeld: Indicates the part number and program name to which each track is being

output. This ﬁeld will be displayed if PART is selected as the output destination.

• Out2 page

For each track, this displays the Out2 ﬁeld setting (output destination setting, part number or MIDI channel setting), the track type, and mute on/off.

• PARAMS page

This page displays the program change number, transpose, duration/velocity offset value, and effect send level for each track.

1 2 3 4 5

E Out ﬁeld: Indicates the MIDI event output status of the track.

4. Move the cursor to the No./Name field of the desired page, and turn the [JOG] dial to select the

track whose settings you want to edit.

5. Repeatedly press the CURSOR [

Hint: You can use the CURSOR [π]/[†]/[√]/[®] keys to move the cursor directly to a ﬁeld.

A Out2 ﬁeld: Indicates the setting of the Out2

ﬁeld for each track. Ch: The ﬁeld/device ﬁeld and part num-

ber/program ﬁeld are the same as for Out1.

A Pgm ﬁeld: Indicates the program change

number that will be transmitted when you play back the sequence.

B Trans ﬁeld: Indicates the transposition set-

ting for each track.

C Dura% ﬁeld: Indicates the duration offset

value as a percentage.

D Velo%: Indicates the velocity offset value as

a percentage.

] key to select the parameter you want to edit.

6. Turn the [JOG] dial to change the setting.

The setting will take effect as soon as you change it. As necessary, repeat steps 3—5 to edit the settings for other items or other tracks.

Saving and loading a sequence

This section explains how you can sav e a sequence from memory to an internal or e xternal storage device, or load an existing sequence from a storage device into memory.

Saving all sequences/songs

Here’s ho w to save all sequences/songs from the internal memory of the MPC4000 to a storage de vice. This method lets you back up all data of the sequencer section as a single ﬁle (an ALL ﬁle).

1. Press the [SAVE] key.

The Save page will appear. In this page you can store data from internal memory to a storage device. Use the Type ﬁeld to specify the type of data that you want to save.

Saving and loading a sequence

A Disk information: Indicates the storage

device that is currently selected for the operation.

B Type ﬁeld: Selects the type of data that will

3 1

be saved.

C Disk ﬁeld: Selects the destination storage

device.

D Save to ﬁeld: Indicates the folder within the

destination storage device.

E File list block: Displays the folder hierarchy

within the selected storage device.

2. Move the cursor to the Type field and turn the [JOG] dial to select SAVE ALL SEQs AND SONGs.

The list within the page will change as follows.

A File name ﬁeld: Speciﬁes a name for the ﬁle

1 2

3. Move the cursor to the File name field, and specify a name for the file.

4. Move the cursor to the Disk field, and turn the [JOG] dial to access the Disk List popup window.

In this popup window you can select the destination storage device.

1 2 3 4

that will be saved.

B Size ﬁeld: Indicates the size of the ﬁle that

will be saved.

A Media ﬁeld: Indicates the type of storage

device.

B Name ﬁeld: Indicates the volume name of

the storage device.

C Device ﬁeld: Indicates how the storage

device is connected.

D Free ﬁeld: Indicates the free capacity of the

storage device.

5. Move the cursor to the storage device to which you want to save the data, and press the [F6] key (SELECT).

The corresponding storage device will be selected, and the popup window will close.

6. Move the cursor to the folder in the file list block to which you want to save the data.

Use the CURSOR [ to select different folders within the same level. When you select the save-destination folder, the name of that folder will appear in the Save ﬁeld.

Hint: You can press the [F3] key (NEW) to create a new folder at the current level. The saved ﬁles will be saved within the folder you selected at the left of the ﬁle list (the level that is shown in the right).

7. To execute the Save operation, press the [F6] key (DO IT).

The data will be saved as an ALL ﬁle in the folder you selected. If a ﬁle of the same name already exists in the save-destination folder, a File Exists popup window will

appear when you press the [F6] key . If this occurs, you can either press the [F3] k ey (RENAME) to change the name of the ﬁle, or press the [F5] key (REPLACE) to save the data and overwrite the existing ﬁle.

√

]/[®] keys to move up or do wn between le v els, and use the CURSOR [π]/[†] keys

Chapter 3—Creating and editing a sequence

A saved All ﬁle will be indicated by an icon in the ﬁle list block of the Load page.

Saving a single sequence

Here’s how to save a single sequence from the memory of the MPC4000 to a storage device.

1. Press the [SAVE] key.

The Save page will appear.

2. Move the cursor to the Type field, and turn the [JOG] dial to select SAVE SEQUENCE.

When you select SAVE SEQUENCE, the following parts of the display will change.

A Data list: Shows the data in the internal mem-

ory of the MPC4000.

B MIDI ﬁle type ﬁeld: Selects the type of

sequence to be saved.

C Size ﬁeld: Indicates the size of the data you

selected in the data list.

3. Move the cursor to the Disk field and turn the [JOG] dial to access the Disk List popup window.

4. Move the cursor to the storage device on which you want to save the data, and press the [F6] key (SELECT).

The save-destination device will be selected, and the popup window will close.

5. Move the cursor into the data list, and use the CURSOR [ sequence that you want to save.

The sequence to which you move the cursor will be selected for saving. An asterisk * will be displayed at the beginning of the sequence name for any sequences whose contents have been modiﬁed after the y were last saved or loaded.

Hint: When the cursor is in the data list, you can also select a sequence by turning the [JOG] dial.

6. Move the cursor to the desired save-destination folder in the file list block.

Use the CURSOR [ [

]/[†] keys to select a different folder in the same le v el. When you select a save-destination folder, that

folder name will appear in the Save ﬁeld.

Hint: You can press the [F3] key (NEW) to create a new folder in the current level.

7. To save the sequence, press the [F6] key (DO IT).

The single sequence will be saved in the speciﬁed folder. A saved sequence ﬁle will be indicated by an

icon in the ﬁle list block of the Load page.

If a ﬁle of the same name already exists in the save-destination folder, a File Exists popup window will appear when you press the [F6] key . If this occurs, you can either press the [F3] key (REN AME) and rename the ﬁle, or press the [F5] key (REPLACE) to overwrite the existing ﬁle.

√

]/[®] keys to move upward or downward between levels, and use the CURSOR

]/[†] keys to move the cursor to the

Loading an ALL ﬁle (all sequences/songs) or a single sequence

Here’s ho w you can load a previously-saved ﬁle (a single sequence, or all sequences/songs) from a storage device into the memory of the MPC4000.

Note: When you load a single sequence or all sequences/songs, the newly loaded data will overwrite the sequence(s) or songs that were in memory. Please use this operation with care.

1. Press the [LOAD] key.

The Load page will appear. In this page you can load ﬁles that were saved on a storage device.

Saving and loading a sequence

A Disk information: Indicates the storage

device that you have selected for operations.

B Disk ﬁeld: Selects the load-source storage

device.

C File list block: Displays the hierarchy of the

contents of the storage device you selected.

D View ﬁeld: Selects the type of ﬁle that will be

displayed in the ﬁle list block.

E Wave free ﬁeld: Indicates the amount of free

memory within the MPC4000’s sampler section.

54 6 7

FSequence free ﬁeld: Indicates the amount of

free memory within the MPC4000’s sequencer section.

G CPU free ﬁeld: Indicates the amount of free memory within the MPC4000’s data management area.

2. Move the cursor to the Disk field, and turn the [JOG] dial to access the Disk List popup window.

3. Move the cursor to the storage device from which you want to load data, and press the [F6] key (SELECT).

The storage device at which the cursor is located will be selected as the load-source storage device.

4. Move the cursor to the View field, and turn the [JOG] dial to select the type of file that you want to load.

When you use the View ﬁeld to select the type of ﬁle that you want to load, all other ﬁles will be hidden.

5. Move the cursor to a file in the file list block.

Use the CURSOR [ [

]/[†] keys to select a folder or ﬁle in the same level.

6. The following procedure will depend on the type of file you selected.

If loading a single sequence

• Press the [F6] key (DO IT) to access the Load a Sequence popup window.

• Move the cursor to the sequence list, and turn the [JOG] dial to select the sequence number into which

you will load the sequence.

√

]/[®] keys to move upward or downward between levels, and use the CURSOR

A Sequence list: Selects the sequence number into which the sequence will be loaded.

If loading an ALL (all sequences + songs) ﬁle

Press the [F6] key (DO IT) to access the Load ALL (songs and sequences) File popup window. When you load an ALL ﬁle, all sequence and song data in the memory of the MPC4000 will be ov erwritten. If internal memory contains data that you want to keep, save it to a storage device beforehand.

If loading a speciﬁc single sequence from within an ALL ﬁle

• Press the [F6] key (DO IT), and then press the [F3] key (SEQ) to access the Load a Sequence popup window .

Chapter 3—Creating and editing a sequence

• Move the cursor to the Seq ﬁeld, and turn the [JOG] dial to select the desired sequence that you want to load from within the ALL ﬁle.

• Move the cursor to the sequence list, and select the sequence number into which the sequence will be loaded.

7. To execute the load operation, press the [F5] key.

When the data has been loaded, the contents of internal memory will be replaced by the contents of the ﬁle that was loaded.

Hint: If there is not enough free internal memory r emaining, it may not be possible to load the selected ﬁle. In this case, delete unneeded data from memory to increase the free space, and try the operation again.

4 Creating and editing a song

This chapter explains how to perform Song mode operations such as creating and editing a song.

About songs

A “song” consists of multiple sequences arranged in the order of playback. The MPC4000 lets you use 128 songs. Immediately after the power is turned on, all songs are blank. In order to use a song, you must choose one of these songs in which to perform your song-editing operations.

T o place sequences in a song, you will select a sequence for each step and specify the number of times that the sequence will be repeated. A song can consist of up to 250 steps, as memory permits.

Note: The steps in a song contain only sequence numbers; not MIDI events. This means that if you a sequence after you have registered it in a song, your changes will affect all steps that play that sequence.

In the same way as sequences, songs are kept in the internal memory of the MPC4000. If you turn off the power, all songs in memory will be lost. If you w ant to keep a song you created, you must save all sequences and songs from memory to an external storage device. (Refer to

Hint: A song you create can be converted into a sequence (

Creating a song

Here’s ho w you can arrange the sequences in memory into the desired playback order to create a ne w song.

1. Create or load sequences so that the sequences you want to use in your song are in internal memory.

2. Press the [SONG] key.

The Song page will appear. In this page you can create, edit, or play songs.

1 3 6

2 4

5 7

Creating and editing a song

p.38 for details of this procedure.)

→

p.46).

A Position bar: Indicates the current location

of the currently-playing sequence.

B Now ﬁeld: Indicates the current location of

the song in measures/beats/ticks.

C Time ﬁeld: Indicates the current location of

the song in hours/minutes/seconds/milliseconds.

D Song ﬁeld: Selects the song that will be

edited or played.

E Tempo ﬁeld: Indicates/sets the tempo of the

song.

F Loop ﬁeld: Turns looping on/off for the song.

9 J K L

G SEQ/MAS ﬁeld: Selects the tempo source for the song; either SEQ (the ﬁxed tempo that is programmed

within each sequence) or MAS (a common tempo for all sequences).

H Start bar ﬁeld: Indicates the starting location of that step in terms of measure numbers in the song. I Step ﬁeld: Indicates the step number. J Sequence ﬁeld: Selects the sequence that will be played at this step. K Bars ﬁeld: Indicates the length of the sequence that is selected for this step, in terms of a number of

measures. (Repeated measures are not included in this number.)

L Repeats ﬁeld: Speciﬁes the number of times that the sequence will be repeated.

3. Move the cursor to the Song field and turn the [JOG] dial to select the song that you want to create.

Immediately after the power is turned on, all songs will be empty. Empty songs are shown as “(Unused).”

4. Move the cursor to “(end of song)” in the Sequence field, and turn the [JOG] dial to select the sequence that you want to play at the beginning of the song.

When you select a sequence, the “(end of song)” indication that shows the end of the song will move to the next step.

Chapter 4—Creating and editing a song

When you modify the contents of a song, a song name of “Song_xxx” (x will be a song number 001–128) will be assigned automatically.

5. If you want the sequence you assigned in step 4 to be repeated, move the cursor to the Repeat field and turn the [JOG] dial to specify the number of repeats.

Hint: You can also set the Repeats ﬁeld to HOLD. In this case, that sequence will continue repeating until you press the [F6] key (NEXT) during playback.

6. Move the cursor to “(end of song)” in the Sequence field, and turn the [JOG] dial to select the next sequence.

The Start bar ﬁeld will indicate the starting location of the next sequence.

7. Repeat steps 4–6 to finish registering sequences in the song.

8. If you want to edit your settings, select that step, move the cursor to the desired field, and turn the [JOG] dial to edit the setting.

You are free to change the settings of each step in the song at a later time.

Hint: You can also use editing operations to copy, delete, or insert steps (

9. If you want all sequences to play back at a common tempo, move the cursor to the SEQ/MAS field and turn the [JOG] dial to change the setting to MAS.

If the SEQ/MAS ﬁeld is set to MAS, all sequences in the song will play at the tempo shown in the tempo ﬁeld.

Hint: You can also use the [MASTER TEMPO] key to switch the SEQ/MAS ﬁeld. If you press the [WINDOW] ke y when the cursor is in the tempo ﬁeld, the Tempo/Fix Tempo popup window will appear. For details on this window, refer to the PDF reference manual.

10. When you are ready to play the song, press the [PLAY] key.

Normally you will play songs only in Song mode. You can play, stop, or locate a song in the same way as in Sequence mode.

During playback, the function key assignments will change as follows.

• [F4] key (SUDDEN).............When you press this key, the playback will jump immediately to the next

• [F6] key (NEXT) ..................When you press this key , the playback will continue from the next step when

→

p.45).

step even if you were in the middle of a step.

the currently-playing sequence reaches the end, even if there were repeats still to be played.

Editing a song

Here’s how you can copy, paste, insert, or delete steps within a song.

1. In the Song page, move the cursor to the Song field and turn the [JOG] dial to select the song that you want to edit.

2. In the Sequence field, move the cursor to the step that you want to edit.

Editing a song

If you copy or delete a step, the step you select here will be the step that is copied or deleted. If you insert or paste a step, the step will be inserted or pasted at the location of the step you select here.

Hint: You can hold down the [SHIFT] ke y and use the CURSOR [π]/[†] keys to select multiple adjacent steps.

3. Use the [F3] key (COPY)–[F6] key (PASTE) to execute the desired editing operation.

Each key has the following function.

• [F3] key (COPY).................. Copies the selected step to the clipboard (a memory area in which data is

temporarily kept).

• [F4] key (DELETE) ............. Deletes the selected step. Subsequent steps will move forward.

• [F5] key (INSERT) ..............Inserts the contents of the selected step at the selected step. The selected

step and subsequent steps will move backward.

• [F6] key (PASTE)................ Inserts the contents of the clipboard at the selected step. The selected step

and subsequent steps will move backward. If the clipboard is empty, pressing this key will do nothing.

COPY

1 Sequence A 2 Sequence B 3 Sequence C 4 Sequence D

Clipboard

Sequence C

DELETE

1 Sequence A 2 Sequence B 3 Sequence C 4 Sequence D

INSERT

1 Sequence A 2 Sequence B 3 Sequence C 4 Sequence D

COPY

1 Sequence A 2 Sequence B 3 Sequence C 4 Sequence D

Clipboard

Sequence X

• • • •• • • •

copied

1 Sequence A 2 Sequence B 3 Sequence D

deleted

• • • •

1 Sequence A 2 Sequence B 3 Sequence C 4 Sequence C

• • • •

inserted

5 Sequence D

• • • •

1 Sequence A 2 Sequence B

3 Sequence X

• • • •

pasted

4 Sequence C 5 Sequence D

• • • •

Chapter 4—Creating and editing a song

Deleting a song

Here’s how to delete a song from internal memory, returning it to an empty state.

1. Press the [SONG] key.

The Song page will appear.

2. Move the cursor to the Song field, and turn the [JOG] dial to select the song that you want to

delete.

We recommend that you play back the song to make sure that it really is the song you intend to delete.

3. With the cursor located at the Song field, press the [WINDOW] key.

The Song/Song Default ﬁeld will appear.

345

4. Press the [F4] key (DELETE).

The Delete Song popup window will appear.

A Song name ﬁeld: Displays/edits the name of

the currently selected song.

B Default name ﬁeld: Displays the song name

that will be assigned automatically when you create a song.

C [F1] key (CLOSE): Closes the popup win-

dow.

D [F4] key (DELETE): Displays the Delete Song

popup window, where you can delete a song.

E [F6] key (COPY): Displays the Copy Song

popup window, where you can copy the selected song. (For details, refer to the reference manual.)

A Delete song ﬁeld: Indicates/selects the song

that will be deleted.

B [F1] key (CANCEL): Cancels the operation

and returns to step 3.

C [F3] key (DEL ALL): Displays the Delete

ALL Song popup window, where you can delete all songs from internal memory.

D [F6] key (DO IT): Executes the delete com-

mand.

23 4

5. Make sure that the song you want to delete is selected in the Delete song field.

If the song you want to delete is not selected, move the cursor to the Delete song ﬁeld and turn the [JOG] dial to select the song.

6. To execute the delete command, press the [F6] key (DO IT).

When the song has been deleted, the window will close automatically.

Converting a song into a sequence

You can convert a completed song into a sequence. This is convenient when you want to add MIDI events to a song or to edit some of the MIDI events, or when you want to save a completed song as a single ﬁle.

1. Press the [SONG] key.

The Song page will appear.

2. Move the cursor to the Song field, and turn the [JOG] dial to select the song that you want to

convert into a sequence.

We recommend that you play back the song to make sure that it is the one you want.

3. Press the [F1] key or [F2] key (CONVERT TO SEQ).

Converting a song into a sequence

The Convert Song to Seq popup window will appear. This popup window lets you convert a song into a sequence.

A From song ﬁeld: Selects the song that will be

converted.

B To sequence ﬁeld: Selects the destination

for the converted sequence.

4. Make sure that the song you want to convert into a sequence is selected in the From song field.

If not, turn the [JOG] dial to select the desired song.

5. Move the cursor to the To sequence field, and turn the [JOG] dial to select the sequence that will

be the destination for the converted sequence.

When the popup window appears, the lowest-numbered empty sequence will automatically be selected.

Note: If a sequence that already contains events is selected as the destination sequence, that sequence will be overwritten when you execute the Convert command. Be careful not to erase an important sequence by mistake.

6. Move the cursor to the Track status field, and turn the [JOG] dial to select one of the following

ways in which track settings will be made for the tracks of the converted sequence.

• REFERENCED TO 1ST SQ

The song will be converted into a sequence according to the track parameters and tempo of the sequence that is selected in the ﬁrst step. Muted tracks will also be converted without change.

• OFF TRACKS IGNORED

With the exception that currently-muted tracks will not be con verted, this is the same as REFERENCED T O 1ST SQ.

• MERGED ON MIDI CHANNEL

With the exception that tracks set to the same MIDI channel in each sequence will be combined into one track, this is the same as REFERENCED TO 1ST SQ.

7. To execute the conversion, press the [F6] key (DO IT).

When the conversion is ﬁnished, the window will close automatically.

Note: It will not be possible to execute the song conversion if the result would contain more than 50,000 note events.

C Track status ﬁeld: Selects how settings will

be made for the tracks within the converted sequence.

Chapter 5—Using multis and parts

5 Using multis and parts

This chapter explains how to use “parts” which are the way you play the programs of the sampler section, and “multis” which let you manage multiple parts together.

About parts

In order to play a program that has been loaded into the sampler section, you must assign that program to a Part. You can think of a “part” as being the settings that a program need in order to play back; e.g., v olume, pan, and output jack assignments.

On the MPC4000 you can use up to 128 parts. You can select a program and set parameters for each part, and use a sequencer or MIDI controller to play multiple parts simultaneously.

Sequencer section

Sequence

Track Part 3

Output

destination

• • • •

Sampler section

Part 1 Part 2 Part 3 Part 4

• • • •

A part includes the following parameters.

• Program

• Volume

•Pan

• Output destination audio jack

• Effect bus that will be used

• Effect bus send level

• Output position of the signal sent to the effect bus

• Receive MIDI port/MIDI channel

• Pitch

• Note priority order

• Program change number

• Key span (the range of the program)

There are two ways in which you can play a part from the internal sequencer.

(1) Specify the part directly

In this method you directly specify the output destination of a track as a speciﬁc part. If you use this method, you do not need to be aware of the receive MIDI port/MIDI channel of the part.

(2) Specify the part via the receive MIDI port/MIDI channel

In this method you set a receive MIDI port and MIDI channel for the part, and specify the same MIDI port and MIDI channel as the output destination of the track. This method lets you play multiple parts together from one MIDI channel.

About multis

Settings for up to 128 parts together with settings for the internal effects (the effect type and ef fect routing to be used) are collectively called a “multi.”

All multi and part settings are maintained in memory. When you turn off the power of the MPC4000, all multis, parts, and effect settings in memory will be lost. If you want to keep your part and multi settings, you must save the multi to a storage device before you turn of f the po wer. (For details on how to save, refer to →p.54) If all part settings and internal effect settings you use in a song are saved as a multi, you will be able to instantly recall these settings whenever you need to.

Sampler section

Multi C

Multi B

Multi A

Part 1 Part 2 Part 3 Part 4

• • • •

Editing part parameters

The following pages explain how to select the program that will be used by each part, and set parameters such as volume, receive MIDI port and MIDI channel.

Assigning a program to a part

Here’s how you can assign a program from the MPC4000’s internal memory to each part of the currently selected multi.

1. Press the [MULTI] key, and then press the [F2] key (MIX).

The Mix page will appear. In this page you can edit mix-related parameters for each part.

34567 8

Editing part parameters

A Multi ﬁeld: Indicates the name of the cur-

rently selected multi.

B Part ﬁeld: Indicates the part number. C Program/Type ﬁeld: Selects the program

that will be assigned to that part. The Type ﬁeld will show an abbreviation to indicate the

type of program that is selected.

D Lvl ﬁeld: Adjusts the volume of that part. E Pan ﬁeld: Adjusts the pan of that part. F Out ﬁeld: Speciﬁes the output jack for the

audio signal of that part.

G FX ﬁeld: Adjusts the send level to the effect

bus you selected in

H Send ﬁeld: Selects the effect bus that will be used by that part. I [F5] key (MUTE): Mutes the part that is currently selected by the cursor. J [F6] key (SOLO): Solos the part that is currently selected by the cursor (all other parts will be muted).

2. If necessary, move the cursor to the Multi field and turn the [JOG] dial to select a multi.

Hint: You can also switch multis in the List page ([MULTI] key → [F1] key).

3. Move the cursor to the Part field, and turn the [JOG] dial to select the part whose parameters

you want to edit.

4. Move the cursor to the Program/Type field of the part to which you want to assign a program,

and turn the [JOG] dial to assign the desired program.

The program Type area at the right of the program name will show an abbreviation indicating the type of program you assigned (DR= drum program, KG= key group program).

→

Hint: You can also assign a program in the MIDI page ([MULTI] key

→

[F4] key), or Main page ([MAIN] key).

[F3] key), Span page ([MULTI] key

Adjusting the mix parameters of a part

Here’s how to adjust the mix parameters such as volume, pan, and effect send level for each part.

1. Press the [MULTI] key, and then press the [F2] key (MIX).

2. Move the cursor to the Part field and turn the [JOG] dial to select the part whose settings you

want to adjust.

3. Move the cursor to the field of the parameter you want to adjust, and turn the [JOG] dial to adjust the value.

Chapter 5—Using multis and parts

The setting of the parameter will change immediately when you adjust it. Each parameter has the following range.

• Lvl (volume) ﬁeld............................. –60.00 dB–+6.0 dB

• Pan ﬁeld ............................................ L50–MID (center)–R50

• Out (output destination) ﬁeld ........... L/R ([MAIN OUT] jacks), 1–8 (optional individual outputs), 1/2,

• FX (effect bus) ﬁeld..........................A–D, AB, CD, OFF (no signal will be sent)

• Send ﬁeld.......................................... –40.00 dB–+6.00 dB

Hint: The Pan parameter is valid only if you have selected L/R, 1/2, 3/4, 5/6, or 7/8 as the output destination. By setting the FX parameter to A/B or C/D, you can use the effects of effect buses AB or CD as stereo-in/stereo-out.

Setting the receive MIDI port/MIDI channel of a part

Here’s how to set the receive MIDI port and MIDI channel of a part so that you can play that part from a track of the sequencer section via a virtual MIDI port (INT-A/INT-B).

1. Press the [MULTI] key, and then press the [F3] key (MIDI).

The MIDI page will appear. In this page you can specify the recei v e MIDI channel for each part. Here you can also select the program that will be assigned to each part, and specify the priority in which each part will sound.

G Prog No. ﬁeld: Speciﬁes the program change number of the program that is selected for the part.

2. Move the cursor to the Part field, and turn the [JOG] dial to select a part.

3. Move the cursor to the parameter field that you want to adjust, and turn the [JOG] dial to adjust the value.

The available settings for each parameter are as follows.

• MIDI Ch ﬁeld.............................1A–16A, 1B–16B

• Tune ﬁeld....................................–36.00–+36.00 semitones

• Priority ﬁeld................................HOLD/HIGH/NORMAL/LOW

• Prog No. ﬁeld .............................OFF, 1–128

Hint: The setting of the Priority ﬁeld repr esents a priority in the descending order of HOLD

→

LOW. If the MPC4000 runs out of voices, it will turn off currently-sounding notes in the priority order

MAL you specify here. If you set a part to HOLD, its program will never be turned off.

3/4, 5/6, 7/8, L, R

345671

A Multi ﬁeld: Indicates the name of the cur-

rently selected multi.

B Part ﬁeld: Indicates the part numbers. C Program/Type ﬁeld: Selects the program

that will be assigned to the part. The T ype ﬁeld shows an abbreviation to indicate the program type.

D MIDI Ch ﬁeld: Speciﬁes the receive MIDI

channel/receive MIDI port for the part.

E Tune ﬁeld: Adjusts the pitch of the part. F Priority ﬁeld: Speciﬁes the priority given to

the part for playing notes.

→

HIGH → NOR-

Adjusting the note range of a part

By specifying the highest and lowest note that a part will play, you can limit a part to sounding only in a speciﬁc range of notes.

1. Press the [MULTI] key, and then press the [F4] key (SPAN).

The Multi mode Span page will appear.

Adding or deleting a part

1345 6

2. Move the cursor to the Part field, and turn the [JOG] dial to select a part.

3. Move the cursor to the Low field of the part, and turn the [JOG] dial to specify the note number

that will be the lowest note for that part.

4. Move the cursor to the Hi field of the part, and turn the [JOG] dial to specify the note number

that will be the highest note for that part.

The note numbers between the Low and Hi settings will be the range for that part.

Adding or deleting a part

Here’s how to add a part to a multi, or delete a part from a multi.

1. Press the [MULTI] key, and then press the [F2] key (MIX).

The Mix page will appear.

2. Move the cursor to the Part field, and press the [WINDOW] key.

The Part popup window will appear. In this window you can add a part to the currently selected multi, or delete a part from the multi.

A Multi ﬁeld: Indicates the name of the cur-

rently selected multi.

B Part ﬁeld: Indicates the part numbers. C Program/Type ﬁeld: Selects the program

that will be assigned to the part. The T ype ﬁeld shows an abbreviation to indicate the program type.

D Low ﬁeld: Speciﬁes the note number that will

be the lowest note sounded by the part.

E Hi ﬁeld: Speciﬁes the note number that will

be the highest note sounded by the part.

F Keyboard: Graphically indicates the note

range of the part.

A Number of new parts ﬁeld: Speciﬁes the

number of parts that will be added.

B Delete part ﬁeld: Selects the part number

that will be deleted.

C[F1] key (CANCEL): Cancels the operation

and closes the popup window.

D [F3] key (DELETE): Deletes the selected part. E [F6] key (CREATE): Creates the speciﬁed

number of new parts.

3. If you want to add one or more parts, turn the [JOG] dial in the Number of new parts field to

specify the number of parts that will be added, and then press the [F6] key (CREATE).

The parts will be added, and you will return to the state of step 1.

Note: A multi can have a maximum of 128 parts. It is not possible to add parts to a multi to make it contain more than 128 parts.

4. If you want to delete a certain part, turn the [JOG] dial in the Delete part field to specify the part

number to be deleted, and press the [F5] key (DELETE).

The part will be deleted, and you will return to the state of step 1.

Creating a multi

Here’s how to create a new multi. When you create a multi, you are free to specify the number of parts.

1. Press the [MULTI] key.

The Multi mode List page will appear. This page lists the multis that are in internal memory.

543

Chapter 5—Using multis and parts

123

A Tag ﬁeld: Move the cursor to this area and

turn the [JOG] dial to switch the symbol on/off. Use this ﬁeld when you want to specify more than one multi as the object of your operations.

B Multi list: Lists the multis that are in internal

memory.

C MIDI Prog No. Indicates the multi change

numbers that are assigned to the multis.

D [F6] key (SORT): Displays the Sort popup

window where you can rearrange the multis.

Hint: An asterisk * will be added before the name of multis whose contents you modiﬁed after saving or loading them. Y ou can also switch multis by sending program changes to the MPC4000. (F or details, r efer to the PDF reference manual.)

2. Move the cursor to the Multi list, and press the [WINDOW] key.

The Multi popup window will appear.

A Multi name ﬁeld: Edits the name of the cur-

rently selected multi.

B [F1] key (CLOSE): Cancels the operation and

closes the popup window.

C [F4] key (DELETE): Displays the Delete

Multi popup window, where you can delete a multi.

D [F5] key (NEW): Displays the Create New

Multi popup window, where you can create a new multi.

2345

3. Press the [F5] key (NEW).

The Create New Multi popup window will appear.

E [F6] key (COPY): Displays the Copy Multi

popup window, where you can copy a multi.

A New Name ﬁeld: Speciﬁes the name of the

new multi that will be created.

B Number of parts ﬁeld: Speciﬁes the number

of parts in the newly created multi.

4. Move the cursor to the New Name field, and use the [JOG] dial to assign a name to the newly created multi.

Refer to page 13 for details on how to input characters.

5. Move the cursor to the Number of parts field, and turn the [JOG] dial to specify the number of parts that you want to use in the new multi.

You are free to change this setting later.

6. To execute, press the [F6] key (DO IT).

The new multi will be created, and the popup window will close.

7. In order to use the multi you created, move the cursor to that multi.

The new multi will be selected.

Hint: You can also switch multis in the Multi ﬁeld that appears in the Mix page, MIDI page, or Span page.

Copying a multi

Here’s how to copy a multi within the internal memory of the MPC4000.

1. Press the [MULTI] key.

The list page will appear.

2. Move the cursor to the multi list, and press the [WINDOW] key.

The Multi popup window will appear.

3. Press the [F6] key (COPY).

The Copy Multi popup window will appear.

4. Move the cursor to the Copy Source field, and select the multi that you want to copy.

5. Move the cursor to the New name field, and specify a name for the copied multi.

Refer to page 13 for details on how to input characters.

6. To execute the copy, press the [F5] key (DO IT).

A new multi will be created with the name you speciﬁed in step 5, and the data will be copied.

Copying a multi

A Copy Source ﬁeld: Selects the copy-source

multi.

B New name ﬁeld: Speciﬁes a name for the

copied multi.

Deleting a multi

Here’s how to delete a multi from internal memory.

1. Press the [MULTI] key.

The list page will appear.

2. Move the cursor to the multi list, and press the [WINDOW] key.

The Multi popup window will appear.

3. Press the [F4] key (DELETE).

The Delete Multi popup window will appear.

D [F6] key (DO IT): Deletes the multi that you speciﬁed in the Delete multi ﬁeld.

4. Move the cursor to the Delete Multi field, and turn the [JOG] dial to select the multi that you

want to delete.

5. To execute the delete operation, press the [F6] key (DO IT).

Hint: If you press the [F3] key (DEL ALL), all multis will be deleted from internal memory.) If you assigned marks in the Tag ﬁeld of the list page to specify the multis that you want to delete, you can press the [F5] key ( TAGGED) to delete all the multis you speciﬁed.

A Delete multi ﬁeld: Selects the multi that will

B [F3] key (DEL ALL): Displays the Delete

C [F5] key ( TAGGED): Deletes each multi

234

be deleted.

ALL Multis popup window, where you can delete all multis from the MPC4000’s internal memory.

that you speciﬁed by a mark in the Tag ﬁeld of the list page.

Chapter 5—Using multis and parts

Saving or loading a multi

You can save or load multis/parts to or from a storage device.

Saving a multi

Here’s ho w to save a multi from internal memory to an internal or external storage device. Since all multis in internal memory will be lost when you turn off the power , you must use this procedure to sav e any multis that you want to keep.

1. Press the [SAVE] key.

The Save page will appear.

3 1

A Disk information: Indicates the storage

device that is selected as the save-destination.

B Type ﬁeld: Selects the type of data that will

be stored.

C Disk ﬁeld: Selects the save-destination stor-

age device.

D Save ﬁeld: Indicates the folder within the

save-destination storage device.

E File list block: Displays the folder structure

within the selected storage device.

2. Move the cursor to the Type field, and turn the [JOG] dial to select SAVE MULTIs.

When you select SAVE MULTIs, the following parts of the display will change.

1 2

A Data list: Shows the data in the MPC4000’s

internal memory.

B Size ﬁeld: Indicates the size of each multi.

3. Move the cursor to the Disk field and turn the [JOG] dial.

The Disk List popup window will appear.

4. Move the cursor to the storage device on which you want to store the multi, and press the [F6] key (SELECT).

That device will be selected as the store-destination device, and the popup window will close.

5. Move the cursor to the data list, and use the CURSOR [π]/[†] keys to move the cursor to the multi that you want to save.

The multi to which you move the cursor will be selected for saving. An asterisk * will be displayed in front of the name of any multi that you have modiﬁed after it was last saved or loaded.

Hint: When the cursor is located in the data list, you can also turn the [JOG] dial to select a multi to save.

6. Move the cursor to the file list block, and select the folder in which you want to save the multi.

Use the CURSOR [ SOR [

]/[†] keys to select a folder within the same level.

Hint: You can press the [F3] key (NEW) to create a new folder in the current level.

7. Press the [F6] key (DO IT).

√

]/[®] keys to move upward or downward through the folder hierarchy, and the CUR-

Saving or loading a multi

The Save a Multi popup window will appear, where you can execute the save operation.

A Save ﬁeld: Speciﬁes how the programs and

1 2

Hint: If the F ile Exists popup window appears when you press the [F5] key , an identically-named multi alr eady exists on the storage device. If this occurs, take one of the following actions. Press the [F3] key (RENAME) and rename the multi. Press the [F5] key (REPLACE) to overwrite the existing multi.

8. Move the cursor to the Save field, and turn the [JOG] dial to select one of the following ways in

which the programs/samples will be saved.

WITH PROGRAMS & SAMPLES: The programs and samples included in the multi will be saved with it. WITH PROGRAMS: The programs included in the multi will be saved with it. (Samples will not be saved.) MULTI ONLY: Only the multi will be saved. WITH NEW & MODIFIED: Of the programs/samples included in the multi, only those that were modiﬁed

after being saved or loaded will be saved.

9. If you selected WITH PROGRAMS & SAMPLES or WITH PROGRAMS in step 8, move the cursor

to the Replace same files field, and turn the [JOG] dial to select how the programs/samples will be saved.

YES: Existing data will be overwritten. NO: Identically-named data will not be saved.

10. To execute the Save operation, press the [F5] key (DO IT).

The multi will be saved in the folder you speciﬁed. If you selected other than MULTI ONLY in step 8, the corresponding programs/samples will be saved as well.

samples included in the multi will be saved.

B Replace same ﬁles ﬁeld: Speciﬁes how

identically-named programs or samples existing in the save-destination will be handled.

Loading a multi

Here’s how to load a multi from a storage device.

1. Press the [LOAD] key.

The Load page will appear. Here you can load ﬁles that were saved on a storage device.

A Disk information: Indicates the MPC4000’s

internal storage device or an externally-connected storage device that is currently selected for operations.

B Disk ﬁeld: Selects the storage device from

4 5

which the multi will be loaded.

C File list block: Displays the hierarchical

structure of the storage device you selected.

D View ﬁeld: Selects the type of ﬁle that will be

displayed in the tree.

E Wave free ﬁeld: Displays the available

amount of sample memory in the MPC4000.

F Sequence free ﬁeld: Displays the available amount of memory in the sequencer section of the

MPC4000.

G CPU free ﬁeld: Displays the available amount of data management memory in the MPC4000.

Chapter 5—Using multis and parts

2. Move the cursor to the Disk field, and turn the [JOG] dial to display the Disk List popup window.

3. Move the cursor to the storage device from which you want to load data, and press the [F5] key (SELECT).

The storage device at the cursor will be selected as the loading-source.

4. Move the cursor to the View field, and turn the [JOG] dial to select the type of file that you want to load.

By selecting the desired type of ﬁle in the View ﬁeld, you can hide all other types of ﬁles.

5. In the file list block, move the cursor to the file that you want to load.

Use the CURSOR [ [

]/[†] keys to select a folder within the same level.

6. Press the [F6] key (DO IT).

The Load a Multi popup window will appear.

1 2

345

√

]/[®] keys to move upward or downward between levels, and use the CURSOR

A Load ﬁeld: Specify how the programs/sam-

ples included in the multi will be handled.

B Replace same ﬁle in memory ﬁeld: Spec-

ify what will happen if internal memory already contains a program/sample of the same name as a program/sample that is being loaded. (This will be displayed only if you have selected a choice other than MULTI

ONLY in

1, above.)

C [F1] key (CANCEL): Cancels the load operation and closes the popup window. D [F3] key (CLEAR): Clears the internal memory. E [F5] key (DO IT): Executes the load operation.

7. Move the cursor to the Load field, and select one of the following choices to specify how the programs/samples included in the multi will be handled.

MULTI ONLY: Only the multi will be loaded. WITH PROGRAMS: The programs included in the multi will also be loaded. (Samples will not be loaded.) WITH PROGRAMS & SAMPLES: The programs and samples included in the multi will also be loaded.

8. If you selected WITH PROGRAM & SAMPLES or WITH PROGRAMS in step 7, move the cursor to the Replace same sample in memory field, and turn the [JOG] dial to specify how data already existing in memory will be handled.

NO (FASTER): If identically-named programs/samples already exist in memory, that data will not be loaded.

YES: The data will be loaded, overwriting the data currently existing in memory.

9. To execute the load operation, press the [F5] key (DO IT).

Hint: If there is insuf ﬁcient free space in internal memory , it may not be possible to load the selected ﬁle. In this case, delete unneeded data from memory to increase the amount of free space.

6 Mixer mode operations

This chapter explains how to use Mixer mode to adjust the mix parameters of the parts.

About Mixer mode

In Mixer mode you can use the part mixer to adjust the mix parameters of each part. The Part Mixer lets you adjust the volume, pan, and ef fect b us send level for each part within the currently

selected multi. These parameters are in common with the parameters of the multi, and adjusting either will also affect the other one.

The settings of the part mixer are held within the multi. If you want to keep the changes you make, you must save the multi (→p.54).

Mixer mode operations

Part 1 Part 2 Part 3 Part 4

Part 5 Part 6

Using the Part Mixer

The part mixer lets you control mix parameters such as volume, pan, and effect b us send le vel for each part.

1. In the main page, select the multi that you want to control. Also make sure that the program you want to use is selected for each part of the multi.

2. Press the [MIXER] key.

The Part page of Mixer mode will appear. In this page you can use the part mixer that adjusts the volume, pan, and send level of each part.

1 2

3 4

Part number

Send level

Pan

Volume

123456

• • • •

A Part number ﬁeld: Indicates the part num-

bers in the multi.

B Fx ﬁeld: Indicates the send level of the signal

that is sent from each part to the effect bus. The effect bus to which the signal is sent can be selected in the Multi mode Mix page (→p.49).

C Pan ﬁeld: Indicates the pan of each part. D Level ﬁeld: Indicates the volume of each part.

3. Turn the [JOG] dial to select the part whose mix parameters you want to adjust.

When the cursor moves to the far right of the screen, the parts will scroll automatically.

Note: The part mixer applies only to the sampler section. It cannot be used to control an external MIDI sound module.

Chapter 6—Mixer mode operations

4. Use the [Q1]/[Q3] knobs and [Q5] slider of the Q-LINK section to adjust the mix parameters of the currently selected part.

While the Part page is displayed, you can use the [Q1] knob, [Q3] knob, and [Q5] slider to adjust the Fx ﬁeld, Pan ﬁeld, and Level ﬁeld of the currently selected part.

Note: Q-LINK is temporarily turned off while the Part page is displayed.

5. Repeat steps 2–3 to adjust the mix parameters of each part.

6. If you want to keep the changes you made to the part mixer settings, save the multi.

7 Effects

Effects

The MPC4000 contains four effect units (effects 1–4) that you can use to process the programs of the sampler section. For each effect unit, you can select one of 52 effect types, and edit the effect parameters to obtain a wide range of effects.

T o use the effects, you will send the signal of each part to the effects via four effect buses (A–D) provided within the MPC4000. When the MPC4000 is in the default state, effects 1–4 are connected to effect buses A–D. When you select an effect bus for each part and raise the send level to that effect bus, the signal will be sent to the corresponding effect.

Part 1

• • • •

Effect 1 Effect 2 Effect 3 Effect 4

When the MPC4000 is in the default state, the processed signal (the effect sound) is sent directly to the [MAIN OUT] jacks, mixed with the output signal of the parts (the direct sound), and output from the [MAIN OUT] jacks.

Settings such as the effect type used by effects 1–4, the effect parameter settings, and the effect bus routing are stored in the currently selected multi. Since the contents of the multi will be lost when you turn off the power, you must save the currently selected multi if you want to keep the settings (for details on how to save a multi →p.54).

Hint: The various effect types are either mono-in/mono-out or mono-in/stereo-out. However if necessary, you can link two effects and use them as a stereo-in/stereo-out effect. Y ou can c hange the input/output routing of the effect if desired. F or details, refer to the PDF reference manual.

Basic effect operations

Here’s ho w to select an effect type for effects 1–4, select the effect bus for each part, and set the send level.

1. Press the [EFFECT] key, and then press the [F1] key (SELECT).

The Select page will appear. In this page you can change the effect routing and select the effect type.

12 3

F [F3] key (MIX): Displays the Mix page, where you can make settings for the signals that are output

from the effects.

[MAIN OUT] jacks

SEND A

SEND B

SEND C

SEND D

Part 1

• • • •

Effect 1 Effect 2 Effect 3

Effect 4

SEND A

SEND B

SEND C

SEND D

[MAIN OUT] jacks

A In ﬁeld: Selects the input source for effects

1–4. By default, effect buses SEND A–D are assigned to effects 1–4.

B Effect ﬁeld: Select the effect type used by

effects 1–4.

C Out ﬁeld: Select the jacks that will be the

output destinations for effects 1–4. You can choose from L/R, 1–8 (individual outputs 1–8), 1/2, 3/4, 5/6, 7/8, or OFF (not sent).

D Stereo link ﬁeld: By turning this ﬁeld on,

you can link effects 1/2 and 3/4 and use them as stereo-in/stereo-out effects.

E [F2] key (EDIT): Displays the Edit page,

where you can edit effect parameters.

Chapter 7—Effects

2. If you want to select an effect type, move the cursor to the Effect field of effects 1–4, and turn

3. Turn the [JOG] dial to select the effect type.

the [JOG] dial.

The Select Effect Type popup window will appear. In this popup window you can select the effect type.

A Effect list: Selects the effect type that will be

used.

B [F1] key (CLOSE): Cancels the operation and

closes the window.

C [F3] [F6] key (SELECT): Finalizes the effect

type you selected in

The MPC4000 provides the following effect types. For the effect produced by each type and details of the parameters, refer to the reference manual.

Effect types Effect types

CHORUS>MONO PHASER>XOVER CHORUS>STEREO PHASER+DELAY CHORUS>XOVER PITCH CORRECTOR CHORUS+DELAY PITCH SHIFTER COMPRESSOR/LIMITER REVERB>AUDITORIUM DELAY>MONO REVERB>BIG HALL DELAY>MULTI TAP REVERB>BIG ROOM DELAY>PAN REVERB>BRIGHT HALL DELAY>PING PONG REVERB>BRIGHT PLATE DELAY>STEREO REVERB>DRUM BOOTH DELAY>XOVER REVERB>LIVE HOUSE DIGITAL EQ REVERB>MEDIUM HALL DISTORTION REVERB>MEDIUM ROOM ENHANCER REVERB>NON LINEAR EXPANDER REVERB>PLATE FLANGER>MONO REVERB>REVERSE FLANGER>PAN REVERB>SMALL HALL FLANGER>STEREO REVERB>SMALL ROOM FLANGER>EXPANDER REVERB>STUDIO FLANGER+DELAY REVERB>THEATER NOISE GATE REVERB>VOCAL PLATE PAN>AUTO PAN REVERB>WAREHOUSE PAN>TRIGGER PAN ROTARY SPEAKER PHASER>MONO TAPE ECHO PHASER>PAN WAH>AUTO WAH PHASER>STEREO WAH>TOUCH WAH

4. After you have selected an effect type, press the [F6] key (SELECT).

The selected effect type will be ﬁnalized, and the window will close.

5. Press the [F3] key (MIX).

The Mix page will appear. In this page you can adjust the le vel of the signal that is output from each effect, and specify whether the direct sound will be output from the effect.

Basic effect operations

1 2

A Level ﬁeld: Adjusts the signal level that is

output from each effect.

B Direct signal ﬁeld: Selects whether the sig-

nal (unprocessed sound) from the parts that select the corresponding FX bus will be sent to the output jacks.

If this is on, the signal from the part(s) and the signal processed by the effect will be mixed immediately before the output jacks.

If this is off, the corresponding part(s) will be muted, and only the signal processed by the effect will be sent to the output jacks.

Hint: T urn this ﬁeld ON for effects that ar e normally mixed with the unprocessed sound, such as r everb or delay. Turn this ﬁeld OFF for effects that process the original sound itself, such as compressor or distortion.

6. Move the cursor to the Direct signal field, and turn the [JOG] dial to switch the setting on/off as

appropriate.

If this is on, the signal from the part(s) and the signal processed by the effect will be mixed and output. Use the Wet/Dry ﬁeld of the effect parameter to adjust the mix balance of the direct sound and effect sound.

7. As necessary, move the cursor to the Level field and turn the [JOG] dial to adjust the signal level

that will be output from the effect.

8. Press the [F2] key (EDIT).

The Edit page will appear. This page displays the effect parameters for the currently selected effect.

Hint: For details on setting effect parameters, refer to the following section.

9. Move the cursor to the Wet/Dry field, and turn the [JOG] dial to adjust the mix balance between

the direct sound and the effect sound.

The Wet/Dry ﬁeld adjusts the mix balance of the signal that is sent directly from the part(s) (=Dry) and the signal processed by the effect (=W et). The appropriate setting for the Wet/Dry parameter will depend on the effect type and on how you are using the effect.

• To mix the direct sound and effect sound immediately before the output jacks

In step 6, turn the Direct signal ﬁeld on, and set the Wet/Dry ﬁeld to 100/0 (effect sound=100%). Use this method when you want an effect such as reverb or delay to be shared between multiple parts.

• To send only the effect sound directly from the effect to the output jacks

In step 6, turn the Direct signal ﬁeld off, and set the Wet/Dry ﬁeld to 100/0 (effect sound=100%). Use this method when you want to apply compressor or distortion to only a speciﬁc part.

• To send the original sound + effect sound from the effect directly to the output jacks

In step 6, turn the Direct signal ﬁeld off, and set the Wet/Dry ﬁeld according to the type of effect and the desired effect depth. Use this method when you want to apply an effect such as chorus to only a speciﬁc part.

Chapter 7—Effects

10. Repeat steps 1–6 to make settings for other effects in the same way.

11. Press the [MULTI] key, and then press the [F2] key (MIX).

The Mix page will appear. In this page you can adjust the mix parameters of the parts that are included in the currently selected multi. For a detailed explanation of this page, refer to page 49.

12. Move the cursor to the Send field of the part to which you want to apply an effect, and select the effect bus to which the signal will be sent.

13. Move the cursor to the Fx field.

Adjust the level of the signal that will be sent to the effect bus selected in step 10. At this time, play back a sequence or strike the pads to make sure that the desired effects are applied.

14. If necessary, move the cursor to the Level field and adjust the output level of the part.

15. Repeat steps 11–12 to make settings in the same way for other parts.

16. If you want to keep the effect type settings you selected for each effect, save the multi as described on p.54.

Editing the effect parameters

Here’s how to adjust the parameters of the effect types used by effects 1–4.

1. Press the [EFFECT] key, and then press the [F1] key.

The Select page will appear.

2. Move the cursor to the Effect field of the effect whose parameters you want to adjust.

3. Press the [F2] key (EDIT).

The Effect mode Edit page will appear . This page displays the parameters of the ef fect you selected in step

2. The contents of the page will differ depending on the currently selected effect type.

4. If you want to change the effect (effect 1–4) that is shown in the display, move the cursor to the Fx field and turn the [JOG] dial to select the desired effect.

If necessary, you can move the cursor to the Type ﬁeld of this page and change the effect type used by that effect.

5. Move the cursor to the effect parameter in the parameter field that you want to edit.

6. Use the [JOG] dial to adjust the effect parameter.

It is helpful to play back a sequence or strike the pads so that you can hear the result. Refer to the PDF reference manual for details on the parameters of each effect type and their range.

7. Repeat step 5–6 to finish editing the parameters.

8. If you want to keep your changes, save the multi.

Your changes will be saved within the multi. If you want to keep the current effect settings, save the currently selected multi.

65 8

A Fx ﬁeld: Selects the effect number (effect

1–4) whose parameters will be displayed.

B Type ﬁeld: Selects the effect type that will be

used by

C Graphic display: Shows a block diagram for

the selected effect type.

D Parameter ﬁeld: Adjusts the effect parame-

ters for this effect.

E Effect ﬁeld: Switches the effect on/off. F Wet/Dry ﬁeld: Adjusts the mix balance

between the direct sound (Dry) and effect sound (Wet).

G [F1] key (SELECT): Displays the Select page. H [F6] key (ON/OFF): Switches the effect

on/off.

8 Recording and editing samples

This chapter explains how you can record an external audio source (CD, record, vocal, etc.) connected to the MPC4000, and edit the sample so that you can use the Sampler section to play it.

About samples

A “sample” is one of the individual pieces of waveform data in memory from which the sounds of the Sampler section is constructed. T o add a sample to memory, you can record (sample) it via the [REC IN] jack or [DIGITAL IN] jack, or load a sample ﬁle from a storage device.

Each sample has its own settings for the following parameters.

• Sample name

• Note at which the sample will play at its original pitch

• Tuning

• Start point (the location at which playback will begin)

• End point (the location at which playback will stop)

• Loop playback on/off

• Loop start point (the location at which looping will start)

• Loop end point (the location at which looping will end) Please be aware that simply loading or sampling a sample into memory does not mean that you will be able

to play it from the pads or the sequencer. In order to play samples, you must ﬁrst assign them to a program.

Recording and editing samples

Key group program

Waveform data Original note Tuning Start/end points Playback method Loop start/end points

Sample 001 Sample 002 Sample 003 Sample 004

Sample 005 Sample 006

Sample 007 Sample 008

Drum program

All of the samples that can be played on the MPC4000 are held in memory. When you turn of f the po wer of the MPC4000, all samples in memory and their settings will be lost. If you want to keep the samples, you must save the samples (in some cases, the samples and programs) to a storage device before you turn of f the power. (For the Save procedure →p.77)

Chapter 8—Recording and editing samples

Recording (sampling) an external source

Here’s how you can record an external analog source connected to the REC IN [LINE/MIC] jacks or [PHONO] jacks, and add the sample to the currently selected program.

Hint: In order to play a sample that you recor d, you must assign the sample to a pr o gr am. In this e xample, we will show how to assign the sample to the program that is created in memory when you turn on the power of the MPC4000.

Preparations before recording

1. Connect the audio source that you want to record (CD player, mic, turntable, etc.) to the rear panel REC IN [LINE/MIC] jacks or the REC IN [PHONO] jacks.

Make sure that the rear panel [INPUT SELECT] switch is set to select the appropriate jacks.

2. Press the [RECORD] key.

The Record page will appear. In this page, you can make various settings for recording an external audio source.

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2 3

G Record start ﬁeld: Selects how recording will be started. You can select THRESHOLD (start recording

when the input signal exceeds a speciﬁed level) or MANUAL (start recording manually).

H Level meters: These are level meters (with peak indicators) that show the level of the input signal. If

the input signal clips, the over level indicator at the right ( ) will be highlighted. If Record start is set to THRESHOLD, a rectangle indicating the threshold level will be displayed.

3. Move the cursor to the Input source field, and select the source that you want to record.

ANALOG IN.........Record the input signal from the rear panel REC IN [PHONO] jacks or the REC IN

[LINE/MIC] jacks.

DIGITAL IN..........Record the input signal from the rear panel [DIGT AL IN] jack. (If the ID-4D option is

installed)

MAIN OUT...........Record the same signal as is output from the rear panel [MAIN OUT] jacks.

For this example, select ANALOG IN.

4. Move the cursor to the Mode field, and select either stereo or monaural recording.

You have the following choices.

STEREO................Record the left/right input signals as a stereo sample.

MONO L...............Record the left input signal as a mono sample.

MONO R...............Record the right input signal as a mono sample.

5. Move the cursor to the Bit depth field, and select the bit depth (24 bit or 16 bit) for recording.

6. Move the cursor to the Record start field, and select how recording will be started.

• If you want to start recording automatically

Set the Record Start ﬁeld to THRESHOLD. With this setting, recording will begin automatically when the level of the input signal exceeds the threshold you speciﬁed.

A Input source ﬁeld: Selects the source that

will be recorded.

B Mode ﬁeld: Selects whether to record in ste-

reo or monaural.

C Bit depth ﬁeld: Selects the bit depth (16 bit

or 24 bit) for recording.

D Monitor ﬁeld: Selects whether to monitor

the input source during recording.

E Original ﬁeld: Selects the note (note name)

that will play that sample at its original pitch.

F Auto normalize ﬁeld: If this ﬁeld is on, the

recorded sample will be normalized automatically.

Recording (sampling) an external source

Stop recording

time

level

Rec start

threshold

parameter

level

Rec start

threshold

parameter

Start recording

Time parameter

Stop recording

Start recording

• If you want to start recording manually

Set the Record Start ﬁeld to MANUAL. With this setting, recording will begin when you press the appropriate key. This method is convenient when you are recording a drum loop etc. from a CD or record.

Start recording Stop recording

level

time

7. Move the cursor to the Time field, and set the recording time.

When you record, recording will stop automatically when the time speciﬁed here has elapsed.

Hint: You can also manually stop recording. For example if you are recording a phrase of an unknown length, you can set the Time ﬁeld to a fairly long value, and then manually stop recording.

8. Press the [WINDOW] key.

The Recording Setup popup window will appear. In this window you can set various options related to recording.

1 2

A System sampling rate ﬁeld: Indicates the

sampling rate of the entire system (set in GLOBAL mode). This ﬁeld is only for display, and cannot be changed here.

B Bit ﬁeld: Selects the resolution (16-bit or

24-bit) used for recording.

C Pre-recording time ﬁeld: Speciﬁes ho w much of the signal preceding the actual start of recording will

be included in the recording.

Chapter 8—Recording and editing samples

9. Set the Pre-recording time field and the Bit field as necessary, and press the [WINDOW] key or

the [F1] key (CLOSE) to return to the previous screen.

For example if you have selected THRESHOLD as the Record start method, you can set the Pre-recording time ﬁeld to several hundred milliseconds so that the attack portion of the wa veform will not be omitted from

the recording.

level

Rec start threshold

parameter

Pre-recording

time parameter

10. While you watch the level meters, play the audio source that you want to record, and use the [REC GAIN] knob to adjust the recording level.

T o obtain the best S/N ratio, set the recording le v el as high as possible without allo wing the o ver -level indicators to light at the loudest volume.

Note: The [REC GAIN] knob has no effect if you have selected DIGITAL IN or MAIN OUT as the input source.

Start recording

time

Actual recording

The procedure for actual recording will differ slightly depending on how you start and end recording.

1. Press the [F6] key (RECORD).

• If MANUAL is selected as the Record start method

Recording will begin the instant you press the [F6] key (RECORD). During recording, the Recording... popup window will appear.

• If THRESHOLD is selected as the Record start method

The Record Ready popup window will appear. Play the audio source that you want to record. Recording will begin the instant that the input signal exceeds the threshold level.

Hint: Even if THRESHOLD is selected as the Record start method, you can press the [F6] key (START) in the

Record Ready popup window to begin recording manually.

2. To manually stop recording, press the [F6] key (STOP).

Alternatively, recording will stop automatically when the time you speciﬁed in the Time ﬁeld has elapsed. When recording ends, the Keep or Retry popup window will appear.

Making various settings for a sample you recorded

A [F1] key (RETRY): Discards the sample. B [F3] key (PLAY): Auditions the sample. C [F5] key (ADD PGM): Retains the sample in

memory, and adds it to the program.

D [F6] key (KEEP): Retains the sample in mem-

ory.

1 2 3 4

3. Press the [F3] key (PLAY) to audition the sample. If you want to re-try the recording, press the [F1] key (RETRY). If you are satisfied with the sample, press the [F5] key (ADD PGM).

If you press the [F1] key (RETRY), the sample will be discarded and you will return to the Record page. If you press the [F5] key (ADD PGM), the Add to Program popup window will appear.

A Add to program ﬁeld: From the programs

currently in memory, selects the program to which this sample will be assigned. The ﬁelds that are displayed will depend on the type (key group or drum) of the selected program.

4. To assign the sample to a program, use the Add to program field to select the desired program.

When you turn on the power of the MPC4000, one program (drum type) is created automatically. Unless you have loaded a program from a storage device or created a new program after power-on, this drum program is the only one that will be available for selection here.

Hint: You can press the [F4] key (NEW PGM) to create a new program, and add your newly recorded sample to that program.

5. Set the various parameters according to the type (key group or drum) of the program you selected in step 4.

• If you selected a key group program

1 2 3

A Original note ﬁeld:

which the sample will sound at its original pitch.

B Key range ﬁeld:

group to which the sample will be assigned.

Speciﬁes the note at

Speciﬁes the range of the key

C Keyboard track ﬁeld: Within the key group to which the sample is assigned, speciﬁes whether the

pitch will rise or fall according to the note range (ON), or whether all notes will sound the same pitch (OFF).

• If you selected a drum program

A Assign to note ﬁeld: Selects the note to

which the sample will be assigned. You can turn the [JOG] dial to select a note number, or strike a pad directly to specify it.

Hint: The sample you recor d will be assigned a default name of “Sample xxx” (xxx will be a number indicating the number of samples you recorded). If desired, you can turn the [JOG] dial in the Keep or retry window to assign a new name to the sample.

6. Press the [F6] key (DO IT).

The sample will be assigned to the selected program, and you will return to the Record page.

7. Repeat steps 1–6 to record other samples in the same way.

Making various settings for a sample you recorded

Here’s ho w you can specify the playback start/end locations, loop playback on/off, and loop start/end locations for a sample you recorded into memory.

1. Press the [SAMPLE] key, and then press the [F1] key (List).

Chapter 8—Recording and editing samples

The Sample mode Sample list page will appear. This page shows a list of the samples currently in memory.

456 7

D [F1] key (LIST): Accesses the sample list page from another page. E [F2] key (TRIM/LP): Accesses the Trim/Loop page, where you can make trim and loop settings for a

sample.

F [F3] key (REGION): Accesses the Region page, where you can divide a sample into regions and edit

them.

G [F4] key (Q-FX): Accesses the Quick FX Resampling popup window, where you can apply effects to a

sample and resample it.

2. Press the [F2] key (TRIM/LP).

The Trim/Loop page will appear. In this page you can make trim and loop settings for each sample.

3 5

8 J

LMNOPQ

G Waveform display ﬁeld (upper): Displays

the waveform of the entire sample.

H Lp start ﬁeld: Speciﬁes the loop start point

of the sample in single-sample units.

I Lp end ﬁeld: Speciﬁes the loop end point of

the sample. By default, this is displayed in single-sample units.

J Play mode ﬁeld: Selects the playback

method for the sample.

K Waveform display ﬁeld (lower): Accord-

ing to the ﬁeld currently selected in the display, this area displays the waveform before and after the start point, the waveform before and after the end point, or the waveform before and after the loop start/end point.

A Tag ﬁeld B Sample ﬁeld: Lists the names of the samples

currently in memory. Ne wly recorded samples and samples that were edited after being loaded or saved will have a * symbol displayed in front of their name.

The characters displayed at the right of the sample name have the following signiﬁcance.

ST...........Stereo sample

MN .........Monaural sample

LP...........Loop playback is ON

C Sampling rate/Bit ﬁeld: Displays the sam-

pling rate/bit depth of each sample shown in ﬁeld

A Sample ﬁeld: Selects the sample that will be

edited.

B Sampling rate/Bit ﬁeld: Indicates the sam-

pling rate and bit depth of the sample shown in

C View ﬁeld: Selects the displayed waveform;

either LEFT (left channel only), RIGHT (right channel only), or MIX (both channels mixed).

D Monitor ﬁeld:

GRAM, or MULTI as the unit for monitoring.

Selects either SAMPLE, PRO-

E Start ﬁeld: Speciﬁes the playback start point

of the sample in single-sample units.

FEND ﬁeld: Speciﬁes the playback end point of

the sample. By default, this is displayed in single-sample units.

Play mode=Loop

Start point

Loop start point

Play mode=No Loop or ONE SHOT

Start point End point

Loop end point

Making various settings for a sample you recorded

L [F1] key (LIST): Accesses the Sample List page. M [F2] key (TRIM/LP): Accesses the Trim/Loop page from another page. N [F3] key (REGION): Accesses the Region page. O [F4] key (Q-FX): Accesses the Q-FX page, where you can apply effects to the currently selected sample

to create a new sample.

P [F5] key (EDIT): Accesses the Sample Edit popup window, where you can edit the sample. Q [F6] key (P®ALL): Plays the entire sample once. The start/end points and loop start/end points will be

ignored.

3. Move the cursor to the Sample field, and turn the [JOG] dial to select the sample that you want to edit.

4. Move the cursor to the Monitor field, and turn the [JOG] dial to select “SAMPLE.”

Note: If the Monitor ﬁeld is set to “MULTI” or “PROGRAM,” the currently selected sample will be assigned to a program, and you will also need to select the appropriate pr ogr am and part in order to monitor the sample.

5. Move the cursor to the Play mode field, and select the playback method for the sample.

NO LOOP............. The sample will play from the start point to the end point, without looping. If you

release the pad (key) while the sample is playing, playback will stop at that point.

LOOP.................... The sample will begin playing from the start point when you press the pad (key), and

will continue repeating from the loop start to the loop end points as long as you continue holding down the pad (key).

ONE SHOT........... When you press the pad (key), the sample will play back once from the start point to the

end point.

Start End

Loop start

Loop end

time

NO LOOP

time

LOOP

time

6. Move the cursor to the Start field, and specify the start point for the sample.

ONE: SHOT

time

Chapter 8—Recording and editing samples

T o change the value of the start point, you can either turn the [JOG] dial, or use the numeric k eys to directly input the number of samples and then press the [ENTER] key.

Hint: By holding down the [SHIFT] key and pressing the CURSOR[√]/[®]keys, you can move the decimal place that will be modiﬁed by the [JOG] dial. It is convenient to start with a higher decimal place, and then move successively to lower decimal places as you make more precise adjustments.

7. Press a pad (or play a MIDI keyboard connected to the [MIDI IN] connector) to check the start point that you specified.

When you press pads 1–12 or pad 16, the sample will play from the start point. In the Trim/Loop page, the function of pads 13–15 will change as follows.

Pad 13 (PLAY LOOP)..............The loop region will play while you hold down the pad. If you hold down

Pad 14 (PLAY T O)...................The sample will play from slightly before the currently selected location to

Pad 15 (PLAY FROM).............The sample will play from the currently selected location to a point slightly

8. If you want to view the waveform near the start point at a higher magnification, hold down the [SHIFT] key and press the BLOCK CURSOR [ (lower line).

The lower waveform display ﬁeld lets you view speciﬁc areas of the waveform, according to the currently selected ﬁeld. When the cursor is at the Start ﬁeld, you can hold down the [SHIFT] k ey and use the BLOCK CURSOR [

9. Move the cursor to the value of the END field, and specify the end point of the sample in the same way.

10. If you selected LOOP as the sample playback method, set the loop start and loop end points in the same way.

11. Repeat steps 3–10 to set the playback method, start/end points, and loop start/end points for other samples.

Hint: You can also set the start/end points or loop start/end points by pressing a key while the sample plays back. For details, see the reference manual.

]/[†] keys to zoom-in/out for the waveform display before and after the start point.

the [SHIFT] key and press pad 13, playback will continue even if you release the pad. (To stop playback, press the pad once again or press the [SHIFT] key.)

the current location.

later.

†

] key to zoom-in the waveform display field

Note: When you turn off the power of the MPC4000, all samples in memory and their settings will be lost. If you want to keep the samples, you must save the samples (in some cases, samples and programs) on a storage device before turning off the power. (For the Save procedure

Applying Q-FX and resampling

The MPC4000 provides a Q-FX (Quick Effect) function that lets you apply effects to a pre viously recorded sample and re-record (resample) it. This is an easy way to create new samples.

1. In the Sample list page, select the sample that you want to resample and press the [F4] key (Q-FX).

The Quick FX popup window will appear, in which you can specify the effects that will be applied to the sample.

2. Move the cursor to the Mode field, and select Q-FX mode.

Depending on the choice you make here, the display will change as follows.

→

p.77)

A Mode ﬁeld: Selects one of the following two

Q-FX modes (the way in which effects will be applied).

COMMAND ......Process the sample using

one of the commands provided by the Q-FX function. Up to two commands can be used simultaneously.

FX....................... Apply effects to the sample

using the same effect types and parameters as are available in Effect mode. Up to four ef fects can be used simultaneously.

Applying Q-FX and resampling

If you select COMMAND

A Command ﬁeld: Selects up to two com-

mands with which to process the sample.

B Wet/Dry ﬁeld: Adjusts the balance between

the sound processed by FX1–FX4 (Wet) and the original sound (Dry).

C Effect ﬁeld: Switches the effect on/off. D [F1] key (CANCEL): Halts the operation and

returns to the previous page.

3456

E [F3] key (®EFFECT): Auditions the sound processed by the effect. F [F4] key (®ORIGINAL): Auditions the original sample. G [F5] key (EDIT): Accesses the Effect page of Effect mode. H [F6] key (DO IT): Executes resampling with Q-FX applied, and returns to the previous page.

If you select EFFECT

A FX 1–FX 4 ﬁeld: Selects up to four effect

types. You can use the same effect types as in Effect mode.

B Wet/Dry ﬁeld: Adjusts the balance between

the sound processed by FX1–FX4 (Wet) and

the original sound (Dry).

C Effect ﬁeld: Switches the effect on/off. D [F1] key (CANCEL): Halts the operation and

returns to the previous page.

E [F3] key (®EFFECT): Auditions the sound

45678

processed by the effect.

F [F4] key (®ORIGINAL): Auditions the original sample. G [F5] key (EDIT): Accesses the Effect page of Effect mode. H [F6] key (DO IT): Executes resampling with Q-FX applied, and returns to the previous page.

3. Move the cursor to each field of window, and specify the desired command/effect type and parameter settings.

4. If you want to edit the effect parameters of FX 1–FX 4, move the cursor to the desired effect field, and press the [F5] key (EDIT).

The effect edit page for the corresponding effect will appear. Edit the parameter values as desired. (The parameter content is the same as in Effect mode.)

Hint: For details on the type of available commands and effects, and their parameters, see the PDF reference manual.

5. To apply Q-FX and execute resampling, press the [F6] key (DO IT).

A new sample will be recorded, and the Keep or Retry popup window will appear.

Chapter 8—Recording and editing samples

234 567

E [F4] key (P®NEW): Plays the edited sample. F [F5] key (ADD PGM): Accesses the Add to Program popup window, where you can add the edited

sample to a program.

G [F6] key (KEEP): Preserves the edited sample in memory.

6. Use the [F3] key (P editing.

7. If you are satisfied with the resampled result, assign a new name to the sample as desired, and press the [F2] key, [F5] key, or [F6] key to save the new sample.

However if you press the [F2] k ey (OVER WR), the new sample name will be ignored, and the edited sample will be overwritten onto the original sample, replacing it.

®ORIGIN) and [F4] key (P®NEW) to compare the sample before and after

A New name ﬁeld: Displays the name of the

sample. If necessary, you can mo ve the cursor to this ﬁeld and edit the name.

B [F1] key (RETRY): Discards the edited result,

and returns to the previous page.

C [F2] key (OVER WR): Overwrites the edited

result onto the original sample in memory, replacing it.

D F3] key (P®ORIGIN): Plays the sample as it

was before editing.

Using edit commands to edit a sample

Here’s how to use the edit commands of the Sample page to edit a sample.

1. In Sample mode, press the [F5] key (EDIT).

The Sample Edit popup window will appear, where you can edit the sample.

1 2

Note: The Section ﬁeld will be displayed only if you have selected a command that requires you to specify an region.

2. Move the cursor to the Edit field, and select a command.

The following illustration shows the screen that will appear if you select the DISCARD command, which deletes the waveform data that is outside the speciﬁed region. (For details on all the available commands and the items that you can set, see the reference manual.)

A Edit ﬁeld: Selects an editing command. The

following displays will change according to the command that you select.

B Section ﬁeld: Selects the region to which the

editing command will apply.

3. Move the cursor to each field, and change the settings as necessary.

If you have selected the DISCARD command, move the cursor to the Section ﬁeld and select one of the following regions.

TRIM.............. Between the start and end points

LOOP ............. Between the loop start and loop end points

REGION......... The region selected in the Region page

If you select TRIM for the DISCARD command, the region between the start and end points will be kept, and the rest of the waveform data will be deleted.

Dividing a sample

4. To execute the sample edit command, press the [F6] key (DO IT).

The Keep or Retry popup window will appear , where you can compare the results of the command with the original data, and decide whether to keep the edited result.

5. Use the [F3] key (P editing.

6. If you are satisfied with the edited result, assign a new name to the sample as desired, and press the [F2] key, [F5] key, or [F6] key to save the new sample.

However if you press the [F2] k ey (OVER WR), the new sample name will be ignored, and the edited sample will be overwritten onto the original sample, replacing it.

Note: These editing commands perform “destructive editing.” If you press the [F2] ke y to overwrite the original sample, you will not be able to recover the original sample.

Dividing a sample

You can divide part of a sample (or the entire sample) into up to 32 regions. you can assign the divided samples to a new program, or you can reconstruct a sequence to play that program, and adjust the tempo and use the divided sample to create a completely new phrase.

For example, this function provides a convenient way in which a drum loop recorded from a CD can be changed to a different tempo and synchronized with the sequencer section.

Specifying the area to be divided

Here’s how you can select a sample and specify the area that will be divided into regions.

1. In Sample mode, press the [F3] key (REGION).

The Region page will appear, where you can edit the sample in region units.

1 3

5 7

JKLMNO

F Region end ﬁeld: Speciﬁes the ending location of the currently selected region (the region end point)

in units of one sample.

G Waveform display ﬁeld (upper): Displays all regions. The currently selected region will be high-

lighted.

H Region ﬁeld: Speciﬁes the region to be edited by number. I Waveform display ﬁeld (lower): According to the ﬁeld that is currently selected in the display, this

area shows the waveform before and after the re gion start point, or before and after the region end point. You can zoom-in/out the display in this ﬁeld by holding down the [SHIFT] key and using the BLOCK CURSOR [

®ORIGIN) and [F4] key (P®NEW) to compare the samples before and after

624

A Sample ﬁeld: Selects the sample that will be

edited.

B Sampling rate/Bit ﬁeld: Indicates the sam-

pling rate and bit depth of the sample shown in (1).

C View ﬁeld: Selects the waveform that will be

displayed; LEFT (left channel only), RIGHT (right channel only), or MIX (both channels mixed).

D Monitor ﬁeld: Selects either SAMPLE,

PROGRAM, or MULTI as the unit for monitoring.

E Region start ﬁeld: Speciﬁes the starting

location of the currently selected region (the region start point) in units of one sample.

]/[†] keys.

Chapter 8—Recording and editing samples

J [F1] key (LIST): Accesses the Sample List page. K [F2] key (TRIM/LP): Accesses the Trim/Loop page. L [F3] key (REGION): Accesses the Region page from another page. M [F4] key (BPM): Accesses the BPM Match popup window, where you can adjust the length or pitch of

a region according to a speciﬁed BPM value.

N [F5] key (EDIT): Accesses the Sample Edit popup window, where you can edit the sample. O [F6] key (P®ALL): Plays the entire sample once.

2. Move the cursor to the sample field, and turn the [JOG] dial to select the sample that you want

to edit.

3. Move the cursor to the Region field, and playback [WINDOW] key.

The Number of Regions popup window will appear, letting you specify the number of regions into which the sample will be divided.

1 2

4. Move the cursor to the Refer to field, and select one of the following to specify the portion of the

sample that will be divided into regions.

TRIM.............. Between the start point and end point

LOOP ............. Between the loop start point and loop end point

SAMPLE........ The entire sample

5. Move the cursor to the Number of regions field, and specify the number of regions (2–32

regions) into which the specified portion of the sample will be divided.

6. To execute the division, press the [F6] key (DO IT).

You will return to the Region page.

Hint: Region settings are non-destructive, so you can redo them as many times as you like. The number and locations at which a sample is divided is remembered for each sample.

A Refer to ﬁeld: Selects the portion of the sam-

ple that will be divided into regions.

B Number of regions ﬁeld: Speciﬁes the

number of regions into which the selected portion of the sample will be divided.

C [F1] key (CANCEL): Cancels the operation

and returns to the Region page.

D [F6] key (DO IT): Executes the division and

then returns to the Region page.

Adjusting the region start and region end points

After dividing a sample into regions, you can adjust the start and end points of each region.

1. In the Region page, move the cursor to the Region field and turn the [JOG] dial to select the

number of the region that you want to adjust.

Region start point

Currently

selected region

The currently selected region will be highlighted in the upper waveform editing ﬁeld. The Region start and Region end ﬁelds will indicate the starting and ending locations of that region in units of one sample.

Region end point

Dividing a sample

2. Move the cursor to the Region start field, and edit the region start point.

To adjust the value, you can either turn the [JOG] dial, or use the numeric keys to directly input a number of samples and then press the [ENTER] key.

Hint: By holding down the [SHIFT] ke y and using the CURSOR[√]/[®]keys, you can change the decimal place that is adjusted by the [JOG] dial. When you edit the region start point of the second or subsequent region, the region end point of the preceding region will change simultaneously.

3. If you want to audition the region start point you specified, move the cursor to the Region start field and press pad 14 or 15.

In the Region page, the function of pads 14 and 15 will change as follows.

Pad 14 (PLA Y TO) ............Play once from slightly earlier than the currently selected location to the current

location.

Pad 15 (PLAY FROM) ......Play once from the current location to a point slightly later.

4. If you want to view the waveform in the area of the region start point, hold down the [SHIFT] key and press the BLOCK CURSOR [

When the cursor is located at the Region start ﬁeld, you can hold down the [SHIFT] key and press the BLOCK CURSOR[ point.

5. Move the cursor to the Region end field, and specify the region end point in the same way.

Hint: When you edit the region end point, the region start point of the following region will change simultaneously.

6. As necessary, make adjustments for other regions in the same way.

]/[†]keys to zoom-in/out the waveform display before and after the region start

†

] key to zoom-in the lower waveform display.

Using the divided sample to create a sequence and program

Here’s ho w you can use the SLICE SAMPLE edit command to create a new sample for each region that w as divided, and register them in memory. At the same time, you can also create a new program to which these samples will be assigned, and a sequence that will play this program.

1. In the Region page, press the [F5] key (EDIT).

The Sample Edit popup window will appear.

2. In the Edit field, select SLICE SAMPLE.

The SLICE SAMPLE edit command slices the waveform into separate regions and creates a new sample from each region.

1 2

A Edit ﬁeld: Selects the edit command. B Generate sequence ﬁeld: When the SLICE

SAMPLE command is executed, this speciﬁes whether a program and sequence will be created at the same time (YES), or whether only the new samples will be created (NO).

C End margin ﬁeld: Speciﬁes how much of the waveform data following the region end point will be

included when creating the new samples.

3. Move the cursor to the Generate sequence field, and select YES.

If you select YES, e xecuting SLICE SAMPLE will automatically create a program to which the sliced samples will be assigned, and a sequence that will successively play the samples of that program.

4. Move the cursor to the Sq field, and select a sequence.

5. Move the cursor to the Tr field, and select a track number.

The new sequence data will be created in the selected track of the selected sequence.

6. Move the cursor to the End margin field, and set the end margin.

If you set this to 0, the end point of the divided samples will match the region end point. As you increase this value, the end point of the samples will move later than the region end point. (The start point of the ne xt region will not change.)

Hint: By incr easing the value of the End Margin ﬁeld, you can prevent unnatural-sounding silences fr om appearing between the samples when you later slow down the tempo of the sequence.

Chapter 8—Recording and editing samples

7. Press the [F6] key (DO IT).

The SLICE SAMPLE command will be executed, and a program of the same name as the selected sample will be created. Also, a track with the same name as the sample will be created in the selected sequence.

Playing the track you created

Here’s ho w the new track you created using the SLICE SAMPLE command can be used to play the newly created program.

1. Press the [MAIN] key to access the Main page.

2. Select the sequence and track.

A track with the same name as the original sample has been created in the selected sequence. The program that was newly created by SLICE SAMPLE will be assigned to the part that is selected as the output destination of this track.

3. Play the pads.

You can use the pads to separately play the samples that were divided into regions.

4. Press the [PLAY] key to play back the sequence.

A phrase will play that is essentially the same as the sample before you executed SLICE SAMPLE. You can use the pads or a MIDI keyboard to edit and overdub the data of this track in the same way as data

you recorded conventionally . When you change the tempo of the sequence, the tempo of the phrase will also change.

Changing the pitch of the program you created

Now let’s change the pitch of the program you created using the SLICE SAMPLE command.

1. Press the [PROGRAM] key, and then press the [F2] key (KG MIX).

The Key Group Mix page will appear.

2. Move the cursor to the Tune field, and adjust the pitch of the program.

Hint: A program created by executing the SLICE SAMPLE command can be edited in the same way as a conventional program.

Adjusting the tempo of the phrase

You can adjust the tempo of the sample by changing the tuning or applying time-stretch.

1. In the Region page, move the cursor to the Sample field, and select a sample.

2. Press the [F4] key (BPM).

The BPM Match popup window will appear, where you can adjust the length or pitch of the sample according to the BPM value you specify.

1 2

3 4

A Current tempo ﬁeld: This is the base tempo

from which the tempo adjustment will be made. This value is calculated automatically, according to the settings of the Section ﬁeld and Beat ﬁeld, below.

B Section ﬁeld: Selects the section from which

the Current tempo will be calculated.

C Beat ﬁeld:

section that you selected in the Section ﬁeld.

Speciﬁes the number of beats in the

D Type ﬁeld: Selects the way in which the tempo will be changed.

3. Move the cursor to the Section field, and select the section from which the Current tempo will

be calculated.

4. Move the cursor to the Beat field, and input the number of beats in the section you selected in the Section field.

When you set the Section ﬁeld and the Beat ﬁeld, the tempo calculated from those values will be displayed in the Current tempo ﬁeld.

5. Move the cursor to the Type field, and select one of the following two choices to specify how the tempo of the sample will be changed.

TUNE

The tempo of the phrase will be changed by changing the pitch of the sample.

A New tempo ﬁeld: Speciﬁes the desired

result tempo.

B Tune ﬁeld: Indicates how much the pitch has

been changed by the setting you made for the New tempo ﬁeld. You can also change this value to adjust the New tempo.

STRETCH

The tempo of the phrase will be adjusted using the Time Stretch function.

Saving and loading samples

6. Move the cursor to the New tempo field, and specify the desired tempo. If you selected TUNE, the value of the Tune field will change according to the tempo you specify in the New tempo field.

7. Set the Preset field and the Adjust field.

For details on the Preset ﬁeld and the Adjust ﬁeld, see the PDF reference manual.

8. To execute the tempo change, press the [F6] key (DO IT).

The Keep or Retry popup window will appear.

9. Use the [F3] key (P editing.

10. If you are satisfied with the edited result, assign a new name to the sample as necessary, and press either the [F2] key, [F5] key, or [F6] key to save the new sample.

However if you press the [F2] k ey (OVER WR), the new sample name will be ignored, and the edited sample will be overwritten onto the original ﬁle, replacing it.

Note: Tempo change is destructive editing. Be aware that if you press the [F2] key to overwrite the original data, you will not be able to undo this operation.

®ORIGIN) and [F4] key (P®NEW) to compare the sample before and after

Saving and loading samples

The following pages explain how to save or load samples to or from a storage device.

Saving samples

Samples in memory can be saved on an internal or external storage device. Since all samples in memory will be lost when you turn off the power of the MPC4000, you must sav e your samples as described below if you want to keep them.

1. Press the [SAVE] key.

The Save page will appear.

2. Move the cursor to the Type field, and turn the [JOG] dial to select SAVE SAMPLEs.

Chapter 8—Recording and editing samples

A Tag ﬁeld: In this ﬁeld you can assign a tag to

individual samples. Use this when you want to save all tagged samples in one operation. Move the cursor to this ﬁeld, and turn the [JOG] dial to switch the tag on/off.

B Sample list ﬁeld: Lists the names of the sam-

ples that are currently in memory. Newly recorded samples and samples that have been edited after they were last loaded or saved will be indicated by a * symbol in front of their name.

C Data size: Indicates the data size of each

sample.

3. If you want to save an individual sample, move the cursor to the sample list field, and select the

desired sample.

4. If you want to save multiple samples in a single operation, move the cursor to the Tag field, and

assign a tag to the samples that you want to save.

5. Move the cursor to the Disk field, and turn the [JOG] dial to access the Disk List popup window.

In this popup window you can select the storage device to which the sample(s) will be saved.

12 3 4

A Media ﬁeld: Indicates the type of storage

device.

B Name ﬁeld: Indicates the volume name of

the storage device.

C Device ﬁeld: Indicates how the storage

device is connected.

D Free ﬁeld: Indicates the free space on the

storage device.

6. Move the cursor to the storage device on which you want to save the sample(s), and press the [F6] key (SELECT).

That storage device will be selected as the store-destination, and the popup window will close.

7. Move the cursor in the file list block to the folder in which you want to save the sample(s).

Use the CURSOR[ [

]/[†] keys to select a folder within the same level. When you select the sav e-destination folder, the Save

ﬁeld will show the name of that folder.

Hint: You can press the [F3] key (NEW) to create a new folder in the current level of the folder hierarchy. The ﬁle(s) to be saved will be saved in the folder that is selected in the left of the ﬁle list (the level that is shown at the right).

■ If you are saving an individual sample

8. If you are saving an individual sample, make sure that the appropriate sample is selected in the sample list field, and press the [F6] key (DO IT).

The selected sample will be saved on the storage device.

■ If you are saving multiple samples

9. If you are saving multiple samples simultaneously, press the [F5] key (MULTIPLE) after step 7.

The Save Multiple Samples popup window will appear, allowing you to select the samples that will be saved.

√

]/[®] keys to move upward or do wnward in the folder hierarchy , and use the CURSOR

A Replace same samples ﬁeld: Speciﬁes

whether any identically-named samples in the save-destination will be overwritten (YES), or whether such samples will not be saved (NO).

10. As necessary, move the cursor to the Replace same samples field, and make the desired setting.

Saving and loading samples

11. According to the type of samples you are saving, press one of the following function keys.

[F1] key (CANCEL)..........Cancel the Save operation and close the popup window.

[F3] key (TAGGED)..........Save only the tagged samples and close the popup window.

[F4] key (MODIFY)..........Save only the samples marked by the * symbol and close the popup window.

[F6] key (ALL)..................Save all samples and close the popup window.

The selected samples will be saved to the storage device.

Loading samples

Here’s how to load samples from a storage device into the internal memory of the MPC4000.

1. Press the [LOAD] key.

The Load page will appear. In this page you can load ﬁles that are saved on a storage device.

A Disk information: Indicates the storage

device that is currently selected for operations.

B Disk ﬁeld: Selects the storage device from

which the data will be loaded.

C File list block: Displays the internal hierar-

chy of the selected storage device.

D View ﬁeld: Selects the type of ﬁle that will be

4 5

displayed in the ﬁle list block.

E Wave free ﬁeld: Displays the amount of free

space in the MPC4000’s sampler section memory.

F Sequence free ﬁeld: Displays the amount of

free space in the MPC4000’s sequencer section memory.

G CPU free ﬁeld: Displays the amount of free space in the MPC4000’s data management memory.

2. Move the cursor to the Disk field, and turn the [JOG] dial to access the Disk List popup window.

3. Move the cursor to the storage device from which you want to load data, and press the [F6] key (SELECT).

The storage device at which you placed the cursor will be selected as the source for loading.

4. Move the cursor to the View field, and select SAMPLE FILEs as the file type.

With this setting, ﬁles other than sample ﬁles will be hidden.

5. Move the cursor to a file in the file list block.

√

Use the CURSOR[ [

]/[†] keys to select a different folder or ﬁle within the same level.

6. Press the [F6] key (DO IT).

The selected sample will be loaded.

]/[®] keys to move upward or do wnward in the folder hierarchy , and use the CURSOR

Chapter 9—Creating and editing programs

9 Creating and editing programs

This chapter explains how to assign samples to a newly created program and edit the various sound parameters to create your own original program.

About programs

The units of sound handled by the Sampler section are called “programs.” A program consists of one or more samples (waveform data) together with sound parameters such as ﬁlter, envelope, and LFO.

The MPC4000 has two types of program.

• Drum programs

This type of program assigns a different sample to each note number.

• Key group programs

This type of program shares a sample between one or more adjacent note numbers (collectively called a “key group”), allowing you to play different pitches with the sample(s).

For either type, sound parameters such as ﬁlter, envelope, and LFO can be set independently for each note number/key group. For each note number/key group, you can use up to four zones (re gions to which a sample is assigned). You can assign a dif ferent sample to each zone, and play multiple samples simultaneously or switch between samples according to velocity.

Drum program

Note: 36/ZN1 Note: 36/ZN2 Note: 36/ZN3 Note: 36/ZN4

The programs of the MPC4000 are all held in memory. When you turn off the power of the MPC4000, all programs and samples in memory will be lost. If you want to keep your programs, you must save the programs (in some cases, samples and programs) on a storage device before you turn off the power. (For the Save procedure,

→

p.91)

Creating a new program

In order to create your own original program, you must ﬁrst create a new, empty program. Here’s the procedure.

Hint: When you turn on the power of the MPC4000, an empty drum program (Program 1) will be created automatically. If you use this default program, the following procedure is not necessary.

1. Press the [PROGRAM] key, and then press the [F1] key (LIST).

The Program mode List page will appear.

Key group program

KG1/ZN1 KG1/ZN2 KG1/ZN3 KG1/ZN4

KG1 KG2

Zone 1–4

Key groups

Assigning samples to a program

A Tag ﬁeld: In this ﬁeld you can assign a tag to

individual programs. Use this when you want to save tagged programs in a single operation.

B Program list ﬁeld: Lists the names of the

programs currently in memory. Ne wly created programs and programs that you have edited after they were last loaded or saved will have a * symbol displayed in front of their name.

C Program type ﬁeld: Indicates the type

(DRUM or KEY GROUP) of each program listed in

D Program No. ﬁeld: Indicates the MIDI pro-

gram change number that corresponds to each

567 8

program.

E [F1] key (LIST): Accesses the Program List page from another page. F [F2] key (KG MIX): Accesses the Key Group Mix page, where you can set the level, pan, and output

destination for each key group/note number.

G [F3] key (MISC.): Accesses the MISC. page, where you can make settings that apply to the entire pro-

gram.

H [F4] key (ASSIGN): Accesses the Pad Assign page, where you can assign a note number to each pad.

This function is displayed only if you have selected a drum program in the program list ﬁeld.

2. Move the cursor to the program list field, and press the [WINDOW] key.

The Program popup window will appear, in which you can copy or delete a program, or create a new program.

1 2

A Program name ﬁeld: Edits the name of the

selected program. The Name popup window will appear when you turn the [JOG] dial.

B Type ﬁeld: Indicates the type of the selected

program.

C [F1] key (CANCEL): Closes the popup win-

dow.

D [F3] key (CONVERT): Accesses the Convert

34567

Program popup window, where you can convert the program type.

E [F4] key (DELETE): Accesses the Delete popup window, where you can delete the currently selected

program from memory.

F [F5] key (NEW): Accesses the Create New Program popup window, where you can create a new pro-

gram.

G [F6] key (COPY):

3. Press the [F5] key (NEW).

The Create New Program popup window will appear.

4. Move the cursor to the Type field, and select the type (either DRUM or KEYGROUP) of the new program. As necessary, move the cursor to the New name field, and assign a name to the new program.

5. Press the [F6] key (DO IT).

A new program will be created in memory.

Accesses the COPY popup window , where you can copy the currently selected program.

Assigning samples to a program

This section gives separate explanations for ho w to assign samples to a newly created program, depending on whether it is a key group program or a drum program.

Assigning samples to a key group program

1. Record the samples that you want to assign to the program. (You can either record new samples into memory, or load them from a storage device.)

Chapter 9—Creating and editing programs

For details on how to record or load samples, refer to chapter 8.

Hint: If you will be creating a ke y gr oup pr ogram, we r ecommend that you connect a MIDI keyboar d or similar controller to the [MIDI IN] connector so that you can audition the samples conveniently.

2. Press the [PROGRAM] key, and then press the [F1] key (LIST).

The Program mode List page will appear.

3. In the program list field, use the CURSOR [ which you want to assign samples.

4. Press the [F2] key (KG MIX).

The Key Group Mix page will appear , where you can set the le v el, pan, and output destination for each ke y group.

7452

6 8

]/[†] keys to select the key group program to

A Program ﬁeld: Selects the program that you

will be editing. A ne wly created program or a program that you have edited since last loading or saving it will have a * symbol in front of its name.

B Program type ﬁeld: Indicates the type

(DRUM or KEYGROUP) of the program shown in ﬁeld (1).

C Level ﬁeld: Speciﬁes the master level of the

program.

D Tune ﬁeld: Speciﬁes the master tuning of the

program.

9JK

E Monitor ﬁeld:

MUL TI, the settings of the currently selected multi will determine which program will respond. If this is set to PROGRAM, the currently selected program will respond regardless of the MIDI channel of the messages.

Speciﬁes what will occur when MIDI channel messages are received. If this is set to

F KG ﬁeld: Indicates the key group number. G Tag ﬁeld: This has the same function as the Tag ﬁeld in the Program List page. H Sample ﬁeld: Displays the name of the sample assigned to each key group number. I Level ﬁeld J Pan ﬁeld K Out ﬁeld These ﬁelds set the playback parameters for each key group. L FX ﬁeld M Send ﬁeld

These ﬁelds set playback parameters for each key group.

5. Move the cursor to the KG field, and press the [WINDOW] key.

The Create New Key Group popup window will appear.

A Number of new KGs ﬁeld:

number of new key groups that will be created.

B In order of ﬁeld:

groups will be rearranged. You can choose ORIGINAL KEY (starting with the lowest original note), KEY-RANGE LOW (starting with the key range that has the lowest bottom note), or KEY-RANGE HIGH (starting with the key range that has the highest bottom note).

This speciﬁes how the key

Speciﬁes the

C [F1] key (CANCEL): Cancels the operation

34567

and closes the popup window.

D [F3] key (DELETE): Accesses the DELETE popup window, where you can delete a key group. E [F4] key (COPY): Accesses the COPY popup window, where you can copy a key group. F [F5] key (ARRANGE): Rearranges the key groups according to the order you speciﬁed in 2. G [F6] key (CREATE): Creates the number of new key groups you speciﬁed in 1.

Assigning samples to a program

6. Move the cursor to the Number of new KGs field, and specify the number of key groups you want to add.

If you created a new key group program, there will initially be only one ke y group. Y ou will need to use this popup window to add the desired number of key groups.

7. Press the [F6] key (CREATE).

The speciﬁed number of key groups will be added, and you will return to the Key Group Mix page.

8. Move the cursor to the sample field of each key group, and turn the [JOG] dial to select a sample for each key group.

When you turn the [JOG] dial, the names of the samples in memory will appear successively.

Note: The samples you select in this page will always be assigned to zone 1 of the corresponding key gr oup. If you want to assign samples to zones 2–4, use the Zone page (p.89).

Hint: If the Monitor ﬁeld is set to “PROGRAM,” you can use a MIDI keyboard connected to the [MIDI IN] connector to audition the samples you are assigning, regardless of the state of the current multi. With the cursor located in the sample ﬁeld, you can press the [WINDO W] key to view information on the selected sample (sampling rate, bit depth, original note, tuning, etc.). Unless you specify otherwise, the sample playback method (NO LOOP , LOOP, ONE SHO T) will be the method that has been speciﬁed for each sample. However, you are free to change this in the Pro gram mode Zone page

→

p.89).

(

9. As necessary, move the cursor to the Level, Pan, Out, FX, and Send fields, and set the values.

Each ﬁeld has the following function.

Level ﬁeld: Sets the level of each key group. Pan ﬁeld: Sets the pan (L50–MID–R50) if the key group is output in stereo. This has no ef fect if you are

using monaural output. Out ﬁeld: Sets the output destination jack for each key group. If you select MULTI, the output settings

of the multi will be used.

FX ﬁeld: Indicates the send level of the signal that is sent from the key group to the effect bus. Send ﬁeld: Selects the effect bus (OFF, A–D, AB, CD, MULTI) that is used by each key group. If you

select MULTI, the settings of the multi will be used. Settings for the effects used can be made in Effect mode.

Note: Please be aware that these ﬁelds are valid only for each individual ke y gr oup, not for the entir e pr ogr am. Use Multi mode to make settings for the entire program.

10. Press the [F3] key (PITCH).

The Pitch page will appear, where you can make settings such as tuning and polyphony for each sample.

A Span Low/Hi ﬁeld: Speciﬁes the note range

of the key group to which the sample is assigned.

B Tune ﬁeld: Speciﬁes the tuning of the key

group.

C Pitch ﬁeld: Speciﬁes whether the pitch of the

sample assigned to the key group will rise or fall according to the keyboard position (TRACK), or will play at the same pitch for any key (CONST).

D Poly ﬁeld: Speciﬁes the maximum polyph-

ony (number of notes) for the key group.

E Mute ﬁeld: Speciﬁes the mute group (OFF , 1–64) to which the ke y group will belong. K ey groups that

belong to the same mute group will not sound simultaneously.

11. Move the cursor to the Span Low/Hi field, and specify the note range of the key group to which the sample is assigned.

By default, all key groups are set to sound across the full range of the keyboard (C-2–G8). If you want to switch samples by note ranges, you will need to specify the note range for each key group.

Note: If desired, you can intentionally overlap the ranges of two or more k e y gr oups. However, this will reduce the total polyphony.

12. Move the cursor to other fields, and make the desired settings.

Chapter 9—Creating and editing programs

Assigning samples to a drum program

1. Record the samples that you want to assign to the program. (You can either record new samples into memory, or load them from a storage device.)

For details on how to record or load samples, refer to chapter 8.

2. Press the [PROGRAM] key, and then press the [F1] key (LIST).

The Program mode List page will appear.

3. In the program list field, use the CURSOR [ you want to assign samples.

4. Press the [F2] key (KG MIX).

The Key Group Mix page will appear, where you can make settings such as level, pan, and output destination for each note number.

125

7 3

]/[†] keys to select the drum program to which

A Program ﬁeld: Selects the program that you

will be editing. A ne wly created program or a program that you have edited since last loading or saving it will have a * symbol in front of its name.

B Program type ﬁeld: Indicates the type

(DRUM or KEYGROUP) of the program shown in ﬁeld (1).

C Level ﬁeld: Speciﬁes the master level of the

program.

D Tune ﬁeld: Speciﬁes the master tuning of the

program.

9J K L M

E Monitor ﬁeld: Speciﬁes what will occur when MIDI channel messages are received. If this is set to

MULTI, the settings of the currently selected multi will determine which program will respond. If this is set to PROGRAM, the currently selected program will respond regardless of the MIDI channel of the messages.

F Note ﬁeld: Indicates the note number. G Tag ﬁeld: This has the same function as the Tag ﬁeld in the Program List page. H Sample ﬁeld: Displays the name of the sample assigned to each pad number. I Level ﬁeld J Pan ﬁeld K Out ﬁeld These ﬁelds set the playback parameters for each pad number. L FX ﬁeld M Send ﬁeld

These ﬁelds set playback parameters for each pad number.

5. Select the note number to which you want to assign a sample, and turn the [JOG] dial to select a sample.

When you turn the [JOG] dial, the names of the samples in memory will appear successively.

Note: The samples you select in this page will always be assigned to zone 1 of the corresponding note number. If you want to assign samples to zones 2–4, use the Zone page (p.89).

Hint: If the Monitor ﬁeld is set to “PROGRAM,” you can use the pads to audition the samples you are assigning, regardless of the state of the current multi. With the cursor located in the sample ﬁeld, you can press the [WINDO W] key to view information on the selected sample (sampling rate, bit depth, original note, tuning, etc.). Unless you specify otherwise, the sample playback method (NO LOOP , LOOP, ONE SHO T) will be the method that has been speciﬁed for each sample. However, you are free to change this in the Pro gram mode Zone page

→

p.89).

(

6. As necessary, move the cursor to the Level, Pan, Out, FX, and Send fields, and set the values.

Each ﬁeld has the following function.

Hint: You can also strike a pad to select the note number that is assigned to that pad.

Assigning samples to a program

Level ﬁeld: Sets the level of each note number. Pan ﬁeld: Sets the pan (L50–MID–R50) if the note number is output in stereo. This has no effect if you

are using monaural output. Out ﬁeld: Sets the output destination jack for each note number. If you select MULTI, the output settings

of the multi will be used.

FX ﬁeld: Indicates the send level of the signal that is sent from this note number to the effect bus. Send ﬁeld: Selects the effect bus (OFF, A–D, AB, CD, MULTI) that is used by each note number. If you

select MULTI, the settings of the multi will be used. Settings for the effects used can be made in Effect mode.

Note: Please be aware that these ﬁelds are valid only for each individual note number, not for the entir e program. Use Multi mode to make settings for the entire program.

7. Press the [F3] key (PITCH).

The Pitch page will appear, where you can make settings such as tuning and polyphony for each note number.

A Tune ﬁeld: Speciﬁes the tuning of the note

number.

B Pitch ﬁeld: Speciﬁes whether the pitch of the

sample assigned to the note number will rise or fall according to the keyboard position (TRACK), or will play at the same pitch for any key (CONST).

Note: For a drum program, we recommend that you normally leave the Pitch ﬁeld at CONST . If you c hange this to TRACK, the pitch may change.

C Poly ﬁeld: Speciﬁes the maximum polyphony for the note number. D Mute ﬁeld: Speciﬁes the mute group (OFF , 1–64) to which the note number will belong. Note numbers

that belong to the same mute group will not sound simultaneously. F or e xample if you assign the same mute group to open and closed hi-hat samples, playing one sample while the other sample is sounding will cause the ﬁrst sound to be muted.

8. Move the cursor to other fields, and make the desired settings.

Pad assignments for a drum program

In addition to the sample assign settings and other parameters for each note, a drum program also contains pad assign settings. For each program, these settings specify the note number that will be output when you strike each pad. If you want to view or modify the note number that is assigned to each pad, go to the Program mode List page and press the [F4] key (Assign) to access the Pad Assign page.

A Program ﬁeld: Indicates the currently

selected program.

B Note ﬁeld: Speciﬁes the note number that is

2 3 4

assigned to this pad number.

C GM ﬁeld: Indicates the GM format (GM sys-

tem level 1) drum/percussion sound that corresponds to the note number selected in (2).

D Sample ﬁeld: Speciﬁes the sample that is

assigned to this pad number.

Chapter 9—Creating and editing programs

Note: Key group programs do not contain pad assign settings. Thus, the [F4] key function (Assign) will not be displayed if a key group program is selected in the List page. If you strike the pads when a key group program is selected, note data will be output according to the default pad assign settings (these are referred to as the “global pad assign” settings).

Editing sound parameters

The programs of the MPC4000 let you edit various sound parameters such as ﬁlter, envelope, and LFO for each key group/note number.

Here’s how to edit parameters such as amp envelope, ﬁlter, ﬁlter envelope, and LFO1.

1. In the Program mode Key Group page, press the [F4] key (EDIT 1).

The Edit 1 page will appear, in which you can edit the ﬁlter and envelope settings for each key group/note number.

1 5

LF01 LF02

3 4

AUX

FILTER

ENV

PROGRAM MODULATION

ENV

A Note/Kg ﬁeld: Selects the key group/note

number that you will edit.

B Edit ﬁeld: Selects the key group editing

method.

C Zone ﬁeld: Selects the zone (1–4) that will be

displayed in (4).

D Zone Sample ﬁeld: Displays the name of the

sample that is assigned to the zone you selected in (3).

E PITCH block: Speciﬁes the tuning of the key

group/note number.

AMP

ENV

AMPPITCH FILTER

F FILTER block: Edits the ﬁlter type, cutoff frequency, resonance, and ﬁlter envelope parameters. G AMP block: Edits the level, output destination, effect send, and amp envelope parameters of the key

group/note number.

2. Move the cursor to the Edit field, and select one of the following editing methods.

ONE: Only the key group selected in the Kg ﬁeld will be edited. ALL: The absolute values of all key groups will be changed simultaneously. ADD: The values of all key groups will be adjusted simultaneously, relative to their current value.

Hint: Normally, you will probably want to select ALL ﬁrst, and make approximate settings for all key groups. Then select ONE to make ﬁne adjustments to individual key groups/pad numbers. To apply an overall boost or cut to a certain parameter after you have made ﬁne adjustments, select ADD.

3. If you have set the Edit field to ONE, move the cursor to the Kg/Pad field, and select the key group/pad number that you want to edit.

Hint: It is convenient to use the BLOCK CURSOR [

4. Move the cursor to the right half of the AMP block, and edit the amp envelope parameters.

In the AMP block you can set the following amp envelope parameters.

Attack ﬁeld: Speciﬁes the attack time of the envelope (the time from when the key is pressed until the maximum level is reached).

]/[†] keys to move between blocks.

Editing sound parameters

Decay ﬁeld: Speciﬁes the decay time of the env elope (the time from when the attack time ends until the sustain level is reached).

Sustain ﬁeld: Speciﬁes the sustain level of the en velope (the le v el that will be maintained as long as you continue holding the key or pad).

Release ﬁeld: Speciﬁes the release time of the envelope (the time from when the ke y is released until the level reaches zero).

Attack hold: Selects whether to begin the decay when the loop start point of the sample is reached (ON), or to follow the settings of the envelope (OFF).

Sustain

Attack Decay Release

5. Move the cursor to the FILTER block, and edit the filter parameters.

In the FILTER block you can set the following ﬁlter parameters.

Type ﬁeld: Selects the type of ﬁlter. (For details on each type, refer to the reference manual.) Cutoff freq ﬁeld: Speciﬁes the cutoff frequency of the ﬁlter. Resonance ﬁeld: Selects the resonance of the ﬁlter.

Hint: The Cutoff freq/Resonance ﬁeld display will change depending on the ﬁlter type.

Attenuation ﬁeld: Adjusts the level after the signal has passed through the ﬁlter. You can use this to make adjustments when an excessively high resonance setting has caused the level to be overloaded.

R1–R4 ﬁelds: Set the rate 1–rate 4 parameters of the envelope. L1–L4 ﬁelds: Set the level 1–level 4 parameters of the envelope.

R1 R2 R3 R4

Reference ﬁeld: Speciﬁes the reference level (0–100) of the en v elope. This v alue is sho wn as a horizontal dotted line in the displayed envelope.

When the envelope reaches the le vel you specify here, an offset will be applied to the entire envelope so that the ﬁlter cutoff matches the setting of the Cutoff freq ﬁeld.

The operation of the envelope will change as follo ws, according to the Reference v alue and the L3 v alue.

Reference=0: The envelope levels will be added relative to the setting of the Cutoff freq ﬁeld. Reference=L3: The ﬁlter cutoff will match the value of the Cutoff freq ﬁeld when the envelope reaches

the sustain level. Reference=100: The ﬁlter cutoff will match the value of the Cutof f freq ﬁeld when the en velope reaches

the maximum level.

Chapter 9—Creating and editing programs

6. To apply the filter envelope to the filter, press the [WINDOW] key when the cursor is located in the FILTER block.

Note: Be aware that unlike the amp envelope, simply setting values for the ﬁlter envelope is not enough to produce an effect. In order to use the ﬁlter envelope, you must make settings in the Pr o gram Modulation popup window to specify the modulation source, modulation destination, and modulation depth.

The Program Modulation popup window will appear . In this window you can select the modulation source, modulation destination, and modulation depth for each of the modulation routes (a maximum of 64) that the program can use.

1 2

E Depth ﬁeld: Speciﬁes the depth of modulation. F [F1] key (CLOSE): Closes the popup window and returns to the previous page.

7. Move the cursor to an empty Source field, and select FILTER ENV as the modulation source.

8. Move the cursor to the Destination field, and select CUTOFF as the modulation destination.

9. Make sure that the Note/Kg field is set to ALL, move the cursor to the Depth field, and set the modulation depth.

10. When you have finished making settings, press the [WINDOW] key.

You will return to the Edit 1 page. Now you can use the ﬁlter envelope to control the cutoff. If necessary, readjust the parameters of the FILTER block while you play the sound.

In this way when you want to use the env elope or LFO etc. to modulate the pitch, ﬁlter (tone color), or amp (volume), simply access the Program Modulation popup window and specify the Source (modulation source), Destination (modulation destination), and Depth (modulation depth). A wide range of parameters are available as the modulation source and modulation destination. By taking advantage of these, you can create highly sophisticated sounds.

Note: The PITCH block Tune ﬁeld is the same parameter as the identically-named ﬁeld of the Pitch page. Also, the AMP block Level, Out, FX Send, and Send ﬁelds are respectively the same parameters as Level, Out, FX, and Send ﬁelds of the Key Group Mix page.

11. Press the [F4] key (EDIT 2).

The Edit 2 page will appear, where you can set the LFO and AUX envelope parameters.

345

A Mod ﬁeld: Indicates the modulation number

(1–64). You can move the cursor to this ﬁeld and turn the [JOG] dial to scroll the list.

B Source ﬁeld: Selects the modulation source

(modulation wheel, envelope, velocity , LFO1, LFO2, etc.).

C Destination ﬁeld: Selects the modulation

destination parameter (AMPLITUDE, PAN, PITCH, etc.).

D Note/Kg ﬁeld: Selects the key group/note

number whose depth (5) you will set. If you select ALL, you can set the depth of all key groups at once.

A LFO1 block: Sets the LFO1 parameters (rate,

depth, delay, etc.).

B LFO2 block: Sets the LFO2 parameters (rate,

depth, delay, etc.).

C AUX ENV block: Sets the AUX envelope

parameters.

12. Move the cursor to the LFO1 blink, and edit the LFO1 parameters.

The ﬁelds of the LFO1 block edit the following parameters.

Using zones

Wave ﬁeld: Selects the LFO waveform from TRIANGLE (triangle wave), SINE (sine wa v e), SQUARE (square wave), SAW UP (upward sawtooth wave), SAW DOWN (downw ard sawtooth wave), and RANDOM (random change).

Depth ﬁeld: Speciﬁes the LFO output level. Rate ﬁeld: Speciﬁes the LFO frequency. Delay ﬁeld: Speciﬁes the time from when you press a key until the LFO is applied. Phase ﬁeld: Adjusts the location at which the LFO cycle will begin. The vertical dotted line will move

according to this setting. Shift ﬁeld: Offsets the LFO level upw ard or downward. The horizontal line will move according to this

setting. Sync ﬁeld: Speciﬁes whether the LFOs of each voice in the same program will be synchronized with

each other. MIDI sync ﬁeld: Speciﬁes whether the LFO frequency will be synchronized to MIDI clock messages

received from an external device.

Beat ﬁeld: Speciﬁes the LFO cycle when MIDI sync is ON. Re-trigger ﬁeld: Speciﬁes whether the waveform will re-start from the beginning at each note-on.

13. When you have finished editing the LFO1 parameters, press the [WINDOW] key with the cursor located in the LFO1 block.

The Program Modulation popup window will appear.

Note: In or der to use LFO1, you must set the modulation source, modulation destination, and modulation depth in the Program Modulation popup window. Be aware that simply editing the settings of the LFO1 block parameters will not produce an effect.

14. Move the cursor to an empty Source field, and select LFO1 as the modulation source.

15. Move the cursor to the Destination field located at the right, and select PITCH as the modulation destination.

16. Move the cursor to the, and specify the depth of modulation.

17. Press the [WINDOW] key to return to the Edit 2 page.

Now LFO1 will apply vibrato to the sample. If necessary , re-adjust the parameters of the LFO1 block while you play the sound.

Note: The Depth ﬁeld of the LFO1 block corresponds to the LFO1 output level, and the Depth ﬁeld of the Program Modulation popup window corresponds to the sensitivity of the modulation destination. This means that if the Depth ﬁeld is set to zero for either of these, LFO1 will not produce any effect.

Using zones

In the preceding pages, we created a program by assigning a sample only to zone 1 of a key group/note number. However, the programs of the MPC4000 actually allow you to use four zones for each key group/note number.

This section explains how you can assign a sample to zone 2 of each key group/note number , and use v elocity to switch between zones 1 and 2.

1. Record the samples that you want to assign to zone 2. (You can either record new samples into memory, or load them from a storage device.)

For details on how to record or load samples, refer to chapter 8.

2. In the Key Group Mix page, Pitch page, or Edit 1/2 page, press the [F6] key (ZONE).

The Zone page will appear. In this page you can assign samples to zones 1–4 and edit parameters for each zone.

Chapter 9—Creating and editing programs

2567 8

A Note/Kg ﬁeld: Selects the key group/note

number that you will edit.

B Edit ﬁeld: Selects the editing method for the

1 3

key group.

C Zone ﬁeld: Indicates the zone numbers. D Sample ﬁeld: Selects the sample that will be

assigned to each zone.

KL MNO

Note: The sample that you select in the Key Group Mix page will always be assigned to zone 1 of the corresponding key group/pad number. You must use this ﬁeld to assign samples to zones 2–4.

E Level ﬁeld: Speciﬁes a relative adjustment to the level of each zone. F Pan ﬁeld: Speciﬁes a relative adjustment to the pan of each zone when stereo playback is used. G Out ﬁeld: Speciﬁes the output destination of each zone. If you select MULTI, the settings of the multi

will be used.

H Range ﬁeld: Speciﬁes the note range of each zone when you use a speciﬁc modulation source to switch

the zone that will sound.

I X-fade curve ﬁeld: Selects the curve of change that will be used when crossfading between zones is

turned on.

J Zone X-fade ﬁeld: Speciﬁes whether crossfading between zones will occur when you change zones. K Tune ﬁeld: Speciﬁes a relative adjustment to the tuning of each zone. L Pitch ﬁeld: Speciﬁes whether the pitch of the sample assigned to each zone will rise or fall according

to the keyboard position (TRACK) or will be the same pitch regardless of the note you play (CONS).

M Play mode ﬁeld: Selects one of the following playback methods for the sample assigned to each zone.

ONE SHOT: The sample will play from the start point to the end point when you press the key once. NO LOOP: The sample will play from the start point to the end point without looping. If you release

the pad (key) during this time, the playback will stop at that point. LOOP: When you press the pad (key), the sample will begin playing from the start point, and will con-

tinue looping as long as you hold down the pad (key). When you release the pad (key), the sample will play to the end point and then stop.

NOTE OFF: The sample will play in one-shot mode when a note-off message is received.

N Filter ﬁeld: Speciﬁes a relative adjustment to the ﬁlter cutoff of each zone. O Start ﬁeld: Speciﬁes a relative adjustment to the start point for the sample of each zone.

3. Move the cursor to the Note/Kg field, and select the key group/note number to which you want

to add a sample.

4. Move the cursor to the Sample field of zone 2, and select a sample.

This will assign a sample to zone 2. The settings of the Key Group Mix, Pitch, and Edit 1/2 pages are common to all zones, so you do not need to make them again.

5. If necessary, edit the other parameters in the Zone page to make fine adjustments to the level, pan, and filter offset for each zone.

Note: Remember that the values of the ﬁelds in the Zone page (except for Output, Range, Pitch, Play mode) are relative adjustments. The values common to the entire key group/pad number can be edited in the Key Group Mix, Pitch, and Edit 1/2 pages.

6. In the same way, assign a new sample to zone 2 of the other key groups/note numbers.

7. When you have finished assigning all the desired samples, move the cursor to the Range field of zone 1, and set the value to 000–063.

8. Move the cursor to the Range field of zone 2, and set the value to 064–127.

9. Leave the cursor at the Range field, and press the [WINDOW] key.

The Program Modulation popup window will appear.

10. Move the cursor to an empty Source field, and select VELOCITY as the modulation source.

11. Move the cursor to the Destination field at the right, and select ZONE SELECT as the modulation

destination.

12. Move the cursor to the Depth field, and set the value to 100.

13. Press the [WINDOW] key.

You will return to the Zone page. Now you can use velocity to switch between zones for all key groups/pad numbers. Make ﬁne adjustments to the Range ﬁeld while striking the pads or playing your MIDI keyboard.

Other settings

Here’s how to make settings that affect the entire program, such as MIDI transpose and bend range.

1. In the List page, press the [F3] key (MISC.).

The MISC. page will appear. In this page you can make settings that are common to the entire program.

2. Move the cursor to the MIDI block, and set the following fields.

Transpose ﬁeld: Specify the transpose value for the program. This value affects only the MIDI notes that

are received; it does not affect the pitch of the samples.

Polyphonic notes ﬁeld: Specify the number of notes that the program will be able to play. Reassignment ﬁeld: As the processing mode that will be used when you have used up the available

polyphony , select either QUIET (notes will be turned off starting with the note whose level is lowest) or OLDEST (notes will be turned off starting with the oldest note).

Mono legato ﬁeld: Specify what will happen when you play two keys legato. If you select OFF, both notes will play normally (polyphonically). If you select PITCH, the program will be in mono mode (you will not be able to play chords); playing two keys legato will cause only the pitch to change without triggering the second note.

Portamento ﬁeld: Switch portamento on/off.

3. Move the cursor to the BEND block, and set the following fields.

Bend up ﬁeld: Specify the amount of pitch change (in semitones) that will occur when you move the

pitch bend controller all the way away from yourself. Bend down ﬁeld: Specify the amount of pitch change (in semitones) that will occur when you move the

pitch bend controller all the way toward yourself. Bend mode ﬁeld: As the mode of operation that will occur when pitch bend messages are received,

select either NORMAL (pitch bend will be received even while the note is sounding) or HELD (pitch bend will be received before the note sounds, but not while the note is sounding).

Aftertouch ﬁeld: Adjust the depth to which aftertouch (pressure) will modulate the pitch. Type ﬁeld:

Other settings

A MIDI block: Here you can set the transposi-

tion for the entire program, the polyphony , the processing mode that will be used when the MPC4000 runs out of voices, and portamento on/off.

B BEND block: Here you can make settings for

pitch bend and aftertouch.

C SCALE block: Here you can select the scale

(equal-tempered, Werckmeister, etc.) used by the program.

D SOFT PEDAL block: Here you can specify

what will occur when you press the soft pedal.

As the type of aftertouch, select either CHANNEL (channel pressure) or POLY (key pressure).

Saving or loading programs

The following pages explain how to sa ve or load programs (or samples and programs) to and from a storage device.

Saving programs

Here’s how you can save one program or multiple programs (or samples and programs) from memory to an internal or external storage device. When you turn off the power, all programs and samples in the MPC4000 will be lost, so you must use the Save procedure described here to sa ve your programs if you w ant to keep them.

Chapter 9—Creating and editing programs

1. Press the [SAVE] key.

The Save page will appear.

2. Move the cursor to the Type field, and turn the [JOG] dial to select SAVE PROGRAMs.

A display like the following will appear.

2 6

3 1

G Program list ﬁeld: Lists the names and types of the programs currently in memory. Newly created pro-

grams or programs that you have edited after they were last loaded or saved will be indicated by a * symbol in front of their name.

H Data size: Indicates the size of the program data.

3. If you want to save a single program, move the cursor to the program list field, and select the desired program.

4. If you want to save multiple programs in a single operation, move the cursor to the Tag field, and assign a tag to each program you want to save.

5. Move the cursor to the Disk field, and turn the [JOG] dial to access the Disk List popup window.

In this popup window you can select the save-destination storage device.

12 34

A Disk information: Indicates the storage

B Type ﬁeld: Selects the type of data that will

C Disk ﬁeld: Selects the save-destination stor-

D Save ﬁeld: Indicates the folder within the

E File list block: Shows the folder hierarchy

F Tag ﬁeld: This ﬁeld lets you tag individual

A Media ﬁeld: Indicates the type of the storage

B Name ﬁeld: Indicates the volume name of

C Device ﬁeld: Indicates how the storage

D Free ﬁeld: Indicates the amount of free space

device that is currently selected for operations.

be saved.

age device.

save-destination storage device.

within the selected storage device.

programs. Use this when you want to store the tagged programs in a single operation. Move the cursor to this ﬁeld, and turn the [JOG] dial to switch the tags on/off.

device.

the storage device.

device is connected.

on the storage device.

6. Move the cursor to the storage device on which you want to save the data, and press the [F6] key (SELECT).

That storage device will be selected, and the popup window will close.

7. Move the cursor to the save-destination folder in the file list block.

Use the CURSOR[ [

]/[†] keys to select a folder within the same level of the hierarchy. When you select the save-destination

folder, that folder name will be displayed in the Save ﬁeld.

Hint: By pressing the [F3] key (NEW) you can create a new folder in the current level. The ﬁle you save will be saved within the folder that is selected in the left side of the ﬁle list (the level displayed at the right).

■ To save a single program

8. If you are saving a single program, make sure that the desired program is selected in the program list field, and then press the [F6] key (DO IT).

The Save a Program popup window will appear.

√

]/[®] keys to move upward or do wnward in the folder hierarchy , and use the CURSOR

Akai MPC4000 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

1 Parts and their functions

Parts and their functions

Top panel

Upper part of the top panel

Q-LINK section

Pad section

Data entry section

Mode section

Control section

Rear panel

Front panel

Audio/MIDI connections

Connecting USB devices

Connecting SCSI devices

2 Introducing the MPC4000

How the MPC4000 is structured

Sampler section

Samples

Programs

Sequencer section

Tracks and sequences

Pad section

Pads 1–16

Pad banks

About the memory of the MPC4000

Basic operation on the MPC4000

Switching modes

Accessing a page

Operating the function keys

Editing a value

Accessing a popup window

Editing a name

Playing a program

3 Creating and editing a sequence

About sequences

Preparations for creating a sequence

Realtime input

Realtime-recording a drum program

Realtime-recording a key group program

Auto punch-in/out

Step recording

Editing a track

Using the Graphic Editor to edit

About the editing commands

Using the event list

Copying a track

Deleting a track

Editing a sequence

Copying a sequence

Deleting a sequence

Viewing the parameters of all tracks

Saving and loading a sequence

Saving all sequences/songs

Saving a single sequence

4 Creating and editing a song

About songs

Creating a song

Editing a song

Deleting a song

Converting a song into a sequence

5 Using multis and parts

About parts

About multis

Editing part parameters

Assigning a program to a part

Adjusting the mix parameters of a part

Setting the receive MIDI port/MIDI channel of a part

Adjusting the note range of a part

Adding or deleting a part

Creating a multi

Copying a multi

Deleting a multi

Saving or loading a multi

Saving a multi

Loading a multi