Akai MPC-60 Operator’s Manual
MPC60 Software Version 3.1
Operator’s Manual
For the Akai MPC60 and MPC60-II
MIDI Production Center
Written by Roger Linn and David Battino
Document revision date: January 22, 2002
Copyright 1995-1999 Roger Linn Design
Roger Linn Design
2269 Chestnut St. Suite 602, San Francisco, CA 94123
Phone: (415) 474-0903
Fax: (415) 474-1118
E-mail: Mail@RLinnDesign.com
Web: www.RLinnDesign.com
Table of Contents
Chapter 1: Introduction............................................................................................................. 1
Welcome!........................................................................................................................2
What Are the New Features in Version 3.1?.................................................................. 3
Chapter 2: The Basics............................................................................................................... 9
Hooking Up Your System ............................................................................................... 10
Getting Around on the MPC60 ....................................................................................... 11
The Cursor, Cursor Keys, Data Fields, and Command Keys ........................... 11
The Numeric Keypad, Data Entry Knob, and [+] & [–] Keys ............................. 12
The Soft Keys .................................................................................................... 13
The HELP key ................................................................................................... 13
‘Definitions: Sequence, Track, Song, Sound, Pad, Note Number, and Program’.......... 14
Loading and Playing Sounds and Programs.................................................................. 17
Playing the Pads, the BANK 2, & FULL LEVEL Keys ....................................... 18
Selecting Programs ........................................................................................... 18
The Note Variation Slider (the new name for the Hihat Decay Slider) and
AFTER key.................................................................................................. 19
The 16 LEVELS key .......................................................................................... 21
Chapter
Chapter 4: Editing Sequences ................................................................................................. 65
3: Recording Sequences............................................................................................ 25
How Sequences are Organized ..................................................................................... 26
The MAIN SCREEN Key & Play/Record Screen ........................................................... 27
The Play/Record Keys.................................................................................................... 34
‘Sequence Recording Example 1: A Looped Drum Pattern’ .......................................... 37
‘Sequence Recording Example 2: A Multitrack Sequence’............................................ 39
‘The TIMING CORRECT Key: Correcting Timing Errors, Swing Timing’....................... 43
The Note Repeat Feature.................................................................................. 45
Tempo and the TEMPO/SYNC Key ............................................................................... 47
Mid-Sequence Tempo Changes........................................................................ 50
The TAP TEMPO Key ....................................................................................... 51
The WAIT FOR KEY and COUNT IN Keys .................................................................... 53
The AUTO PUNCH Key .................................................................................................54
The 2nd SEQ Key........................................................................................................... 56
The OTHER Key............................................................................................................. 57
Metronome, Foot Switches, and Free Sequence Memory................................ 57
Initializing System Parameters .......................................................................... 60
‘The Record 16 Channels Function: Multichannel Recording’.......................... 60
Recording MIDI System-Exclusive Data ........................................................................ 64
The ERASE Key ............................................................................................................. 66
Erasing Notes in Real Time While in Overdub Mode........................................ 66
Erasing Notes or Other Events While Stopped ................................................. 66
Initializing a Sequence ...................................................................................... 68
The EDIT Key ................................................................................................................. 71
Viewing and Changing Time Signature............................................................. 71
Rearranging the Track Order ............................................................................ 72
Inserting Blank Bars Into a Sequence............................................................... 73
Deleting Bars From a Sequence ....................................................................... 73
Copying Bars (All Tracks).................................................................................. 74
Copying Events ................................................................................................. 75
Copying an Entire Sequence to Another........................................................... 77
Shifting the Timing of Many Notes .................................................................... 78
Global Editing of Note Event Data..................................................................... 79
Editing Note Velocity or Duration Data................................................. 80
Editing Note Number Assignment of Drum Note Events ..................... 82
Editing Note Variation Data of Drum Note Events ............................... 83
The STEP EDIT Key....................................................................................................... 85
Using Step Edit.................................................................................................. 86
Step Edit Event Types ....................................................................................... 87
Step Edit Options............................................................................................... 91
Step Recording.................................................................................................. 94
The EDIT LOOP Key ...................................................................................................... 95
Using Edit Loop as an Undo Function............................................................... 96
The TRANSPOSE Key ................................................................................................... 97
Transposing in Real Time While Playing .......................................................... 98
Chapter 5: Song Mode ..............................................................................................................99
Overview......................................................................................................................... 100
The SONG MODE Key and Song Mode Screen............................................................ 101
An Example of Creating and Playing a Song ................................................................. 104
Converting a Song Into a Long Sequence .....................................................................106
Chapter 6: Creating and Editing Programs............................................................................. 107
What Are Programs? ...................................................................................................... 108
Selecting the Active Program, Assigning Sounds .......................................................... 111
Envelope, Velocity Modulation, Tuning, Poly Mode ....................................................... 116
Copying and Initializing Programs.................................................................................. 119
Chapter 7: The DRUM MIX Key................................................................................................. 123
The Stereo Output Mixer ................................................................................................ 124
The Individual Outputs/Echo Send Mixer....................................................................... 126
Viewing the Mix Data in Text Form ................................................................................ 128
Mixer Source Select, Automated Mix ............................................................................. 131
Chapter 8: Creating and Editing Sounds ................................................................................ 135
Sampling a New Sound.................................................................................................. 136
Editing a sound............................................................................................................... 141
Renaming, Copying, and Deleting a Sound ................................................................... 145
Triggering a Sound from an External Signal—the Audio Trigger................................... 148
Stereo Sampling ............................................................................................................. 149
Sound Compression....................................................................................................... 152
Chapter 9: Saving to and Loading from Disk .........................................................................153
Overview......................................................................................................................... 154
Saving Files .................................................................................................................... 156
Saving a SEQ File (Single Sequence) ..............................................................156
Saving an ALL File (All Sequences and Songs) ............................................... 157
Saving a SND File (Single Sound) .................................................................... 158
Saving a PGM File (Single Program & Sounds) ............................................... 159
Saving an APS File (All Programs and Sounds) ............................................... 161
Saving a PAR File (System Parameters) .......................................................... 163
Loading, Erasing, or Renaming Files ............................................................................. 165
Loading a SEQ File (Single Sequence) ............................................................ 167
Loading an ALL File (All Sequences and Songs).............................................. 169
Loading a SND File (Single Sound) ..................................................................170
Loading a PGM File (Single Program and Sounds).......................................... 170
Loading an APS File (All Programs and Sounds) ............................................. 172
Loading an MPC60 Version 1 or 2 SET or ST1 File ......................................... 172
Loading a PAR File (System Parameters) ........................................................176
Files That Automatically Load on Power-Up ..................................................... 176
Saving and Loading MIDI Files ...................................................................................... 177
Copying an Entire Floppy Disk ....................................................................................... 181
Formatting a Floppy Disk................................................................................................ 182
Floppy disk errors ........................................................................................................... 183
Using the Marion Systems MPC-SCSI Interface for External Hard Disk Storage ......... 184
Formatting a SCSI hard disk ............................................................................. 184
Making a SCSI Hard Disk Active....................................................................... 186
Chapter 10: Syncing to Tape and Other Devices ................................................................... 189
The SYNC Screen .......................................................................................................... 190
Syncing to Tape and Other Devices: Examples............................................................. 197
Syncing to MIDI Clock ....................................................................................... 197
Syncing to SMPTE ............................................................................................ 197
Syncing to MIDI Time Code .............................................................................. 199
Syncing to FSK24.............................................................................................. 200
Syncing to 1/4-note Clicks................................................................................. 201
Chapter 11: MIDI Functions...................................................................................................... 203
Assigning Pads to Note Numbers .................................................................................. 204
MIDI Receive Channel, Local Mode, Soft Thru, Note Variation Controller Assign
and Sustain Pedal Processing................................................................................. 206
MIDI Input Filter .............................................................................................................. 209
Using the MPC60 with External Sequencers ................................................................. 212
Turning All Notes Off ...................................................................................................... 213
The MIDI Implementation Charts ................................................................................... 214
Appendix ....................................................................................................................................217
Technical Specifications of Akai MPC60........................................................................ 218
Answers to Frequent Questions ..................................................................................... 220
Contents of Disk Files..................................................................................................... 223
MPC60 Options .............................................................................................................. 227
Expanding the Sound Memory .......................................................................... 227
The SCSI Hard Disk Option .............................................................................. 227
Using Version 3.1 Software in the Akai ASQ10 Sequencer........................................... 228
Index ........................................................................................................................................... 229
Chapter 1:
Introduction
Chapter 1: Introduction
Welcome!
Since its release in 1988, the Akai MPC60 MIDI Production Center has
earned a reputation not only as the world’s greatest drum machine but
also as a powerful sequencer for those who desire an alternative to the
complexity and confusion of computer sequencers.
In developing the successor to the MPC60 — the new MPC3000 — we
expanded the MPC60’s popular features, added many new ones, and
reworked some concepts to make them more powerful, efficient, and
intuitive. While the MPC3000 also offers significant hardware
improvements, the good news is that we were able to port much of its
advanced software back into the MPC60. We think you’ll find that the
Version 3.1 software will greatly enhance your music making.
Since the advent of sequencers I have tracked their evolution with great
interest, and in my view, sequencers have evolved to a point where they
are now a legitimate instrument on their own. Many of today’s musicians
could be better described as sequencer players than as keyboardists or
guitarists. Album credits often read “programming by...” to denote a
musician who has used a sequencer to create the backing track for a
recording. These new musicians think and compose in terms of total
arrangement as opposed to single instruments. In many ways, the
sequencer’s panel and display screens are their strings and keys,
allowing them to reach heights of creativity never before possible.
In this light, I like to think of the MPC60 as the piano or violin of our time,
and of you as an MPC60ist. In the same way a violinist’s style is
identified by his or her vibrato and phrasing, your MPC60 virtuosity may
be identified by your particular swing settings, your creative use of Note
Repeat, or your real-time use of the Note Variation feature. As an
MPC60ist, if you find the instrument useful in your creative process,
please let the world know. Next time you perform on a recording, ask to
be credited not with, “Keyboards played by...” or “Programming by...” but
rather with, “MPC60 played by....”
Thanks for your continued support of the MPC60. I hope you enjoy
playing it as much as we have enjoyed developing it.
Page 2
Chapter 1: Introduction
What Are the New Features in Version 3.1?
The MPC60 Version 3.1 software contains many changes and
improvements over version 2. The major changes are listed below.
Sound Generator Changes
• The former 4.5 second limit on new samples has been eliminated.
New samples may now be as long as available memory, up to 26.2
seconds in an expanded MPC60. Also, it is no longer necessary to
erase all sequence memory before sampling.
• You may now sample stereo sounds. This accomplished by first
sampling one side of the stereo sound, then afterwards sampling the
other side. Then, a new feature resynchronizes these two mono
sounds and converts them into a single stereo sound.
• The new Sound Compression feature squeezes any sound into ½
the memory space, at the expense of lower treble fidelity. If all
sounds in memory are compressed, this effectively doubles available
sound memory.
• You may now load all MPC3000 disk files, including stereo sounds.
However, the MPC60 cannot read the high-density MPC3000-format
disks. To read MPC3000 files, they must first be saved from an
MPC3000 onto an MPC60-format disk.
• Total sound capacity is increased from 34 to 128 sounds.
• The new programs system of sound assignment allows all sound
assignments to be instantly changed merely by changing the active
program number, instead of by loading a new SET file as before.
There are eight programs, each with a unique set of sound
assignments from a common bank of 128 sounds. Unlike SET files,
saving a program to disk only saves assignment and parameter
information; the sounds used by the program are saved as individual
sound files. This allows multiple programs to be saved to the same
disk without redundantly saving sound data as SET files did.
• New Mono Mode parameter causes a voice to restart, terminating
earlier plays. Also, any sound can be set to terminate any two other
sounds.
• Sample editing is enhanced. Now, any portion of a sound can be
copied or removed and then inserted into another sound at any
location. Also, any portion can be silenced or reversed.
• The Double Play feature has been removed. Instead, up to three
sounds can be assigned to play from an incoming MIDI note number
or pad. The sounds can either play simultaneously, switch
depending on note velocity, or switch depending on envelope decay
(to simulate the old hi-hat decay slider function).
• The Best Start feature automatically finds the point within a sound at
which the drum strike begins, bypassing any dead space at the
beginning of the sound which could cause playback delays.
• The envelope decay parameter is now switchable between two
modes: END (same as the old Fadeout parameter) and START
(decay begins immediately following attack).
Page 3
Chapter 1: Introduction
Sequencer Changes
• MIDI Files are now supported, allowing you to move your sequences
between the MPC60 and an external computer sequencer.
• In Step Edit, the REWIND [<] and FAST FORWARD [>] keys can
now be used to search to the previous or next event within a track.
• In Step Edit, events can be cut and pasted by changing the function
of Soft Keys 1 and 2 from <Insert> and <Delete> to <Paste> and
<Cut>.
• The number of pad banks has been increased from two to four for a
total of 64 pad/bank combinations. The active pad bank is indicated
by a letter (A–D) at the top right of the LCD screen. Also, check the
BANK 2 light: it’s off for bank A and on for banks B–D.
• In drum tracks, drum notes are now assigned to MIDI note numbers
instead of to pads. This provides easier compatibility with external
MIDI devices and allows pad assignments to be rearranged without
affecting sequence or program data. MPC60 Version 2 sequences
are automatically converted from pad assignment to note number
assignment when loaded.
• The Hi-hat Decay Slider has been renamed the Note Variation
Slider, since it can now generate a unique value of either decay,
tuning, or attack for every note, and can be assigned to any pad.
• The 16 Levels function can now provide 16 levels of velocity, tuning,
attack, or decay for every note.
• The Copy/Merge a Track feature (renamed Copy Events )now
permits specific drum notes to be copied.
• The Change Velocity/Duration feature now allows specific drum
notes to be edited.
• The new Shift Timing feature shifts track timing independently of
timing correction.
• The new Edit Note Number Assignment feature permits reassigning
specific drum notes from one note number (instrument) to another.
• The Count In feature can now be set to activate only before
recording.
• The Punch In feature can now be set to Punch-In Only or Punch-Out
Only.
• New MIDI Local Mode internally disconnects the pads from the
sound generator. This is useful when using the pads and sound
generator with external sequencers.
General Changes
• Hard disk save and load operations are now included. (This requires
a SCSI interface kit available from Marion Systems. See appendix
for more information.)
• In order to make room in ROM memory for the new features, we had
to remove all of the help screens, as well as three underused
features: MIDI Sample Dump (SDS), Pulse 96 sync and the “data
changed” indicator above the DISK key.
Page 4
New Software Concepts — More Detail
Most of the operational differences between the old and new software
should be relatively simple for veteran MPC60 users to understand, but
some changes are more complex than others. Here is additional
information about the more complex changes.
The new Programs system
Version 3 software uses a new system of sound assignments called
programs. A program is a set of 64 sound assignments and sound
modifying parameters. There are eight different programs, each with a
unique set of sound assignments to a common bank of up to 128 sounds
in memory. Only one program can be active at a time. As result of this
new system, changing a pad’s assignment from one sound to another is
done merely by changing the contents of a data field. Changing from one
entire set of sound assignments to another is done by changing the
active program number. In addition to the sound assignments, each
program contains a unique set of sound modifying parameters for each
sound assignment. These parameters include envelope, tuning, velocity
modulation, and other data. This is explained further in Chapter 6,
“Creating and Editing Programs.”
SET files are replaced by the new Program files.
In the old software, all sounds and sound assignments were saved in
one large SET file. In order to change all pad assignments, it was
necessary to load a new SET file. Because of Version 3’s new Program
system of sound assignments, SET files have been replaced by PGM
(program) files. A PGM file contains all assignment information but no
sound data. Instead, when a PGM file is saved, all sounds used by the
program are also saved as individual sound files. This new method
allows different PGM files on the same disk to use the same sound files,
eliminating the problem of saving sound data redundantly in multiple SET
files. However, SET files can be loaded—the assignments are loaded
into a program and the sounds are added to sound memory.
There is another new save operation called Save All Programs and
Sounds. This saves a file with the extension APS containing the data of
all eight programs, followed by a sound file for every sound currently in
memory.
Saving of PGM and APS files is explained further in chapter 9, “Saving
To and Loading From Disk.”
Sounds and sequenced drum notes are now assigned to note
numbers instead of to pad names.
In the old software, sounds and sequenced drum notes were assigned to
one of a number of fixed drum pad names (HIHT, SNR1, DR01, etc.) In
Chapter 1: Introduction
Page 5
Chapter 1: Introduction
Version 3, sounds in programs and drum notes in sequences are
assigned instead to one of 64 MIDI note numbers (35–98), as are each
of the 64 pad/bank combinations (A01–D16). The fixed four-character
drum names are no longer used. This new note number assignment
method provides the following advantages over the old pad-assign
method:
1. Because pads are assigned to MIDI note numbers
independently of sound assignments in programs or note
assignments in drum tracks, the pad assignments can be
freely rearranged to personal preference without affecting
sequences or sound assignments.
2. When using the MPC60 as a sound generator, it is no longer
necessary to use the old “Assign incoming notes to pads”
conversion table, which has been removed. Instead, simply
assign the received MIDI note number directly to a sound.
3. Notes can be recorded from MIDI directly into drum tracks
without the need for the old “Assign incoming notes to pads”
conversion table, which has been removed. Now, when
viewing a drum note in Step Edit, the actual MIDI note
number received is displayed, as well as the currently
assigned pad number (A01–D16) and sound name.
4. Drum notes are sent out over MIDI without the need for the
old “Assign pads to outgoing note numbers” conversions, a
function which has been removed. When viewing a drum note
in Step Edit, the actual MIDI note number displayed is sent
out.
When old SEQ or ALL files are loaded, a screen is presented explaining
that the pad assignments of drum notes will be converted to note number
assignments and offering conversion options.
For a more detailed explanation of how Version 3 uses note numbers,
please refer to the beginning of chapters 6 and 11, “Creating and Editing
Programs” and “MIDI Functions.”
Assigning tracks as either Drum or MIDI
In the old software, a track was assigned to drums by assigning its
output MIDI channel to the Drums Channel, which is the input MIDI
channel of the internal sound generator. In Version 3, assigning a track
to drums is simpler: a new data field in the Play/Record screen permits
each track to be assigned as either DRUM or MIDI. MIDI tracks contain
normal MIDI data recorded from the MIDI input and played out through
the MIDI outputs. Drum tracks are the same as MIDI tracks except for
the following:
1. The output of the track plays to the internal drum sound
generator.
2. You can record drum notes into the track using the front panel
pads.
3. In sequence editing screens, note events in Drum tracks are
visually identified and selected not by note number only as in
Page 6
Chapter 1: Introduction
MIDI tracks, but also by the pad number and sound name
currently assigned to the displayed note number.
4. Drum tracks are not affected by the Transpose function.
Independently, each track (DRUM or MIDI) can be assigned to any MIDI
channel and MIDI output port. As a result of this change, the old Drums
Channel and Drum Data Sent Out fields have been removed.
New Note Variation system and revised 16 LEVELS function
In the old software, the Hi-hat Decay Slider controlled decay time and
sound selection for the hi-hat pad only. In Version 3, the new Note
Variation Slider provides all functions of the hi-hat decay slider, but can
be assigned to any pad and can alternately control either tuning, attack
or decay. As with the Hi-hat Decay Slider, this information is recorded
into each drum note.
The 16 Levels function does everything it did in the old software. In
addition, it can produce 16 levels of either attack or decay by working in
conjunction with the Note Variation system.
Delete Bars and Copy Bars: Last bar field has different function than
old To bar field
In the Delete Bars function, the Last Bar field now contains the actual
last bar of the region to be deleted. This is different from the old To Bar
field, which contained the first bar after the region to be deleted.
In the Copy Bars function, the Last Bar field now contains the actual last
bar of the region to be copied. This is different from the old To Bar field,
which contained the first bar after the region to be copied.
Page 7
Chapter 2:
The Basics
Chapter 2: The Basics
Hooking Up Your System
The following diagram shows how to hook up the MPC60 to a MIDI
keyboard and two sound modules. (Note that the MIDI OUT jacks on
older MPC60s are labeled 1–4, not A–D.)
MPC60
TO AUDIO CONSOLE
TO
POWER
WARNING: SHOCK HAZARD - DO NOT OPEN !
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR!
VORSICHT : BERUHRUNGSGEFAHR - HICHT OFFNEN!
CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT
REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
POWER
AC 120V 60 HZ 40W
ON OFF
FOOT SW LEVEL
12 IN
OUT
MIDI OUT MIDI IN
RS-232C
SYNCMETRO
OUT
MIN MAX
MIDI OUT
D---C---B---A
MULTI TIMBRAL MIDI KEYBOARD
MULTI TIMBRAL MIDI SOUND MODULE
MIDI IN
2—1
MIDI OUT
AKAI ELECTRIC CO., LTD.
MODEL NUMBER MPC60
MADE IN JAPAN
GAIN
HI MID LO
• • •
8 7 6 5 4 3 2 1 D C B A 2 1
MIDI IN
WARNING
TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK DO NOT EXPOSE
AC
THIS PRODUCT TO RAIN OR MOISTURE.
RIGHT LEFT
ASSIGNABLE MIX OUT
ECHO
MIN MAX
REC IN
MIDI IN
LEVEL
MIX OUT RIGHT LEFT
STEREO OUTRETURN IN
MIDI IN
MULTI TIMBRAL MIDI SOUND MODULE
If you only want to use the MPC60 as a drum machine for now, don’t
connect the MIDI keyboard, the sound modules, or make any MIDI
connections. If you choose to make the MIDI connections, you can daisy
chain all of the sound generators to MIDI Output A of the MPC60.
(Connect MIDI Out A of the MPC60 to the MIDI in of the keyboard;
connect the keyboard’s MIDI thru to the MIDI in of the first sound
generator; and connect its MIDI thru to the MIDI in of the next sound
generator.) This method of connection, however, will limit the total
number of MIDI channels on all sound generators to 16. By using the
four independent MIDI outputs shown in the connection method above,
you can use all 16 MIDI channels on each of the four MIDI Outputs.
Page 10
Getting Around on the MPC60
Before you can use the MPC60, you must learn how to use the cursor
keys, data fields, command keys, the data entry keys and data entry
knob, the soft keys and the HELP key.
While no disk is in the drive, turn the power on. After a few seconds, the
LCD screen will display the following text:
============== Play/Record ============A
Seq: 1-(unused) BPM:120.0 (SEQ)
Sig: 4/ 4 Bars: 0 Loop:TO BAR 1
============== Track Data ==============
Trk: 1-(unused) Type:DRUM On:YES
Chn:OFF-(off) & OFF Vel%:100 Pgm:OFF
===== Now:001.01.00 (00:00:00:00) ======
<Tk on/off> <Solo=OFF> <Track-> <Track+>
Chapter 2: The Basics
This is known as the Play/Record screen, as indicated by the title at the
top of the screen. It’s also known as the Main Screen. It is the main
operating state of the MPC60 and most playing and recording of
sequences is done when this screen is in view. It will be discussed
further in the chapter entitled “Recording Sequences.” If at any time
while operating the MPC60 you are confused and want to return to this
screen, press the MAIN SCREEN key.
COMMENT: If you can’t clearly see the text on the screen, try
adjusting the LCD CONTRAST knob.
The Cursor, Cursor Keys, Data Fields, and Command Keys
Make sure that the Play/Record screen is showing. If not, press MAIN
SCREEN.
Notice that a small rectangular block is blinking somewhere on the
screen. This is called the cursor. It is possible to move the cursor
around the screen using the four gray direction keys located toward the
right side of the panel. These four keys are referred to as the CURSOR
LEFT, CURSOR RIGHT, CURSOR UP and CURSOR DOWN keys. Try
moving the cursor around the LCD, then move it to the upper left corner.
Notice that the cursor does not move from letter to letter, but rather
jumps across many letters at a time, landing only in certain locations,
usually to the right of a colon (:). These areas are called data fields and
each one controls a specific parameter. For example, the upper left-most
data field is called Seq, an abbreviation for sequence. To the right of this
field is another field containing the name for the selected sequence.
Page 11
Chapter 2: The Basics
The Play/Record screen is one of many display screens available on the
MPC60. Most of the panel keys present a unique screen, and each
screen has its own unique data fields. Try pressing a few of the different
keys in the Commands section of the panel, such as DISK or
TEMPO/SYNC.
The Numeric Keypad, Data Entry Knob, and [+] & [–] Keys
Make sure that the Play/Record screen is showing. If not, press MAIN
SCREEN.
To change the data in a data field, move the cursor to the field and type
in the new number using the numeric keypad, followed by ENTER. For
example, to change to sequence number 2:
1. Move the cursor to the Seq field in the upper left corner;
2. Type 2, followed by the ENTER key.
Notice that the sequence name (located immediately to the right of the
sequence number) now changes automatically, because it must now
display the name of sequence 2.
Another use of the numeric keypad is to select from a list of menu
options presented on the screen. For example, pressing the SOUNDS
key causes the following menu to be displayed:
===== Programs ===== ===== Sounds ====A
1.Sel pgm, asn snds 5.Sample new sound
2.Envel,veloc,tune.. 6.Edit sound
3.Note Variation Sldr 7.Renam,cpy,delete
4.Copy, initialize 8.Audio trigger
========================================
Select option:
When a screen like this is displayed, you are expected to select one of
the options by pressing a single number—it is not necessary to press
ENTER afterwards. Press MAIN SCREEN to return to the Play/Record
screen.
Another way of changing on-screen data is to use the data entry knob.
While the cursor is in a data field, if the data entry knob is rotated one
step to the right, the on-screen number will increment. If the data entry
knob is rotated one step to the left, the on-screen number will
decrement. Continuously turning the data entry knob will repeatedly
increment or decrement the on-screen value. It is not necessary to press
ENTER after turning the data entry knob.
There is a special type of data field called a choice field. Fields of this
type do not contain numeric data, but rather a specific number of preset
text selections, though only one can be active at a time. In this case, the
Page 12
Chapter 2: The Basics
data entry knob is used to select from the available options. For
example, press the OTHER key and move the cursor to the Rate field,
which is a choice field. Now turn the data entry knob and notice that with
each step of the knob, a different preset option appears in the data field.
When finished, set this field back to 1/4 NOTE.
Pressing the [+] key has the same effect as turning the data entry knob
one step to the right. It either increments a number in a numeric field or
chooses the next option in a choice field.
Pressing the [-] key has the same effect as turning the data entry knob
one step to the left. It either decrements a number in a numeric field or
chooses the previous option in a choice field.
The Soft Keys
Make sure that the Play/Record screen is showing. If not, press MAIN
SCREEN.
Below the LCD screen are four keys labeled SOFT KEY 1, SOFT KEY 2,
SOFT KEY 3, and SOFT KEY 4. The functions of these keys change
from one screen to another; these functions are always displayed on the
lowest line of the screen. For example, while the Play/Record screen is
showing, the lowest line appears as:
<Tk on/off> <Solo=OFF> <Track-> <Track+>
The bottom line shows four titles enclosed in angle brackets. The titles
are <Tk On/Off >, <Solo=OFF>, <Track-> and <Track+>. These four
titles indicate the functions of the four soft keys, but only while this
screen is showing. Most of the screen displays in the MPC60 have soft
key functions, and the lowest line of each of these screens indicates the
function of the four soft keys while that screen is showing. You can see
this by pressing the ERASE key, then the TIMING CORRECT key, then
MAIN SCREEN to return to the Play/Record screen. Some screens have
fewer than four active soft keys and some have none.
The HELP key
Sorry, but in order to add all the new features contained in version 3.1,
we had to remove the HELP feature.
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Chapter 2: The Basics
Definitions: Sequence, Track, Song, Sound, Pad,
Note Number, and Program
Here are some definitions of terms used in the MPC60 that you should
know:
Sequence
A sequence can be thought of as a segment of multitrack tape of
variable length. Depending on the sequence contents, it could be a twobar repeating drum pattern, an eight-bar verse, or an entire 200-bar
multitrack composition with time signature and tempo changes. The
MPC60 holds 99 sequences in memory at one time. Normally, only one
sequence can play at one time, unless the Second Sequence feature is
on, which allows two sequences or one sequence and one song to play
simultaneously.
Track
Within each of the 99 sequences are 99 tracks that contain the actual
MIDI events. These can be thought of as the tracks on a multitrack tape
recorder—they each contain a specific instrument or piece of the total
arrangement, but they all play simultaneously. For example, track 1
could be drums, track 2 percussion, track 3 bass, track 4 piano, track 5
horns, track 6 more horns, etc. Each track can be assigned as a Drum
track or a MIDI track, but not both. MIDI tracks contain normal MIDI data
recorded from the MIDI input and played out through the MIDI output.
Drum tracks are the same as MIDI tracks except for the following:
1. The output of the track plays the internal drum sound
generator.
2. You can record drum notes into the track using the front panel
pads.
3. In sequence editing screens, note events in drum tracks are
visually identified and selected not just by note number (as
are MIDI tracks), but also by the pad number and sound
name currently assigned to the displayed note number.
4. Drum tracks are not affected by the Transpose function.
Song
A song is a list of sequences that play consecutively, with each
sequence representing a section of a composition. In the MPC60 there
are 20 songs, each having up to 250 steps. Each step holds one
sequence and can repeat a specified number of times before the song
moves to the next step.
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Chapter 2: The Basics
Sound
Each individual sampled recording in the MPC60 is called a sound. A
sound could be a recording of a single strike of a snare drum or cymbal,
or a sound effect. Sounds are sampled in a proprietary 12-bit non-linear
format at a sampling rate of 40kHz and can be any length up to the limit
of sound memory. A maximum of 128 sounds can reside in sound
memory.
Pad
When sounds are loaded into the MPC60, each pad plays a particular
sound. Though there are only 16 pads, the MPC60 can hold many more
than 16 sounds, To access more than 16 sounds from the pads, the
MPC60 provides four banks of pad assignments permitting up to 64
sounds to be played from the 16 pads. Only one bank can be active at a
time. The four banks are named A, B, C, and D, and the pads are
numbered 1 through 16. The 64 bank/pad combinations are named by
combining the bank letter (A–D) with the pad number:
Pads in bank A: A01 through A16
Pads in bank B: B01 through B16
Pads in bank C: C01 through C16
Pads in bank D: D01 through D16
Each of these 64 bank/pad combinations (A01–D16) is referred to as a
pad.
Notice that sounds are not assigned directly to pads, but rather to MIDI
Note Numbers. In order for a pad to play a sound, it is first assigned to a
MIDI note number, then that note number is assigned to a sound. This is
described further in the “MIDI Functions” and “Creating and Editing
Programs” chapters of this manual.
Note Number
In MIDI terminology, note number refers to the element in a MIDI Note
On event that supplies the pitch of the note. The note number range is
from 0 to 127. For example, if Middle C is played on a MIDI keyboard, a
Note On event is sent out over MIDI containing note number 60; the
receiving sound generator interprets this as Middle C and plays the
appropriate pitch. If the sound generator is playing drum sounds, the
note number is not used for pitch, but rather to select which drum will
play—one key for bass drum, one for snare, one for high tom, etc.
This system of using MIDI note numbers to select drums is used in the
MPC60’s sound assignment system. In programs (described below),
sounds are assigned directly to one of 64 MIDI note numbers (35–98). In
sequences, drum notes are also assigned to one of 64 note numbers
(35–98) to indicate which sound to play. Because of this assignment
method, there are many data fields in the MPC60 called Note, in which
you enter either the note number you wish to assign in a program, or the
note number you wish to edit in a sequence’s drum track. (For easy
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Chapter 2: The Basics
visual identification in these Note fields, the note number is accompanied
by both the currently assigned pad number and sound name.)
Program
Once a sound is loaded into memory, it cannot be played by pads or
from MIDI until it is assigned within a program. A program is a collection
of 64 sound assignments and can be thought of as a drum set. In a
program, each of 64 MIDI note numbers (35–98) is assigned to one of
the 128 possible sounds currently residing in memory. Once assigned to
a note number, a sound can be played in one of three ways:
1. By receiving a Note On message from the MIDI input;
2. By playing a front panel drum pad (each pad is also assigned to one
of the 64 MIDI note numbers 35–98);
3. By playing drum tracks in sequences (each note event in a drum track
is assigned to one of the 64 MIDI note numbers 35–98).
In addition to the 64 sound assignments, each program also contains a
number of sound modifying parameters for each of the 64 sound
assignments, including envelope, tuning, mixer, and velocity response
data.
The MPC60 has 8 different programs (one of which can be active at a
time) each with its own unique set of 64 assignments. Simply by
changing the active program number (1–8), all 64 sound assignments
and their sound modifying settings will instantly change.
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Chapter 2: The Basics
Loading and Playing Sounds and Programs
All sounds and programs are held in RAM memory and are therefore lost
whenever the power is turned off. In order to play any sounds after
turning the power on, you must load them in from disk. The procedure for
loading files from disk is described in the “Saving To and Loading From
Disk” chapter of this manual, but to get you started quickly, here’s how to
load sounds from disk.
COMMENT: Unlike version 2 software, SET files are no longer
used in the MPC60. The new PROGRAM file format is used
instead. However, your SET files may be loaded into version 3
software, and are automatically converted into the new
PROGRAM format.
To load a version 2 SET or ST1 file:
1. Place a disk containing a version 2 SET or ST1 file in the disk drive.
2. Press the DISK key, then 7.
3. When the “Load/Erase/Rename Files” screen appears, rotate the
DATA ENTRY control until the File field contains a file name ending with
the extension “.SET” or “.ST1”, then press Soft Key 1.
4. A screen will appear asking you if you want to load the entire file or
one sound. Press 1 to load the entire file.
5. Additional question screens will be presented. If confused, simply
press Soft Key 1 in response to each screen until the file starts loading.
When finished, your version 3 MPC60 will contain sounds. Press MAIN
SCREEN to return to the main Play/Record screen.
To load a version 3 Program or All Programs file:
1. Place a disk containing a Program file or an All Programs file in the
disk drive.
2. Press the DISK key, then 7.
3. When the “Load/Erase/Rename Files” screen appears, rotate the
DATA ENTRY control until the File field contains a file name ending with
the extension “.PGM” or “.APS”, then press Soft Key 1.
4. A screen will appear requiring user input. If confused, simply press
Soft Key 1 and the file will begin loading. When finished, your version 3
MPC60 will contain sounds. Press MAIN SCREEN to return to the main
Play/Record screen.
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Chapter 2: The Basics
Playing the Pads, the BANK 2, & FULL LEVEL Keys
Each sampled recording in the MPC60 is called a sound. To hear some
of the drum sounds you have just loaded, play the 16 dynamic pads on
the front panel. To hear other sounds, press the BANK 2 key once so
that the light above the key is lit, then play the pads again. The MPC60
has four pad banks (A, B, C and D). To hear the sounds assigned to pad
bank C, press BANK 2 again and play the pads, and do the same to hear
bank D. Each time you press the BANK 2 key you change to the next
pad bank, and with each bank the 16 pads play different sounds. When
you return to pad bank A, the light will turn off. In almost all screens, a
letter at the extreme top right will display the active pad bank.
The 64 bank/pad combinations are named by combining the bank letter
(A–D) with the pad number:
Pads in bank A: A01 through A16
Pads in bank B: B01 through B16
Pads in bank C: C01 through C16
Pads in bank D: D01 through D16
Each of these 64 bank/pad combinations (A01–D16) is referred to as a
pad.
The 16 pads are dynamic—the harder you play them, the louder the
sound will play. If desired, however, this touch sensitivity can be
defeated. Press the FULL LEVEL key (the light will go on), and no
matter how softly you play the pads, the sound will play at its maximum
dynamic level. Press FULL LEVEL again to return to normal dynamic
operation.
Selecting Programs
The 64 sound assignments you have just heard (four pad banks of 16
sounds each) comprise a program. The MPC60 can hold up to 8
programs. Each program has a unique set of 64 sound assignments, so
you can think of programs as drum sets. If you change from one program
to another, playing the four banks of pads will produce entirely different
sounds.
When you just played the pads and heard the sounds, you were hearing
the sounds assigned in Program 1. If another program is currently
loaded into program 2, you can switch to program 2 in the following way:
1. Press the SOUNDS key and select 1, “Select program, assign
sounds,” from the menu. The following screen will appear:
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Chapter 2: The Basics
============ Select Program ===========A
Active program: 1-PROGRAM_NAME
========== Assign Note:41/A08 ==========
Sound:BIG_BAD_DRUM Mode:NORMAL
General MIDI name for note:LO FLOR TOM
========================================
<Play>
2. Move the cursor to the Active Program field. It should display 1. Select
program 2 using the data entry knob.
3. Play the sounds in program 2: Select Pad Bank A and play the
sounds, then select Pad Bank B and play the sounds, then play bank
C, then bank D.
4. Repeat step 3, except select program 3 and play the sounds. Repeat
this procedure to hear the other programs.
5. To return to the Play/Record screen, press MAIN SCREEN.
The Note Variation Slider (the new name for the Hihat Decay
Slider) andAFTER key
In Version 3 software, the MPC60’s Hihat Decay Slider is called the Note
Variation Slider because its function is expanded beyond merely altering
the decay of the hihat sound as in Version 2 software.
The Note Variation slider can now be used in real time to change the
tuning, attack, or decay of a sound played from a single pad. Once the
slider is assigned to single pad and parameter, moving the slider while
playing the pad will cause the sound’s tuning, attack, or decay to be
determined by the current slider position.
Here are some examples of uses of Note Variation:
1. The slider can control decay for a hi-hat sound. This would simulate
the action of a drummer’s hi-hat pedal, allowing a unique hi-hat decay
time each time the pad is played.
2. The slider can be assigned to tuning for a tom tom sound. By moving
the slider while playing the tom pad, a wide range of tom tunings is
possible.
3. The slider can control a sound’s attack time (the amount of time it
takes to fade in). This is useful for adding subtle variations to a sound
or producing special effects.
How to Assign the Note Variation Slider
To assign the Note Variation Slider to a pad and parameter, press the
SOUNDS key, then 3. The following screen will appear:
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Chapter 2: The Basics
=== Assign Note Var Slider (Pgm: 1) ===A
Note:64/A01-Sound_name
Param:TUNING
Low range:-120 High range: 60
========================================
To assign the slider to a pad and parameter:
1. Press the desired pad (the note number, pad number and sound
name of the pad you pressed will appear in the Note field).
2. Move the cursor to the Param field and select the desired parameter
(TUNING, ATTACK, or DECAY).
3. Press MAIN SCREEN to return to the Play/Record screen.
4. Play the selected pad while moving the Note Variation slider. Each
time the pad is played, the selected parameter (tuning, attack, or
decay) will change according to the slider position.
Here is additional information about the five fields:
• The Pgm field:
This is the active program number (1–8). The data in the Param field
applies only to the program number selected here.
• The Note field:
This field contains the note number to which the slider is assigned (35–
98). To change the assignment, press a pad. The note number to which
the pad is assigned will instantly appear in the Note field, along with the
pad number of the pad you pressed and the name of the sound currently
assigned to the note number. Alternately, you can enter the desired note
number by typing it then pressing ENTER.
• The Param (parameter) field:
This field determines which of the three possible parameters the slider
will control. The three choices are:
1. TUNING:
If selected, the slider alters tuning. Slider values are added to
the tuning settings used in the program and sound.
2. DECAY:
If selected, the slider alters envelope decay time. Slider
values override the program’s envelope decay setting.
3. ATTACK:
If selected, the slider alters envelope attack time. Slider
values override the program’s envelope attack setting.
The contents of this field are unique for each of the 64 note numbers
selected in the Note field above.
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• The Low range and High range fields:
These two fields control the range of the slider. The Low range field
determines the parameter value that will be produced when the pad is hit
while the slider is at the bottom of its travel; the High range field
determines the parameter value that will be produced when the pad is hit
while the slider is at the top of its travel. Any position in between
produces a proportionate value between these two values. The type of
data shown in these fields is determined by the parameter selected in
the Param field. If TUNING is selected, these fields contain a signed
tuning number (e.g., -120 to +60); if ATTACK or DECAY is selected, they
contain a millisecond value (0–5000).
The contents of this field are not stored within the program when it is
saved; instead, they apply to all programs in memory and are stored in
All Programs files.
The AFTER key
Note Variation information can be recorded into sequences. Each drum
note in a sequence contains two pieces of data related to Note Variation:
Normally, the slider only affects new notes—it has no effect on notes
played back from sequences. However, if the AFTER key is pressed
(and the associated light goes on), the slider also overrides the Note
Variation data of any drum notes playing back from sequences, but only
drum notes that are assigned to the same note number (drum pad) and
parameter currently selected in the ASSIGN key’s screen. Further, if in
Overdub mode while the AFTER key light is on, these changes will be
recorded into the active track.
To return to normal operation, press AFTER again and the light will go
off.
The 16 LEVELS key
When the 16 Levels function is on, a single sound will play from all 16
pads but each pad will produce a different value of either velocity, tuning,
attack, or decay.
To set the parameters and turn 16 Levels mode on, press the 16
LEVELS key. The following screen will appear:
Chapter 2: The Basics
1. The Note Variation Parameter: This identifies which parameter
the Note Variation Data will affect (tuning, attack, or decay).
2. The Note Variation Data: This is the actual tuning, attack, or
decay information, representing the position of the slider
when the note was recorded.
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Chapter 2: The Basics
========== Assign '16 Levels' =========A
Note:64/A06-Sound_name
Param:NOTE VAR (TUNING) Center pad:13
========================================
<Turn on, exit>
The fields and soft keys are:
• The Note field:
This field is used to assign the 16 Levels function to one of the 64
possible note numbers (35–98). When 16 Levels mode is on, all 16 pads
will play one sound but at 16 evenly spaced levels of either velocity,
tuning, attack, or decay. Select a sound by pressing a pad. This will
automatically select the note number that is currently assigned to the
selected pad. For convenience, the sound name currently assigned to
the selected note number in the active program is displayed.
• The Param field:
This is a choice field with two choices:
1. VELOCITY:
If this option is selected, and 16 LEVELS mode is on, then the
selected note number and sound will play from all 16 pads,
but at 16 fixed velocity levels with the softest level on the
lower leftmost pad and the loudest level on the upper
rightmost pad.
2. NOTE VAR:
If this option is selected, and 16 LEVELS mode is on, then the
selected note number and sound will play from all 16 pads,
but at 16 fixed levels of tuning, attack or decay using the Note
Variation data stored with each drum note in the sequence.
• The Note Variation Parameter field (NOTE VAR (TUNING) in the
screen example above):
This field has no label and appears only if NOTE VAR is selected in
the Param field. It is a choice field and is used to determine which of
the three Note Variation parameters is active. The three choices are:
1. (TUNING):
If selected, the 16 pads play a single sound but at 16
chromatic tunings. The tuning range is controlled by the
Center pad field to the right.
2. (DECAY):
If selected, the 16 pads play a single sound but at 16 evenly
spaced levels of envelope decay. The range of decay values
is set in the Assign Note Variation screen (SOUNDS, option
3).
3. (ATTACK):
If selected, the 16 pads play a single sound but at 16 evenly
spaced levels of envelope attack. The range of attack values
is set in the Assign Note Variation screen (SOUNDS, option
3).
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Chapter 2: The Basics
• The Center pad field:
This field only appears if the Param field is set to NOTE VAR and the
Note Variation Parameter field is set to (TUNING). It is used to set the
tuning range of the 16 pads by selecting which of the 16 pads will play
the sound with no tuning change. Regardless of this center pad,
higher numbered pads play higher chromatic tunings and lower
numbered pads play lower chromatic tunings. In order to limit the
entire tuning range of the 16 pads to within +6 and -12 semitones (the
Note Variation tuning range), only pads 10 through 13 can be
selected. For example, if pad 13 is selected, the tuning range is from 120 (-12 semitones at pad 1) through 0 (no tuning change at pad 13)
to +30 (+3 semitones at pad 16).
To turn the 16 Levels function on:
1. Press the 16 LEVELS key. The 16 Levels screen will appear.
2. Press the pad of the drum you want to use. The Note field will
immediately show the note number assigned to that pad
along with the pad number pressed and the currently
assigned sound name.
3. Set the Param field to the desired parameter, and, if NOTE
VAR is selected, also set the Note Variation Parameter field
to the right.
4. Press the <Turn on, exit> soft key. This will turn the light
above the 16 LEVELS key on and cause the Play/Record
screen to be displayed. Now the sound you selected will play
from all 16 pads, but at 16 fixed levels of the parameter you
selected.
To turn the 16 Levels function off:
Press the 16 LEVELS key again. The light will go out, indicating that
normal pad function has returned.
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