Akai MPC60 User Manual

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Software version 2.0

Operator's Manual

By Roger Linn

Document revision date: April 20, 1989

READ THIS BEFORE YOU START!

Power requirements

Power requirements for electrical equipment differ from area to area. The operating voltage of this machine is preset at the factory according to its intended destination. However, some models are equipped with a voltage selector. If your machine is so equipped, before connecting, check to see that the VOLTAGE SELECTOR on the rear panel is set to the voltage for your area. If not, please set it correctly before plugging in the

power cord:

220V, 50 Hz for Europe except UK. 240V, 50 Hz for UK and Australia. 120V, 60 Hz for U.S.A. and Canada.

If the VOLTAGE SELECTOR on your machine looks like this: If the VOLTAGE SELECTOR on your MPC60 looks like the diagram on the right, please disconnect the power cord, then set the switch to the correct voltage for your area, using a flat screwdriver.

What you should know to protect yourself and the Akai MPC60:

Watch out! You might get an electric shock.

• Never touch the power plug with wet hands.

• Always pull out the power plug by the plug and never the cord.

• Only let a qualified professional repair or reassemble the Akai MPC60. An unauthorized person might touch the internal parts and receive a serious electric shock.

• Never allow a child to put anything, especially metal, into the Akai MPC60.

Let's protect the Akai MPC60 too.

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

• If water is spilled on the Akai MPC60, disconnect the power and call your dealer.

• Make sure that the Akai MPC60 is well ventilated and away from direct sunlight.

• To avoid damage to the internal circuits and the external surface, keep away from heat (stoves, etc.)

• Avoid using spray type insecticide near the Akai MPC60. It can damage the finish and might ignite suddenly.

• To avoid damaging the finish, never use denaturated alcohol, paint thinner or other similar chemicals to clean the Akai MPC60.

• Place the Akai MPC60 on a flat and solid surface.

WARNING!

Warning - This equipment generates, uses, and can radiate radio frequency energy and if not installed and used in accordance with the instructions manual, may cause interference to radio communications. It has been tested and found to comply with the limits for a Class A computing device pursuant to Subpart J or Part 15 of FCC Rules, which are designed to provide reasonable protection against such interference when operated in a commercial environment. Operation of this equipment in a residential area is likely to cause interference in which case the user at his own expense will be required to take whatever measures may be required to correct the interference.

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

For customers in the UK

IMPORTANT FOR YOUR SAFETY - TWO CORE FLEX

The wires in the mains lead of your machine are coloured in accordance with the following code: Blue: Neutral Brown: Live As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings indentifying the terminals in your plug, proceed as follows: 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.

• When wiring a plug, do not connect any wire to the larger pin marked either by "E" or by this symbol:

Ensure that all terminals are securely tightened and that no loose strands of wire exist.

Table of contents

SECTION 1: INTRODUCTION

1.1 Welcome!

1.2 How to use this manual

SECTION 2: THE B ASICS

2.1 Overview

2.2 Hooking up your system and turning the MPC60 on

2.3 The CURSOR keys

2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys

2.5 The SOFT KEYS (1-4)

2.6 The HELP key

2.7 The Dynamic drum pads

2.7.1 The FULL LEVEL and 16 LEVELS keys

2.7.2 The BANK 2 key

2.7.3 The HIHAT DECAY slider and the AFTER key

2.8 The DRUM MIX key - adjusting the stereo drum mixer

2.9 Playing the preset sequences

2.9.1 Changing sequences while playing

2.10 Adjusting the playing tempo

2.11 The MAIN SCREEN key - how to exit any function

2.12 The RESET TO DEFAULTS function

SECTION 3: RECORDING SEQUENCES

3.1 Overview

3.2 How sequences, tracks and channels are organized

3.3 The PLAY/RECORD screen - the main operating mode of the MPC60

3.4 How to assign "drums" and "non-drums" tracks

3.5 The PLAY/RECORD keys

3.6 An example of recording a drum sequence

3.7 An example of recording a sequence with both drums and keyboard parts

3.8 The TIMING CORRECT key

3.8.1 Correcting timing errors

3.8.2 The SHUFFLE feature

3.8.3 The SHIFT TIMING feature

3.8.4 The NOTE REPEAT feature

3.9 Tempo

3.9.1 The tempo screen

3.9.2 Mid-sequence tempo changes

3.9.3 The TAP TEMPO key

3.9.4 Speed limitations at fast tempos

3.10 The WAIT FOR KEY key

3.11 The AUTO PUNCH key

3.12 The 2ND SEQUENCE key

3.13 The COUNT IN key

3.14 The recording metronome

3.15 The two FOOT SWITCH inputs

3.16 The "Free sequence memory" display

3.17 Recording Midi system exclusive data

3.18 Transferring sequences to and from other sequencers

3.19 The "Analyzing sequence. Please wait..." message

SECTION 4: EDITING SEQUENCES

4.1 Overview

4.2 The ERASE key

4.2.1 Erasing notes while overdubbing ("Live erase" mode)

4.2.2 The Erase screen

4.3 The EDIT key

4.3.1 Viewing time signature changes

4.3.2 Creating a new sequence

4.3.3 Inserting blank bars into a sequence

4.3.4 Deleting bars from within a sequence

4.3.5 Copying a section, including all tracks, and inserting it elsewhere

4.3.6 Copying a single track to another area or merging it with other data

4.3.7 Copying an entire sequence to another sequence

4.3.8 Converting a song into a single long sequence

4.3.9 Shortening or lengthening a single bar

4.3.10 Changing the velocity or duration of a group of notes after recording

4.4 The STEP EDIT key

4.4.1 The step edit screen

4.4.2 Using step edit

4.4.3 Step recording

4.5 The EDIT LOOP key

4.5.1 Using EDIT LOOP as an "UNDO" function

4.6 The TRANSPOSE key

SECTION 5: SONG MODE

5.1 Overview

5.2 The song mode screen

5.3 An example of creating and playing a song

SECTION 6: SAMPLING AND EDITING DRUM SOUNDS - the SOUNDS key

6.1 Overview

6.2 Sampling a new sound

6.3 Editing an existing sound

6.4 Tuning the drums

6.5 The echo mixer

6.6 Assigning the 8 assignable mix outputs

6.7 Transferring sounds over midi: the Midi Sample Dump

6.8 Triggering a drum from an external signal - the audio trigger

6.9 Mixer modes, hihat decay thresholds, mufti-pitch mode

SECTION 7: SAVING TO AND LOADING FROM DISK

7.1 Overview

7.2 Saving a sequence

7.3 Saving all sequences and songs

7.4 Saving a drum sound

7.5 Saving all drum sounds

7.6 Saving a parameter file

7.7 Loading, era s ing or renaming files

7.7.1 Files which automatically load on power-up

7.8 Formatting a disk

7.9 Copying an entire disk

7.10 "Attention" screens encountered during disk operations

7.11 The "Save warning" light above the DISK key

SECTION 8: SYNCING TO TAPE AND OTHER DEVICES

8.1 Overview

8.2 The Sync screen

8.3 Syncing to SMPTE

8.4 Syncing to FSK24

8.5 Syncing to 1/4 no t e clicks

8.6 Syncing to Midi Clock and Song Position Pointer

8.7 Syncing to Midi Time Code

SECTION 9: MIDI FUNCTIONS

9.1 Overview

9.2 T he midi input filter, midi soft through, sustain pedal processing

9.3 External drum triggering, the midi " drums" channel

9.4 The ME-35T Audio/Midi Trigger interface screen

9.5 Midi implementation charts

SECTION 10: APPENDEX

10.1 Features

10.2 Technical specifications

10.3 What to do if your MPC60 isn’t working properly

SECTION 11: INDEX

Section 1: Introduction

1.1 Welcome!

Thank you for purchasing the Akai MPC60. The Akai engineering team, my engineering team and myself have all worked very hard to bring to you a product which we truly believe answers the needs of today's professional musician. I am sure you will find that the combination of innovative features, high sound quality, ease of use and attention to detail will be very useful in the process of composition, recording and performing. It has been said that technology has always had a profound influence on art. If this is true, I invite you all to take this piece of technology and use it to change the direction of music for tomorrow. Now, let's begin...

P.S. I'd like to know if you use the MPC60 on any famous records. If so, I'd appreciate it if you would write a brief letter to your local distributor and

'll tell me. Thanks.

the

1.2 How to use this manual

The MPC60 and this manual were designed for people who don't like reading manuals and want to start working immediately.

The manual teaches the MPC60's operation in a logical, step-by-step manner. The sections are presented in the order that most people want to learn them. To start using your MPC60 as soon as possible, we recommend that you first read (or skim) through sections 2 and 3, "The Basics" and "Recording sequences", to get a general understanding of the MPC60. After that, you will find that most other functions are very easy to figure out by experimentation:

1. Press the key which you think would most likely contain the function you are looking for. For example, to sample a new sound, press the SOUNDS key.

2. Follow the instructions presented on screen. If you're confused, press and hold the HELP key for further explanation.

3. If you still can't figure it out, find the section in the manual which explains that function, either by looking in the table of contents or the index.

Section l: Introduction 11

Section 2: The Basics

2.1 Overview

This section is a simple introduction to operating the MPC60. In this section you will learn to:

• Hook up the MPC60 to your system.

• Enter and change data and parameters using the CURSOR keys, the NUMERIC KEYPAD, the DATA CONTROL, and the +/- keys

• Use the SOFT KEYS and the HELP key

• Play the drums and use the associated keys

• Adjust the stereo drum mixer

• Play the preset sequences

• Adjust the playing tempo and a few other basic functions

Section 2: The Basics 15

2.2 Hooking up your system and turning it on:

To get started using the drum machine section:

1. Connect the power cord to an AC outlet. 2. Connect the STEREO OUT LEFT and STEREO OUT RIGHT jacks to the inputs of an amplifier or mixer.

Note: If you are only using the MPC60 as a drum machine right now, you don't need any other connections. Skip down to the section "Turning the MPC60 on".

To also use the sequencer section with a single integrated keyboard synthesizer:

1. Connect the synthesizer's MIDI OUT to the MPC60's MIDI IN 1. You may alternatively use MIDI IN 2. Both inputs merge together. 2. Connect the MPC60's MIDI OUT 1 to the MIDI IN of the synthesizer.

To use the sequencer section with a midi master keyboard and separate multiple midi sound modules:

1. Connect the MIDI OUT of the midi keyboard to the MIDI IN 1 of the MPC60. You may alternatively use MIDI IN 2. Both inputs merge together. 2. Connect the MIDI OUT 1 of the MPC60 to the MIDI INPUT of the first midi sound module. 3. Connect the MIDI THRU of the first sound module to the MIDI INPUT of the second sound module. 4. Connect the MIDI THRU of the 2nd sound module to the MIDI INPUT of the third sound module, and continue this until all sound modules are connected.

The above hookup only uses one of the four midi output jacks of the MPC60. Later in the manual, you'll learn how to use all 4 of the midi output jacks.

To use the sampling input, foot switches, sync input/output, echo inputs/outputs, individual mix output 1 - 8, or the metronome output, please read the corresponding sections of the manual.

Note: the RS-232C computer port currently has no function.

Turning the MPC60 on

1. Of the disks which are included with the MPC60, find the disk "STUDIO SET and SYSTEM ALL" and place it into the disk drive. This disk contains a general purpose set of drum sounds and a collection of demonstration sequences.

Note: Every time you turn the MPC60's power on, you must re-load the drum sounds (and sequences if desired) from disk. This is because ALL SOUND AND SEQUENCE MEMORY IS LOST WHEN YOU TURN THE POWER OFF. While it is true that most drum machines hold their memory when power is removed, these are devices with very low memory capacity. There are no samplers and no high capacity sequencers which retain memory when power is removed for one reason: the cost of low-power memory, which can be kept active by a battery, is much more expensive than the type of memory commonly used. We at Akai believe the customer would prefer to pay a substantially lower price for the minor inconvenience of saving his work to disk before powering down. For this reason, whenever you do any sampling or editing of sounds, or recording or editing of sequences, you must always save the changes to disk, or the changes will be lost!

2. Turn the power ON and wait for about 1 1/2 minutes for the MPC60 to load the sounds and sequences into memory. While loading, the screen will display the following message:

Note: If the version number is a lower number than 2.00, your MPC60 is running an older software version. If so, you should update your MPC60 to version 2.00. To update your MPC60, contact your dealer or service center and say "I want to have the latest software update installed in my MPC60".

When finished loading (after about one minute), the following screen should a

ear:

Section 2: The Basics

This is the PLAY/RECORD screen. It is the main operating mode of the MPC60 and all playing and recording of sequences is done while this screen is displayed. This screen will be discussed further in the section entitled "Recording sequences'". If at any time while operating the MPC60 you are confused and want to return to this mode, press the MAIN SCREEN key.

Note: There are three other disks included with the MPC60:

ROCK SET and SYSTEM ALL, DRY SET and SYSTEM ALL, and SYNTH SET and SYSTEM ALL.

These disks contain 3 additional sets of drum sounds, but contain the same demonstration sequences. To hear the sounds on these disks, follow the above instructions again, but use one of these disks instead. It is also possible to load the files on these disks by using the DISK key, discussed later in the section "Saving to and loading from disk".

2.3 The CURSOR keys

While the PLAY/R,ECORD screen is showing, notice that a small rectangular block is blinking near the upper left corner. This is called the CURSOR. It is possible to move the cursor around the screen using the four grey direction keys in the CURSOR section of the panel. Try doing this, then return the cursor to the upper left corner where it was.

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 leftmost data field is called SQNC, an abbreviation for "sequence". To the right of this field is another field containing the name for the selected sequence number, followed by the TMPO field, an abbreviation for "tempo".

The PLAY/R,ECORD screen is one of many screens available on the MPC60. Each of the panel keys presents at least one 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. When you're finished, press MAIN SCREEN to return to the PLAY/RECORD screen.

Section 2: The Basics

2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys

The NUMERIC KEYPAD

To change the data in a field, move the cursor to it 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 SQNC field;

2. Type 2, followed by ENTER.

Notice that the sequence name (located immediately to the right of the sequence number) now automatically changes, because it must now display the name of sequence 2. Try changing the playing tempo in the same way (move the cursor to the TMPO field).

Another use of the numeric keypad is to select from a list of options presented on-screen. For example, pressing the DISK key causes the followin

screen to be displayed:

If 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.

The DATA CONTROL

Another way of changing on-screen data is to use the DATA CONTROL. While the cursor is in a data field, if the DATA CONTROL is rotated one "step" to the right (as you turn the knob, you can "feel" the steps), the on-screen number will increment by 1. If the DATA CONTROL is rotated one step to the left, the on-screen number will decrement by 1. Continuously turning the DATA CONTROL will repeatedly increment or decrement the on-screen value. It is not necessary to press ENTER after turning the data control.

There are certain data fields called "choice" fields. These fields do not contain numeric data, but rather a specific number of preset

selections, but only one may be active at a time. In this case, the DATA CONTROL is used to select from the available options. For example,

press the OTHER key and move the cursor to the RATE field, which is a "choice" field. Now turn the DATA CONTROL and notice that with each step of the control, a different preset option appears.

The + and - keys

Pressing the "+" key has the same effect as turning the DATA CONTROL one step to the right. It either increments a number in a numeric field or chooses a new option in a "choice" field.

Pressing the "-" key has the same effect as turning the DATA CONTROL one step to the left. It either decrements a number in a numeric field or chooses a new option in a "choice" field.

2.5 The SOFT KEYS (1 - 4)

In the upper right corner of the front panel are four buttons labeled SOFT KEY 1, SOFT KEY 2, SOFT KEY 3 and SOFT KEY 4. The functions of these buttons change from one screen to another and are always displayed on the lowest line of the screen. For example, while the PLAY/RECORD screen (accessed by pressing the MAIN SCREEN button) is showing. notice the lowest line:

Section 2: The Basics

There are four titles enclosed in angle brackets ("<" and ">"). The titles are <Trak=ON >, <Solo=OFF>, <Tmpo=SEQ> and <SortTrks>. These four titles indicate the functions of the four soft keys, but only while this screen is showing. Each of the many functions in the MPC60 displays a unique screen of data, and the lowest line of each of these screens indicates the function of the 4 soft keys while that screen is showing. Demonstrate this by pressing the ERASE key, then the TIMING CORRECT key, then MAIN SCREEN to return to the PLAY/RECORD screen. Some screens have less than four active soft keys and some have none.

2.6 The HELP key

Whenever this key is pressed and held down, the contents of the screen will be temporarily replaced with a paragraph of further explanation about the function you are currently working with. To return to the previous screen, release the HELP key. There is a different help screen for every data field in every screen in the MPC60. To demonstrate this:

1. Press HELP, notice the screen, then release it;

2. Move the cursor to a different field;

3. Press HELP again, notice the different screen and release it.

2.7 The DYNAMIC DRUM PADS

The 16 drum pads are dynamic- the harder you strike them, the louder the drum will sound.

2.7.1 The FULL LEVEL and 16 LEVELS keys

• The FULL LEVEL key: The FULL LEVEL key defeats the variable dynamics of the drum pads, causing all drums to play at full dynamic level, regardless of how hard or soft the pad is struck. However, this has no effect on drums which are playing back from sequences. Press FULL LEVEL once to turn this mode ON (the light will go on); press it again to turn it OFF.

• The 16 LEVELS key: This key has 2 functions, but only one may be in use at a time:

1. It may be used to play a single drum at 16 fixed dynamic levels, using the 16 pads.

2. It may be used play a single drum at 16 fixed tunings, using the 16 pads.

To select which of these 2 functions is currently in use, press the SOUNDS key, then select option 8, "Mixer/hihat/other", and the following screen will appear:

Section 2: The Basics

Now, move the cursor to the lowest field on the screen entitled FUNCTION OF options:

1. "16 VOLUMES": If this option is selected, the 16 LEVELS key

"16 LEVELS". This is a "choice" type field and has 2

will cause a single sound to play from all dynamic levels with the softest level on the lower leftmost pad and the loudest level on the upper rightmost pad.

16 pads, but at 16 fixed

2. "16 TUNINGS": If this option is selected, the 16 LEVELS key

will cause a single sound to play from all 16 pads, but at 16 fixed chromatic tunings, with the lowest tuning (-12 semitones) on the lower leftmost pad, and the highest tuning (+3 semitones) on the upper rightmost pad. If this mode is active and the pads are played while recording, these tunings are remembered within the sequence. After recording, the tuning of each note may be adjusted in Step edit mode. This is explained further in the Step edit section of this document.

Use the DATA CONTROL to select which function you wish to use. Once set, your selection will be retained even after power is removed. When you've finished, press the MAIN SCREEN key to return to the PLAY/RECORD screen.

To use the 16 LEVELS key (regardless of the selected function):

1. Play the pad of the drum you want to use.

2. Press the 16 LEVELS key. The light will go on indicating the feature is active. Now, the drum you played in step 1 will sound when any of the pads are played, but at 16 fixed dynamic levels (if "16 VOLUMES" is active) or at 16 fixed tunings (if "16 TUNINGS" is active).

3. To turn this feature off, press 16 LEVELS again and the light will go off.

NOTE: The "16 TUNINGS" feature does not operate if the Hihat is selected.

NOTE 2: The MPC60 performs its tuning all digitally without any distortion, but substantial distortion may be heard if a drum is tuned which was recorded at too high a record level. If you notice this distortion when tuning your own sampled sounds, the only solution is to re-sample your sound at a lower volume or to use a different sound which was not over-recorded.

2.7.2 The BANK 2 key

The MPC60 may contain as many as 32 drums in memory at once, yet there are only 16 front panel play pads. This button is used to select between bank 1 (the first 16 drums: Hihat through Percussion 4) and bank 2 (the second 16 drums: Drum01 through Drum16). Normally, bank 1 is active. To activate bank 2, press BANK 2 and the light will go on to indicate bank 2 is active. To return to bank 1, press BANK 2 again and the light will go out.

2.7.3 The HIHAT DECAY slider & the AFTER key

The slider controls the decay time of any notes played on the hihat pad, similar to how the foot pedal on a real hihat controls its decay time. Also, to add realism, one of three samples is played, depending on the position of the slider:

1. If a hihat is played while the slider is in the lower 1/3 of its range, a "closed hihat" sample is played; 2. If a hihat is played while the slider is in the middle 1/3 of its range, a "medium open hihat' sample is played; and 3. If the hihat is played while the slider is in the upper 1/3 of its range, an "open hihat" sample is played.

It is possible to change the thresholds within the slider's travel at which one hihat sample changes to another. To do this, read section 6.9 of the manual entitled "Mixer modes, hihat decay thresholds, mufti-pitch mode".

The decay information is recorded into the sequence with each hihat note,

allowing every nuance of your hihat performance to be remembered.

Normally, the WHAT DECAY slider has no effect on hihat notes playing back from sequences. However, if the AFTER key is pressed (and the light goes on), the slider not only sets the decay for all new notes played, but also overrides the decay of any existing hihats playing in sequences. Further, if in RECORD or OVERDUB modes while the AFTER light is on, the current setting of the decay slider will replace decay settings for any existing hihats playing in the active track. To activate the AFTER mode, press AFTER (the light will go on). To deactivate it, press AFTER again (the light will go off).

Note: The RECORD and OVERDUB modes will be described in the

next chapter, "Recording sequences".

Section 2: The Basics 25

2.8 The DRUM MIX key - adjusting the stereo drum mix

To adjust the individual volume and pan settings for the stereo mix outputs, press the DRUM MIX key and this screen will appear:

This is a graphic simulation of a 16 channel stereo mixer. For each channel, there is a four letter abbreviation of a drum, a graphic representation of a volume slider, and a graphic representation of a rotary pan control. Depending on the setting of the BANK 2 switch, either the first 16 drums (HIHT - PRC4) or the second 16 drums (DRO1 -DR16) will be displayed for adjustment. You can press the BANK 2 switch before or during the drum mix operation.

To adjust the volume of a particular drum: 1. Press the pad of the drum to be adjusted - the small triangle will move to directly above the selected drum; 2. Rotate the DATA CONTROL. As you turn it, the graphic volume slider will move up or down, indicating that the volume of the selected drum is being changed.

To adjust the pan position of a particular drum: 1. Press the pad of the drum to be adjusted - the small triangle will move to directly above the selected drum; 2. Press the CURSOR UP key - the small triangle will now point upwards, toward the graphic pan knob; 3. Rotate the DATA CONTROL. As you turn it, the graphic pan knob will move between one of 15 pan positions, indicating that the pan of the selected drum is being changed.

Even though no soft key functions are displayed on the screen, there is one active soft key: If SOFT KEY1 is pressed, the mixer changes to a mode in which all drums are changed simultaneously, indicated by 16 cursor triangles across the screen. This may be a global level or pan change. You can change between level and pan with the UP an DOWN cursor keys. To return to normal operation, press soft key 1 again.

NOTE: It is possible to select a special mode in which all mix changes made in real time while recording will be replayed on playback, just like an automated mixer. This is explained in section 6.9 of the manual entitled "Mixer modes, hihat decay thresholds, multi-pitch mode".

2.9 Playing the preset sequences

To play some of the preset sequences included with the MPC60, perform the following steps:

1. If you have not already done so, load the preset sounds and sequences from disk as described in the section "Turning on the MPC60" or Section 7 - "Saving to and loading from disk". Make sure the STEREO MIX VOLUME control and your amplifier/mixer controls are set properly.

2. Make sure the PLAY/R,ECORD screen is showing. If not, press MAIN SCREEN;

3. Make sure the cursor is currently in the upper left field of the screen, entitled SQNC, and that the number in this field is 1. If not, press 1, then ENTER;

4. Press the PLAY START key - sequence number 1 should start playing in a loop;

5. Press the STOP key - the sequence should stop playing;

6. Press 2, then ENTER - the name for sequence number 2 should appear directly to the right of the sequence number;

7. Press the PLAY START key - sequence number 2 should start playing in a loop;

8. Press the STOP key - the sequence should stop playing;

9. Turn the data wheel (very carefully) one step to the right, which should cause the sequence number to increment to 3;

10. Press the PLAY START key - sequence number 3 should start playing in a loop;

11. Press the STOP key - the sequence should stop playing.

2.9.1 How to change sequences while playing

It is also possible to change sequences while the MPC60 is playing. If you do, the newly selected sequence will not start playing until the current sequence has finished. When the new sequence number is entered, the top line of the screen will display the message:

Section 2: The Basics

This indicates that the newly selected sequence (in this case, sequence number 2) will start playing once the current sequence has finished playing.

IMPORTANT!: This process will only operate while the top line of the PLAY/RECORD screen displays the following words before the

new se

uence is selected:

This indicates that the MPC60 is NOT enabled for recording. This process will NOT operate if the MPC60 is enabled for recording, indicated by the followin

top line of the PLAY/RECORD screen:

If these words are displayed, you must first disable recording by doing the following:

1. Select a different sequence; then

2. Re-select the original sequence

This feature is very useful for creating the structure of a song in real time while the MPC60 is playing. For example, while the sequence containing the 1st verse is playing, you could enter the sequence number contain the chorus, which will starting playing once the verse sequence is finished. Then, you might enter the sequence number containing the second verse, which will start playing once the chorus sequence has finished. This process may be continued infinitely.

NOTE: If you use the DATA CONTROL to select a new sequence while playing, only the next higher or next lower sequence may be selected. If you want to select a sequence which is greater than one higher or lower, you must use the numeric keypad (remember to press ENTER after you have entered the new sequence number).

NOTE 2: If you notice a timing irregularity at the point of transition from one sequence into another, the problem may be due to the assignments of the PROG field (in the PLAY/RECORD screen) for the sequence which plays immediately after the timing irregularity. The PROG field is described in section 3.3, "The PLAY/RECORD screen- the main operating mode of the MPC60". If, while playing one sequence, you change to a sequence containing these program assignments, the sequence's program assignments are sent out at the moment that the sequence starts to play in the song. This can present a problem because most synthesizers require a brief time delay while changing programs, and this delay time will cause any notes existing at the start of the new sequence to be delayed. This delay is brief in most synthesizers, but is usually enough to cause a timing irregularity at the start of the sequence. To avoid this problem, remove any assignments of the PROG field for the sequence which you are changing to while playing (in the above described manner). This problem does not apply to sequences containing only drums tracks.

2.10 Adjusting the playing tempo

To adjust the playing tempo:

1. From the PLAY/RECORD screen, move the cursor to the TMPO field - this is the tempo setting; 2. Change the tempo either by typing in a new tempo number and pressing ENTER, or by turning the

DATA CONTROL;

There are other ways to adjust the tempo and many other tempo related parameters. These will be discussed later in the section entitled

"RECORDING SEQUENCES".

Section 2: The Basics 29

2.11 The MAIN SCREEN key- how to exit any function

Pressing the MAIN SCREEN key at almost any time will return you back to the main PLAY/R,ECORD screen of the MPC60 without damaging any data. Use this key as a "panic" button - if you find yourself in some function you don't understand and want to get out.

2.12 The RESET TO DEFAULTS function

The contents of most of the data fields in each of the screens in the MPC60 are retained after the power is turned off and on again. Even though all sounds and sequences are lost when power is removed, these settings are retained by a special battery powered memory. Because of this, there is no need to reset the MPC60's settings to your personal taste every time you power on.

However, there are times when it is desirable to reset all of these settings to their original factory-preset settings. There is a special function called "Reset to defaults" which does exactly this. To perform a reset to defaults:

1. Press the OTHER key, and this screen will appear:

Section 2: The Basics

2. Press SOFT KEY 1, <Defaults>.

3. A second screen will appear, asking you if you are sure you want to reset to defaults. Press SOFT KEY 1 again, <Reset to defaults>.

Now, all data fields will be reset to their factory-preset status. NOTE: These settings which are retained with power removed may be

saved in a special file called a "Parameter file". See the DISK section of the manual to learn more about this fea

ure.

Section 3:

Recording Se

uences

3.1 Overview

This section describes functions which are used in the process of recording sequences. In this section you will learn:

• How sequences, tracks and channels are organized

• How to use the PLAY/R.ECORD screen

• How to create both "drums" and "non-drums" tracks

• The keys in the PLAY/RECORD section of the panel

• How to record both a drum sequence and a multi-track keyboard

sequence

• How to use the TIMING CORRECT function

• The TEMPO function

• The WAIT FOR KEY and AUTO PUNCH keys

• How to use the recording metronome

• How to use the foot switches

• How to see how much memory is available for new sequence

recording

• How to record Midi system exclusive data

• How to transfer sequences to and from other sequencers

Section 3: Recording sequences 35

3.2 How sequences, tracks and channels are organized

Sequences:

The MPC60 holds 99 sequences in memory at one time. A sequence can be thought of as a segment of mufti-track tape of variable length. Depending on the sequence contents, it could be a 2 bar repeating drum pattern, an eight bar verse, or a 200 bar song with time signature and tempo changes. Normally, only one sequence may play at one time, unless the 2ND SEQUENCE feature is on, allowing two sequences to play simultaneously.

A sequence has a format consisting of time signature and number of bars. If no format is assigned to a sequence, it is automatically given a time signature of two bars of 4/4. However, this default setting may be changed by pressing the EDIT key, then selecting option 2: CREATE SEQUENCE.

Tracks:

Within each of the 99 sequences are 99 tracks, which contain the actual midi events. These may be thought of as the tracks on a mufti-track tape recorder

- they each contain a specific instrument or piece of the total arrangement, but all play simultaneously. For example, track 1 could be drums, track 2 percussion, track 3 bass guitar, track 4 piano, track 5 horns, track 6 more horns, etc. Each track may be either a "drums" track or a "non-drums" track, but not both. This is explained further in the section "How to assign drums and non-drums tracks".

Channels:

In order for the sequences to play external synthesizers, it must send its notes out through midi on one of the 64 midi output channels (16 channels for each of the 4 midi output jacks). On the MPC60, each track may be independently assigned to output its notes through any one of these 64 output midi channels. It is also possible to send the output of any track through two midi output channels simultaneously.

Exactly how tracks and channels are assigned is explained later in the next section entitled "The PLAY/RECORD screen - the main operating mode of the MPC60".

3.3 The PLAY/RECORD screen - the main operating mode of the MPC60

When the MPC60 is first powered on (with the STUDIO SET and SYSTEM ALL disk in the drive), the following screen appears after the disk has loaded:

Note: It is also possible to turn on the MPC60 without any disk in the drive. In this case, no sounds or sequences will be loaded and the MPC60 may be used as a sequences only.

At this point, the device is in its standard operating mode, in which all recording and playing of sequences is done. On this screen are presented many data fields useful to the process of real-time recording. A detailed description of each of the data fields and soft keys follows:

If this message appears, it means that the currently selected sequence is ready to be recorded into. If the "(Record ready)" message is not displayed and you want to record into the current sequence, press either the RECORD or OVERDUB keys once, and the "(Record ready)" indicator will be added to the title line, indicating that the current sequence is ready to be recorded into. Remember that selecting a different sequence and then reselecting the original one will remove the "(Record ready)" message.

• The SQNC field: This field displays the active sequence number, from 1 to

99. This is the sequence which will play when either the PLAY START or PLAY keys is pressed. The MPC60 holds up to 99 sequences in memory at one time.

Section 3: Recording sequences 37

The "sequence name" field: This is the 16 character name for the current sequence. This field has no on-screen title, but is located directly to the right of the SQNC field. To change the sequence name, move the cursor to this field and turn the DATA CONTROL one step in either direction. This will cause the keys which have the alphabetic letters printed next to them to change to their alpha functions. To indicate that this alpha mode is active, the cursor changes from the normal blinking block to a blinking underline. Now change the name by typing in the letters printed above the keys. Use the ERASE key as a space, and the TAP TEMPO key to change between upper and lower case. The left and right cursor keys do not type letters, but allow you to move backwards and forwards in the name. For punctuation, position the cursor where you want the character to appear, and rotate the DATA CONTROL knob until you see the character you want, then press the right cursor key to move on to the next position. This process applies to all names that you enter into the MPC60 (sequences, songs, sounds, etc.). When finished, press ENTER and the cursor will return to a blinking block at the beginning of the field, indicating that the alpha keys have returned to their normal functions.

Note: If the DATA CONTROL is not

turned while the cursor is in this field, moving the cursor one position to the left or right will move to the previous or next data field - not the adjacent character position within the sequence name.

If no sequence data exists, the name is always "(Unused)". Once any data is recorded into the sequence, the name defaults to "SEQXX" with "XX" being the number of the sequence.

• The TMPO field This is the playing tempo. Additional tempo parameters are available by pressing the TEMPO/SYNC key.

• The BPM field (Tempo display method) This right half of the tempo field is actually a separate field. This field indicates the tempo display method. One of two options may be selected: BPM (Beats Per Minute) or FPB (Frames Per Beat). If set to FPB, the fractional portion of the tempo field denotes 1/8s instead of 1/lOs, as in Beats per minute.

• The TSIG field (Time signature): This field shows the time signature of the current bar of the active sequence. It is for display only and cannot be changed. To change the time signature of a bar or to insert time signature changes, read the section of the manual entitled "Editing sequences".

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

• The LOOP field: This is a choice field and has two options:

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

2. LOOP TO BAR 1:

If this option is selected, when the sequence plays to the end, it immediately loops back to the bar number displayed to the right of the word loops back to, move the cursor to the field to the right of the word

BAR and enter the new number. NOTE: If the bar to loop to is 1 and the sequence is in RECORD

mode, the MPC60 will automatically switch from RECORD to

OVERDUB mode at the moment the sequence loops back- this

will prevent accidental erasure of any notes just recorded. In the event that the "loop to" bar is

RECORD or OVERDUB modes, the MPC60 will automatically

switch to the specified bar.

BAR. To set the number of the bar which the sequence

PLAY mode at the moment the sequence loops back to

RECORD mode, recording

2 or higher and the sequence is in

The "Track data" area (lines 5 and 6):

• The

TRAK field This field displays the active track within the sequence.

The active track is the track which, when record or overdub mode is entered, will be recorded into. Only one track may be active at a time.

• The "Track name" field This field has no on-screen title, but is the 16 character name of the active track, located directly to the right of the active track number. It is changed in exactly the same manner as the sequence name above. If no track data exists, the name is always "(unused)". Once any data is recorded into the track, the name defaults to "XX" being the number of the track.

• The CH field (line 5) This field specifies which of the midi channels the active track will send its output through. There are 64 possible channels - 16 on each of the 4 midi output jacks. To select the channel number (1 - 16), move the cursor to the numeric field directly to the right of the word "CH". To select which of the 4 output midi jacks the track will play through, move the cursor one additional position to the right of the channel number. This is a choice field with 4 options: A, B, C, and output jacks

CONTROL. For example, to assign the

1, 2, 3, and 4, and can be changed by using the DATA

D, corresponding to midi

"TRKXX" with

Section 3: Recording sequences 39

active track to play through midi channel 5 on output jack 3, select 5C in these fields. If you want the active track to be a "drums" track, this should be set to 16, which is the midi channel the internal drums sound generator normally receives its notes from (in this case the port selection - A, B, C, or D - is only used for additionally triggering an external drum sound generator). For more information on "drums" and "non-drums" tracks, see section 3.4: "How to assign "drums" and "non-drums" tracks".

• The midi channel name field (right side of line 5): This is the 8 character name for the currently selected midi output channel. This field has no on-screen title, but is located directly to the right of the upper CH field. This would commonly contain the name of the synthesizer which is being played from the displayed midi channel, for Example, "5900_#2". There are 64 names - one for each of the 64 output midi channels. If the selected midi channel is assigned to the internal "drums" channels (16A, B, C, or D), the assigned name for that channel is always "Drums" to indicate that the selected track will play the internal drums.

NOTE: These 64 names are intended to be used is to identify the midi devices which are externally connected - not the data contained in the track . For this reason, they are not saved within sequence files or "ALL" files. They are, however, retained in memory after power is removed and are also saved within "parameter" files.

• The CH field (line 6): This field allows a second midi output channel to be assigned to the active track in addition to the one displayed in the upper CH field, so that the active track may play into 2 midi channels simultaneously. If an additional output channel is not desired, a "0" should be entered here to indicate that no additional midi channel is assigned.

• The midi channel name field (right side of line 6): This field, located directly to the right of the lower CH field, has the same function as the upper midi channel name field, directly above, but in this case is used to display the assigned name of the midi channel selected in the lower

CH field (line 6). If a "0" has been entered in the lower CH field, indicating that no additional midi channel has been selected for the active track, the name "(Off)" will be displayed here.

• The VOL% field: This is an overall output volume control for active track. It actually scales the velocities of all notes which play from the track. However, unlike a normal volume control, this setting actual adjusts the dynamics played. The range is from 0 to 200%. Select 100 for normal velocity. It is also possible to adjust the velocity values for a region of notes after recording. To learn more about this, read

section 4.3.10 "Changing the velocity or duration of a group of notes after recording".

• The PROG field: This field permits a midi program number (1-128) to be assigned to the active track. Each track may have a unique program number assigned to it. To assign a program number for the active track, enter the desired number into the PROG field. To select no program assignment for the active track, enter a "0" in this field. Whenever a sequence is selected in the SQNC field (before the sequence is played), the assigned program number for each track is immediately sent out over the track's midi channel to the external synthesizer, causing it to change to the assigned program number. This way, all external synthesizers are immediately changed to the correct program numbers by merely selecting the sequence.

NOTE 1: It is also possible to record midi PROGRAM CHANGE events at any location within a track, either in real time or in STEP EDIT mode. (See STEP EDIT for more details about this.) It is important to note that if one of these PROGRAM CHANGE events is inserted in mid-sequence and the portion of the sequence containing the change is played (causing the external synthesizer to change to the new program), the original program number (as set up in the PROG field) will not be re-sent over midi until the sequence is reselected in the SQNC field. Simply restarting the sequence will no implement the program change. If the MPC60 did send out all assigned program numbers whenever PLAY START was pressed, this problem would be corrected, but there would also be a brief delay at the start of the sequence because the external synthesizers must take time to change their program data. If you do want a program change to be sent out whenever PLAY START is pressed, it is better to insert a midi PROGRAM CHANGE event at the start of the track, using STEP EDIT.

NOTE 2: If a sequence containing these program assignments is played in SONG MODE, the sequence's program assignments are sent out at the moment that the sequence starts to play in the song. This can present a problem because most synthesizers require a brief time delay while changing programs, and this delay time will cause any notes existing at the start of the new sequence to be delayed. This delay is brief in most synthesizers, but is usually enough to cause a timing irregularity at the start of the sequence. To avoid this problem, don't assign any program changes to sequences which you are using in SONG MODE. If you need to use program changes within the song, make sure that no notes exist at the start of the sequences containing the program changes. Another alternative is to insert Midi PROGRAM CHANGE events within sequences in the song at locations where no notes exist. This same problem exists when manually changing sequences while playing (see section 2.9.1 "Changing sequences while playing") and can be corrected in the same way.

Section 3: Recording sequences 41

• The NOW field This field displays the current position within the sequence simultaneously both in musical terms and as a SMPTE number. The left side of this field shows the current position in musical terms - as a 3 part number separated by decimal points. The first part is the bar number; the second is the "beat" number within the bar (the beat is equal to the denominator of the time signature); and the third is the "clock" number within the beat (there are 96 clocks to a quarter note). Bars and Beats start at 1; Clocks start at 0.

To the right of the above described BAR.BEAT.CLOCK number is another 4 part number, displayed in parentheses. This field displays the current position of the sequence as a function of elapsed time from the beginning of the sequence, in HOURS:MINUTES:SECONDS:FRAMES. However, the number displayed when the sequence is set to the start is not necessarily 00:00:00:00, but rather is equal to the number entered in the "Sequence Starts at SMPTE#" field in the SYNC screen.

These 2 fields cannot be changed by directly entering numbers -the cursor will not move to this field. This field is normally changed by using the <, >, « , and » keys, or the LOCATE function, described in another section. Also, these fields change in real time while the sequence plays. However, the rightmost part of each field - the "clocks" and "frames" parts - are replaced with 2 dashes ("-") while playing because they would otherwise change too quickly to be useful.

The 4 SOFT KEYS:

• SOFT KEY 1 - <Trak=ON >: This soft key acts as a "mute on/off switch for the active track. Pressing SOFT KEY 1 changes from <Trak=ON> to <Trak=OFF>, and pressing it again changes it back. When set to ON, the active track plays; when set to OFF, the track doesn't play.

• SOFT KEY 2 -<Solo=OFF>: Pressing this soft key turns SOLO mode ON or OFF. If set to ON, only the active track is heard, as all other tracks are temporarily muted.

• SOFT KEY 3 - <Tmpo=SEQ>: Pressing this soft key alternates between the 2 tempo modes used in the MPC60: MASTER (MAS) and SEQUENCE (SEQ). These two tempo modes are explained in section 3.9.1, "The tempo screen".This is useful, for example, to quickly alternate between a normal play tempo and a slower tempo when recording.

• SOFT KEY 4 - <SortTrks>: This function is used to rearrange the order of the tracks. Pressing this soft key displays the following screen:

This function operates by removing one track and inserting it before another, which causes all tracks between to be re-numbered. Many of these operations may be required to put the tracks in the desired order. To perform this function, enter the track number to be removed in the MOVE TRACK field; enter the track number you want to insert the "moved" track before in the BEFORE TRACK field, then press <Execute>, and the PLAY/R,ECORD screen will be re-displayed.

Section 3: Recording sequences 43

3.4 How to assign "drums" and "non-drums" tracks

Each of the 99 tracks within a given sequence may individually be assigned to act as either a "drums" track or a "non-drums" track, but not both simultaneously.

To assign a track as either a "drums" or "non-drums" track, follow these simple rules:

• To assign a track to be a "drums" track: Set the track's midi output channel number (the CH field in the PLAY/R,ECORD screen) to 16 (A, B, C, or D), which is the midi channel number normally assigned to the internal drums. Once a track has been recorded as a "drums" track, DO NOT change its midi output channel assignment from 16, unless you have erased all the notes in the track first. The internal drum generator plays all notes received on channel 16, regardless of the assigned output midi jack (A, B, C, or D). In this case, the output jack selection is only used to determine which output jack will be used to send out midi note commands when the drums play.

• To assign a track as a "non-drums" track: Set the track's output midi channel (the CH field in the PLAY/RECORD screen) to any channel other than 16 (A, B, C, or D). Once a track has been recorded as a "non-drums" track, DO NOT change its midi output channel assignment to 16, unless you have erased all the notes in the track first.

Note: Although the internal drums normally receive their data on channel 16 (A, B, C, or D), this may be changed to any other channel. If you change it, then use this new assignment in place of 16 in the above two paragraphs. This is explained further in section 9.3.

A more technical explanation:

In a "non-drums" track, incoming midi note numbers are stored in the sequence exactly as they are received. However, in a "drums" track, incoming midi note numbers (if the drums are played from an external keyboard) are converted by the "Assign incoming notes to drums" function to numbers 0 through 31, representing the 32 drums, and stored in the sequence as those 32 midi note numbers. When the sequence is played back, these numbers (0 - 31) are converted to selected midi note numbers within the keyboard range by the "Assign outgoing drums to notes" function and output in that

form. This method has the advantage of being able to change the assignments of keyboard note numbers to drums at any time without affecting the sequence data. (These two assignment functions are accessed by pressing the MIDI key and selecting option 2.)

THE ONLY FACTOR WHICH DETERMINES WHETHER A TRACK IS A "DRUMS" OR "NON-DRUMS" TRACK, AND THEREFORE WHETHER OR NOT THESE CONVERSIONS ARE DONE IS THE TRACK'S OUTPUT MIDI CHANNEL ASSIGNMENT - IF IT IS ASSIGNED TO THE SAME CHANNEL AS THE INTERNAL DRUMS (NORMALLY 16), IT IS A "DRUMS" TRACK; IF IT IS NOT ASSIGNED TO THE SAME CHANNEL AS THE INTERNAL DRUMS, IT IS A "NON-DRUMS" TRACK.

Because the aforementioned note number conversions are only performed on "drums" tracks, it is important that you DO NOT do the following:

• DO NOT record a drums track , then change its midi channel assignment to a channel other than 16. Otherwise, when the sequence is played, midi note numbers 0 - 31 will play instead of the correctly assigned note numbers.

• DO NOT record a non-drums track, then change its midi channel assignment to "16". Otherwise, when the sequence is played, keyboard note numbers below 32 will be translated to the assigned drum note numbers, and notes above 31 will not play at all.

There are some functions in the MPC60 which treat a "drums" track differently than a "non-drums" track. For example, the screen which is displayed when the ERASE key is pressed is different for "drums" and "non-drums" tracks. Other examples are the STEP EDIT screen and the TRANSPOSE function.

3.5 The PLAY/RECORD keys

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

• The PLAY START key: This key causes the sequence to begin playing from the beginning.

• The PLAY key: This key causes the sequence to begin playing from the current position within the sequence, displayed in the NOW field in the PLAY/RECORD screen.

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

• The OVERDUB key: This key, when held down while either PLAY or PLAY START is pressed, causes OVERDUB mode to be entered, in which new notes may be recorded onto the active track, but existing notes will not be erased. While OVERDUB mode is active, the light above the OVERDUB key goes on.

It is also possible to "punch in" into overdub mode while playing. To do this:

1. The top line of the PLAY/RECORD screen must display the words "Play/Record (Record ready)". This means that the sequence is ready to record. If the words "(Record ready)" do not appear in the title, simply press and release the RECORD or OVERDUB keys once while stopped.

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

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

NOTE: If OVERDUB mode is entered while the sequence is set to loop to a bar higher than bar 1, OVERDUB mode will automatically be turned off at the moment the sequence reaches the end and starts to loop.

• The RECORD key: This key, when held down while either PLAY or PLAY START is pressed, causes RECORD mode to be entered, in which new notes may be recorded onto the active track while existing notes are

Section 3: Recording sequences 45

erased, just like a tape recorder. While RECORD mode is active, the light above the RECORD key goes on.

It is also possible to "punch in" into record mode while playing. To do this:

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

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

Note: If RECORD mode is entered while the sequence is set to loop to bar 1(or a portion of the sequence is looped with the EDIT LOOP function), RECORD mode automatically switches to OVERDUB mode at the moment the sequence reaches the end and starts to loop. This prevents accidently erasing any data which was recorded on the previous pass through the loop. If, however, RECORD mode is entered while the sequence is set to loop to a bar higher than bar 1, RECORD mode will automatically be turned off at the moment the sequence reaches the end and starts to loop.

NOTE: If an empty sequence is selected (the sequence name says "unused"), and either RECORD or OVERDUB is pressed, the sequence will instantly be created using the settings in the CREATE SEQUENCE screen. This function is normally accessed by pressing the EDIT key and selecting 2.

• The "«" key: This key causes the current position within the sequence to rewind to the beginning of the nearest earlier bar.

• The "»" key: This key causes the current position within the sequence to fast forward to the beginning of the nearest higher numbered bar.

• The "<" key This key normally causes the current position within the sequence to rewind to the previous 1/16 note. However, the amount of movement is set by the NOTE VALUE field in the TIMING CORRECT screen, which is usually set to "1/16 NOTE". To change the amount of movement, simply change the setting in this data field.

Section 3: Recording sequences

The ">" key

This key normally causes the current position within the sequence to fast forward to the next 1/16 note. However, the amount of movement is set by the NOTE VALUE field in the TIMING CORRECT screen, which is usually set to "1/16 NOTE". To change the amount of movement, simply change the setting in this data field.

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

There are three sequence position markers, labeled A, B and C. Pressing soft key 1, 2 or 3 causes either marker A, B or C, respectively, to be loaded into the NOW field, having the effect of going to that location. Pressing SOFT KEY 4, <Load'Now'>, causes the contents of the NOW field to be loaded into the marker field currently containing the cursor. To load any of the three markers, move the cursor to it and enter the desired bar numbers in the format: "BAR. BEAT.CLOCK" (separated by ".", using the numeric keypad). If you only want to enter the bar number, type it, followed by ENTER, and the note and clock numbers will be automatically reset to

01.00. There is a faster way to use LOCATE. If, while the LOCATE screen is

showing, you press the LOCATE key again, the MPC60 will immediately move to the sequence location of the marker (A., B, or C) where the cursor is currently positioned, exactly as if the soft key for that marker (soft key 1, 2, or 3) had been pressed. Therefore, from the PLAY/RECORD screen, to immediately move to the sequence location contained in the LOCATE marker (in the LOCATE screen) in which the cursor is currently positioned, simply press LOCATE twice.

3.6 An example of recording a drum sequence

The MPC60 is both a "linear" type sequences and a "pattern oriented" sequences. The following examples use short sequences with the loop function turned on, and are therefore examples of "pattern-oriented" recording. To record linearly, simply set the LOOP field (in the PLAY/RECORD screen) to "OFF". Then, the sequence length will automatically increase as you record past the existing end. See the description of the LOOP field to learn more about this.

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

1.The PLAY/RECORD screen should be displayed. If not, press MAIN SCREEN.

2. Move the cursor to the SQNC field and select 80 (ENTER) or any other empty sequence.

3. The upper line of the screen should display: "====== Play/Record (Record ready) ======" If not, press either the RECORD or OVERDUB keys once. This will

make the current sequence ready for recording.

4. The TRAKfield should contain a 1. If not, move the cursor to the TRAK field and select 1 (ENTER).

5. The upper CH field should contain "16A". If not, move the cursor to

the upper CH field and select "16" (Enter), and "A" in the field directly to the right.

6. While holding OVERDUB, press PLAY START. The OVERDUB and

PLAY lights should go on, and the metronome should be heard through the stereo outputs. The metronome will play on 1/4 notes, with a louder sound at the start of each bar. Also, the NOW display will be constantly changing to reflect the current position within the sequence.

7. Start recording your drum pattern by playing the drum pads in time to the metronome. Since no specific format of time signature or number of bars has been entered, "repeat two bars of 4/4 time" has automatically been selected. Every time the two bar pattern loops back to the start, any drums recorded on the last pass will be heard at the position they were recorded, except that the TIMING CORRECT function has automatically moved all of your notes to

Section 3: Recording sequences

the nearest 1/16 note. (This may be defeated- it is explained further in the section "The TIMING CORRECT key").

8. Press STOP.

Note: To learn how to select a different time signature or number of bars when creating the sequence, read section 4.3.2, "Creating a new sequence". To turn the loop off or change the loop setting, change the LOOP field.

Note 2: To adjust the TIMING CORRECT function or turn it off, read section 3.8, "The TIMING CORRECT key".

If you don't think it sounds as good as you intended, you may need some practice in following the metronome. If you want to erase what you've just recorded and start again, simply repeat steps 6 through 8 above, except this time hold down the RECORD key and press PLAY START. In RECORD mode, any existing notes in the track are erased just like a tape recorder, whereas in OVERDUB mode, new notes are merged into

If you only want to erase a particular drum from the sequence you just recorded, follow these steps:

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

the existing notes in the track.

as you record new notes,

2. Press the drum pads) of the drums) you wish to erase. A 4 letter abbreviation of the drum names) will appear on the screen.

3. Press SOFT KEY l: <Erase it>. When you press this soft key, the drum you pressed will be erased throughout the track, then the PLAY/RECORD screen will be re-displayed.

4. Now, you can enter OVERDUB mode again and re-record that drum into your sequence.

The ERASE function is described in further detail in the section "The ERASE ke

play

3.7 An example of recording a sequence containing both drums and keyboard instruments

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

Track 1: Drums Track 2: Percussion Track 3: Bass Track 4: Piano chords Track 5: Piano melody

First, set up the instruments:

1. Connect the MIDI OUTPUT of a midi keyboard to the MIDI IN 1 of the MPC60. You may alternatively use input 2. Both inputs merge together.

2. Connect the MPC60's MIDI OUT 1 to the MIDI INPUT of a

synthesizer. Set that synthesizer to play a bass guitar - like sound and set its midi receive channel to 1.

3. Connect the MIDI THRU of the first synthesizer to the MIDI INPUT of a second synthesizer. Set that synthesizer to play a piano

- like sound and set its midi receive channel to 2.

4. Set your audio mixer so that the MPC60's drums, the bass synthesizer and the piano synthesizer are all at the desired volume.

5. The PLAY/RECORD screen should be showing. if not, press MAIN SCREEN.

6. The u

er line of the screen should display:

If not, press either the RECORD or OVERDUB key once. This will make the current sequence ready for recording.

Note: The MIDI SOFT THRU field, accessed by pressing the MIDI key and described in section 9.2, should be set to "ON". However, if you are using a single integrated keyboard synthesizer for this recording example, it should be set to "OFF". If, while recording the keyboard parts in this example, your synthesizer isn't receiving the keyboard notes, or it receives two notes for each note

ed, the

Section 3: Recording sequences

MIDI SOFT THRU field may be set incorrectly. If so, please read section

9.2 to learn more about this field.

Next, create the new sequence format of 4 bars of 4/4 time:

1. Move the cursor to the SQNC field and select 80 (ENTER) or any other sequence which is currently empty.

2. Press the EDIT key. The following screen will appear:

3. Select option 2: "Create sequence". The following screen will appear:

4. Enter the data fields as shown in the above screen.

5. Press <Execute> (SOFT KEY 1). This will erase the existing contents

of the sequence and create a new format of 4 bars of 4/4 time. Once finished, the previous EDIT screen will be redisplayed.

6. Press MAIN SCREEN to return to the PLAY/R.ECORD screen.

Note: Whenever you start recording in an empty sequence, the settings in this screen are used to create the default format of time signature and number of bars for that new sequence. Now that you have changed these settings to "4 bars of 4/4, looped", all newly recorded sequences will default to this format, instead of the factory set default of "2 bars of 4/4, looped". Also, these settings, as well as the contents of most other data fields in the MPC60, are remembered with the power off, so this new default will remain active until changed, even if you turn the power off and on again.

Now, record the drums on track 1:

1. Move the cursor to the TRAK field and select 1 (Enter) to make track

number 1 active. We are going to record the drums on track 1.

2. Move the cursor to the upper CH field (5th line) and select "16" (ENTER), then select "A" in the field immediately to the right, to assign the output of track 1 to midi channel 16 (the channel of the internal drums) and to midi output jack 1. (It doesn't really matter which output jack we assign it to because it this case we are not using any additional external drum generator. Regardless of the output jack selection, by assigning this track to channel 16, it is now a "drums" track.)

3. While holding OVERDUB, press PLAY START. The OVERDUB and PLAY lights should go on, and the metronome should be heard through the stereo outputs. The metronome will play on 1/4 notes, with a louder sound at the start of each bar. Also, the NOW display will be constantly changing to reflect the current position within the sequence.

4. Record the drum part by playing the drum pads in time to the metronome. Every time the four bar pattern loops back to the start, any drums recorded on the last pass will be heard at the position they were recorded, except that any timing errors will have been corrected. Keep adding drums until your drum part is complete.

5. If you accidently played one or two wrong notes, you may erase them without affecting any other notes just recorded by following these steps:

A) While still in OVERDUB mode, hold down the ERASE key.

B) Just before the wrong notes are about to play, hold that drum's

pad down, then quickly release it when the wrong notes have passed.

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

permanently erased from the sequence.

6. Press STOP.

Next, overdub the percussion part on track 2:

1. Move the cursor to the TRAK field and type 2 (ENTER) to make track 2 active.

2. Move the cursor to the upper CH field (5th line) and type "16" (ENTER), then select "A" in the field immediately to the right, to select midi channel 16A as the output channel for track 2. By assigning this track to channel 16, it is now a "drums" track.

Section 3: Recording sequences 53

3. Enter OVERDUB mode again by holding OVERDUB and pressing PLAY START.

4. Record the percussion part by playing the PERC1 through PERC4 pads in time to the drums already recorded on track 1. Keep adding drums until your percussion part is complete.

5. If any mistakes were made, use either of the two erase methods described above. Don't worry - they won't erase information on other tracks - they only erase notes from the active track unless you specify otherwise.

Next, overdub the bass part on track 3:

1. Press MAIN SCREEN to return to the PLAY/RECORD screen.

2. Move the cursor to the TRAK field and type "3" (ENTER) to make track 3 active.

3. Move the cursor to the CH field and type "1"(ENTER), then select "A" in the field immediately to the right, to select midi channel lA as the output channel for track 3. Because a channel other than 16 has been selected, this track is now a "non-drums" track.

4. If you play the midi keyboard now, the bass synthesizer should sound. If not, check the midi connections, check the setting of the MIDI SOFT THRU field, and re-check the previous three steps.

5. Press the COUNT IN key - the light will go on. This will cause the metronome to play one bar before the sequence plays to cue you to start playing.

6. Enter OVERDUB mode by holding OVERDUB and pressing PLAY START.

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

drums and percussion parts.

8. Press STOP and press COUNT IN again to turn it off.

9. If you make a mistake while recording, you may correct it by

"punching-in" the new note:

A) Hold the "<" key (rewind) until the NOW field shows a

location about one bar before the mistake.

B) Press PLAY. The sequence will start playing from the

position shown in the NOW display.

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

simultaneously to enter RECORD mode (existing notes are erased while new notes are recorded) then

quickly play the correct note. You may now either "punchout" by pressing RECORD again or continue recording from that point. Don't worry- when the sequence loops back to bar 1, it will automatically switch from RECORD to OVERDUB modes so that those notes in the earlier part of the sequence won't be erased.

Now, overdub the piano chords part on track 4:

1. Move the cursor to the TRAK field and type "4" (ENTER) to make track 4 active.

2. Move the cursor to the upper CH field (5th line) and type "2" (ENTER), then select "A" in the field immediately to the right, to select midi channel 2A as the output channel for track 4.

3. If you play the midi keyboard now, the piano synthesizer should sound. If not, check the midi connections, check the setting of the MIDI SOFT THRU field, and re-check the previous three steps.

4. Enter OVERDUB mode by holding OVERDUB and pressing

PLAY START.

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

6. Press STOP.

Finally, overdub the piano melody part on track 5:

1. Move the cursor to the TRAK field and type "5" (ENTER) to make track 5 active.

2. Move the cursor to the upper CH field (5th line) and type "2" (ENTER), then select "A" in the field immediately to the right, to select midi channel 2A as the output channel for track 5. Notice that both tracks 4 and 5 are playing into midi channel 2A, the piano synthesizer.

3. If you play the midi keyboard now, the piano synthesizer should sound. If not, check the midi connections, check the setting of the MIDI SOFT THRU field, and re-check the previous three steps.

4. Enter OVERDUB mode by holding OVERDUB and pressing PLAY START.

5. Record your piano melody part in time to the drums, percussion, bass and piano chord parts.

6. Press STOP.

3.8 The TIMING CORRECT key

The TIMING CORRECT function has many uses:

• It can correct timing errors made while recording.

• It can add a shuffle or swing timing to your performance.

• It can shift notes earlier or later in the sequence to compensate for synthesizer delays, etc.

• It is used to set the STEP SIZE, used in STEP EDIT

• It can assist in the recording of repeating notes, such as rolls and repeated 1/16 notes or 1/32 notes.

3.8.1 Correcting timing errors

The MPC60 corrects any timing errors made while recording by moving those errors onto the nearest 1/16 note. If a note is played a little too early, it is moved later onto the nearest 1/16 note; if a note is played a little too late, it is moved earlier onto the nearest 1/16 note (A value of 1/16 notes is most often used, although this may be changed to one of six values, or timing correction may be defeated entirely). This correction of errors is done in real time as the notes are recorded, so playback of corrected notes is instantaneous. Also, it is possible to correct the timing of notes which were previously recorded.

One of the problems with timing correction (sometimes called "quantizing") is that on many sequencers it has the effect of truncating, deleting or elongating notes, making the feature impractical to use. The MPC60 avoids this problem by only correcting the attacks of a note, then moving the end of the note along with the attack - the note duration is not changed. This allows the corrected notes to sound much closer to the original performance, but without the timing errors.

Another problem with timing correction on most sequencers is that all events are corrected along with the notes. This can have the undesirable effect of converting pitch bends into pitched "stair steps". The MPC60 avoids this problem by only correcting the notes, while recording the continuous events such as pitch bends exactly as played. This allows, for example, the notes of a keyboard solo to be corrected but the pitch bends to be recorded exactly as played.

To inspect or change the timing correction settings, press TIMING CORRECT while the MPC60 is not playing, and the following screen will be displayed:

Section 3: Recording sequences 55

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

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

l.l/8 NOTE: All notes are moved to the nearest 1/8 note

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

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

4.1/16 TRPLT: All notes are moved to the nearest 1/6 note triplet

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

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

7. OFF(1/384): No timing correction- in this setting, the highest resolution of the MPC60 is used- 96 divisions per 1/4 note.

This value also affects two other functions in the MPC60:

1. It sets the NOTE REPEAT value, described later in this section.

2. It sets the amount by which the current sequence position

changes when either the "<" or ">" (rewind, fast forward) keys are pressed.

• The SHUFFLE field: This is the shuffle setting, described in the section below entitled "The shuffle function". This only has an effect if the setting of the NOTE VALUE field is either 1/8 or 1/16 notes - for all other settings, it has no effect. The input range is from 50% (no shuffle effect) to 75% (maximum shuffle effect).

• The SHIFT TIMING and SHIFT AMOUNT fields: These two fields comprise the shift timing function, described below in the section entitled "Shift Timing". There are two fields: The SHIFT TIMING field specifies the direction of the shift - the options are EARLIER and LATER. The SHIFT AMOUNT field specifies the amount of shift in clocks (1/96 of a 1/4 note).

The FROM and TO fields: These 2 fields are used to specify the region of the sequence which will be altered when the <Move existing> soft key is pressed. These are BAR.BEAT.CLOCK fields - the region starts at the location entered in the FROM field and ends one clock before field.

• The TRACK(0=ALL) field: This field is only used in conjunction with the <Move existing> soft key. It is used to specify the track number which is to be altered -entering a "0" indicates all tracks.

• SOFT KEY 1 - <Move existing: Normally, the timing correct function operates in real time, correcting notes before they are recorded into the sequence. It is also possible to correct the timing of an existing sequence (or shuffle it, or shift timing). Pressing this soft key will cause the region of the active sequence specified by the TO, FROM and TRACK fields to be corrected according to the settings of the NOTE VALUE, SHUFFLE, SHIFT TIMING and AMOUNT fields.

3.8.2 The "Shuffle" feature

Section 3: Recording sequences 57

the location entered in the TO

The shuffle feature is a variation of timing correction. Whereas the timing correction feature moves your notes onto perfect note intervals, the shuffle feature moves your notes onto shuffled (swing time) note intervals, but only operates on either 1/8 or 1/16 notes. The amount of shuffle is measured as a percentage of the odd numbered note lengths to the even numbered note lengths. The range of values is from 50% to 75%. For example:

• A shuffle setting of 50% indicates no shuffle effect - the odd and even notes have equal value;

• A shuffle setting of 66% indicates a technically perfect shuffle - the odd numbered notes have a length of twice that of the even numbered notes, giving the effect of triplets where the second note of each triplet is tied to the first;

• A shuffle setting of 75% is the highest shuffle setting - the odd numbered notes have a length of three times that of the even numbered notes.

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

• NOTE VALUE = 1/16, SHUFFLE = 54% to 58%, Tempo = 100 BPM: This removes the "stiffness" from 1/16 notes and is especially useful on drum sequences using 1/16 note hihats.

• NOTE VALUE = 1/8, SHUFFLE = 60%, Tempo = 100BPM: This creates an 1/8 note shuffle which could be described as more relaxed than a perfect shuffle (66%).

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

3.8.3 The SHIFT TIMING feature

It is sometimes desirable to shift your notes earlier or later in time by a consistent value. For example, if a given track is to play through a synthesizer with a slow attack, the slow attack can be compensated for by shifting the notes in the track earlier by an amount equal to the length of the slow attack. The shift timing feature works in conjunction with the timing correct feature to move notes forward or backward in time.

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

NOTE: It is important to note that the this function only operates in conjunction with the TIMING CORRECT function. This means that it is not possible for this function to shift the timing of notes without also correcting their timing. This also means that the range of shift depends on the current NOTE VALUE setting. For example, if the NOTE VALUE field is set to 1/16 notes, the maximum SHIFT AMOUNT is 11 clocks, or less than 1/2 of one 1/16 note; if the NOTE VALUE field is set to 1/32 notes, the maximum SHIFT AMOUNT is 5 clocks, or less than 1/2 of one 1/32 note; and if the NOTE VALUE field is set to OFF(1/384), the SHIFT AMOUNT is fixed at 0, meaning that no shift; is possible since timing correction is not being used. If you wish to shift the timing of a track independently of the timing correction function, then use the COPY/MERGE A TRACK function, described in section 4.3.6.

NOTE 2: If the SHIFT TIMING function is set to shift notes early and one or more notes exist at the start of the sequence, these starting notes will be deleted when the <Move existing> operation is

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

3.8.4 The NOTE REPEAT feature

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

• Drum rolls

• Repeating note drum patterns, such as 1/16 note hihat patterns

• Repeating keyboard notes, such as a repeated 1J16 note bass part

The NOTE REPEAT feature is used in real time while recording. To use this feature, press and hold TIMING CORRECT while in OVERDUB or RECORD mode, and the top line of the PLAY/RECORD screen will change:

Section 3: Recording sequence

If any drum pads (if the active track is a "drums" track) or keys (if the active track is a "non-drums" track) are held while TIMING CORRECT is being held, they will be automatically repeated at the TIMING CORRECT note value setting. Further, the velocity level of each repeating note is set by the current pressure setting of the drum pad or key being played (if your midi keyboard has CHANNEL PRESSURE capability). To demonstrate this effect:

1. Set up a sequence for recording a two bar repeating drum pattern (be sure to set the upper CH field to "16A").

2. Press TIMING CORRECT and select "1/16 NOTE" in the NOTE VALUE field.

3. Press MAIN SCREEN to return to the PLAY/RECORD screen.

4. Enter OVERDUB mode by holding OVERDUB and pressing PLAY START.

5. While holding TIMING CORRECT, also hold the WHAT pad, varying the pressure as you hold it. You should hear repeating 1/16 note hihats.

6. Press STOP to stop playing.

7. Press TIMING CORRECT and select "1/32 TRPLT" in the NOTE field.

8. Press MAIN SCREEN to return to the PLAY/RECORD screen.

9. Enter OVERDUB mode again.

10. While ho l ding TIMING CORRECT, also ho ld the SNAREI pad, varying the pressure as you hold it. You should hear a snare drum roll.

This same procedure can be used in exactly the same way when recording keyboard sequences. In this case, hold TIMING CORRECT while holding the key on the midi keyboard. In order to use the varying pressure technique, you will need to use a keyboard

which sends "channel pressure" messages.

3.9 Tempo

Section 3: Recording sequences

There are many functions in the MPC60 associated with tempo. First, there is the TMPO field in the PLAY/R,ECORD screen:

To change the tempo at any time while playing or recording, move the cursor to the TMPO field and change it.

Another way to quickly change the tempo is using the <Tmpo=MAS> soft key in the PLAY/RECORD screen. When pressed, it instantly switches between two preset tempo settings, the MASTER and SEQUENCE tempo. These two tempo settings will be described later in the "Tempo screen" section. This feature is useful, for example, to quickly switch between the normal playing tempo and a slower tempo for recordin

3.9.1 The TEMPO screen

To display the TEMPO screen, press the TEMPO/SYNC key, and the following screen will appear:

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

• The TEMPO SOURCE SELECT field: There are two tempo settings, SEQUENCE and MASTER, only one of which may be active at a time. This field is used to select which one is active:

SEQUENCE: The SEQUENCE tempo is the tempo setting which is stored within each sequence. If SEQUENCE mode is currently active, then whenever the sequence number is changed, the newly selected sequence's tempo will become active. This is useful when playing sequences, for example, if you want each newly selected sequence to play at its own preset tempo. Also, only the SEQUENCE tempo is saved to disk when a sequence is saved.

MASTER: The MASTER tempo is a single tempo setting for all sequences which is not stored within any sequence, that applies to all sequences. This is useful when playing sequences, for example, if you want each newly selected sequence to always play at the same tempo.

• The SEQUENCE TEMPO field:

This is the current value of the sequence tempo, described above.

• The MASTER TEMPO field:

This is the current value of the master tempo, described above.

• The BPM/FPB field:

This field selects one of two display methods for the tempo readouts:

BPM (Beats Per Minute): This is the most common method in use to specify a tempo setting. Using BPM, the range of tempo settings in the MPC60 is from 30 BPM to 300 BPM. Beats Per Minute is also sometimes referred to as "metronome marking" or "MM".

FPB (Frames Per Beat): This is another way of specifying tempo settings and is often used in the making of music for film or video sound tracks, because the tempo is referenced to the number of film or video frames which pass for every beat of music. Frames Per Beat is also sometimes referred to as "click". If the FPB setting is in use, the digit to the right of the decimal point in any of the numeric tempo settings indicates 1/8s- its range is from 0 to 7. There are four different types of FPB tempo, described in the FRAMES/SEC field below.

This field has the same function as the "tempo display method" field in the PLAY/RECORD screen.

Section 3: Recording sequences 63

• The FRAMES/SEC field: This field selects one of four FRAMES PER SECOND standards, used to calculate the current FPB (frames per beat) setting. The four options are:

"30" (30 frames per second, non-drop): This is the standard for black and white television in the United States. Using this mode, the tempo range of the MPC60 is from 60.0 to 6.0 FPB. This mode is the most common standard in use today for music production in the United States and Japan.

"30 DROP" (30 frames per second, drop frame): This is the standard for NTSC color television in the United States. Using this mode, the tempo range of the MPC60 is from 59.7 to

6.0 FPB. "25" (25 frames per second):

This is the standard for European television (PAL /SECAM standard). Using this mode, the tempo range of the MPC60 is from

50.0 to 5.0 FPB. This mode is the most common standard in use today for music production in the United Kingdom and Europe.

"24" (24 frames per second): This is the standard for film. However, since film is usually transferred to video for scoring, the composer still works with the video standard frame rates. Using this mode, the tempo range of the MPC60 is from 48.0 to 5.0 FPB.

• The TAP AVERAGING field This parameter is used in conjunction with the TAP TEMPO key. The TAP TEMPO key is used for quick setting of the playing tempo by tapping the key repeatedly in the time of 1/4 notes of the desired tempo, described further in the section "The tap tempo key". This field sets the number of repeated "taps" which must be played in sequence before the tempo is recalculated, so that successive taps are averaged to reduce any timing errors. The options are:

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

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

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

• SOFT KEY 1 - <Sync Screen>: This screen is described in the section entitled "Syncing to tape and other devices".

• SOFT KEY 2 - <Tempo changes:

The function of this soft key is described in the following section.

3.9.2 Mid-sequence tempo changes

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

In the center of the screen is a group of fields, labeled CHANGE#, BAR#, %CHANGE and "=TEMPO". In this case, the labels are located directly above the actual data fields. These four fields work together to allow you to view or change any tempo changes existing in the sequence.

There may be many tempo changes in the sequence. These 4 fields show one of these changes at a time. The CHANGE# field shows the number of the currently displayed tempo change within the list of changes, and the other fields show the contents of that tempo change. For example, the above screen shows that tempo change number 2 will occur at bar 2, beat 3 and will change the tempo by 150% to 180 beats per minute.

Section 3: Recording sequences 65

The following is a description of each of these 4 fields:

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

• BAR#: This field shows the location within the sequence where the currently displayed tempo change will occur. This is a "bar.beat.clock" field.

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

• "=TEMPO": This field displays the actual tempo which will play once the tempo change is active, in addition to the percentage. This number is automatically computed from the displayed percentage of change times the main playing tempo (either master or sequence).

So, to view the entire list of tempo changes, simply change the CHANGE# field and notice the different settings of the other 3 fields as you change it. Even if no changes have been entered, every sequence has one change- to 100% at bar 1. This is because the current tempo setting is always returned to when the sequence plays bar 1, whether it does so by playing from the start or by looping back to the start.

To insert a new tempo change, first enter the location within the sequence where you want the change to occur into the LOCATION FOR INSERTED CHANGE field, which is a bar.beat.clock field. Then, press the <Insert new> soft key. Immediately, a new tempo change will be inserted into the list and will be displayed on the screen with a default value in the %CHANGE field of 100%. You must now enter a percentage of the main starting tempo. However, as you enter the percentage, the "=TEMPO" field will show the actual tempo. For example, to insert a tempo change to 60 BPM at bar 5 from a main starting tempo setting of 120 BPM, you must insert a

tempo change with a value of 50% at bar 5 (120 BPM X 50% = 60 BPM).

To delete the currently displayed tempo change, press the <Delete> soft key.

The field at the top of the screen, TEMPO CHANGES, is a choice field with 2 options: ON and OFF. If set to ON, tempo changes are used; if set to OFF, all tempo changes within the sequence are ignored.

3.9.3 The TAP TEMPO key

The TAP TEMPO key allows the tempo to be quickly set by tapping 2 beats (1/4 notes) on the TAP TEMPO key. After two taps, the MPC60 automatically assumes the two taps to be 1/4 notes and recalculates a new tempo to match those 1/4 notes.

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

Normally, only two taps are required before the MPC60 recalculates the new tempo. However, it is possible to set this feature so that it recalculates the tempo by averaging the last 3 (or 4) successive tap intervals. This is set in the TAP AVERAGING field, located in the TEMPO screen, and is explained further in that section of the manual.

3.9.4 Sequencer speed limitations at fast tempos

If many notes exist at exactly the same location within a sequence and that sequence is played at a fast tempo, some of the notes may be slightly delayed when played back. For example, if 20 notes all play exactly at position 002.01.00 within the sequence and the playing tempo is 200 BPM, some of these 20 notes occurring at the same time may be delayed as much as 10 to 20 milliseconds when played back. This condition exists to some degree in all sequencers, and is due to the fact that there is a finite number of notes which the internal computer can process at one time. However, this will NOT cause the

Section 3: Recording sequences 67

sequence to slip out of sync when syncing to an external sync source.

If you have one of these complex sequences and notice these occassional timing irregularities when playing at a fast tempo, the problem may be caused by having too many unused "channel pressure" events (sometimes called "after touch") in your sequence. For example, many keyboards, such as the Yamaha DX-7, commonly send out large amounts of channel pressure messages while playing, which are recorded into your tracks. If you are not using these messages, removing them from the tracks will improve the playback timing. To do this, press the ERASE key and use the ERASE FILTER to only erase channel pressure events from each of your tracks (see section 4.2: the ERASE key). If you rarely use channel pressure capability, it is best to disable recording these events in the MIDI INPUT FILTER (see section 9.2).

If you have erased all unnessary events from all tracks of your sequence and the timing is still not accurate enough, there is another alternative which can be used when syncing to tape: record the sequence to tape a few tracks at a time, and turn off the tracks you are not recording for each pass by using the <Trak=ON> soft key (in the PLAY/R,ECORD screen). Since the unrecorded tracks are turned off, the computer does not have to use as much time to process them, and can use all of its time to play the tracks which are being played, avoiding the delay when all tracks play. Note that this delay is not affected by the number of tracks which playing, but rather only by the number of notes or events which are playing at the same exact location within the sequence, and the playing tempo.

Here's another hint: the MPC60 must work slightly harder when in "Record ready" mode. Therefore, a slight improvement in timing accuracy while playing (not recording) complex sequences may be obtained by disabling the "Record ready" status (by selecting a different sequence, then re-selecting the intended sequence).

Finally, the setting of the MIDI DRUM DATA SENT OUT field (accessed by pressing the MIDI key and selecting option `2') has a significant effect on how many internal computations the MPC60 must do while playing drum tracks. Normally, this field is set to "NONE", which requires the least internal computations and therefore gives the highest timing efficiency. Any other setting will make the MPC60 work much harder while playing drum tracks. This field is explained in section 9.3 "External drum triggering, the midi `drums' channel".

3.10 The WAIT FOIL KEY key

This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC60 console. If or OVERDUB mode is entered while the WATT FOR KEY function is on, the sequence will not begin to play until a key - any key - is played on the midi keyboard. This acts as a remote play switch to start the sequence. However, this first key which is played to start the sequence is NOT recorded into the sequence- it only starts the sequence, and any keys played afterwards are recorded into the sequence.

To turn WAIT and the light goes on to indicate it has been activated. To turn WAIT

mode off, press the WAIT FOR KEY key again and the light will go

KEY

off to indicate it has been deactivated. If set to ON, it will automatically go

OFF after it has been used once (for playback, recording or overdubbing a

sequence) - you must turn it on again each time you want to use it.

FOR KEY mode on, press the WAIT FOR KEY key once

PLAY, RECORD

FOR

3.11 The AUTO PUNCH key

The auto punch function, when set to ON, enables OVERDUB or RECORD modes to be automatically entered and exited at preset times while

playing. This can be very useful when it is desired to execute a very tight punch-in and there isn't enough time to get from the console keys to the keyboard to play the new notes after the punch-in. The AUTO PUNCH function punches in automatically for you, allowing you to concentrate on playing the new part. Pressing AUTO PUNCH displays the following screen:

Section 3: Recording sequences

The following is a detailed description of each of the fields and the single soft key:

• The ON/OFF field: This field is used to select whether the AUTO PUNCH function is ON or OFF. If set to on, the AUTO PUNCH light goes on.

• The AUTO PUNCH IN and AUTO PUNCH OUT fields: These two fields are used to specify the locations within the sequence at which the punch-in and punch-out will occur. To enter a number into either of these two fields, type the bar number, a period, the beat number, a period, and the clock number, then ENTER. If the number you wish to enter is at the start of a bar, simply enter the bar number followed by ENTER, and the beat and clock numbers will automatically be reset.

• The LAST PUNCH IN and LAST PUNCH OUT fields: These two fields are indicators only - they cannot be manually changed. They are used to indicate the exact locations of the punchin and punch-out which was last performed manually .

• The <Use last> soft key: Pressing this soft key causes the contents of the LAST PUNCH IN/OUT fields to be copied into the AUTO PUNCH IN/OUT fields. This is useful when you want to repeat the last manual punch using the AUTO PUNCH function.

To perform the AUTO PUNCH:

Once you have entered the punch-in and punch-out locations, and you have turned AUTO PUNCH mode on, locate to a position within the sequence which is a few bars before the punch-in point. Then enter RECORD mode as usual by pressing PLAY and RECORD simultaneously. However, since the AUTO PUNCH function is on, RECORD mode cannot yet be entered. Instead, the RECORD light blinks until the PUNCH-IN point is reached. When it is reached, RECORD mode is automatically entered and the RECORD light stops blinking and stays on continuously. When the PUNCH-OUT point is reached, RECORD mode is automatically exited and the RECORD light goes off, but play continues.

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

3.12 The 2ND SEQUENCE key

This function allows the MPC60 to play an additional sequence while simultaneously playing or recording the active sequence. For example, you could use the active sequence to linearly record all of your keyboard tracks while simultaneously using the 2ND SEQUENCE to play a looped drum sequence. The 2ND SEQUENCE may also play simultaneously with the active song, if SONG MODE is selected.

To use this feature, press the 2ND SEQUENCE key, and the following screen will appear:

Section 3: Recording sequences

To turn the second sequence on, first select the sequence number which you would like to play simultaneously with the active sequence in the SEQUENCE field. The name of the selected sequence is displayed to the right of the number for convenience. Next, move the cursor to the ON/OFF field and select "ON" by turning the DATA CONTROL one notch to the right. The light above the 2ND SEQUENCE key will turn on as an indicator. Now, when you play the active sequence or song, the sequence you selected in the 2ND SEQUENCE screen will also play. To turn the feature off, return to the 2ND SEQUENCE screen and select "OFF" in the ON/OFF field.

3.13 The COUNT IN key

This function causes a single bar of metronome clicks to play before the sequence starts playing or recording, acting as a count in or count down before the sequence starts playing, to help you to adjust to the sequence tempo.

To turn COUNT IN on, press the COUNT IN key (the light will go on); to turn it off, press COUNT IN again (the light will go off).

NOTE: If the current position within the sequence is not at the start of a bar, and PLAY is pressed (with or without RECORD or OVERDUB) while COUNT IN is on, the sequence will start playing from the start of the current bar (after the count in has passed). If not for this, the sequence would begin playing in the middle of the bar after one bar of count in, which would not make musical sense.

NOTE 2: Any keys played on the input midi keyboard while the COUNT IN bar is playing will not be output through midi (by the MIDI SOFT THRU function) until the COUNT IN bar has finished. For example, if you were to play a chord towards the end of the COUNT IN bar, just slightly before bar 1 of the sequence, the chord would sound when bar 1 started playing, which could be easily misunderstood as a processing delay. This is normal operation and serves as a reminder that no notes may be recorded during the COUNT IN bar, and that any notes played during that time will be held and recorded at the start of the sequence.

NOTE 3: The metronome normally plays on 1/4 notes. However, this note value may be changed in the RATE field, accessed by pressing the OTHER key.

3.14 The recording metronome

Whenever RECORD or OVERDUB mode is entered, a click sound is heard through the stereo mix outputs on every U4 note, with a louder click at the start of each bar. This is the recording metronome. There are two metronome adjustments, both of which are accessed by pressing the OTHER key, which displays the following screen:

The three metronome adjustments are:

• The METRONOME field: This field controls the volume of the metronome, both to the stereo mix and the to the metronome output jack. The range is 0 (off) to 14 (full volume).

• The RATE field: This field controls the note value of the metronome. Normally, the metronome plays 1/4 notes. In this field it is possible to change that

value to one of eight options: 1/4 notes 1/4 triplets 1/8 notes 1/8 triplets 1/16 notes 1/16 triplets 1/32 notes 1/32 triplets

• The IN PLAY field: This is a choice field which has two options:

1. "NO": The metronome is only heard during RECORD or OVERDUB modes, but not while in PLAY mode.

2. "YES": The metronone is heard in PLAY, as well as in

RECORD and OVERDUB modes.

The rear panel metronome output jack

The output of the metronome is routed to its own individual jack on the rear panel, the METRO OUT jack. The output level at this jack is also controlled by the metronome VOLUME field, above. If a plug is inserted into this jack, the metronome will no longer be heard in the stereo mix. When the plug is removed, the metronome will once again be heard in the mix.

Section 3: Recording sequences

3.15 The two Foot switch inputs

There are two foot switch inputs on the rear of the MPC60. Each of the two foot switch inputs may be independently assigned to one of a number of different purposes. To assign the foot switches, press the OTHER key, and the following screen will appear:

The FOOT1 and FOOT2 fields are used to assign the functions of the two foot switches. Each may be independently assigned to one of the following functions:

• PLAY/STOP: Press once for PLAY, again for STOP.

• PLAY-STRT / STP (Play start / stop): Press once for PLAY START, again for STOP.

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

*TIMING CORECT (Timing correct): Press to duplicate the function of pressing TIMING CORRECT. This is very useful for hands-free use of the NOTE REPEAT function.

• "+": Press to duplicate the function of turning the DATA CONTROL to the right one step.

“-“:

Press to duplicate the function of turning the DATA CONTROL to the left one step.

• RECORD IN/OUT: Press once to duplicate the function of punching in to RECORD mode while playing; press again to duplicate the

Section 3: Recording sequences 75

function of punching out of RECORD mode back into PLAY mode.

• OVRDUB IN/OUT (Overdub in/out): Press once to duplicate the function of punching in to OVERDUB mode while playing; press again to duplicate the function of punching out of OVERDUB mode back into PLAY mode.

• "<”:

Press to duplicate the function of pressing the "<" key. This is very useful for stepping backwards through the sequence while STEP EDIT is on.

• ">": Press to duplicate the function of pressing the ">" key. This is very useful for stepping forwards through the sequence while STEP EDIT is on.

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

3.16 The "Free sequence memory" display

To see how much memory is currently available for sequence recording, press the OTHER key:

The FREE SEQUENCE MEMORY field displays the percentage of total sequence memory which is available for new recording.

Section 3: Recording sequences 77

3.17 Recording Midi System Exclusive data

The MPC60 has the capability to record patch library data or any other Midi System Exclusive messages directly into tracks. To do this, simply send the System Exclusive message to the MPC60 while in RECORD or OVERDUB modes, or while in STEP EDIT mode, and it will be recorded into the active track, just like any other midi data. The only limitation is that the message must be less than 1000 bytes. If an attempt is made to record a message which is larger than this, the entire message will be rejected. This will easily accomodate single voice patch data dumps from any synthesizer, but is not large enough for many voice bank data dumps (large files containing an entire bank of single voice data dumps).

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

There is one problem with playing System Exclusive messages from sequences: there is no standard method for identifying the midi channel number within the message, and therefore the MPC60 cannot assign the output midi channel over which the message will be sent. This means, for example, that a System Exclusive message sent over midi channel 3 while recording into the MPC60 will always be played out of the MPC60 on midi channel 3, regardless of the track's output midi channel. To overcome this problem, you must send the System Exclusive message on the desired midi channel while recording it into the MPC60. Most synthesizers allow you to select the transmit channel. However, the Yamaha DX-7 (original model) always transmits on midi channel 1.

There is a way to change the midi channel of a System Exclusive message while it is in the MPC60- by using STEP EDIT. The midi channel is assigned to a single byte within the message and the Step Edit function allows you to change the contents of any byte within the message. If you know which byte a particular manufacturer uses for the channel number, you can change the contents of that byte to the desired midi channel number. For example, the Yamaha DX-7 System Exclusive messages contain the midi channel in byte number 3, so whatever number you put into byte number 3 of the message will be the new output midi channel number. To learn more about editing in step edit mode, read section 4.4: "The STEP EDIT key".

3.18 Transferring sequences to and from other sequencers

Transferring sequences from the MPC60 to an external sequences:

Some sequencers are able to record data from all independently and simultaneously onto one track. To transfer a sequence from the

If the external sequences does not allow the recording of all channels simultaneously, you must transfer one track at a time.

MPC60 to a sequences of this type:

1. Set the

2. Set the external sequences to receive

3. Set the external sequences ready to start recording as soon as a

4. Play the MPC60.

MPC60 to generate MIDI CLOCK (explained in

section 8 of this manual),

MIDI START message is received from the MPC60,

16 midi channels

MIDI CLOCK,

16 midi

Transferring sequences from an external sequences to the MPC60:

Normally, the a special mode of recording which allows you to record all once, which is very useful when transferring sequences from other sequencers. This feature works by recording the the first assigned to the same numbered midi channel. For example, track 1 assigns to channel 1, track 2 assigns to channel 2, up through track to channel the new sequence to be recorded into.

NOTE: It is not possible to overdub or record into an existing sequence while using this special mode.

To record all

1. Connect the external sequencer's (You may alternatively use input 2 - both inputs merge together.) Also, set the external sequences to send position pointer).

MPC60 may only record one track at a time. However, there is

16 channels at

16 incoming channels onto

16 tracks of a newly created empty sequence, with each track is

16 which assigns

16. The track setup is done automatically for you when you select

16 channels from an external sequences, follow these steps:

MIDI OUT to the MPC60's MIDI IN 1.

MIDI CLOCK signals (with or without song

Section 3: Recording sequences

2. Go to the SYNC screen and set the MPC60 to sync to "MIDI CLOCK W/SONG POSITION POINTER". Also, set the MIDI field to "1" (if the external sequences was connected to midi input 1).

3. Press the OTHER key, then select SOFT KEY 2, <Record 16 chs>, which causes the following screen to be displayed:

This screen allows you to select the sequence to be recorded into, and the time signature of the new sequence which will be created. As the screen states, pressing <Proceed> will completely erase the contents of the selected sequence.

4. Enter the desired data into these fields and when finished, press the <Proceed> soft ke

. The following screen will appear:

This is the screen from which the actual recording will take place. You have now created a new sequence containing one bar of the time signature you entered in the previous screen.

The first 16 tracks have been assigned to midi channels 1 through 16 as described above. Assuming channel 16 is the assigned "drums" channel, track 16 is therefore assigned as the only "drums" track. Because of this, you should transfer any drum data on channel 16 and check to see that the note-to-drum assignments of the external sequence match the assignments in the MPC60. These can be changed by pressing the MIDI key and selecting option 2.

The tempo value is taken from the current master tempo if MASTER tempo mode is active, or from the tempo setting in the CREATE SEQUENCE screen if SEQUENCE tempo mode is currently active. This tempo setting may be changed.

The LOOP field is forced to "OFF" and cannot be changed while in this screen. This is necessary because loop recording is not permitted during 16 channel record mode. As is normal when

LOOP is set to "OFF" in the PLAY/RECORD screen, additional bars are added to the end of the sequence as it is recorded past the last bar. This way, the sequence will continue to add bars as you record, even though the displa y initially shows "Bars: 1".

As the screen states, the NOTE VALUE setting in the TIMING CORRECT screen is forced to "OFF(1/384)" during 16 channel recording.

5. While holding the RECORD key on the MPC60, start the external sequences playing from the beginning of its sequence. As soon as the MPC60 receives the sync signals, it will enter RECORD mode and begin recording the data from the other sequences in real time. Once the transfer is finished, stop the external sequences and the MPC60 will stop automatically, or manually stop the MPC60.

NOTE: The OVERDUB key is disabled during this mode.

6. The MPC60 now contains the transferred sequence and may be played using the PLAY, PLAY START, «, <, LOCATE, >, and » keys. Play the sequence- it the transfer was successful, press MAIN SCREEN to return to the PLAY/RECORD screen to edit the sequence as usual. If the transfer didn't come out as intended, simply try again by repeating step 4 above.

Section 3: Recording sequences 81

3.19 The "Analyzing sequence. Please wait..." message

Occasionally, and very infrequently, you will see the "Analyzing sequence. Please wait..." message on the lowest line of the screen, requiring you to wait briefly while the MPC60 does some "thinking". This occurs only under the following conditions:

1. When you first select a sequence which is very long, then play it, then press STOP.

2. When you first select a sequence which is very long, then press any of the FAST FORWARD, REWIND, or LOCATE keys.

3. After you perform one of the EDIT operations.

4. In SONG mode, after you change any parameters in the song, but only if the song contains many different sequences.

This waiting time is normal and is necessary in order for the MPC60 to create what programmers call an "index table" for the newly selected sequence. Once this process is done, all subsequent FAST FORWARD, REWIND, and LOCATE operations will be immediate, as will be all responses to incoming SMPTE, SONG POSITION POINTER, or MIDI TIME CODE sync signals.

Section 4:

Editing Sequences

4.1 Overview

This section of the manual describes the functions which relate to the editing of sequence data. In this section, you will learn to:

• Erase drums or notes in real time while in overdub mode.

• Erase selected drums, notes, or other midi events while stopped.

• View a list of the sequence's time signature changes and number of bars for each change.

• Create a new format of time signature / number of bars .

• Insert blank bars into a sequence.

• Delete selected bars from a sequence.

• Copy a selected range of bars from a sequence and insert them elsewhere into the same or another sequence.

• Copy a range of bars from one track to another track.

• Merge two tracks together.

• Copy one sequence over another.

• Convert a song (song mode) into one long sequence for more detailed editing.

• Shorten or lengthen a bar by changing its time signature.

• Change the velocity or duration values of a group of notes after recording.

Section 4:Editing sequences

4.2 The ERASE key

There are two main areas of the erase function:

• Erasing notes while in overdub mode ("Live erase" mode)

• Erasing specific events while stopped

Each is described in detail in the following sections.

4.2.1 Erasing notes while overdubbing ("Live erase" mode)

One of the ways to erase notes is called "live erase" mode. If the ERASE key is pressed and held during OVERDUB mode, the top line of the main screen changes for as long as ERASE is held:

If, during this time, you press a drum pad (if the active track is a "drums" track) or hold a key on the midi keyboard (if the active track is a "non-drums" track), any occurrences of that drum or key on the selected track while both (the ERASE key and the appropriate pad or key) are held down will be erased.

4.2.2 The ERASE screen

If the ERASE key is pressed while the MPC60 is not playing, one of the following two screens will appear:

These two screens allow a specified selection of either drums or keyboard notes to be erased from a single track while the MPC60 is not playing. To erase the notes, enter the appropriate data in each of the data fields, then press SOFT KEY1: <Erase it>. Each of the screen fields and soft keys is described below:

• The TRACK(0=ALL) field: This field specifies the track from which the data will be erased. The active track is automatically inserted here. To erase all tracks, enter a "0" here, and the screen will change to the following:

In this case, it is not possible to select specific notes or drums for erasure. Instead, all notes and drums will be erased (if the erase filter is set to ONLY ERASE NOTES or ALL EVENTS).

• The FROM and TO fields: These two fields set the region to be erased, starting with the location specified in the FROM field, up to one clock before the location specified in the TO field. They are both "BAR.BEAT.CLOCK" type fields, allowing you to set the region to be erased in increments as small as one clock.

• The ERASE FILTER section: This section of the screen allows you to very quickly select a particular midi event type for erasure. The ERASE field is a choice field and has 3 options:

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

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

Section 4:Editing sequences 87

individually named as listed in the "Midi 1.0 Detailed Specification, Document Revision 4.0".

3. ALL EXCEPT: If this option is selected, all midi event type EXCEPT one will be erased, and the type of event which will NOT be erased appears in a "choice" field appearing directly to the right on the same line. In this rightmost field, all event types are listed, including all 128 midi controllers, each individually named as listed in the "Midi 1.0 Detailed Specification, Document Revision 4.0".

• The LOWEST and HIGHEST fields ("Non-drums" tracks only): In this screen, the notes to be erased are specified by entering a range of keys on the midi keyboard, from LOWEST to HIGHEST. These may be set in the normal way by scrolling through all 127 options using the data wheel, but there is a much faster way: both fields may be instantly entered by pressing two keys on the input midi keyboard - the lower of the two notes will be entered into the LOWEST field and the higher of the two will be entered into the HIGHEST field. The lowest and highest possible note values are automatically entered into these fields when the screen is first displayed.

• The PRESS DRUMS TO BE ERASED area ("Drums" tracks only): To specify the drums to be erased, press each of the drum pads you want to be erased and the 4 character names of each of the drums entered will be listed in this area. If more than 8 drum pads are pressed, only the first 8 are displayed followed by a "+".

• SOFT KEY 1- <Erase>: Pressing this soft key performs the above erase specified by the data in the screen fields. After the erasure has been performed, the PLAY/RECORD screen is re-displayed.

• SOFT KEY 2 - <All bars>: Pressing this soft key instantly sets the FROM and TO fields to the start and end of the active sequence, respectively. This is useful when it is desired to erase the entire length of the track.

• SOFT KEY 3 - <All drums> ("Drums" screen only): Pressing this soft key selects all 32 drums for erasure. Since only 8 drum names will fit in the PRESS DRUMS TO BE ERASED area of the screen, the first 8 drums are displayed there, followed by a "+".

• SOFT KEY 3 - <All notes> ("Non-drums" screen only): Pressing this soft key sets the LOWEST field to the lowest possible midi note number, and the HIGHEST field to the highest possible midi note number. This is a quick way of specifying that all notes must be erased.

play

4.3 The EDIT key

The EDIT key encompasses the following functions related to editing of the active sequence:

• Viewing all time signature changes

• Creating a new sequence

• Inserting blank bars into a sequence

• Deleting specified bars from a sequence

• Copying a section and inserting it elsewhere within the same or another sequence

• Copying a single track to another area or merging it with other data

• Copying an entire sequence to another sequence

• Converting a song to one long sequence

• Lengthening or shortening a bar by changing the time signature

• Changing the velocity or duration values of a group of notes after recording

When the EDIT key is pressed, the following screen is displayed:

Pressing a single number key will cause the screen for the selected function to be dis

ed.

4.3.1 Viewing time signature changes

This function displays the time signature and number of bars in the active sequence, and any time signature changes, but does not allow any changes to be made. To use this function, select option 1 from the EDIT screen and the following screen will be displayed:

Section 4:Editing sequences

This screen displays all time signature changes within the active sequence, and the number of bars for each change. If no time signature changes exist, the existing single time signature and the total number of bars in the sequence will be displayed. Space is given for 10 time signature changes with 2 changes per line. If more exist, the <Next Page> soft key is used to view further pages of changes, and the <Previous Page> soft key is used to re-display earlier pages.

4.3.2 Creating a new sequence

This function is used to create an entirely new sequence format for the active sequence. However, this erases the entire contents of the active sequence! screen and the following screen will be displayed:

The following is a description of the on-screen fields:

• The TIME SIG field (time signature): This is the time signature of the bars which will be created. This is actually two fields- one for each part of the time signature.

• The NUMBER OF BARS field: This is the number of bars which will be created.

• The LOOP field: This field is a choice field with 2 options: OFF and TO BAR, 1. If set to OFF, the newly created sequence will automatically stop when it plays to the end (or if in RECORD mode, it will continue to add bars

To use this function, press option 2 from the EDIT

onto the end). If set to TO BAR 1, the newly created sequence will loop back to bar 1 when it plays to the end; or if you want the sequence to loop to a bar other than 1, move the cursor to the number 1 and change it to the number of the bar you want the sequence to loop to.

• The TEMPO field: This sets the "sequence" tempo for the newly created sequence (not the "master" tempo).

• The "MIDI CHANNEL FOR TRACK 1 (0=UNUSED)" field: This is actually 3 fields which allow a single output midi channel to be assigned to each of the 99 tracks. To set the output midi channel assignment for each track:

1. Move the cursor to the number which appears to the right of the word "track" (this is a data field) and select the number of the track you want to assign. Now, the current assignment for that track will appear to the right of the colon (":").

2. Move the cursor to the number directly to the right of the colon

and enter the number of the midi channel you want the selected track to play through (1 - 16). If you don't want that track to be active at all, enter a "0" here.

3. Move the cursor one position to the right and use the DATA

CONTROL to select the output port you want the selected track to play through (A, B, C, or D).

• SOFT KEY 1- <Execute>: Pressing this soft key causes the existing sequence to be completely erased and a new sequence format to be created using the data entered in the screen fields.

NOTE: If you select an empty sequence (a sequence with the name "unused"), then press RECORD or OVERDUB, the sequence will immediately be created using the settings in this screen.

4.3.3 Inserting blank bars within a sequence

This function inserts a specified number of blank bars into the current sequence. To use this function, select option 3 from the EDIT screen, and the following screen will appear:

The on-screen fields are:

• The NUMBER OF BARS field: This is the number of blank bars to be inserted.

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

• The INSERT BEFORE BAR field: This field specifies the bar number which the new bars will be inserted before. To insert bars after the end of the sequence, enter here the number of the bar which is one higher than the last bar of the sequence.

• SOFT KEY 1- <Execute>: Pressing this soft key performs the insertion according to the above displayed parameters.

NOTE: If the sequence is set to loop to an earlier bar (in the time signature / ending status screen) and the new bars are inserted before the loop bar, causing the sequence to now loop to a different place, the bar number specified in the LOOP field will automatically be adjusted to compensate for the insertion.

Section 4:Editing sequences

4.3.4 Deleting bars from within a sequence

This function allows you to delete a specified number of bars from the active sequence. To use this function, press option 4 from the EDIT screen and the following screen will be displayed:

The on-screen fields are:

• The FROM BAR, field: This is the 1st bar to be deleted.

• The TO BAR field: This field specifies the end of the region to be deleted (the bar number following the last bar to be deleted). For example, to delete bars 3 and 4, you would enter a 3 in the FROM BAR field and a 5 in the TO BAR field, because bar 5 is the end of the region to be deleted. This field cannot accept a value less than that of the FROM BAR, field.

• SOFT KEY 1- <Execute>: Pressing this soft key performs the above specified deletion.

NOTE: If the sequence is set to loop to an earlier bar (in the time signature / ending status screen) and the deleted bars are before the loop point, causing the sequence to now loop to a different place, the bar number specified in the LOOP field will be automatically changed to compensate for the insertion.

4.3.5 Copying a section, including al! tracks, and inserting it elsewhere

This function allows you to copy a specified range of bars from one sequence and insert it into any other point within the same sequence or any other sequence. In this form of the copy function, all tracks are copied, and this data is inserted overall length of the sequence will always be increased by the copy. To use this function, select option 5 from the EDIT screen, and the following screen will a

into the new location. In this mode of copying, the

ear:

Section 4:Editing sequences

The on-screen fields are described below:

• The SEQUENCE field (in the COPY ALL TRACKS FROM section): This field is used to specify the sequence number to be copied from.

• The FROM BAR and TO BAR fields: These fields set the range of bars to be copied from. FROM BAR sets the 1st bar which is to be copied, and TO BAR sets the end of the region to be copied (the bar number following the last bar to be copied).

• The SEQUENCE field (in the COPY ALL TRACKS TO section): This field is used to specify the sequence number to be copied to.

• The COPIES field: This field specifies the number of copies of the specified data will be inserted into the insertion point. Normally, this would be set to 1.

• The INSERT BEFORE BAR field: This field specifies the bar number which the copied data will be inserted before. To insert the bars after the end of the sequence, enter here the number of the bar which is one higher than the last bar of the sequence.

• SOFT KEY 1- <Execute>: Pressing this soft key performs the copy according to the entered parameters.

NOTE: If the sequence is set to loop to an earlier bar (in the time signature / ending status screen) and the copied bars are inserted before the loop bar, causing the sequence to now loop to a different bar, the bar number specified in the LOOP field will automatically be adjusted to compensate for the insertion.

4.3.6 Copying a single track to another area or merging it with other data

This function permits the copying of all events within a specified

ion on a single track to a different point on the same or another

track. In this function, only the events

from the source track are copied- no time signature or tempo data is copied. Unlike the COPY ALL TRACKS function which inserts the copied data into the sequence, increasing the overall length, this form of the copy function either replaces the existing events or merges with the existing events, without adding any additional bars. Therefore, in this function, the overall length is unchanged after the copy. Common uses of this function are:

• Copying one track to another

• Merging (bouncing) two tracks together

• Shifting a track earlier or later in increments as small as one clock To use this function, select option 6 from the EDIT screen, and the

following screen will be displayed:

A description of the on-screen fields follows:

• The SEQUENCE field (the COPY/MERGE A TRACK FROM section): This is the sequence from which the data will be copied. The active sequence number is automatically inserted here when this screen is entered.

• The TRACK field (the COPY/MERGE A TRACK FROM section):

This is the track from which the data will be copied. The active track is

automatically inserted here when this screen is entered.

• The FROM and TO fields:

These fields are used to set the region of the track which will be copied from, starting at the clock location specified in the FROM field and including all data up to but not including the clock specified in the TO field. These are BAR.BEAT.CLOCK type fields, enabling you to specify the region in units as small as one clock.

• The SEQUENCE field (the COPY/MERGE A TRACK TO section): This is the sequence to be copied into. The active sequence number is automatically inserted here when this screen is entered.

• The TRACK field (the COPY/MERGE A TRACK TO section):

This is the track to be copied into. The active track number is automatically inserted here when this screen is entered.

Section 4:Editing sequences

• The COPIES field: This field specifies the number of copies, end onto end, which are to be added into the new sequence. This is normally "1".

• The START COPY AT field: The copied data may be added into the destination sequence and track starting at any location. This field specifies the starting location for the copied data to be placed. This is a BAR.BEAT.CLOCK type field, allowing the copied data to be placed at any location, in increments as small as one clock.

• The MODE field: This is a choice field with 2 options:

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

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

• SOFT KEY 1- <Execute>: Pressing this soft key performs the copy as specified in the above fields.

NOTE 1: This function provides a way to shift the timing of tracks forward or backward by any amount. To do this, simply copy a track to itself, but slightly earlier or later. This provides an advantage over the "Shift timing" function (in the TIMING CORRECT screen) which cannot be used without simultaneously applying timing correction to the track.

NOTE 2: If an attempt is made to copy events from a "drums" track to a "non-drums" track (or vice versa), the following warning screen will appear, informing you that it cannot be done:

Pressing the <Cancel> soft key will return to the "Edit Sequence" menu screen.

NOTE 3: If the copied data is longer than the sequence to be copied into, the portion of the copied data which extends past the end will not be copied. If an attempt is made to copy past the end of the destination sequence, the following warning screen will appear when <Execute> is

ressed:

At this point, you may either press <Proceed> to copy it anyway, or press MAIN SCREEN to cancel the copy.

NOTE 4: If the destination track is unused, the contents of the CH fields (in the PLAY/RECORD screen) of the source track will be copied to the corres

onding fields of the destination track.

4.3.7 Copying an entire sequence to another sequence

This function is useful if you want to make a perfect copy of a sequence, including all parameters, into another sequence number, replacing all data and parameters previously contained in that sequence number. To use this function, select option 7 from the EDIT screen, and the following screen will be displayed:

A description of the on-screen fields follows:

• The COPY CONTENTS OF SEQUENCE field: This is the sequence to be copied from. The active sequence number is automatically inserted here when this screen is entered.

Section 4:Editing sequences

• The INTO SEQUENCE field: This is the sequence whose contents will be replaced by the contents of the above specified sequence number. The lowest numbered empty sequence is automatically inserted here when this screen is entered.

• SOFT KEY 1- <Execute>: Pressing this soft key performs the above specified copy.

4.3.8 Converting a song into a single long sequence

"Song mode" is useful in creating the format of a song quickly. However, it is very cumbersome compared to sequence mode when fine tuning the details of a complex song. It is therefore useful to initially create a song using song mode, then convert that song into a long sequence, using the more versatile sequence editing features to complete the song. This function does that conversion. All the sequences in the song, including the repetitions, are copied end onto end to the specified sequence number. Additionally, the songs loop status is used for the sequence's loop status. Also, the track names, midi output channel assignments, midi program change assignments, stereo mixer settings, echo mixer settings, tuning settings, and tempo settings for the newly created sequence are taken from the first sequence in the song only. To use this function, select option 8 from the EDIT screen, and the following screen will appear:

The fields are:

• The CONVERT SONG field: This is the song which will be converted in a sequence. The current song is always defaulted to.

• The INTO SEQUENCE field: This is the sequence which will contain the converted song. The lowest numbered empty sequence is inserted here by default.

ple,

• SOFT KEY 1- <Execute>: Pressing this soft key performs the copy as specified. This may take as much as 30 seconds or more.

NOTE: ALWAYS BE SURE THAT EACH OF THE SEQUENCES IN THE SONG HAVE IDENTICAL MIDI CHANNEL ASSIGNMENTS FOR THEIR TRACKS. When playing a song in song mode, it is possible for each of the sequences within a song to have different midi channel assignments from sequence to sequence because each sequence uses its own set of assignments. For example, track 5 could be assigned to midi channel 16 (drums) in one sequence; it could then be followed by a different sequence in which track 5 contains keyboard notes and plays through midi channel 3. However, once a song to sequence conversion is done, only the assignments from the first sequence in the song are used in the newly created long sequence: For this reason, before converting a song to a sequence, be certain that the midi channel assignments for each of the sequences match from sequence to sequence. It is especially important that "drums" (channel 16) or "non-drums" (channel 1-15) status of each track match from sequence to sequence within the song. If an attempt is made to convert a song which has a mismatch in midi assignments, the following error screen will be displayed and the conversion is aborted:

To correct the problem, you must use either change the midi channel assignment of one of the mismatched tracks, or use the <SortTrks> soft key from the PLAY/RECORD screen to change the track order of one of the two mismatched sequences before attempting the conversion again.

4.3.9 Shortening/lengthening a single ba

This function allows you to change the length of a particular bar within a sequence by changing its time signature. It works like this: if the new time signature you change to is shorter than the existing one, the unused end of the bar is truncated; if the new time signature is longer than the existing one, a small amount of blank space is added onto the end of the bar. For exam

if you need to

Section 4:Editing sequences

remove one 1/8 note from the end of a 4/4 bar, you would change its time signature to 7/8.

To use this function, press the EDIT key and select option 9 from the

and the following screen will appear:

First, select the bar number to be changed in the BAR field in the top line. The existing time signature for that bar will be displayed in the FROM field in the second line. Next, enter the time signature you wish to change to in the TO field in the second line. To perform the change, press the <Execute> soft ke

4.3.10 Changing the velocity or duration of a group of notes after recording

This new feature allows you to globally modify the duration or velocity values of a group of notes within a track. You may set them to a fixed value, add or subtract an amount from them, or multiply them by a selected

ercentage:

The fields are:

• The TRACK field: This sets the track number which will be modified.

• The FROM and TO fields: These 2 fields set the region within the track which will be affected. These are both BAR.BEAT.CLOCK type fields.

0 The CHANGE field:

100

This is a choice field with 2 options: VELOCITY and DURATION. It is used to select which of these 2 parameters the function will affect.

• The VALUE field: This field works in conjunction with the ACTION field and sets the number which will be used to change the velocities or durations.

• The ACTION field: This is a choice field and has 4 options:

1. ADD "VALUE" TO EACH: This selection adds the number in the VALUE field to each note in the range.

2. SUBTRACT "VALUE" FROM EACH: This selection subtracts the number in the VALUE field from each note in the range.

3. MULTIPLY EACH BY "VALUE" %: This selection multiplies each note in the range by the number in the VALUE field. A value of 100% = no change; values of 101 to 200% proportionally increase each note's velocity; values of 0 to 99% proportionally decrease each note's velocity value.

4. SET EACH TO "VALUE": This selection changes each note in the range to the number in the VALUE field.

• SOFT KEY 1- <Execute>: After you have entered the correct data in each of the above fields, pressing this soft key performs the actual function.

Example: To reduce the velocity values of all notes in a track by half, set the screen fields to the following values:

1. Set the TRACK field to the track you wish to change;

2. Set the FROM field to the start of the sequence;

3. Set the TO field to the end of the sequence;

4. Set the CHANGE field to VELOCITY;

5. Set the VALUE field to 50;

6. Set the ACTION field to MULTIPLY EACH BY `VALUE' %

7. Press <Execute>

Akai MPC60 User Manual

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