Roland MC-707 User Manual

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Reference Manual

Panel Descriptions

:Top Panel

:Rear Panel

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(Connecting Your Equipment)

Introduction

:Turning the MC-707 On

Turning O the Power

An Overview of the MC-707

:What Is a Project?

:What Is a Track?

:What Is a Clip?

:What Is the Browser?

:Total Eect Settings

:USER SAMPLE

Basic Operation

:Loading and Playing a Project

:Changing the Clips that Play

:Selecting a Tone or Drum Kit

:Importing a Clip

Main Screen

:HOME Screen

:Selecting a Clip

:Editing a Track or Clip

Creating a Clip

Editing the Sound

Editing the Clip Settings

Copying the Sound or Phrase of a Clip

Renaming a Clip

Reloading a Clip

Deleting

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(DELETE)

Project Operations

:What Is a Project?

:Loading a Project

:Managing Projects

:Creating a New Project

:Making Project Settings

:Managing Samples Loaded into a Project

:Saving a Project

Track Operations

:Creating a Track

:Changing a Track to a Dierent Type

:Making Track Settings

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([C4] Knob)

(CREATE)

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(SOUND)

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(SETTING)

(RENAME)

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(RELOAD)

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(COPY/PASTE)

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(Sample Bank)

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Pad Operations

:Using Mute Mode

Stopping/Playing Tracks

Muting a Track

:Using Cue Mode

Stopping/Playing Tracks

Using the Cue Function

:Using Clip Mode

Switching Clips

Making Clip Mode Settings

:Using Note Mode

Playing

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DRUM PAD MUTE

Making Note Mode Settings

:Using Chord Mode

Playing

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Editing a Chord

:Scatter Mode

Using the Pads to Apply the Eect

Using the [SCATTER] Button to Apply the Eect

Recording Eects in Steps

Making Scatter Settings

Importing Clips

Selecting Sounds

:Loading a Preset Sound

:Loading from a Project on the SD Card

:Loading Samples from the SD Card

(PAD MODE)

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(Pads [9]–[16])

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(Clip Browser)

(Sound Browser)

Step-Recording a Phrase

:Tone Track

Changing the Measure Settings

Automatically Advancing the Step During Input

(Step Input Mode)

Editing the Notes of Each Step

:Drum Track: TR-REC

Increasing the Measures

Editing the Steps

Track Pad Mute

Clip Pad Mute

:Specifying the Last Step and First Step

Specifying the Last Step

Specifying the First Step

Deleting the First Step and Last Step

Recording

:Recording a Performance to a Tone or Drum Track

:Recording Audio on a Looper Track

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(Pads [1]–[8])

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(Pads [1]–[8])

(Pads [9]–[16])

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Quantize

:Enabling Quantize During Recording

:Specifying Playback Quantization

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Contents

Recording Knob Movement in Steps

Turning Motion On/O

Recording Motion

Deleting Motion

Editing Motion

Saving and Recalling a Scene

:Recalling a Scene

:Storing a Scene

Total Eects

:Using the [FX PRM] [FX DEPTH] Knobs and the [ON]

Button to Select the Target of Operation

:Editing Reverb or Delay

:Editing MFX/COMP/EQ

:Changing the Knob Assignments

SCATTER

:Applying the Scatter Eect

Using the Pads to Apply the Eect

Pressing the [SCATTER] Button to Apply the Eect

:Editing the Scatter Eect

Detailed Editing

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Editing the TONE Track

:Simple Sound Editing

:Detailed Sound Editing

How a Tone Is Constructed

PARTIAL EDIT Screen

COMMON SETTING Screen

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(MOTION)

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Assigning Parameters to the Knobs

(KNOB ASSIGN)

:Operating the Unit

Returning Parameter Values to the Default Value

Tempo Settings

:Master Clock

Master Clock Settings

:Tap Tempo

Input and Output Settings

:Input and Recording Settings

:Using an External Eect

:Individually Outputting Each Track

UTILITY

:System Settings

:Initializing a New SD Card

:Returning to the Factory Settings

:Optimizing the Internal Memory

:Using a Connected Computer to Manage the SD Card

List of Shortcut Keys

:Switching Screens and Modes

:Adjusting the Mix Sound

:MOTION

:Phrase Editing

:Performance

:Controller Values and Parameter Editing

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(INPUT/REC)

(SEND/RETURN Jacks)

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(ASSIGNABE OUT)

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(SET)

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(FORMAT)

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(FACTORY RESET)

(LOOPER OPTIMIZE)

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Editing the DRUM Track

:Simple Sound Editing

:Pad Settings

Changing the Pad’s Sound

Editing an Instrument

Editing a Sample

Editing the Instrument Name

Pad Editing

Initializing an Instrument

(PAD MENU)

(PAD EDIT)

LOOPER Track

:Making Looper Settings

Playback Settings

Editing the Sample's Waveform

(Playback Region and Time Stretch Settings)

MFX Editing

Editing the Sample Name

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(Instrument) (INST SELECT)

(INST EDIT)

(SAMPLE EDIT)

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(INIT INST)

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Editing a Clip’s Settings

:Tone Tracks or Drum Tracks

:LOOPER

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(INST NAME EDIT)

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Error Message List

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Interoperation with Other Devices

:Synchronizing with a DAW

:Synchronizing with a TR-8S

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Contents

Parameter List

:ZEN-Core Tone Parameter

SOUND

STRUCTURE

OSC MOD COM

UNISON

PTL CTRL

PTL RANGE

TUNING

Part Parameter

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OSC

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Pitch

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PITCH ENV

FILTER

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FLITER ENV

AMP

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AMP ENV

LFO1 / LFO2

STEP LFO1/ STEP LFO2

PARTIAL EQ

OUTPUT

CONTROL

MATRIX CONTROL

MFX

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MFX CTRL

:Drum Kit Tone Parameters

SOUND

MFX

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KIT MFX CTRL

DRUM COMP1–6

PAD CTRL

PAD EQ

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INST COMMON

INST WAVE

INST PENV

INST FILTER

INST FENV

INST AENV

:Total Eect Parameters

COMP

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MFX

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(Part 1–4)

:DELAY

Delay Parameters

:REVERB

Reverb Parameters

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(Z-Core)

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(KNOB CTRL)

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(Drum)

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MFX/IFX Parameters

:Note

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Block Diagram

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Panel Descriptions

Top Panel

1 Common Section 1

[VOLUME] knob

Adjusts the volume of the MIX OUT jacks.

[PHONES] knob

Adjusts the volume of the PHONES jack.

[SHIFT] button

When you hold down the [SHIFT] button and press a button that’s labeled with a function name (such as ), that function is executed.

[CLEAR] button

Pressing the [CLEAR] button in conjunction with another button, you can clear the recorded content of the step sequencer or a phrase.

[PROJECT] button

Accesses the project menu screen.

Here you can load a project and make settings for it.

[QUANTIZE] button

Switches on/o quantization during recording. Press this together with the [SHIFT] button to access the quantization settings screen.

For details, refer to“Quantize” (p. 33).

[REC] button

Lets you record using the pads, or record into the looper.

Measure indicators

Playback position indicators

SCENE [1]–[4] button

The combination of clips being played back by the tracks of the MC-707 is called a “scene.”

You can recall a stored scene by pressing a SCENE [1]–[4] button.

By holding down the [SHIFT] button and pressing a SCENE [1]–[4] button you can recall scenes 5–8.

To store the current settings as a scene, long-press the SCENE button in which you want to store the settings.

To store the settings in a scene 5–8, hold down the [SHIFT] button and long-press a SCENE button.

MEASURE [<] [>] buttons

Move to the measure that you want to edit.

If you hold down the [SHIFT] button and press a MEASURE [<] [>] button, the measure length edit screen appears.

For details, refer to“Increasing the Measures” (p. 30).

Measure indicators

The four indicators show the measure that you’re editing.

[START/STOP] button

Starts or stops playback.

2 Mixer Section

Playback position indicators

These indicate the playback position of the clip as a percentage

(%).

One indicator means 25%, and all indicators lit mean 100%.

MOTION [ON] [REC] button

Lets you record knob movements for each clip, and play them back as motions.

MOTION [ON] button

Plays back a recorded motion.

By holding down the [SHIFT] button and pressing the MOTION [ON] button, you can delete a motion.

MOTION [REC] button

Records a motion.

By holding down the [SHIFT] button and pressing the MOTION [REC] button, you can edit the LAST STEP.

* 1 LAST STEP: The loop end setting that you can specify for each clip.

(*1)

[FILTER] knob, [MOD] knob, [FX] knob

These knobs adjust the assigned parameters.

Level faders

Adjusts the volume.

[SEL] button

Selects a track.

If you hold down the [SHIFT] button and press a [SEL] button, the track setting menu appears.

For details, refer to“Making Track Settings” (p. 20).

Panel Descriptions

3 Pad Section

Step [1]–[16] buttons

Use these buttons to select the step that you want to edit.

Their operation and indications change depending on the pad mode and the settings.

(16 pads)

Pads

The operation of the pads depends on the pad mode that’s selected.

PAD MODE [MUTE] button

Switches the pads to MUTE mode (p. 22). In MUTE mode, you can use the pads to mute tracks or stop clips.

If you hold down the [SHIFT] button and press the PAD MODE [MUTE] button, the pads switch to CUE mode. In CUE mode, only the selected track is output from the PHONES jack.

PAD MODE [CLIP] button

Switches the pads to CLIP mode (p. 22). In CLIP mode, the pads select the clip to play or edit.

By holding down the [SHIFT] button and pressing the PAD MODE [CLIP] button, you can make clip-related settings.

PAD MODE [NOTE] button

Switches the pads to NOTE mode (p. 22). In NOTE mode, you can use the illuminated pads to perform as on a keyboard.

By holding down the [SHIFT] button and pressing the PAD MODE [NOTE] button, you can make settings related to NOTE mode.

PAD MODE [CHORD] button

Switches the pads to CHORD mode (p. 23). In CHORD mode, you can use each pad to play a chord.

By holding down the [SHIFT] button and pressing the PAD MODE [CHORD] button, you can make settings related to CHORD mode.

PAD MODE [SCATTER] button

Switches the pads to SCATTER mode. Scatter is an eect that is synchronized to the beat. It can give a digital-feeling groove to the playback.

By holding down the [SHIFT] button and pressing the PAD MODE [SCATTER] button, you can make settings related to scatter.

For details, refer to “SCATTER” (p. 38).

4 Tatal Eect Section

[REVERB] [DELAY] [MULTI] buttons

Switch the functions of the [FX PRM] [FX DEPTH] knobs.

By holding down the [SHIFT] button and pressing these buttons, you can edit the total eect.

[ON] button

Turns on/o the eects selected by the [REVERB], [DELAY], and [MULTI] buttons.

[SOUND] button

Accesses the sound browser screen.

By holding down the [SHIFT] button and pressing the [SOUND] button, you can access the sound settings screen.

For details, refer to “Simple Sound Editing” (p. 41).

[CLIP] button

Accesses the clip browser screen.

If you hold down the [SHIFT] button and press the [CLIP] button, the clip settings screen appears.

For details, refer to “Editing a Clip’s Settings” (p. 6).

[KNOB ASSIGN] button

The KNOB ASSIGN screen appears.

If you hold down the [SHIFT] button and press the [KNOB ASSIGN] button, the UTILITY screen appears.

For details, refer to “UTILITY” (p. 54).

[FUNC] button

The function screen appears.

If you hold down the [SHIFT] button and press the [FUNC] button, the project save screen appears.

[TEMPO] button

By pressing the [TEMPO] button to make it light and then turning the [VALUE] dial, you can set the BPM.

If you hold down the [SHIFT] button and press the [TEMPO] button, the master clock setting screen appears (p. 52).

[INPUT] button

By pressing the [INPUT] button to make it light and then turning the [VALUE] dial, you can adjust the input volume from the EXT IN jacks.

If you hold down the [SHIFT] button and press the [INPUT] button, a setting screen for input/output and recording-related settings appears.

For details, refer to “Input and Output Settings” (p. 53).

[EXIT] button

Returns to the previous screen.

In some screens, cancels the currently-executing function.

[ENTER] button

Conrms a selection or operation.

By holding down the [SHIFT] button and pressing the [ENTER] button, you can use this as tap tempo.

[VALUE] dial

If the [TEMPO] button is lit, the dial changes the BPM value. If the INPUT button is lit, the dial sets the EXT IN jack's input volume.

If the [TEMPO] button and [INPUT] button are unlit, use the dial to edit a value or scroll the screen. The operation changes depending on what's shown in the screen.

[FX PRM] [FX DEPTH] knob

Adjust the eect depth.

5 Common Section 2

Display

Shows necessary information for various operations.

[C1]–[C4] knob

Necessary functions are assigned to these knobs depending on the operation.

You can also press the [C1]–[C4] knobs.

Cursor [ ] [ ] [<] [>] buttons

Move the cursor position up, down, left, or right.

Alternatively, these buttons switch between screens.

Panel Descriptions

Rear Panel

* To prevent malfunction and equipment failure, always turn down the volume, and turn o all the units before making any connections.

B [POWER] switch

“Turning the MC-707 On”

(p. 8)

Cord hook

AC Adaptor

(Connecting Your Equipment)

C USB port

Computer MX-1

D MIDI port

Connect MIDI devices.

SD card

F EXT IN jacks

Connect a microphone or audio device.

H ASSIGNABLE OUT jacks

G SEND jacks

RETURN jacks

Connect an external eect unit.

I MIX OUT jacks

J PHONES jack

TR-8S

A DC IN jack

Connect the included AC adaptor here.

* Use the cord hook to secure the cord of the AC adaptor as shown in the

illustration.

B [POWER] switch

Turns the power on/o.

C USB port

Use a commercially available USB 2.0 cable (type B) to connect this port to your computer. It can be used to transfer USB MIDI and USB audio data. You must install the USB driver when connecting the MC-707 to your computer. For details, refer to Readme.htm in the downloaded le.

https://www.roland.com/support/

D MIDI port

Connect these to external MIDI equipment to transmit and receive MIDI messages.

E SD card slot

With the factory settings, the SD card protector is fastened with the included SD card inserted. If you want to take out the SD card, remove the screws.

The SD card contains various data (settings, sounds, samples, etc.) for this unit.

* Never turn o the power or remove the SD card while the screen indicates

“Processing...”

* Some memory card types or memory cards from some manufacturers may not

record or play back properly on the unit.

F EXT IN

These are audio input jacks.

EXT IN L/MONO, R jacks

You can connect a dynamic microphone or an instrument here.

Connect a microphone to the L/MONO jack.

[MIC/LINE] switch

Set this switch appropriately for the device that’s connected.

This switches the gain of the L/MONO jack.

G SEND (L, R) jacks/RETURN (L, R) jacks

These jacks let you connect an external eect unit and use it as a track eect or total eect.

H ASSIGNABLE OUT jack

You can output a specic track from the ASSIGNABLE OUT jacks.

I MIX OUT (L/MONO, R) jacks

These are audio output jacks. Connect them to your amp or monitor speakers.

If you’re outputting in mono, connect the L/MONO jack.

J PHONES jack

You can connect a set of headphones here.

Introduction

Turning the MC-707 On

* Before turning the unit on/o, always be sure to turn the volume down. Even

with the volume turned down, you might hear some sound when switching the unit on/o. However, this is normal and does not indicate a malfunction.

Power-on your equipment in the order of MC-707 0

connected equipment.

Power-on the connected equipment, and raise the volume

to an appropriate level.

Turning O the Power

Power-o your equipment in the order of connected

equipment 0 MC-707.

An Overview of the MC-707

MFX SettingMFX Setting

MFXMFX

The MC-707 can simultaneously play back up to eight independent tracks.

You can assign up to 16 clips to each track, and switch between these clips during playback.

External equipment

SEND jacks

RETURN jacks

MC-707

Project

Track Mix

Track 1–8

Preset

Tone/

Drum Kit/

Looper

Tone

Drum Kit

Project

Setting

Track 1–8

Reverb

Chorus/

Delay

System Setting

Multi Eect

Compressor

TOTAL Eect Setting

User

Sample

To track mix

To reverb send or

chorus/delay send

Equalizer

MIX OUT

Types of track and their

internal structure

Type: Tone

Tone

Clip 1

Clip Setting

Tone

Phrase

Clip 2

Clip 16

Browser

(Load)

Type: Drum

Drum Kit

Clip 1

Clip Setting

Drum Kit

Phrase

Clip 2

Clip 16

Type:

Looper

Clip 1

Clip Setting

Looper

Sample

Looper Setting

MFX Setting

Clip 2

Clip 16

Type: None

Save Load

SD Card

Project DataAudio Data

An Overview of the MC-707

What Is a Project?

On the MC-707, data for one song is handled as a unit called a “project.” Projects are saved on an SD card.

A project contains data for tracks, clips, tones, and the samples that are used.

If you want to keep the content that you edited, save the project.

What Is a Track?

There are three types of track.

Tone: A track that mainly handles clips that have

pitch.

Drum: A track that handles drum and percussion

clips.

Looper: A track that handles audio loops. You can

import audio data from an SD card, or record sound that’s input from the EXT IN jacks or from a track. Time stretch is also supported.

What Is a Clip?

A “clip” is a collection of data to be played back by a track. The data included in a clip diers depending on the type of track.

Track type: Tone

Clip setting: This contains the name of the clip, and

information and settings for the clip.

Tone: This contains settings for the sound. It also

includes eect (MFX) settings. (*1)

Phrase: This is performance data and data that

creates changes in the sound (MOTION).

Track type: Drum

Clip setting: This contains the name of the clip, and

information and settings for the clip.

Drum kit: This contains settings for the sound. It also

includes eect (MFX) settings.

Phrase: This is performance data and data that

creates changes in the sound (MOTION).

(*1)

What Is the Browser?

This lets you select the material that you need for the project that you’re working on.

Selecting preset tones and drum kits

You can browse the preset tones and drum kits, and use them.

Selecting from a project on the SD card

You can browse clips, tones, and drum kits, and use them.

Selecting from audio les on the SD card

You can use these as looper samples to be played by a looper track.

You can also use them as user samples for a tone or drum kit.

Total Eect Settings

The MC-707 is equipped with ve total eects.

Settings for these eects are saved in the project.

Reverb

Adds reverberation to the sound.

Chorus/Delay

Gives the sound depth and spaciousness (Chorus), or delays the sound in an echo-like manner (Delay).

Compressor

Compresses loud peaks of the master output, making the volume more consistent.

Multi FX

Lets you select and use one of various eects such as lter or overdrive.

Equalizer

An equalizer with three frequency bands (low, mid, high).

USER SAMPLE

“User samples” are waveform data that can be used by a tone or drum

kit.

Audio les saved on an SD card can be imported into a project.

For details, refer to “Importing Clips (Clip Browser)” (p. 25).

Track type: Looper

Clip setting: This contains the name of the clip, and

information and settings for the clip.

Looper sample: This is the audio data played by the looper.

Looper setting: This contains settings that specify how the

looper sample is played.

MFX: This contains eect (MFX) settings.

Phrase: This contains data that creates changes in

the sound (MOTION).

* 1 Alternatively, you can use the track’s settings instead of the clip’s settings.

Basic Operation

Loading and Playing a Project

On the MC-707, data for one song is managed as a unit called a

“project.”

Projects are saved on an SD card. A project contains tracks, clips, tone data, and data for the samples that are used.

Press the [PROJECT] button.

The PROJECT MENU screen appears.

Use the cursor buttons to select “LOAD,” and then press the

[ENTER] button.

The PROJECT FILE LOAD screen appears.

Changing the Clips that Play

The HOME screen appears.

Use the cursor buttons to select the clip that you want to

play.

Press the [ENTER] button to reserve playback for the clip.

Press the [START/STOP] button to start playback.

Selecting a Tone or Drum Kit

Press the [SEL] button, and select a tone or drum kit track.

Use the cursor buttons to select a project, and then press

the [ENTER] button.

A conrmation message appears.

Use the cursor buttons to select “O K,” and then press the

[ENTER] button.

The project is loaded from the SD card.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

* It might take some time for the project to be loaded.

* If the project has been edited, a conrmation message appears.

When loading is completed, you return to the home screen.

Press the [START/STOP] button.

The project plays.

Press the [SOUND] button.

The Sound browser appears.

Use the cursor buttons to select “PRESET,” and then press

the [ENTER] button.

The PRESET browser appears.

Use the cursor buttons to select a sound.

In the PRESET browser when the PAD MODE [NOTE] button is lit, you can use the pads to audition the sound.

Press the [ENTER] button to conrm the sound.

You return to the home screen.

Basic Operation

Importing a Clip

Move the cursor to the position at which you want to import

a clip.

Press the [CLIP] button.

The clip browser shows the projects that are in the SD card.

When you use the cursor buttons to select a project, the

clips inside it are shown.

* Clips of the same type as the track type of the currently selected track are

shown.

Use the cursor buttons to select the clip that you want to

import, and then press the [ENTER] button.

The clip is imported.

Importing might take some time.

When importing is completed, you return to the home screen.

Reference Section

Main Screen

HOME Screen

When the MC-707 starts, the home screen appears.

In the home screen you can play and edit clips.

If something other than the home screen is shown, press the [EXIT] button several times to access the home screen.

A Project name

Shows the project name.

B Track name (type)

Shows the track number and type.

T: TONE

D: DRUM

L: LOOPER

C Master clock icon

The MC-707 switches clips according to the timing of the master clock (the circle in the upper right).

The tempo is shown at the right of the icon.

For details, refer to “Master Clock” (p. 52).

D Scroll bar

The MC-707 lets you register 16 clips in each track.

The clip screen shows up to eight clips, and you can switch this display by using the [C1] knob to scroll.

* The scroll bar shows a miniature depiction of the clips.

E Clip view

Lists the clips. Use the cursor buttons to move the cursor. You can

use commands (

By pressing the cursor [ can select/edit a track.

Line

) to edit the selected item.

Track

E D

] button in the top line of the clip view, you

F Clip number, clip name

Shows the number of the current track, the clip number, and clip name.

G Level meter

Shows the output volume of each track.

If a stop-reservation (stop at the next switch) occurs in a track, this is shown with a mesh overlay.

H Command

This area shows the commands that can be executed to edit a clip or a track.

“Editing a Track or Clip ([C4] Knob)” (p. 14)

Selecting a Clip

Use the cursor buttons to move the cursor to the clip that

you want to play.

Press the [ENTER] button

Reserves playback for the clip.

If the sequencer is playing, playback starts when the master clock points to 12 o’clock.

Use the [START/STOP] button to play/stop.

Editing a Track or Clip

The track or clip that's selected in the clip view can be edited by the command that's selected by the [C4] knob.

To execute the command, press the [C4] knob.

Creating a Clip

Select a vacant clip slot in a tone or drum track.

The command indicates “CREATE.”

Use the [C4] knob to select “CREATE,” and then press the [C4]

knob.

The clip is created.

MEMO

You can also create a clip by using the [REC] button to newly record it.

Editing the Sound

You can edit the settings of the sound (tone, drum, or looper sample) that's used by the track or clip.

For details, refer to “Editing the TONE Track” (p. 41), “Editing

the DRUM Track” (p. 45), “LOOPER Track” (p. 48).

(CREATE)

([C4] Knob)

(SOUND)

By pressing the cursor [>] button at the far right of the clip view, you can select and edit all clips of each line.

* The grid locations that accommodate clips are called “clip slots.”

Editing the Clip Settings

You can edit settings related to how the clip is played by the sequencer.

For details, refer to “Editing a Clip’s Settings” (p. 50).

(SETTING)

Main Screen

Copying the Sound or Phrase of a Clip

(COPY/PASTE)

Here’s how to duplicate the data of a clip or a sound.

You can make a complete duplicate of a clip, or you can duplicate individual lines of a clip.

Use the cursor buttons to select the clip that you want to

copy.

Use the [C4] knob to select “CO PY,” and then press the [C4]

knob.

When the copy is completed, a message appears in the upper part of the screen.

* You can’t overwrite a clip onto a looper clip. Delete the clip rst, and then copy.

* You can’t copy a looper clip if there is insucient memory. Either delete

unneeded looper clips or execute LOOPER OPTIMIZE (p. 55).

Renaming a Clip

Here’s how to edit the clip name that’s shown in the lower left of the home screen.

If you want to use the clip in another project (when importing), this is used as the clip name shown in the browser.

Use the cursor buttons to select the clip that you want to

(RENAME)

rename.

Use the [C4] knob to select “RENAME,” and then press the

[C4] knob.

Use the cursor buttons to select the copy-destination clip.

Use the [C4] knob to select “PASTE,” and then press the [C4]

knob.

Use cursor [<] [>] buttons to select the content that will be

copied, and then press the [ENTER] button.

Edit the clip name.

Operating the Unit Explanation

Cursor [<] [>] buttons Selects the character to edit.

[C2] knob

[C3] knob [C4] knob,

[VALUE] knob

Press the [C2] knob Inserts a space.

Press the [C3] knob Deletes a character.

To conrm the clip name, press the [ENTER] button.

The clip name is changed.

If you decide to cancel, press the [EXIT] button.

Switches between uppercase, lowercase, numerals, and symbols.

Change the character.

Operation Explanation

CANCEL Cancels the copy.

SOUND Copies only the sound.

PHRASE Copies only the phrase.

ALL Copies the sound and the phrase.

Main Screen

Reloading a Clip

Here’s how to recover the specied clip by loading it from the SD card.

Use the cursor buttons to select the clip that you want to

reload.

Use the [C4] knob to select “RELOAD,” and then press the [C4]

knob.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The clip reverts to the state in which it was last saved in the project.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

Deleting

Here’s how to delete the selected clip.

(DELETE)

(RELOAD)

Use the cursor buttons to select the clip that you want to

delete.

Use the [C4] knob to select “DELETE,” and then press the [C4]

knob.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The clip is deleted.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

Project Operations

What Is a Project?

On the MC-707, data for one song is handled as a unit called a “project.” Projects are saved on the SD card.

A project contains data for tracks, clips, tones, and the samples that are used.

If you want to keep the results of editing, save the project.

For details, refer to “An Overview of the MC-707” (p. 9).

Loading a Project

Here’s how to load a project from the SD card.

Press the [PROJECT] button.

Use the cursor [<] [>] buttons to select “LOAD,” and then

press the [ENTER] button.

The PROJECT FILE LOAD screen appears.

Managing Projects

Here’s how to protect or delete project les on the SD card.

Press the [PROJECT] button.

Use the cursor [<] [>] buttons to select “MANAGE,” and then

press the [ENTER] button.

The PROJECT FILE MANAGE screen appears.

* Projects for which a lock symbol ( ) are shown are protected, and cannot be

overwritten or deleted.

Use the cursor [<] button to select “FILE,” and use the cursor

] [ ] buttons to select a project le.

[

Use the cursor [>] button to select “COMMAND,” and use the

cursor [

Command Explanation

LOCK

UNLOCK Unlocks the project le.

DELETE Deletes an unlocked project le.

] [ ] buttons to select a command.

Locks the project le.

Deletion or overwrite-saving will not be possible.

Use the cursor [ ] [ ] buttons to select a project le.

Press the [ENTER] button.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The project is loaded.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

* If you had edited the project, a conrmation message appears.

* When you create a new project, any unsaved content of the currently-open

project is lost.

Press the [ENTER] button.

Execute the selected command.

Creating a New Project

Here’s how to create a new project.

Press the [PROJECT] button.

Use the cursor [<] [>] buttons to select “NEW,” and then

press the [ENTER] button.

A conrmation message appears.

* If the project has been edited, a conrmation message appears.

* When you create a new project, any unsaved content of the currently-open

project is lost.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

Project Operations

Making Project Settings

Here’s how to make settings such as the project’s volume and the pad illumination colors.

Press the [PROJECT] button.

Use the cursor [<] [>] buttons to select “ S ET,” and then press

the [ENTER] button.

The PROJECT SETTING screen appears.

Use the cursor [<] [>] buttons to select a tab, and use the

cursor [

Use the [C4] knob to edit the value.

COM tab

Here you can specify the volume, the reference pitch, and the scene that is recalled when the project is loaded.

Parameter Value Explanation

Project Level 0–127

Master Tune 415.3Hz–466.2Hz

First Scene 1–8

] [ ] buttons to select the parameter.

Species the volume of the overall project.

Species the reference pitch for the project.

Species the scene number that is recalled when the project is loaded.

VOICE RESERVE tab

Parameter Value Explanation

TRACK 1–8 0–10

Species how polyphony resources are allocated to each tone/drum track.

The track is given priority for the specied number of voices.

* The number of voices used diers

depending on the sound.

PC IN tab

Here you can make settings for audio that is input from a USBconnected computer to the PC IN port.

Parameter Value Explanation

PC Level 0–255

PC Pan L128–127R Species the pan of the USB PC IN port.

Species the input level from the USB PC IN port.

COLOR tab

Here you can specify the color of each pad mode.

For details, refer to “Pad Operations (PAD MODE)” (p. 22).

Parameter Value Explanation

PAD Note Color

PAD OCT Color

Play Clip Color

Stay Clip Color

Stop Clip Color

Mute Pad Color

*1 ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

Species the color of pads used for PAD MODE NOTE performance.

Species the color of pads used for PAD MODE NOTE octave.

Species the color of pads while a clip is playing for PAD MODE CLIP.

Species the color of pads while a clip is stopped for PAD MODE CLIP.

Species the color of pads that start/ stop a track for PAD MODE MUTE.

Species the color of pads that mute a track for PAD MODE MUTE.

Project Operations

Managing Samples Loaded into a Project

(Sample Bank)

Here’s how to manage the samples that are loaded into a project.

Press the [PROJECT] button.

Use the cursor [<] [>] buttons to select “SAMPLE,” and then

press the [ENTER] button.

The SAMPLE BANK screen appears.

* Even if you delete a clip or track, the samples used by the sound will remain.

* Samples with a check mark are used by sounds in the project.

* Samples without a check mark are not used by any sound.

Use the cursor [<] button to select “SAMPLE,” and use the

cursor [

Use the cursor [>] button to select “COMMAND,” and use the

cursor [

Command Explanation

PREVIEW Auditions the sound.

RENAME Renames the sample.

DELETE Deletes the sample.

IMPORT Imports a sample from the SD card.

Press the [ENTER] button.

Execute the selected command.

] [ ] buttons to select a sample.

] [ ] buttons to select a command.

Saving a Project

Here’s how to save the project to the SD card.

Press the [PROJECT] button.

MEMO

You can also save by holding down the [SHIFT] button and pressing the [FUNC] button.

Use the Cursor [<] [>] buttons to select “WRITE,” and then

press the [ENTER] button.

The PROJECT NAME screen appears.

Use the cursor buttons to edit the project name.

Operating the Unit Explanation

Cursor [<] [>] buttons Selects the character to edit.

[C2] knob

[C3] knob [C4] knob,

[VALUE] knob

Press the [C2] knob Inserts a space.

Press the [C3] knob Deletes a character.

Press the [ENTER] button.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

* If there is a project of the same name, it is overwritten.

* Projects with a lock symbol are locked, and cannot be overwritten.

* If there is no project of the same name, the project is saved as a new project.

Switches between uppercase, lowercase, numerals, and symbols.

Change the character.

Track Operations

Creating a Track

The MC-707 has four track types: TONE, DRUM, DRUM + COMP, and LOOPER.

Up to eight track types can be freely combined in each track.

Depending on the track type, there is a maximum number that can be used simultaneously.

Press the [SEL] button of an empty track.

The TRACK TYPE SELECT screen appears.

Use the cursor [<] [>] buttons to select type, and then press

the [ENTER] button.

The track is created, and you return to the home screen.

Track type Explanation

TONE

DRUM

DRUM + COMP

LOOPER

This is a synthesizer sound engine.

It can also be used as a pitched sampler.

This is a drum sound engine.

It can also be used as a sampler.

This is a drum sound engine with compressor (maximum one track).

If this track is used, looper tracks are limited to ve.

This is a sampling looper that supports time stretch.

It supports loading samples from SD card, and recording from an external input or a track. (A maximum of ve looper tracks can be used if the project uses a DRUM + COMP track; if not, a maximum of eight looper tracks can be used.)

MEMO

You can also execute by pressing the [C4] knob once again.

With the track that you want to delete selected, press the

[ENTER] button.

The TRACK TYPE SELECT screen appears.

Use the cursor [<] [>] buttons to select type, and then press

the [ENTER] button.

The track is created, and you return to the home screen.

Making Track Settings

Hold down the [SHIFT] button and press the [SEL] button of

the track for which you want to make settings.

The setting screen appears.

Use the cursor [<] [>] buttons to select a tab, and use the

cursor [

Use the [C4] knob to edit the value.

] [ ] buttons to select a parameter.

Changing a Track to a Dierent Type

To change the type of a track, delete the track and then create a new track.

In the home screen, press the cursor [ ] button several

times to select the entire track.

Use the cursor [<] [>] buttons to select the track that you

want to change.

Turn the [C4] knob to select “DELETE,” and then press the

[C4] knob.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The track is deleted.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

GENERAL tab

Parameter Value Explanation

Species whether the track’s sound uses the settings of the track or of the clip.

Sound Source

LED Color *1 Species the color shown for the level fader.

Output Select

ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

TRACK,

CLIP

MIX OUT,

ASSIGN OUT

* If this is TRACK, all sounds used in the same

track will be in common.

* If this is CLIP, dierent sounds can be used for

each clip.

* A looper track does not have this setting.

Species the output destination of assignable out.

EQ tab

These are the track EQ settings.

Parameter Value Explanation

EQ Sw OFF, ON Turns the equalizer on/o.

EQ Input Gain -24–+24 [dB]

EQ Low Gain -24–+24 [dB] Gain of the low frequency range.

EQ Low Frequency 20–16000 [Hz] Frequency of the low range.

EQ Mid Gain -24–+24 [dB]

EQ Mid Frequency 20–16000 [Hz]

Adjusts the amount of boost/cut at the input to the EQ.

Adjusts the amount of boost/cut for the mid frequency range.

Species the center frequency of the mid frequency range.

Parameter Value Explanation

Species the width of the mid frequency

EQ Mid Q 0.5–16.0

EQ High Gain -24–+24 [dB] Gain of the high frequency range.

EQ High Frequency 20–16000 [Hz] Frequency of the high range.

range.

Set a higher value for Q to narrow the range to be aected.

MIDI tab

Here you can switch on/o the output of MIDI messages from the sequencer to each port.

Parameter Value Explanation

TX MIDI OUT1 OFF, ON

TX MIDI OUT2 OFF, ON

Tx USB MIDI OFF, ON Enables output to the rear panel USB port.

Enables output to the rear panel MIDI OUT 1 connector.

Enables output to the rear panel MIDI OUT 2 connector.

Track Operations

Pad Operations

(PAD MODE)

Using Mute Mode

This lets you use the pads to mute tracks or stop/play clips.

Press the [MUTE] button.

Operation switches to Mute mode.

Stopping/Playing Tracks

Press a pad [1]–[8].

You can reserve play/stop independently for each track.

* Play and stop occur at the timing of the master clock.

1 92 103 114 125 136 147 158 16

Muting a Track

Press a pad [9]–[16].

The track is muted. Press the pad once again to unmute.

1 92 103 114 125 136 147 158 16

(Pads [9]–[16])

(Pads [1]–[8])

Changing a pad’s color

“Making Project Settings” (p. 18)

Using Clip Mode

When you press the PAD MODE button CLIP, the pads switch to Clip mode.

This mode lets you use the pads to play/stop clips.

Switching Clips

Of the 16 lines in track, the pads show two adjacent lines. You can use the [1]–[16] buttons to switch the lines that are shown.

1 92 103 114 125 136 147 158 16

Press the PAD MODE [CLIP] button.

The pads are in Clip mode.

You can select the clips that are played by the pads.

Press the pads to select clips.

The clips are switched.

Changing a pad’s color

“Making Project Settings” (p. 18)

Using Cue Mode

This lets you use the pads to audition the playback content of a pad via your headphones (PHONES), or to stop/play clips.

Hold down the [SHIFT] button and press the [MUTE] button.

Operation switches to Cue mode.

Stopping/Playing Tracks

Press a pad [1]–[8].

You can reserve play/stop independently for each track.

* Play and stop occur at the timing of the master clock.

1 92 103 114 125 136 147 158 16

(Pads [1]–[8])

Making Clip Mode Settings

Here’s how to change the pad illumination color for Clip mode.

Hold down the [SHIFT] button and press the [CLIP] button.

The CLIP MODE SETTING screen appears.

Parameter Value Explanation

PLAY

STOP

*1 ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

Species the color of pads whose clip is playing.

Using Note Mode

This lets you perform or create phrases.

For details on how to create phrases, refer to the section that explains creating musical phrases and motions.

Press the [NOTE] button.

The pads switch to Note mode.

Using the Cue Function

Press a pad [9]–[16].

The track is specied for cue. Press the pad once again to clear.

(Pads [9]–[16])

Pad Operations (PAD MODE)

Playing

TONE track

For a TONE track, you can play the pads as a keyboard.

1 92 103 114 125 136 147 158 16

OCT- OC T+

REST

TIE

F C

[OCT-] [OCT+]: Shift octaves.

[REST/TIE]: Use to create phrases.

For details, refer to “Step-Recording a Phrase” (p. 28).

DRUM track

For a DRUM track, you can use the pads to play the drum kit, or use the pads with TR-REC to create phrases.

In a drum kit, 16 instruments are assigned to the pads, one instrument to each pad.

By pressing the pads, you can switch the pad that you’re editing.

For details, refer to “Editing the DRUM Track” (p. 45).

MEMO

By holding down the [NOTE] button and pressing a pad, you can switch pads without sounding a note.

LOOPER track

For a LOOPER track, you can use the pads to change the pitch of the sample that’s played.

You can use the [OCT-] [OCT+] buttons to shift the pitch in a range of

-2–+2 octaves.

DRUM PAD MUTE

For a DRUM track, you can mute individual pads.

Hold down the [MUTE] button and press the pad.

That pad’s clip is muted.

MEMO

You can combine this with a copy of the clip, and use it as a convenient function for creating a variation of the drum kit.

TR-REC tab

Parameter Value Explanation

Species the velocity when using TR-REC to

VELOCITY 1–127

input a drum track.

1–127

COLOR tab

Parameter Value Explanation

PAD

OCTAVE

ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

Specify the color of the pads used for performance (PAD) and for octave (OCTAVE).

Using Chord Mode

You can assign chords to the pads and play them.

* Chord mode is used for a TONE track.

In a TONE track, press the [CHORD] button.

The pads switch to Chord mode.

Playing

1 92 103 114 125 136 147 158 16

OCT- OC T+

[OCT-] [OCT+]: Shift the octave.

[REST/TIE]: Used to enter a musical phrase.

For details, refer to “Step-Recording a Phrase” (p. 28).

Editing a Chord

Hold down the [SHIFT] button and press the [CHORD]

button.

The CHORD MODE EDIT screen appears.

Here you can specify the chord.

REST

TIE

F C

Making Note Mode Settings

Hold down the [SHIFT] button and press the [NOTE] button.

The NOTE MODE SETTING screen appears.

PAD tab

These are settings related to pad performance.

Parameter Value Explanation

OCTAVE -5–+5 Species the octave for pad performance.

TRANSPOSE -6–+6

LINEAR,

PAD VELO

EXP,

LOG,

FIX10–127

Species the key transpose for pad performance.

Species the velocity sensitivity of the pads. You can also specify a xed value.

Selecting a pad

Use the cursor buttons to move.

Alternatively, strike a pad to specify it.

Pad Operations (PAD MODE)

Specifying a chord

Use the [C1]–[C4] knobs to edit the value.

Turning a knob: 1 (C-1)–127 (G9) Pressing a knob: Switches on/o

* To switch between parameter edit pages, press the [FUNC] button.

Parameter Value Explanation

NOTE1–4

COLOR *1 Species the pad color.

ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

OFF,

1 (C-1) –127 (G9)

Specify the notes in the chord.

Copying the selected chord

Hold down the [FUNC] button and press the cursor [ ]

button.

This species the chord copy-source.

Hold down the [FUNC] button and press the cursor [ ]

button.

The chord is pasted.

Scatter Mode

Using the [SCATTER] Button to Apply the Eect

While in Scatter mode, press the [SCATTER] button.

Step mode is selected.

While you hold down the [SCATTER] button, the eects specied for the steps are applied consecutively, starting from the rst (momentary mode).

You can also make the eect continue even after you release the button (alternate mode).

For details, refer to “SCATTER” (p. 38).

Recording Eects in Steps

Hold down a step [1]–[16] button and press a pad [1]–[16].

The eect of the specied pad is assigned to the specied step.

In addition to assigning pads to steps, you can also assign each step its own eect.

For details, refer to “SCATTER” (p. 38).

Making Scatter Settings

Hold down the [SHIFT] button and press the [SCATTER]

button.

You can use the pads to apply Scatter, and edit the eect.

Press the [SCATTER] button.

Scatter mode is selected.

Using the Pads to Apply the Eect

Press a pad.

The eect is applied while you hold down the pad.

The eect diers for each pad.

When you take your hand o the pad, it returns to the previous state.

For details, refer to “SCATTER” (p. 38).

Importing Clips

The clip browser lets you import clips from a project saved on the SD card.

In the home screen, use the cursor buttons to select the clip

slot into which you want to import a clip.

Press the [CLIP] button.

The PROJECT FILE CLIP screen (clip browser) appears.

(Clip Browser)

Shows the projects.

Sorts or lters the clips in the column at right.

ALL: Show all.

ALPHA: Sort in alphabetical order.

TRACK 1–8: Filter by track.

Select a clip.

Use the cursor buttons to move between items (PROJECT, SOURCE, CLIP).

Press the [ENTER] button.

The clip is imported, and you return to the home screen.

MEMO

You can’t import a clip of a dierent track type.

If you want to use the sound of the import-source clip in a tone or drum track,

specify the track mode as Clip.

For details, refer to “Making Track Settings” (p. 25).

Shows the clips.

Selecting Sounds

(Sound Browser)

The sound browser lets you load sounds or sample les into a project.

Loading a Preset Sound

Here’s how internal sounds of the MC-707 unit can be loaded into a project.

Use the [SEL] buttons to select the track whose sound you

want to change.

If you’re in Clip mode, select a clip.

Press the [SOUND] button.

The menu screen appears.

Use the cursor buttons to select "PRESET," and then press

the [ENTER] button.

Now you can use the sound browser.

Shows the sound categories.

Shows a list of sounds.

If you move the cursor to a sound, you can use the pads to audition that sound.

Use the cursor buttons to select "PROJECT," and then press

the [ENTER] button.

Now you can use the sound browser.

Shows the projects.

Sorts or lters the clips in the right column.

ALL : Show all.

TRACK 1–8: Show only the selected track of the project.

Use the cursor buttons to select a sound.

Use the cursor [<] [>] buttons to move to an item (PROJECT, SOURCE, TONE/DRUM/LOOP).

Press the [ENTER] button.

The sound is imported, and you return to the home screen.

Lists the sounds/samples.

When you press the [ENTER] button to select a sound/sample, it is imported.

Sorts or lters the sounds.

NUM: Sort in number order.

ALPHA: Sort in alphabetical order.

BANK A–F: Filter by bank.

Select a sound.

Use the cursor buttons to move to an item (CATEGORY/BANK, FILTER, TONE/DRUM).

Press the [ENTER] button.

The sound is imported, and you return to the home screen.

* If SOUND SOURCE is Clip mode, the selecting clip must be the currentry-

playing clip in order for it to be auditioned.

Loading from a Project on the SD Card

Here's how to load a sound (tone, drum, instrument) or sample (looper) from a project that's saved on the SD card.

Use the [SEL] buttons to select the track whose sound you

want to change.

If you're in Clip mode, select a clip.

Press the [SOUND] button.

The menu screen appears.

Loading Samples from the SD Card

Here’s how you can load samples that are saved on the SD card.

* Samples that you want to load must be placed in the ROLAND/GROOVEBOX/

SAMPLE folder of the SD card.

Use the [SEL] buttons to select the track into which you

want to load the sample.

If you’re in Clip mode, select a clip.

Press the [SOUND] button.

The menu screen appears.

Use the cursor buttons to select “WAVE FILE,” and press the

[ENTER] button.

Now you can use the sound browser.

Shows the samples that are saved on the SD card.

PREVIEW: Previews the sample.

IMPORT: Imports the sample.

Use the cursor buttons to select a sample.

Use the cursor [<] [>] buttons to move to an item (FILE, COMMAND).

Press the [ENTER] button.

The content shown in COMMAND is executed.

The content that can be loaded depends on the track type

Selecting Sounds (Sound Browser)

Loading a preset sound

Loading a sound from a project on the SD card (PROJECT)

Loading a sample from a project on the SD card (PROJECT)

Loading a sample le from the SD card (WAVE FILE)

(PRESET)

TONE

track

DRUM

track

DRUM

(kit)

track

(INST)

( ( (

LOOPER

track

(

Step-Recording a Phrase

When the pads are in Note mode, you can use the step buttons and the pads to step-record phrases.

You’ll create a pattern by specifying the steps at which each pad will sound.

Tone Track

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Use the step buttons to select the step that you want to

input.

That step is selected for editing, and the step button blinks.

* The currently displayed measures are indicated by the MEASURE LEDs in the

lower left.

You can use the MEASURE [<] [>] buttons to move between measures.

Press pads (keys) to enter notes.

The pad that you input is lit.

If the EDIT screen is also displayed, the screen shows the notes that are input.

Repeat steps 2–3.

Press the [EXIT] button when you’re nished editing.

You can also stop editing by pressing the currently-selected step button once again.

Quick Input

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Hold down the button of the step that you want to input,

and press a pad (key) to input a note.

Inputting a Long Note

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Use the step buttons to select the step that you want to

input.

That step is selected for editing, and the step button blinks.

Hold down a pad (key) and press the pad [REST/TIE] button.

A tie is input for the specied pitch.

(Inputting a Tie)

Changing the Measure Settings

Hold down the [SHIFT] button and press the MEASURE [<] [>]

button.

The MEASURE EDIT screen appears.

In the MEASURE EDIT screen, you can make settings for the clip’s notes.

Parameter Value Explanation

STEP LEN 1–128 Species the length of the clip.

Species the resolution of the clip.

1/8: eighth notes

SCALE

MODE

SHUFFLE -50–+50 Species the amount of shue (bounce).

Duplicating a Measure

Hold down the [FUNC] button and press the MEASURE [>]

1/8, 1/16, 1/32, 1/4T, 1/8T, 1/16T

FWD,

RE V,

FWD+REV,

INV,

RND

(Duplicate)

1/16: sixteenth notes

1/32: thirty-second notes

1/4T: quarter note triplets

1/8T: eight note triplets

1/16T: sixteenth note triplets

Species how the clip will play back.

FWD: Play forward from the rst step.

REV: Play in reverse from the last step.

FWD+REV: Play forward from the rst step,

then play backward from the last step.

INV: Play even-numbered and odd-

numbered notes inverted.

RND: Play randomly.

button.

The current measure is duplicated.

Automatically Advancing the Step During Input

Step input mode automatically advances to the next step each time you press and release a pad. This is a convenient way to quickly enter an arpeggio pattern.

* By pressing the [REST/TIE] button you can advance the step without inputting

(Step Input Mode)

Hold down the [REC] button and press the step button.

You’re in step input mode.

Press a pad (key) to input a note.

When you release the pad, the step advances.

a step.

Editing the Notes of Each Step

Hold down the [SHIFT] button and press the step button.

The STEP EDIT screen appears.

The notes of the selected step are shown.

Use the cursor to select the note that you want to edit.

NOTE tab

Knob Explanation

[C1] knob

[C2] knob

[C3] knob

[C4] knob

EVENT (NOTE)

Species the note.

VELOCITY

Adjusts the velocity.

START

Adjusts the start timing of the note.

LENGTH

Species the length of the note.

If the same note exists at the distance to which the note was extended, it cannot be extended further.

Step-Recording a Phrase

MOTION tab

Here you can make settings related to Motion.

Parameter Value Explanation

FILTER

OFF, 0–127 Adjust the motion value for each knob.MOD

For details, refer to “Recording Knob Movement in Steps

(MOTION)” (p. 34).

Step-Recording a Phrase

Drum Track: TR-REC

Press the PAD MODE [NOTE] button.

The pad mode is set to Note mode.

Press a pad (key) to select the pad that you want to edit.

The selected pad is lit, and now you can use the step buttons to edit the notes of the selected pad.

Press the step buttons for the steps at which you want to

input notes.

Notes are input.

If the EDIT screen is also shown, the screen shows the notes that you input.

Repeat steps 2–3.

Increasing the Measures

Here you can make settings for the notes of the clip.

Hold down the [SHIFT] button and press the MEASURE [<] [>]

buttons.

The CLIP SEQ SETTING: MEASURE screen appears.

Tab Parameter Explanation/Controller

VEL

START

NOTE (1/2) tab

MUTE

SUB STEP

NOTE (2/2) tab END

* By holding down the [CLEAR] button and pressing the currently-selected step

button, you can delete a note.

Adjusts the velocity.

[C1] knob

Adjusts the timing at which the start note begins.

[C2] knob

Adjusts the probability that a mute note will sound.

[C3] knob

Species a sub step.

[C4] knob

Species the end timing of the end note.

[C1] knob

Track Pad Mute

Here’s how to specify drum pad muting for each track.

This function is useful during a live performance when you want to add development to your song by inserting and removing pads.

While holding down the [SEL] button of a drum track, press

the pad that you want to mute.

The pad you specied is muted.

This setting applies to the track, and is maintained even if you change clips.

Once again, hold down the [SEL] button and press the pad.

Muting is cleared.

* This is also available if the pads are set to something other than Note mode.

Editing the Steps

Press a pad to select the pad that you want to edit.

Hold down the [SHIFT] button and press a step button.

The EDIT STEP screen appears.

Use the cursor buttons to switch tabs, and use the [C1]–[C4]

knobs to edit the parameters.

Tab Parameter Explanation/Controller

Here you can make settings related to Motion.

For details, refer to “Recording Knob Movement in Steps

MOTION tab

(MOTION)” (p. 34).

FILTER

MOD

Adjust the motion value of each knob.

OFF, 0–127

Clip Pad Mute

Here’s how to specify drum pad muting for each clip.

By inserting or removing parts, you can create additional variations of a drum pattern.

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

While holding down the [MUTE] button, press the pad that

you want to mute.

The specied pad is muted.

Specifying the Last Step and First Step

Specifying the Last Step

By specifying the Last Step, you can make a mid-way step play as the last step.

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Hold down the [SHIFT] button and press the MOTION [REC]

button.

Step Setting mode is selected.

Press the step button that you want to specify as the Last

Step.

The Last Step is specied, and the playback region is lit green.

If you press the same step button once again, the setting is cancelled.

Press the MOTION [REC] button.

You exit Step Setting mode.

Step-Recording a Phrase

Specifying the First Step

By specifying the First Step, you can make a mid-way step play as the rst step.

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Hold down the [SHIFT] button and press the MOTION [REC]

button.

Step Setting mode is selected.

Hold down the [SHIFT] button, and press the step button

that you want to specify as the First Step.

The First Step is specied; the First Step is lit orange, and the playback region is lit green.

To cancel the setting, once again hold down the [SHIFT] button and press the same step button.

Press the MOTION [REC] button.

You exit Step Setting mode.

Deleting the First Step and Last Step

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Hold down the [SHIFT] button and press the MOTION [REC]

button.

Step Setting mode is selected.

Press the [CLEAR] button.

The First Step and Last Step are both deleted.

Recording

You can record your performance or audio, and save it as clips.

Recording a Performance to a Tone or Drum Track

Creating a new clip and recording on it

In the home screen, move the cursor to an empty clip slot in

which you want to create a clip.

Use the [MEASURE] buttons to specify the length of the clip

that you want to record.

Press the [REC] button.

A clip is created at the specied location, and recording starts.

* If playback is stopped, press the [START/STOP] button to start playback.

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

Play the pads.

To stop recording, press the [REC] button.

Recording ends.

MEMO

You can also end recording by moving the clip.

Recording Audio on a Looper Track

Creating a new clip and recording

Hold down the [SHIFT] button and press the [INPUT] button.

Select the audio source that you want to record.

Audio source to record

EXT

TRK1-8 Record from a track.

MIXOUT

In the home screen, move the cursor to select the clip slot

that you want to create.

Explanation

Record audio from the EXT IN jacks.

If you pressed the [INPUT] button to make it light, turn the [VALUE] dial to adjust the volume.

If the input from a USB-connected computer is assigned to the MC-707’s PC IN, you can record from it. Switch the USB output port of the computer to PC (Ch3-4).

* The default USB output port is MIXOUT.

Record the overall sound.

* If the output port of the computer is MIX (Ch1-2) and USB Mix Select is

POST T-FX, the audio output from the computer is not recorded.

Overwriting a clip

Here’s how to add notes to an existing clip.

In the home screen, move the cursor to select a clip.

Press the [REC] button.

Recording starts.

* If playback is stopped, press the [START/STOP] button to start playback.

Play the pads.

To stop recording, press the [REC] button.

Recording ends.

MEMO

You can also end recording by moving the clip.

(Overdub)

MEMO

In Clip mode, you can use the pads to select this.

Use the [MEASURE] buttons to specify the length of the clip.

Press the [REC] button.

Record is reserved.

At the next timing cycle of the master clock, a clip is created in the specied position and recording starts.

Recording ends when the specied number of measures is reached.

* This does not support overwriting the clip.

* The track being recorded stops producing sound.

* If playback is stopped, press the [START/STOP] button to start playback.

* When recording ends, the recorded clip plays.

Quantize

Two types of quantization can be applied to tone tracks and drum tracks.

MEMO

Quantization cannot be applied to a looper track.

INPUT QUANTIZE

The timing of the performance is corrected (quantized) during recording.

If this setting is on, irregularities in the performance timing are not recorded.

SEQUENCER QUANTIZE

The timing of the performance is corrected (quantized) during playback.

Quantization can be specied in a range of 1–100%.

This setting is provided for each individual clip and also as a master setting (common to all clips). If the clip setting and the master setting are dierent, the larger number takes priority.

Enabling Quantize During Recording

Press the [QUANTIZE] button.

Quantization is switched on/o.

Specifying Playback Quantization

Hold down the [SHIFT] button and press the [QUANTIZE]

button.

The QUANTIZE SETTING screen appears.

MEMO

You can also access the QUANTIZE SETTING screen by long-pressing the [QUANTIZE] button.

Parameter Value Explanation

Species whether quantization is applied (ON) or not applied (OFF) when recording

INPUT-QTZ

(INPUT QUANTIZE)

CLIP

(SEQUENCER QUANTIZE)

MASTER

(SEQUENCER QUANTIZE)

OFF, ON

OFF, 1–100%

the performance.

[C1] knob

* This can also be switched on/o by pressing

the QUANTIZE button.

Species the strength of quantization for the currently selected clip.

Quantization is applied during playback.

[C3] knob

Species the strength of quantization common to all clips.

Quantization is applied during playback.

[C4] knob

Recording Knob Movement in Steps

(MOTION)

Movements of the [FILTER], [MOD], and [FX] knobs (MOTION) can be recorded in a clip.

Turning Motion On/O

For each clip, you can specify whether Motion is played back.

If the MOTION [ON] button is lit, the recorded movements (Motion) of the [FILTER], [MOD], and [FX] knobs are played back.

Press the MOTION [ON] button to make it light.

Motion plays back.

Press the MOTION [ON] button to make it go dark.

Motion playback ends.

Recording Motion

When the MOTION [REC] button is lit, movements (Motion) of each track’s [FILTER], [MOD], and [FX] knobs are recorded in the currently playing step.

Play back the clip.

Press the MOTION [REC] button to make it light.

Motion recording starts.

Operate the [FILTER], [MOD], and [FX] knobs.

The knob movements are recorded in each step of each track.

Press the MOTION [REC] button to make it go dark.

Motion recording ends.

Deleting Motion

In the home screen, move the cursor to select a clip.

Hold down the [SHIFT] button and press the MOTION [ON]

button.

A conrmation message asks you whether you want to delete the Motion of the currently selected clip.

Use the cursor buttons to select “O K,” and then press the

[ENTER] button.

The Motion is deleted.

If you decide to cancel, choose “CANCEL” and then press the [ENTER] button.

Editing Motion

In the EDIT STEP screen, you can edit the Motion for each step.

While holding down the [SHIFT] button, press a step button.

The EDIT STEP screen appears.

Press the cursor [<] button to select the “MOTION” tab.

Step

Use the MEASURE [<] [>] buttons and the step buttons to

select the step that you want to edit.

Parameter Value Explanation

FILTER

MOD

When you have nished editing, press the [EXIT] button to

return to the home screen.

Switching the Motion that’s edited or viewed by the step buttons

Steps that contain Motion data are indicated by whether the corresponding step button is lit (data exists) or unlit (no data).

For the Motion data that is indicated by illuminated step buttons, an

“@” or “A” icon appears at the left of the parameter name.

Icon identifying the Motion data indicated by illuminated step buttons

OFF, 0–127 Adjust the motion values of each knob.

Deleting the Motion of a Specic Knob

While holding down the MOTION [ON] button, turn the

knob whose Motion you want to delete.

The Motion of the specied knob is deleted.

Press the PAD MODE [NOTE] button.

The pads are in Note mode.

While holding down the [SHIFT] button, press a step button.

The EDIT STEP screen appears.

Press the cursor [<] button to select the “MOTION” tab.

At the “MOTION” tab, press the cursor [ ] button.

The “@” icon changes to “A.”

Use the cursor [<] [>] buttons to select the Motion that is

indicated.

Deleting Motion from a step

While holding down the [SHIFT] button, press a step button.

The EDIT STEP screen appears.

Press the cursor [<] button to select the “MOTION” tab.

Use the MEASURE [<] [>] buttons and the step buttons to

select the step from which you want to delete Motion.

While holding down the [CLEAR] button, press the [C1]–[C3]

knobs.

The Motion is deleted.

NOTE

If the [REC] button is lit, pressing the [CLEAR] button deletes the notes.

MEMO

You can also delete by turning the [C1]–[C3] knobs all the way to the left.

When you have nished editing, press the [EXIT] button to

return to the home screen.

Recording Knob Movement in Steps (MOTION)

Inputting smooth Motion

By using MOTION DESIGNER, you can input Motion data that changes smoothly in time.

This function is a convenient way to create eects such as ducking (side-chain).

Select the Motion that you want to edit.

“Switching the Motion that’s edited or viewed by the step

buttons” (p. 34)

In the EDIT STEP screen, press the [FUNC] button.

The screen indicates “UTILITY: MOTION DESIGNER.”

Use the [C1]–[C4] knobs to adjust the parameters that you

(MOTION DESIGNER)

want to input.

Controller Parameter Explanation

[C1] knob FORM TYPE

[C2] knob STEP LENGTH

[C3] knob MIN VALUE

[C4] knob MAX VALUE

Selects the waveform of the timevarying change.

Species the number of steps from beginning to end.

Species the minimum value of the waveform.

Species the maximum value of the waveform.

Press the [ENTER] button.

Time-varying values are written as Motion for the specied knob.

When you are nished editing, press the [EXIT] button to

return to the home screen.

Saving and Recalling a Scene

By using the Scene function you can recall a combination of clips to play back.

A project can store eight scenes.

Recalling a Scene

When you press a SCENE button, a playback reservation is made for the recorded combination of playback clips.

The scene is applied at the next timing interval of the master clock.

* By holding down the [SHIFT] button and pressing a SCENE [1]–[4] button, you

can recall SCENE 5–8.

Storing a Scene

By long-pressing a SCENE button, you can store the current combination of playback clips.

* By holding down the [SHIFT] button and long-pressing a SCENE [1]–[4] button,

you can store to SCENE 5–8.

Total Eects

The MC-707 is equipped with ve “total eects.” Settings for these eects are saved in the project.

For details, refer to “Parameter List” (p. 61).

Reverb

Adds reverberation to the sound.

Chorus/Delay

Gives the sound depth and spaciousness (Chorus), or delays the sound in an echo-like manner (Delay).

Multi FX

Lets you select and use one of various eects such as lter or overdrive.

Compressor

Compresses loud peaks of the master output, making the volume more consistent.

Equalizer

An equalizer with three frequency bands (low, mid, high).

Using the [FX PRM] [FX DEPTH] Knobs and the [ON] Button to Select the Target of Operation

Editing Reverb or Delay

Hold down the [SHIFT] button and press the [REVERB] [DELAY] button.

The SEND EFFECTS EDIT screen appears.

Use the cursor [<] [>] buttons to select the eect that you want to edit.

Edit the parameters of the selected eect.

“Total Eect Parameters” (p. 80)

For details, refer to “Total Eect Parameters” (p. 80).

Turn the eect on/o, and select the type of the eect that you want to use.

Use the cursor keys to select the check box located beside the eect name, and press ENTER to add a “(“ symbol.

Editing MFX/COMP/EQ

By pressing one of the [REVERB] [DELAY] [MULTI] buttons you can change the target that is operated by the knobs.

Pressing the [ON] button switches the eects on/o.

Hold down the [SHIFT] button and press the [MULTI] button.

The TOTAL EFFECTS EDIT screen appears.

Use the cursor [<] [>] buttons to select the eect that you want to edit.

Edit the parameters of the selected eect.

“Total Eect Parameters” (p. 80)

For details, refer to “Total Eect Parameters” (p. 80).

Turn the eect on/o, and select the type of the eect that you want to use.

Use the cursor keys to select the check box located beside the eect name, and press ENTER to add a “(“ symbol.

Changing the Knob Assignments

While holding down one of the [REVERB] [DELAY] [MULTI] buttons and turning a [FX PRM] [FX DEPTH] knob, you can change the parameter that is assigned to the knob.

SCATTER

“Scatter” adds a digital-feeling groove to the loop playback by

exchanging individual steps within the loop playback and also by changing the playback direction or gate length.

You can apply the eect by pressing the pads, or sequence the eect and apply it to audio input.

Signal ow

SCATTER

SPLITTER PAN

DRY1

L/R L/R

FX 1

FX 2

FX send

Send/Return

Applying the Scatter Eect

Using the Pads to Apply the Eect

By pressing pads, you can apply the eect that is assigned to each pad.

Press the PAD MODE [SCATTER] button.

The [SCATTER] button is lit, and the pads are in Scatter mode.

Press a pad.

The scatter eect specied for each pad is applied.

MEMO

Depending on the settings of the pad, the eect is applied in one of two ways:

applied as long as you hold down the pad, or applied cyclically.

If the SIZE or HOLD is set to a value greater than 1, the eect is applied

cyclically only to the step at the moment you press the pad.

Pressing the [SCATTER] Button to Apply the Eect

You can press the [SCATTER] button to apply the eect that is specied for the step.

Press the PAD MODE [SCATTER] button.

The pads are in Scatter mode.

While in Scatter mode, press the [SCATTER] button.

The [SCATTER] button blinks, and the eect specied for each step is applied.

MOMENTARY mode: The eect is applied only while you hold

down the [SCATTER] button.

ALTERNATE mode: The eect turns on/o each time you press the

[SCATTER] button.

“D STEP MODE SW” (p. 38)

Editing the Scatter Eect

Hold down the [SHIFT] button and press the PAD MODE

[SCATTER] button.

The SCATTER EDIT screen appears.

C D

A PAD

You can use the [C1]–[C4] knobs to edit the parameters shown in the bottom of the screen.

Press the [FUNC] button to switch between parameters to edit.

Parameter Value Explanation

GRAIN

HOLD

RETRIG 1–32

DRY-MFX1 0–255

COLOR *1 Species the color of the pads.

(PITCH GLIDE) -400%–400% Gradually modies the pitch.

GLIDE

REVERSE OFF, ON Plays in reverse.

DRY-MFX2 0–255

*1 ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

For details, refer to “Detailed Editing” (p. 39).

Default,

1–16

OFF,

x1–x16

B STEP

Select a step and press the [ENTER] button to access the step edit screen.

C MFX1, 2

Here you can make MFX settings.

Parameter Value Explanation

SWITCH OFF, ON Switches the eect on/o.

TYPE

Parameter

Species the eect type.

“MFX/IFX Parameters” (p. 84)

Parameters for the selected eect type are shown.

“MFX/IFX Parameters” (p. 84)

D STEP MODE SW

This indicates the step mode on/o status.

You can also press the [ENTER] button to switch it on/o.

Parameter Value Explanation

MODE

MOMENTARY,

ALTERNATE

Modies the grain played for each step and the timing at which it plays.

Repeatedly plays the range of steps specied by SIZE for the specied number of times.

Repeatedly plays within the range of steps specied by SIZE for the specied number of times.

Species the amount of send to MFX1. The dry sound decreases inversely.

Species the amount of send to MFX2. The dry sound decreases inversely.

Use the [SCATTER] button to switch this on/ o.

You can use the [C4] knob to switch between ALTERNATE mode and MOMENTARY mode.

MOMENTARY: Press the [SCATTER] button

to turn it on, release the button to turn it o.

ALTERNATE: The eect alternates on/o

each time you press the [SCATTER] button.

SCATTER

E SET

Parameter Value Explanation

Selects the position at which Scatter is

EX T,

POS

SPLIT

LOOP-HOLD OFF, ON

SCALE

LENGTH 1–16

MEASURE 1–8

PC,

TRACK1–8,

MIXOUT

1/1, 1/2, 1/3, 1/4, 1/5, 1/6, 1/7, 1/8, 1/9, 1/10, 1/11, 1/12, 1/13, 1/14, 1/15, 1/16

1/8, 1/16, 1/32, 1/4T, 1/8T, 1/16T

inserted.

EXT: Input from the EXT IN jacks

PC: Input from the USB PC-IN port

TRACK 1-8: Output of tracks 1–8

MIXOUT: Before the compressor

Species the width of the divisions when dividing the clip.

For example, if

SCALE: 1/16, LENGTH: 16, and MEASURE: 1, then

SPLIT: 1/16 0sixteenth notes SPLIT: 1/12 0eighth note triplets SPLIT: 1/8 0eighth notes

* Step numbers beyond the number of divisions

specied by SPLIT are ignored.

This lets you loop the playback while holding the audio that is loaded into Scatter.

If you change the tempo, the playback speed and pitch will change simultaneously.

Species the beat that is the basis of the measure.

Species the basic number of beats (SCALE) in a measure.

Species the number of measures used by Scatter.

Detailed Editing

You can edit the eect individually for each pad and step.

Hold down the [SHIFT] button and press the PAD MODE

[SCATTER] button.

The SCATTER menu appears.

Press the [ENTER] button to select the item that you want to

edit.

* Step cannot be edited if pads are assigned to steps.

* When you edit a step, the step is lit red.

Editing a step/pad

*1 ORANGE, YELLOW, GREEN, BLUE, PURPLE, PINK, WHITE, SKYBLUE, P.YELLOW,

P.BLUE, P.PINK, L.RED, L.ORANGE, L.YELLOW, L.GREEN, P.GREEN, L.SKYBLUE, L.BLUE, L.PURPLE

REVERSE

Parameter Value Explanation

SIZE 1–16

MUTE OFF, ON Mutes the sound.

REVERSE OFF, ON Plays in reverse.

Species the range of steps to which the eect is applied.

RETRIG

Parameter Value Explanation

RETRIG 1–32

RETRIG GLD 1/32–OFF–32, Inf

HOLD OFF, x1 - x16

Repeatedly plays the sound for the specied number of times within the range of steps specied by SIZE.

Gradually applies change to the sound specied by Retrig.

This is eective when you want the glitch eect to change over time.

You can also produce change over a longer time by raising Hold.

By setting this in the opposite direction than a paired parameter, you can create large change.

Repeatedly plays the range of steps specied by SIZE for the specied number of times.

If this is OFF, playback continues to the end of the steps available, regardless of the step range.

PITCH

Parameter Value Explanation

PIT CHRM

(PITCH CHRM)

PIT FINE

(PITCH FINE)

PIT BEND

(PITCH GLIDE) -400%–400%

PIT GLD

-24 (-2oct)

0 (Original)

+24 (+2oct)

-100cent–0cent– +100cent

(PITCH BEND) 1%–100%–400%

Species the pitch in semitone units.

Finely adjusts the pitch.

Smoothly varies the pitch across a wide range.

Applies gradual change to the specied pitch.

You can use the [C1]–[C4] knobs to edit the parameters shown in the screen.

SETTING

Parameter Value Explanation

COLOR *1

SEQ

MASK OFF, ON

Default,

1–16

Species the pad color.

* This setting is only for PAD.

Species the timing of playback.

* This setting is only for STEP.

Species whether playback of another step will overlap during playback.

If you raise Size or Hold to extend the playback time of the step, and do not want it to overlap the playback of another step, you can turn this ON so that the step whose timing overlaps is muted.

However, the step for which this is turned ON is not muted.

PAN

Parameter Value Explanation

PAN L128–0–127R Species the panning of the sound.

LEVEL 0–255 Adjusts the volume.

(LEVEL GLIDE) -255–0–+255

LEV GLD

Applies gradual change to the sound specied by LEVEL.

FX SEND

Parameter Value Explanation

MFX1 0–255

MFX2 0–255

FX SEND 0–255

DRY 0–255

Species the send amount of Scatter to MFX1.

Species the send amount of Scatter to MFX2.

Species the send amount to the SEND/ RETURN jacks.

* SEND/RETURN POS must be set to SCATTER.

Species the volume of sound that does not pass through the eect.

SCATTER

ENV

Parameter Value Explanation

ATK TIME 0ms–1000ms

DCY TIME 0ms–1000ms

GRAIN

Parameter Value Explanation

GRAIN

Default,

1–16

Species the speed at which the volume is gradually raised when the eect starts being applied. With a setting of 0ms this has no eect.

Species the speed at which the volume is gradually lowered when the eect stops being applied.

With a setting of 0ms this has no eect.

In some cases, an extremely high setting of DCY TIME could overlap with the operation of ATK TIME, resulting in silence.

Lets you change the grains played back by each step.

Editing MFX

Edit the parameters of the selected eect.

“MFX/IFX Parameters” (p. 84)

Parameter Explanation

MFX Type

MFX parameters

Turn the eect on/o, and select the type of eect to use.

To turn the eect on, add a “(“ symbol to the check box located beside the eect name.

Turns MFX on/o, and selects the type of MFX to use. To turn MFX on, add a “(“ symbol to the check box located beside the eect name.

“MFX/IFX Parameters” (p. 84)

Edit the parameters of the selected MFX.

“MFX/IFX Parameters” (p. 84)

Editing the TONE Track

A tone track is a track that provides PCM/VA synthesis and sample playback functionality.

Use a tone track when you want to play pitched phrases.

Simple Sound Editing

In the home screen, use the cursor buttons to select the

tone track that you want to edit.

* If the sound source is Clip, select the clip that you want to edit.

Hold down the [SHIFT] button and press the [SOUND]

button.

The TONE EDIT screen appears.

Use the cursor buttons to select an icon, and use the [C1]–

[C4] knobs to edit.

Press the [FUNC] button to access the second page of the editing items.

CTRL

Here you can make settings related to voicing.

Parameter Value Explanation

OCT

(Octave Shift)

VOICE

(Mono/Poly)

PORTAMENT

(Portamento Switch)

P.TIME

(Portamento Time)

-3–+3

MONO, POLY

OFF, ON

0–127

Species the pitch of the tone in octave units (maximum of ±3 octaves).

Species whether the tone plays polyphonically (POLY) or monophonically (MONO).

MONO: Only the note of the last-played

key is played, one note at a time.

POLY: Multiple notes can be played

simultaneously.

Species whether the portamento (*1) eect is applied (ON) or not applied (OFF).

Species the time over which the pitch changes when using portamento. Higher settings will cause the pitch change to the next note to take more time.

Parameter Value Explanation

GROUP TYPE

(Wave Group Type)

BANK

(Wave Bank) A, B, C

WAVE

(Wave Number L/R)

FORM

PW 0–127

PWM -63–+63

INT, SAMP

Species the wave number within the group specied by Wave Group.

Species the sample number when TYPE is SAMP.

* In EASY MODE, the same waveform is specied for L and R.

SAW, SQR, TRI, SIN, RAMP, JUNO, TRI2, TRI3, SIN2

OSC (PCM-SYNC)

Parameter Value Explanation

WAVE

(PCM-Sync Wave No.)

Species the wave that sounds when OSC Type is PCM-Sync.

The PCM-Sync oscillator is eective when Structure is SYNC and set to Slave (the sync-modulated Partial 1, 3).

OSC (SuperSAW)

Parameter Value Explanation

DETUNE

(SuperSAW Detune)

0–127

INT: When OSC TYPE is PCM, the internal

waveforms of the MC-707 are used.

SAMP: When OSC TYPE is PCM, the

waveforms loaded into the project are used.

Species the bank (A–C) that is sounded when OSC Type is INT.

Species the wave that is sounded when OSC Type is VA.

SAW: Sawtooth wave

SQR: Square wave

TRI: Triangle wave

SIN: Sine wave

RAMP: Ramp wave

JUNO: Modulated sawtooth wave

TRI2: Triangle wave variation

TRI3: Triangle wave variation

SIN2: Sine wave variation

This is an eect obtained by varying the pulse width duty cycle to modify the waveform.

It is available when OSCType is VA, and also allows you to create eects with other than SQR (square wave).

Species the amount (depth) of LFO applied to PW (pulse width).

LFO follows the settings of LFO2.

Species the width of pitch variance between the seven sawtooth waves that are layered within one oscillator.

Higher values produce greater pitch variance. (When doing this, OSC Detune changes the pitch for each of the seven sawtooth waves by the same width.)

*1 Portamento is an eect that smoothly changes the pitch from

one key to the next key that you press. Applying portamento when Mono/Poly is set to “MONO” will produce an eect reminiscent of the slide performance technique on a violin.

OSC 1–4

Here you can make settings for the oscillators of each partial.

Parameter Value Explanation

Species the oscillator type.

PCM: Sound is produced by PCM. This

sounds the wave specied by Wave Group and Wave Number L/R.

VA: Sound is produced by an analog-

OSC

(OSC Type)

OFF, PCM, VA, PCMSync, SuperSAW, Noise

modeled wave generated by calculation. This sounds the wave of the number specied by Waveform.

PCM-Sync: Sound is produced by the wave

specied by the PCM-Sync Wave Number.

SuperSAW: Sound is produced by

SuperSAW.

Noise: White noise is produced.

OSC (common to P2)

Parameter Value Explanation

SW OFF, ON Turns the partial on/o.

COARSE -48–+48

FINE -50cen–+50cen

VOL 0–127 Species the volume of the partial.

Species the pitch in semitone units (maximum ±4 octaves).

Species the pitch in one-cent units (maximum ±50 cents).

Editing the TONE Track

STRUCT

Structure lets you play two partials as a pair.

By using partial 1 or 3 (the carrier) to modulate the other partial 2 or 4 (the modulator), you can create a wide range of tonal characters.

Parameter Value Explanation

Partial 2 is used to modulate the sound of partial 1.

OFF o

This implements the oscillator sync function that is provided by analog synthesizers.

SYNC

OSC1-2/OSC3-4

RING

XMOD

XMOD2

OSC1 / OSC3 0–127 Adjusts the volume of OSC 1/3.

OSC2 / OSC4 0–127 Adjusts the volume of OSC 2/4.

RING

(RING1-2 Level) 0–127 Adjusts the volume of ring modulation.

0–9600 [cent]

MOD (XMOD)

(XMOD)

0–127 (XMOD2)

The oscillator of partial 1 is reset at pitch cycles of partial 2.

* This is available only when OSC Type is Virtual

Analog or PCM Sync.

This implements the ring modulator that is provided by analog synthesizers.

The output of partial 2 is multiplied with partial 1.

“RING” (p. 63)

This implements the cross modulation function that is provided by analog synthesizers.

The output of partial 2 is applied as the pitch of partial 1.

“XMOD” (p. 63)

Adjusts the depth of cross modulation.

PENV

Here you can make pitch envelope settings.

Parameter Value Explanation

Species the depth of the pitch envelope. Higher values make the pitch envelope

DEPTH

(Depth) -100–+100

ATTACK (T1) 0–1023

(T3) 0–1023

DECAY

(L3) -511–+511

SUSTAIN

produce greater change. Negative “-” values invert the shape of the envelope.

If the OSC Type is other than VA, this is limited to ±63.

Species the time over which the initial value changes to the maximum value after the note starts.

Species the time over which the SUSTAIN value is reached following the ATTACK.

Species the sustain value of the pitch envelope.

LFO

Here you can make LFO settings.

Parameter Explanation

Species the LFO waveform.

SIN Sine wave

TRI Triangle wave

SAW-UP Sawtooth wave

SAW-DW Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

TRP Trapezoidal wave

S&H

FROM

RAT E 0–1023, 1/64T–4

(Filter Depth) -100–+100

>CUTOFF

(Pitch Depth) -100–+100

>PITCH

>AMP -100–+100

>PAN -63–+63

CHS

VSIN

STEP

Sample and Hold wave (changes the LFO value once every cycle)

Sine wave modied by a VSIN chaos wave. The amplitude of a sine wave is randomly changed once every cycle.

Modied sine wave. The amplitude of the sine wave is randomly varied once every cycle.

A waveform generated from data specied by LFO Step 1–16.

This produces a xed pattern of stepped change like a step modulator.

You can edit this in the TONE PARTIAL EDIT screen.

This is available if Rate Sync is OFF.

It species the LFO cycle regardless of the tempo. Higher values shorten the LFO cycle.

Species the depth at which the LFO is applied to the cuto frequency.

Species the depth at which the LFO is applied to pitch.

* If OSC Type is other than Virtual Analog, the

Species the depth at which the LFO is applied to volume.

Species the depth at which the LFO is applied to pan.

FENV

Here you can make lter envelope settings.

Parameter Value Explanation

ATTACK

(T1) 0–1023

(T3) 0–1023

DECAY

(L3) 0–1023

SUSTAIN

(T4) 0–1023

RELEASE

Species the time over which the initial value changes to the maximum value after the key is pressed.

Species the time over which the SUSTAIN value is reached following the ATTACK.

Species the sustain value of the lter envelope.

Species the time over which the minimum value is reached after the key is released.

Refer to “Detailed Sound Editing” (p.

43).

range is limited to -63–+63.

MATRIX

Here you can connect various parameters as if you were patching them.

You can connect up to four parameters.

Parameter Value Explanation

Species the control-source signal.

FROM

DEPTH (Depth) -63–+63

For an explanation of each parameter, refer to the parameter list.

* If you specify SycCtrl 1–4, you can use the

panel [FILTER] [MOD] [FX] knobs to control the parameters.

Species the parameter that is controlled.

For an explanation of each parameter,

refer to “Parameter List” (p. 61).

Species the amount (depth) by which the parameter is varied.

Editing the TONE Track

MIX

Here you can set the reverb, delay, pan, and level of the total eect.

Parameter Value Explanation

LEVEL

(MIX LEVEL)

PAN L64-63R Species the pan of sound.

>REVERB

(Reverb Send) 0–127

(Delay Send) 0–127

>DELAY

0-127 Species the volume of the clip.

Species the amount sent to TOTAL FX REVERB.

Species the amount sent to TOTAL FX DELAY.

FILTER

Here you can make lter settings.

Parameter Value Explanation

Selects the type of TVF lter.

OFF: O

LPF: Low pass lter

TVF TYPE

VCF TYPE

TYPE TVF, VCF

(Cuto) 0–1023

CUTOFF

(Resonance) 0–1023

RES

(Env Depth) -63–+63 Species the depth of the lter envelope.

ENV DEP

KEYF -200–+200

SLOPE

OFF, LPF, BPF, HPF, PKG, LPF2, LPF3

FLAT, TYPE-JP, TYPE-M, TYPE-P

-12, -18, -24 [dB/ Oct]

BPF: Band pass lter

HPF: High pass lter

PKG: Peaking lter

LPF2: Low pass lter 2

LPF3: Low pass lter 3

Selects the type of VCF lter when the lter TYPE is VCF.

Each of these simulates the operation of an analog synthesizer’s LPF.

Select either TVF or VCF as the lter type.

* TVF stands for Time Variant Filter, and is a

lter that allows detailed settings to be made for the time-varying change in the sound’s frequency components.

If VCF is selected, the simultaneous polyphony will be less than when TVF is selected.

Selects the frequency at which the lter begins to have an eect on the waveform's frequency components.

Boosts the region of the sound near the cuto frequency, adding a distinctive character to the sound.

Set this if you want the cuto frequency to change according to the keyboard position of the note you play.

This button selects the slope (steepness) of the lter.

For VCF, you can choose -12, -18, or -24.

For TVF, you can choose only -12 or -24.

If the lter TYPE is TVF, the following limitations apply.

Only -12 dB or -24 dB can be specied.

Even if you specify -18 dB, the sound engine operates internally with the -12 dB setting.

If you specify -24 dB, the simultaneous polyphony will be less than when -12 dB is selected.

Here you can make equalizer settings.

Parameter Value Explanation

SW OFF, ON Turns the equalizer on/o.

LOW -24–+24 [dB] Gain of the low frequency range.

MID -24–+24 [dB] Gain of the mid frequency range.

HIGH -24–+24 [dB] Gain of the high frequency range.

MIDQ 0.5–16.0

LOW 20–16000 [Hz] Frequency of the low range.

MID 20–16000 [Hz] Frequency of the mid range.

HIGH 20–16000 [Hz] Frequency of the high range.

Bandwidth of the mid frequency range.

Set a higher value for Q to narrow the range to be aected.

EFFECT

Here you can make eect settings.

Parameter Value Explanation

SWITCH OFF, ON Turns the eect on/o.

TYPE

Eect parameters

Refer to the MFX/ IFX parameters.

Switches the type of eect.

The displayed parameters depend on the eect type that is selected.

Detailed Sound Editing

How a Tone Is Constructed

A tone consists of four (Partial 1–4) sets of OSC, Filter, AMP, LFO × 2, and EQ settings, together with multi-eect (MFX) settings.

You can create sounds by combining the four partials.

Each partial can be turned on/o, allowing you to select which partials produce sound.

Partial 4

Partial 3

Partial 2

Partial 1

LFO 1

OSC Filter

Pitch Env Filter Env Amp Env

LFO 2

Amp

MFX

AMP

Here you can make amp envelope settings.

Parameter Value Explanation

ATTACK

(T1) 0–1023

(T3) 0–1023

DECAY

(L3) 0–1023

SUSTAIN

(T4) 0–1023

RELEASE

PAN PTL1–4

(Pan) L64–63R Species the pan of each partial’s sound.

Species the time over which the initial value changes to the maximum value after the key is pressed.

Species the time over which the SUSTAIN value is reached following the ATTACK.

Species the sustain value of the amp envelope.

Species the time over which the minimum value is reached after the key is released.

OSC (oscillator)

This selects the waveform that is the basis of the sound, and species how its pitch will change.

Filter

This modies the frequency components of the sound.

Amp (amplier)

This creates changes in volume and pan.

Editing the TONE Track

LFO (Low Frequency Oscillator)

LFO stands for Low Frequency Oscillator, and is an oscillator with a very slow cycle. It can output waveforms such as sine wave, triangle wave, square wave, or sawtooth wave.

By using the LFO to modulate another audio signal, you can create eects such as vibrato or tremolo.

PARTIAL EDIT Screen

Here you can make settings for each partial.

In the TONE EDIT screen, select an icon such as OSC or

FILTER, and then press the [ENTER] button.

The PARTIAL EDIT screen appears.

Select the general category of parameter that you want to edit.

Use the [C1]–[C4] knobs to edit the parameters that are shown for each knob.

Select the category of parameter that you want to edit.

COMMON SETTING Screen

Here you can make settings for the tone.

In the TONE EDIT screen, select the CTRL, STRUCT, or MIX

icon, and then press the [ENTER] button.

The TONE COMMON SETTING screen appears.

Select the category of parameter that you want to edit.

Use the cursor buttons or the [C1] [C2] knobs to switch categories.

Use the [C3] knob to select the parameter that you want to edit, and use the [C4] knob to edit the value.

You can also use the cursor buttons to select a parameter.

For details, refer to “Parameter List” (p. 61).

If you want to edit multiple partials simultaneously, press the [C1

(partial 1)

], [C2

(partial 2)

], [C3

(partial 3)

], or [C4

(partial 4)

] knob. Partials

that can be edited are highlighted.

By holding down the [SHIFT] button and pressing a [C1]–[C4] knob, you can turn the corresponding partial on/o.

For details, refer to “Parameter List” (p. 61).

UTILITY window

Here you can copy or initialize a partial. You can also initialize a tone.

Press the [FUNC] button.

The UTILITY screen appears.

Use the cursor [<] [>] buttons to switch menu items.

Menu Explanation

PARTIAL COPY

PARTIAL INITIALIZE

TONE INITIALIZE

Copies a partial.

Use the [C1]–[C4] knobs to make settings, and press the [ENTER] button to execute.

Initializes a partial.

Use the [C1]–[C4] knobs to make settings, and press the [ENTER] button to execute.

The contents of INITIAL TONE are assigned.

Initializes the tone.

Press the [ENTER] button to execute.

* The currently-edited sound is deleted.

Editing the DRUM Track

A drum track is a track that provides PCM synthesis and sample playback functionality.

Simple Sound Editing

In the home screen, use the cursor buttons to select the

drum track that you want to edit.

* If the sound source is Clip, select the clip that you want to edit.

Hold down the [SHIFT] button and press the [SOUND]

button.

The KIT EDIT screen appears.

Use the cursor buttons to select an icon.

Use the [C1]–[C4] knobs to edit.

You can also select an icon and press the [ENTER] button to edit.

MEMO

Press the [FUNC] button to access the second page.

A PAD

You can use the [C1]–[C4] knobs to perform simple editing for the selected pad.

Press the [ENTER] button to open the edit menu.

Parameter Value Explanation

LEVEL 0–127 Adjusts the volume.

COARSE -24–+24 Adjusts the pitch in semitone units.

Species the time over which the sound

RELEASE 0–1023

REVERB 0–127

FINE -50cen–+50cen Finely adjusts the pitch in one-cent units.

PAN L64–63R Species the pan of the sound.

ENV MODE NO -SUS, SUSTAIN

DELAY 0–127

disappears after the key is released.

Larger values produce a longer decay, and shorter values produce a crisper sound.

Species the amount sent to TOTAL FX REVERB.

Species the behavior when a pad is pressed.

NO-SUS: The volume immediately starts

decaying when you press the pad.

SUSTAIN: The volume starts decaying

when you release the pad.

Species the amount sent to TOTAL FX DELAY.

With a pad selected, press the [ENTER] button to access the pad edit menu. Here you can exchange or edit sounds.

You can use the [C1]–[C4] knobs to perform simple editing of the sound.

B COMP (DRUM+COMP track only)

If you select “COMP” and then press the [ENTER] button, the compressor setting screen appears.

Six channels of compressors can be applied to one (and only one) of the drum tracks.

When you create the track, specify whether it will have these compressors.

If you use this track, the maximum number of Looper tracks is reduced from six to four.

C SET

When you select “SET” and press the [ENTER] button, the setting screen for the part parameters and drum kit appears.

You can use the [C1]–[C4] knobs to edit the reverb, delay, pan, and level for the total eect.

Parameter Value Explanation

LEVEL

(MIX LEVEL)

PAN L64–63R Species the pan of the sound.

>REVERB

(Reverb Send) 0–127

(Delay Send) 0–127

>DELAY

0-127 Species the volume of the clip.

Species the amount sent to TOTAL FX REVERB.

Species the amount sent to TOTAL FX DELAY.

D MFX

Here you can edit the eect settings.

Parameter Value Explanation

SWITCH OFF, ON Turns the eect on/o.

TYPE

Eect parameters

Refer to the MFX/ IFX parameters.

Switches the eect type.

The parameters shown depend on the selected eect type.

For details, refer to “Parameter List” (p. 61).

E NAME

Press the [ENTER] button to access the drum kit (KIT) name editing screen.

Operating the Unit Explanation

Cursor [<] [>] buttons Selects the character to edit.

[C2] knob

[C3] knob [C4] knob,

[VALUE] knob

Press the [C2] knob Inserts a space.

Press the [C3] knob Deletes a character.

Switches between uppercase, lowercase, numerals, and symbols.

Change the character.

Editing the DRUM Track

Pad Settings

(PAD MENU)

Here you can assign an instrument to each pad.

In PAD MENU you can change the instrument, and load or edit samples.

Hold down the [SHIFT] button and press the [SOUND]

button.

The KIT EDIT screen appears.

Use the cursor buttons to select the pad that you want to

edit, and then press the [ENTER] button.

The DRUM INST MENU screen appears.

Editing an Instrument

(INST EDIT)

Here’s how to edit the instrument that’s loaded into the pad.

Use the cursor buttons to select “INST EDIT,” and then press

the [ENTER] button.

The DRUM INST SETTING screen appears.

Select the category of parameter that you want to edit.

Use the cursor buttons or the [C1] [C2] knobs to switch categories.

Use the cursor buttons or the [C3] knob to select the parameter that you want to edit, and use the [C4] knob to edit the value.

“Parameter List” (p. 61)

* If sample is selected as the WAVE GROUP TYPE, you can move the cursor to

Wave Number and press the [ENTER] button to edit the waveform.

Changing the Pad’s Sound (Instrument)

(INST SELECT)

Use the cursor buttons to select "INST SELECT," and then

press the [ENTER] button.

The DRUM INSTRUMENT browser appears.

In the DRUM INSTRUMENT browser, instruments or sample les can be loaded into a kit.

PRESET: Load an instrument or kit from the MC-707’s presets

PROJECT: Load an instrument from a project saved on the SD card

WAVE FILE: Load a sample le from the SD card

Editing a Sample

(SAMPLE EDIT)

Here’s how to edit the user sample that’s loaded.

Use the cursor buttons to select “SAMPLE EDIT,” and then

press the [ENTER] button.

The SAMPLE EDIT screen appears.

Parameter Value Explanation

START 0–8388607

LOOP 0–8388607 Species the loop position.

END 0–8388607

ZOOM x65536–x1 Zooms the waveform display in or out.

MODE

LEVEL 0–127 Adjusts the volume.

TUNE

gain 0db, +6db, +12db Species the sample’s approximate volume.

Original Key C-1–G9 Registers the sample’s pitch.

FWD, ONE-SHOT, REV, REV-ONE

-50.0 cent–50.0 cent

Species the position at which playback starts.

Species the position at which playback ends.

Species the playback method.

Finely adjusts the pitch.

* The waveform specied as the instrument’s WMT1 is edited.

* If you want to edit the WMT2–3 waveform, move the cursor to WAVE NUMBER

in the INST EDIT screen, and press the [ENTER] button.

Editing the DRUM Track

Editing the Instrument Name

The DRUM INST NAME screen appears, allowing you to edit the instrument name.

Use the cursor buttons to select “INST NAME EDIT,” and then

(INST NAME EDIT)

press the [ENTER] button.

The DRUM INST NAME screen appears.

Operating the Unit Explanation

Cursor [<] [>] buttons Selects the character.

[C2] knob

[C3] knob [C4] knob,

[VALUE] knob

Press the [C2] knob Inserts a space.

Press the [C3] knob Deletes a character.

Pad Editing

(PAD EDIT)

Switches between uppercase, lowercase, numerals, and symbols.

Change the character.

Here’s how to edit pad settings.

Use the cursor buttons to select “PAD EDIT,” and then press

the [ENTER] button.

The DRUM PAD SETTING screen appears.

* Pad settings are maintained even if you change instruments.

EQ tab

Here you can make EQ settings for the pad.

For details, refer to Drum Kit Tone Parameters (Drum), “PAD EQ” (p.

75).

CTRL tab

Here you can edit the control parameters.

For details, refer to Drum Kit Tone Parameters (Drum), “PAD CTRL” (p. 75).

Initializing an Instrument

(INIT INST)

Here’s how to initialize the instrument that’s loaded into the pad.

Use the cursor buttons to select “INIT INST,” and then press

the [ENTER] button.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The instrument is initialized.

NOTE

The instrument being edited is deleted.

LOOPER Track

This is a track that can play back audio les, or record and play back audio from the input of a track, EXT IN, or a USB-connected computer.

To load a sample into a looper track

“Selecting Sounds (Sound Browser)” (p. 26)

“Importing Clips (Clip Browser)” (p. 25)

Making Looper Settings

Hold down the [SHIFT] button and press the [SOUND]

button.

The LOOPER MENU screen appears.

Playback Settings

Here’s how to make playback-related settings for a Looper track.

Hold down the [SHIFT] button and press the [SOUND]

button.

The LOOPER MENU screen appears.

Use the cursor buttons to select “SET (EDIT LOOPER

SETTING),” and then press the [ENTER] button.

The LOOPER COMMON SETTING screen appears.

Select the category of the parameter that you want to edit

Use the cursor buttons or the [C1] [C2] knobs to switch categories.

Parameter Value Explanation

This parameter applies to time stretch.

Stretch Window

Reverse OFF, ON

1.0, 0.75, 0.5, 0.375,

0.25

Higher values improve the audio quality.

If an unnatural impression results when pitch shift or time stretch is used to create a large amount of change, lowering this value might improve the result.

OFF: The sample plays forward.

ON: The sample plays backward.

PITCH tab

Parameter Value Explanation

Species the pitch in semitone steps

Pitch Chromatic -24–+24

Pitch Fine -100–+100 Finely adjusts the pitch.

Pitch Shift 0%–400%

(maximum ±2 octaves).

This setting can also be made in PAD MODE NOTE.

Smoothly modies the pitch in a wide range.

KNOB CTRL tab

Parameter Value Explanation

Level 0–127 Species the volume.

Pan (CC#10) L64–63R Species the pan of the sound.

Delay Send Level

(CC#93)

Reverb Send Level

(CC#91)

0–127

Adjusts the amount sent to the total eect delay.

Adjusts the amount sent to the total eect reverb.

Editing the Sample's Waveform

(Playback Region and Time Stretch Settings)

Here you can specify the playback region of the sample, and make settings for time stretch.

MEMO

About time stretch

Looper tracks support time stretch, so that a sample’s playback speed can match the BPM without changing its pitch.

Use the cursor buttons or the [C3] knob to select the parameter that you want to edit, and use the [C4] knob to edit the value.

SOUND tab

Parameter Value Explanation

Level 0–127

Pitch/Stretch OFF, TYPE1, TYPE2

Species the volume at which the sample plays.

Selects the pitch shift / time stretch method.

OFF: Time stretch is not used; the sample is

lengthened by changing its pitch.

* If OFF is selected, the settings in the PITCH

tab are ignored (pitch shift is not applied).

TYPE1: Time stretch optimized for melodic

material is applied.

TYPE2: Time stretch optimized for rhythm

material is applied.

Use the cursor [<] [>] buttons to switch parameters.

Parameter Value Explanation

START 0–8388607

END 0– -8388607

MEASURE 1–8

ZOOM 1x–65536x Zooms the waveform in or out.

SCALE 1/8, 1/16, 1/8T

LENGTH 1–16

Species the position at which the sample starts playing.

Species the position at which the sample stop playing.

Species the number of measures that the sample plays.

If STRETCH is specied as ENDPOINT, the playback speed changes to match the number of measures.

Species the step resolution on which MEASURE is based.

Species the number of steps on which MEASURE is based.

LOOPER Track

Parameter Value Explanation

Species how to set the tempo that is the reference for time stretch.

END POINT: The tempo (BPM) is

automatically specied according to the

STRETCH

ORG BPM 20.00–250.00

END POINT, ORG BPM

END POINT, START POINT, MEASURE, and SCALE.

ORG BPM: The tempo (BPM) is specied

manually. The upper right of the screen indicates “BPM: value.”

If BPM is 512 or higher, time stretch will not occur correctly.

If STRETCH is set to ORG BPM, this species the BPM of the sample before it was stretched.

MFX Editing

Use the [C2] knob to select the eect type, and press the [C2] knob to turn the eect on/o.

To turn the eect on, add a “(” symbol to the check box located beside the eect name.

Editing the Sample Name

The LOOPER NAME screen appears, allowing you to edit the sample name.

Use the cursor buttons to select “LOOPER NAME EDIT,” and

then press the [ENTER] button.

The LOOPER NAME screen appears.

Operating the Unit Explanation

Cursor [<] [>] buttons Selects the character to edit.

[C2] knob

[C3] knob [C4] knob,

[VALUE] knob

Press the [C2] knob Inserts a space.

Press the [C3] knob Deletes a character.

* The edited name is shown in the content browser.

Switches between uppercase, lowercase, numerals, and symbols.

Change the character.

Use the cursor buttons or the [C3] knob to select the parameter that you want to edit, and use the [C4] knob to edit the value.

“MFX/IFX Parameters” (p. 84)

Parameter Value/Explanation

Turns MFX on/o, and selects the type of MFX that is used.

MFX Type

MFX parameters

Level 0–127

Dly Send 0–127

Rev Send 0–127

To turn MFX on, add a “(” symbol to the check box located beside the eect name.

“MFX/IFX Parameters” (p. 84)

Edit the parameters of the selected MFX.

“MFX/IFX Parameters” (p. 84)

Species the MFX output volume.

Species the MFX depth when applying MFX, or species the volume of the original sound when not applying MFX.

Species the level of the signal sent to delay.

Species the level of the signal sent to reverb.

Editing a Clip’s Settings

Here’s how to specify a clip’s length and playback method.

Tone Tracks or Drum Tracks

Making sequencer settings

Hold down the [SHIFT] button and press the [MEASURE]

button.

The CLIP SEQ SETTING screen appears.

Use the [C1]–[C4] knobs to make settings.

Parameter Value Explanation

STEP LEN 1–128 Species the length of the clip.

1/8,

1/16,

SCALE

DIRECTION

SHUFFLE -50–+50

1/32,

1/4T,

1/8T,

1/16T,

FWD,

RE V,

FWD+REV,

INV,

RND

Species the step resolution.

1/8: eighth notes

1/16: sixteenth notes

1/32: thirty-second notes

1/4T: quarter note triplets

1/8T: eighth note triplets

1/16T: sixteenth note triplets

Species how the sequence plays.

FWD: Play forward from the rst step.

REV: Play backward from the last step.

FWD+REV: Play forward from the rst

step, and after reaching the last step, play backward.

INV: Play even numbers and odd numbers

inverted.

RND: Play randomly.

Adjusts the strength of shue (bounce) for the playback timing.

This can be set individually for each clip.

Parameter Value Explanation

Species the step resolution.

1/8: eighth notes

1/16: sixteenth notes

1/32: thirty-second notes

1/4T: quarter note triplets

1/8T: eighth note triplets

1/16T: sixteenth notes triplets

Species how the sequence plays.

FWD: Play forward from the rst step.

REV: Play backward from the last step.

FWD+REV: Play forward from the rst

step, and after reaching the last step, play backward.

INV: Play even numbers and odd numbers

inverted.

RND: Play randomly.

Scale

Direction

1/8,

1/16,

1/32,

1/4T,

1/8T,

1/16T,

FWD,

RE V,

FWD+REV,

INV,

RND

LOOPER

Specifying the playback m

Hold down the [SHIFT] button and press the [MEASURE]

button.

The CLIP SEQ SETTING screen appears.

Parameter Value Explanation

STEP LEN 1–128

REVERSE OFF, ON

ethod

Species the length of the clip.

* The same setting can also be made in the CLIP

settings screen ([SHIFT] + [CLIP]).

Species the sample playback method.

* The same setting can also be made in the CLIP

settings screen ([SHIFT] + [CLIP]).

Editing the settings of a

Hold down the [SHIFT] button and press the [CLIP] button.

clip

The clip setting screen appears.

Use the cursor [ ] [ ] buttons to select a parameter, and use

the [C4] knob to edit the value.

Parameter Value Explanation

Adjusts the strength of shue (bounce) for

Shue -50–+50

Transpose -12–+12

Bend Mute OFF, MUTE Disables bend (Tone only).

Step Length 1–128 Species the length of the clip.

the playback timing.

This can be set individually for each clip.

Shifts the playback transposition (Tone only).

Editing the settings of a

Hold down the [SHIFT] button and press the [CLIP] button.

clip

The LOOPER CLIP SETTING screen appears.

Use the cursor [ ] [ ] buttons to select a parameter, and use

the [C4] knob to edit the value.

Parameter Value Explanation

Species the length of the clip.

Step Length 1–128

Reverse OFF, ON

* The same setting can also be made in

the MEASURE setting screen ([SHIFT] + [MEASURE]).

Species the sample playback method.

* The same setting can also be made in

the MEASURE setting screen ([SHIFT] + [MEASURE]).

Assigning Parameters to the Knobs

(KNOB ASSIGN)

You can assign the desired parameters to each track’s [FILTER], [MOD], and [FX] knobs, and use the knobs to control those parameters.

Operating the Unit

Press the [KNOB ASSIGN] button.

The KNOB ASSIGN screen appears.

Here you can make knob assignments for the current track.

Use the [C1]–[C3] knobs to make the settings.

Knob Explanation

C1 Species the [FILTER] knob assignment.

C2 Species the [MOD] knob assignment.

C3 Species the [FX] knob assignment.

Parameter list

Parameter Explanation

Delay Send Species the send level of the total eect to the delay.

Reverb Send Species the send level of the total eect to the reverb.

Pitch Bend (Tone only) Uses the FILTER, MOD, or FX knob as pitch bender.

Pitch Chrom

(Looper only)

Pitch Fine

Pitch Shift

(Looper only)

Reverse

(Looper only)

SYS-Ctrl1–4

Species the pitch in semitone steps (maximum ±2 octaves).

(Looper only) Finely adjusts the pitch.

Smoothly modies the pitch in a wide range.

OFF: The sample plays forward.

ON: The sample plays backward.

Connects to a parameter specied by MATRIX CONTROL in SOUND EDIT.

For details, refer to “MATRIX” (p. 42).

Returning Parameter Values to the Default Value

Hold down the [CLEAR] button and press a [C1]–[C3] knob.

The assigned parameter value returns to its default value.

Parameter Explanation

No Assign No assignment.

Level Adjusts volume.

Pan Adjusts pan.

Coarse Tune

(Tone, Drum only)

Fine Tune

(Tone, Drum only)

Portament

Porta Time

(Tone, Drum only)

Cuto

Resonance

(Tone, Drum only)

Attack

(Tone, Drum only)

Decay

(Tone, Drum only)

Release

(Tone, Drum only)

Vib Rate

(Tone only)

Vib Depth

Vib Delay

Oct Shift

(Tone only) Shifts the pitch in units of one octave.

Adjusts the pitch in units of one semitone.

Finely adjusts the pitch in units of one cent.

Species whether portamento is applied. Specify “ON” to apply

(Tone only)

portamento, or “OFF” if not.

Species the time over which the pitch changes when using

(Tone only)

portamento. Larger values lengthen the time over which the pitch moves to the next note.

Adjusts the openness of the lter.

Larger values make the sound brighter, and smaller values make the sound darker.

Boosts the region of the sound near the cuto frequency, adding a distinctive character to the sound. Excessively raising this value may cause oscillation, distorting the sound.

Larger values produce a stronger character, and smaller values weaken the character.

Species the time from when the key is pressed until the sound reaches the maximum.

Larger values make the attack more gradual, and smaller values make the attack sharper.

Species the time from when the attack is completed until the volume decays.

Larger values lengthen the time over which the volume decays, and smaller values shorten the time.

Species the time from when the key is released until the sound becomes inaudible.

Larger values produce a longer decay, and smaller values make the sound crisper.

Adjusts the vibrato rate (the speed at which pitch is modulated).

Larger values modulate the pitch more rapidly, and smaller values modulate it more slowly.

Adjusts the vibrato depth (the depth at which pitch is modulated).

(Tone only)

Larger values modulate the pitch more widely, and smaller values modulate the pitch less widely.

Adjusts the time until vibrato (pitch modulation) starts to be applied.

(Tone only)

Larger values lengthen the time until vibrato starts to be applied, and smaller values shorten the time.

Tempo Settings

Master Clock

Clip switching and play/stop occurs at intervals of the master clock.

This means that the performances of each track can be synchronized regardless of the timing of operation.

The status of the master clock is shown by the circle displayed in the upper right of the screen. When the master clock indication points to 12 o’clock (straight up), the clip is switched or the play/stop operation is executed.

The cycle of the master clock is specied by “SCALE” and “STEP

LENGTH.”

Master Clock Settings

Hold down the [SHIFT] button and press the [TEMPO]

button.

Parameter Value Explanation

TEMPO 40.00–300.00

1/8,

1/16,

SCALE

STEP LEN 2–128 Species the cycle.

1/32,

1/4T,

1/8T,

1/16T,

This is the tempo of the entire project.

In this page, you can also use the VALUE dial to change the tempo.

Species the resolution.

1/8: eighth notes

1/16: sixteenth notes

1/32: thirty-second notes

1/4T: quarter note triplets

1/8T: eighth note triplets

1/16T: sixteenth note triplets

Tap Tempo

Holding down the [SHIFT] button and pressing the [ENTER] button three or more times.

The tempo is specied as average timing at which you press the button.

Input and Output Settings

Input and Recording Settings

(INPUT/REC)

Here’s how to make external input settings, and settings for looper recording.

Hold down the [SHIFT] button and press the [INPUT] button.

The INPUT/OUTPUT/REC SETTING screen appears.

Parameter Value Explanation

MIC SENSE 0–7

EXT IN MONO, STEREO

EX T,

REC SRC

REC MEAS 1–8

PC,

TRK1–8,

MIXOUT

Species the MIC IN gain.

* This is valid when the rear panel input switch

is set to MIC IN.

Switches the EXT IN input between mono or stereo.

Species the recording source for the Looper.

EXT: Record from the EXT IN jacks.

PC: Record from the PC IN port of USB

audio.

TRK 1–8: Record from a track.

MIXOUT: Record the audio output of the

entire MC-707.

* If the USB Mix Select setting is POST T-FX, the

audio input from the USB MIX OUT port is not recorded.

Species the clip length (number of measures) that will be recorded.

Using an External Eect

(SEND/RETURN Jacks)

This allows you to connect an external eects device to the SEND/ RETURN jacks and use it as part of the MC-707’s eects.

Connect your eect unit to the SEND/RETURN jacks.

External Eect

Hold down the [SHIFT] button and press the [INPUT] button.

The input/output settings are displayed.

Use the cursor buttons to select the SEND/RETURN tabs,

and make settings.

Parameter Value Explanation

SEND tab

OFF,

PC,

POS

LEVEL 0–255 Species the SEND output level.

SEND

RETURN tab

POS

LEVEL 0–255 Species the RETURN input level.

RETURN

TRACK1–8,

DELAY,

REVERB,

SCATTER,

MIXOUT

MONO,

STEREO

OFF,

PC,

TRACK1–8,

DELAY,

REVERB,

SCATTER,

MIXOUT

MONO,

STEREO

Species the position at which SEND/ RETURN is used.

Switches the SEND output between mono and stereo.

Species the position at which SEND/ RETURN is used.

This is the same setting as in the SEND tab.

Switches the RETURN input between mono and stereo.

Individually Outputting Each Track

(ASSIGNABE OUT)

A specied track can be output from the ASSIGNABLE OUT jacks.

The ASSIGNABLE OUT setting is made in the track settings.

Hold down the [SHIFT] button and press the [SEL] button.

For details, refer to “Making Track Settings” (p. 20).

UTILITY

System Settings

(SET)

In MENU, choose SET and make settings to specify the operation of the pads, MIDI, and knobs.

These settings are saved in the MC-707 unit.

Hold down the [SHIFT] button and press the [KNOB ASSIGN]

button.

The UTILITY MENU screen appears.

Use the cursor [<] [>] buttons to select “ S ET,” and then press

the [ENTER] button.

The SYSTEM SETTING screen appears.

Use the cursor buttons to select the tabs, and make settings.

CTRL tab

Here you can make settings for the pads and knobs.

Parameter Value Explanation

DIRECT: When a knob is moved, control

Knob Mode

Pad Curve Type

Pad Threshold 0–15

Pad Trigger Sensitivity

USB Mix Select

DIRECT,

CAT CH

LINER,

EXP,

LOG,

FIX10-127

10–200

Pre T-FX,

Post T-FX

data of the corresponding position is always output.

CATCH: Control data is output after the

knob passes through the current value of the parameter.

Species how the volume changes in response to the force of your strike on the pad.

LINER: This is the normal setting. This

allows the most natural-feeling relation between strike strength and volume change.

EXP: Compared to LINEAR, this produces

greater volume change for stronger strikes.

LOG: Compared to LINEAR, this produces

greater volume change for softer strikes.

FIX10-127: Enters a specied xed value.

Species the pad’s minimum sensitivity so that a trigger signal is read only if the pad is struck more strongly than a specied level. This can be used to prevent the pads from picking up vibration from the environment.

Adjusts the sensitivity of the pads to repeated strikes.

With lower values, the pads will accept repeated strikes at a shorter time interval. Increase this value if you don’t want repeated strikes to be accepted inadvertently.

Species whether sound that is input via the USB-connected MIX OUT port is input before or after TOTAL FX.

“Block Diagram” (p. 121)

Parameter Value Explanation

LAST: At startup, the project that was last

saved will be loaded.

INIT: At startup, a project will not be

loaded. A new project will be created.

Load Project

LAST,

INIT

MIDI tab

Parameter Value Explanation

Species the tempo source.

AUTO,

MIDI Sync

MIDI Sync Out1

MIDI Sync Out2

MIDI Sync Out USB

RX Start Stop

RX Start Stop USB

Track Channel 1-8 CH1–CH16 Species the MIDI channel of each track.

Device ID 17–32

Soft Through 1

Soft Through 2

USB-MIDI Thru 1

USB-MIDI Thru 2

INT,

MIDI,

USB

OFF,

If this is “AUTO,” the tempo automatically synchronizes to MIDI clock if MIDI clock is being input via the MIDI IN connector or the USB port.

If this is “INT,” the tempo specied on the MC-707 is used.

Species whether clock, start, and stop messages are transmitted (ON) or are not transmitted (OFF) to the devices connected to the corresponding MIDI port.

Species whether clock, start, and stop messages are transmitted (ON) or are not transmitted (OFF) to the USB-connected device.

When synchronized to external MIDI clock, this setting species whether the step sequencer’s start/stop is controlled from the device connected to the corresponding MIDI port (ON) or is not controlled (OFF).

When synchronized to external MIDI clock, this setting species whether step sequencer’s start/stop is controlled from the USB-connected device (ON) or is not controlled (OFF).

When transmitting and receiving system exclusive messages, the device ID numbers of both devices must match.

If this is ON, MIDI messages that are input from the MIDI IN connector are retransmitted without change from the MIDI OUT connector.

Species whether MIDI messages received at the USB port or MIDI IN port are retransmitted without change from the MIDI OUT connector and USB port (ON) or not (OFF).

If this is ON, MIDI messages received at the USB port are sent to the internal sound engine and to the MIDI OUT connector, and MIDI messages received at the MIDI IN connector are sent together with messages from the internal sound engine to the USB port.

DISPLAY tab

Parameter Value Explanation

LCD Contrast 1–10 Adjusts the contrast of the display screen.

LCD Backlight 1–10

LED Brightness 1–10

LED Glow 1–10

DEMO Mode OFF, 1min–10min

Adjusts the brightness of the display backlight.

Species the brightness of the fader and button LEDs.

Adjusts the brightness when a button LED is dimly lit.

Species the time (minutes) until the LED demo is shown.

Initializing a New SD Card

Hold down the [SHIFT] button and press the [KNOB ASSIGN]

button.

The UTILITY MENU screen appears.

Use the cursor [<] [>] buttons to select “FORMAT,” and then

press the [ENTER] button.

A conrmation message appears.

(FORMAT)

UTILITY

Use the cursor [<] [>] buttons to select "OK," and then press

the [ENTER] button.

The system settings return to their factory-set state.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

As directed in the screen, turn the power o and then on

again.

Optimizing the Internal Memory

(LOOPER OPTIMIZE)

As samples are loaded into the looper and then deleted, the free space in memory can become fragmented, so that the available space cannot be used eciently.

By using Looper Optimize, you can optimize the internal memory usage and increase the storage that is available for recording.

Hold down the [SHIFT] button and press the [KNOB ASSIGN]

button.

The UTILITY MENU screen appears.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

The SD card is initialized.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

Returning to the Factory Settings

(FACTORY RESET)

This returns the system settings to their factory-set state.

NOTE

If necessary, be sure to save the project before you execute FACTORY RESET.

Hold down the [SHIFT] button and press the [KNOB ASSIGN]

button.

The UTILITY MENU screen appears.

Use the cursor [<] [>] buttons to select “FACTORY RESET,”

and then press the [ENTER] button.

A conrmation message appears.

Use the cursor [<] [>] buttons to select “LOOPER OPTIMIZE,”

and then press the [ENTER] button.

A conrmation message appears.

Usage: The amount of occupied storage space.

Fragment: The proportion that is fragmented. Higher values mean

that memory usage is less ecient, so that you can expect an improvement in recordable time by executing Looper Optimize.

* Optimization is also performed when a project is loaded.

Use the cursor [<] [>] buttons to select “O K,” and then press

the [ENTER] button.

Memory optimization is executed.

If you decide to cancel, use the cursor [<] [>] buttons to select

“CANCEL,” and then press the [ENTER] button.

UTILITY

Using a Connected Computer to Manage the SD Card

By USB-connecting the MC-707 in Storage mode to your computer, you can use the computer to manage the contents of the SD card in the MC-707.

* Other operations cannot be performed while in Storage mode.

Make sure that the USB cable is not inserted in the MC-707.

Hold down the [SHIFT] button and press the [KNOB ASSIGN]

button.

The UTILITY MENU screen appears.

Use the cursor [<] [>] buttons to select “STORAGE MODE,”

and then press the [ENTER] button.

The MC-707 is now in Storage mode.

Insert the USB cable, and connect it to your computer.

Before disconnecting, use your computer to perform the

appropriate operation for safely removing the external device.

List of Shortcut Keys

Switching Screens and Modes

Operation Operation

To access the quantize edit screen

To access the sound edit screen Press the [SOUND] button.

To access the UTILITY screen Press the [KNOB ASSIGN] button.

To access the master clock setting screen Press the [TEMPO] button.

To access the input/output and recording settings screen

To access the project save screen Press the [FUNC] button.

To access the MOTION ERASE screen Press the MOTION [ON] button.

To switch to LAST STEP mode Press the MOTION [REC] button.

To recall SCENE 5 Press the SCENE [1] button.

To recall SCENE 6 Press the SCENE [2] button.

To recall SCENE 7 Press the SCENE [3] button.

To recall SCENE 8 Press the SCENE [4] button.

To edit PAD MODE “CLIP” Press the PAD MODE [CLIP] button.

To edit PAD MODE “NOTE” Press the PAD MODE [NOTE] button.

To edit PAD MODE “CHORD” Press the PAD MODE [CHORD] button.

To edit PAD MODE “SCATTER” Press the PAD MODE [SCATTER] button.

To edit the total eect Reverb Press the [REVERB] button.

To edit the total eect Delay Press the [DELAY] button.

To edit the total eect Multi-Eect Press the [MULTI] button. Select the MFX tab.

To edit the total eect Comp/EQ Press the [MULTI] button. Select the COMP tab or EQ tab.

To access the clip setting screen In the home screen, select the clip for which

To access the clip sequence setting screen Press the MEASURE [<] or [>] button.

Hold down the [SHIFT] button and

you want to make settings, then hold down the [SHIFT] button and

Press the [QUANTIZE] button.

Press the [INPUT] button.

Press the [CLIP] button (below the [C2] knob).

Adjusting the Mix Sound

Operation Operation

To adjust the volume of the sound

To adjust the pan of the sound Turn the [C2] knob.

To adjust the delay send of the sound Turn the [C3] knob.

To adjust the reverb send of the sound Turn the [C4] knob.

Hold down the [SEL] button of the corresponding track and

Turn the [C1] knob.

MOTION

Operation Operation

To delete a knob’s motion Hold down the MOTION [ON] button and

To punch-in motion Hold down the MOTION [REC] button and

Operate the [FILTER] [MOD] [FX] knob of the corresponding track.

Phrase Editing

Operation Operation

To step-record

To input Motion in a step

To mute the drum part

To enter weak drum beats Hold down the pad, and press the [STEP] button.

To clear the phrase from a clip

To clear the phrase from a drum part Press a pad.

To duplicate a phrase

(Tone track only)

When in Note mode,

(for each clip) Hold down the PAD MODE [MUTE] button, and press a pad.

Hold down the [CLEAR] button, and

When the CLIP SEQ SETTING screen (p. 50) displayed,

Hold down the [REC] button and press the [STEP] button.

Hold down the [STEP] button, and operate the [FILTER] [MOD] [FX] knobs of the corresponding track.

Press the [SEL] button of the corresponding track.

Hold down the [FUNC] button and press the MEASURE [>] button.

List of Shortcut Keys

Performance

Operation Operation

To audition a track in your headphones

To mute a track Hold down the PAD MODE [MUTE] button and Press the [SEL] button of the corresponding track.

To mute a drum part

To switch parts without sounding the drums Hold down the PAD MODE [NOTE] button and

To start/stop each track Hold down the PAD MODE [CLIP] button and Press the [SEL] button of the corresponding track.

To forcibly return to the beginning of the pattern during pattern playback

To silence sound that continues after stopping While stopped

(for each track)

(CUE) When in MUTE mode

Hold down the [SEL] button of the corresponding track, and

During playback

Hold down the PAD MODE [MUTE] button and press a pad.

* The PAD MODE changes to CUE mode.

Press a pad.

Hold down the [SHIFT] button and press the [START/STOP] button.

Controller Values and Parameter Editing

Operation Operation

To specify the parameter operated by the total eect knobs

To view the value of a knob

To change the parameter value more greatly Turn the [C1] [C2] [C3] [C4] knob or the [VALUE] knob.

To adjust the pad velocity curve Hold down the PAD MODE [NOTE] button and Turn the [VALUE] knob.

To specify tap tempo Hold down the [SHIFT] knob and Press the [ENTER] button three or more times.

To clear the Scatter pad parameters

To clear the Scatter Step parameter Press the [STEP] button.

To jump between eect type categories When the MFX EDIT screen is displayed Hold down the [SHIFT] button and turn the [C2] knob.

To move to the same parameter for each band (low, mid, high) of the TOTAL COMP

Hold down the [REVERB], [DELAY], or [MULTI] button that you want to assign, and

Hold down the [SHIFT] button and

When in Scatter mode

Hold down the [CLEAR] button and

While the TOTAL COMP EDIT screen is displayed Hold down the [SHIFT ] button and use the cursor [

Turn the [FX PRM] or [FX DEPTH] knob.

Move the knob.

Press a pad.

] [ ] buttons.

Error Message List

Display Explanation Action/Explanation

Now Playing! This operation cannot be executed because playback is occurring. Stop playback, and then execute.

CLIP NOT EXIST!

EMPTY CLIP The clip that is the target of the operation does not exist.

EMPTY TRACK

CLIP NOT EMPTY

For new loop, delete the existing clip!

TRACK NOT EMPTY The track paste-destination is not empty. Either select an empty track, or delete the applicable track before executing.

WRONG TRACK TYPE

PLEASE SELECT TRACK

PLEASE SELECT LINE

PLEASE SELECT CLIP

ALREADY USED!

File Write Error! Failed to save the project le.

Can’t Write

This le name is locked.

Abort. **** is locked le. The le could not be deleted because it is locked.

Now Playing. Please Stop the Sequencer.

Abort! File can’t open The wave le could not be opened. The le or SD card that you attempted to load might be damaged.

Abort! File format error The sample le format is not supported by the MC-707.

Abort! File read error The le could not be read for some reason.

Abort! Memory full

Abort! Not enough contiguous memory

Abort! Exceed the Max samples count

Abort! Too short samples The le could not be imported because the sample is too short.

Abort! Too long samples The le could not be imported because the sample is too long.

Format SD CARD Error! Failed to format the SD card.

NO SD CARD

SD CARD PROTECTED The SD card is set to a write-protect state.

TOO MANY LOOPER TRACKS!

WAVE1 SAMPLE OFF

WAVE1 NOT USER SAMPLE

Memory Full!

The clip that is the target of the operation does not exist.

This appears if an empty clip is selected as the target of a copy or edit operation.

The track that is the target of the operation does not exist.

This appears if an empty track is selected as the target of a copy or edit operation.

The clip slot that is the target of the operation is already in use.

It is possible to simultaneously select the same clip number of all tracks (p.

14) and perform copy and paste, but the paste-destination clip slots must all be empty.

When loading a looper clip, this message appears if you attempt to overwrite an existing clip.

Looper clips cannot be imported by overwriting an existing clip.

The copy-source and copy-destination track types are dierent.

You can’t copy clips between tracks of dierent types.

A track is selected for copying, but a track is not selected as the pastedestination.

The clip line is selected for copying, but a clip line is not selected as the paste-destination.

A clip is selected for copying, but a clip is not selected as the pastedestination.

The specied track type is already used.

This appears if a drum track with compressors is already in use, and you attempt to create a new drum track with compressors.

Writing is not possible because the le is locked.

This operation cannot be executed because playback is in progress. Stop playback and then execute the operation.

The le could not be imported because there is insucient internal memory in the MC-707.

Unable to allocate enough contiguous memory for importing.

Import was not possible because it would exceed the maximum number of user samples.

The SD card is not inserted.

Alternatively, it is incompletely inserted.

The operation could not be executed because the maximum number of looper tracks that can be created has been reached.

The sample cannot be edited because a user sample is not assigned to WAVE1 of the instrument being edited.

The sample cannot be edited because a user sample is not specied for WAVE1 of the instrument being edited.

The operation could not be executed because there is insucient looper memory.

Make sure that the target clip is correctly selected.

Make sure that the target track is correctly selected.

Either select an empty clip slot, or delete clips before executing.

Copy the clip to a track type that is the same as the copy-source.

Select a track and then paste.

Select a clip line and then paste.

Select a clip and then paste.

Either delete the existing drum track with compressors, or use a conventional drum track.

For some reason, the le could not be saved.

You might be able to solve this problem by formatting the SD card.

Before formatting the SD card, make a backup by saving any important les to your computer.

You can’t save using the same name as a locked project.

As described in “Managing Projects” (p. 17), unlock the le and then overwrite it, or save the le with a dierent name.

A locked project cannot be deleted.

If you want to delete the project, unlock it.

The MC-707 supports 32–96 kHz, 16-bit and 24-bit (mono/stereo) Wav format les.

Use your computer to convert the le format, and try the operation again.

If the Wav le format you are attempting to read is not common, there might be cases when the le cannot be read.

Use the Sample Bank browser (p. 19) to delete unneeded user samples.

It might be that the internal memory has been fragmented. Execute “Optimizing the Internal Memory (LOOPER OPTIMIZE)” (p. 55).

If the same error occurs even after optimizing, delete unneeded looper clips from the project.

The MC-707 can handle a maximum of 500 user samples.

Use the Sample Bank browser (p. 19) to delete unneeded user samples.

The length of samples that can be handled by a looper clip is from one second to 60 seconds.

Use your computer to edit the Wav le to this length, and execute the operation again.

* Depending on the tempo setting, there are cases in which an even shorter or

longer sample can be handled.

Turn o the power, rmly insert the SD card, and then turn the power on again.

Remove the SD card, and change the position of the lock switch on its left side.

Delete unneeded looper tracks, and execute the operation again.

Make sure that a sample is assigned to the instrument that you’re editing, and execute the operation again.

Delete unneeded looper clips, and execute the operation again.

Interoperation with Other Devices

Synchronizing with a DAW

The MC-707 can transmit and receive MIDI clock (F8) to synchronize its tempo.

USB MIDI IN

USB MIDI OUT

MC-707Computer

Synchronizing with a TR-8S

The MC-707 can synchronize with a TR-8s by connecting the units via a commercially available MIDI cable.

MIDI OUT MIDI IN

MC-707

TR-8S

OFF

High note range

Pitch dierence from

equal temperament

Parameter

value

Low note range

D4 C4

press D4 key

Pitch

Time

press C4 key

press C5 key

D4 C4

press D4 key

Pitch

Time

press C4 key

press C5 key

Parameter List

ZEN-Core Tone Parameter

(Z-Core)

SOUND

Parameter Value Explanation

Level 0–127 Adjusts the overall volume of the tone

Pan L64–0–63R

Soft Level Sens 0–100

This determines how notes will be managed when the maximum polyphony is exceeded.

LAST

Priority

LOUDEST

Analog Feel 0–127

Species whether the tone will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is eective when

Mono/Poly

playing a solo instrument tone such as sax or ute.

MONO Only the last-played note will sound.

POLY

Coarse Tune -48–+48 [semitone]

Fine Tune -50–+50 [cent]

Octave Shift -3–+3

Stretch Tune Depth OFF, 1–3

Species the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

Species the amount of volume change that occurs when you operate the soft pedal (CC#67).

This is eective when specied for piano sounds.

The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowestvolume voice.

Applies time-varying change to the pitch and volume of the tone that is producing sound, adding a sense of variability. As you increase this value toward the maximum, the variability becomes greater, producing instability.

Two or more notes can be played simultaneously.

Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50 cents).

Adjusts the pitch of the tone’s sound up or down in units of an octave (+/-3 octaves).

This setting allows you to apply “stretched tuning” to the tone (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.). With a setting of “OFF,” the tone’s tuning will be equal temperament. A setting of “3” will produce the greatest dierence in the pitch of the low and high ranges.

The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle eect on the way in which chords resonate.

Parameter Value Explanation

When LegatoSwitch is enabled and you play legato, this species whether retriggering occurs (0–12) or does not occur (OFF).

If this is o, only the pitch of the currentlysounding tones changes according to the pitch of the key.

If this is set to 1–12, retriggering occurs smoothly when the pitch dierence during legato performance exceeds the specied value.

For example, if this is set to 4, and using C4 Legato Retrigger Interval

0–12, OFF

as the reference pitch, playing notes Db4–

E4 legato will change only the pitch without

retriggering, but playing the F4 note (which

is ve semitones away from C4) legato will

retrigger F4.

When F4 is retriggered at this time, F4 now

becomes the reference pitch.

If this is set to 0, each note is retriggered

every time regardless of the pitch dierence.

For acoustic-type sounds in particular, an

unnatural impression can occur if only the

pitch is changed, so you’ll need to adjust the

Legato Retrigger Interval.

Species whether the portamento eect will

be applied (ON) or not (OFF).

* Portamento is an eect which smoothly changes

Portamento Switch OFF, ON

the pitch from the rst-played key to the nextplayed key. By applying portamento when the Mono/Poly parameter is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Species the performance conditions for which portamento will be applied.

NORMAL Portamento will always be applied.

Portamento Mode

LEGATO

Applies portamento only when you play

legato (i.e., when you press the next key

before releasing the previous key).

Species the type of portamento eect.

Portamento Type

RAT E

The time it takes will depend on the distance

between the two pitches.

TIME The time it takes will be constant

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

Starts a new portamento when another key is

pressed while the pitch is changing.

Pitch

Portamento Start

Portamento will begin from the pitch where

the current change would end.

Legato Switch OFF, ON

NOTE

This is eective when Mono/Poly is set to MONO and Legato Switch is turned ON. When you press the next key while still holding down the previous key (legato performance), the pitch changes smoothly. The way in which the change occurs depends on the Legato Retrigger Interval.

Portamento Time 0–1023

Species the time taken for the pitch to

change when playing portamento. Higher

settings will cause the pitch change to the

next note to take more time.

Parameter List

Parameter Value Explanation

Species in semitones the amount of change that occurs when you press the far right end

Bend Range Up

Bend Range Down

Bend Mode

Bend Range Fine Up 0–100 [cent]

Bend Range Fine Down

0–48 [semitone]

NORMAL

CATCH+LAST

0–100 [cent]

of the ribbon controller.

For example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position.

Species in semitone units the amount of change that occurs when you press the far left end of the ribbon controller.

For example if this is set to “48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

The pitch bend lever works in the conventional way.

The ribbon controller aects only the lastsounded note.

If you play a note while the ribbon controller is already moved, that note sounds at its normal pitch (as though the controller were in the center).

The pitch starts changing only after the controller passes through the center position.

Finely adjusts the degree of pitch change in one-cent units when the Pitch Bend lever is moved to the right.

Finely adjusts the degree of pitch change in one-cent units when the Pitch Bend lever is moved to the left.

STRUCTURE

Structure lets you sound two partials as a set.

You can create a wide range of sounds by using partial 2 or 4 (the modulator) to modulate partial 1 or 3 (the carrier).

Since the Structure uses two partials as a pair, it provides parameters that are used in common by the carrier and modulator.

For the following parameters, only the partial settings of the carrier are valid (the settings of the modulator are ignored).

KEYBOARD

Keyboard Range Lower

Keyboard Range Upper

Keyboard Fade Width Lower

Keyboard Fade Width Upper

Velocity Range Lower

Velocity Range Upper

Velocity Fade Width Lower

Velocity Fade Width Upper

SWITCH

Partial Switch

OSC

Delay Mode (note)

Delay Mode

Delay Time Sync

Delay Time (note)

Delay Time

CONTROL

Envelope Mode

Receive Hold-1

Redamper Switch

Damper Free Note

MATRIX CONTROL

Destination: PMT

Destination: CROSS-MOD

Parameter Value Explanation

The sound of partial 1 is modulated by partial 2.

OFF OFF

Implements the oscillator sync function that

SYNC

Structure1-2

Structure3-4

RING1-2 Level 0–127 RING level when Structure1-2 is RING.

RING3-4 Level 0–127 RING level when Structure3-4 is RING.

RING OSC1 Level 0–127

RING OSC2 Level 0–127

RING OSC3 Level 0–127

RING OSC4 Level 0–127

XMOD 1-2 Depth 0–9600 [cent]

XMOD 3-4 Depth 0–9600 [cent]

XMOD2 1-2 Depth

XMOD2 3-4 Depth

CrossMod OSC1 Level

CrossMod OSC2 Level

CrossMod OSC3 Level

CrossMod OSC4 Level

RING

XMOD, XMOD2

The output sound of partial 3 is modulated by partial 4.

OFF OFF

SYNC

RING

XMOD, XMOD2

0–127

is provided by an analog synthesizer.

The partial 1 oscillator is reset at intervals of

partial 2’s pitch cycle. This is eective only if

OSC Type is VirtualAnalog or PCM-Sync.

Implements the ring modulator function that

is provided by an analog synthesizer.

The output sound of partial 2 is multiplied

with partial 1.

Implements the cross modulation function

that is provided by an analog synthesizer.

The output sound of partial 2 is applied as

the pitch of partial 1.

XMOD2 is available only when Partial 1 and 3

are OSC Type “VA.”

Implements the oscillator sync function that

is provided by an analog synthesizer.

The partial 3 oscillator is reset at intervals of

partial 4’s pitch cycle. This is eective only if

OSC Type is VirtualAnalog or PCM-Sync.

Implements the ring modulator function that

is provided by an analog synthesizer.

The output sound of partial 4 is multiplied

with partial 3.

Implements the cross modulation function

that is provided by an analog synthesizer.

The output sound of partial 4 is applied as

the pitch of partial 3.

XMOD2 is available only when Partial 1 and 3

are OSC Type “VA.”

Eective when Structure1-2 is RING. Sets the

partial 1 OSC level.

Eective when Structure1-2 is RING. Sets the

partial 2 OSC level.

Eective when Structure3-4 is RING. Sets the

partial 3 OSC level.

Eective when Structure3-4 is RING. Sets the

partial 4 OSC level.

Cross Modulation Depth when Structure1-2 is

XMOD.

Cross Modulation Depth when Structure3-4 is

XMOD.

Cross Modulation Depth when Structure1-2 is

XMOD2.

Cross Modulation Depth when Structure3-4 is

XMOD2.

Eective when Structure1-2 is XMOD/

XMOD2. Sets the partial 1 OSC level.

Eective when Structure1-2 is XMOD/

XMOD2. Sets the partial 2 OSC level.

Eective when Structure3-4 is XMOD/

XMOD2. Sets the partial 3 OSC level.

Eective when Structure3-4 is XMOD/

XMOD2. Sets the partial 4 OSC level.

OSC MOD COM

Parameter Value Explanation

Partial Phase Lock OFF, ON

This is available if OSC Type is “VA”; it locks

the waveform phase between partials. It is

eective to use this with XMOD2.

Parameter List

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Pitch

OFF

SYNC

RING

XMOD

UNISON

Parameter Value Explanation

This layers a single sound.

If the Unison Switch is on, the number

of notes layered on one key will change

according to the number of keys you play.

Unison Switch OFF, ON

Unizon Size 2–8

Unison Detune 0–100

5If the OSC Type is PCM, this is limited to

mono playing.

5If the Legato Switch is on, the Delay Time

is ignored while playing legato.

5Even if Legato Retrigger Interval is

specied, it operates as OFF.

If unison is on, this species the number of

notes that are assigned to each key that is

pressed. Increasing the Unison Size increases

the polyphony, making it more likely that

notes will be cut o.

Detunes each of the notes that are allocated

by the Unison Size number, producing a

detuned eect.

As you increase this value, each note is

detuned more greatly, producing a thicker

sound.

PTL CTRL

Parameter Value Explanation

Species how partials are played according to

your keyboard playing dynamics (velocity)

If this is “ON,” dierent partials are sounded

according to the playing velocity and the

Velocity Range Lower/Upper and Velocity

Fade Lower/Upper settings

Velocity Control

PMT Level Curve

Partial Switch OFF, ON Use these buttons to turn the partials on/o.

OFF, ON, RANDOM, CYCLE

EXP

LINEAR

5If this is “RANDOM”or “CYCLE,” each partial

is sounded randomly or cyclically.

5In the case of “RANDOM” or “CYCLE” when

Structure 1-2 (3-4) has a setting other than OFF, partials 1 and 2 (3 and 4) are sounded as a pair, either randomly or in alternation.

5In the case of “RANDOM” or “CYCLE,”

velocity has no eect, but you’ll need to make settings for each partial so that the Velocity Range does not conict.

When using Velocity Control to switch

between partials, the crossfade level changes

in a non-linear curve.

When using Velocity Control to switch

between partials, the crossfade level changes

in a linear curve.

XMOD2

PTL RANGE

Parameter Value Explanation

Key Range Low C-–G9

Key Range Up C-–G9

Key Range Fade Low 0–127

Specify the key range for each partial.

Make these settings when you want dierent

key ranges to play dierent tones.

Specify the lower limit (Lower) and upper

limit (Upper) of the key range.

Species the degree to which the partial

is sounded by notes played below the Key

Range Low. Specify “0” if you don’t want such

notes to be sounded.

Parameter List

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Velocity

Parameter Value Explanation

Key Range Fade Up 0–127

Parameter Value Explanation

Velocity Range Low 1–127

Velocity Range Up 1–127

Velocity Fade Low 0–127

Velocity Fade Up 0–127

TUNING

Parameter Value Explanation

CUSTOM

EQUAL

JUST-MAJ

JUST-MIN

Type

(Scale Tune Type)

Key

(Scale Tune Key) C–B Sets the keynote.

C–B -64–+63

PYTHAGORE

KIRNBERGE

MEANTONE

WERCKMEIS

ARABIC

Species the degree to which the partial is sounded by notes played above the Key Range Up. Specify “0” if you don’t want such notes to be sounded.

Specify the lower limit (Lower) and upper limit (Upper) of the velocities that will sound the partial.

Make these settings when you want dierent partials to sound depending on keyboard playing dynamics.

Species the degree to which the partial is sounded by notes played more softly than Velocity Range Low. Specify “0” if you don’t want such notes to be sounded.

Species the degree to which the partial is sounded by notes played more strongly than Velocity Range Up. Specify “0” if you don’t want such notes to be sounded.

Custom:

This lets you create a custom scale.

Equal Temperament:

This tuning divides an octave into 12 equal parts. Every interval produces about the same amount of slight dissonance.

Just (Major):

This scale eliminates dissonance in fths and thirds. It is unsuited to playing melodies and cannot be transposed, but is capable of beautiful sonorities.

Just (Minor):

The scales of the major and minor just intonations are dierent. You can get the same eect with the minor scale as with the major scale.

Pythagorean:

This scale, devised by the philosopher Pythagoras, eliminates dissonance in fourths and fths. Dissonance is produced in thirds, but melodies are euphonious.

Kirnberger:

This scale is a modication of the meantone and just intonations that permits greater freedom in transposition to other keys. Performances are possible in all keys (III).

Meantone:

This scale makes some compromises in just intonation, enabling transposition to other keys.

Werckmeister:

This is a combination of the meantone and Pythagorean scales. Performances are possible in all keys (rst technique, III).

Arabic Scale:

This scale is suitable for Arabic music.

Finely adjusts the pitch.

Part Parameter

Parameters with the “

(KNOB CTRL)

” showing can be assigned to the knob.

ASSIGN

Parameter Value Explanation

Level

Pan

Delay Send

(Delay Send Level)

Rev Send

(Reverb Send Level)

Coarse Tune

Fine Tune

0–127 Adjusts the volume of each part.

ASSIGN

L64–0–63R

ASSIGN

0–127 Species the send level to delay.

ASSIGN

0–127 Species the send level to reverb.

ASSIGN

-48–+48 Shifts the pitch in units of a semitone.

ASSIGN

-50–+50 Finely adjusts the pitch in units of one cent.

ASSIGN

Species the panning of each part’s sound

when using stereo output.

Choose MONO if you want the tone assigned

to the part to play monophonically; choose Mono/Poly MONO, POLY, TONE

POLY if you want to play it polyphonically.

Choose TONE if you want to use the setting

specied by the tone.

If you play monophonically, you can apply

legato. “Legato” is a per formance technique

that smoothly connects one note to the next.

This produces an eect similar to hammering-

Legato Sw

(Legato Switch) OFF, ON, TONE

on or pulling-o when playing a guitar.

Choose “ON” to apply legato, or “OFF” if you

don’t want to apply it.

Choose “TONE” if you want to use the setting

specied by the tone.

Species the amount of pitch change in

semitone units (maximum two octaves) that

Bend Range 0–24, TONE

occurs when you move a controller when

pitch bend is assigned to that controller.

Choose TONE if you want to use the setting

specied by the tone.

Species whether portamento is applied.

Porta Sw

(Portamento Switch)

ASSIGN

OFF, ON, TONE

Select ON to apply portamento, or OFF if you

don’t want to apply portamento.

Choose TONE if you want to use the setting

specied by the tone.

When portamento is used, this species the

time over which the pitch will change. Higher

Porta Time

(Portamento Time)

ASSIGN

0–127, TONE

settings will cause the pitch change to the

next note to take more time.

Choose TONE if you want to use the setting

specied by the tone.

Adjusts how far the lter is open.

Cuto

(Cuto Oset)

ASSIGN

-64–+63

Increasing this value makes the sound

brighter, and decreasing it makes the sound

darker.

Emphasizes the portion of the sound in

the region of the cuto frequency, adding

character to the sound. Excessively high

Resonance

(Resonance Oset)

ASSIGN

-64–+63

settings can produce oscillation, causing the

sound to distort.

Increasing this value strengthens the

character, and decreasing it weakens the

character.

Adjusts the time over which the sound

reaches its maximum volume after you press

Attack

Time Oset)

(Attack

ASSIGN

-64–+63

the key.

Larger settings of this value make the attack

gentler, and smaller settings make the attack

sharper.

Adjusts the time over which the volume

Decay

(Decay Time Oset)

ASSIGN

-64–+63

decreases from its maximum value.

Larger settings of this value make the decay

longer, and smaller settings make the decay

shorter.

Adjusts the time over which the sound

Release

(Release Time Oset)

ASSIGN

-64–+63

decays to silence after you release the key.

Larger settings of this value make the sound

linger, and smaller settings make the sound

end more sharply.

Parameter List

Parameter Value Explanation

Adjust the vibrato speed (the rate at which

Vib Rate

(Vibrato Rate)

ASSIGN

-64–+63

the pitch is modulated).The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

This adjusts the depth of the vibrato eect

Vib Depth

(Vibrato Depth)

ASSIGN

-64–+63

(the depth at which the pitch is modulated).

The pitch will be modulated more greatly for higher settings, and less with lower settings.

Adjusts the time until vibrato (pitch

Vib Delay

(Vibrato Delay)

ASSIGN

-64–+63

modulation) starts to apply.

Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

Oct Shift

(Octave Shift)

Velo Sens

(Velocity Sens Oset)

ASSIGN

-3–+3

-63–+63

Shifts the pitch of the keyboard in units of one octave.

Adjusts the velocity sensitivity.

Larger settings raise the sensitivity.

Assign Type sets the way sounds are played when the same key is pressed a number of times.

The previous note is silenced each time the same key is played repeatedly.

When the same key is played repeatedly a certain number of times, the lowest-level of the notes sounding at the same pitch is

VoiceAsgn

(Voice Assign Mode)

SINGLE

LIMIT

silenced.

Even when the same key is played repeatedly,

FULL

it is sounded within the limits of available polyphony.

Species what occurs when you operate a controller such as the pitch bend lever when pitch bend is assigned to it.

NORMAL The conventional pitch bend eect occurs.

The pitch bend eect applies only to the last-

Bend Mode

C+L

(CATCH + LAST)

played note. If a note-on occurs while pitch bend is already applied, the new note sounds at the center pitch.

The pitch starts changing only after the controller passes through the center position.

TONE The tone’s settings are used.

This layers a single sound.

Choose “ON” if you want to use unison, or

Unison Sw

(Unison Switch)

OFF, ON, TONE

“OFF” if you don’t.

Choose “TONE” if you want to use the setting specied by the tone.

Parts whose Unison Switch is On will be MONO.

Specify the values of SYS-Ctrl 1–4.

SYS-Ctrl1–4

ASSIGN

0–127

By connecting SYS-Ctrl 1–4 with tone parameters, you can use the knobs to control values other than part parameters.

INFO

Parameter Value Explanation

All, Ac.Piano, Pop Piano, EGrndPno, E.Piano1, E.Piano2, E.Organ, Pipe Org, Reed Org, Harpschd, Clav, Celesta, Accrdion, Harmnica, Bell, Mallet, Ac.Gtr, E.Gtr, Dist.Gtr, Ac.Bass,

Pitch

Parameter Value Explanation

Coarse Tune -48–+48 [semitone]

Fine Tune -50–+50 [cent]

Random Depth 0–1200 [cent]

Adjusts the pitch of the tone’s sound up or

down in semitone steps (+/-4 octaves).

Adjusts the pitch of the tone’s sound up or

down in 1-cent steps (+/-50 cents).

This species the width of random pitch

deviation that will occur each time a key

is pressed. If you do not want the pitch to

change randomly, set this to “0.”

* These values are in units of cents (1/100th of a

semitone).

Parameter List

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200

Key

Pitch

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

1 2 3 4 5 6 7

T1 T2 T3 T4

Pitch

Note on

：

Time　　L：Level

Note o

Time

Parameter Value Explanation

This species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative (-) value if you want the pitch to fall.

Pitch Keyfollow -200–+200

With a setting of “0,” all keys will produce the same pitch.

Species the amount by which the Pitch

Vibrato Pitch Sens -100–+100

Depth of LFO1 is changed by the program’s Modify Vib Depth.

Stereo Detune -50–+ 50 [cent]

Species the detune between L#R when outputting in stereo.

PITCH ENV

Parameter Value Explanation

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope

Depth -100–+100

Velocity Sens -100–+100

T1 Velocity Sens -100–+100

T4 Velocity Sens -100–+100

Time Keyfollow -100–+100

to produce greater change. Negative (-) value will invert the shape of the envelope.

If OSC Type is other than VA, this is limited to ±63.

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope.

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope.

If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location.

Based on the pitch envelope times for the C4 key, positive (+) value will cause notes higher than C4 to have increasingly shorter times, and negative (-) value will cause them to have increasingly longer times.

Higher values will produce greater change.

Parameter Value Explanation

Selects one of the following 7 curves that will

determine how keyboard playing dynamics

will aect the pitch envelope.

Pitch Env Velocity Curve

PENV LFO Trigger Switch

FIXED, 1–7

OFF, ON

Set this to “FIXED” if you don’t want the

pitch envelope be aected by the keyboard

velocity.

If this is ON, the pitch envelope is cyclically

retriggered by LFO1.

* This is eective when Envelope Mode is

SUSTAIN.

Specify the pitch envelope times (Time 1–

Time 4).

Higher settings will result in a longer time

until the next pitch is reached. (For example,

Time 2 is the time over which the pitch

T1/Attack, T2, T3/Decay,

0–1023

changes from Level 1 to Level 2.)

* If ADSR Envelope Switch is ON, the Time 2 has

no eect.

T4/Release

Specify the pitch envelope levels (Level 0–

Level 4).

It determines how much the pitch changes

L0, L1, L2, L3/Sustain, L4

-511–+511

from the reference pitch (the value set with

Coarse Tune or Fine Tune on the Pitch screen)

at each point.

Positive (+) value will cause the pitch to be

higher than the standard pitch, and negative

(-) value will cause it to be lower.

* If ADSR Envelope Switch is ON, only Level 3

(Sustain) has an eect. Also in this case, settings with a negative value are ignored.

FILTER

Parameter Value Explanation

Selects the type of lter.

* TVF stands for Time Variant Filter, a lter that

Filter Type TVF, VCF

lets you specify in detail how the frequency components of the sound change over time. If you select VCF, the polyphony will be lower than if you select TVF.

Parameter List

-200

C4C3C2C1 C5 C6 C7

+50

+100

-100

-1

-2

Cuto frequency (Octave)

Key

+200

-50

-200

1 2 3 4 5 6 7

LPF BPF HPF PKG

Level

Frequency

Cuto Frequency

High

Low

parameter value

Parameter Value Explanation

Selects the type of TVF lter.

* If Filter Type is set to VCF, this will be LPF.

OFF No lter is used.

Low Pass Filter. This cuts the frequencies in the region above the cuto frequency

LPF

(Cuto Frequency). Since this cuts the highfrequency region, the sound becomes more mellow. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto

BPF

frequency (Cuto Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency (Cuto

HPF

Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto

TVF Filter Type

PKG

frequency (Cuto Frequency). You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter is half that of the LPF. This makes

LPF2

it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

* If you set “LPF2,” the setting for the Resonance

parameter will be ignored (p. 68).

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter changes according to the Cuto

LPF3

frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

* If you set “LPF3,” the setting for the Resonance

parameter will be ignored (p. 68).

This parameter is eective when Filter Type is VCF.

Each setting simulates the operation of an analog synthesizer’s LPF. I n particular, MG, JP, and P5 are types that are suitable for reproducing synthesizer sounds of the past.

VCF TYPE

FLAT,

TYPEJP,

TYPE-M,

TYPE-P

This button selects the slope (steepness) of the lter.

For VCF, you can choose -12, -18, or -24.

For TVF, only -12 or -24 can be selected.

Filter Slope -12, -18, -24 [dB/Oct]

If Filter Type is TVF, the following limitations apply.

5You can specify only -12 dB or -24 dB. If

you specify -18 dB, the sound generator operates internally with the -12 dB setting.

5If you specify -24 dB, the polyphony will

be lower than if you specify -12 dB.

Species the cuto frequency of the -6 dB

HPF Cuto 0–1023

high-pass lter.

* This parameter is eective when Filter Type is

VC F.

Parameter Value Explanation

Selects the frequency at which the lter

begins to have an eect on the waveform’s

frequency components.

With “LPF/LPF2/LPF3” selected for the TVF

Filter Type parameter, lower cuto frequency

settings reduce a tone’s upper harmonics

for a more rounded, warmer sound. Higher

settings make it sound brighter.

If “BPF” is selected for the Filter Type, harmonic Cuto 0–1023

components will change depending on the

TVF Cuto Frequency setting. This can be

useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency

settings will reduce lower harmonics to

emphasize just the brighter components of

the sound.

With “PKG” selected, the harmonics to be

emphasized will vary depending on Cuto

Frequency setting.

Use this parameter if you want the cuto

frequency to change according to the

key that is pressed. Relative to the cuto

frequency at the key specied by Cuto

Keyfollow Base Point, positive “+” values

cause the cuto frequency to become higher

as you play above the reference key, and

negative “-” values cause the cuto frequency

to become lower.

Keyfollow -200–+200

Higher values will produce greater change.

Selects one of the following seven curves that

determine how keyboard playing dynamics

(velocity) inuence the cuto frequency. Set

Cuto Velocity Curve FIXED, 1–7

this to “FIXED” if you don’t want the Cuto

frequency to be aected by the keyboard

velocity.

Use this parameter when changing the

cuto frequency to be applied as a result of

Cuto Velocity Sens -100–+100

changes in playing velocity. Specify a positive

“+” value if you want the cuto frequency to

raise when you play strongly, or a negative “-”

value if you want it to lower.

Species the reference key when using Cuto Keyfollow Base Point

0–127

Keyfollow to modify the cuto frequency.

If this is 60, the C4 key (middle C) is the

reference key.

Emphasizes the portion of the sound in

the region of the cuto frequency, adding

character to the sound. Excessively high

settings can produce oscillation, causing the

sound to distort.

Resonance 0–1023

Use this parameter when changing the

resonance to be applied as a result of Resonance Velocity Sens

-100–+100

changes in playing velocity. Specify a positive

“+” value if you want resonance to increase

when you play strongly, or a negative “-” value

if you want it to decrease.

Vibrato Cuto Sens -100–+100

Species how the TVF Depth of LFO1 is

aected by the program’s Modify Vib Depth.

Parameter List

1 2 3 4 5 6 7

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

T1 T2 T3 T4

Note o

Cuto

Frequency

Time

Note on

T: Time L: Level

L3L0L2L1 L4

1 2 3 4 5 6 7

Pan

FLITER ENV

Parameter Value Explanation

Env Depth -63–+63

TVF Env Fine Depth -63–+63 Finely adjusts the depth of the lter envelope.

Velocity Curve FIXED, 1–7

Velocity Sens -100–+100

T1 Velocity Sens -100–+100

T4 Velocity Sens -100–+100

Time Keyfollow -100–+100

FENV LFO Trigger Switch

T1/Attack, T2, T3/Decay, T4/Release

L0, L1, L2, L3/Sustain, L4

OFF, ON

0–1023

AMP

Parameter Value Explanation

Species the depth of the Filter envelope. Higher settings increase the change

Level 0–127

produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.

Selects one of the following seven types of curve by which keyboard playing dynamics

Velocity Curve FIXED, 1–7

aect the depth of the lter envelope.

If you don’t want keyboard playing dynamics to aect the lter envelope depth, specify “FIXED.”

Specify this if you want keyboard playing

Velocity Sens -100–+100

dynamics to aect the lter envelope depth. Specify a positive “+” value if you want the lter envelope to apply more deeply as you play more strongly, or a negative “-” value if you want it to apply less deeply.

Specify this if you want keyboard playing dynamics to aect Time 1 of the lter

Bias Level -100–+100

envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Specify this if you want key release velocity to aect Time 4 of the lter envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a

Bias Position 0–127

Selects the direction in which change will occur starting from the Bias Position.

LOWER positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Bias Direction

UPPER Specify this if you want the lter envelope times (Time 2–Time 4) to vary depending on the keyboard position you play. Relative to the lter envelope times at the C4 key (middle C), positive “+” values shorten the times for

LOWER&UPPER

ALL

notes played in the region above C4, and negative “-” values lengthen the times. Higher values will produce greater change.

Pan L64–63R

Pan Keyfollow -100–+100

If this is ON, the lter envelope is cyclically retriggered by LFO1.

* This is eective when Envelope Mode is

SUSTAIN.

Specify the lter envelope times (Time 1–Time

4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

* If ADSR Envelope Switch is ON, the Time 2 has

no eect.

Specify the lter envelope levels (Level 0–

Random Pan Depth 0–63

Alternate Pan Depth L63–63R

Level 4).

Specify the amount of cuto frequency change at each point relative to the reference cuto frequency (the cuto frequency value specied in the Filter screen).

* If ADSR Envelope Switch is ON, only Level 3

(Sustain) has an eect.

Vibrato Level Sens -100–+100

Stereo Width 0–100

Sets the volume of the partial. This setting is useful primarily for adjusting the volume balance between partials.

Selects one of the following seven curves that determine how keyboard dynamics will aect the volume. Set this to “FIXED” if you don’t want the volume of the partial to be aected by the keyboard velocity.

Set this when you want the volume of the partial to change depending on the force with which you press the keys.

Set this to a positive (+) value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative (-) value.

Adjusts the angle of the volume change that will occur in the selected Bias Direction.

Higher values will produce greater change. Negative (-) values will invert the change direction.

Species the key relative to which the volume will be modied. A setting of 64 is the C4 key (middle C).

The volume will be modied for the keyboard area below the Bias Point.

The volume will be modied for the keyboard area above the Bias Point.

The volume will be modied symmetrically toward the left and right of the Bias Point.

The volume changes linearly with the bias point at the center.

Sets the pan of the partial. “L64” is far lef t, “0” is center, and “63R” is far right.

Use this parameter if you want key position to aect panning. Positive (+) value will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) value will cause notes higher than C4 key (center C) to be panned toward the left. Higher values will produce greater change.

+100

+50

-50

C4C3C2C1 C5 C6 C7

-100 Key

Use this parameter when you want the stereo location to change randomly each time you press a key.

Higher values will produce a greater amount of change.

This setting causes panning to be alternated between left and right each time a key is pressed. Higher values will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right.

For example if two partials are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

Species how the program’s Modify Vib Depth aects the Amp Depth of LFO1.

Adjusts the amount of width when outputting in stereo. This has no eect when outputting in mono.

Parameter List

T1 T2 T3 T4

Note o

Level

Time

Note on

T: Time L: Level

Time

C4C3C2C1 C5 C6 C7

Key

Time

-50

-100

+50

+100

AMP ENV

Parameter Value Explanation

Specify this if you want keyboard dynamics to aect the AMP envelope’s Time 1. If you want

T1 Velocity Sens -100–+100

T4 Velocity Sens -100–+100

AENV LFO Trigger Switch

OFF, ON

T1/Attack, T2, T3/Decay,

0–1023

T4/Release

L1, L2,

0–1023

L3/Sustain

Time Keyfollow -100–+100

Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify this if you want key release velocity to aect the AMP envelope’s Time 4. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

If this is ON, the amp envelope is cyclically retriggered by LFO1.

* This is eective when Envelope Mode is

SUSTAIN.

Specify the AMP envelope times (Time 1– Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

* If ADSR Envelope Switch is ON, the Time 2 has

no eect.

Specify the AMP envelope levels (Level 1– Level 3).

These specify the amount of change at each point relative to the reference volume (the partial level value specied in the Amp screen).

* If ADSR Envelope Switch is ON, only Level 3

(Sustain) has an eect.

Specify this if you want keyboard position to aect the AMP envelope’s times (Time 2– Time 4). Relative to the AMP envelope times at the C4 key (middle C), positive (+) values cause the times to shorten as you play higher on the keyboard, and negative (-) values cause the times to lengthen. Higher values will produce greater change.

C4C3C2C1 C5 C6 C7

LFO1 / LFO2

Parameter Value Explanation

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-UP Sawtooth wave

SAW-DW Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Waveform

(LFO1, LFO2)

Tempo Sync Sw

(LFO1, LFO2)

Rate Note

(LFO1, LFO2)

Rate

(LFO1, LFO2)

Oset (LFO1, LFO2) -100–+100

Rate Detune

(LFO1, LFO2)

Delay Time

-100

-50

+50

+100

Key

(LFO1, LFO2)

Delay Time Keyfollow

(LFO1, LFO2)

TRP Trapezoidal wave

S&H

Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

VSIN

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied

STEP

by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

OFF

Set this ON if you want the LFO rate to synchronize with the tempo.

This is eective if Rate Sync is ON.

1/64T–4

Species the LFO rate in terms of a note value.

This is eective if Rate Sync is OFF.

0–1023

Species the LFO rate without regard to the tempo. Higher values produce a faster LFO rate (a shorter cycle).

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.

Subtly changes the LFO cycle speed (Rate parameter) each time you press a key. Higher

0–127

values produce greater change.

This parameter is invalid when Rate is set to “note.”

Species the time elapsed before the LFO eect is applied (the eect continues) after

0–1023

the key is pressed (or released).

* After referring to “How to Apply the LFO” (p.

72), change the setting until the desired eect is achieved.

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive (+) value; to increase the elapsed time, select a negative (-) value. Higher values will produce greater change. If you do not want the elapsed time

-100–+100

before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

ON-IN

Fade Mode (LFO1, LFO2)

ON-OUT

OFF-IN

OFF-OUT

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p.

72), change the setting until the desired eect is achieved.

Parameter List

1 2

5 6

3 4

7 8 9 10

12 13 14

16 17 18 19

20 21 22 23

24 25 26 27

28 29 30 31

Parameter Value Explanation

Species the time over which the LFO

Fade Time

(LFO1, LFO2)

Key Trigger Sw

(LFO1, LFO2)

Pitch Depth

(LFO1, LFO2)

Filter Depth

(LFO1, LFO2)

Amp Depth

(LFO1, LFO2)

0–1023

OFF, ON

-100–+100

amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p.

72), change the setting until the desired eect is achieved.

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Species how deeply the LFO will aect pitch.

* If OSC Type is other than VirtualAnalog, the

range is limited to -63–+63.

Species how deeply the LFO will aect the cuto frequency.

Species how deeply the LFO will aect the volume.

Species how deeply the LFO will aect the pan.

MEMO

Positive (+) and negative (-) value for the Depth parameter result in diering kinds of change in pitch and volume. For example, if you set

Pan Depth

(LFO1, LFO2)

-63–+63

the Depth parameter to a positive (+) value for one partial, and set another partial to the same numerical value, but make it negative (-), the modulation phase for the two partials will be the reverse of each other. This allows you to shift back and forth between two dierent partials, or combine it with the Pan setting to cyclically change the location of the sound image.

Species the LFO’s starting phase value when Key Trigger is ON.

* This has no eect if Waveform is RND, S&H, or CHS.

Phase Position

(LFO1, LFO2)

0 1 cycle

1 1/4 cycle

2 1/2 cycle

3 3/4 cycle

Curve Type 1–6 (variations of square wave)

Curve Type 7–10 (variations of ascending saw)

Curve Type 11–15 (variations of descending saw)

Curve Type 16–19 (variations of ascending exponential)

STEP LFO1/ STEP LFO2

Parameter Value Explanation

Step Length

(LFO1, LFO2)

Step 1-16

(LFO1, LFO2)

Step Curve 1-16

(LFO1, LFO2)

Step curve types

Step Curve 0

1–16

-72–+72

0–36

This is eective if Waveform is STEP.

Species the step size that is looped.

This is eective if Waveform is STEP.

Specify the Depth value of each step.

If you want to specify this in pitch scale degrees (100 cents), the settings are as follows.

Pitch Depth: 51, Step: multiples of 6

… up to one octave of change

Pitch Depth: 74, Step: multiples of 3

… up to two octaves of change

Pitch Depth: 89, Step: multiples of 2

… up to three octaves of change

* If OSC Type is not VirtualAnalog, the Pitch Depth

setting range is limited to -63–+63, so only “1” above is possible.

Species the type of curve at each step.

“Step curve types” (p. 71)

Curve Type 20–23 (variations of descending exponential)

Curve Type 24–27 (variations of ascending charging curve)

Curve Type 28–31 (variations of descending charging curve)

Parameter List

32 33 34 35

Note on

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Delay

Time

Fade Time

Depth

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Note on

Delay Time

Fade Time

Depth

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note

o

Note

Pitch

Cuto Frequency

Level

Pan

Note on

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note o

Pitch

Cuto Frequency

Level

Pan

Curve Type 32–36 (other variations)

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Fade Mode: ON-IN

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Fade Mode: ON-OUT

Apply the LFO gradually after the key is released

Fade Mode: OFF-IN

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Fade Mode: OFF-OUT

Parameter Value Explanation

Mid Gain -24.0–+24.0 [dB]

High Gain -24.0–+24.0 [dB] Gain of the high frequency range.

Low Frequency 20–16000 [Hz] Frequency of the low range.

Mid Frequency 20–16000 [Hz]

High Frequency 20–16000 [Hz] Frequency of the high range.

Mid Q 0.5–16.0 (0.1step)

Species the reference frequency of the midfrequency range.

Adjusts the amount of mid-frequency boost/ cut.

Species the width of the mid-frequency range.

Set a higher value for Q to narrow the range to be aected.

OUTPUT

Parameter Value Explanation

Output Assign DRY, MFX

Chorus Level Send 0–127

Reverb Level Send 0–127

Species how the sound of each partial will be output.

Species the level of the signal sent to the chorus for each partial.

Species the level of the signal sent to the reverb for each partial.

CONTROL

Parameter Value Explanation

If this is set to SUSTAIN, the Envelope Level 3 is held from when the envelope Time 3 has elapsed until note-o.

When note-o occurs, the envelope transitions

Envelope Mode NO-SUS, SUSTAIN

Damper Free Note OFF, 1–127

DF Decay Oset -100–+100

Receive Bender OFF, ON

Receive Expression OFF, ON

Receive Hold-1 OFF, ON

Redamper Switch OFF, ON

Soft EQ Sens 0–100

from the current value to the Time 4 segment (release segment).

If this is set to NO-SUS, the envelope transitions to the release segment after passing Time 3 regardless of the note-o timing, operating according to the times specied by the envelope.

For notes above the specied note number, the Envelope Mode operates as NO-SUS.

Use this to simulate the undamped region of a piano sound.

Species a ne adjustment to the time over which the sound decays when the Damper Free Note eect is applied.

Species for each partial whether MIDI pitch bend messages are received (ON) or not received (OFF).

Species for each partial whether MIDI expression messages are received (ON) or not received (OFF).

Species for each partial whether MIDI hold 1 messages are received (ON) or not received (OFF).

If Redamper Switch is ON, you can perform the Half Damper operations used for piano sounds. However, the following conditions must be satised in order to use this operation.

Envelope M ode is NO-SUS

Amp Envelop e’s Level 1 and2 are 1 or g reater

Amp Envelop e’s Times are Time 3 > T ime4

Increases the proportion by which the EQ’s HighGain is lowered by the amount of pedal.

With a setting of 0, this has no eect.

PARTIAL EQ

Parameter Value Explanation

Switch OFF, ON Turns the equalizer on/o for each partial.

Low Gain -24.0–+24.0 [dB] Gain of the low frequency range.

Parameter List

MATRIX CONTROL

Ordinarily, if you wanted to change partial parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the MC-707. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the MC-707’s partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played.

For example, you can use the Modulation Bar to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter.

The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the “Matrix

Control.”

Up to four Matrix Controls can be used in a single tone.

To use Matrix Control, you specify which MIDI message (Source) controls which parameter (Destination) and how deeply (Sens: sensitivity).

Parameter Value Explanation

Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF Matrix control will not be used.

CC01–31, CC33–95 Controller number 1–31, 33–95

BEND Pitch Bend

AFT Aftertouch

MIDI messages assigned by the SYSTEM parameters SYS-CTRL 1–4

LFO 1

LFO 2

Source 1–4

(Matrix Control 1–4)

Destination 1–4

(MATRIX CONTROL 1–4)

SYS-CTRL1–4

VELOCITY Velocity (pressure you press a key with)

KEYFOLLOW Keyfollow (keyboard position with C4 as 0)

TEMPO Tempo specied by the tempo assign source

LFO1, LFO2

PIT-ENV Pitch envelope

FLT-ENV Filter envelope

AMP-ENV Amp envelope

* Velocity and Keyfollow correspond to Note messages.

* Although there are no MIDI messages for LFO 1 through AMP Envelope,

they can be used as Matrix Control. In this case, you can change the partial settings in realtime by playing tones.

* If you want to use common controllers for the entire MC-707, select “SYS-

CTRL1”–”SYS-CTRL4.” MIDI messages used as System Control 1–4 are set with the Sys-CtrlSrc1–4 (p. 42).

NOTE

5There are parameters that determine whether or not Pitch Bend,

Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 72). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

5There are parameters that let you specify whether specic MIDI

messages will be received for each part in a scene (p. 54). When a tone with Matrix Control settings is assigned to a part, conrm that any MIDI messages used for the Matrix Control will be received. If the MC-707 is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Selects the partial parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled.

When not controlling parameters with the Matrix Control, set this to “OFF.”

Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

OFF Matrix control will not be used.

PCH Changes the pitch.

Parameter Value Explanation

CUT Changes the cuto frequency.

Emphasizes the overtones in the region of the cuto frequency, adding character to the sound.

Changes the vibrato depth.

Changes the wah depth.

Changes the tremolo depth.

Changes the eect that the LFO will have on pan.

speed will not change if LFO Rate is set to “note.”

Changes the Time 2 and Env Time 3 of the pitch envelope.

Changes the Time 2 and Env Time 3 of the FLT envelope.

Changes the Time 2 and Env Time 3 of the AMP envelope.

If the Matrix Control is used to split partials, set the PMT Velocity Control (p. 63) to “OFF.”

5If the Matrix Control is used to split

partials, we recommend setting the Sens (p. 74) to “+63.” Selecting a lower value may prevent switching of the partials. Furthermore, if you want to reverse the eect, set the value to “-63.”

5If you want to use matrix control to

switch smoothly between partials, use the Velocity Fade Lower and Velocity Fade Upper (p. 64). The higher the values set, the smoother the switch is between the partials.

Changing the depth of frequency modulation produced by FXM

Applies a change to MFX CONTROL 1–4 Source. If this is specied for more than one partial, the result will be the summed values.

This setting is valid only for the carrier partial (Partial 1 or 3), and applies change to the CrossMod1-2Depth or CrossMod3-4Depth.

STEP; it species the step position. In this case, the Sens value is ignored.

This is eective if OSC Type is SuperSAW; it applies change to Super-SAW Detune.

Destination 1–4

(MATRIX CONTROL 1–4)

RES

LEV Changes the volume level.

PAN Changes the pan.

CHO Changes the amount of chorus.

REV Changes the amount of reverb.

PIT-LFO

PIT-LFO2

FLT-LFO1

FLT-LFO2

AMP-LFO1

AMP-LFO2

PAN-LFO1

PAN-LFO2

LFO1-RATE Changes the speed of the LFO cycles. The

LFO2-RATE

PIT-ATK Changes the Time 1 of the pitch envelope.

PIT-DCY

PIT-REL Changes the Time 4 of the pitch envelope.

FLT-ATK Changes the Time 1 of the FLT envelope.

FLT-DCY

FLT-REL Changes the Time 4 of the FLT envelope.

AMP-ATK Changes the Time 1 of the AMP envelope.

AMP-DCY

AMP-REL Changes the Time 4 of the AMP envelope.

PMT

FXM

MFX-CTRL1

MFX-CTRL2

MFX-CTRL3

MFX-CTRL4

PW Applies change to PW.

PWM Applies change to PWM.

FAT Applies change to FAT.

X-MOD

LFO1-STEP This is valid if the LFO1/LFO2 Waveform is

LFO2-STEP

SSAW-DETN

Parameter List

Parameter Value Explanation

PIT-DEPTH Changes the depth of the Pitch envelope.

FLT-DEPTH Changes the depth of the Filter envelope.

Destination 1–4

(MATRIX CONTROL 1–4)

Sens 1–4

(MATRIX CONTROL 1–4)

AMP-DEPTH Changes the depth of the AMP envelope.

XMOD2

-63–+63

This is eective when Structure 1-2 (3-4) is XMOD2; it applies change to XMOD2 1-2 (3-4) Depth.

Specify the eective depth of the matrix controls.

To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value.

For either positive or negative value, greater absolute values will allow greater amounts of change.

Set this to “0” if you don’t want to apply the eect.

MFX

Parameter Value Explanation

MFX Type Selects the MFX type.

MFX Switch OFF, ON Switches the MFX on/o.

MFX Chorus Send Level

MFX Reverb Send Level

MFX parameters

0–127

Edit the parameters for the selected MFX. The available parameters dier depending on the type of the eects you selected in MFX Type.

“MFX/IFX Parameters” (p. 84)

Adjusts the amount of chorus.

If you don’t want to add the chorus eect, set it to 0.

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to 0.

MFX CTRL

Parameter Value Explanation

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX will not be used.

CC01–31 Controller number 1–31

Control 1–4 Source

Control 1–4 Destination

Control 1–4 Sens -63–+63

Controlling a MFX via MIDI

CC33–95 Controller number 33–95

BEND Pitch Bend

AFT Aftertouch

SYS-CTRL1–4

Use the controller that is assigned by the System Control Source 1–4 ( or Tone Controll Source 1–4).

Species which of the multi-eect parameters are controlled using MFX CONTROL. The multi-eects parameters available for control will depend on the multi-eects type.

Species the depth of MFX CONTROL.

Specify a positive “+” value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value “-” if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

(MFX CONTROL)

You can use MIDI messages such as control change messages to control the principal MFX parameters. This capability is called “MFX CONTROL (multi-eects control).”

The editable parameters are pre-determined according to the MFX type. You can specify up to four parameters for multi-eect control.

To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will aect which parameter (Destination), and how greatly (Sens).

Parameter List

Drum Kit Tone Parameters

(Drum)

SOUND

Parameter Value Explanation

Level 0–127 Adjusts the overall volume of the tone

MFX

Parameter Value Explanation

Type Selects the MFX type.

Switch OFF, ON Switches the MFX on/o.

Chorus Send Level 0–127

Reverb Send Level 0–127

Edit the parameters for the selected MFX. The available parameters

MFX parameters

dier depending on the type of the eects you selected in MFX Type.

“MFX/IFX Parameters” (p. 84)

Adjusts the amount of chorus.

If you don’t want to add the chorus eect, set it to 0.

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to 0.

KIT MFX CTRL

Parameter Value Explanation

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX will not be used.

Control 1–4 Source

Control 1–4 Destination

Control 1–4 Sens -63–+63

CC01–31 Controller number 1–31

CC33–95 Controller number 33–95

BEND Pitch Bend

AFT Aftertouch

SYS-CTRL1–4

Use the controller that is assigned by the System Control Source 1–4.

Species which of the multi-eect parameters are controlled using MFX CONTROL. The multi-eects parameters available for control will depend on the multi-eects type.

Species the depth of MFX CONTROL.

PAD CTRL

Parameter Value Explanation

Level

Pan

Delay Send Level

Reveb Send Level

Mute Group OFF, 1–31

Output Assign

Key Oset

Fine Tune Oset

TVC Cuto Oset

TVF Resonance OSet

TVA Attack Time Oset

TVA Decay Time Oset

TVA Release Time Oset

0–127

L64–0–63R Adjusts the stereo location of the key.

0–127 Adjusts the amount of delay for each key.

0–127 Adjusts the amount of reverb for each key.

DRY, MFX, COMP1–6

-24–+24 Shifts the pitch in units of a semitone.

-50–+50 [cent] Finely adjusts the pitch in units of one cent.

-100–+100

Adjusts the volume of the key.

On an actual acoustic drum set, an open hihat and a closed hi-hat sound can never occur simultaneously.

To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more keys that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used.

Keys that are not belong to any such group should be set to “OFF.”

Species the output destination for each key.

Adjusts how far the lter is open.

Increasing this value makes the sound brighter, and decreasing it makes the sound darker.

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Increasing this value strengthens the character, and decreasing it weakens the character.

Adjusts the time over which the sound reaches its maximum volume after you press the key.

Larger settings of this value make the attack gentler, and smaller settings make the attack sharper.

Adjusts the time over which the volume decreases from its maximum value.

Larger settings of this value make the decay longer, and smaller settings make the decay shorter.

The time it takes after the key is released for a sound to become inaudible.

If Envelope Mode is NO-SUS, this is the time until the sounded note becomes inaudible.

Larger settings of this value make the sound linger, and smaller settings make the sound end more sharply.

PAD EQ

DRUM COMP1–6

* Only a drum track with compressors can use KIT COMP.

Parameter Value Explanation

Switch OFF, ON

Attack Time 0.1–100ms

Release Time 10–1000ms

Threshold -60–0 [dB]

Ratio 1: 1–inf: 1

Knee 0–30 [dB]

Output Gain -24–+24 [dB]

Output Assign DRY, MFX Species the compressor output destination.

Compressor on/o

Time from when the input exceeds the threshold until compression begins

Time from when the input falls below the threshold until compression is turned o

Level at which compression is applied

Compression ratio

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.

Level of the output sound

Parameter Value Explanation

EQ Switch OFF, ON Turns the equalizer on/o for each key.

EQ Low Gain -24.0–+24.0 [dB] Gain of the low frequency range.

EQ Mid Gain -24.0–+24.0 [dB]

EQ High Gain -24.0–+24.0 [dB] Gain of the high frequency range.

EQ Low Frequency 20–16000 [Hz] Frequency of the low range.

EQ Mid Frequency 20–16000 [Hz]

EQ High Frequency 20–16000 [Hz] Frequency of the high range.

Mid Q 0.5–16.0 (0.1step)

Species the reference frequency of the midfrequency range.

Adjusts the amount of mid-frequency boost/ cut.

Species the width of the mid-frequency range.

Set a higher value for Q to narrow the range to be aected.

Parameter List

1 2 3 4 5 6 7

INST COMMON

Parameter Value Explanation

---, Kick, E.Kick, Snare, E.Snare, Stick,

INST WAVE

Parameter Value Explanation

INT

Wave Group Type

SAMP

Wave Bank A, B, C, D Species the bank of the Wave Group.

Wave Number L

Wave Number R

Wave Gain -18–+12 [dB]

Wave FXM Switch OFF, ON

Wave FXM Color 1–4

FXM Depth 0–16

Wave Coarse Tune -48–+48

Wave Fine Tune -50–+50

Wave Level 0–127

Wave Pan L64–63R

Wave Random Pan Sw

Wave Alter Pan Sw OFF, ON, REVS

Current Note 21 (A0)–108 (C8)

Inst Number 000–

OFF, ON

When OSC TYPE is set to PCM, the waveforms built into the MC-707 are used.

When OSC TYPE is set to PCM, waveforms loaded into the project are used.

Species the wave number within the group specied by Wave Group.

If using mono, specify only the left side (L). If using stereo, specify the right side (R) as well.

If using mono, specify only Wave Number L and leave Wave Number R at 0: OFF.

If you specify only Wave Number R, no sound is heard.

Species the gain (amplitude) of the waveform.

The value will change in 6 dB (decibel) steps.

Each 6 dB increase doubles the gain.

This sets whether FXM will be used (ON) or not (OFF).

* FXM (Frequency Cross Modulation) uses

a specied waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Species the depth of the modulation produced by FXM.

Adjusts the pitch of each wave’s sound up or down in semitone steps (+/-4 octaves).

MEMO

The Coarse Tune of the entire drum partial is set by the “Coarse Tune” (p. 64).

Adjusts the pitch of each Wave’s sound up or down in 1-cent steps (+/-50 cents).

* One cent is 1/100th of a semitone.

MEMO

The Fine Tune of the entire drum partial is set by the “Fine Tune” (p. 64).

Adjusts the level of each Wave.

MEMO

The volume level of each drum partial is set with the Partial Level; the volume levels of the entire drum kit is set with the “Level” (p. 75).

This species the pan of the waveform.

“L64” is far left, “0” is center, and “63R ” is far right.

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

* The range of the panning change is set by the

Random Pan Depth (p. 76).

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.

Set this to “ON” to pan the Wave according to the Alternate Pan Depth settings, or to “REVS” when you want the panning reversed.

If you do not want the panning to change each time a key is pressed, set this to “OFF.”

Selects the key.

Selects the Inst to be assigned to the key.

Parameter Value Explanation

Note o

Note on

Note o

Delay time

Note on

No sound played

Note o

Delay time

Note on

Note o

Delay time

Note on

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Velocity

T1 T2 T3 T4

Pitch

Note on

T：Time　　L：Level

Note o

Time

Wave delay

This produces a time delay between the moment a key is pressed (or released), and the moment the Wave actually begins to sound. You can also make settings that shift the timing at which each Wave is sounded.

Wave Delay Mode

This diers from the Delay in the internal eects, in that by changing the sound qualities of the delayed Wave and changing the pitch for each Wave, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the Wave delay time to the tempo of the external MIDI sequencer.

The Wave begins to play after the time specied in the Wave Delay Time parameter has elapsed.

NORMAL

Delay time

Although the Wave begins to play after the time specied in the Wave Delay Time parameter has elapsed, if the key is released before the time specied in the Wave Delay Time parameter has elapsed, the Wave is not played.

HOLD

Wave Delay Mode

Rather than being played while the key is pressed, the Wave begins to play once the period of time specied in the Wave Delay Time parameter has elapsed after release of the key.

This is eective in situations such as when

KEY-OFF-NORMAL

simulating noises from guitars and other instruments.

Rather than being played while the key is pressed, the Wave begins to play once the period of time specied in the Wave Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed,

KEY-OFF-DECAY

which in many cases means that only the sound from the release portion of the envelope is heard.

No Partial Delay

Parameter Value Explanation

Velocity Range Low 1–127

Species the lower limit (Lower) and upper limit (Upper) of the velocities that will sound the Wave.

Velocity Range Up 1–127

Make these settings when you want to play dierent Waves depending on your keyboard dynamics.

Species the degree to which the Wave is

Velocity Fade Low 0–127

sounded by notes played more softly than Velocity Range Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the Wave is

Velocity Fade Up 0–127

sounded by notes played more strongly than Velocity Range Up. If you don’t want the tone to sound at all, set this parameter to “0.”

INST PENV

Parameter Value Explanation

Adjusts the eect of the Pitch Envelope.

Env Depth -100–+100

Env Velocity Sens -100–+100

Env Time 1 Velocity Sens

Env Time 4 Velocity Sens

-100–+100

Env Time 1–4 0–1023

Higher settings will cause the pitch envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope.

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope.

If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify the pitch envelope times (Time 1– Time 4).

Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

Parameter List

Wave Delay Time Sync

Wave Delay Time

Wave Delay Time 0–1023

OFF, ON

(note) 1/64T–2

Set this ON if you want the Wave delay time to synchronize with the tempo.

This is available when Wave Delay Time Sync is ON. It species the delay time in terms of a note value.

This is available when Wave Delay Time Sync is OFF. It species the delay time without regard to the tempo.

Env Level 0–4 -511–+511

Specify the pitch envelope levels (Level 0– Level 4).

It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.

Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower.

Parameter List

1 2 3 4 5 6 7

LPF BPF HPF PKG

Level

Frequency

Cuto Frequency

High

Low

parameter value

1 2 3 4 5 6 7

T1 T2 T3 T4

Note o

Cuto

Frequency

Time

Note on

T: Time L: Level

L3L0L2L1 L4

INST FILTER

Parameter Value Explanation

Filter Type

Cuto Frequency 0–1023

Cuto Velocity Curve FIXED, 1–7

Cuto Velocity Sens -100–+100

Selects the type of lter.

OFF No lter is used.

Low Pass Filter. This cuts the frequencies in the region above the cuto frequency

LPF

(Cuto Frequency). Since this cuts the highfrequency region, the sound becomes more mellow. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto

BPF

frequency (Cuto Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency (Cuto

HPF

Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto

PKG

frequency (Cuto Frequency). This can be used to portray the resonance peak of a drum.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter is half that of the LPF. This makes

LPF2

it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

* If you set “LPF2,” the setting for the Resonance

parameter will be ignored (p. 78).

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter changes according to the Cuto

LPF3

frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

* If you set “LPF3,” the setting for the Resonance

parameter will be ignored (p. 78).

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected for the Filter Type, harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. Specify a positive “+” value if you want the cuto frequency to raise when you play strongly, or a negative “-” value if you want it to lower.

Parameter Value Explanation

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Resonance 0–1023

Use this parameter when changing the

resonance to be applied as a result of Resonance Velocity Sens

-100–+100

changes in playing velocity. Specify a positive

“+” value if you want resonance to increase

when you play strongly, or a negative “-” value

if you want it to decrease.

INST FENV

Parameter Value Explanation

Species the depth of the Filter envelope.

Env Depth -63–+63

Env Velocity Curve FIXED, 1–7

Env Velocity Sens -100–+100

Env Time 1 Velocity Sens

Env Time 4 Velocity Sens

-100–+100

Env Time 1–4 0–1023

Env Level 0–4 0–1023

Higher settings increase the change

produced by the Filter envelope. Negative (-)

value will invert the shape of the envelope.

Selects one of the following seven types of

curve by which keyboard playing dynamics

aect the depth of the lter envelope.

If you don’t want keyboard playing dynamics

to aect the lter envelope depth, specify

“FIXED.”

Specify this if you want keyboard playing

dynamics to aect the lter envelope depth.

Specify a positive “+” value if you want the

lter envelope to apply more deeply as you

play more strongly, or a negative “-” value if

you want it to apply less deeply.

Specify this if you want keyboard playing

dynamics to aect Time 1 of the lter

envelope. If you want Time 1 to be speeded

up for strongly played notes, set this

parameter to a positive “+” value. If you want

it to be slowed down, set this to a negative “-”

value.

Specify this if you want key release velocity

to aect Time 4 of the lter envelope. If you

want Time 4 to be speeded up for quickly

released notes, set this parameter to a

positive (+) value. If you want it to be slowed

down, set this to a negative (-) value.

Specify the lter envelope times (Time 1–

Time 4). Higher settings will lengthen the

time until the next cuto frequency level is

reached. (For example, Time 2 is the time over

which Level 1 will change to Level 2.)

Specify the lter envelope levels (Level 0–

Level 4).

Specify the amount of cuto frequency

change at each point relative to the reference

cuto frequency (the cuto frequency value

specied in the Filter screen).

INST AENV

T1 T2 T3 T4

Note o

Level

Time

Note on

T: Time L: Level

Parameter Value Explanation

Specify this if you want keyboard dynamics to

Env Time 1 Velocity Sens

Env Time 4 Velocity Sens

-100–+100

Env Time 1–4 0–1023

Env Level 1–3 0–1023

aect the AMP envelope’s Time 1. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify the AMP envelope levels (Level 1– Level 3).

These specify the amount of change at each point relative to the reference volume (the partial level value specied in the Amp screen).

Parameter List

Total Eect Parameters

COMP

Parameter Value Explanation

Species whether the master COMP (a

Switch OFF, ON

Low Attack Time 0.1–100 [ms]

Low Release Time 10–1000 [ms]

Low Threshold -60–0 [dB]

Low Ratio

Low Knee 0–30 [dB]

Low Output Gain -24.0–+24.0 [dB]

Mid Attack Time 0.1–100 [ms]

Mid Release Time 10–1000 [ms]

Mid Threshold -60–0 [dB]

Mid Ratio

Mid Knee 0–30 [dB]

Mid Output Gain -24.0–+24.0 [dB]

HighAttack Time 0.1–100 [ms]

High Release Time 10–1000 [ms]

High Threshold -60–0 [dB]

High Ratio

High Knee 0–30 [dB]

High Output Gain -24.0–+24.0 [dB]

Split Freq Low

Split Freq Hi

1: 1, 2: 1, 3: 1, 4: 1, 8: 1, 16: 1, 32: 1, INF: 1

16–16000 [Hz]

compressor applied to the entire sound generator of the MC-707) is used (ON) or not used (OFF).

Species the time from when the input exceeds Low Thres until compression is applied to the volume of the low-frequency band.

In a state when compression is already being applied, this species the time from when the input decreases below Low Thres until the low-frequency band stops being compressed.

Species the volume level at which compression starts for the low-frequency band.

Species the compression ratio for the lowfrequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Low Thres. Higher values produce a smoother transition.

Species the output volume of the lowfrequency band.

Species the time from when the input exceeds Mid Thres until compression is applied to the volume of the mid-frequency band.

In a state when compression is already being applied, this species the time from when the input decreases below Mid Thres until the mid-frequency band stops being compressed.

Species the volume level at which compression starts for the mid-frequency band.

Species the compression ratio for the midfrequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Mid Thres. Higher values produce a smoother transition.

Species the output volume of the midfrequency band.

Species the time from when the input exceeds High Thres until compression is applied to the volume of the high-frequency band.

In a state when compression is already being applied, this species the time from when the input decreases below High Thres until the high-frequency band stops being compressed.

Species the volume level at which compression starts for the high-frequency band.

Species the compression ratio for the highfrequency band.

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than High Thres. Higher values produce a smoother transition.

Species the output volume of the highfrequency band.

Species the frequency at which the lowfrequency band (LOW) and mid-frequency band (MID) are divided.

Species the frequency at which the highfrequency band (HIGH) and mid-frequency band (MID) are divided.

Parameter Value Explanation

Switch OFF, ON

EQ Input Gain -24–+24 [dB]

Low Gain -24–+24 [dB] Gain of the low frequency range.

Low Freq 20–16000 [Hz] Frequency of the low range.

Mid1 Gain -24–+24 [dB] Gain of the middle frequency range 1.

Mid1Freq 20–16000 [Hz] Frequency of the middle range 1.

Mid1 Q 0.5–16.0

Mid2 Gain -24–+24 [dB] Gain of the middle frequency range 2.

Mid2Freq 20–16000 [Hz] Frequency of the middle range 2.

Mid2 Q 0.5–16.0

Mid3 Gain -24–+24 [dB] Gain of the middle frequency range 3.

Mid3 Freq 20–16000 [Hz] Frequency of the middle range 3.

Mid3 Q 0.5–16.0

High Gain -24–+24 [dB] Gain of the high frequency range.

HighFreq 20–16000 [Hz] Frequency of the high range.

Species whether the master EQ (an equalizer

applied to the entire sound generator of the

MC-707) is used (ON) or not used (OFF).

Adjusts the amount of boost/cut for the input

to the EQ.

Width of the middle frequency range 1.Set a

higher value for Q to narrow the range to be

aected.

Width of the middle frequency range 2.Set a

higher value for Q to narrow the range to be

aected.

Width of the middle frequency range 3.Set a

higher value for Q to narrow the range to be

aected.

MFX

Parameter Value Explanation

Switch OFF, ON Turns the eect on/o.

MFX parameters (Shows the parameters of the selected MFX.)

Cho Send

(Chorus Send Level)

Rev Send

(Reverb Send Level)

MFX CTRL Src1–4

(MFX CtrlSrc 1–4)

MFX CTRL

(MFX CtrlDst 1–4)

Dst1–4

MFX CTRL Sens1–4

(MFX CtrlSens 1–4)

0–127

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX will not be used.

MOD: CC01–31 Controller number 1–31

CC33–PHASR: CC95 Controller number 33–95

BEND Pitch Bend

AFT Aftertouch

SYS-CTRL1–SYSCTRL4

Species which of the multi-eect parameters are controlled using MFX CONTROL. The multi-eects parameters available for control will depend on the multi-eects type.

-63–+63

Controlling a MFX via MIDI

You can use MIDI messages such as control change messages to control the principal MFX parameters. This capability is called “MFX CONTROL (multi-eects control).”

The editable parameters are pre-determined according to the MFX type. You can specify up to four parameters for multi-eect control.

To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will aect which parameter (Destination), and how greatly (Sens).

Species the chorus send level of the sound

after MFX is applied.

Species the reverb send level of the sound

after MFX is applied.

The controllers assigned by the system

parameters SysCtrlSrc1–4 Source are used.

Species the depth of MFX CONTROL.

Specify a positive “+” value if you want to

change the value of the assigned destination

in a positive direction (larger, toward the

right, faster, etc.), or specify a negative value

“-” if you want to change the value in a

negative direction (smaller, toward the left,

slower, etc.). Larger values will allow a greater

amount of control.

(MFX CONTROL)

Parameter List

(Part 1–4)

Parameter Value Explanation

Switch OFF, ON Turns the equalizer (EQ) on/o.

In Gain (Input Gain) -24–+24 [dB]

(Low Gain) -24–+24 [dB]

Low Gain

(Low Frequency) 20–16000 [Hz] Frequency of the low range.

Low Freq

(Mid Gain) -24–+24 [dB]

Mid Gain

(Mid Frequency) 20–16000 [Hz]

Mid Freq

Mid Q

(Mid Q) 0.5–16.0

(High Gain) -24–+24 [dB]

High Gain

HighFreq

(High Frequency)

20–16000 [Hz] Frequency of the high range.

Species the amount of boost/cut for the input sound.

Species the amount of boost/cut for the low-frequency region.

Species the amount of boost/cut for the mid-frequency region.

Adjusts the amount of mid-frequency boost/ cut.

Species the width of mid-frequency region.

Set a higher value for Q to narrow the range to be aected.

Species the amount of boost/cut for the high-frequency region.

DELAY

Parameter Value Explanation

Chorus Type Selects the types of delay.

Chorus Switch OFF, ON Switches the delay on/o.

Chorus Level 0–127

(Reverb Send) 0–127 Species the send level to reverb.

Rev Send

Delay Parameters

Edit the parameters of the selected delay type. The available parameters dier depending on the type of chorus you selected in Chorus Type.

Delay Parameters

CHORUS

This is a stereo chorus.

Parameter Value Explanation

Rate 0–127 Frequency of modulation

Depth 0–127 Depth of modulation

Feedback 0–127

CE-1

This models the classic BOSS CE-1 chorus eect unit.

It provides a chorus sound with a distinctively analog warmth.

Parameter Value Explanation

Intensity 0–127 Chorus depth

SDD-320

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

Parameter Value Explanation

Mode 1–4, 1+4, 2+4, 3+4 Switches the mode.

JUNO-106 CHORUS

Species the output level of the sound with delay applied.

Level at which chorus sound is returned to the input

Parameter Value Explanation

Noise Level 0–127 Volume of the noise produced by chorus

DELAY

This is a stereo delay.

Parameter Value Explanation

Delay

(sync sw) OFF, ON

Delay

(msec)

Delay (note)

Feedback -98–+98 [%]

HF Damp

1–1300 [msec]

Note

“Note” (p. 120)

200–8000 [Hz], BYPASS

If this is ON, the delay synchronizes with the

tempo.

Adjusts the delay time from the direct sound

until the delay sound is heard.

Adjusts the proportion of the delay sound

that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the frequency above which sound

fed back to the eect is ltered out. If you

don’t want to lter out any high frequencies,

set this parameter to BYPASS.

T-CTRL DELAY

A stereo delay in which the delay time can be varied smoothly.

Parameter Value Explanation

Delay

(sync sw) OFF, ON

(msec)

Delay

Delay (note)

Acceleration 0–15

Feedback -98–+98 [%]

HF Damp

1–1300 [msec]

Note

“Note” (p. 120)

200–8000 [Hz], BYPASS

If this is ON, the delay synchronizes with the

tempo.

Adjusts the delay time from the direct sound

until the delay sound is heard.

When you change the delay time, this

species the time over which the current

delay time changes to the specied delay

time. This aects the speed of pitch change

as well as the delay time.

Adjusts the proportion of the delay sound

that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the frequency above which sound

fed back to the eect is ltered out. If you

don’t want to lter out any high frequencies,

set this parameter to BYPASS.

DELAY 0 TREMOLO

Tremolo is applied to the delay sound.

Parameter Value Explanation

Input Mode

Delay

(sync sw) OFF, ON

Delay

(msec)

Delay (note)

Feedback -98–+98 [%]

HF Damp

Tremolo Switch OFF, ON Switches the tremolo eect on/o

MONAURAL The input is mono-mixed.

STEREO The sound is input in stereo.

If this is ON, the delay synchronizes with the

tempo.

1–1300 [msec]

Note

“Note” (p. 120)

200–8000 [Hz], BYPASS

Adjusts the delay time from the direct sound

until the delay sound is heard.

Adjusts the proportion of the delay sound

that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the frequency above which sound

fed back to the eect is ltered out. If you

don’t want to lter out any high frequencies,

set this parameter to BYPASS.

This models the chorus eects of the Roland JUNO-106.

Parameter Value Explanation

Mode I, II, I+II, JX I, JX II

Type of Chorus

I+II: The state in which two buttons are

pressed simultaneously.

Parameter List

Parameter Value Explanation

Modulation Wave (panning)

TRI Triangle wave

SQR Square wave

Tremolo Mod Wave

Tremolo Rate

(note)

Tremolo Depth 0–127 Tremolo depth

SIN Sine wave

SAW1

SAW2

TRP Trapezoidal wave

(sync sw) OFF, ON

0.05–10.00 [Hz]

(Hz)

Note

“Note” (p. 120)

Sawtooth wave

If this is on, the tremolo synchronizes with the tempo.

Tremolo rate

2TAP PAN DELAY

Delay sound is heard in the two locations you specify.

Parameter Value Explanation

Delay

(sync sw) OFF, ON

Delay

(msec)

Delay (note)

Feedback -98–+98 [%]

HF Damp

Delay 1 Pan L64–63R Stereo location of Delay 1

Delay 2 Pan L64–63R Stereo location of Delay 2

Delay 1 Level 0–127 Volume of delay 1

Delay 2 Level 0–127 Volume of delay 2

1–1300 [msec]

Note

“Note” (p. 120)

200–8000 [Hz], BYPASS

If this is ON, the delay synchronizes with the tempo.

Adjusts the time until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

REVERB

Parameter Value Explanation

Reverb Type Selects the types of reverb.

Reverb Switch OFF, ON Switches the reverb on/o.

Reverb Level 0–127

Reverb Parameters

Edit the parameters of the selected reverb type. The available parameters dier depending on the type of reverb you selected in Reverb Type.

Reverb Parameters

INTEGRA

Parameter Value Explanation

01: ROOM1

Type

Pre Delay 0–100 [msec]

Time 0.1–10.0 [sec] Adjusts the decay length of the reverb sound.

Density 0–127 Adjusts the density of the reverb sound.

Diusion 0–127

LF Damp 0–100

HF Damp 0–100

Spread 0–127 Reverb spread

Tone 0–127 Tonal character of the reverb

02: ROOM2

03: HALL1

04: HALL2

05: PLATE

Species the output level of the sound with

reverb applied.

Selects the types of reverb.

OFF: Reverb is not used

Room 1/2: Room

Hall 1/2: Hall

Plate: Plate

Adjusts the delay time from the direct sound

until the reverb sound is heard.

Adjusts the change in the density of the

reverb over time. The higher the value, the

more the density increases with time.

(The eect of this setting is most pronounced

with long reverb times.)

Adjusts the low-frequency portion of the

reverb.

Adjusts the high-frequency portion of the

reverb.

3TAP PAN DELAY

Delay sound is heard in the three locations you specify.

Parameter Value Explanation

Delay

(sync sw) OFF, ON

Delay

(msec)

Delay (note)

Delay1 Feedback -98–+98 [%]

HF Damp

Delay 1 Pan L64–63R Stereo location of Delay 1

Delay 2 Pan L64–63R Stereo location of Delay 2

Delay 3 Pan L64–63R Stereo location of Delay 3

Delay 1 Level 0–127 Volume of delay 1

Delay 2 Level 0–127 Volume of delay 2

Delay 3 Level 0–127 Volume of delay 3

1–2600 [msec]

Note

“Note” (p. 120)

200–8000 [Hz], BYPASS

If this is ON, the delay synchronizes with the tempo.

Delay time of the third delay sound after the original sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect.

Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

WARM HALL

Parameter Value Explanation

Pre Delay 0–100 [msec]

Time 0.3–30 [sec] Adjusts the decay length of the reverb sound.

Pre LPF

Pre HPF

PreLoop LPF

Diusion 0–127

HF Damp Freq 1000–8000 [Hz]

HF Damp Ratio 0.1–1.0

16–15000 [Hz], Bypass

Adjusts the delay time from the direct sound

until the reverb sound is heard.

Frequency above which to cut the high-

frequency portion of the sound entering the

reverb

Frequency below which to cut the low-

frequency portion of the sound entering the

reverb

Frequency above which to cut the high-

frequency portion of the extended

reverberation

Adjusts the change in the density of the

reverb over time.

Frequency above which to cut the high-

frequency portion of the reverb

Amount by which to attenuate the high-

frequency portion of the reverb

HALL

Parameter Value Explanation

Pre Delay 0.0–100 [msec]

Time 0–127 Adjusts the decay length of the reverb sound.

Size 1–8 Size of room/hall

High Cut

160–12500 [Hz], BYPASS

Adjusts the delay time from the direct sound

until the reverb sound is heard.

Frequency above which the high-frequency

portion of the nal output sound is cut

(BYPASS: no cut)

Parameter List

Parameter Value Explanation

Density 0–127 Density of reverb

Diusion 0–127

LF Damp Freq 50–4000 [Hz]

LF Damp Gain -36–0 [dB] LF damp attenuation amount (0: no eect)

HF Damp Freq 4000–12500 [Hz]

HF Damp Gain -36–0 [dB] HF damp attenuation amount (0: no eect)

Adjusts how reverb density increases over time. (This eect is especially noticeable with long reverb times.)

Frequency below which the low-frequency portion of the reverb sound is cut.

Frequency above which the high-frequency portion of the reverb sound is cut

Parameter Value Explanation

Character

Pre-LPF 0–7

Time 0–127 Adjusts the decay length of the reverb sound.

Delay Feedback 0–127

ROOM1–3, HALL1–2, PLATE, DELAY, PAN-DELAY

Type of reverb

Amount of high-frequency attenuation for the sound being input to the reverb

Level at which the reverb sound is returned to the input

SRV2000

Parameter Value Explanation

Selects the type of reverb oered by the Roland SRV-2000 digital reverb.

Pre Delay

Selection

Pre Delay 0–160

Time 1–990 [msec] Adjusts the decay length of the reverb sound.

HF Damp 0.05–1.00

Density 0–9 Adjusts the density of the late reverberation.

Attack Gain 0–9 Adjusts the gain of the early reections.

Attack Time 0–9 Adjusts the time of the early reections.

ER Density 0–9 Adjusts the density of the early reections.

ER Level 0–99 Adjusts the volume of the early reections.

EQ Low Freq 0.04–1.00 [kHz] Frequency of the low range.

EQ Low Gain -24–+12 [dB] Gain of the low frequency range.

EQ Mid Freq 0.25–9.99 [kHz]

EQ Mid Gain -24–+12 [dB]

EQ Mid Q 0.2–9.0

EQ Hi Freq 0.80–9.99 [kHz] Frequency of the high range.

EQ Hi Gain -24–+12 [dB] Gain of the high frequency range.

EQ Hi Q 0.2–9.0

Time

HF Damp

Density Plate reverb.

Room reverb.

Higher values increase the size of the room.

Hall reverb.

Higher values increase the size of the concert hall.

Plate reverb.

A more amboyant reverb sound than P-A.

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the high-frequency portion of the reverb.

Adjusts the amount of mid-frequency boost/ cut.

Species the reference frequency of the midfrequency range.

Species the width of the mid-frequency range.

Set a higher value for Q to narrow the range to be aected.

Species the width of the high-frequency range.

Set a higher value for Q to narrow the range to be aected.

SRV2000

Parameter Value Explanation

Pre Delay 0–160

Reverb Time 1–990 [msec] Adjusts the decay length of the reverb sound.

Gate Time 10–450 [msec] Adjusts the decay length of the reverb sound.

HF Damp 0.05–1.00

EQ Low Freq 0.04–1.00 [kHz] Frequency of the low range.

EQ Low Gain -24–+12 [dB] Gain of the low frequency range.

EQ Mid Freq 0.25–9.99 [kHz]

EQ Mid Gain -24–+12 [dB]

EQ Mid Q 0.2–9.0

EQ Hi Freq 0.80–9.99 [kHz] Frequency of the high range.

EQ Hi Gain -24–+12 [dB] Gain of the high frequency range.

EQ Hi Q 0.2–9.0

(NON-LINEAR)

Adjusts the delay time from the direct sound

until the reverb sound is heard.

Adjusts the high-frequency portion of the

reverb.

Adjusts the amount of mid-frequency boost/

cut.

Species the reference frequency of the mid-

frequency range.

Species the width of the mid-frequency

range.

Set a higher value for Q to narrow the range

to be aected.

Species the width of the high-frequency

range.

Set a higher value for Q to narrow the range

to be aected.

GM2 REVERB

Parameter Value Explanation

Character 0–5 Type of reverb

Time 0–127 Adjusts the decay length of the reverb sound.

MFX/IFX Parameters

Thru page 85

Filter eects

Equalizer page 85

Spectrum page 85

Isolator page 86

Low Boost page 86

Super Filter page 86

Step Filter page 87

Enhancer page 87

Auto Wah page 87

Humanizer page 88

Speaker Simulator page 88

Modulation eects

Phaser 1 page 89

Phaser 2 page 89

Phaser 3 page 89

Step Phaser page 90

Multi Stage Phaser page 90

Innite Phaser page 90

Ring Modulator page 90

Tremolo page 91

Auto Pan page 91

Slicer page 91

Rotary page 92

VK Rotary page 92

Chorus eects

Chorus page 93

Flanger page 93

Step Flanger page 94

Hexa-Chorus page 94

Tremolo Chorus page 95

Space-D page 95

Dynamics eects

Overdrive page 95

Distortion page 95

T-Scream page 96

Guitar Amp Simulator page 96

Compressor page 97

Limiter page 97

Sustainer page 98

Gate page 98

Delay eects

Delay page 98

Modulation Delay page 99

3Tap Pan Delay page 99

4Tap Pan Delay page 100

Multi Tap Delay page 100

Reverse Delay page 101

Time Ctrl Delay page 101

Tape Echo page 102

Pitch eects

Pitch Shifter page 102

2Voice Pitch Shifter page 103

Combination eects

Overdrive 0 Chorus page 103

Overdrive 0 Flanger page 103

Overdrive 0 Dalay page 104

Distortion 0 Chorus page 104

Distortion 0 Flanger page 104

Distortion 0 Delay page 104

OD/DS 0 TouchWah page 105

OD/DS 0 AutoWah page 105

GtAmpSim 0 Chorus page 106

GtAmpSim 0 Flanger page 107

GtAmpSim 0 Phaser page 108

GtAmpSim 0 Delay page 109

EPAmpSim 0 Tremolo page 110

EPAmpSim 0 Chorus page 110

EPAmpSim 0 Flanger page 110

EPAmpSim 0 Phaser page 111

EPAmpSim 0 Delay page 111

Enhancer 0 Chorus page 111

Enhancer 0 Flanger page 112

Enhancer 0 Delay page 112

Chorus 0 Delay page 112

Flanger 0 Delay page 113

Chorus 0 Flanger page 113

Other

CE-1 page 113

SBF-325 page 114

SDD-320 page 114

2Tap Pan Delay page 114

Transient page 115

Mid-Side EQ page 115

Mid-Side Compressor page 116

Tone Fattener page 116

Mid-Side Delay page 116

RD EPAmpSim page 117

DJFX Looper page 117

BPM Looper page 117

Saturator page 118

Warm Saturator page 118

Fuzz page 119

JUNO-106 Chorus page 119

Multi Mode Filter page 119

HMS Distortion page 119

Phaser 100 page 119

Lo- eects

LOFI Compress page 102

Bit Crusher page 102

MFX/IFX Parameters

4-Band EQ4-Band EQ

SpectrumSpectrum

00 Thru

01 Equalizer

This is a four-band stereo equalizer (low, mid x 2, high).

L in L out

R outR in

Parameter Value Explanation

20, 25, 31, 40, 50, 63,

Low Freq

(Low Frequency)

Low Gain -15–+15 [dB] Gain of the low range

(Mid1

Mid1 Freq

Frequency)

Mid1 Gain -15–+15 [dB] Gain of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

(Mid2

Mid2 Freq

Frequency)

Mid2 Gain -15–+15 [dB] Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

(High

High Freq

Frequency)

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

80, 100, 125, 160, 200, 250, 315, 400 [Hz]

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 [Hz]

Frequency of the low range

Frequency of the middle range 1

Width of the middle range 1

Set a higher value to narrow the range to be aected.

Frequency of the middle range 2

Width of the middle range 2

Set a higher value to narrow the range to be aected.

Frequency of the high range

02 Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

L in L out

R outR in

Parameter Value Explanation

Band1

(250 Hz)

(500 Hz)

Band2

Band3 (1000 Hz)

Band4 (1250 Hz)

Band5 (2000 Hz)

Band6 (3150 Hz)

Band7 (4000 Hz)

Band8 (8000 Hz)

Q 0.5, 1.0, 2.0, 4.0, 8.0

Level 0–127 Output Level

-15–+15 [dB] Gain of each frequency band

Simultaneously adjusts the width of the

adjusted ranges for all the frequency bands.

MFX/IFX Parameters

IsolatorIsolator

Low BoostLow Boost

IsolatorIsolator

Low BoostLow Boost

2-Band EQ2-Band EQ

Low BoostLow Boost

2-Band EQ2-Band EQ

Super FilterSuper Filter

03 Isolator

This is an equalizer which cuts the volume greatly, allowing you to add a special eect to the sound by cutting the volume in varying ranges.

L in L out

R outR in

Parameter Value Explanation

Boost/Cut Low -60–+4 [dB]

Boost/Cut Mid -60–+4 [dB]

Boost/Cut High -60–+4 [dB]

Anti Phase Low Sw OFF, ON

Anti Phase Low Level 0–127

Anti Phase Mid Sw OFF, ON Settings of the Anti-Phase function for the

Anti Phase Mid Level 0–127

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output Level

These boost and cut each of the High, Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Turns the Anti-Phase function on and o for the Low frequency ranges.

When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Level of the Anti-Phase function for the Low frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specic parts. (This is eective only for stereo source.)

Middle frequency ranges.

The parameters are the same as for the Low frequency ranges.

Turns Low Booster on/o.

This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end.

Depending on the Isolator and lter settings this eect may be hard to distinguish.

05 Super Filter

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

L in L out

R outR in

Parameter Value Explanation

Type of lter

Frequency range that will pass through each

lter

Filter Type LPF, BPF, HPF, NOTCH

Filter Slope -12, -24, -36 [dB]

Filter Cuto 0–127

Filter Resonance

Filter Gain 0–+12 [dB] Amount of boost for the lter output

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

0–100

TRI, SQR, SIN, SAW1, SAW2

SAW1 SAW2

LPF: frequencies below the cuto

BPF: frequencies in the region of the cuto

HPF: frequencies above the cuto

NOTCH: frequencies other than the region of

the cuto

Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB:

Extremely steep

Cuto frequency of the lter

Increasing this value will raise the cuto

frequency.

Filter resonance level

Increasing this value will emphasize the

region near the cuto frequency.

How the cuto frequency will be modulated

TRI: Triangle wave

SQR: Square wave

SIN: Sine wave

SAW1: Sawtooth wave (upward)

SAW2: Sawtooth wave (downward)

04 Low Boost

Boosts the volume of the lower range, creating powerful lows.

L in L out

R outR in

Parameter Value Explanation

Boost Frequency

Boost Gain 0–+12 [dB]

Boost Width WIDE, MID, NARROW Width of the lower range that will be boosted

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

50, 56, 63, 71, 80, 90, 100, 112, 125 [Hz]

Center frequency at which the lower range will be boosted

If this is ON, the rate synchronizes with the

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output Level

Note

“Note” (p. 120)

tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Speed at which the cuto frequency will

change This is eective if Modulation Wave is

SQR, SAW1, or SAW2.

MFX/IFX Parameters

Step FilterStep Filter

EnhancerEnhancer

2-Band EQ2-Band EQ

EnhancerEnhancer

Auto WahAuto Wah

2-Band EQ2-Band EQ

Auto WahAuto Wah

2-Band EQ2-Band EQ

06 Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

L in L out

R outR in

Parameter Value Explanation

Step 01–16 0–127 Cuto frequency at each step

If this is ON, the rate synchronizes with the tempo

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Attack 0–127

Filter Type LPF, BPF, HPF, NOTCH

Filter Slope -12, -24, -36 dB

Filter Resonance 0–127

Filter Gain 0–+12 [dB] Amount of boost for the lter output

Level 0–127 Output Level

Note

“Note” (p. 120)

of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Speed at which the cuto frequency changes between steps

Type of lter

Frequency range that will pass through each lter

LPF: frequencies below the cuto

BPF: frequencies in the region of the cuto

HPF: frequencies above the cuto

NOTCH: frequencies other than the region of

the cuto

Amount of attenuation per octave

-12 dB: Gentle, -24 dB: Steep, -36 dB:

Extremely steep

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

07 Enhancer

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

08 Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

L in L out

R outR in

Parameter Value Explanation

Type of lter

Filter Type LPF, BPF

Manual 0–127

Peak 0–127

Sens 0–127

Polarity UP, DOWN

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg]

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Note

“Note” (p. 120)

LPF: Produces a wah eect in a broad

frequency range.

BPF: Produces a wah eect in a narrow

frequency range.

Center frequency at which the wah eect is

applied

Width of the frequency region at which the

wah eect is applied

Increasing this value will make the frequency

region narrower.

Adjusts the sensitivity with which the lter is

controlled.

Direction in which the lter will move

UP: The lter will change toward a higher

frequency.

DOWN: The lter will change toward a lower

frequency.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)“TEMPO” (p. 52)“TEMPO”

(p. 52)

Modulation frequency of the wah eect

Adjusts the degree of phase shift of the left

and right sounds when the wah eect is

applied.

L in L out

Mix

Parameter Value Explanation

Sens 0–127 Sensitivity of the enhancer

Mix 0–127

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Level of the overtones generated by the enhancer

R outR in

MFX/IFX Parameters

FormantFormant

OverdriveOverdrive

2-Band EQ2-Band EQ

SpeakerSpeaker

09 Humanizer

Adds a vowel character to the sound, making it similar to a human voice.

L in

R in

Parameter Value Explanation

Drive Sw OFF, ON O verdrive on/o

Drive 0–127

Vowel1 a, e, i, o, u Selects the vowel.

Vowel2 a, e, i, o, u Vowel2

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Note

“Note” (p. 120)

Depth 0–127 Depth of the eect

Input Sync Sw OFF, ON

Input Sync Threshold 0–127 Volume level at which reset is applied

Manual 0–100

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

Degree of distortion

Also changes the volume.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency at which the two vowels switch

LFO reset on/o

If this is ON, the LFO for switching the vowels is reset by the input signal.

Point at which Vowel 1/2 switch

0–49: Vowel 1 will have a longer duration.

50: Vowel 1 and 2 will be of equal duration.

51–100: Vowel 2 will have a longer

duration.

Pan L

Pan R

L out

R out

10 Speaker Simulator

Simulates the speaker type and microphone settings used to record the speaker sound.

L in L out

R outR in

Parameter Value Explanation

Diameter (in

Cabinet

Small open-back

enclosure

Small open-back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Sealed enclosure 12 x 2 Condenser

Large sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large double

stack

Large double

stack

Large triple stack 12 x 4 Condenser

Speaker Type

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

Adjusts the location of the microphone that is

recording the sound of the speaker.

Mic Setting 1, 2, 3

This can be adjusted in three steps, with the

microphone becoming more distant in the

order of 1, 2, and 3.

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Level 0–127 Output Level

inches) and

number of the

speaker

10 Dynamic

12 x 1 Dynamic

12 x 2 Dynamic

12 x 2 Condenser

12 x 4 Condenser

Microphone

MFX/IFX Parameters

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

PhaserPhaser

2-Band EQ2-Band EQ

11 Phaser 1

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

L in L out

Parameter Value Explanation

Mode

Manual 0–127

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Polarity INVERSE, SYNCHRO

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98 [%]

Mix 0–127 Level of the phase-shifted sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE

Note

“Note” (p. 120)

Mix

R outR in

Mix

Number of stages in the phaser

Center frequency at which the sound is modulated

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Modulation rate

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be

opposite.

When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be

the same.

Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

13 Phaser 3

This simulates a dierent analog phaser than Phaser 2.

It is particularly suitable for electric piano.

L in L out

R outR in

Parameter Value Explanation

Speed 0–100 Speed of modulation

Depth 0–127 Depth of modulation

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

12 Phaser 2

This simulates an analog phaser of the past.

It is particularly suitable for electric piano.

L in L out

Parameter Value Explanation

Rate 0–100 Modulation rate

Color 1, 2 Modulation character

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

R outR in

MFX/IFX Parameters

2-Band EQ2-Band EQ

Step PhaserStep Phaser

2-Band EQ2-Band EQ

Multi Stage

Phaser

Multi Stage

Phaser

2-Band EQ2-Band EQ

Innite

Phaser

Innite

Phaser

2-Band EQ2-Band EQ

Ring ModRing Mod

2-Band EQ2-Band EQ

Ring ModRing Mod

2-Band EQ2-Band EQ

14 Step Phaser

This is a stereo phaser. The phaser eect will be varied gradually.

L in L out

Parameter Value Explanation

Mode

Manual 0–127

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Polarity INVERSE, SYNCHRO

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98 [%]

(sync sw) OFF, ON

Step Rate

Step Rate (Hz) 0.10–20.00 [Hz]

Step Rate

(note)

Mix 0–127 Level of the phase-shifted sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE

Note

“Note” (p. 120)

Note

“Note” (p. 120)

Mix

Number of stages in the phaser

Center frequency at which the sound is modulated

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Modulation rate

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be

opposite.

When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be

the same.

Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Rate of the step-wise change in the phaser eect

Parameter Value Explanation

Rate

(Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Resonance 0–127 Amount of feedback

Mix 0–127 Level of the phase-shifted sound

Pan L64–63R Stereo location of the output sound

R outR in

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Note

“Note” (p. 120)

Modulation rate

16 Innite Phaser

A phaser that continues raising/lowering the frequency at which the sound is modulated.

L in

R in

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed -100–100

Resonance 0–127 Amount of feedback

Mix 0–127 Level of the phase-shifted sound

Pan L64–63R Stereo location of the output sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Higher values will produce a deeper phaser

eect.

Speed at which to raise or lower the

frequency at which the sound is modulated

(+: upward / -: downward)

L out

Pan L

Pan R

R out

17 Ring Modulator

This is an eect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the eect.

L in L out

15 Multi Stage Phaser

Extremely high settings of the phase dierence produce a deep phaser eect.

L in

R in

Parameter Value Explanation

Mode

Manual 0–127

(sync sw) OFF, ON

Rate

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

Mix

Number of stages in the phaser

Center frequency at which the sound is modulated

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Pan L

Pan R

L out

R out

R outR in

Parameter Value Explanation

Frequency 0–127

Sens 0–127

Polarity UP, DOWN

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Adjusts the frequency at which modulation is

applied.

Adjusts the amount of frequency modulation

applied.

Determines whether the frequency

modulation moves towards higher

frequencies or lower frequencies.

UP: The lter will change toward a higher

frequency.

DOWN: The lter will change toward a lower

frequency.

Volume balance between the direct sound (D)

and the eect sound (W)

MFX/IFX Parameters

TremoloTremolo

2-Band EQ2-Band EQ

TremoloTremolo

2-Band EQ2-Band EQ

Auto PanAuto Pan

2-Band EQ2-Band EQ

Auto PanAuto Pan

2-Band EQ2-Band EQ

SlicerSlicer

18 Tremolo

Cyclically changes the volume.

L in L out

R outR in

Parameter Value Explanation

Modulation wave

TRI: Triangle wave

TRI, SQR, SIN, SAW1, SAW2, TRP

Mod Wave

SAW1 SAW2

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth to which the eect is applied

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Note

“Note” (p. 120)

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of the change

19 Auto Pan

Cyclically modulates the stereo location of the sound.

L in L out

R outR in

Parameter Value Explanation

How the pan changes

TRI: Triangle wave

TRI, SQR, SIN, SAW1, SAW2, TRP

Mod Wave

SAW1 SAW2

R R

SQR: Square wave

SIN: Sine wave

SAW1/2: Sawtooth wave

TRP: Trapezoidal wave

20 Slicer

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustaintype sounds.

L in L out

R outR in

Parameter Value Explanation

Step 01–16 0–127 Level at each step

If this is ON, the rate synchronizes with the

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Attack 0–127

Input Sync Sw OFF, ON

Input Sync Threshold 0–127

Mode LEGATO, SLASH

Shue 0–127

Level 0–127 Output Level

Note

“Note” (p. 120)

tempo of the rhythm.

“ TEMPO” (p. 52)

Rate at which the 16-step sequence will cycle

Speed at which the level changes between

steps

Species whether an input note will cause

the sequence to resume from the rst step of

the sequence (ON) or not (OFF)

Volume at which an input note will be

detected

Sets the manner in which the volume

changes as one step progresses to the next.

LEGATO: The change in volume from one

step’s level to the next remains unaltered. If

the level of a following step is the same as

the one preceding it, there is no change in

volume.

SLASH: The level is momentarily set to 0

before progressing to the level of the next

step.

This change in volume occurs even if the

level of the following step is the same as the

preceding step.

Timing of volume changes in levels for even-

numbered steps (step 2, step 4, step 6...).

The higher the value, the later the beat

progresses.

L L

If this is ON, the rate synchronizes with the

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth to which the eect is applied

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Note

“Note” (p. 120)

tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of the change

MFX/IFX Parameters

RotaryRotary

2-Band EQ2-Band EQ

21 Rotary

This simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can be specied independently, the distinctive modulation can be reproduced realistically. This is most eective on organ patches.

L in

R in

Parameter Value Explanation

Speed SLOW, FAST

Woofer Slow Speed 0.05–10.00 [Hz]

Woofer Fast Speed 0.05–10.00 [Hz] Fast speed (FAST) of the low frequency rotor

Woofer Acceleration 0–15

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed 0.05–10.00 [Hz]

Tweeter Fast Speed 0.05–10.00 [Hz]

Tweeter Acceleration 0–15

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

Level 0–127 Output Level

L out

R out

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

SLOW: Slows down the rotation to the Slow

Rate.

FAST: Speeds up the rotation to the Fast Rate.

Slow speed (SLOW) of the low frequency rotor

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed.

Settings of the high frequency rotor

The parameters are the same as for the low frequency rotor

22 VK Rotary

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

L in

R in

Parameter Value Explanation

Speed SLOW, FAST

Brake OFF, ON

Woofer Slow Speed 0.05–10.00 [Hz] Low-speed rotation speed of the woofer

Woofer Fast Speed 0.05–10.00 [Hz] High-speed rotation speed of the woofer

Woofer Trans Up 0–127

Woofer Trans Down 0–127

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed 0.05–10.00 [Hz]

Tweeter Fast Speed 0.05–10.00 [Hz]

Tweeter Trans Up 0–127

Tweeter Trans Down 0–127

Tweeter Level 0–127

Spread 0–10 Sets the rotary speaker stereo image.

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127

OD Drive 0–127 Degree of distortion

OD Level 0–127 Volume of the overdrive

Rotational speed of the rotating speaker

SLOW: Slow

FAST: Fast

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will

gradually stop. When it is turned o, the

rotation will gradually resume.

Adjusts the rate at which the woofer rotation

speeds up when the rotation is switched from

Slow to Fast.

Adjusts the rate at which the woofer rotation

speeds up when the rotation is switched from

Fast to Slow.

Settings of the tweeter

The parameters are the same as for the

woofer.

Overdrive input level

Higher values will increase the distortion.

L out

R out

MFX/IFX Parameters

2-Band EQ2-Band EQ

ChorusChorus

2-Band EQ2-Band EQ

FlangerFlanger

23 Chorus

This is a stereo chorus. A lter is provided so that you can adjust the timbre of the chorus sound.

Balance D

L in

Balance W

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: No lter is used.

Filter Type OFF, LPF, HPF

200, 250, 315, 400,

Cuto Freq

Pre Delay 0.0–100 [msec]

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Note

“Note” (p. 120)

LPF: Cuts the frequency range above the

Cuto Freq

HPF: Cuts the frequency range below the

Cuto Freq

Basic frequency of the lter

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

L out

R out

24 Flanger

This is a stereo anger (The LFO has the same phase for left and right.).

It produces a metallic resonance that rises and falls like a jet airplane taking o or landing.

A lter is provided so that you can adjust the timbre of the anged sound.

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: No lter is used.

Filter Type OFF, LPF, HPF

200, 250, 315, 400,

Cuto Freq

Pre Delay 0.0–100 [msec]

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Feedback -98–+98 [%]

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Note

“Note” (p. 120)

LPF: Cuts the frequency range above the

Cuto Freq

HPF: Cuts the frequency range below the

Cuto Freq

Basic frequency of the lter

Adjusts the delay time from the direct sound

until the anger sound is heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Adjusts the proportion of the anger sound

that is fed back into the eect. Negative (-)

settings will invert the phase.

Volume balance between the direct sound (D)

and the anger sound (W)

L out

R out

MFX/IFX Parameters

2-Band EQ2-Band EQ

Step FlangerStep Flanger

Hexa ChorusHexa Chorus

25 Step Flanger

This is a anger in which the anger pitch changes in steps.

The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: No lter is used.

Filter Type OFF, LPF, HPF

200, 250, 315, 400,

Cuto Freq

Pre Delay 0.0–100.0 [msec]

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Feedback -98–+98 [%]

(sync sw) OFF, ON

Step Rate

Step Rate (Hz) 0.10–20.00 [Hz]

Step Rate

(note)

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 [Hz]

Note

“Note” (p. 120)

Note

“Note” (p. 120)

LPF: Cuts the frequency range above the

Cuto Freq

HPF: Cuts the frequency range below the

Cuto Freq

Basic frequency of the lter

Adjusts the delay time from the direct sound until the anger sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Rate (period) of pitch change

Volume balance between the direct sound (D) and the anger sound (W)

L out

R out

26 Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

L in

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 [msec]

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Pre Delay Deviation 0–20

Depth Deviation -20–20

Pan Deviation 0–20

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

“Note” (p. 120)

Adjusts the delay time from the direct sound

until the chorus sound is heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Adjusts the dierences in Pre Delay between

each chorus sound.

Adjusts the dierence in modulation depth

between each chorus sound.

Adjusts the dierence in stereo location

between each chorus sound.

0: All chorus sounds will be in the center.

20: Each chorus sound will be spaced at 60

degree intervals relative to the center.

Volume balance between the direct sound (D)

and the chorus sound (W)

L out

Balance W

R out

MFX/IFX Parameters

Tremolo

Chorus

Tremolo

Chorus

2-Band EQ2-Band EQ

Space DSpace D

Amp SmlatorAmp Smlator

OverdriveOverdrive

2-Band EQ2-Band EQ

Amp SmlatorAmp Smlator

DistortionDistortion

2-Band EQ2-Band EQ

27 Tremolo Chorus

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

L in

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 [msec]

Chorus Rate

Chorus Rate (Hz) 0.05–10.00 [Hz]

Cho Note

(note))

Chorus Depth 0–127 Modulation depth of the chorus eect

Tremolo Rate

Tremolo Rate (Hz) 0.05–10.00 [Hz]

Tremolo Rate

Tremolo Separation 0–127 Depth of the tremolo eect

Tremolo Phase 0–180 [deg] Spread of the tremolo eect

Balance D100:0W–D0:100W

Level 0–127 Output Level

(sync sw) OFF, ON

(Chorus Rate

(sync sw) OFF, ON

(note)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Modulation frequency of the chorus eect

If this is ON, the rate synchronizes with the tempo of the rhythm.

Modulation frequency of the tremolo eect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

L out

Balance W

R out

“ TEMPO” (p. 52)

29 Overdrive

This is an overdrive that provides heavy distortion.

L in

R in

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

SMALL, BUILT-IN, 2-STACK, 3-STACK

Degree of distortion

Also changes the volume.

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

30 Distortion

This is a distortion eect that provides heavy distortion.

L in

R in

L out

Pan L

Pan R

R out

L out

Pan L

Pan R

R out

28 Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus eect.

Balance D

L in

Balance W

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 [msec]

(sync sw) OFF, ON

Rate

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

“Note” (p. 120)

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

L out

R out

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

SMALL, BUILT-IN, 2-STACK, 3-STACK

Degree of distortion

Also changes the volume.

Type of guitar amp

SMALL: Small amp

BUILT-IN: Single-unit type amp

2-STACK: Large double stack amp

3-STACK: Large triple stack amp

MFX/IFX Parameters

DistortionDistortion

ToneTone

DistortionDistortion

ToneTone

SpeakerSpeaker

Pre AmpPre Amp

31 T-Scream

This models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

L in L out

R outR in

Parameter Value Explanation

Distortion 0–127

Tone 0–127 Tonal character of the overdrive

Level 0–127 Output Level

Degree of distortion

Also changes the volume.

32 Guitar Amp Simulator

This is an eect that simulates the sound of a guitar amplier.

L in

R in

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

Type of guitar amp

JC-120 This models the sound of the Roland JC-120.

CLEAN TWIN This models a Fender Twin Reverb.

This models the sound input to left input on

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

Pre Amp Type

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

Pre Amp Volume 0–127 Volume and amount of distortion of the amp

Pre Amp Master 0–127 Volume of the entire pre-amp

Pre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortion

Pre Amp Bass

0–127 Tone of the bass/mid/treble frequency rangePre Amp Middle

Pre Amp Treble

Pre Amp Presence 0–127 Tone for the ultra-high frequency range

Pre Amp Bright OFF, ON

a Matchless D/C-30.

A simulation of the latest tube amp widely

used in styles from blues and rock.

This models the lead sound of the MESA/

Boogie combo amp.

The sound of a tube amp typical of the late

‘70s to ‘80s.

This models the sound input to Input I on a

Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on a

Marshall 1959.

This models the sound of connecting inputs I

and II on a Marshall 1959 in parallel. lt creates

a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the

typical sound of the eighties.

This models the lead channel of a Peavey

EVH5150.

This is distortion sound that is ideal for

performances of heavy ris.

This models the sound of the BOSS OD-1.

This produces sweet, mild distortion.

This is the high-gain overdrive sound of the

BOSS OD-2.

This gives a basic, traditional distortion

sound.

Turning this “On” produces a sharper and

brighter sound.

* This parameter applies to the “JC-120,” “CLEAN

TWIN,” “MATCH DRIVE,” and “BG LEAD” Pre Amp Types.

L out

Pan L

Pan R

R out

MFX/IFX Parameters

CompressorCompressor

2-Band EQ2-Band EQ

CompressorCompressor

2-Band EQ2-Band EQ

LimiterLimiter

2-Band EQ2-Band EQ

LimiterLimiter

2-Band EQ2-Band EQ

Parameter Value Explanation

Speaker Sw OFF, ON

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

Speaker Type

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

MTL STACK

2-STACK

3-STACK

Determines whether the signal passes through the speaker (ON), or not (OFF).

Diameter (in

Cabinet

Small open-back

enclosure

Small open-back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Sealed enclosure 12 x 2 Condenser

Large sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large double

stack

Large double

stack

Large triple stack 12 x 4 Condenser

inches) and

number of the

speaker

10 Dynamic

12 x 1 Dynamic

12 x 2 Dynamic

12 x 2 Condenser

12 x 4 Condenser

Adjusts the location of the microphone that is recording the sound of the speaker.

Mic Setting 1, 2, 3

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

Microphone

33 Compressor

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

L in L out

R outR in

Parameter Value Explanation

Attack 0–124

Release 0–124

Threshold -60–0 [dB]

Knee 0–30 [dB]

Ratio

1:1, 1.5:1, 2:1, 4:1, 16:1, INF:1

Post Gain 0–+18 [dB] Adjusts the output gain.

Level 0–127 Output Level

Sets the time from when the input exceeds

the Threshold until the volume starts being

compressed

Adjusts the time after the signal volume falls

below the Threshold Level until compression

is no longer applied.

Adjusts the volume at which compression

begins

This is a function that smooths the onset of

compression from the uncompressed state; it

gradually applies compression starting earlier

than Threshold. Higher values produce a

smoother transition.

Compression ratio

34 Limiter

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

L in L out

R outR in

Parameter Value Explanation

Release 0–127

Threshold 0–127

Ratio 1.5:1, 2:1, 4:1, 100:1 Compression ratio

Post Gain 0–+18 [dB] Adjusts the output gain.

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

Adjusts the time after the signal volume falls

below the Threshold Level until compression

is no longer applied.

Adjusts the volume at which compression

begins

MFX/IFX Parameters

SustainerSustainer

2-Band EQ2-Band EQ

SustainerSustainer

2-Band EQ2-Band EQ

GateGate

2-Band EQ2-Band EQ

DelayDelay

2-Band EQ2-Band EQ

DelayDelay

35 Sustainer

By compressing loud input and boosting low input, this eect keeps the volume consistent to produce a sustain eect without distortion.

L in L out

R outR in

Parameter Value Explanation

Adjusts the range in which a low input signal

Sustain 0–127

Attack 0–127 Time until the volume is compressed

Release 0–127 Time until compression is removed

Post Gain -15–+15 [dB] Adjusts the output gain.

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Level 0–127 Output Level

is boosted to a consistent volume.

Higher values produce longer sustain.

36 Gate

Cuts the reverb’s delay according to the volume of the sound sent into the eect. Use this when you want to create an articial-sounding decrease in the reverb’s decay.

L in L out

R outR in

Parameter Value Explanation

Threshold 0–127

Mode GATE, DUCK

Attack 0–127

Hold 0–127

Release 0–127

Balance D100:0W–D0:100W

Level 0–127 Output Level

Volume level at which the gate begins to close

Type of gate

GATE: The gate will close when the volume

of the original sound decreases, cutting the original sound.

DUCK (Duking): The gate will close when

the volume of the original sound increases, cutting the original sound.

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

Volume balance between the direct sound (D) and the eect sound (W)

37 Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

If this is ON, the rate synchronizes with the

(sync sw) OFF, ON

Delay Left

Delay Left (msec) 1–1300 [msec]

(note)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

NORMAL, INVERSE

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Delay Left

(note)

Delay Right (sync sw) OFF, ON

Delay Right (msec) 1–1300 [msec]

Delay Right

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback -98–+98 [%]

HF Damp

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the left delay sound is

heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the right delay sound is

heard.

Phase of left and right delay sound

NORMAL: Non-inverted

INVERT: Inverted

Selects the way in which delay sound is fed

back into the eect. (See the gures above.)

Adjusts the proportion of the delay sound

that is fed back into the eect. Negative (-)

settings will invert the phase.

Adjusts the frequency above which the delay

sound fed back to the eect is ltered out

(BYPASS: no cut).

Volume balance between the direct sound (D)

and the delay sound (W)

L out

R out

L out

R out

MFX/IFX Parameters

2-Band EQ2-Band EQ

DelayDelay

ModulationModulation

DelayDelay

ModulationModulation

2-Band EQ2-Band EQ

DelayDelay

ModulationModulation

DelayDelay

ModulationModulation

2-Band EQ2-Band EQ

Triple Tap

Delay

Triple Tap

Delay

38 Modulation Delay

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Balance W

Feedback

Balance W

R in

Balance D

Parameter Value Explanation

If this is ON, the rate synchronizes with the

(sync sw) OFF, ON

Delay Left

Delay Left (msec) 1–1300 [msec]

(note)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Note

“Note” (p. 120)

Delay Left

(note)

Delay Right (sync sw) OFF, ON

Delay Right (msec) 1–1300 [msec]

Delay Right

Feedback Mode NORMAL, CROSS

Feedback -98–+98 [%]

HF Damp

Rate

(sync sw) OFF, ON

Rate (Hz) 0.05–10.00 [Hz]

Rate

(note)

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the left delay sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the right delay sound is heard.

Selects the way in which delay sound is fed back into the eect. (See the gures above.)

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Frequency of modulation

Volume balance between the direct sound (D) and the delay sound (W)

L out

R out

L out

R out

39 3Tap Pan Delay

Produces three delay sounds; center, left and right.

Balance D

L in

Left Tap

Center Tap

Feedback

Right Tap

R in

Balance D

Parameter Value Explanation

If this is ON, the rate synchronizes with the

(sync switch) OFF, ON

Delay Left

Delay Left (msec) 1–2600 [msec]

(note)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Delay Left

(note)

Delay Right (sync switch) OFF, ON

Delay Right (msec) 1–2600 [msec]

Delay Right

Delay Center (sync sw) OFF, ON

Delay Center (msec) 1–2600 [msec]

Delay Center

Center Feedback -98–+98 [%]

HF Damp

Left Level 0–127

Center Level 0–127

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the left delay sound is

heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the right delay sound is

heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until the center delay sound

is heard.

Adjusts the proportion of the delay sound

that is fed back into the eect. Negative (-)

settings will invert the phase.

Adjusts the frequency above which the delay

sound fed back to the eect is ltered out

(BYPASS: no cut).

Volume of each delay soundRight Level 0–127

Volume balance between the direct sound (D)

and the delay sound (W)

Balance W

L out

R out

MFX/IFX Parameters

Quadruple

Tap Delay

Quadruple

Tap Delay

Multi Tap

Delay

Multi Tap

Delay

2-Band EQ2-Band EQ

40 4Tap Pan Delay

This eect has four delays.

Balance D

L in

Feedback

R in

2 3

Parameter Value Explanation

Delay 1 Time

Delay 1 Time (msec) 1–2600 [msec]

Delay 1 Time

Delay 2 Time (sync sw) OFF, ON

Delay 2 Time (msec) 1–2600 [msec]

Delay 2 Time

Delay 3 Time (sync sw) OFF, ON

Delay 3 Time (msec) 1–2600 [msec]

Delay 3 Time

Delay 4 Time (sync sw) OFF, ON

Delay 4 Time (msec) 1–2600 [msec]

Delay 4 Time

Delay 1 Feedback -98–+98 [%]

HF Damp

Delay 1 Level

Delay 2 Level

Delay 3 Level

Delay 4 Level

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

(sync sw) OFF, ON

Note

(note)

“Note” (p. 120)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

Note

“Note” (p. 120)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

0–127 Output level of Delays 1–4

Delay 1

Delay 2

Delay 3

Delay 4

Balance D

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until Delay 1 is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until Delay 2 is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time until Delay 3 is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time from the original sound until Delay 4 is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Volume balance between the direct sound (D) and the delay sound (W)

Balance W

L out

R out

41 Multi Tap Delay

This eect has four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

Balance D

L in

Feedback

Delay 1

Delay 2

Delay 3

Delay 4

Balance W

R in

Balance D

Parameter Value Explanation

If this is ON, the rate synchronizes with the Delay 1 Time

(sync sw) OFF, ON

Delay 1 Time (msec) 1–2600 [msec]

Delay 1 Time

(note)

Note

“Note” (p. 120)

Delay 2 Time (sync sw) OFF, ON

Delay 2 Time (msec) 1–2600 [msec]

Delay 2 Time

(note)

Note

“Note” (p. 120)

Delay 3 Time (sync sw) OFF, ON

Delay 3 Time (msec) 1–2600 [msec]

Delay 3 Time

(note)

Note

“Note” (p. 120)

Delay 4 Time (sync sw) OFF, ON

Delay 4 Time (msec) 1–2600 [msec]

Delay 4 Time

(note)

Note

“Note” (p. 120)

Delay 1 Feedback -98–+98 [%]

200, 250, 315, 400, 500, 630, 800, 1000, 1250,

HF Damp

1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS [Hz]

Delay 1 Pan

Delay 2 Pan

Delay 3 Pan

L64–63R Stereo location of Delays 1–4

Delay 4 Pan

Delay 1 Level

Delay 2 Level

Delay 3 Level

0–127 Output level of Delays 1–4

Delay 4 Level

Low Gain -15–+15 [dB] Gain of the low range

High Gain -15–+15 [dB] Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time from the original sound until

Delay 1 is heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time from the original sound until

Delay 2 is heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time from the original sound until

Delay 3 is heard.

If this is ON, the rate synchronizes with the

tempo of the rhythm.

“ TEMPO” (p. 52)

Adjusts the time from the original sound until

Delay 4 is heard.

Adjusts the proportion of the delay sound

that is fed back into the eect. Negative (-)

settings will invert the phase.

Adjusts the frequency above which the delay

sound fed back to the eect is ltered out

(BYPASS: no cut).

Volume balance between the direct sound (D)

and the eect sound (W)

L out

R out

100

Roland MC-707 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Panel Descriptions

Top Panel

Introduction

Turning the MC-707 On

An Overview of the MC-707

What Is a Project?

What Is a Track?

What Is a Clip?

What Is the Browser?

USER SAMPLE

Basic Operation

Loading and Playing a Project

Changing the Clips that Play

Selecting a Tone or Drum Kit

Importing a Clip

Main Screen

HOME Screen

Selecting a Clip

Project Operations

What Is a Project?

Loading a Project

Managing Projects

Creating a New Project

Making Project Settings

Saving a Project

Track Operations

Creating a Track

Making Track Settings

Using Mute Mode

Using Clip Mode

Switching Clips

Using Cue Mode

Making Clip Mode Settings

Using Note Mode

Playing

DRUM PAD MUTE

Using Chord Mode

Playing

Editing a Chord

Making Note Mode Settings

Scatter Mode

Making Scatter Settings

Loading a Preset Sound

Loading from a Project on the SD Card

Loading Samples from the SD Card

Step-Recording a Phrase

Tone Track

Changing the Measure Settings

Editing the Notes of Each Step

Drum Track: TR-REC

Increasing the Measures

Track Pad Mute

Editing the Steps

Clip Pad Mute

Specifying the Last Step and First Step

Specifying the Last Step

Specifying the First Step

Deleting the First Step and Last Step

Recording

Recording a Performance to a Tone or Drum Track

Recording Audio on a Looper Track

Quantize

Enabling Quantize During Recording

Specifying Playback Quantization

Recording Motion

Deleting Motion

Editing Motion

Saving and Recalling a Scene

Recalling a Scene

Storing a Scene

Using the [FX PRM] [FX DEPTH] Knobs and the [ON] Button to Select the Target of Operation

Editing Reverb or Delay

Editing MFX/COMP/EQ

Changing the Knob Assignments

SCATTER