Roland MC-909 User Manual

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual pp. 3–4), and “IMPORTANT NOTES” (Owner’s Manual p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start and Owner’s Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Owner’s Manual

Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.

201b

Convention Used in This Manual

• Words enclosed in square brackets indicate buttons or a dial or a knob or a slider on the panel.

• (p. **) indicates a reference page.

985

* The explanations in this manual include illustrations that depict what should typically be shown by the

display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

202

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Unplug this apparatus during lightning storms or when unused for long periods of time.

13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE: BROWN:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

NEUTRAL LIVE

USING THE UNIT SAFELY

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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002b

• Do not open or perform any internal modifications on the unit. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 142, p. 144, p. 146, and p. 148.)

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003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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007

• Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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008a (Modified)

• The unit should be connected to a power source only of the type described in the operating instructions, or as marked on the bottom of the unit.

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The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

008e

• Use only the attached power-supply cord.

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009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012a

• Immediately turn the power off, remove the power cord from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The power-supply cord, or the plug has been

damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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014

• Protect the unit from strong impact.

(Do not drop it!)

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015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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022a

• Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SRX series/DIMM; p. 16).

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026

• Do not put anything that contains water (e.g., flower vases) on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.

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101a

• The unit should be located so that its location or position does not interfere with its proper ventilation.

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102b

• Always grasp only the plug on the power-supply cord when plugging into, or unplugging from, an outlet or this unit.

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103a:

• At regular intervals, you should unplug the power plug and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

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104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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106

• Never climb on top of, nor place heavy objects on the unit.

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107b

• Never handle the power cord or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

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108a

• Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices.

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109a

• Before cleaning the unit, turn off the power and unplug the power cord from the outlet (p. 16).

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110a

• Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet.

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115a

• Install only the specified circuit board (SRX series). Remove only the specified screws (p. 142, p. 144, p. 146, and p. 148).

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118

• Should you remove screws, make sure to put them in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

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IMPORTANT NOTES

291b

In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

308

• Although the LCD and LEDs are switched off when the POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cord’s plug should be one that is within easy reach and readily accessible.

Placement

351

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352a

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

352b

• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a memory card, or in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory, a memory card, or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

557

• A small amount of heat will radiate from the unit during normal operation.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

IMPORTANT NOTES

Before Using Memory Cards

Using Memory Cards

704

• Carefully insert the Memory card all the way in—until it is firmly in place.

705

• Never touch the terminals of the Memory card. Also, avoid getting the terminals dirty.

Installing the card protector

The MC-909 provides a card protector to prevent theft of the memory card. To install the card protector, use the following procedure.

851

• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a third party is prohibited by law.

852b

• When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subjected to some of the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyrightprotection feature.)

853

• Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

Use a screwdriver to remove both screws that are at either side of the memory card slot.

Insert the memory card into the memory card slot.

Use the screws to fasten the card protector as shown below.

Card protector

Side view

204

* Microsoft and Windows are registered trademarks of

Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft®

Windows® operating system.”

207

* Apple and Macintosh are registered trademarks of Apple

Computer, Inc.

209

* Mac OS is a trademark of Apple Computer, Inc.

230

* SmartMedia is a trademark of Toshiba Corp.

USING THE UNIT SAFELY......................................................................3

IMPORTANT NOTES ...............................................................................5

Features of the MC-909 ........................................................................13

Panel Descriptions................................................................................14

Top Panel...................................................................................................................................................14

Rear Panel.................................................................................................................................................. 15

Getting Ready........................................................................................16

Making Connections ................................................................................................................................ 16

Turning On/Off the Power..................................................................................................................... 16

An Overview of the MC-909..................................................................17

Basic structure of the MC-909................................................................................................................. 17

The sound generator section .......................................................................................................17

The sequencer section...................................................................................................................17

The controller section ...................................................................................................................18

The sampler section ......................................................................................................................18

Adjusting the display contrast................................................................................................................ 18

Editing a value .......................................................................................................................................... 18

Quickly changing a value ............................................................................................................18

Saving your data....................................................................................................................................... 18

Regarding the locations where samples are stored............................................................................. 19

Restoring the factory settings (Factory Reset)...................................................................................... 20

Pattern Mode ............................... 21

How Things Work (in Pattern mode) ...................................................22

Playing a pattern ...................................................................................24

Basics of pattern play............................................................................................................................... 24

Basic playback operation ............................................................................................................. 24

Selecting a pattern to play back ..................................................................................................24

Changing the BPM (Tempo)........................................................................................................25

Turning the metronome (click) on/off....................................................................................... 25

Muting (silencing) a part.............................................................................................................. 26

Velocity pads............................................................................................................................................. 27

Pattern Call..................................................................................................................................... 27

RPS ..................................................................................................................................................28

Arpeggiator.................................................................................................................................... 30

Chord Memory.............................................................................................................................. 32

Realtime Modify section.......................................................................................................................... 33

Selecting the part whose sound you want to modify .............................................................. 33

Part Mixer .................................................................................................................................................. 33

Mix In .........................................................................................................................................................34

Directly outputting the sound of an external device ............................................................... 34

Playing various pitches using the sound of an external device ............................................. 34

Selecting the input source device................................................................................................ 34

D Beam Controller.................................................................................................................................... 35

SOLO SYNTH................................................................................................................................ 35

CUT + RESO (Cutoff + Resonance) ............................................................................................ 35

TURNTABLE ................................................................................................................................. 35

ASSIGNABLE (Other applications)............................................................................................ 35

Contents

Turntable emulation................................................................................................................................. 36

Auto Sync................................................................................................................................................... 36

Effects ......................................................................................................................................................... 36

Mastering................................................................................................................................................... 36

Recording a pattern ..............................................................................37

Realtime recording ................................................................................................................................... 37

Recording procedure .................................................................................................................... 38

Rehearsal ........................................................................................................................................38

Realtime Erase ...............................................................................................................................39

Recording Cancel ..........................................................................................................................39

TR-REC....................................................................................................................................................... 39

Recording procedure .................................................................................................................... 40

About the timing scale.................................................................................................................. 40

Step recording........................................................................................................................................... 41

Recording procedure .................................................................................................................... 41

Tempo/mute recording........................................................................................................................... 42

Pattern editing.......................................................................................43

Basic procedure for pattern editing ....................................................................................................... 43

Extract a Rhythm Instrument...................................................................................................... 44

Pattern Copy .................................................................................................................................. 44

Erase................................................................................................................................................ 45

Delete Measure.............................................................................................................................. 45

Insert Measure ............................................................................................................................... 45

Transpose .......................................................................................................................................45

Change Velocity/Change Duration ...........................................................................................45

Shift Clock ...................................................................................................................................... 45

Data Thin........................................................................................................................................ 46

Edit Quantize................................................................................................................................. 46

Reclock............................................................................................................................................ 47

Microscope ................................................................................................................................................ 48

Basic procedure in the Microscope............................................................................................. 48

Performance data that can be edited in the Microscope ......................................................... 48

Inserting performance data (Create) .......................................................................................... 49

Erasing performance data (Erase)............................................................................................... 49

Moving performance data (Move).............................................................................................. 49

Copying performance data (Copy)............................................................................................. 49

Editing a system exclusive message........................................................................................... 49

Saving a pattern ....................................................................................50

Patch/Sample Mode .....................51

How Things Work (in Pattern mode) ...................................................52

Patch Edit ..............................................................................................54

How a Patch Is Organized ......................................................................................................................54

How a Tone Is Organized............................................................................................................ 54

Tips for Creating a Patch......................................................................................................................... 54

Selecting a patch/rhythm set.................................................................................................................. 55

Selecting from a list.......................................................................................................................55

Selecting directly ........................................................................................................................... 55

Selecting the Tone(s) That Will Sound ..................................................................................................56

Contents

Patch editing procedure ..........................................................................................................................56

Editing from the Panel Knobs ..................................................................................................... 56

Detailed Editing............................................................................................................................. 56

Selecting a Tone to Edit................................................................................................................ 56

Rhythm Edit...........................................................................................70

How Percussion Instruments Are Organized ...................................................................................... 70

Selecting the Wave(s) That Will Sound................................................................................................. 70

Rhythm editing procedure...................................................................................................................... 70

Selecting the rhythm tone to edit................................................................................................ 70

Selecting the wave that you want to edit................................................................................... 70

Saving a Patch/Rhythm Set .................................................................77

Copying and Initializing a Patch/Rhythm Set.....................................78

Copying a Patch Tone.............................................................................................................................. 78

Initializing a Patch....................................................................................................................................78

Copying a Rhythm Tone (Key)............................................................................................................... 78

Initializing a Rhythm Set......................................................................................................................... 78

Song Mode................................... 79

How Things Work (in Song mode) ......................................................80

Playing songs........................................................................................82

Basic playback operation ............................................................................................................. 82

Song Reset ......................................................................................................................................82

Selecting a song to play................................................................................................................ 82

Changing the BPM or mute status.............................................................................................. 82

Recording a song..................................................................................83

Editing the setup parameters ......................................................................................................83

Song editing ..........................................................................................84

Clear All Steps ...............................................................................................................................84

Delete Step...................................................................................................................................... 84

Insert Step....................................................................................................................................... 84

Song Copy ...................................................................................................................................... 84

Saving a song........................................................................................85

Effects .......................................... 87

Effects ....................................................................................................88

Effect on/off.............................................................................................................................................. 88

Effect settings ............................................................................................................................................ 88

Effect connection (Effect Routing) ..............................................................................................88

Compressor.................................................................................................................................... 89

Multi-effects ................................................................................................................................... 90

Reverb............................................................................................................................................. 90

Realtime control of effects....................................................................................................................... 91

Selecting the effect that you want to control............................................................................. 91

Contents

Multi-Effects List ...................................................................................92

Multi-Effects Types ..................................................................................................................................92

Multi-Effects Parameters......................................................................................................................... 92

Mastering effect ..................................................................................108

Sampling.................................... 109

How Things Work (in Sampling mode) .............................................110

Sampling procedure ...........................................................................112

Sampling.................................................................................................................................................. 112

Resampling.............................................................................................................................................. 112

Mix Sampling.......................................................................................................................................... 112

Auto Divide Sampling........................................................................................................................... 112

Solo Sampling .........................................................................................................................................112

Dividing a sample during sampling ........................................................................................113

Sample Edit .........................................................................................114

Basic sample editing procedure ...........................................................................................................114

Zoom In/Out...............................................................................................................................114

Setting the start/end points of the sample ......................................................................................... 115

Sample List .............................................................................................................................................. 115

Sample Parameters................................................................................................................................. 116

Truncate ................................................................................................................................................... 117

Create Patch............................................................................................................................................. 117

Chop ......................................................................................................................................................... 118

Procedure for dividing a sample ..............................................................................................118

Automatically dividing a sample (Auto Chop)...................................................................... 118

Auditioning the divided samples............................................................................................. 119

Create Rhythm........................................................................................................................................ 119

Emphasis.................................................................................................................................................. 120

Combine...................................................................................................................................................120

Edit Time Stretch .................................................................................................................................... 121

Normalize................................................................................................................................................121

Amp.......................................................................................................................................................... 122

Saving a sample..................................................................................123

Menu (in Sample Edit) ........................................................................124

Using the menu....................................................................................................................................... 124

Loading a sample ........................................................................................................................ 124

Loading all samples .................................................................................................................... 124

Importing WAV/AIFF data ...................................................................................................... 124

Deleting a sample........................................................................................................................ 124

Erasing a sample ......................................................................................................................... 124

Contents

Menu .........................................125

System .................................................................................................126

Panel/Controller .................................................................................................................................... 127

Sequencer/MIDI.....................................................................................................................................127

Sound ....................................................................................................................................................... 129

Sampling.................................................................................................................................................. 129

D Beam..................................................................................................................................................... 130

System Information................................................................................................................................ 130

Utility ....................................................................................................131

Import SMF ............................................................................................................................................. 131

Save As SMF............................................................................................................................................ 132

Import WAV/AIFF ................................................................................................................................132

Factory Reset ........................................................................................................................................... 132

User Backup ............................................................................................................................................132

User Restore ............................................................................................................................................132

MIDI ......................................................................................................133

File Utility.............................................................................................134

Initializing a memory card (Format) ...................................................................................................134

Deleting a file (Delete) ...........................................................................................................................134

Moving a file (Move).............................................................................................................................. 134

Copying a file.......................................................................................................................................... 134

USB ......................................................................................................135

USB communication procedure ...........................................................................................................135

Canceling USB communication................................................................................................. 135

Cautions Regarding Folders and Files ................................................................................................135

Undo/Redo...........................................................................................136

V-LINK .......................................137

About V-LINK.......................................................................................138

What is V-LINK? ....................................................................................................................................138

Connection examples............................................................................................................................. 138

Using V-LINK ......................................................................................................................................... 138

Turning V-LINK on ....................................................................................................................138

Turning V-LINK off.................................................................................................................... 138

V-LINK settings......................................................................................................................................139

Resetting the image..................................................................................................................... 139

Contents

Appendices ................................141

Installing the Wave Expansion Board...............................................142

Cautions When Installing a Wave Expansion Board ........................................................................142

How to Install a Wave Expansion Board ............................................................................................ 142

Checking that a wave expansion board is installed correctly.......................................................... 143

Installation de la carte d’extension Wave

(French language for Canadian Safety Standard) ...........................144

Précautions à prendre lors de l’installation d’une carte d’expansion Wave .................................144

Installation d’une carte d’expansion Wave ........................................................................................144

Vérifier que la carte d’expansion Wave est installée correctement................................................. 145

Expanding the Memory ......................................................................146

Precautions for Expanding Memory ................................................................................................... 146

How to Expand the Memory ................................................................................................................ 146

Removing the Memory............................................................................................................... 147

Checking that memory is installed correctly...................................................................................... 147

Ajouter de la mémoire

(French language for Canadian Safety Standard) ...........................148

Précautions à prendre lors de l’ajout de mémoire............................................................................. 148

Installation du module de mémoire ....................................................................................................148

Retrait du module de mémoire................................................................................................. 149

Vérifier que la mémoire est installée correctement ........................................................................... 149

Waveform List .....................................................................................150

Preset Patch List.................................................................................151

Preset Rhythm Set List.......................................................................154

Preset Pattern List ..............................................................................158

RPS Pattern List..................................................................................160

RPS Set List.........................................................................................162

Song List..............................................................................................165

Arpeggio Style List .............................................................................166

Chord Form List ..................................................................................167

SRX-05 Special Patch List..................................................................168

SRX-05 Special Rhythm Set List .......................................................169

MIDI Implementation Chart ................................................................170

Index.....................................................................................................172

Specifications......................................................................................175

Error Message List..............................................................................177

Features of the MC-909

Cutting-edge groovebox that unifies MIDI and sampling

In a single unit, the MC-909 delivers the power of a conventional groovebox (an all-in-one synthesizer and sequencer) plus a full-fledged sampler. It’s a new generation of workstation that gives you everything you need to perfect your music.

Built-in mastering functionality

A three-band compressor is built-in, letting you apply the mastering operations that are the indispensable final step in music production. The output of the MC-909 can be recorded directly to CD or MD.

Sample synthesis

Waveforms sampled by the MC-909 or loaded from an external source can be freely manipulated using the filter, LFO, and effects in the same way as the internal preset waveforms.

Full-fledged sampler

The high-performance 44.1 kHz sampler provides five sampling modes for various situations. You can sample external analog or digital input sources, or resample the internal sounds. The full range of editing functions includes Time Stretch and Chop.

Memory can be expanded to a maximum of 256 MB by adding DIMM modules. When added to the internal 16 MB of RAM (approximately 3 minutes of monaural sampling), this gives you up to 272 MB (approximately 51 minutes of monaural sampling).

High-performance synthesizer sound generator

Features Roland's latest high-performance synthesizer sound generator, with 800 patches and 64 rhythm sets that are based on new waveforms created especially for the MC-909.

You can also install one wave expansion board (SRX series) to increase the waveforms available to you when the need arises. In particular, installing the SRX-05 “Supreme Dance” board will let you use special patches and rhythm sets created specifically for the MC-909.

Plenty of external interfaces

The MC-909 provides a USB connector for file transfer with your computer. Waveform data files in .WAV or .AIFF formats and SMF-format sequence data can be imported or exported between the MC-909 and your computer with the click of a mouse, as easily as if you were using an external drive.

Highly evolved turntable emulation, and dual D Beam controllers

By automatically time-stretching a sample according to the sequencer playback tempo, you can maintain playback synchronization between the sequencer and samples. This lets you use the turntable emulation slider to control the sequencer and sample BPM in real time. You can also specify the variable range of the slider.

In addition, the MC-909 features dual D Beam controllers, located at the left and right of the panel. This gives you the capability for special effects that have never been possible until now.

Easy creation of original patterns

With a large LCD, knobs and a mixer section that can be operated at any time to modify the sound directly, and newly developed velocity pads, the MC-909 is an ideal recording environment. You can use realtime, TR-REC, and step recording methods, and manipulate your music with editing functionality that goes well beyond previous grooveboxes.

The sequencer has also been upgraded, letting you create 16part patterns that are up to 998 measures long. SMF Convert Load/Save functions ensure easy data exchange with other sequencers.

Two multi-effects, a compressor, and reverb

The two independent MFX units (multi-effects: MFX1 provides 38 types, MFX2 provides 47 types) provide a complete array of effects that are ready to go whenever you need them. In particular, MFX2 can produce long delays of up to four seconds. The two-band compressor is a great way to power-up rhythm instruments such kick drum. The acclaimed reverb from the XV series is also provided.

MC-909

An Overview of the

The latest patterns for creative use and immediate performance

For immediate playing or for use in your own compositions, the MC-909 provides 215 preset patterns and 440 different RPS patterns, covering a broad range of current dance styles, including techno, trance, house, hiphop, and R&B.

V-LINK function

V-LINK ( ) is a function that provides for the play of music and visual material. By using V-LINK-compatible video equipment, visual effects can be easily linked to, and made part of the expressive elements of a performance. By connecting the MC-909 to the Edirol DV-7PR, you can switch images in synchronization with music, or use the MC-909’s knobs to control the brightness, color, or playback speed of the images.

Panel Descriptions

Top Panel

fig.0-01

1. D Beam Controllers

You can modify the patterns or sounds by passing your hand over these (p. 35).

2. Volume Section

Adjusts the output volume of the entire MC-909, and the input volume to the MC-909.

3. Realtime Modify Section

Modifies the tone (p. 33).

4. Mastering Section

Applies a mastering effect (compressor) (p. 108).

5. Velocity Pads

Used as a keyboard to play sounds or trigger phrases (p. 27).

6. Function Buttons

Access the screens for the functions shown in the bottom line of the screen.

7. Part Mixer Section

Adjusts the volume and pan for each part in the pattern (p. 33).

8. Sampling Section

Records external sounds into the MC-909 as waveforms, and processes them (p. 109).

9. Effect Section

Applies special effects to the sound (p. 88).

10. Mode Section

Selects Song mode (p. 79), Pattern mode (p. 21), or Patch/Sample mode (p. 51).

The button of the currently selected mode will light.

11. Cursor/Value Section

Used to select patterns or patches, and to input values (p. 18).

12. Sequencer Section

Used to play/record patterns or songs (p. 24, p. 82).

13. Turntable Emulation

Simulates the effect of changing the rotational speed of a turntable (p. 36).

14. TAP Button

Adjusts the BPM (tempo) according to the timing at which you tap this button (p. 25).

15. V-LINK Button

Switches V-LINK (p. 137) on/off.

16. SmartMedia card slot

Insert a SmartMedia card (3.3V, maximum 128 MB) here.

Rear Panel

fig.0-02

1 1011 2 3 4 6 785 9

Panel Descriptions

MC-909

An Overview of the

1. POWER Switch

Turns the MC-909’s power on and off (p. 16).

2. AC Inlet

Connect the included power cable here (p. 16).

The unit should be connected to a power source only of the type marked on the bottom of the unit.

3. USB Connector

This connector lets you use a USB cable to connect your computer to the MC-909 (p. 135).

4. MIDI Connectors (IN, OUT)

These connectors connect the MC-909 with other MIDI devices, enabling the sending and receiving of MIDI messages (p. 16).

•

IN:

This connector receives messages from another MIDI device.

•

OUT:

This connector transmits messages to another MIDI

device.

5. Digital Audio Interface

These are optical-type and coaxial-type S/P DIF format digital in/ out connectors.

S/P DIF:

The digital output connectors output the same audio signal as is output from the MIX OUTPUT jacks.

A digital interface format used in consumer digital audio devices.

6. INPUT Jack

Accept input of audio signals in stereo (L/R) from external devices. If you want to use mono input, connect to the L jack.

7. MIX OUTPUT Jacks

These jacks output stereo (L/R) audio signals to your amp or mixer. If you want to use mono output, connect to the L jack.

8. DIRECT 1 OUTPUT Jacks

The sound of the part/patch/rhythm set/tone/rhythm tone whose Output Assign (p. 88, p. 89, and p. 90) you set to “DIR1” is output in stereo (L/R) from these jacks to your amp or mixer. If you want to use mono output, connect to the L jack.

9. DIRECT 2 OUTPUT Jacks

The sound of the part/patch/rhythm set/tone/rhythm tone whose Output Assign (p. 88, p. 89, and p. 90) you set to “DIR2” is output in stereo (L/R) from these jacks to your amp or mixer. If you want to use mono output, connect to the L jack.

10. PHONES Jack

Headphones are plugged in here (p. 16).

11. Ground Terminal

927

Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

When recording from a mic, connect it to the L jack, and set Input Select (p. 34) to “MICROPHONE.”

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in fire or explosion)

• Telephone-line ground or lightning rod (may be dangerous in the event of lightning)

Getting Ready

Mixer, etc.

Power amp

Speaker

(with built-in Amp)

MIDI IN

MIDI OUT

Stereo set, etc.

Stereo headphones

Make connections to the MIX OUTPUT jacks

External MIDI device (MIDI Keyboard, Sequencer, etc.)

to Power outlet

Making Connections

The MC-909 is not equipped with an internal amp or speakers. To hear sound, you will need to connect it to a keyboard amp or audio system, or connect headphones. Refer to the following figure when connecting the MC-909 with external devices.

* To prevent malfunction and/or damage to speakers or other devices,

always turn down the volume, and turn off the power on all devices before making any connections.

fig.Connect.e

Turning On/Off the Power

* Once the connections have been completed (p. 16), turn on power to

Before making any connections, confirm that power to all devices has been turned off.

Connect the AC power cord included with the MC-909 to the unit, then plug the other end into a power outlet.

your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

Make sure that all volume controls on the MC-909 and connected devices are set to “0.”

Turn on the device connected to the INPUT Jacks.

Turn on the MC-909’s POWER switch.

Turn on the devices connected to the OUTPUT Jacks.

Connect audio and MIDI cables as shown in the diagram. If connecting headphones, plug the headphones into the PHONES jack.

Adjust the volume levels for the devices.

* This unit is equipped with a protection circuit. A brief interval (a few

seconds) after power up is required before the unit will operate normally.

Turning Off the Power

Before switching off the power, lower the volume on each of the devices in your system and then TURN OFF the devices in the reverse order to which they were switched on.

* If you need to turn off the power completely, first turn off the POWER

switch, then unplug the power cord from the power outlet. Refer to

Power Supply

(p. 5).

An Overview of the MC-909

Basic structure of the MC909

This section provides an overview of the sequencer section, sound generator section, controller section, and sampler section, which make up the main parts of the MC-909.

fig.0-03.e

Sampling

Sampler Section

Sequencer Section

Recording

Controller (Velocity Pad, Knob, etc.)

PLAY

The sound generator section

This is the section that actually generates the sound. It produces sounds in response to data received from the MC-909’s Controller or Sequencer sections. You can also play the sound generator by sending it performance data from an external MIDI device.

Since the sound generator section of the MC-909 is able to play up to 64 notes simultaneously, it can easily handle multiple parts.

Song

Two or more patterns connected in the order of playback are called a song.

In one song, you can register up to 50 patterns in the desired order of playback.

Sound Generator Section

Velocity Pad Play

Rhythm set

A rhythm set assigns a separate instrumental sound to each note of the keyboard. These instrumental sounds are not played as a scale. The MC-909 provides 64 preset rhythm sets.

(Example)

fig.0-04

SNARE

HI-HATCLAP

KICK

Tones

Tones are the raw materials of sound that are combined to create a patch. The MC-909 provides 693 different waveforms, and two waveforms can be assigned to each tone. (Waveforms can be assigned in stereo; one for L and one for R.)

You can install separately sold wave expansion boards (SRX series) to add more waveforms, and sounds that you sample can also be used as waveforms.

Effects

Effects let you apply a variety of special effects to patches or rhythm sets. You can use four effects simultaneously: compressor (an effect that makes the sound more consistent), reverb (which adds reverberation), and two multi-effects (each selectable from 47 types such as equalizer, overdrive, and delay).

TOM CYMBALRIM

The sequencer section

sequencer

can play back the performance data that was recorded. The MC-909 is a sequencer that plays back patterns and adds

changes to the playback method. This type of sequencer is referred to as a

is a device that records musical performance data, and

pattern sequencer

MC-909

An Overview of the

Pattern

A pattern is 1–998 measures of performance data consisting of sounds (patches or rhythm sets) for up to 16 parts.

The MC-909 provides 215 different preset patterns.

Part

A part corresponds to a single musician in a band or orchestra. Since the MC-909 has sixteen parts, you can use sixteen different patches or rhythm sets to play as many as sixteen performances simultaneously.

Patch

A patch corresponds to a single instrument such as a piano or guitar. A patch consists of up to four “tones.” The MC-909 provides 800 different patches, and you can enjoy an enormous variety of sounds simply by choosing from these patches.

Recording/playing a performance

The MC-909 comes with 215 previously prepared patterns (

preset patterns

easily. You can also create your own original patterns, either by

modifying preset patterns or by creating a pattern from scratch.

). These preset patterns can be played back

Simultaneous playback of multiple parts

The MC-909 is able to play multiple sounds (patches) simultaneously. For example, with the following part configuration, you can simultaneously play drums, bass, piano and guitar; and the resulting performance will sound like a band.

Part 1 Part 2 Part 3 Part 10

Guitar Bass Piano Rhythm (Drum) Set

An Overview of the MC-909

Editing performance data

Unlike a cassette tape or MD, a sequencer records a performance as musical data (not as sound). It’s easy to edit the performance data to create your own original patterns.

The controller section

The “controllers” of the MC-909 are its velocity pads, D Beam controllers, and the panel knobs and sliders. By operating these controllers you can modify the performance and sound in various ways.

Velocity pads

These pads function just like a music keyboard. They are also used to trigger RPS (p. 28) and the arpeggiator (p. 30). Normally, pad number 2 will be C4. The force with which you strike a pad will control the velocity (dynamics) of the note.

D Beam controllers

By passing your hand over these controllers you can play or modify sounds (p. 35).

Turntable emulation

These buttons and slider allow realtime synchronized performance with sound sources such as a turntable, assisting you with DJ performance (p. 36).

Realtime modify knobs

These knobs and sliders give you realtime control over sound parameters such as filter cutoff frequency and resonance or LFO speed.

The sampler section

A sampler is a device that captures sounds from a wave file or an external source such as a CD.

On the MC-909, a sampled sound can be handled just like an internal waveform of the sound generation section; you can change the pitch of the sampled sound, apply a filter to it, or modify its envelope.

Adjusting the display contrast

Use the [LCD CONTRAST] knob located at the right of the display to adjust the contrast.

Turn the knob toward the right to darken the screen, or toward the left to lighten it.

Editing a value

Use the [VALUE] dial to make large changes in a value, or use the [INC]/[DEC] buttons to change a value in steps of one. Your changes will affect the value that is displayed in white characters within a black frame in the screen. This location is called the “cursor.” If a screen contains more than one value that can be edited, use the [CURSOR] buttons to move the cursor to the value you want to edit.

Quickly changing a value

• If you hold down [SHIFT] while you turn the [VALUE] dial, the value will change more rapidly.

Key Repeat function

• The value will continue changing if you press and hold [INC] or [DEC].

• The cursor will continue moving if you press and hold a [CURSOR] key.

Turbo Repeat function

• The value will increase rapidly if you hold down [INC], then press and hold [DEC].

• The value will decrease rapidly if you hold down [DEC], then press and hold [INC].

• The cursor will move rapidly if you hold down a [CURSOR] button and then press the opposite [CURSOR] button.

Saving your data

After editing settings or recording a performance, you must save your data if you want to keep the results. If you turn off the power without saving, your settings or recorded performance will be lost.

For details on saving your data, refer to the following pages.

•

Saving a pattern

•

Saving a Patch/Rhythm Set

•

Saving a song

•

Saving a sample

•

Saving a Pattern Set

•

Saving an RPS set

•

Saving an arpeggio style

•

Saving a chord form

Saving takes several seconds. Do not turn off the power until saving is completed. Doing so may cause the MC-909 to malfunction.

(p. 50)

(p. 77)

(p. 85)

(p. 123)

(p. 27)

(p. 30)

(p. 32)

(p. 33)

An Overview of the MC-909

Regarding the locations where samples are stored

The MC-909 can use two types of memory; sample memory and DIMM whose contents are lost when you turn off the power, and user area and memory card whose contents are preserved even when the power is off.

When shipped from the factory, the MC-909 has 16 MB of sample memory and 16 MB of user area. By adding a DIMM module you can expand the sample memory to a maximum of 272 MB (if a 256 MB DIMM is used).

The user area can hold up to 16 MB, but by using a memory card you can store a maximum of 128 MB in addition to the user area.

When you record a sample on the MC-909 or play a patch that uses a sample, the sample is

loaded into sample memory (including the DIMM). However when you turn off the power,

the contents of the sample memory and DIMM will be lost. This means that if you want to

keep the sample, you must use the Write operation to save it in the user area or on a

memory card.

MC-909

An Overview of the

fig.SampleMem-e

When managing data from your computer or from the MC-909’s Utility menu, you can manage only the data located in the user area or the memory card. You cannot manage data that is located in sample memory or DIMM.

MC-909

Factory-installed

memory

Expandable

memory

For sampling and playback

(contents disappear when powered-off)

Be aware that because of this, the MC-909 can play samples larger than 128 MB, but

samples larger than 128 MB

Sample memory

16MB

DIMM

128 or 256MB

User area

16MB

USB

Memory

card

8–128MB

Computer

For saving and transfer to/from computer

(contents preserved even when powered-off)

cannot save

An Overview of the MC-909

Restoring the factory settings (Factory Reset)

Here’s how to restore the settings of the MC-909 to their factory-set state.

When you execute Factory Preset, the data of the internal user memory will be lost. If the internal memory of the MC-909 contains data that you want to keep, you must save it on SmartMedia or via USB to your computer.

Never turn off the power while Factory Reset is being executed. Doing so may destroy the contents of memory.

Press [ENTER] to access the Utility menu.

fig.0-06

Press [F4 (Factory Reset)].

A warning message will appear.

fig.0-07

Press [MENU].

Use [CURSOR] to select “Utility.”

fig.0-05

To execute a Factory Reset, press [F6 (Execute)].

The Factory Reset will be carried out.

* If you decide not to proceed with the reset, press [F5 (Cancel)].

When the screen indicates “Please Power Off,” turn the power off, then on again.

Pattern Mode

In this mode you can play, record, and edit patterns.

Pattern Mode

How Things Work (in Pattern mode)

fig.0-01

When you press the Mode section indicator will light and the MC-909 will be in Pattern mode.

In Pattern mode, the various parts of the panel will perform the following functions.

1. D Beam controllers

Pass your hand over these to modify the pattern (p. 35).

[PATTERN] button

, the button’s

[BEAM 1 ON]

[BEAM 2 ON] Turns the right D Beam controller

[TWIN D BEAM ASSIGN] Selects the function of the D Beam

2. Volume section

[OUTPUT] Adjusts the output volume of the MIX OUT jacks

and the headphone.

[INPUT] Adjusts the input volume from the INPUT jacks.

Turns the left D Beam controller (BEAM 1) on/off.

(BEAM 2) on/off.

controller.

3. Realtime Modify section

These controls modify the sound (p. 33).

4. Mastering section

[ON] Switches the mastering effect (compressor) on/off. [BAND] Selects the frequency band to adjust. [ATTACK] Specify the time from when the volume goes up

the threshold level until the compressor effect applies.

[RELEASE] Specify the time from when the volume falls below

the threshold level until the compressor effect no longer applies.

5. Velocity pads

Use these pads as a keyboard to play sounds or trigger phrases (p.

27).

6. Function buttons

These buttons access the function screens indicated in the bottom line of the display.

How Things Work (in Pattern mode)

7. Part Mixer section

Here you can adjust the volume, pan, etc., of each part (p. 33).

[PART] (SELECT/MUTE)

[TEMPO/MUTE CONTROL]

[MIXER ASSIGN] When you press this button so its indicator

[PART ASSIGN] Selects the parts that are controlled by the

Selects the function of the Part buttons [1]– [16]. The buttons work as Part Select buttons when the indicator is not lighted, and as Mute buttons when the indicator is lit. Switches on/off the Tempo/Mute part (a part that records tempo changes and mute operations, p. 42).

lights, the Mixer screen will appear.

sliders. The sliders will control parts 1–8 if this indicator is not lighted, or parts 9–16 if the indicator is lit.

8. Sampling section

[EDIT] Displays the Sample Edit

screen (p. 114).

[SAMPLING/RESAMPLING] Displays the Sampling menu

screen (p. 112).

[MIX IN] Mixes the sound from the IN-

PUT jack into the output (p.

34).

[AUTO SYNC] Synchronizes a sample to the

pattern (p. 36).

12. Sequencer section

[PLAY] Plays a pattern (p. 24). [STOP] Stops playback/recording. [FWD] Advances to the next measure. [BWD] Returns to the previous measure. [TOP] Moves to the beginning of the pattern. [REC] Used when recording (p. 37).

13. Turntable emulation

Applies an effect that simulates increasing/decreasing the rotational speed of a turntable (p. 36).

14. TAP button

Lets you set the BPM (tempo) by pressing the button at the desired timing (p. 25).

Pattern Mode

9. Effect section

Applies special effects to the sound (p. 88).

[COMP]–[REVERB] Switch each effect on/off (p. 88). [KNOB ASSIGN] Selects the effect to be controlled in real

[TYPE] Selects the type of effect. [C1], [C2] Modifies the assigned function in real

time (p. 91).

time.

10. Mode section

Press the [PATTERN] button to enter Pattern mode. Pressing one of the other two buttons will switch you to the

corresponding mode.

11. Cursor/Value section

Use these buttons and dial to select patterns or input values (p. 18).

Playing a pattern

Basics of pattern play

The top screen of Pattern mode

fig.1-01

Current pattern

The pattern that is now playing

Next pattern

The pattern that will play next

* “Len” is the number of measures (Length) of the pattern.

Basic playback operation

Use the following buttons to control the playback.

fig.1-02.e

Return to the previous measure

Move to the beginning of the pattern

Play back Used for recordingStop playback

* The [FWD], [BWD], and [TOP] buttons can also be used during

playback.

* * Press [STOP] twice to return to the beginning of the pattern.

Advance to the next measure

Selecting a pattern to play back

There are two ways to select a pattern for playback;

a list

directly

, or

from

Function buttons

[F1 (List)] (Pattern List) [F2 (Edit)] (Pattern Edit) [F3 (Mixer)] (Part Mixer) [F4 (Effects)] Apply special effects to the sound

[F5 (Mastering)] Make settings for the Mastering ef-

[F6 (BPM/Click)] Set the tempo, and turn the metro-

[SHIFT] + [F1 (Arp)] (Arpeggiator) [SHIFT] + [F2 (Chord Memory)] [SHIFT] + [F3 (Pattern Call)] Select a pattern set (p. 27). [SHIFT] + [F4 (RPS)] Make RPS settings (p. 29). [SHIFT] + [F5 (System)] (System Edit) [SHIFT] + [F6 (Utility)] (Utility Menu)

Select a pattern from a list (p. 25).

Edit the settings of a pattern (p.

43). Specify the volume, pan, etc., of each part (p. 33).

(p. 88).

fect (p. 108).

nome on/off (p. 25). Make arpeggiator settings (p. 30).

Make settings that apply to the entire MC-909 (p. 126). Open the Utility menu (p. 131).

Selecting a pattern directly

Selecting the current pattern

While the pattern is stopped, use [VALUE] or [INC/DEC] to select a pattern.

Selecting the next pattern

While the pattern is playing, use [VALUE] or [INC/DEC] to select a pattern.

When the current pattern finishes playing, the selected pattern will start playing.

* Shortly before the current pattern finishes playing, the word

“LOCKED” will appear above the name of the next pattern. You will not be able to change the next pattern while this is displayed, since preparations are being made to move to that pattern.

fig.1-03

If you press [CURSOR (left/right)] while a pattern is playing, the pattern will change immediately, and will start playing from the beginning of the pattern.

Selecting a pattern from the list

Press [F1 (List)].

fig.1-04

Playing a pattern

Changing the BPM (Tempo)

Using the [VALUE] dial

Press [F6 (BPM/Click)] to access the BPM window.

fig.1-05

Pattern Mode

Press [F1 (Preset)], [F2 (User)], or [F3 (Card)] to

choose the group that contains the desired pattern.

Use [VALUE], [INC/DEC] or [CURSOR (up/down)] to

select a pattern.

If you hold down [SHIFT] while using the above controls, the pattern number will change in steps of ten.

Press [F6 (Select Pattern)] to finalize your selection.

[F1 (Preset)] [F2 (User)] Choose user patterns. [F3 (Card)] Choose patterns stored on a memory card. [F6 (Select Pattern)] Finalize the selected pattern.

Choose preset patterns.

BPM (tempo) when playing patterns successively

Each pattern has its own specified tempo (BPM). If you play back patterns successively, the tempo will also change when the pattern changes.

Use [VALUE] or [INC/DEC] to set the BPM.

Press [F6 (Close)] to close the BPM window.

You can access the BPM window during TR-REC by pressing [SHIFT]+[F6], or during sampling by pressing [F4].

Using the TAP button

Press [TAP] desired BPM.

* If desired, you can set the BPM by pressing [TAP] at eighth-note/

three or more times

sixteenth-note intervals (Tap Resolution ->p. 127).

quarter-note intervals

of the

Turning the metronome (click) on/off

Press [F6 (BPM/Click)] to access the BPM window.

Press [F5 (Click)] to select on or off.

When on, the “✔” will be displayed.

Press [F6 (Close)] to close the BPM window.

* The metronome volume adjustment is a System setting (Metronome

Level -> p. 117)

If desired, you can maintain the tempo of the first-played pattern even while switching patterns (BPM Lock ->p. 128).

Selecting the metronome output destination

Press [F6 (BPM/Click)] to access the BPM window.

Press [CURSOR (up/down)] to move the cursor to “Output Asgn.”

Use [VALUE] or [INC/DEC] to select the output destination.

MIX DIR1 DIR2

Output from the MIX OUT jacks and the headphones. Output from the DIRECT 1 OUTPUT jacks. Output from the DIRECT 2 OUTPUT jacks.

Playing a pattern

The indicators of the part buttons show the muted state of the parts as follows:

• Lit: The part can be played.

•

Blinking: The part is muted.

•

Not lit: No performance has been recorded in the part. (The indicator will light when you record data.)

Muting (silencing) a part

A pattern contains sixteen parts. You can mute (silence) each part in real time.

fig.1-06

In the Part Mixer section, press [PART] (SELECT/

MUTE) so the indicator is lighted.

Part buttons [1]–[16] now control part muting.

Press the button of the part that you want to mute,

making it blink.

That part will be muted.

To cancel muting, press the button of the muted part

once again, making it light.

All Parts Mute

This function mutes all parts at once.

Hold down [SHIFT] and press [PART ASSIGN].

The sound of all parts will be muted.

All Parts On

This function un-mutes all parts at once.

Hold down [SHIFT] and press [MIXER ASSIGN].

Muting will be cancelled for all parts, so they are all allowed to play.

Mute Reverse

This function inverts the currently muted and currently playing parts.

Hold down [SHIFT] and press [TEMPO/MUTE

CONTROL].

The status of parts that are currently muted changes, so they are allowed to play, while the parts that are currently playing will be muted.

Mute Remain

This function maintains the mute status of each part while the next pattern plays. For example, this lets you play the next pattern without sounding the rhythm part.

During pattern playback, press [PLAY].

The screen will indicate “MUTE REMAIN.”

Select the next pattern.

After a time, the selected pattern will play, with the mute settings of each part remaining as they were.

When the pattern changes, the Mute Remain function will automatically be cancelled.

* Mute Remain will be cancelled if you press [PLAY] once again before

the pattern changes.

Solo

This function assigns play-ready status to one specified part, muting the others.

Hold down [SHIFT] and press the part button [1]–[16]

of the part you want to play.

All parts other than the selected part will be muted.

Default Mute

This function restores the part mute settings to the state stored in the pattern.

Hold down [SHIFT] and press [PART] (SELECT/

MUTE).

The part mute settings will return to the state stored in the pattern.

About the setup parameters

On the MC-909, the following parameters allow their settings to be individually stored for each pattern. These parameters are collectively called the “setup parameters.”

• BPM (Tempo) (p. 25)

• Patch/Rhythm set * (p. 55)

• Part Level * (p. 33)

• Part Pan * (p. 33)

• Part Key Shift * (p. 33)

• Part Reverb Level * (p. 33)

• Part Output Assign * (p. 55)

• Sequencer Output Assign * (p. 55)

• Reverb settings (p. 90)

• Compressor settings (p. 89)

• Multi-effect settings (p. 90, p. 92)

• Part mute status * (p. 26)

• Auto Sync on/off * (p. 36)

* The asterisk indicates parameters that can be set for each part.

Playing a pattern

Velocity pads

These pads work just like a keyboard. They can also be used to play RPS and the arpeggiator. Normally, pad number 2 will be C4. The force with which you strike the pads will vary the dynamics (velocity) of the sound.

You can also set velocity to a fixed value (Pad Velocity ->p. 127).

[HOLD] If you press this button so its indicator lights,

the sound will still be heard even after you take your finger off the velocity pad. The sound will stop when you press [HOLD] once again, extinguishing the indicator.

[OCT -]/[OCT +] These buttons shift the range of the velocity

pads in steps of one octave (maximum +/-4 octaves).

If you press both buttons simultaneously, the octave shift will be reset to 0.

Various ways to use the velocity pads

[PATTERN CALL] The pads will recall patterns (Pattern

Call, p. 27).

[RPS] The pads will trigger phrases (RPS, p.

28).

[ARPEGGIO] The pads will play arpeggios (Arpeggia-

tor, p. 30).

[CHORD MEMORY] Produce chords by pressing a single pad

(Chord Memory, p. 32).

Registering a pattern in a Pattern Set

Select the pattern you want to register, so it is the

current pattern.

Select the pattern set into which you want to register

that pattern.

Hold down [PATTERN CALL], and press the velocity

pad to which you want to register the pattern.

That pattern will be registered to the pad you pressed.

Saving a Pattern Set

Pattern Set settings that you have edited will be lost when you turn off the power. If you want to keep your changes, you must save them as follows.

Hold down [PATTERN CALL] and press [F6 (PtnCall

Setting)].

Alternatively, hold down [SHIFT] and press [F3 (Pattern Call)]. The Pattern Call editing screen will appear.

Use [VALUE] or [INC/DEC] to select the pattern set

that you want to save.

Press [WRITE].

The Write menu screen will appear. Make sure that “Pattern Set” is highlighted.

Press [ENTER] or [F4 (PCL)].

Pattern Mode

Pattern Call

You can use the sixteen velocity pads as buttons to select patterns. The patterns that are registered to each of the sixteen velocity pads

are handled as one “pattern set.” You are free to edit the contents of a pattern set, and can store 50 different sets. You can also switch between pattern sets during pattern playback.

You can use this method to select either the current pattern or the next pattern.

* Pattern Call cannot be used in Song mode.

Using Pattern Call

Press [PATTERN CALL] so its indicator is lighted.

Press one of the velocity pads [1]–[16].

The pattern that is registered to the pad you pressed will be selected.

* [HOLD] and [OCT +/-] will have no effect.

* Pattern Call cannot be used simultaneously with RPS, arpeggiator, or

chord memory.

Assign a name to the pattern set.

For details on how to assign a name, refer to “Saving a pattern” (p. 43).

When you finish inputting the name, press [F6

(Write)].

A message will ask you for confirmation.

To save the pattern set, press [F6 (Execute)].

* To cancel without saving, press [F5 (Cancel)].

Patterns that are registered in a pattern set allow you to specify setup parameters that are different than in conventional pattern mode.

Selecting a pattern set

Hold down [PATTERN CALL] and use [VALUE] or

[INC/DEC] to select a set.

Playing a pattern

* It is not possible for multi-part phrases to be assigned to each of

the velocity pads. You must mute all parts other than the part that contains the phrase you wish to assign. If you attempt to assign a phrase in which two or more parts are un-muted, the display will indicate “Cannot Assign Phrase!”.

* If you have assigned a phrase from a user pattern to RPS, and

modify the performance data of the pattern that contains that phrase after it has been assigned, be aware that the phrase played by RPS will be affected by these modifications. For example if you delete the performance data of a pattern that contains an assigned phrase, no sound will be heard when you use RPS to play that phrase.

* If you assign a phrase from a part that uses MFX, the MFX

settings during RPS playback will be determined by the MFX settings of the currently selected pattern. This means that the RPS playback may sound different than the original phrase.

RPS

Any phrase that’s been assigned to one of the sixteen velocity pads will continue playing as long as you hold down its pad.

The phrases that are registered to the sixteen velocity pads are handled as one “RPS set.” You are free to edit the contents of an RPS set, and can store 50 different sets. You can also switch between RPS sets during pattern playback.

Using RPS

Press [RPS] so its indicator is lighted.

Press one of the velocity pads [1]–[16].

The phrase that is registered to the pad you pressed will continue playing.

* [OCT +/-] will have no effect.

* RPS cannot be used simultaneously with pattern call, arpeggiator, or

chord memory.

RPS Hold

You can make a phrase continue playing even after you release your finger from the velocity pad.

• To hold all phrases

Registering a phrase in an RPS set

Select the pattern that contains the phrase you want

to register, so it is the current pattern.

Mute all parts other than the single part you want to

Refer to p. 26 for details on muting.

You may find it convenient to use the Solo function (p. 26).

Select the RPS set in which you want to register that

phrase.

Hold down [RPS], and press the velocity pad to

which you want to register the phrase.

That phrase will be registered to the pad you pressed.

Press [HOLD] so the indicator is lit.

Press a velocity pad to play a phrase.

You can stop that phrase by pressing the same pad once again.

• To hold individual phrases

Hold down [HOLD] and press a velocity pad to play a

phrase.

[HOLD] will blink, and that phrase will continue playing until you press the same pad once again.

To play a phrase that you want to hold, hold down

[HOLD] and press the appropriate pad, as described

in step 1.

The phrases will play together.

To play a phrase that you do not want to hold, press

only the appropriate pad.

When you release your finger from the pad, that phrase will stop playing.

* In steps 1 and 2, you can also press [HOLD] while pressing the

velocity pad to play the phrase, as an alternative to holding down [HOLD] and then pressing the pad.

To stop all phrases, press [HOLD] so the indicator goes out.

Selecting an RPS set

Hold down [RPS] and use [VALUE] or [INC/DEC] to

select a set.

Patterns that are registered in an RPS set allow you to specify setup parameters that are different than in conventional pattern mode.

Playing a pattern

RPS Settings

Hold down [RPS] and press [F6 (RPS Setting)].

Alternatively, hold down [SHIFT] and press [F4 (RPS)]. The RPS setting screen will appear.

Use [CURSOR (up/down)] to select a parameter.

Use [VALUE] or [INC/DEC] to edit the parameter.

Parameter

RPS Set RPS Part Part 1–16 RPS part to edit RPS Part Patch Bank RPS Part Patch Number RPS Part Output Select

Remote Keyboard Switch

Range Explanation

01–50 RPS set to edit

— Patch assigned to RPS part

—

DRY, MFX1, MFX2, COMP, DIR1, DIR2, RHY

OFF, ON Refer to p. 128.

How the original sound of each part will be output

DRY:

Output to MIX OUTPUT jacks without passing through effects

MFX1 (2):

multi-effects 1 (or 2)

COMP:

the compressor

DIR1 (2):

RECT 1 (or DIRECT 2) jacks without passing through effects

RHY:

the settings of the rhythm set assigned to the part

Output through

Output to the DI-

Output according to

Adjusting the settings of the RPS parts

RPS playback uses dedicated RPS parts that are separate from conventional pattern playback. The patterns that are assigned to velocity pads [1]–[16] will play RPS parts 1–16.

Here's how to adjust the settings of these RPS parts.

Hold down [RPS] and press [F6 (RPS Setting)].

Alternatively, hold down [SHIFT] and press [F4 (RPS)]. The RPS setting screen will appear.

Press [F3 (RPS Mixer)].

The RPS Mixer screen will appear.

Use the part mixer section to adjust the volume, pan,

etc. of RPS parts 1–16.

Pattern Mode

When using RPS during pattern playback, patterns and phrases may not play back in precise alignment, depending on the timing at which you press the velocity pads. On the MC-909 you can specify the playback timing of the phrase, so it will play back in precise synchronization with the pattern. (RPS Trigger Quantize ->p. 128)

•

REAL:

The phrase will play back immediately, at the timing at which you pressed velocity pads.

•

16TH, 8TH, QUARTER:

The pattern will be divided into selected note units, and when you press the velocity pads, the phrase will begin playing at the beginning of the next note unit.

•

MEASURE:

The pattern will be divided into one-measure units, and when you press the velocity pads, the phrase will begin playing at the beginning of the next measure.

* Except when this parameter is set to “REAL,” pressing on the velocity

pads slightly before the actual desired timing will help you synchronize the phrase to the pattern.

* If the pattern is stopped, the phrase will play back immediately,

regardless of the setting that is selected in the above procedure.

[PART ASSIGN] Selects the RPS parts that will be controlled

by the sliders.

If this indicator is not lighted, parts 1–8 will be controlled. If lit, parts 9–16 will be controlled.

Sliders Adjust the volume, pan, key, and reverb lev-

el of parts 1–8 or parts 9–16. Use [F1]--[F4] to select a parameter, and use the sliders to adjust the values.

Function button

[F1 (Level)] [F2 (Pan)] Left/right position of the RPS part [F3 (Key Shift)] Transposition of the RPS part

[F4 (Reverb Level)] Reverb level of the RPS part

* You can also use [CURSOR] to select a part and parameter, and then

use [VALUE] or [DEC/INC] to adjust the value.

Press [F6 (Close)] to close the RPS Mixer screen.

Parameter adjusted by the sliders

Volume of the RPS part

The pitch will change in semitone steps over a range of +/-4 octaves.

Playing a pattern

RPS realtime modify

You can use the panel knobs and sliders to modify the sound of the phrase being played by RPS.

Press [RPS] to make the indicator light.

Press a velocity pad to play back a phrase.

While holding down a pad, you can operate the

following knobs and sliders to modify the sound of

the phrase.

PITCH: FINE/COARSE TUNE, ENV DEPTH/A/D FILTER: CUTOFF, RESONANCE, ENV DEPTH/A/D/S/R AMP: LEVEL, ENV DEPTH/A/D/S/R LFO1: PITCH DEPTH, FILTER DEPTH, AMP DEPTH,

PAN DEPTH, RATE, WAVEFORM

* Your changes will affect the sound of the phrase assigned to the pad

you pressed last.

* If you take your finger off the pads, the changes you make will apply to

the sound of the current part. The same is true even if you are playing back a phrase with [HOLD] turned on.

* Operating MATRIX CONTROL 1, RANDOM MODIFY, or FAT

will always affect the sound of the current part.

Saving an RPS set

The edited settings of an RPS set will be lost when you turn off the power. If you want to keep the settings you edited, save the RPS set as follows.

Hold down [RPS] and press [F6 (RPS Setting)].

Alternatively, hold down [SHIFT] and press [F4 (RPS)]. The RPS setting screen will appear.

Arpeggiator

The MC-909’s Arpeggiator function lets you perform arpeggios (chords in which notes are played in succession, one note at a time) just by playing the chords, using the notes in the chords you play.

Not only can you use the factory-set arpeggio styles, which determine the way the arpeggio is played, but you can also freely rewrite styles.

Using the arpeggiator

Press [ARPEGGIO] so its indicator is lighted.

Press a chord using the velocity pads.

An arpeggio will play according to the specified arpeggio style.

* Arpeggiator cannot be used simultaneously with Pattern Call or RPS.

Selecting an arpeggio style

Hold down [ARPEGGIO] and use [VALUE] or [INC/

DEC] to select a style.

Making arpeggiator settings

Here's how to change the way that the arpeggio is sounded.

Hold down [ARPEGGIO] and press [F6 (Arp Setting)].

Alternatively, hold down [SHIFT] and press [F1 (Arp)]. The arpeggiator setting screen will appear.

Use [CURSOR (up/down)] to select a parameter.

Use [VALUE] or [INC/DEC] to edit the parameter.

Use [VALUE] or [INC/DEC] to select the RPS set that

you want to save.

Press [WRITE].

The Write menu screen will appear. Make sure that “RPS Set” is highlighted.

Press [ENTER] or [F3 (RPS)].

Assign a name to the RPS set.

For details on how to assign a name, refer to “Saving a pattern” (p. 50).

When you finish inputting the name, press [F6

(Write)].

A message will ask you for confirmation.

To save, press [F6 (Execute)].

* To cancel without saving, press [F5 (Cancel)].

Using in Combination with the Chord Memory Function

When performing with the Arpeggiator, you can also use it along with the Chord Memory (p. 32). After first storing complex Chord Forms in memory, you can then call them up when Arpeggiator is on, and you can easily create complex arpeggio sounds just by pressing a single pad.

Parameter

Arpeggio Grid (Grid Type)

Explanation

Sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it.

1/4:

Quarter note

1/8:

Eighth note

1/8L:

Eighth note shuffle Light

1/8H:

Eighth note shuffle Heavy

1/12:

Eighth note triplet

1/16:

Sixteenth note

1/16L:

Sixteenth note shuffle Light

1/16H:

Sixteenth note shuffle Heavy

1/24:

Sixteenth note triplet

Playing a pattern

Parameter

Arpeggio Motif

Arpeggio Duration

Arpeggio Octave Range

Remote Keyboard Switch

Explanation

Selects the method used to play sounds when you have a greater number of notes than programmed for the Arpeggio Style.

UP(L ):

Only the lowest of the pads pressed is sounded each time, and the notes play in order from the lowest of the pressed pads.

UP(L&H):

pressed pads are sounded each time, and the notes play in order from the lowest of the pressed pads.

UP(_ ):

the pressed pads. No one note is played every time.

DOWN(L ):

sounded each time, and the notes play in order from the highest of the pressed pads.

DOWN(L&H):

highest pressed pads are sounded each time, and the notes play in order from the highest of the pressed pads.

DOWN(_ ):

est of the pressed pads. No note is played every time.

UP&DOWN(L ):

pressed is sounded each time, and the notes in the arpeggio are played in order from the lowest of the pressed pads and then back again in the reverse order.

UP&DOWN(L&H):

highest pressed pads are sounded each time, and the notes play in order from the lowest of the pressed pads and then back again in the reverse order.

UP&DOWN(_ ):

lowest of the pressed pads, and then back again in the reverse order. No note is played every time.

RANDOM(L ):

pressed is sounded each time, the notes in the arpeggio are played in random order.

Determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

30–120%:

length of the note in a grid (or when a series of grids is connected with ties, the final grid) is 30% of the full length of the note set in the grid type.

FULL:

a tie, the same note continues to sound until the point at which the next new sound is specified.

Adds an effect that shifts arpeggios one cycle at a time in octave units. You can set the shift range upwards or downwards (up to three octaves up or down). Refer to p. 128.

Notes from both the lowest and highest

The notes play in order from the lowest of

Only the lowest of the pads pressed is

Notes from both the lowest and

The notes play in order from the high-

Only the lowest of the pads

Notes from both the lowest and

The notes play in order from the

While only the lowest of the pads

For example, when set to “30,” the

Even if the linked grid is not connected with

Creating an arpeggio style

Hold down [ARPEGGIO] and press [F6 (Arp Setting)].

Alternatively, hold down [SHIFT] and press [F1 (Arp)]. The arpeggiator setting screen will appear.

Press [F4 (Arp Edit)].

The arpeggio style input screen will appear.

Use the function buttons and [VALUE] or [INC/DEC] to specify the note that you want to input.

You can also use number.

[CURSOR (up/down)]

to select the note

To input data, press a pad that corresponds to the timing at which you want to input a note, so the pad’s indicator lights. To delete a note you’ve input, press the corresponding pad so its indicator goes out.

* You cannot edit the velocity of a note message once you input it. If you

want to change the velocity, you must delete the note and re-input it.

* A maximum of sixteen notes (specified pitches) can be used in one style.

[F1 (Tie)]

[F2 (Grid)] Sets the particular note division and resolution

[F3 (End Step)] Specifies the style length

[F4 (Note Number)] [F5 (Velocity)] Specify the velocity (volume) of the note mes-

[F6 (Preview)] Audition arpeggio currently being input. (The

[SHIFT] + [F1 (V-Zoom In)] [SHIFT] + [F2 (V-Zoom Out)] [SHIFT] + [F3 (Tie)] [SHIFT] + [F4 (Rest (Clear))] [SHIFT] + [F5 (Step Rec)]

When you finish inputting the arpeggio style, press

By holding down [F1 (Tie)] and pressing a pad, you can extend the length of the previously input note by the current setting.

in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/ weak/strong) to it.

1/4:

Quarter note

1/8:

Eighth note

1/8L:

Eighth note shuffle Light

1/8H:

Eighth note shuffle Heavy

1/12:

Eighth note triplet

1/16:

Sixteenth note

1/16L:

Sixteenth note shuffle Light

1/16H:

Sixteenth note shuffle Heavy

1/24:

Sixteenth note triplet

Range:

1–32

Specifies the pitch of the note to be input.

Range:

0 (C-1)–127 (G9)

sages you will input.

Range:

REAL, 1–127

* If this is set to REAL, your playing strength

on the pads will vary the dynamics.

operation is the same when [SHIFT] is held.) Zoom-in the arpeggio style input screen.

Zoom-out the arpeggio style input screen.

Input a tie at the cursor location, and advance to the next step. Delete all data at the step where the cursor is located. If you press this to add a check mark, you will be able to input data for individual notes (p. 32).

[EXIT].

Pattern Mode

Playing a pattern

Step-recording an arpeggio style

You can create an arpeggio style by inputting and editing individual notes.

In the arpeggio style input screen, hold down [SHIFT]

and press [F5 (Step Rec)] to apply a check mark.

[SHIFT] will be locked.

Use [CURSOR (up/down)] to select the note number,

and [CURSOR (left/right)] to select the step.

Use [VALUE] or [INC/DEC] to edit the data at the

cursor (velocity: OFF, 1–127, Tie).

* You can also strike a velocity pad to input a note for the corresponding

note number.

[F1 (V-Zoom In)] Zoom-in the arpeggio style input screen. [F2 (V-Zoom Out)] Zoom-out the arpeggio style input screen. [F3 (Tie)] Input a tie at the cursor location, and advance

to the next step.

[F4 (Rest (Clear))] Delete all data at the step where the cursor is lo-

cated.

[F6 (Preview)] Audition arpeggio currently being input. (The

operation is the same when [SHIFT] is held.)

* If you press [F5 (Step Rec)] and clear the check mark, you are returned

to the normal input screen.

Saving an arpeggio style

A arpeggio style you create will be lost when you turn off the power. If you want to keep your settings, save them as follows.

Hold down [ARPEGGIO] and press [F6 (Arp Setting)].

Alternatively, hold down [SHIFT] and press [F1 (Arp)]. The arpeggiator setting screen will appear.

Press [F6 (Arp Write)].

A screen will appear in which you can select the user arpeggio style to which your settings are to be written.

Use [VALUE] or [INC/DEC] to select the arpeggio

style that you want to save.

Chord Memory

You can play a previously registered chord form simply by pressing a single pad. You can use the factory-set chord forms, and are also free to rewrite them as desired.

Using chord memory

Press [CHORD MEMORY] so its indicator is lighted.

Press one of the velocity pads.

The pre-specified chord form will sound.

When you press velocity pad [2] (C4), the chord form will sound at the pitch that was specified. Other pads will sound parallel chords at pitches relative to pad [2] (C4).

* Chord Memory cannot be used simultaneously with Pattern Call or

RPS.

Selecting a chord form

Hold down [CHORD MEMORY] and use [VALUE] or

[INC/DEC] to select a chord form.

Inputting a chord form

Hold down [CHORD MEMORY] and press [F6 (Chord

Setting)].

Alternatively, hold down [SHIFT] and press [F2 (Chord Memory)].

The chord memory setting screen will appear.

Press [F4 (Chord Edit)].

The chord form input screen will appear.

Use the velocity pads to input the chord you want to

sound.

Input the notes that you want to sound when velocity pad [2] (C4) is pressed.

The pads will light to indicate the notes that will sound. If you press a pad once again, it will go dark and will not sound.

When you finish inputting the chord form, press

[EXIT].

While inputting the chord form, you can press [F6 (Preview)] to play the chord that you have input.

Press [F6 (Write)].

A message will ask you for confirmation.

To write the data, press [F6 (Execute)].

* To cancel, press [F5 (Cancel)].

Playing a pattern

Saving a chord form

A chord form you create will be lost when you turn off the power. If you want to keep your settings, save them as follows.

Hold down [CHORD MEMORY] and press [F6 (Chord

Setting)].

Alternatively, hold down [SHIFT] and press [F2 (Chord Memory)].

The chord memory setting screen will appear.

Press [F6 (Chord Write)].

A screen will appear in which you can select the user chord form to which your settings are to be written.

Use [VALUE] or [INC/DEC] to select the chord form

that you want to save.

Press [F6 (Write)].

A message will ask you for confirmation.

To write the data, press [F6 (Execute)].

* To cancel, press [F5 (Cancel)].

Realtime Modify section

Part Mixer

Here you can adjust the volume, pan, etc., of each part.

[PART] (SELECT/MUTE)

[TEMPO/MUTE CONTROL]

[MIXER ASSIGN] The Mixer screen will appear when you

[PART ASSIGN] Selects the parts that will be controlled by

Sliders Adjust the volume of parts 1–8 or parts 9–16.

Selects the function of part buttons [1]–[16].

If this indicator is not lighted, the part buttons will select parts. If lit, the part

buttons will mute parts. Switches the Tempo/Mute part (a part that records tempo changes and mute operations, p. 42) on/off.

press this button and get it to light.

the sliders.

If this indicator is not lighted, parts 1–8

will be controlled. If lit, parts 9–16 will be

controlled.

By accessing the Mixer screen, you can

also adjust the pan, key, and reverb depth

of each part (see illustration below).

Pattern Mode

You can use the knobs and sliders of this section to modify the sound while it plays.

For details on the function of each knob and slider, refer to Patch mode (p. 51).

Selecting the part whose sound you want to modify

fig.1-06

In the Part Mixer section, press [PART] (SELECT/

MUTE) so the indicator is not lighted.

Part buttons [1]–[16] will select parts.

Press the button for the part whose sound you want

to modify. The button will light.

That part is now selected.

Use [F1]–[F4] to select a parameter, and use the sliders to adjust the values.

Function button

[F1 (Level)] [F2 (Pan)] Left/right position of the part [F3 (Key Shift)] Transposition of the part

[F4 (Reverb Level)] Reverb level of the part [F6 (Close)] Returns to the previous screen.

* You can also use [CURSOR] to select a part and parameter, and then

use [VALUE] or [DEC/INC] to adjust the value.

Parameter adjusted by the sliders

Volume of the part

The pitch will change in semitone steps over a range of +/-4 octaves.

If you select a part to which a rhythm set is assigned, the FILTER section “TYPE” indicator will go out. This is because a rhythm set lets you select a different filter type for each rhythm tone (percussion instrument).

The letter displayed below the part number at the top of the Mixer screen indicates the status of each part, as follows:

• P: playable

• M: muted

• Blank: No performance has been recorded

Playing a pattern

Mix In

The sound of a device connected to the INPUT jacks or the digital in connector can be mixed into the output.

You can also use the velocity pads to play different pitches using the input sound.

Directly outputting the sound of an external device

In the sampling section, press [MIX IN] so its

indicator is lighted.

The sound of the external device will be mixed into the output.

To cancel the Mix In function, press [MIX IN] once

again so its indicator goes out.

Playing various pitches using the sound of an external device

Press and hold [MIX IN].

The Mix In select sub window will appear.

Continuing to hold down [MIX IN], press [F6 (Velo

Pads)] or turn [VALUE] to select “VELOCITY PADS.”

The indicator will blink, and now you can use the velocity pads to change the pitch of the input sound.

Play the velocity pads.

You can control the pitch and duration just as on a conventional keyboard.

When you press pad 2 (C4), the input sound will be heard at its original pitch.

You can play the input sound in a range of 14 semitones higher (pad [16]) through 25 semitones lower (pad [1] with [OCT -] pressed twice) than the original pitch.

* You cannot play chords.

To cancel the Mix In function, press [MIX IN] once

again so its indicator goes out.

Selecting the input source device

Press and hold [MIX IN].

The Mix In select sub window will appear.

Press [F5 (Input Setting)].

The input setting screen will appear.

Press [CURSOR (up/down)] to move the cursor to the

item that you want to set.

Use [VALUE] or [INC/DEC] to make the desired

setting.

Parameter

Input Select

Mix-In OFF, ON,

Ext Output Asgn (External Output Assign)

Ext Level L 0–127 Volume level of the external

Ext Level R 0–127 Volume level of the external

Ext Reverb Send Level

Adjusting the volume of the external device

You can use the volume section’s [INPUT] knob to adjust the volume of the external device.

* [INPUT] cannot adjust the volume of a device connected to the digital

in connector. You will need to adjust the volume on the connected external device.

Range Explanation

LINE IN L/R, LINE IN L, DIGITAL(OPT), DIGITAL(CO-AX), MICROPHONE

VELOCITY PADS

DRY, MFX1, MFX2, COMP

0–127 Depth of reverb applied to

Input source of the external input sound

LINE IN L/R:

L/R (stereo)

LINE IN L:

(mono)

DIGITAL(OPT):

put (Optical)

DIGITAL(CO-AX):

Input (Coaxial)

MICROPHONE:

jack (mono, mic level)

Switches Mix In on/off

OFF:

will not be used.

ON:

External input sound will be mixed into the output.

VELOCITY PADS:

locity pads can be used to play scales using the external input sound.

Output destination of the external input sound that is mixed in

DRY:

PUT jacks without passing through effects

MFX1 (2):

multi-effects 1 (or 2)

COMP:

the compressor

input sound (left channel)

input sound (right channel)

the external input sound

Set this to 0 if you don’t want to apply reverb.

INPUT jacks

INPUT jack L

Digital In-

Digital

INPUT

External input sound

The ve-

Output to MIX OUT-

Output through

Playing a pattern

The effective range of the D Beam controller

The following diagram shows the effective range of the D Beam controller. Movements of your hand that occur outside of this range will not produce any effect.

* The effective range of the D Beam controller will be greatly

reduced when it is used in strong, direct sunlight. Please be aware of this when using the D Beam controllers outdoors.

fig.DBeam

D Beam Controller

The D Beam controllers let you perform control operations simply by passing your hand over the controller. Three different uses (such as solo synth and turntable) for this controller are offered as presets, but by editing the settings you can use these controllers to apply a wide range of other effects.

[BEAM 1 ON] Turns the left D Beam controller (BEAM 1)

on/off.

[BEAM 2 ON] Turns the right D Beam controller (BEAM 2)

on/off. [TWIN D BEAM ASSIGN]

Selects the function of the D Beam controller.

Press to cycle through the available choices, which are: SOLO SYNTH, CUT+RESO, TURNTABLE, and ASSIGNABLE.

CUT + RESO (Cutoff + Resonance)

Your left hand (beam 1) controls the cutoff frequency of the filter (p.

59), and your right hand (beam 2) controls the resonance.

Press [D BEAM ASSIGN] so the “CUT+RESO”

indicator is lighted.

Press [BEAM 1 ON] and [BEAM 2 ON] so both

indicators are lighted.

In the FILTER block, press [TYPE] to select Filter

Type (p. 59).

Pass your hands over beams 1/2 to control the sound

of the current part.

• Moving your hand closer to beam 1 will raise the cutoff frequency, and moving your hand away will lower it.

• Moving your hand closer to beam 2 will increase the resonance, and moving your hand away will decrease it.

If the Filter Type has been set to LPF2 or LPF3, the resonance setting will have no effect, so moving your hand over beam 2 will not affect the sound.

Pattern Mode

SOLO SYNTH

This is a monophonic synthesizer for which your left hand (beam 1) controls volume, and your right hand (beam 2) controls the pitch.

Press [D BEAM ASSIGN] so the “SOLO SYNTH”

indicator is lighted.

Press [BEAM 1 ON] and [BEAM 2 ON] so both

indicators are lighted.

When you move your hand near beam 1, sound will

be heard.

• After the sound begins, moving your hand closer to beam 1 will make the volume softer, and moving your hand away will make the volume louder.

• Moving your hand closer to beam 2 will raise the pitch, and moving your hand away will lower the pitch.

* If the hand that is near beam 1 leaves the effective range of the D Beam

controller, the volume will gradually diminish and finally the sound will disappear. This prevents the sound from remaining “stuck on.”

* You can change the pitch range (p. 130).

You can adjust the variable range of the parameters (p. 130).

TURNTABLE

Your left hand (beam 1) controls the tempo (BPM), and your right hand (beam 2) controls the pitch.

Press [D BEAM ASSIGN] so the “TURNTABLE”

indicator is lighted.

Press [BEAM 1 ON] and [BEAM 2 ON] so both

indicators are lighted.

Pass your hands over beams 1/2 to control the BPM

and pitch of all parts.

• Moving your hand closer to beam 1 will slow down the tempo.

• Moving your hand closer to beam 2 will lower the pitch.

* If your hand leaves the effective range of the D Beam controller, the

sound will return to the original BPM and pitch.

You can also set it so moving your hand closer to the D Beam controller will increase the tempo and raise the pitch (p. 130).

ASSIGNABLE (Other applications)

Refer to the D Beam controller-related parameters (p. 130) in the System settings.

Playing a pattern

Turntable emulation

You can use this slider and the [PUSH]/[HOLD] buttons to synchronize your performance with a turntable or other audio source.

fig.1-07

Slider The BPM will slow down as you move the slider up-

ward (toward “-”), and speed up as you move it downward (toward “+”). The BPM will be the original value when the slider is at the detent in the center of its range.

* You can also adjust the variable range of the slider

(p. 127). [PITCH], [BPM]

These buttons select whether the slider and [HOLD]/ [PUSH] buttons will control the pitch or the BPM.

The pitch and BPM will both change.

Both lit

This produces the same result as a turntable.

Only the pitch will change.

When playing a patch/rhythm set from a wave expansion board that uses waveforms with an indicated tempo (BPM), it will not be possible to control pitch and BPM independently.

Auto Sync

The playback tempo of a sample (waveform) you sampled or loaded from your computer can be automatically synchronized to the playback tempo of the pattern.

In order to use Auto Sync, you must first set the BPM (p. 116) sample parameter.

As the current part, select the part to which is

assigned the patch that uses the sample that you

want to auto-sync.

Press [AUTO SYNC] so its indicator is lighted.

The playback tempo of the sample will automatically synchronize to the BPM of the pattern.

Auto Sync can be turned on/off independently for each part.

Auto Sync requires double the usual polyphony. This means that if you turn Auto Sync on, the polyphony of the entire MC-909 will decrease.

Effects

Only [PITCH] lit

Only the BPM will change.

Only [BPM] lit

Both not lighted

[HOLD] Slows the performance to the minimum tempo of the

slider range in order to match your performance with the turntable.

[PUSH] Speeds up the performance to the maximum tempo

of the slider range in order to match your performance with the turntable.

You can also assign other functions to the slider, such as pitch bend (p. 127).

Operating the slider or [HOLD]/[PUSH] buttons will not change the pitch or BPM.

Use this setting if you want to prevent the pitch and BPM from changing when the slider is touched accidentally.

See p. 88.

Mastering

See p. 108.

Recording a pattern

Use [VALUE] or [INC/DEC] to select the number of

the pattern you want to record.

Press [REC].

fig.1-20

Press [F1]–[F4] to select a recording method.

Realtime recording

This method lets you record your performance on the MC-909’s velocity pads and D Beam controllers or an external MIDI keyboard. Knob and slider movements can also be recorded.

Standby screen

fig.1-21

Pattern Mode

Function button

[F1 (Realtime)]

[F2 (TR-Rec)]

[F3 (Step)]

[F4 (Tempo/Mute)]

The corresponding recording standby screen will appear.

Specify the time signature and length of the pattern,

Recording method Realtime Recording

Data from the velocity pads, knobs, and external MIDI devices will be recorded in real time.

TR-REC

Step Recording

Tempo/Mute Recording

42)

(p. 39) The sixteen velocity pads represent notes, allowing you to input note data by switching each pad on or off.

(p. 41) Successively record each note one after the other in a non-realtime fashion.

Record tempo changes or mute on/off events in real time.

and then record.

For details, refer to the section on each recording method.

The maximum number of notes per pattern is

approximately 30,000 notes

(p. 37)

(p.

Parameter

Rec Beat

Rec Measure Length

Rec Mode MIX,

Rec Count In OFF, 1 MEAS,

Rec Loop Rest OFF, ON Insert a blank measure before

Range Explanation

2/4–7/4, 5/8– 7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 1–998 Pattern length

REPLACE

2 MEAS, WAIT NOTE

Pattern time signature * Can be specified only for an

empty pattern.

* An already-recorded pattern

can be made longer, but not shorter. To shorten it, use the pattern edit Delete Measure (p. 45) to delete one or more

measures. Whether the recorded data will be added to, or replace, the existing data

MIX:

Newly recorded data will be added to the previously-recorded data.

REPLACE:

corded data will be replaced by the newly-recorded data.

Length of the count before recording begins

If this is set to Wait Note, recording will start when you press a velocity pad or the [PLAY] button.

you return to the beginning of the pattern

If this is ON, one blank measure will be inserted before you turn to the first measure of the pattern.

* This provides a convenient

way to keep the end of the last measure from being recorded into the first measure.

Previously-re-

Recording a pattern

Parameter

Quantize Resolution

Quantize Timing

Rec Velocity REAL, 1–127 Volume (velocity) of the notes

Range Explanation

OFF, 32nd note– quarter note

0–100% Degree to which timing will be

Note value to which timing is to be corrected

If this is set to OFF, timing will not be corrected.

adjusted.

Settings near 0% will produce essentially no effect, while a setting of 100% will adjust the note timings all the way to the note locations specified in the Input Quantize Resolution.

that you input from the velocity pads.

If this is set to REAL, your playing strength on the pads will determine the velocity that is input.

Function buttons

[F1 (Patch List)] Choose a patch/rhythm set from a list (p. 55). [F3 (Mixer)] (Part Mixer) [F6 (BPM/Click)] Set the tempo, and turn the metronome on/

Display the Mixer screen (p. 33).

off (p. 25).

Controllers that can be recorded

• Velocity pads

• D Beam controllers

• Realtime modify knobs

• Turntable Emulation Slider * *: Can be recorded only if assigned as pitch bender or modulation.

Selecting the part to record

In the Part Mixer section, press [PART] (SELECT/

MUTE) so the indicator is not lighted.

Part buttons [1]–[16] will select parts.

Press the button for the part that you want to record.

You can select the part for recording even while you are recording.

Rehearsal

Recording procedure

Select realtime recording (p. 37).

Press [PLAY], and start recording.

Perform using the velocity pads, D Beam controllers, or your external MIDI keyboard.

When you come to the last measure, recording will repeat from the first measure. You will also hear what’s been recorded so far. Your performance during each pass of the recording will be added to the previously recorded data.

You can temporarily cease recording without actually halting the realtime recording operation. This lets you alternate between trying out ideas and actually recording, without having to actually perform “record” and “stop” operations each time.

During realtime recording, press [F4 (Rehearsal)] or

[REC].

[REC] will blink, and you will be in rehearsal mode. No performance data will be recorded.

In this state you can try playing phrases before actually recording them.

Press [F4 (Rehearsal)] or [REC] once again, and you

will resume recording.

Press [STOP] to stop recording.

Recording a pattern

Realtime Erase

During realtime recording, you can use the velocity pads or the realtime modify knobs to erase data.

Select the part from which you want to erase data.

Select a part in the same way as described in “Selecting the part to record” (p. 38).

During recording, press [F2 (Erase)].

The realtime erase window will appear.

fig.1-**

In the Erase Type field, choose the type of data that

you want to erase.

ALL NOTE P-AFT C-AFT CC PC BEND SYSEX BPM MUTE EXCEPT NOTE

* If you want to erase knob data, operate the corresponding knob of the

panel to specify that data.

Erase the data.

• When “NOTE” has been selected, hold down two notes on the velocity pads or on an external MIDI keyboard, and all note messages within the region defined by those two notes will be erased while you continue holding down the notes.

• For other types of data, the data selected by Erase Type will be erased while you continue holding down [F5 (Erase)].

To return to recording mode, press [F5 (Close)] or

All data Note messages Polyphonic aftertouch Channel aftertouch Control change Program change Bend data System exclusive data Tempo change data Mute on/off All data other than note messages

[EXIT].

Recording Cancel

Here’s how you can cancel the entire content of a recording, and return to the recording-standby state.

TR-REC

This is a recording method in which the velocity pads of the MC-909 are used as timing scale buttons to enter note messages.

You can input/delete notes by pressing the velocity pads to switch them between lit/extinguished. This is an easy way to specify the timing at which notes are to be placed.

* This method cannot be used to record data other than note messages

(e.g., control changes produced by operating the realtime modify knobs).

Standby screen

fig.1-30

Parameter

Rec Beat

Rec Measure Length

Rec Velocity REAL, 1–127 Volume (velocity) of the

Function buttons

Range Explanation

2/4–7/4, 5/8– 7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 1–998 Pattern length

Pattern time signature * Can be specified only for

an empty pattern.

* An already-recorded pat-

tern can be made longer, but not shorter. To shorten it, use the pattern edit Delete Measure (p. 45) to delete one or more measures.

notes that you input from the velocity pads.

If this is set to REAL, your playing strength on the pads will determine the velocity that is input.

Pattern Mode

During recording, press [F5 (Rec Cancel)].

A message will ask for confirmation.

To carry out Recording Cancel, press [F6 (Execute)].

All the data that has been recorded from the time you pressed [PLAY] to start recording until you pressed [F5 (Rec Cancel)] will be discarded.

* To cancel, press [F5 (Cancel)].

[F1 (Patch List)] Choose a patch/rhythm set from a list (p. 55). [F3 (Mixer)] (Part Mixer) [F6 (BPM/Click)] Set the tempo, and turn the metronome on/

Display the Mixer screen (p. 33).

off (p. 25).

Recording a pattern

Recording procedure

Select TR-REC (p. 37).

Press [PLAY] to begin recording.

You will enter recording mode, and will hear the notes you enter played as a loop.

fig.1-31

Use the function buttons and [VALUE] or [INC/DEC]

to specify the note messages to enter.

You can also use number.

[F1 (Patch List)] Choose the patch/rhythm set from a list

[F2 (Scale)] The timing scale (see the explanatory box

[F3 (Note Number)] Choose the pitch of the note to be input.

[F4 (Note Type)] Choose the note value to be input.

[F5 (Gate Time)] Specify the gate time (the duration that the

[F6 (Velocity)] Specify the velocity (volume) of the note

[SHIFT] + [F1 (V-Zoom In)]

[SHIFT] + [F2 (V-Zoom Out)]

[SHIFT] + [F6 (BPM/Click)]

By holding down [SHIFT] and pressing [TOP] [BWD] [FWD], you can move the pattern playback location in the same way as during playback.

[CURSOR (up/down)]

(p. 55).

on this page) of the velocity pads will change each time you press this.

For a rhythm set, this selects the rhythm tone to be input.

Range:

0 (C-1)–127 (G9)

Range:

1/32–1/1

note will be held) for the note data to be input, as a proportion of the value you chose for Note Type.

Range:

5–200%

data to be input.

Range:

REAL, 1–127

* If you set this to REAL, the force with

which you strike the pad will be input as

the velocity value. Narrow the region of keys shown in the display.

You can use this when you want to view

an expanded display for specific notes. Broaden the region of keys shown in the display.

You can use this when you want to see

which notes have been input. Set the tempo, and turn the metronome on/off (p. 25).

to select the note

Use [CURSOR (left/right)] or [BWD/FWD] to move the

note message input region

The bottom of the screen will always show two bars to indicate the input region shown in the screen and the current playback position of the pattern.

If you press [TOP], the pattern playback location will return to the beginning of the input region shown in the screen.

To input data, press a pad that corresponds to the

timing at which you want to input a note, so the pad’s

indicator lights.

To delete a note you’ve input, press the

corresponding pad so its indicator goes out.

You cannot edit the note type, gate time, or velocity of a note message once you input it. If you want to change these parameters, you must delete the note and re-input it.

Press [STOP] to stop recording.

Selecting the part to record

In the Part Mixer section, press [PART] (SELECT/

MUTE) so the indicator is not lighted.

Part buttons [1]–[16] will select parts.

Press the button for the part that you want to record.

You can select the part for recording even while you are recording.

About the timing scale

Each time you press [F2 (Scale)], the scale will alternate in the following order.

• 16th notes Velocity pads [1]–[16] will correspond to a recording input

region of one measure, and you will be able to input notes at 16th note intervals.

• 32nd notes Velocity pads [1]–[16] will correspond to a recording input

region of two beats, and you will be able to input notes at 32nd note intervals.

• 8th note triplets Velocity pads [1]–[12] will correspond to a recording input

region of one measure, and you will be able to input notes at 8th note triplet intervals.

• 16th note triplets Velocity pads [1]–[12] will correspond to a recording input

region of two beats, and you will be able to input notes at 16th note triplet intervals.

Recording a pattern

Step recording

This is a recording method in which you input note messages one by one.

* This method cannot be used to record data other than note messages

(e.g., control changes produced by operating the realtime modify knobs).

Standby screen

fig.1-40

Recording procedure

Select step recording (p. 37).

Press [PLAY] to begin recording.

You are now ready to record.

fig.1-31

Use function buttons [F4]–[F6], and [VALUE] and

[INC/DEC] to specify the length and velocity of the

notes to input.

Pattern Mode

Parameter

Rec Beat

Rec Measure Length

Rec Velocity REAL, 1–127 Volume (velocity) of the

Range Explanation

2/4–7/4, 5/8– 7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 1–998 Pattern length

Pattern time signature * Can be specified only for

an empty pattern.

* An already-recorded pat-

tern can be made longer, but not shorter. To shorten it, use the pattern edit Delete Measure (p. 45) to delete one or more measures.

notes that you input from the velocity pads.

If this is set to REAL, your playing strength on the pads will determine the velocity that is input.

Function buttons

[F1 (Patch List)] Choose a patch/rhythm set from a list (p. 55). [F3 (Mixer)] (Part Mixer)

Display the Mixer screen (p. 33).

[F1 (Patch List)]

[F2 (Step Back)] Cancel the previously input note. [F3 (Tie)] Extend the length of the previously

[F4 (Note Type)] Select the type of note value that you

[F5 (Gate Time)] Specify the gate time (duration) of

[F6 (Velocity)] Specify the velocity (volume) of the

[SHIFT] + [F1 (VZoom In)]

[SHIFT] + [F2 (VZoom Out)]

Use the velocity pads to input note messages.

The note number is selected by the pad you press. You can also input chords.

When you input a note message, the input position will advance by the value of the Note Type you specified.

From a list, select the patch/rhythm set that you want to use (p. 55).

input note by the current setting.

want to input.

Range:

1/32–1/1

the note messages you will input, as a proportion of the note value you selected as the Note Type.

Range:

5–200%

note messages you will input.

Range:

REAL, 1–127

* If this is set to REAL, your playing

strength on the pads will vary the

dynamics. Narrow the range of keys shown in the display.

Use this when you want to view

certain notes at greater magnifica-

tion. Expand the range of notes shown in the display.

Use this when you want to see

which notes have been input.

Repeat steps 2 and 3 to input note messages.

When you are finished recording, press [STOP].

Recording a pattern

Selecting the part to record

In the Part Mixer section, press [PART] (SELECT/

MUTE) so the indicator is not lighted.

Part buttons [1]–[16] will select parts.

Press the button for the part that you want to record.

You can select the part for recording even while you are recording.

Moving the input location

• Pressing [CURSOR (right)] will move the input location forward by the current Note Type value.

• Pressing [CURSOR (left)] will move the input location backward by the current Note Type value.

• Pressing [FWD] will advance the input location by one measure.

• Pressing [BWD] will return the input location by one measure.

You cannot move back to a position at which notes have already been input.

Moving the display region

• Pressing [CURSOR (up/down)] will move the displayed region of notes upward or downward.

• Holding down [SHIFT] and pressing [FWD] will move the displayed region one measure forward.

• Holding down [SHIFT] and pressing [BWD] will move the displayed region one measure backward.

Tempo/mute recording

fig.1-49

Tempo changes and mute operations can be recorded on the dedicated tempo/mute part.

The recording procedure is essentially the same as for realtime recording.

Parameter

Rec Beat

Rec Measure Length Rec Count In OFF, 1 MEAS,

Rec Loop Rest OFF, ON Insert a blank measure before

Select tempo/mute recording (p. 37).

Range Explanation

2/4–7/4, 5/8– 7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 1–998 Pattern length

2 MEAS

Pattern time signature * Can be specified only for

an empty pattern.

Length of the count before recording begins

you return to the beginning of the pattern

If this is ON, one blank measure will be inserted before you turn to the first measure of the pattern.

* This provides a convenient

way to keep the end of the last measure from being recorded into the first measure.

Press [PLAY] to start recording.

Only changes in BPM (tempo) and changes in the part mute status will be recorded. No operations of the velocity pads, D Beam controllers, knobs, or sliders will be recorded.

• You can adjust BPM (tempo) by using [VALUE], [INC/DEC], or turntable emulation.

• For details on muting parts, refer to p. 26.

Press [STOP] to stop recording.

Pattern editing

Here’s how you can edit the performance data of a pattern in units of measures. You can create completely new patterns by editing the performance data of a pattern, or by combining various patterns.

* You must stop the pattern before you can edit it.

Basic procedure for pattern editing

Select the pattern that you want to edit.

Press [F2 (Edit)] to access the Pattern Edit Menu

screen.

fig.1-60

[F1 (Micro Scope)]

[F2 (Copy)] Copy a pattern. (p. 44) [F3 (Erase)] Erase unwanted data. (p. 45) [F4 (Delete Measure)] Delete unwanted measures. (p. 45) [F5 (Insert Measure)] Insert blank measures. (p. 45) [F6 (Transpose)] Transpose the pitch. (p. 45) [SHIFT] + [F1 (Extract Rhythm)] [SHIFT] + [F2 (Velocity Duration)] (Change Velocity/ Change Duration) [SHIFT] + [F3 (Shift Clock)] Slightly shift the timing. (p. 45) [SHIFT] + [F4 (Data Thin)] Thin out unnecessary data. (p. 46) [SHIFT] + [F5 (Edit Quantize)] [SHIFT] + [F6 (Reclock)] Convert the note values. (p. 47)

Press the part button [1]–[16] and [TEMPO/MUTE] of

Edit individual items of performance data within a pattern. (p.

48)

Split the rhythm set. (p. 44)

Modify the strength/length of the notes. (p. 45)

Apply quantization. (p. 46)

the part(s) whose data you want to edit, illuminating

the relevant indicator(s).

Set the parameters, and press [F6 (Execute)].

* To cancel the procedure, press [F5 (Cancel)].

Pattern Mode

Select the region of measures that you want to edit.

•

Source From:

If you set this to “SETUP,” the setup parameters (p. 18) will be included.

•

Source End:

If you set this to “SETUP,” only the setup parameters will be selected, and no measures will be included.

Use the function buttons to select the type of editing

first measure of the region

last measure of the region

that you want to carry out.

The corresponding editing sub-window will appear.

fig.1-61

The procedures for Extract a Rhythm Instrument and Pattern

Copy are explained on the next page.

When you are specifying the Note (Minimum/Maximum) in Pattern Edit, you can specify the Minimum and Maximum by pressing two velocity pads. First press Minimum, then press Maximum. If you press one velocity pad twice, the Minimum and Maximum will be the same.

Pattern editing

Extract a Rhythm Instrument

This operation extracts data of a specific note number from the specified part, and moves it to a different part. You can use this to divide a rhythm set into separate parts for each instrument.

In step 5 on the preceding page, press a part button

[1]–[16] to select the move-source part; the button

will light.

Select the note number that you want to move.

Press [F6 (Select)].

Press a part button [1]–[16] to select the move-

destination part; the button will light.

Press [F6 (Execute)].

* To cancel the procedure, press [F5 (Cancel)].

Parameter

Src Part Extract Note 0 (C-1)–127 (G9) Note number to be moved Dest Part 1–16 Move-destination part

* If the move-source part does not contain any data of the note number

specified by Extract Note, a message of “Cannot Extract!” will appear.

* If the move-destination part contains no performance data, the setup

parameters (p. 26) of the move-source part will be copied.

* If the move-destination part does contain performance data, only the

note data will be moved. This means that the note data will be played using the sound of the patch selected for the move-destination part.

Range Explanation

1–16 Move-source part

Pattern Copy

This operation copies data from the current pattern to another pattern.

In step 5 on the preceding page, press a part button

[1]–[16] or [TEMPO/MUTE CONTROL] to select the

move-source part; the button will light.

Select the data that you want to copy.

Press [F6 (Select)].

Press a part button [1]–[16] or [TEMPO/MUTE

CONTROL] to select the move-source part; the

button will light.

Press [F6 (Execute)].

* To cancel the procedure, press [F5 (Cancel)].

Parameter

Event

Note Minimum 0 (C-1)–127 (G9) Note region to be copNote Maximum

Min CC#0–CC#127 Control change mesMax

Dest Pattern Preset, User, Card Bank of the copy-desti-

Dest Meas 1–(last measure + 1) First measure of the

Dest Part 1–16 Copy-destination part Copy Mode REPLACE, MIX How the copy will oc-

Copy Times 1–998 (Max) Number of times the

* You can specify a copy-destination part (Dest Part) only if there is

just one copy-source part. If there are two or more copy-source parts, they will be copied to the same parts of the copy-destination.

* When copying data from one part to another part within the same

pattern, you can select only one part at a time.

Range Explanation

ALL, NOTE, PROG, CC, BEND, PAFT, CAFT, SYSEX, BPM, MUTE

1–650 (Preset) 1–200 (User) 1–999 (Card)

Data to be copied

ied * This can be specified

only if Event is set to “NOTE.”

sage to be copied

Messages in the specified range will be copied

* This can be specified

only if Event is set to “CC.”

nation pattern Copy-destination pattern number

copy-destination

cur

REPLACE:

copy-destination data will be replaced by the copy-source data.

MIX:

The copy-destination data will be combined with the copy-source data.

data is to be copied

The

Pattern editing

Erase

This operation erases all or part of the data from a pattern.

Parameter

Event

Note Minimum 0 (C-1)–127 (G9) Note region to be erased Note Maximum

Min CC#0–CC#127 Control change message Max

Range Explanation

ALL, NOTE, PROG, CC, BEND, PAFT, CAFT, SYS-EX, BPM, MUTE

Data to be erased

* This can be specified

only if Event is set to “NOTE.”

to be erased

Messages in the specified range will be erased

* This can be specified

only if Event is set to “CC.”

Delete Measure

This operation deletes unwanted measures from a pattern, and joins the remaining measures together.

If a part contains data following the deleted region, the performance data of that part will be shortened by the corresponding length. If you specify all parts as the object of the delete operation, the pattern itself will be shortened.

fig.Delete

123456

Transpose

This operation shifts the note numbers (pitch) of one or more parts in the pattern. You can transpose the notes in a range of +/-2 octaves.

Parameter

Value Note Minimum 0 (C-1)–127 (G9) Range of notes to be trans-

Range Explanation

-24– +24 Amount of transposition

posedNote Maximum

Change Velocity/ Change Duration

This operation modifies the velocity (strength) or duration (the length that the note is held) of the notes recorded in the pattern.

You can use Change Duration to give the overall performance a staccato feel or tenuto feel.

Parameter

Type

When Type is “VELOCITY”

Value

Note Minimum 0 (C-1)–127 (G9) Range of notes whose ve-

When Type is “DURATION”

Value -960– +960 Amount by which the du-

Note Minimum 0 (C-1)–127 (G9) Range of notes whose du-

Range Explanation

VELOCITY, DURATION

-99– +99 Amount by which the ve-

Data to be modified

VELOCITY:

Strength of the notes

DURATION:

Length of the notes

locity is to be changed

locity is to be changedNote Maximum

ration is to be changed

ration is to be changedNote Maximum

Pattern Mode

12345

Insert Measure

This operation inserts blank measures between the specified measure of a pattern and the following measure. If you want to add more playing in the middle of a existing performance, use this operation to insert one or more blank measures, and then record the additional performance. The inserted measures will have the same time signature as the time signature preceding the insert location.

fig.Insert

122345

1 23456

Parameter

Insert Meas

Range Explanation

1–998 (Max) Number of measures to insert

* You cannot specify a number

that would cause the pattern to exceed 998 measures.

If this operation would result in a velocity greater than 127 (or less than 1), the resulting velocity data will be limited to 127 (or 1).

Shift Clock

This operation shifts the timing of the performance data recorded in the pattern backward or forward in units of one clock (1/96th of a beat). Use this when you want to slightly shift the overall performance.

Parameter

Value Event ALL, NOTE,

Note Minimum 0 (C-1)–127 (G9) Range of notes for which

Range Explanation

-960– +960 Amount of clock shift

PROG, CC, BEND, PAFT, CAFT, SYS-EX, BPM, MUTE

Type of data whose timing is to be adjusted

the timing is to be adjustedNote Maximum

Pattern editing

Data Thin

Since data such as pitch bend or control change varies the value continuously, it can occupy an unexpectedly large amount of memory. The Data Thin operation thins out such data to reduce the amount of memory it occupies without audibly affecting the resulting playback. This lets you use the internal memory more efficiently.

Parameter

Value

Thin Event ALL, CC, BEND,

Range Explanation

0–99 Amount by which data is

to be thinned Type of data to be thinned

PAFT, CAFT

Edit Quantize

This operation corrects the timing of performance data recorded in the pattern, according to the timing criteria you specify.

Conventional quantization adjusts only the timing of the notes in the pattern as they are played back, without affecting the actual content of the data. However, the Edit Quantize operation lets you quantize the actual data itself.

Parameter

QTZ Type

When Type is “GRID”

QTZ Template

QTZ Timing 0–100 Strength of quantization

When Type is “SHUFFLE”

QTZ Template QTZ Timing 0–100 Amount of “shuffle” for back-

When Type is “GROOVE”

QTZ Template

QTZ Timing 0–100 Strength of timing adjustment

QTZ Velocity

Range Explanation

GRID, SHUFFLE, GROOVE

1/32, 1/24, 1/16, 1/12, 1/8, 1/6, 1/4

1/16, 1/8 Note value toward which notes

Refer to “Groove Template List” (p. 46)

0–100 Strength of velocity adjustment

Type of quantization

Note value toward which notes are to be moved

Higher settings of this parameter will cause the note timings to be moved closer toward their exact value.

are to be moved

beats

A setting of “50” will produce a “straight” rhythm with no shuffle. Settings in a range of 60–66 will usually produce a pleasant shuffle feel.

Template to use

Higher settings of this parameter will cause the note timings to be moved closer toward the timings of the template.

Higher settings of this parameter will cause the velocities to be adjusted closer toward the velocities of the template.

Groove Template List

16 Beat Dance type

Dance-Nm-L.Ac Dance-Nm-H.Ac exact/high dynamics Dance-Nm-L.Sw exact/light swing Dance-Nm-H.Sw exact/strong swing Dance-Hv-L.Ac dragging/low dynamics Dance-Hv-H.Ac dragging/high dynamics Dance-Hv-L.Sw dragging/light swing Dance-Hv-H.Sw dragging/strong swing Dance-Ps-L.Ac rushing/low dynamics Dance-Ps-H.Ac rushing/high dynamics Dance-Ps-L.Sw rushing/light swing Dance-Ps-H.Sw rushing/strong swing

16 Beat Fusion type

Fuson-Nm-L.Ac Fuson-Nm-H.Ac exact/high dynamics Fuson-Nm-L.Sw exact/light swing Fuson-Nm-H.Sw exact/strong swing Fuson-Hv-L.Ac dragging/low dynamics Fuson-Hv-H.Ac dragging/high dynamics Fuson-Hv-L.Sw dragging/light swing Fuson-Hv-H.Sw dragging/strong swing Fuson-Ps-L.Ac rushing/low dynamics Fuson-Ps-H.Ac rushing/high dynamics Fuson-Ps-L.Sw rushing/light swing Fuson-Ps-H.Sw rushing/strong swing

16 Beat Reggae type

Regge-Nm-L.Ac Regge-Nm-H.Ac exact/high dynamics Regge-Nm-L.Sw exact/light swing Regge-Nm-H.Sw exact/strong swing Regge-Hv-L.Ac dragging/low dynamics Regge-Hv-H.Ac dragging/high dynamics Regge-Hv-L.Sw dragging/light swing Regge-Hv-H.Sw dragging/strong swing Regge-Ps-L.Ac rushing/low dynamics Regge-Ps-H.Ac rushing/high dynamics Regge-Ps-L.Sw rushing/light swing Regge-Ps-H.Sw rushing/strong swing

8 Beat Pops type

Pops-Nm-L.Ac exact/low dynamics Pops-Nm-H.Ac exact/high dynamics Pops-Nm-L.Sw exact/light swing Pops-Nm-H.Sw exact/strong swing Pops-Hv-L.Ac dragging/low dynamics Pops-Hv-H.Ac dragging/high dynamics Pops-Hv-L.Sw dragging/light swing Pops-Hv-H.Sw dragging/strong swing Pops-Ps-L.Ac rushing/low dynamics Pops-Ps-H.Ac rushing/high dynamics Pops-Ps-L.Sw rushing/light swing Pops-Ps-H.Sw rushing/strong swing

8 Beat Rhumba type

Rhumb-Nm-L.Ac Rhumb-Nm-H.Ac exact/high dynamics Rhumb-Nm-L.Sw exact/light swing Rhumb-Nm-H.Sw exact/strong swing Rhumb-Hv-L.Ac dragging/low dynamics Rhumb-Hv-H.Ac dragging/high dynamics Rhumb-Hv-L.Sw dragging/light swing Rhumb-Hv-H.Sw dragging/strong swing Rhumb-Ps-L.Ac rushing/low dynamics Rhumb-Ps-H.Ac rushing/high dynamics Rhumb-Ps-L.Sw rushing/light swing Rhumb-Ps-H.Sw rushing/strong swing

exact/low dynamics

Pattern editing

Others

Samba 1 Samba 2 samba (surdo and timba) Axe 1 axe (caixa) Axe 2 axe (surdo) Salsa 1 salsa (cascara) Salsa 2 salsa (conga) Triplets triplets Quituplets quintuplets Sextuplets sextuplets 7 Against 2 seven notes played over two beats Lagging Tri lagging triplets

Quantization will correct only note messages; other messages are not corrected. This means that if messages that modify the sound in real time (such as pitch bend) have been recorded in the pattern, some Quantize settings may cause the timing of these messages to become incorrect, so that they are no longer played correctly. It is best to use Quantize on patterns that do not contain messages that produce realtime change.

samba (pandero)

Reclock

This operation doubles or halves the note values of performance data recorded in the pattern. For example, a four-measure pattern recorded at tempo = 120 can be converted to a two-measure pattern with halved note values, and played at tempo = 60 to produce the identical playback. If you want to connect patterns whose tempo differs drastically, you can use the Reclock operation to match the note values of the two patterns.

fig.Reclock

DOUBLE

HALF

* Using the Reclock operation will not change the original tempo of the

pattern.

Parameter

Reclock Size

* You cannot set this parameter in a way that would make the Reclock

operation produce a pattern longer than 998 measures or shorter than 1 measure.

Range Explanation

HALF, DOUBLE

How the note values are to be changed

HALF:

Note values will be

halved.

DOUBLE:

doubled.

Note values will be

Pattern Mode

Pattern editing

Location of the sequencer data (measure-beat-clock)

MIDI channel (Part) Sequencer data

Microscope

This lets you edit individual events of performance data within a completed pattern.

* You must stop the pattern before you can edit it.

Basic procedure in the Microscope

Select the pattern that you want to edit.

Press [F2 (Edit)] to access the Pattern Edit Menu

screen.

Press [F1 (Micro Scope)] to access the Microscope

screen.

fig.1-50

Performance data that can be edited in the Microscope

The Microscope editor lets you edit the following nine types of data (MIDI message).

MIDI message

Note

Program Change Messages that switch sounds (patches)

Control Change Messages that can apply effects such as modula-

Pitch Bend Messages that change the pitch while you play

Poly Aftertouch Messages that apply aftertouch to individual

Channel Aftertouch

System Exclusive MIDI messages specific to the MC-909 Tempo Change Messages that change the tempo Mute Control Mute data for each part

Explanation

Note data for playing sounds

From the left, the parameters are Note Number, which indicates the name of the note; On Velocity, which specifies the force with which the key is pressed; Duration (Beat-Tick), which specifies the duration of the note; and Off Velocity, which determines the speed with which the key is released.

The program number (PC#) selects the sound.

tion or portamento, depending on the controller number of the message

The controller number (CC#) selects the function, and Value specifies the depth of the effect (function).

The value specifies the amount of pitch change.

keys

From the left, the parameters are Note Number which specifies the key, and Value which

specifies the depth of the aftertouch. Messages that apply aftertouch to an entire MIDI channel

Value specifies the depth of the aftertouch.

Use part buttons [1]–[16] and [TEMPO/MUTE] to

select the part that you want to edit.

Use [CURSOR (up/down)] to select the performance

data that you want to edit.

Use [CURSOR (left/right)] to select the parameter that

you want to edit.

Use [VALUE] or [INC/DEC] to edit the value.

Repeat steps 4–7 to continue editing.

When you are finished, press [EXIT].

System Exclusive, Tempo Change, and Mute Control are included in the Tempo/Mute Part (p. 42).

Function buttons

[F1 (Create)] Inserts new performance data. [F2 (Erase)] Erases performance data. [F3 (Move)] Moves performance data. [F4 (Copy)] Copies performance data. [F5 (Place)] Places performance data. [F6 (View Switch)] Displays only specific data.

[SHIFT] + [F1 (V-Zoom In)]

[SHIFT] + [F2 (V-Zoom Out)]

* In the Microscope, you can press [ENTER] to transmit the currently

selected performance data from the MIDI OUT connector.

Data marked by “✔” will be displayed.

Narrow the range of keys shown in the display.

Use this when you want to view certain

notes at greater magnification. Expand the range of notes shown in the display.

Use this when you want to see which notes

have been input.

Pattern editing

Inserting performance data (Create)

Here’s how to insert new performance data at a desired location in a pattern.

Press [F1 (Create)].

The Create Event window will appear.

Use [VALUE] or [INC/DEC] to select the performance data that you want to insert.

Press [F6 (OK)].

The Create Position window will appear.

Use [CURSOR (left/right)] to move the cursor to the “measure,” “beat,” and “clock” fields, and use [VALUE] or [INC/DEC] to specify the location at which the data will be inserted.

Press [F6 (OK)] to insert the performance data.

The parameters of the inserted performance data will have the default values, so edit the values as necessary.

Erasing performance data (Erase)

Here's how to erase only a single specific event of performance data.

Use [CURSOR (up/down)] to move the cursor to the

performance data that you want to erase.

Press [F2 (Erase)] to erase that performance data.

Copying performance data (Copy)

Here's how to copy a performance data event to the specified location. This is convenient when you want to use the same performance data two or more times.

Use [CURSOR (up/down)] to move the cursor to the

performance data that you want to copy.

Press [F4 (Copy)] to copy the event.

Press [F5 (Place)].

The Place Event window will appear.

Use [CURSOR (left/right)] to move the cursor to the

“measure,” “beat,” and “clock” fields, and use

[VALUE] or [INC/DEC] to specify the location to

which the data will be pasted.

Press [F6 (OK)] to paste the performance data.

Editing a system exclusive message

Press [TEMPO/MUTE CONTROL] to select the tempo/

mute part.

Use [CURSOR (up/down)] to move the cursor to the

location of the system exclusive message that you

want to edit.

Pattern Mode

Moving performance data (Move)

Here's how to move a performance data event to a different location.

1. Use [CURSOR (up/down)] to move the cursor to

the performance data that you want to move.

Press [F3 (Move)].

The Move Event window will appear.

Use [CURSOR (left/right)] to move the cursor to the

“measure,” “beat,” and “clock” fields, and use

[VALUE] or [INC/DEC] to specify the location to

which the data will be moved.

Press [F6 (OK)] to move the performance data.

Press [CURSOR (right)].

The System Exclusive Edit window will appear.

Use [CURSOR] to move the cursor to the location of

the data that you want to edit.

Use [VALUE] or [INC/DEC] to edit the value.

Press [F6 (OK)] to finalize the data.

Function buttons

[F1 (Auto Sum)]

[F2 (Delete)] Deletes the data at the cursor location. [F3 (Insert)] Inserts data at the cursor location. [F4 (Test)] Transmits the data being edited from the

[F5 (Cancel)] Cancels the change in the data. [F6 (OK)] Finalizes the data.

If the message is a Roland type IV system exclusive message, you can calculate the checksum automatically when the values are finalized. If this displays a “✔” mark, the check sum will be calculated automatically when the data values are finalized.

MIDI OUT connector.

Saving a pattern

Pattern settings that you edit will be lost if you edit another pattern or turn off the power. If you want to keep the edited data, you must save it as follows.

Select the pattern that you want to save.

Press [WRITE].

The write menu screen will appear. Make sure that “Pattern” is highlighted.

Press [ENTER] or [F1 (PTN)].

The pattern name input screen will appear.

Assign a name to the pattern you created.

[CURSOR (left/right)]

[CURSOR (up/down)] Switches letters between uppercase

[VALUE] [INC/DEC] Selects characters. [F1 (Change Type)] Selects the type of character.

[F2 (Delete)] Deletes the character at the cursor loca-

[F3 (Insert)] Inserts a space at the cursor location.

* If you decide not to enter the name, press [F5 (Cancel)].

When you finish inputting the name, press [F6

Moves the cursor (the location at which to enter/edit a character).

and lowercase.

Each time you press this, you will alternately select the first character of the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).

tion, while shifting the following characters to the left, closing the gap.

(Write)].

A screen will appear in which you can select the pattern to which the data will be written.

Use [VALUE] or [INC/DEC] to select the pattern to

which the data will be written.

Use [CURSOR (left/right)] to select the bank (user or card).

Press [F6 (Write)].

A message will ask you to confirm that you want to write the data.

To write the data, press [F6 (Execute)].

* To cancel, press [F5 (Cancel)].

Patch/Sample

Mode

Patch/Sample Mode

How Things Work (in Pattern mode)

fig.0-01

When you press the Mode section button’s indicator will light and the MC-909 will be in Patch/Sample mode.

In Patch/Sample mode, the various parts of the panel will perform the following functions.

[PATCH/SAMPLE] button

, the

1. D Beam controllers

Pass your hand over these to modify the pattern (p. 35).

[BEAM 1 ON]

[BEAM 2 ON] Turns the right D Beam controller

[TWIN D BEAM ASSIGN] Selects the function of the D Beam

2. Volume section

[OUTPUT] Adjusts the output volume of the MIX OUT jacks

and the headphone.

[INPUT] Adjusts the input volume from the INPUT jacks.

Turns the left D Beam controller (BEAM 1) on/off.

(BEAM 2) on/off.

controller.

3. Realtime Modify section

These controls modify the sound in real time (p. 33).

Knob/Button

[WAVE SELECT]

PITCH

block

[TUNE]

[DEPTH] Pitch Envelope Depth (p. 59) [A] Pitch Envelope Time1 (p. 59) [D] Pitch Envelope Time3 (p. 59)

FILTER

[TYPE] [CUTOFF] Cutoff Frequency (p. 59) [RESONANCE] Resonance (p. 60) [DEPTH] Filter Envelope Depth (p. 61) [A] Filter Envelope Time1 (p. 61) [D] Filter Envelope Time3 (p. 61) [S] Filter Envelope Level3 (p. 61) [R] Filter Envelope Time4 (p. 61)

AMP

[LEVEL] [A] Amp Envelope Time1 (p. 63) [D] Amp Envelope Time3 (p. 63) [S] Amp Envelope Level3 (p. 63) [R] Amp Envelope Time4 (p. 63)

LFO 1

[DEPTH/RATE]

block

[WAVEFORM] LFO1 Waveform (p. 64)

Parameter

Displays the Wave List.

button is not lit: button is lit:

Filter Type (p. 59)

Patch Coarse Tune (p. 57)

Patch Level (p. 62)

button is not lit:

Pan Depth (p. 64, p. 65) * Selectable

button is lit:

LFO1 Rate (p. 64)

Patch Fine Tune (p. 57)

LFO1 Pitch/Filter/Amp/

How Things Work (in Pattern mode)

Knob/Button Others

[MATRIX CONTROL 1] [RANDOM MODIFY] [FAT] Unison Fat Level (p. 66) [UNISON] Unison Switch (p. 66) [PORTAMENTO] Portamento Switch (p. 65) [SOLO] Mono/Poly (p. 65)

TONE SWITCH

[1]–[4]

TONE SELECT

[1]–[4]

Parameter

Parameters set to CTRL1 Destination (p. 68)

Randomly modifies the sound generator parameters for the current part (p. 56).

Turns the tone on/off (p. 56).

Selects a tone to edit (p. 56).

4. Mastering section

[ON] Switches the mastering effect (compressor) on/off. [BAND] Selects the frequency band to adjust. [ATTACK] Specify the time from when the volume goes up

the threshold level until the compressor effect applies.

[RELEASE] Specify the time from when the volume falls below

the threshold level until the compressor effect no longer applies.

5. Velocity pads

Use these pads as a keyboard to play sounds or trigger phrases (p.

27).

6. Function buttons

These buttons access the function screens indicated in the bottom line of the display.

[AUTO SYNC]

Synchronizes a sample to the pattern (p. 36).

9. Effect section

Applies special effects to the sound (p. 88).

[COMP]–[REVERB] Switch each effect on/off (p. 88). [KNOB ASSIGN] Selects the effect to be controlled in real

time (p. 91). [TYPE] Selects the type of effect. [C1], [C2] Modifies the assigned function in real

time.

10. Mode section

Press the [PATTERN] button to enter Pattern mode. Pressing one of the other two buttons will switch you to the

corresponding mode.

11. Cursor/Value section

Use these buttons and dial to select patterns or input values (p. 18). You can press [ENTER] to see a list of the values that can be specified

for the currently selected parameter.

12. Sequencer section

Patch/Sample Mode

7. Part Mixer section

Here you can adjust the volume, pan, etc., of each part (p. 33).

[PART] (SELECT/MUTE)

[TEMPO/MUTE CONTROL]

[MIXER ASSIGN] When you press this button so its indicator

[PART ASSIGN] Selects the parts that are controlled by the

lights, the Mixer screen will appear.

sliders. The sliders will control parts 1–8 if this indicator is not lighted, or parts 9–16 if the indicator is lit.

8. Sampling section

[EDIT] Displays the Sample Edit

screen (p. 114).

[SAMPLING/RESAMPLING] Displays the Sampling menu

[MIX IN] Mixes the sound from the IN-

screen (p. 112).

PUT jack into the output (p.

34).

13. Turntable emulation

Applies an effect that simulates increasing/decreasing the rotational speed of a turntable (p. 36).

14. TAP button

Lets you set the BPM (tempo) by pressing the button at the desired timing (p. 25).

Patch Edit

How a Patch Is Organized

The type of sound most commonly played on the MC-909 is called a Patch. Each Patch can contain up to four Tones.

fig.2-01.e

Tone

Example 1:A Patch consisting of only one Tone (Tones 2—4 are turned off).

Tone

Example 2: A Patch consisting of four Tones.

You can turn the Tones in a Patch on or off. Only Tones that are turned on are heard when you play the Patch. (p. 56)

You can also set the structure of a Patch to specify how Tones 1 and 2 and Tones 3 and 4 are combined. (p. 66)

Tone

How a Tone Is Organized

Tones are the smallest programmable unit of sound on the MC-909, and are the basic building blocks that make up a Patch. You can’t play a Tone by itself-it can only be played as part of a Patch or Rhythm Set. A Tone consists of the following five components.

fig.2-02.e

Tone

LFO 1

Tone

LFO 2

TVA (Time Variant Amplifier)

This determines how the volume and panning of the Tone change.

Envelope

An envelope applies changes to the Tone over time. There are separate envelopes for pitch, TVF (filter) and TVA (volume). For example, you would use the TVA Envelope to modify the way in which the Tone attacks and decays.

LFO (Low Frequency Oscillator)

Use the LFO to create cyclical changes-or cyclical “modulation”-in a Tone. Each Tone has two LFOs. An LFO can be applied to the Tone’s pitch settings, TVF (filter), and TVA (volume). When an LFO is applied to pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah-wah effect is produced. When an LFO is applied to the TVA volume, a tremolo effect is produced.

Tips for Creating a Patch

• Choose a Patch that’s similar to the sound you wish to create.

When you want to create a new sound, it’s a good idea to begin with a Patch that’s close to the sound that you have in mind. Starting with a Patch that bears no resemblance to the one you want to create is likely to result in much more programming work for you.

• Decide which Tones will sound

When creating a Patch, it’s important to decide which Tones you want to use. It’s also important to turn off unused Tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you can play.

• Check the way in which the Tones are combined

Structure Type 1&2 and 3&4 are important parameters that determine how the four Tones are combined. Before you select new Tones, make sure you understand how the currently selected Tones are affecting each other.

Pitch

Envelope

audio signal

TVF

Envelope

TVA

Envelope

control signal

WG (Wave Generator)

This selects the PCM waveform material that provides the basis of the Tone. Two waveforms can be assigned to each Tone.

The MC-909 has 693 different waveforms. (See Waveform List p.

150.) All Patches built into the MC-909 consist of combinations of Tones

based on these waveforms.

TVF (Time Variant Filter)

This specifies how the frequency components of the Tone change.

Patch Edit

Top screen of Patch/Sample mode

fig.2-03

Bank Num (Number) Patch/Rhythm (Patch Name/Rhythm Set Name) Lev (Part Level) Refer to p. 33 Pan (Part Pan) Key (Part Key Shift) Rev (Par Reverb Send Level) Out (Part Output Assign) How the original sound of each

Seq (Sequencer Output Assign)

Bank/Number/Name of the patch (rhythm set) used by each part (1–16)

part will be output

DRY:

Output to MIX OUTPUT jacks without passing through effects

MFX1 (2):

multi-effects 1 (or 2)

COMP:

compressor

DIR1 (2):

RECT 1 (or DIRECT 2) jacks without passing through effects

RHY:

settings of the rhythm set assigned to the part

* “RHY” can be set only when a

rhythm set is assigned to the part.

Output distination from the sequencer

INT: EXT: BOTH:

multaneously

Output through

Output through the

Output to the DI-

Output according to the

Internal soundgenerator

MIDI OUT connector

Both of the above si-

Function buttons

[F1 (List)] (Patch List) [F2 (Edit)] (Patch Edit) [F3 (Mixer)] (Part Mixer) [F4 (Effects)] Apply special effects to the sound (p. 88). [F5 (Mastering)] Make settings for the mastering effect (p.

[F6 (BPM/Click)] Set the tempo, and turn the metronome on/

Select a patch/rhythm set from a list (p. 55).

Edit the settings of a patch/rhythm set (p. 56, p. 70). Specify the volume/pan of each part (p. 33).

108).

off (p. 25).

Selecting a patch/rhythm set

Selecting from a list

Press [F1 (List)] to display the Patch List screen.

The currently selected patch/rhythm set (the current patch/ rhythm set) will be highlighted.

To select a patch, press [F3 (Patch)]. To select a

rhythm set, press [F4 (Rhythm)].

Use [F1] [F2] or [CURSOR (left/right)] to select a

bank.

Press [F6 (Select)] to finalize your selection.

Selecting a patch by category

In the Patch Select screen, press [F5 (Categ)].

The patches will be displayed by category.

Use [F1] [F2] or [CURSOR (left/right)] to select a

category.

Press [F6 (Select)] to finalize your selection.

Rhythm sets do not have categories.

Selecting directly

In the top screen of Patch/Sample mode, use

[CURSOR] to move the cursor to the patch/rhythm

set name or bank.

Use [VALUE] or [INC/DEC] to make your selection.

Patch/Sample Mode

Patch Edit

Selecting the Tone(s) That Will Sound

Turn “on” the tone(s) that you want to sound. If you want to hear just a specific tone, turn the other tones “off.” Press

TONE SWITCH [1]–[4]

to switch a tone on (button’s indicator lit) or off (indicator extinguished).

Patch editing procedure

Editing from the Panel Knobs

Several of the sound generator parameters can be edited directly from the panel knobs. Parameters that can be edited are marked by “#” in the detailed editing list.

Special editing

[RANDOM MODIFY]

[FAT] This is valid if [UNISON] is on.

When you get a sound that you like, save the patch (p. 77).

This controls the sound generator parameters of the current part. It is a convenient way to use randomness to create sounds you like. Once you turn this toward the right, the parameters will be modified randomly. If you turn it all the way to the left and then toward the right once again, the parameters will be newly re-selected and modified randomly.

It produces a detune effect (when the knob is between the far left and the center), or a harmonize effect (when the knob is between the center and the far right).

LFO1 waveform morphing

The LFO1 waveform can be morphed (gradually shifted between waveforms) in the order shown on the panel.

Detailed Editing

In the top screen of Patch/Sample mode, move the cursor to the patch that you want to edit.

Press [F2 (Edit)] to access the Edit screen.

Use [F1] and [F2] to select a parameter group.

Press [CURSOR (up/down)] to select the parameter.

Use [VALUE] or [INC/DEC] to edit the desired parameter.

* You can press [F6 (Zoom Edit)] to edit some parameters graphically.

* You can press [ENTER] to see a list of the values that can be specified for the currently selected parameter.

* You can also use the panel knobs and sliders to edit the sound (p. 52).

When you are finished editing, press [EXIT] to return to the top screen.

Selecting a Tone to Edit

Press TONE SELECT [1]–[4] so the indicator for the tone you want to edit is lighted.

* By simultaneously pressing two or more [TONE SELECT] buttons, you can simultaneously select two or more tones.

Wave

These parameters select the PCM waveform that is to form the basis of the tone, and apply effects to the waveform.

Patch Edit

Parameter

Wave Group

Wave No. L/MONO 0 (OFF)–693 Waveform upon which the tone is to be based Wave No. R

Wave Gain -6, 0, +6, +12 dB Waveform gain (amplitude)

FXM (Frequency Cross Modulation)

FMX creates a complex overtone structure by using a specific waveform to frequency-modulate the selected waveform. This is suitable for creating extreme sounds or sound effects. FXM SW (Wave FXM Switch) FXM Color (Wave FXM Color)

FXM Depth (Wave FXM Depth)

Range Explanation

INT, SRX, PRES, USER, CARD

OFF, ON Selects whether FMX will be used (ON) or not (OFF)

1–4 Selects how FXM will apply frequency modulation.

0–16 Depth of frequency modulation applied by FXM

Group of the waveform upon which the tone is to be based

INT:

Waveforms stored in internal memory

SRX:

Waveforms stored in a wave expansion board

PRES:

Preset sample waveforms

USER:

User sample waveforms

CARD:

Card sample waveforms

* SRX can be selected only if a wave expansion board is installed.

On the MC-909 you can specify a separate waveform for the L and R channels.

* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).

The value will change in steps of 6 dB (decibels). An increase of 6 dB will double the gain. If you want to use the booster to distort the sound, it is effective to set this to the maximum.

Increasing this value will produce a rougher sound. Decreasing this value will produce a more metallic sound.

Pitch

These parameters specify the pitch of the waveform, and how your keyboard playing dynamics will affect the pitch envelope (change in pitch over time).

Patch/Sample Mode

Parameter Value Description

Patch Coarse Tune # -48– +48 Pitch of the entire patch

Specifies the pitch in semitone steps over a range of +/-4 octaves.

Patch Fine Tune # -50– +50 Pitch of the entire patch

Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or downward.

Tone Coarse Tune -48– +48 Pitch of the tone

Adjusts the pitch in semitone steps over a range of +/-4 octaves.

Tone Fine Tune -50– +50 Pitch of the tone

Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or

Rnd Pitch Depth (Tone Random Pitch Depth)

0–1200 Range of random pitch change that occurs each time a pad is pressed

downward.

Set this to 0 if you do not want the pitch to change randomly. This value is set in units of one cent (1/ 100th of a semitone).

Patch Edit

Parameter

Pitch Keyfollow (Wave Pitch Keyfollow)

P-Env V-Sens (Pitch Envelope Velocity Sensitivity) P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity)

P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity)

P-Env Time KF (Pitch Envelope Time Keyfollow)

Value Description

-200– +200 Amount of pitch change that occurs when you play upward one octave (12 notes) Set this to +100 if you want the pitch to rise one octave as you play 12 notes upward (as on a conventional keyboard). Set this to +200 if you want the pitch to rise two octaves as you play 12 notes upward. Conversely, set this to a negative value if you want the pitch to fall as you play upward on the keyboard. Set this to 0 if you want the same pitch to be sounded regardless of the note you play.

Pitch

+200

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100-200

Key

-63– +63 Amount of pitch change that will occur in response to your pad playing dynamics. Increasing this value will produce a greater difference in pitch between softly and strongly played notes. Negative (-) values will produce the opposite result.

-63– +63 Amount by which T1 (time) of the pitch envelope will change in response to the speed (velocity) at

which you press a pad.

Increasing this value will produce a greater difference between softly and strongly played notes. Set this to a positive (+) value if you want to speed up the T1 time, or to a negative (-) value to slow it down.

-63– +63 Amount by which T4 (time) of the pitch envelope will change in response to the speed at which you

release a pad (key-off velocity)

Increasing this value will produce a greater difference between quickly released and slowly released notes. Set this to a positive (+) value if you want to speed up the T4 time, or to a negative (-) value to slow it down.

-100– +100 Amount by which the pitch envelope times (T2--T4) will change in response to the key you play Relative to middle C (C4), higher settings for this parameter will produce greater change. Positive (+) values will cause the times to become shorter as you play toward the right on the velocity pad. Conversely, negative (-) values will cause the times to become longer.

Time

+100

C4C3C2C1 C5 C6 C7

+50

-50

-100

Key

Patch Edit

Pitch Env (Pitch Envelope)

These parameters specify the depth of the pitch envelope (the way in which pitch will change over time), and the shape of the envelope itself.

T1 T2 T3 T4

Pitch

key is pressed

Parameter

P-Env Depth #

P-Env Time1–4 # 0–127 Pitch envelope times (T1–T4)

P-Env Level0–4 -63– +63 Pitch envelope levels (L0–L4)

Time

key is released

Value Description

-12– +12 Pitch envelope depth Increasing this value will produce greater change. Negative (-) values will invert the change produced by the envelope.

Increasing this value will lengthen the time until the next pitch level is reached (for example, T2 is the time over which the pitch will change from L1 to L2).

* Realtime modify knob [A] adjusts Time 1, and knob [D] adjusts Time 3.

These parameters specify the amount by which the pitch will change from the basic pitch (specified by Coarse Tune and Fine Tune) at each point of the envelope. Positive (+) values will raise the pitch above the basic pitch, and negative (-) values will lower it.

Filter

These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and fatness of the sound.

Parameter

Filter Type #

Cutoff Frequency # 0–127 Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the wave-

Value Description

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

Type of filter

A filter cuts a specific frequency region of the sound to modify the brightness or thickness of the sound.

OFF:

A filter will not be used.

LPF:

Low Pass Filter. Cuts the region that lies above the cutoff frequency. The sound will become

more mellow as the high frequency region is cut. This is the most commonly used type of filter.

BPF:

Band Pass Filter. Leaves only the region in the vicinity of the cutoff frequency, and cuts the rest.

Suitable for creating sounds with a distinctive character.

HPF:

High Pass Filter. Cuts the region that lies below the cutoff frequency. Suitable for creating per-

cussion instrument sounds that have a distinctive high range.

PKG:

Peaking filter. Emphasizes the region in the vicinity of the cutoff frequency. You can create a

wah effect by using an LFO to cyclically modulate the cutoff frequency.

LPF2:

Low Pass Filter 2. Cuts the region that lies above the cutoff frequency. This lets you leave the cutoff frequency fixed, and use the TVF envelope settings to vary the depth of the cutoff. Since this does not impair the feeling of energy of the sound, it is effective for acoustic-type sounds.

* The resonance setting is ignored.

LPF3:

Low Pass Filter 3. Cuts the region that lies above the cutoff frequency. This filter cuts the high frequency region more gently than LPF2. Since this does not impair the feeling of energy of the sound, it is effective for acoustic-type sounds.

* The resonance setting is ignored.

form

If the Filter Type is LPF/LPF2/LPF3

tones, producing a more mellow sound. Raising the cutoff frequency will brighten the sound.

If the Filter Type is BPF

sounded. This is suitable for creating sounds with a distinctive character.

If the Filter Type is HPF

ing only the bright portion of the sound.

If the Filter Type is PKG

boosted.

, reducing the cutoff frequency will diminish the higher over-

, the cutoff frequency value will change the harmonic content that will be

, raising the cutoff frequency will diminish the lower overtones, emphasiz-

, the cutoff frequency value will change the harmonic content that will be

Patch/Sample Mode

Patch Edit

Parameter

Cutoff Keyfollow

Value Description

-200– +200 Specifies how the pad position will affect the cutoff frequency Relative to the cutoff frequency of the C4 key, positive (+) values will raise the cutoff frequency as you play above C4, and negative (-) values will lower the cutoff frequency as you play above C4. Increasing this value will produce a correspondingly greater change.

Cutoff frequency (Octave)

Cutoff Velo Curve (Cutoff Frequency

+200

-1

-2

C4C3C2C1 C5 C6 C7

FIX, 1–7 Curve by which pad playing dynamics will affect the cutoff frequency

If you select “FIX,” the cutoff frequency will remain fixed regardless of your playing dynamics.

+100

+50

-50

-100-200

Key

Velocity Curve)

1234567

Cutoff Velo Sens (Cutoff Frequency Velocity Sensitivity) Resonance # 0–127 Amount by which the sound in the region of the cutoff frequency will be emphasized

-63– +63 Amount by which your pad playing dynamics will affect the cutoff frequency Increasing this value will cause a correspondingly greater difference between softly played and strongly played notes. Negative (-) values will invert the change.

Increasing this value will produce a more strongly distinctive character. Raising this excessively will cause oscillation and distortion.

LPF BPF HPF PKG

Level

High

Frequency

Cutoff frequency

Reso Velo Sens (Resonance Velocity Sensitivity) F-Env V-Curve (Filter envelope velocity curve)

F-Env V-Sens (Filter envelope velocity sensitivity) F-Env T1 V-Sens (Filter Envelope Time 1 Velocity Sensitivity)

parameter value

Low

-63– +63 Amount by which your pad playing dynamics will affect the resonance Increasing this value will cause a correspondingly greater difference between softly played and strongly played notes. Negative (-) values will invert the change.

FIX, 1–7 Curve by which keyboard playing dynamics will affect the filter envelope

If you select “FIX,” the filter envelope will remain constant regardless of your playing dynamics.

1234567

-63– +63 Amount by which your pad playing dynamics will affect the filter envelope depth Increasing this value will cause a correspondingly greater difference between softly played and strongly played notes. Negative (-) values will invert the change.

-63– +63 Amount by which your pad playing dynamics (velocity) will affect T1 (time) of the filter envelope Increasing this value will cause a correspondingly greater difference between softly played and strongly played notes. Negative (-) values will invert the change. Specify a positive (+) value if you want to speed up the T1 time, or a negative (-) value to slow it down.

Patch Edit

C4C3C2C1 C5 C6 C7

+50

+100

-50

-100

Key

Time

Parameter

F-Env T4 V-Sens (Filter Envelope Time 4 Velocity Sensitivity)

Value Description

-63– +63 Amount by which the speed at which you release the pad (key-off velocity) will affect T4 (time) of the

filter envelope

Increasing this value will cause a correspondingly greater difference between slowly released and quickly released notes. Specify a positive (+) value if you want to speed up the T4 time, or a negative (-) value to slow it down.

Filter Env (Filter Envelope)

These parameters specify the depth of the filter envelope (time-variant change in cutoff frequency), and specify the shape of the envelope itself.

T1 T2 T3 T4

Cutoff Frequency

Parameter

F-Env Depth (Filter envelope depth) F-Env Time KF (Filter Envelope Time Keyfollow)

key is pressed

Value Description

-63– +63 Depth of the filter envelope

-100– +100 Amount by which the note you play (relative to C4) will affect the filter envelope times (T2–T4)

key is

Time

released

Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.

Increasing this value will cause greater change to occur. Positive (+) values will cause the times to become shorter as you play toward the right of the keyboard. Conversely, negative (-) values will cause the times to become longer.

Patch/Sample Mode

F-Env Time1–4 # (Filter Envelope Time 1–4)

F-Env Level0–4 # (Filter Envelope Level 0–4)

0–127 Filter envelope times (T1–T4)

Higher settings of these values will lengthen the time over which the next cutoff frequency level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)

* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.

0–127 Filter envelope levels (L1–L3)

Specifies the change in cutoff frequency at each point, relative to the reference level.

* Realtime modify knob [S] adjusts Level 3.

Patch Edit

Amp

These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.

Parameter

Patch Level #

Value Description

0–127 Volume of the entire patch

Tone Level 0–127 Volume of each tone

This parameter is used mainly to adjust the volume balance between tones.

BIAS

Use the Bias parameter when you want the position of notes on a keyboard to affect the TVA level.

LOWER UPPER

Level

—

C-1 G9

Bias Point

Level

Key

—

C-1 G9

Bias Point

LOWER&UPPER

Level

Key

—

C-1 G9

Bias Point

ALL

Level

—

Key

C-1 G9

Bias Level -100– +100 Angle at which the volume will change relative to the bias direction

Increasing this value will produce a greater change. Negative (-) values will invert the direction of the change.

Bias Position 0–127 Selects the note number relative to which the volume will change. Bias Direction LWR, UPR,

L&U, ALL

Direction of change relative to the bias point

LWR:

Notes below the bias point

UPR:

Notes above the bias point

L&U:

Notes to the left and right of the bias point

ALL:

Bias level varies the angle relative to the bias point

Tone Pan L64–63R Pan of each tone

L64 is far left, 0 is center, and 63R is far right.

Pan Keyfollow (Tone Pan Keyfollow)

-100– +100 Set this parameter if you want the pan to be affected by the note you play. Increasing this value will produce a greater change relative to middle C (C4). Positive (+) values will cause the pan to move toward the right as you play toward the right. Conversely, negative (-) values will adjust pan toward the right.

Pan

+100

—

Bias Point

—

Key

Random Pan Depth (Tone Random Pan Depth) Alter Pan Depth (Tone Alternate Pan Depth)

+50

C4C3C2C1 C5 C6 C7

-50

-100

Key

0–63 Amount by which the pan will be varied randomly each time you play a note

Increasing this value will produce a greater amount of random change.

L63–63R Amount by which the pan will be moved alternately between left and right each time you play a note

Increasing this value will produce a greater amount of change. This value can be adjusted in the L or R direction, and these will invert the order in which the tone is panned to left and right. If you want two tones to alternate between left and right, set each tone to opposite L and R values.

Amp Env (Amp Envelope)

These parameters specify the depth of the amp envelope (change in volume over time) and the shape of the envelope itself.

Patch Edit

Level

T1 T2 T3 T4

key is pressed

Parameter

A-Env V-Curve (Amp Envelope Velocity Curve)

A-Env V-Sens (Amp Envelope Velocity Sensitivity) A-Env T1 V-Sens (Amp Envelope Time 1 Velocity Sensitivity) A-Env T4 V-Sens (Amp Envelope Time 4 Velocity Sensitivity)

A-Env Time KF (Amp Envelope Time Keyfollow)

Time

key is released

Value Description

FIX, 1–7 Curve by which pad playing dynamics will affect the volume of the tone

If you specify “FIX,” the volume of the tone will remain the same regardless of your playing dynamics.

1234567

-63– +63 Amount by which pad playing dynamics will affect the volume of the tone Specify a positive (+) value if you want the volume of the tone to increase as you play more strongly. Specify a negative (-) value if you want the volume to decrease.

-63– +63 Amount by which T1 (time) of the Amp envelope will change in response to your playing dynamics Increasing this value will produce a greater change between softly played and strongly played notes. Specify a positive (+) value if you want the T1 time to speed up, or a negative (-) value if you want it to slow down.

-63– +63 Amount by which T4 (time) of the Amp envelope will change in response to the speed at which you

release the pad (key-off velocity)

Increasing this value will produce a greater change between slowly released and quickly released notes. Specify a positive (+) value if you want the T4 time to speed up, or a negative (-) value if you want it to slow down.

-100– +100 Amount by which Amp envelope times (T2–T4) will be affected by the pad you play Higher settings for this value will produce a greater change relative to the C4 key. Positive (+) values will cause the times to become shorter as you play toward the right. Conversely, negative (-) values will cause the times to become longer.

Time

+100

Patch/Sample Mode

A-Env Time1–4 # (Amp Envelope Time 1–4)

A-Env Level1–3 # (Amp Envelope Level 1–3)

C4C3C2C1 C5 C6 C7

0–127 Amp envelope times (T1–T4)

Higher settings of these values will lengthen the time over which the next volume level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)

* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.

0–127 Amp envelope levels (L1–L3)

Specifies the change in volume at each point, relative to the reference level.

* Realtime modify knob [S] adjusts Level 3.

+50

-50

-100

Key

Patch Edit

LFO1/LFO2

LFO (Low Frequency Oscillator) creates cyclic changes. Each tone has two LFOs, and these can be used to apply change to pitch, filter cutoff frequency, amp level, and pan.

Using the LFOs

An LFO applied to pitch creates vibrato, applied to filter cutoff frequency creates a wah effect, and applied to amp level creates tremolo. When LFO is applied to pan, a distinctive auto-pan effect is produced.

LFO settings can also be used to do things such as cyclically exchanging two tones. For example, to cyclically exchange tones 1 and 2, specify the same LFO effect for each, and set the LFO depth to opposite polarities (+/-) for the amp level.

* The parameters of LFO 1 and 2 are the same.

Parameter

LFO1(2) Waveform #

LFO1(2) Rate # 0–127, note Speed of the LFO cycle

Offset (LFO Offset) Rate Detune (LFO Rate Detune) Delay Time (LFO Delay Time) Delay Time KF (LFO Delay Keyfollow)

Value Description

SIN, TRI, SAWU, SAWD, SQR, RND, BD-U, BD-D, TRP, S&H, CHS, XSIN, TWM, STRS, VSIN, M001–M113

-100– +100 Offset level of the LFO waveform

0–127 Amount by which the LFO rate will be changed

0–127 Time from when you press (or release) a pad until the LFO amplitude begins to change

-100– +100 Amount by which the Delay Time will be affected by the note you play

LFO waveform

SIN:

sine wave

SQR:

square wave

BD-U:

a waveform that lets the LFO output waveform rise to the reference level and holds it there

BD-D:

a waveform that lets the LFO output waveform fall to the reference level and holds it there

TRP:

trapezoidal wave

CHS:

chaos wave

XSIN:

sine wave that reverses between positive and negative at an extremely short interval

TWM:

modified triangle wave

M001–M113:

* If you select “BD-U” or “BD-D,” set the Key Trigger (p. 64) parameter to “ON.” There will be no effect

if you set it to “OFF.”

* The chaos waveform has no cycle. If you select the chaos waveform, the rate setting will be ignored.

Adjusts the waveform upward or downward.

Modifies the Delay Time parameter according to the note you play, relative to C4 (middle C). Specify a positive (+) value if you want the LFO effect to be applied more quickly as you play higher notes, or specify a negative (-) value if you want a greater delay to occur before the effect is applied. Higher settings will produce a correspondingly greater change.

Time

TRI:

the waveform will change continuously from a sine wave to sample & hold

triangle wave

RND:

random wave

S&H:

sample and hold wave (LFO value will change once each period)

STRS:

SAWU:

sawtooth wave

stair-step wave

+100

SAW-D:

VSIN:

sawtooth wave (inverted)

modified sine wave suitable for vibrato

Fade Mode (LFO Fade Mode)

Fade Time (LFO Fade Time) Key Trigger (LFO Key Trigger) Pitch Depth # (LFO Pitch Depth)

+50

-50

-100

C4C3C2C1 C5 C6 C7

On<, On>, Off<, Off>

0–127 Rise (or decay) time for the LFO effect

OFF, ON Selection for whether the beginning of the LFO cycle will be aligned to the timing at which you press a

-63– +63 Depth to which the LFO will affect the WG pitch

How the LFO effect is applied

On< (ON-IN): On> (ON-OUT): Off< (OFF-IN): Off> (OFF-OUT):

disappear when you release the pad.

pad (ON), or will not be aligned (OFF)

The effect will be applied gradually after you press the pad.

The effect will be applied when you press the pad, and will gradually disappear.

The effect will be applied gradually after you release the pad.

The effect will be applied as long as you hold down the pad, and will gradually

Key

Patch Edit

Parameter

Filter Depth # (LFO Filter Depth) Amp Depth # (LFO Amp Depth) Pan Depth # (LFO Pan Depth)

Value Description

-63– +63 Depth to which the LFO will affect the filter cutoff frequency

-63– +63 Depth to which the LFO will affect the amp level

-63– +63 Depth to which the LFO will affect the amp pan

* If the Waveform is “XSIN,” it may be difficult to notice the effect.

note:

fig.

(Dotted thirty-second note),

(Double note)(Dotted whole note),(Dotted half note),

(Sixteenth note),

(Dotted quarter note), (Whole-note triplet),(Half note),

(Eighth-note triplet), (Dotted sixteenth note),

(Sixteenth-note triplet),(Thirty-second note),(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),

(Dotted eighth note),(Quarter-note triplet),(Eighth note), (Half-note triplet),(Quarter note),

(Whole note), (Double-note triplet),

Solo/Porta (Portamento)

Parameter

Mono/Poly #

Legato Switch OFF, ON Specifies whether legato will be used (ON) or not (OFF)

Legato Retrigger OFF, ON Selects whether the note will be retriggered when using Legato.

PORTAMENTO

Portamento is a function that causes the Patch’s pitch to change smoothly from one note to the next note played. When the Key Mode Asign is MONO, this can be effective in simulating performance techniques such as a violinist’s glissando. Portamento Switch # OFF, ON Portamento on/off Porta Mode (Portamento Mode)

Portamento Type RATE,

Value Description

MONO, POLY

NORMAL, LEGATO

TIME

Specifies how notes will be produced

MONO: POLY:

More than one note can be played simultaneously. It is effective to use the MONO setting when playing a patch of a single-note instrument such as sax or flute.

Legato is a function that is available when the Mono/Poly parameter is set to MONO. When Legato is turned ON, pressing another key while the previously played key is still held down will cause the pitch to change to the newly played key, while the note continues to sound. This can be used to simulate the hammering-on/pulling-off performance techniques used by a guitarist.

Normally, you will leave this “ON.” If this parameter is turned “OFF,” pressing another key while the previously played key is still held down will cause only the pitch to change, which may cause an unnatural-sounding result for some waveforms. It is best to turn this “OFF” when playing wind or bowed-string instrument sounds, or when simulating a monophonic synthesizer.

* This setting is ignored if the Legato Switch is “OFF.”

Method of play for which the portamento effect will be applied

NORMAL: LEGATO:

leasing the previous note).

How the difference in pitch between the notes you play will affect the time over which the pitch change occurs

RATE:

The time over which the pitch changes will be proportionate to the difference in pitch between the two notes.

TIME:

The pitch change will occur over a fixed time, regardless of the difference in pitch between the

two notes.

Only one note at a time will sound.

Portamento will always be applied.

Portamento will be applied only when you play legato (i.e., press the next note before re-

Patch/Sample Mode

Patch Edit

Parameter

Porta Start (Portamento Start)

Value Description

PITCH, NOTE

Portamento begins anew if you press another key during a pitch movement. This setting specifies how the new portamento starts.

PITCH:

The pitch begins changing immediately to the new note’s pitch when its key is pressed.

Pitch

press C4 key

NOTE:

The pitch begins changing to the new note’s pitch only after it has first reached its original pitch

press D4 key

press C5 key

destination.

Pitch

press D4 key

press C4 key

press C5 key

Portamento Time 0–127 Time over which the next pitch is reached Unison Switch # OFF, ON Switches the detune effect on/off

If this is “ON,” the sound of the selected patch will be layered (three notes), producing a fatter sound.

* If this is turned “ON,” the Mono/Poly parameter will also be set to “MONO” ([SOLO] will light), and

the selected patch automatically uses single notes.

Unison Fat Level # 0–127 Strength of the detune effect

Increasing this value will cause the pitch of the layered notes to be raised and lowered farther away from each other (maximum one octave up and down).

Time

TMT (Tone Mix Table)

These parameters specify how the tones will be combined, and how they will be played.

Parameter

Structure Type 1&2 (3&4)

Booster 1&2 (3&4) (Booster Gain)

TMT (Tone Mix Table)

On the MC-909, you can specify how each tone will sound in response to pad playing dynamics (velocity). These parameters are collectively referred to as the TMT (Tone Mix Table) settings.

Level

Lower

L.Fade value

Velocity Control (TMT Velocity Control)

Value Description

1–10 How tones 1 and 2, or 3 and 4, will be combined

If you press [F6 (Zoom Edit)] while this parameter is selected, the screen will show the way in which the tones are combined. (Press [EXIT] to return to the previous screen.)

indicates Booster, and R indicates Ring Modulator.

* If you select Type 2–10 and turn off one of the tones, the other tone will use the conventional

configuration of WG/TVF/TVA.

0, +6, +12, +18 dB Depth of the booster effect when “Type” is set to 3 or 4

Upper

U.Fade value

OFF, ON, RANDOM

Velocity

Specifies whether velocity data will be used (ON) or ignored (OFF)

If you specify RANDOM, the tones will sound randomly, regardless of velocity data.

Patch Edit

What is a Ring Modulator?

A Ring Modulator mathematically multiplies two Tones, creating a new sound that includes inharmonic overtones that were not present in either of the two original Tones. Since the difference in pitch between the two Tones changes the overtone structure, an un-pitched “metallic” sound often results. Ring modulation is therefore especially suitable for creating bells and other metallic sounds.

fig.

Parameter

Velo Fade Lower (TMT Velocity Fade Width Lower) Velo Range Lower (TMT Velocity Range Lower) Velo Range Upper (TMT Velocity Range Upper)

Velo Fade Upper (TMT Velocity Fade Width Upper) TMT Control Switch OFF, ON Specifies whether the controller of the matrix control will control TMT (ON) or not (OFF)

Bend Range Down -48–0 Specifies the pitch change that occurs when the Pitch Bend lever is moved fully to the left (or

Bend Range Up 0–48 Specifies the pitch change that occurs when the Pitch Bend lever is moved fully to the right (or

What is a Booster?

A Booster amplifies the incoming signal, causing it to distort. This creates an effect similar to the distortion often used on an electric guitar.

Value Description

0–127 Rate of volume change when you play less strongly than the lower limit of the velocity range

Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you want notes outside the velocity range to not sound at all.

1–Upper Lower limit of velocities that will sound the tone

Set this parameter if you want to use velocity to switch between tones.

Lower–127 Upper limit of velocities that will sound the tone

Set this parameter if you want to use velocity to switch between tones.

* It is not possible to set Lower to a greater value than Upper, nor Upper to a lesser value than

Lower.

0–127 Rate of volume change when you play more strongly than the upper limit of the velocity range

Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you want notes outside the velocity range to not sound at all.

By turning Velocity Control (TMT Velocity Control) OFF and turning this parameter on/off, you can easily switch between sounding all tones and using the matrix control. This is convenient when checking the sound.

down on some MIDI controllers).

up on some MIDI controllers).

Patch/Sample Mode

Patch Edit

CTRL1

These parameters let you specify the operation and result of various controllers.

Parameter MATRIX CTRL

This selects the parameters to be controlled by Matrix Control Source 1–4 and the Sens settings, as well as the specific Tones whose parameters you wish to control. Up to four destination parameters can be selected for each controller and controlled simultaneously. CTRL1 Destination 1–4 (Matrix Control 1 Destination 1–4)

CTRL1 Sens 1–4 (Matrix Control 1 Sens 1–4)

CTRL1 Switch 1–4 (Matrix Control 1 Tone Control Switch 1–4)

Value Description

OFF, PCH, CUT, RES, LEV, PAN, DRY, CHO, REV, PIT-LFO1(2), TVF-LFO1(2), TVA-LFO1(2), PAN-LFO1(2), LFO1(2)-RATE, PIT-ATK, PIT-DCY, PIT-REL, TVF-ATK, TVF-DCY, TVF-REL, TVA-ATK, TVA-DCY, TVA-REL, TMT, FXM, MFX-CTRL1–4

-63– +63 Range of change obtained through operating the controller

OFF, ON, REVS Tones to which the preceding two parameter settings will apply

Parameter to be controlled

Negative (-) values will invert the change. If you set LFO depth to a negative value, the phase will be inverted. Setting LFO rate to a negative value will lengthen the cycle, and setting it to a positive value will shorten the cycle.

The settings will apply to tones for which this is turned “ON.” The effect will be inverted for tones that are set to “REVS.”

General

Various other parameters are provided here.

Parameter

Patch Priority

Tone Env Mode (Tone Envelope Mode)

Value Description

LAST, LOUDEST

NSUS, SUST Specifies how notes will continue to sound while you hold down the key

Specifies what will happen if the maximum polyphony (64 voices) is exceeded

LAST:

Voices played most recently will be given priority, while currently sounding voices will be

successively turned off, beginning with the oldest one.

LOUDEST:

be successively turned off, beginning with the one with the lowest volume.

NSUS (NO-SUSTAIN): SUST (SUSTAIN):

* If you have selected a one-shot waveform, the sound will not be sustained even if you select “SUST.”

Voices of the loudest volume will be given priority, while currently sounding voices will

The sound will decay naturally even if you continue to hold down the pad.

The sound will be sustained as long as you hold down the pad.

Patch Edit

release key

Delay Time

press key

Parameter

Value Description

Tone Delay

This produces a time delay between the moment a key is pressed (or released) and the moment the Tone actually begins to sound. Since you can adjust the timing of each Tone in a Patch, you can create effects in which pressing a single key produces two or more sounds occurring at different times. If you don’t wish to use Tone Delay, set Tone Dly to NORMAL and Tone Delay Time to 0. Tone Delay Mode NORM,

HOLD, OFFN, OFFD

Specifies how the tone will be sounded * If you have selected a decay-type waveform (in which the sound disappears naturally even if you do

not release the key), the sound may not be heard if you set this parameter to OFFN or OFFD.

NORM (NORMAL):

The Tone sounds after the specified Delay Time.

Delay Time

press key

HOLD:

The Tone will only sound if the key is held for longer than the specified Delay Time. If the key

release key

is released before the Delay Time has elapsed, the Tone will not sound.

Delay

Delay Time

Time

Tone does not sound

press key

OFFN (KEY-OFF-NORMAL):

release key press key

release key

The Tone doesn’t sound while the key is being pressed, but sounds af-

ter the specified Delay Time when the key is released.

Patch/Sample Mode

OFFD (KEY-OFF-DECAY):

The Tone doesn’t sound while the key is being pressed, but sounds after the specified Delay Time when the key is released. However, for this setting-unlike KEY-OFF-NORthe TVA envelope of the Tone begins when the key is first pressed. As a result, in most cases, only the decay portion of the sound is heard.

Delay Time

press key

release key

Tone Delay Time 0–127, note Time by which each tone will be delayed when using tone delay

If you've selected a Structure Type of 2–10, the output of tone 1 (3) and 2 (4) will be combined into tone 2 (4). Thus, the setting of tone 1 (3) will have no effect.

note:

fig.

(Sixteenth-note triplet),(Thirty-second note),(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),

(Sixteenth note),

(Dotted quarter note), (Whole-note triplet),(Half note),

(Eighth-note triplet), (Dotted sixteenth note),

(Whole note), (Double-note triplet),

(Dotted eighth note),(Quarter-note triplet),(Eighth note), (Half-note triplet),(Quarter note),

(Dotted thirty-second note),

(Double note)(Dotted whole note),(Dotted half note),

Rhythm Edit

How Percussion Instruments Are Organized

A Rhythm Set is a collection of Rhythm Tones, each of which represents a percussion instrument played on a single key. An instrument consists of the following four elements.

Rhythm Set

Note Number 74 (D5)

Note Number 73 (C#5)

Note Number 60 (C4)

Note Number 59 (B3)

Rhythm Tone (Percussion instrument sound)

Pitch

Envelope

TVF

Envelope

WG (Wave Generator)

This specifies the PCM waveform (or “wave”) that forms the basis of the Rhythm Tone - four waveforms can be assigned to each Rhythm Tone. You can also determine how the pitch of the Rhythm Tone will change.

The MC-909 has 693 different waveforms. (See Waveform List p.

150.) All Rhythm Sets built into the MC-909 consist of Rhythm Tones

based on these waveforms.

TVA

Envelope

Rhythm editing procedure

In the top screen of Patch/Sample mode, move the

cursor to the rhythm set that you want to edit.

Press [F2 (Edit)] to access the edit screen.

Use [F1] [F2] or [CURSOR (left/right)] to select a

parameter group.

Use [CURSOR (up/down)] to select a parameter.

Use [VALUE] or [INC/DEC] to edit the parameter.

* You can also use the panel knobs and sliders to edit the sound (p. 52).

When you are finished editing, press [EXIT] to return

to the top screen.

Selecting the rhythm tone to edit

Press a velocity pad 1–16 to select the rhythm tone that you want to edit.

Selecting the wave that you want to edit

Press TONE SELECT [1]–[4] to illuminate the button for the wave that you want to edit.

* By simultaneously pressing two or more [TONE SELECT] buttons,

you can simultaneously select two or more waves.

TVF (Time Variant Filter)

This sets how the frequency characteristics of the Rhythm Tone will change.

TVA (Time Variant Amplifier)

This sets how the Rhythm Tone’s volume and stereo positioning will change.

Envelope

An envelope applies changes to the Rhythm Tone over time. There are separate envelopes for pitch, TVF (filter) and TVA (volume). For example, you would use the TVA Envelope to modify the way in which the Rhythm Tone attacks and decays.

Selecting the Wave(s) That Will Sound

Turn “on” the wave(s) that you want to sound. If you want to hear just a specific wave, turn the other waves “off.”

Press

TONE SWITCH [1]–[4]

lit) or off (indicator extinguished).

to switch a wave on (button’s indicator

Wave

These parameters select the PCM waveform that is to form the basis of the rhythm tone, and apply effects to the waveform.

Rhythm Edit

Parameter

Wave Group

Wave No. L/MONO 0 (OFF)–693 Waveform upon which the tone is to be based Wave No. R

Wave Gain -6, 0, +6, +12 dB Waveform gain (amplitude)

FXM (Frequency Cross Modulation)

FMX creates a complex overtone structure by using a specific waveform to frequency-modulate the selected waveform. This is suitable for creating extreme sounds or sound effects. Wave FXM SW (Wave FXM Switch) Wave FXM Color (Wave FXM Color)

Wave FXM Depth (Wave FXM Depth)

Value Description

INT, SRX, PRES, USER, CARD

OFF, ON Selects whether FXM will be used (ON) or not (OFF)

1–4 Selects how FXM will apply frequency modulation.

0–16 Depth of frequency modulation applied by FXM

Group of the waveform upon which the rhythm tone is to be based

INT:

Waveforms stored in internal memory

SRX:

Waveforms stored in a wave expansion board

PRES:

Preset sample waveforms

USER:

User sample waveforms

CARD:

Card sample waveforms

* SRX can be selected only if a wave expansion board is installed.

On the MC-909 you can specify a separate waveform for the L and R channels.

* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).

The value will change in steps of 6 dB (decibels). An increase of 6 dB will double the gain. If you want to use the booster to distort the sound, it is effective to set this to the maximum.

Increasing this value will produce a rougher sound. Decreasing this value will produce a more metallic sound.

Patch/Sample Mode

Rhythm Edit

T1 T2 T3 T4

Pitch

key is pressed

key is released

Time

Pitch

These parameters specify the pitch of the waveform.

Parameter

Coarse Tune (Rhythm Tone Coarse Tune) Fine Tune (Rhythm Tone Fine Tune) Random Pitch (Random pitch depth) Wave Coarse Tune -48– +48 Pitch of the Wave

Wave Fine Tune -50– +50 Pitch of the Wave

Value Description

0 (C-1)–127 (G9)

-50– +50 Pitch of the Rhythm tone

0–1200 This specifies the width of random pitch deviation that will occur each time a key is pressed. If you don’t

Basic pitch at which the Rhythm tone will play

Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or downward.

want random pitch changes, set it to 0. The parameter can be adjusted in units of 1 cent (1/100th of a semitone).

Adjusts the pitch in semitone steps over a range of +/-4 octaves.

Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or downward.

Pitch Env (Pitch Envelope)

These parameters specify the depth of the pitch envelope (the way in which pitch will change over time), and the shape of the envelope itself.

Parameter

P-Env Depth

P-Env V-Sens (Pitch Envelope Velocity Sensitivity) P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity)

P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity)

P-Env Time1–4 0–127 Pitch envelope times (T1–T4)

P-Env Level0–4 -63– +63 Pitch envelope levels (L0–L4)

Value Description

-12– +12 Pitch envelope depth Increasing this value will produce greater change. Negative (-) values will invert the change produced by the envelope.

-63– +63 Amount by which T1 (time) of the pitch envelope will change in response to the speed (velocity) at

which you press a pad.

-63– +63 Amount by which T4 (time) of the pitch envelope will change in response to the speed at which you

release a pad (key-off velocity)

Increasing this value will lengthen the time until the next pitch level is reached (for example, T2 is the time over which the pitch will change from L1 to L2).

* Realtime modify knob [A] adjusts Time 1, and knob [D] adjusts Time 3.

Rhythm Edit

Filter

These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and fatness of the sound.

Parameter

Filter Type

Cutoff Frequency 0–127 Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the wave-

Cutoff Velo Curve (Cutoff Frequency Velocity Curve)

Value Description

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

FIX, 1–7 Curve by which pad playing dynamics will affect the cutoff frequency

Type of filter

A filter cuts a specific frequency region of the sound to modify the brightness or thickness of the sound.

OFF:

A filter will not be used.

LPF:

Low Pass Filter. Cuts the region that lies above the cutoff frequency. The sound will become

more mellow as the high frequency region is cut. This is the most commonly used type of filter.

BPF:

Band Pass Filter. Leaves only the region in the vicinity of the cutoff frequency, and cuts the rest.

Suitable for creating sounds with a distinctive character.

HPF:

High Pass Filter. Cuts the region that lies below the cutoff frequency. Suitable for creating per-

cussion instrument sounds that have a distinctive high range.

PKG:

Peaking filter. Emphasizes the region in the vicinity of the cutoff frequency. You can create a

wah effect by using an LFO to cyclically modulate the cutoff frequency.

LPF2:

* The resonance setting is ignored.

LPF3:

* The resonance setting is ignored.

form

If the Filter Type is LPF/LPF2/LPF3

tones, producing a more mellow sound. Raising the cutoff frequency will brighten the sound.

If the Filter Type is BPF

sounded. This is suitable for creating sounds with a distinctive character.

If the Filter Type is HPF

ing only the bright portion of the sound.

If the Filter Type is PKG

boosted.

If you select “FIX,” the cutoff frequency will remain fixed regardless of your playing dynamics.

, the cutoff frequency value will change the harmonic content that will be

, raising the cutoff frequency will diminish the lower overtones, emphasiz-

, the cutoff frequency value will change the harmonic content that will be

, reducing the cutoff frequency will diminish the higher over-

Patch/Sample Mode

1234567

Cutoff Velo Sens (Cutoff Frequency Velocity Sensitivity) Resonance 0–127 Amount by which the sound in the region of the cutoff frequency will be emphasized

Reso Velo Sens (Resonance Velocity Sensitivity)

Increasing this value will produce a more strongly distinctive character. Raising this excessively will cause oscillation and distortion.

LPF BPF HPF PKG

Level

High

Frequency

Cutoff frequency

parameter value

Low

Rhythm Edit

Filter Env (Filter Envelope)

These parameters specify the depth of the filter envelope (time-variant change in cutoff frequency), and specify the shape of the envelope itself.

T1 T2 T3 T4

Cutoff Frequency

key is pressed

key is

Time

released

Parameter

F-Env Depth (Filter envelope depth) F-Env V-Curve (Filter envelope velocity curve)

F-Env V-Sens (Filter envelope velocity sensitivity) F-Env T1 V-Sens (Filter Envelope Time 1 Velocity Sensitivity) F-Env T4 V-Sens (Filter Envelope Time 4 Velocity Sensitivity)

F-Env Time1–4 (Filter Envelope Time 1–4)

F-Env Level0–4 (Filter Envelope Level 0–4)

Value Description

-63– +63 Depth of the filter envelope Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.

FIX, 1–7 Curve by which keyboard playing dynamics will affect the filter envelope

If you select “FIX,” the filter envelope will remain constant regardless of your playing dynamics.

1234567

-63– +63 Amount by which the speed at which you release the pad (key-off velocity) will affect T4 (time) of the

filter envelope

0–127 Filter envelope times (T1–T4)

Higher settings of these values will lengthen the time over which the next cutoff frequency level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)

* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.

0–127 Filter envelope levels (L1–L3)

Specifies the change in cutoff frequency at each point, relative to the reference level.

* Realtime modify knob [S] adjusts Level 3.

Amp

T1 T2 T3 T4

Level

key is pressed

key is released

Time

These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.

Rhythm Edit

Parameter

Tone Level (Rhythm Tone Level) Wave Level 0–127 Volume of each wave

Tone Pan (Rhythm Tone Pan) Random Pan Depth 0–63 Amount by which the pan will be varied randomly each time you play a note

Alternate Pan Depth L63–63R Amount by which the pan will be moved alternately between left and right each time you play a note

Wave Pan L64–63R Pan of each wave

Wave Rnd Pan Sw (Wave Random Pan Switch) Wave Alt Pan Sw (Wave Alternate Pan Switch)

Value Description

0–127 Volume of each Rhythm Tone

This parameter is used mainly to adjust the volume balance between Rhythm Tones.

This parameter is used mainly to adjust the volume balance between waves.

L64–63R Pan of each Rhythm Tone

L64 is far left, 0 is center, and 63R is far right.

Increasing this value will produce a greater amount of random change.

L64 is far left, 0 is center, and 63R is far right.

OFF, ON 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 setting.

OFF, ON, REVS

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.

Amp Env (Amp Envelope)

These parameters specify the depth of the amp envelope (change in volume over time) and the shape of the envelope itself.

Patch/Sample Mode

Parameter

A-Env V-Curve (Amp Envelope Velocity Curve)

A-Env V-Sens (Amp Envelope Velocity Sensitivity) A-Env T1 V-Sens (Amp Envelope Time 1 Velocity Sensitivity) A-Env T4 V-Sens (Amp Envelope Time 4 Velocity Sensitivity)

A-Env Time1–4 (Amp Envelope Time 1–4)

A-Env Level1–3 (Amp Envelope Level 1–3)

Value Description

FIX, 1–7 Curve by which pad playing dynamics will affect the volume of the tone

-63– +63 Amount by which pad playing dynamics will affect the volume of the tone

-63– +63 Amount by which T1 (time) of the Amp envelope will change in response to your playing dynamics

-63– +63 Amount by which T4 (time) of the Amp envelope will change in response to the speed at which you

0–127 Amp envelope times (T1–T4)

0–127 Amp envelope levels (L1–L3)

If you specify “FIX,” the volume of the tone will remain the same regardless of your playing dynamics.

1234567

Specify a positive (+) value if you want the volume of the tone to increase as you play more strongly. Specify a negative (-) value if you want the volume to decrease.

Increasing this value will produce a greater change between softly played and strongly played notes. Specify a positive (+) value if you want the T1 time to speed up, or a negative (-) value if you want it to slow down.

release the pad (key-off velocity)

Higher settings of these values will lengthen the time over which the next volume level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)

* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.

Specifies the change in volume at each point, relative to the reference level.

* Realtime modify knob [S] adjusts Level 3.

Rhythm Edit

WMT (Wave Mix Table)

With the MC-909, up to four stereo Waves can be assigned to a single Rhythm Tone. You can select the way tones sound according to the force with which the keys are played, thus allowing you to create Rhythm Tones featuring great expressive power. This function is called

Mix Table)

Level

WMT (Wave

L.Fade value

Parameter

Velocity Control (WMT Velocity Control) Velo Fade Lower (WMT Velocity Fade Width Lower) Velo Range Lower (WMT Velocity Range Lower) Velo Range Upper (WMT Velocity Range Upper)

Velo Fade Upper (WMT Velocity Fade Width Upper)

Lower

Upper

U.Fade value

Value Description

OFF, ON, RANDOM

0–127 Rate of volume change when you play less strongly than the lower limit of the velocity range

1–Upper Lower limit of velocities that will sound the tone

Lower–127 Upper limit of velocities that will sound the tone

0–127 Rate of volume change when you play more strongly than the upper limit of the velocity range

Velocity

Specifies whether velocity data will be used (ON) or ignored (OFF)

If you specify RANDOM, the waves will sound randomly, regardless of velocity data.

Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you want notes outside the velocity range to not sound at all.

Set this parameter if you want to use velocity to switch between waves.

* It is not possible to set Lower to a greater value than Upper, nor Upper to a lesser value than Lower.

Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you want notes outside the velocity range to not sound at all.

Genaral

Various other parameters are provided here.

Parameter

Rhythm Level (Rhythm Set Level) Assign Type MULTI,

Mute Group OFF, 1–31 The Mute Group function allows you to designate two or more Rhythm Tones that are not allowed to

Tone Env Mode (Rhythm Tone Envelope Mode) Tone Pitch Bend Range (Rhythm Tone Pitch Bend Range) Tone Reverb Send Level (Rhythm Tone Reverb Send Level) Tone Output Asgn (Rhythm Tone Output Assign)

Value Description

0–127 Overall volume of the Rhythm Set

This setting determines whether a Rhythm Tone note that is playing is stopped when the same note is

SINGLE

NSUS, SUST When a loop-type waveform is selected, it will normally continue to sound as long as a key is pressed.

0–48 Specifies the amount of pitch change that will occur when you move the Pitch Bend Lever.

0–127 Specifies the depth of reverb applied to each Rhythm Tone

DRY, MFX1, MFX2, COMP, DIR1, DIR2

played again (SINGLE), or whether it will continue to play, layered with the new note.

sound simultaneously. For example, in a real-world acoustic drum set, an open hi-hat and a closed hihat sound will never occur simultaneously, since they’re produced by the same instrument. To simulate this behavior on the MC-909, you can set the open and closed hi-hat Rhythm Tones to the same Mute Group. You can have up to 31 Mute Groups per Rhythm Set. If you do not want a Rhythm Tone to use a Mute Group, turn the feature off.

If you want a note to decay naturally even when the key remains pressed, set this to “NSUS.” * If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUST.”

Set this to 0 if you don’t want to apply reverb.

Specifiests the original sound of each Rhythm Tone will be output

DRY:

Output to MIX OUTPUT jacks without passing through effects

MFX1 (2): COMP: DIR1 (2):

Output through multi-effects 1 (or 2)

Output through the compressor

Output to the DIRECT 1 (or DIRECT 2) jacks without passing through effects

Saving a Patch/Rhythm Set

Patch/rhythm set settings that you edit will be lost if you re-select the patch/rhythm set or turn off the power. If you want to keep your edits, you must use the following procedure to save the data.

Press [WRITE].

The Write menu screen will appear. Make sure that “Patch/Rhythm” is highlighted.

fig.2-50

Press [ENTER] or [F2 (Patch)].

The patch name/rhythm set name entry screen will appear.

fig.2-51

When you have finished entering the name, press [F6

(Write)].

A screen in which you can select the write-destination patch/ rhythm set will appear.

fig.2-52

Use [VALUE] or [INC/DEC] to select the write-

destination patch/rhythm set.

Use [CURSOR (left/right)] to select the bank (user, card).

Press [F6 (Write)].

A message will ask you to confirm that you want to write the data.

Patch/Sample Mode

Assign a name to the patch/rhythm set.

[CURSOR (left/right)]

[CURSOR (up/down)] Switches letters between uppercase

[VALUE] [INC/DEC] Selects characters. [F1 (Change Type)] Selects the type of character.

[F2 (Delete)] Deletes the character at the cursor loca-

[F3 (Insert)] Inserts a space at the cursor location.

* If you decide not to enter the name, press [F5 (Cancel)].

Moves the cursor (the location at which to enter/edit a character).

and lowercase.

Each time you press this, you will alternately select the first character of the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).

tion, while shifting the following characters to the left, closing the gap.

To write the data, press [F6 (Execute)].

* If you decide to cancel, press [F5 (Cancel)].

Copying and Initializing a Patch/Rhythm Set

Copying a Patch Tone

Here’s how the tone settings of a patch can be copied to the specified tone of the currently selected patch.

In the top screen of patch / sample mode, move the cursor to the copy-destination patch.

Press [F2 (Edit)] to access the edit screen.

Press [F5 (Tone Copy)].

The Patch Tone Copy window will appear.

Use [CURSOR] and [VALUE] to select the copysource patch and tone, and the copy-destination tone.

Parameter Source

Patch Bank

No. 1–128 Patch number of the copy-source

Source Patch Tone

Destination

Temporary Patch Tone

Press [F6 (Execute)].

A message will ask you for confirmation.

Press [F6 (Execute)] to execute.

* To cancel, press [F5 (Cancel)].

If you press [F4 (Compare)] in step 4 so a “✔” appears in the check box, you can use the velocity pads to play the copy source patch.

Value Description

Current, Preset A–G, User, Card

1–4 Copy-source tone at the copy-

1–4 Copy-destination tone at the cur-

Bank of the copy-source patch

To specify the currently selected patch as the copy-source, set this to “Current.”

If Patch Bank is set to “Current,” this cannot be selected.

source patch

rently selected patch

Initializing a Patch

Copying a Rhythm Tone (Key)

Here’s how the rhythm tone (percussion sound) settings of a rhythm set can be copied to the specified rhythm tone of the currently selected rhythm set.

In the top screen of patch / sample mode, move the cursor to the copy-destination rhythm set.

Press [F2 (Edit)] to access the edit screen.

Press [F5 (R.Tone Copy)].

The Rhythm Tone Copy window will appear.

Use [CURSOR] and [VALUE] to select the copysource rhythm set and rhythm tone, and the copydestination rhythm tone.

Parameter Source

Rhythm Bank

No. 1–128 Rhythm set number of the copy-

Source Rhythm Key

Destination

Temporary Rhythm Key

Press [F6 (Execute)].

A message will ask you for confirmation.

Press [F6 (Execute)] to execute.

* To cancel, press [F5 (Cancel)].

If you press [F4 (Compare)] in step 4 so a “✔” appears in the check box, you can use the velocity pads to play the copy source rhythm set.

Value Description

Current, Preset A, User, Card

B3–D5 Copy-source rhythm tone (key) at

B3–D5 Copy-destination rhythm tone

Bank of the copy-source rhythm set

To specify the currently selected rhythm set as the copy-source, set this to “Current.”

source

If Rhythm Bank is set to “Current,” this cannot be selected.

the copy-source rhythm set

(key) at the currently selected rhythm set

Here’s how the settings of the currently selected patch can be returned to their default values.

In the top screen of patch / sample mode, select a part assigned a patch.

Turn [VALUE] to select the patch that you want to initialize.

Press [F2 (Edit)] to access the edit screen.

Press [F4 (Patch Init)].

A message will ask you for confirmation.

Press [F6 (Execute)] to execute.

* To cancel, press [F5 (Cancel)].

Initializing a Rhythm Set

Here’s how the settings of the currently selected rhythm set can be returned to their default values.

In the top screen of patch / sample mode, select a part assigned a rhythm set.

Turn [VALUE] to select the rhythm set that you want to initialize.

Press [F2 (Edit)] to access the edit screen.

Press [F4 (Rhythm Init)].

A message will ask you for confirmation.

Press [F6 (Execute)] to execute.

* To cancel, press [F5 (Cancel)].

Song Mode

In this mode you can play, record, and edit songs.

Song Mode

How Things Work (in Song mode)

fig.0-01

When you press the Mode section indicator will light and the MC-909 will be in Song mode.

In Song mode, the various parts of the panel will perform the following functions.

1. D Beam controllers

Pass your hand over these to modify the pattern (p. 35).

[SONG] button

, the button’s

[BEAM 1 ON]

[BEAM 2 ON] Turns the right D Beam controller

[TWIN D BEAM ASSIGN] Selects the function of the D Beam

2. Volume section

[OUTPUT] Adjusts the output volume of the MIX OUT jacks

and the headphone.

[INPUT] Adjusts the input volume from the INPUT jacks.

Turns the left D Beam controller (BEAM 1) on/off.

(BEAM 2) on/off.

controller.

3. Realtime Modify section

These controls modify the sound (p. 33).

4. Mastering section

[ON] Switches the mastering effect (compressor) on/off. [BAND] Selects the frequency band to adjust. [ATTACK] Specify the time from when the volume goes up

the threshold level until the compressor effect applies.

[RELEASE] Specify the time from when the volume falls below

the threshold level until the compressor effect no longer applies.

5. Velocity pads

Use these pads as a keyboard to play sounds or trigger phrases (p.

27).

6. Function buttons

These buttons access the function screens indicated in the bottom line of the display.

How Things Work (in Song mode)

7. Part Mixer section

Here you can adjust the volume, pan, etc., of each part (p. 33).

[PART] (SELECT/MUTE)

[TEMPO/MUTE CONTROL]

[MIXER ASSIGN] When you press this button so its indicator

[PART ASSIGN] Selects the parts that are controlled by the

lights, the Mixer screen will appear.

sliders. The sliders will control parts 1–8 if this indicator is not lighted, or parts 9–16 if the indicator is lit.

8. Sampling section

[EDIT] When you press this button,

the Sample edit screen will appear (p. 114).

[SAMPLING/RESAMPLING] When you press this button,

the Sampling menu screen will appear (p. 112).

[MIX IN] Mix the sound from the INPUT

jacks into the output (p. 34).

[AUTO SYNC] Synchronize a sample with the

pattern (p. 36).

12. Sequencer section

[PLAY] Plays a song (p. 82). [STOP] Stops playback/recording. [FWD] Advances to the next step. [BWD] Returns to the previous step. [TOP] Moves to the beginning of the song. [REC] Used when recording (p. 83).

13. Turntable emulation

Applies an effect that simulates increasing/decreasing the rotational speed of a turntable (p. 36).

14. TAP button

Lets you set the BPM (tempo) by pressing the button at the desired timing (p. 25).

Song Mode

9. Effect section

Applies special effects to the sound (p. 88).

[COMP]–[REVERB] Switch each effect on/off (p. 88). [KNOB ASSIGN] Selects the effect to be controlled in real

time (p. 91). [TYPE] Selects the type of effect. [C1], [C2] Modifies the assigned function in real

time.

10. Mode section

Press the [SONG] button to enter Song mode. Pressing one of the other two buttons will switch you to the

corresponding mode.

11. Cursor/Value section

Use these buttons and dial to select songs or input values (p. 18).

Playing songs

Two or more patterns connected in the order of playback are called a “song.”

When you play back a song, the patterns will switch automatically— you don’t need to select each pattern yourself. In one song, you can register up to 50 patterns in the desired order of playback.

The number describing the order in which the patterns are arranged is called the “step.”

Top screen of Song mode

fig.3-01

Song Reset

You can have playback resume from step 1 when the currently playing pattern finishes playing.

This is convenient when you want to play back a few measures while you adjust the BPM to match a turntable, and then when the BPM is correct, play back from step 1.

While the song is playing, press [PLAY].

The screen will indicate “SONG RESET.” When the currently playing pattern finishes, the playback will

return to the beginning of the song.

Selecting a song to play

There are two ways to select a song: directly, or from a list.

Selecting a song directly

While the song is stopped, use [VALUE] or [INC/DEC] to select another song.

Selecting a song from a list

Press [ENTER].

The song list will appear.

Function buttons

[F1 (Next Step)] When Song Step Sw (p. 128) is set to “MANU-

AL,“ playback will automatically advance to the next step if you press this button to dis-

play the “✔” mark. [F2 (Song Edit)] Edit the settings of the song (p. 84). [F3 (Mixer)] Specify the volume, pan, etc., of each part (p.

33). [F4 (Effects)] Apply special effects to the sound (p. 88). [F5 (Mastering)] Make settings for the mastering effect (p. 108). [F6 (BPM Click)] Set the tempo, and turn the metronome on/

off (p. 25).

Basic playback operation

Use the following buttons to control the playback.

fig.1-02.e

Return to the previous step

Move to the beginning of the song

Advance to the next step

Use [VALUE], [INC/DEC], or [CURSOR (up/down)] to

select a song.

If you hold down [SHIFT] while using these controls, the song number will change in steps of ten.

Press [F6 (Select)] or [ENTER] to confirm your

selection.

* If you decide not to execute, press [F5 (Cancel)].

Changing the BPM or mute status

In Song mode as well, you can change the BPM or part muting status in the same way as in Pattern mode. For details on how to change these, refer to the section “Playing a pattern” (p. 24).

Play back Used for recordingStop playback

* The [FWD], [BWD], and [TOP] buttons can also be used during

playback.

Recording a song

You can input patterns one by one to specify the order in which the patterns will be played back.

Recording procedure

Use [VALUE] or [INC/DEC] to select the song number

that you want to record.

Press [REC].

fig.3-03

Editing the setup parameters

During song recording, you can edit setup parameters (p. 26) such as part mute and effect settings and then press [ENTER] to register the state of those parameters. This will simply store the setup parameters of each pattern as song data, and does not affect the original pattern in any way.

By using this to change the mute status of a pattern or to change the MFX type, you can have a single pattern play in a variety of ways as the song progresses.

• Tempo (BPM) can be input/edited only at the first step.

• It is not possible to change the tempo during the song.

Song Mode

Select the pattern to be played at this step.

Refer to

Selecting a pattern to play back

Press [ENTER].

You will proceed to the next step.

Repeat the above steps 3 and 4 to input the patterns

to be played for the subsequent steps.

After you have finished inputting the last step, press

[STOP] to end the recording process.

(p. 24)

Auditioning a pattern

While you are recording, you can press [PLAY] to audition the selected pattern. You can select different patterns while you audition them. To stop the auditioning, press [STOP].

Moving between steps

After recording several steps, you can press [BWD] [FWD] to move between steps.

Song editing

1 23456

122345

“Song editing” is the process of editing individual steps of performance data for a song.

* You must stop the song playback before you can edit the song.

Select the song that you want to edit.

In Song mode, press [F2 (Song Edit)] to access the

Song Edit screen.

fig.3-04

Type of song editing

[F1 (Clear All)] (Clear All Steps) [F2 (Delete Step)] Delete an unwanted step. [F3 (Insert Step)] Insert a step. [F4 (Copy)] (Song Copy) [F6 (Close)] Returns to the previous screen.

Erase all steps.

Copies a song to a different song.

Clear All Steps

This operation clears all of the steps that you input, returning them to the blank condition. Use this when you want to create a song from scratch.

Delete Step

This operation deletes an unwanted step from the song, and joins the two sections.

fig.1-54

123456

12345

Use [VALUE] or [INC/DEC] to select the step that you

want to delete.

Press [F2 (Delete)].

The selected step will be deleted.

Insert Step

This operation inserts a step into the song, and moves subsequent steps backward by one.

fig.1-56

Use [VALUE] or [INC/DEC] to select the step at which

you want to insert a pattern.

In the example shown above, select step 2.

Press [F3 (Insert)].

A step containing the same pattern as the step you selected in step 1 will be inserted, and the subsequent steps will be moved backward by one.

Press [F1 (Clear All)].

A message will ask you for confirmation.

If you are sure that you want to clear all steps, press

[F6 (Execute)].

* To cancel, press [F5 (Cancel)].

Song Copy

This operation copies song data to a different song.

Press [F4 (Copy)].

Select the copy-destination song.

Press [F6 (Execute)].

* To cancel, press [F5 (Cancel)].

If the copy destination contains data, that data will be erased when you execute this copy operation.

Saving a song

Songs that you record will be lost if you turn off the power. If you want to keep the song data, you must save it as follows.

Select the song that you want to save.

Press [WRITE].

The write menu screen will appear. Make sure that “Song” is highlighted.

Press [ENTER] or [F5 (Song)].

The song name input screen will appear.

Assign a name to the song you created.

[CURSOR (left/right)]

[CURSOR (up/down)] Switches letters between uppercase

[VALUE] [INC/DEC] Selects characters. [F1 (Change Type)] Selects the type of character.

[F2 (Delete)] Deletes the character at the cursor loca-

[F3 (Insert)] Inserts a space at the cursor location.

* If you decide not to enter the name, press [F5 (Cancel)].

When you finish inputting the name, press [F6

Moves the cursor (the location at which to enter/edit a character).

and lowercase.

Each time you press this, you will alternately select the first character of the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).

tion, while shifting the following characters to the left, closing the gap.

(Write)].

A message will ask you to confirm that you want to write the data.

Song Mode

To write the data, press [F6 (Execute)].

* To cancel, press [F5 (Cancel)].

MEMO

Effects

Compressor/Multi-effect/Reverb/Mastering Effect settings

Effects

Here you can apply special effects to the sound.

Effect on/off

Use the ON/OFF buttons of the Effects section to switch each effect on/off.

fig.4-01

[COMP]: Compressor [MFX 1]: Multi-effects 1 [MFX 2]: Multi-effects 2 [REVERB]: Reverb

Effect settings

In the top screen of each mode, press [F4 (Effects)].

Press [F1]–[F5] to select an effect to adjust.

[F1 (Routing)]

[F2 (Comp/EQ)] Compressor settings. [F3 (MFX 1)] Multi-effects 1 settings. [F4 (MFX 2)] Multi-effects 2 settings. [F5 (Reverb)] Reverb settings.

Use [CURSOR] to select a parameter.

Use [VALUE] or [INC/DEC] to make settings.

Specify the connections (routing) between parts, effects, and output destinations.

Effect connection (Effect Routing)

You can specify the connections independently for each pattern. The way in which the direct sound is output (2) and the depth of

reverb (3) can be set independently for each part.

fig.4-02

Parameter

Part Number

Part Output Assign

Part Reverb Send Level

Comp Output Assign

Comp Reverb Send Level

(MFX Type)

Range Explanation

1–16, EXT The part for which you are

making effect settings.

EXT:

DRY, MFX1, MFX2, COMP, DIR1, DIR2, RHY

0–127 Depth of reverb applied to

(see explanation)

0–127 Depth of reverb applied to the

See “Multi-Effects List” (p.

92)

External input How the original sound of each part will be output

DRY:

Output to MIX OUTPUT jacks without passing through effects

MFX1 (2):

multi-effects 1 (or 2)

COMP:

compressor

DIR1 (2):

RECT 1 (or DIRECT 2) jacks without passing through effects

RHY:

Output according to the settings of the rhythm set assigned to the part

* “RHY” can be set only

when a rhythm set is assigned to the part.

each part

Set this to 0 if you don’t want to apply reverb.

Output destination of the sound processed through the compressor.

DRY:

MIX OUTPUT jacks

MFX1 (2):

(or 2 )

sound processed through the compressor

Set this to 0 if you don’t want to apply reverb.

The effect used by multi-effects 1

* For details on each effect,

refer to “Multi-Effects List” (p. 92).

Output through

Output through the

Output to the DI-

Multi-effects 1

Effects

Parameter

MFX1 Reverb Send Level

MFX1 Output Assign

(MFX Type)

10.

MFX2 Reverb Send Level

11.

(Reverb Type)

If you change the “Output Assign” setting, the routing connections in the screen will also change.

Parameters 4–11 in the above table are linked with the identically named parameters in the setting screens of each effect.

Range Explanation

0–127 Depth of reverb applied to the

sound processed through multi-effects 1

Set this to 0 if you don’t want to apply reverb.

DRY, MFX2 Output destination of the

sound processed through multi-effects 1

DRY:

MIX OUTPUT jacks

MFX2:

Multi-effects 2 (multi-effects 1 and 2 will be connected in series)

See “Multi-Effects List” (p.

92)

0–127 Depth of reverb applied to the

See “Reverb” (p. 90)

The effect used by multi-effects 2

* For details on each effect,

refer to “Multi-Effects List” (p. 92).

sound processed through multi-effects 2

Set this to 0 if you don’t want to apply reverb.

The type of reverb * For details on reverb, refer

to “Reverb” (p. 90).

Compressor

The compressor is an effect that limits the level of loud sounds and boosts the level of soft sounds, making the overall level more consistent.

fig.4-03

Parameter Range Explanation

Comp Reverb Send Level

Comp Output Assign

Attack Time 0.05–50 ms Time from when the volume

Release Time 0.05–2000 ms Time from when the volume

Threshold 0–127 Volume level at which com-

Ratio 1:1–inf:1 Compression ratio (inf: infini-

Output Gain 0– +24 dB Level of the output sound Low Freq 200, 400 Hz Reference frequency of the

Low Gain -15– +15 Amount of low-range boost/

High Freq 2k, 4k, 8kHz Reference frequency of the

High Gain -15– +15 Amount of high-range boost/

Level 0–127 Output volume of the com-

0–127 Depth of reverb applied to the

sound processed through the compressor

Set this to 0 if you don’t

want to apply reverb. DRY, MFX1, MFX2

Output destination of the sound processed through the compressor

DRY:

MIX OUTPUT jacks

MFX1 (2):

(or 2)

goes up the threshold level until the compressor effect applies

falls below the threshold level until the compressor effect no longer applies

pression begins

ty)

low range

cut

high range

cut

pressor

Multi-effects 1

Effects

Multi-effects

These are general-purpose multi-effects that can transform the sound, and give it a completely different character. MFX1 provides 38 types, and MFX2 provides 47 types. You can select one effect type for each of these two effect units. A wide range of types are included, such as distortion and flanger. Although the multi-effect types include a compressor, this is independent of the compressor described earlier.

fig.4-04

Parameter

(MFX Type)

MFX1 (2) Reverb Send Level

MFX1 Output Assign

Range Explanation

0–38 (MFX1) 0–47 (MFX2)

0–127 Depth of reverb applied to the

DRY, MFX2 Output destination of the

The effect used by multi-effects 1 (or 2)

* For details on each effect,

refer to “Multi-Effects List” (p. 92).

sound processed through multi-effect 1 (2)

Set this to 0 if you don’t want to apply reverb.

sound processed through multi-effects 1

DRY:

MIX OUTPUT jacks

MFX2:

Multi-effects 2 (multi-effects 1 and 2 will be connected in series)

* This parameter exists only

for MFX 1.

Reverb

Reverb is an effect that creates the reverberation that is characteristic of sound heard in a hall. You can choose from four types of reverb.

fig.4-05

Parameter

(Reverb Type)

1 (REVERB)

Type

Time 0–127 Length of reverberation

HF Damp 200–8000 Hz,

Delay Feedback

Level 0–127 Volume of the reverb sound/

Range Explanation

OFF, 1–4 Type of reverb

OFF:

Reverb not used

1 (REVERB): 2 (SRV ROOM):

tailed simulation of room reverberation

3 (SRV HALL):

tailed simulation of hall reverberation

4 (SRV PLATE):

tion of a plate echo (a reverb device using a metal plate)

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY

BYPASS

0–127 Number of delay repetitions

Type of reverb/delay

ROOM1:

ty reverberation

ROOM2:

reverberation

STAGE1:

of late reverberation

STAGE2:

ly reflections

HALL1: HALL2: DELAY:

lay

PAN-DELAY:

which the reflected sound moves between left and right

(Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY) Frequency at which the highfrequency portion of the reverberation will be cut (BYPASS: no cut)

(valid only if Type is DELAY or PAN-DELAY)

delay sound

Basic reverb

A more de-

A simula-

Short, high-densi-

Short, low-density

A greater amount

Emphasis on ear-

Clear reverberation Rich reverberation

A conventional de-

A delay in

Effects

Parameter 2 (SRV ROOM) / 3 (SRV HALL) / 4 (SRV PLATE)

Pre Delay

Time 0–127 Length of reverb Size 1–8 Size of room/hall High Cut 160–12500 Hz,

Density 0–127 Density of reverb Diffusion 0–127 Change in reverb density over

LF Damp Freq 50–4000 Hz Frequency at which the low-

LF Damp Gain HF Damp Freq

HF Damp Gain Level 0–127 Volume of the reverb sound

Range Explanation

0.0–100.0 ms Delay time from original sound until reverb is heard

Frequency at which the high-

BYPASS

-36–0 dB Amount of attenuation for LF

4000–12500 HzFrequency at which the high-

-36–0 dB Amount of attenuation for HF

frequency portion of the final output sound will be cut (BYPASS: no cut)

time

Higher settings will cause density to increase as time passes. (This is more noticeable with longer Time settings.)

frequency portion of the reverb will be cut

Damp (0: no attenuation)

frequency portion of the reverb will be cut

Damp (0: no attenuation)

Realtime control of effects

The Effects section lets you control effect parameters in real time.

fig.4-01

Selecting the effect that you want to control

Press and hold [KNOB ASSIGN].

The ON/OFF button of the currently selected effect will blink.

Still holding down [KNOB ASSIGN], press one of the

[COMP]–[REVERB] buttons to select the effect you

want to control.

Knob Parameter When “COMP” is selected

[TYPE] [C1] Release time [C2] Threshold

When “MFX1/2” is selected

[TYPE] [C1], [C2] Control the assigned function in real

When “REVERB” is selected

[TYPE] [C1] Time [C2] Level

Attack Time

Select the type of effect (p. 92).

time.

Reverb Type

Effects

If you are controlling a multi-effect parameter that is set in terms of a note value, it will not be possible to use the knob to select the note.

Multi-Effects List

Multi-Effects Types

There are 47 types of multi-effect. MFX1 lets you use 38 types (delaytype effects are unavailable), and MFX2 lets you use all 47 types.

FILTER (9 types)

STEREO EQ p. 92 02 SPECTRUM p. 92 03 ENHANCER p. 93 04 ISOLATOR p. 93 05 LOW BOOST p. 93 06 SUPER FILTER p. 93 07 STEP FILTER p. 94 08 AUTO WAH p. 94 09 HUMANIZER p. 94

MODULATION (7 types)

PHASER p. 94 11 STEREO PHASER p. 95 12 STEP PHASER p. 95 13 RING MODULATOR p. 95 14 TREMOLO p. 95 15 AUTO PAN p. 96 16 ROTARY p. 96

CHORUS (6 types)

17 HEXA-CHORUS p. 96 18 TREMOLO CHORUS p. 96 19 SPACE-D p. 97 20 STEREO CHORUS p. 97 21 STEREO FLANGER p. 97 22 STEP FLANGER p. 98

DYNAMICS (7 types)

OVERDRIVE p. 98 24 DISTORTION p. 98 25 GUITAR AMP SIMULATOR p. 99 26 STEREO COMPRESSOR p. 100 27 STEREO LIMITER p. 100 28 SLICER p. 100 29 GATE p. 101

LOFI (6 types)

LOFI NOISE p. 101 31 LOFI COMPRESS p. 102 32 LOFI RADIO p. 102 33 TELEPHONE p. 102 34 PHONOGRAPH p. 102 35 TAPE ECHO p. 103

PITCH (2 types)

36 FBK PITCH SHIFTER p. 103 37 2Vo PITCH SHIFTER p. 103

REVERB (1 type)

GATED REVERB p. 104

DELAY (9 types)

* These cannot be selected for MFX1. 39 STEREO DELAY p. 104 40 MODULATION DELAY p. 105 41 TRIPLE TAP DELAY p. 105 42 QUADRUPLE TAP DELAY p. 105 43 MULTI TAP DELAY p. 106 44 REVERSE DELAY p. 106 45 SHUFFLE DELAY p. 106 46 TIME CONTROL DELAY p. 107 47 TIME SKIP DELAY p. 107

Multi-Effects Parameters

Parameters with the designators “#1” and “#2” can be controlled using the [C1] and [C2] knobs of the effect section.

01: STEREO EQ (Stereo Equalizer)

This is a four-band stereo equalizer (low, mid x 2, high).

fig.MFX01

L in

R in

Parameter

Low Freq Low Gain #1-15– +15 dB Gain of the low frequency

High Freq 2000, 4000,

High Gain #2-15– +15 dB Gain of the high frequency

Mid1 Freq 200–8000 Hz Frequency of Middle Range 1 Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of Middle Range 1

Mid1 Gain -15– +15 dB Gain of Middle Range 1 Mid2 Freq 200–8000 Hz Frequency of Middle Range 2 Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of Middle Range 2

Mid2 Gain -15– +15 dB Gain of Middle Range 2 Level 0–127 Output level

4-Band EQ

Value Description

200, 400 Hz Frequency of the low range

8000 Hz

02: SPECTRUM

This is a type of filter that modifies the timbre by boosting or cutting the level of specific frequencies. It is similar to an equalizer, but has eight frequency points fixed at locations most useful for adding character to the sound.

fig.MFX02

L in

Spectrum

R in

Parameter

Pan #1 L64–63R Stereo location of the SPEC-

Level #2 0–127 Output level Band 1 (250Hz) -15– +15 dB Gain of each frequency band Band 2 (500Hz) Band 3 (1kHz) Band 4 (1.25Hz) Band 5 (2kHz) Band 6 (3.15Hz) Band 7 (4kHz) Band 8 (8kHz)

Value Description

0.5, 1.0, 2.0,

4.0, 8.0

Pan L

Pan R

Simultaneously adjusts the width of the adjusted ranges for all of the frequency bands.

TRUM output

* This can be set using the

L out

R out

range Frequency of the high range

range

Select a higher Q value to narrow Middle Range 1.

Select a higher Q value to narrow Middle Range 2.

L out

R out

sliders of the part mixer.

Multi-Effects List

L in

R in

L out

R out

Isolator

Low Boost

Isolator

03: ENHANCER

Controls the overtone structure of the high frequencies, adding sparkle and brightness to the sound.

fig.MFX03

L in

R in

Parameter

Sens #1 Mixl #2 0–127 Level of the overtones generated by

Low Gain -15– +15 dB Gain of the low frequency range of

High Gain -15– +15 dB Gain of the high frequency range of

Level 0–127 Output level

Enhancer

Value Description

0–127 Sensitivity of the enhancer

Mix

the enhancer

frequencies

2-Band

L out

R out

04: ISOLATOR

This is an equalizer that radically cuts the volume of selected frequencies, allowing you to create special effects cutting the volume in various ranges.

fig.MFX04

Parameter

Boost/Cut High Boost/Cut Middle #1 Boost/Cut Low #2 AntiPhase Middle Sw

AntiPhase Middle Level

Anti Phase Low Sw Anti Phase Low Level Low Boost SwOFF, ON Turns Low Booster on/off.

Low Boost Level

Level 0–127 Output level

Value Description

-60– +4 dB 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.

OFF, ON Settings of the Anti-Phase function

for the Middle frequency ranges.

When turned on, a stereo copy of the sound is phase-inverted and added to the signal.

0–127 Adjusts the level settings for the

Middle frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specific elements within a sound. (This is effective only for stereo source.)

OFF, ON Settings of the Anti-Phase function

for the Middle frequency ranges

0–127

0–127 Increasing this value gives you a

The parameters are the same as for the Middle frequency ranges.

This emphasizes the bottom frequencies to create a heavy bass sound.

heavier low end. * Depending on the Isolator and

filter settings, this effect may be hard to hear.

05: LOW BOOST

Boosts the volume of the lower range, creating powerful lows.

fig.MFX05

L in

R in

Low Boost

Parameter

Boost Frequency #1 Boost Gain #2 0–12 dB Amount by which the lower

Boost Width WIDE,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

2-Band EQ

Value Description

50–125 Hz Center frequency at which the

lower range will be boosted

range will be boosted

Width of the lower range that MID, NARROW

will be boosted

L out

R out

06: SUPER FILTER

This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

fig.MFX06

L in

R in

Parameter

Filter Type

Filter Slope -12, -24,

Filter Cutoff #1

Filter Resonance #2

Filter Gain 0–+12 dB Amount of boost for the filter output Modulation Sw Modulation Wave

Rate 0.05–10.0

Depth 0–127 Depth of modulation Attack 0–127 Speed at which the cutoff frequency

Level 0–127 Output level

Super Filter

Value Description

LPF, BPF, HPF, NOTCH

-36 dB

0–127 Cutoff frequency of the filter

0–127 Filter resonance level

OFF,ON On/off switch for cyclic change

TRI, SQU, SIN, SAW1, SAW2

Hz, note

Filter type

Frequency range that will pass through each filter

LPF

: frequencies below the cutoff

BPF:

frequencies in the region of

the cutoff

HPF:

frequencies above the cutoff

NOTCH:

region of the cutoff

Amount of attenuation per octave

-36 dB:

-24 dB:

Increasing this value will raise the cutoff frequency.

Increasing this value will emphasize the region near the cutoff frequency.

How the cutoff frequency will be modulated

TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward)

Rate of modulation

will change

This is effective if Modulation Wave is SQR, SAW1, or SAW2.

L out

R out

frequencies other than the

extremely steep steep

-12 dB:

gentle

Effects

Multi-Effects List

Formant

2-Band

L in

R in

Overdrive

L out

R out

Pan R

Pan L

Phaser

Resonance

Mix

L in

R in

L out

R out

Pan R

Pan L

07: STEP FILTER

This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

fig.MFX07

L in

R in

Parameter

Rate

Attack #1 0–127 Rate at which the cutoff frequency

Filter Type LPF, BPF,

Filter Slope -12, -24,

Filter Resonance #2

Filter Gain 0– +12 dB Amount of boost for the filter output Level 0– 127 Output level Beat 1-1–4-4

Step Filter

Value Description

0.05–10.00 Hz, note

HPF, NOTCH

-36 dB

0–127 Filter resonance level

0–127 Cutoff frequency for each 16th note of

Rate of modulation

will change between beats Filter type

Frequency range that will pass through each filter

LPF:

frequencies below the cutoff

BPF:

the cutoff

HPF: NOTCH:

region of the cutoff

Amount of attenuation per octave

-12 dB:

-24 dB:

-36 dB:

Increasing this value will emphasize the region near the cutoff frequency.

a 4/4 measure * This can be set using the sliders of

the part mixer.

L out

R out

frequencies in the region of

frequencies above the cutoff

frequencies other than the

gentle steep extremely steep

08: AUTO WAH

A filter that turns on and off to create a cyclical change in timbre.

fig.MFX08

L in

L out

09: HUMANIZER

Adds a vowel character to the sound, making it similar to a human voice.

fig.MFX09

Parameter

Drive Sw Drive 0–127 Degree of distortion

Vowel1 #1 a, e, i, o, u Selects the vowel. Vowel2 #2 a, e, i, o, u Rate 0.05–10.00

Depth 0–127 Effect depth Input Sync SwOFF, ON Determines whether the LFO for

Input Sync Threshold Manual 0–100 Point at which Vowel 1/2 switch

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Pan L64–63R Stereo location of the output Level 0–127 Output level

Value Description

OFF, ON Turns Drive on/off.

Also changes the volume.

Frequency at which the two vowels

Hz, note

0–127 Volume level at which reset is ap-

switch

switching the vowels is reset by the input signal (ON) or not (OFF).

plied

49 or less:

longer duration.

50:

duration.

51 or more:

longer duration.

Vowel 1 will have a

Vowel 1 and 2 will be of equal

Vowel 2 will have a

10: PHASER

Adds a phase-shifted sound to the original sound, producing a swirling modulation that creates spaciousness and depth.

fig.MFX10

Auto Wah

R in

Parameter

Filter Type

Rate #2 0.05–

Depth 0–127 Depth of modulation Sens 0–127 Adjusts the sensitivity with which

Manual #1 0–127 Adjusts the center frequency at

Peak 0–127 Adjusts the amount of the wah ef-

Level 0–127 Output level

Value Description

LPF, BPF Type of filter

Frequency of modulation

10.00 Hz, note

the filter is controlled.

which the effect is applied.

fect that occurs in the range of the center frequency.

R out

LPF

: The wah effect is applied

over a wide frequency range.

BPF

: The wah effect is applied

over a narrow frequency range

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

Parameter

Manual #1

Rate #2 0.05–10.00 HzFrequency of modulation

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 PHASER out-

Level 0–127 Output Level

Value Description

0–127 Adjusts the basic frequency at

which the sound will be modulated.

put

Multi-Effects List

11:STEREO PHASER

This is a stereo phaser.

fig.MFX11

L in

R in

Parameter

Mode Polarity INVERSE,

Rate #2 0.05–10.00

Depth 0–127 Depth of modulation Manual #1 0–127 Adjusts the basic frequency from

Resonance 0–127 Amount of feedback Cross Feedback

Mix 0–127 Level of the phase-shifted sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Phaser

Value Description

4, 8 stage Number of stages in the phaser

SYNCHRO

Hz, note

-98– +98 %

Mix

Selects whether the left and right phase of the modulation are the same or opposite each other.

Frequency of modulation

which the sound is modulated.

Adjusts the amount of the phaser sound that’s fed back into the effect. Negative (-) settings invert the phase.

2-Band

INVERSE:

phase are opposite. When using a mono source, this spreads the sound in stereo.

SYNCHRO:

phase are the same. Select this when working with a stereo source.

The left and right

L out

R out

The left and right

12:STEP PHASER

With the Step effects, you can also make stepped changes in the pitch of sounds to which the Phaser effect is applied.

fig.MFX12

L in

R in

Step Phaser

Mix

Step Phaser

2-Band

L out

R out

Parameter

Rate

Depth 0–127 Depth of modulation Manual #1 0–127 Adjusts the basic frequency from

Resonance 0–127 Amount of feedback Cross Feedback

Step Rate #20.1–20.0

Mix 0–127 Level of the phase-shifted sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

0.05–10.00 Hz, note

-98– +98 %

Hz, note

Frequency of modulation

which the sound is modulated.

Adjusts the amount of the phaser sound that’s fed back into the effect. Negative (-) settings invert the phase. Rate of pitch change

13: RING MODULATOR

This is an effect 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 effect.

fig.MFX13

L in

R in

Ring Mod

Parameter

Frequency #1 Sens 0–127 Adjusts the amount of frequency

Polarity UP,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance #2 D100:0W–

Level 0–127 Output level

Value Description

0–127 Adjusts the frequency at which

DOWN

D0:100W

2-Band EQ

modulation is applied.

modulation applied. Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (

DOWN

Volume balance between the direct sound (D) and the effect sound (W)

L out

R out

14: TREMOLO

Cyclically modulates the volume to add tremolo to the sound.

fig.MFX14

L in

R in

Tremolo

2-Band EQ

L out

R out

Effects

Parameter

Mode Polarity INVERSE,

Value Description

4, 8 stage Number of stages in the phaser

SYNCHRO

Selects whether the left and right phase of the modulation are the same or opposite each other.

INVERSE:

phase are opposite. When using a mono source, this spreads the sound in stereo.

SYNCHRO: The left and right

phase are the same. Select this when working with a stereo source.

The left and right

Parameter Value Description

Modulation Wave

Rate #1 0.05–10.00

Depth #2 0–127 Depth to which the effect is applied Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

TRI, SQR, SIN, SAW1, SAW2

Hz, note

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1:

sawtooth wave (upward)

SAW2:

sawtooth wave (down-

ward)

Frequency of the change

Multi-Effects List

15: AUTO PAN

Cyclically modulates the stereo location of the sound.

fig.MFX15

L in

R in

Auto Pan

Parameter

Modulation Wave

Rate #1 0.05–10.00

Depth # 0–127 Depth to which the effect is applied Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

TRI, SQR, SIN, SAW1, SAW2

Hz, note

2-Band EQ

Modulation Wave

TRI: SQR: SIN: SAW1: SAW2:

ward)

Frequency of the change

L out

R out

triangle wave

square wave

sine wave

sawtooth wave (upward)

sawtooth wave (down-

16: ROTARY

The Rotary effect simulates the sound of the rotary speakers often used with the classic electric organs. Since the movement of the highrange and low-range rotors can be set independently, the unique characteristics of these speakers can be simulated quite accurately. This effect is most suitable for electric organ Patches.

fig.MFX16

L in

Rotary

R in

Parameter

Tweeter Slow Rate Woofer Slow Rate Tweeter Fast Rate Woofer Fast Rate Speed #1 SLOW,

Tweeter Acceleration Woofer Acceleration Tweeter Level Woofer Level

Separation

Level #2 0–127 Output level

Value

0.05–

10.00 Hz

0.05–

10.00 Hz

0.05–

10.00 Hz

0.05–

10.00 Hz

FAST

0–15

0–127 Volume of the high frequency rotor

0–127 Volume of the low frequency rotor

0–127

Description

Slow speed (SLOW) of the high-frequency rotor Slow speed (SLOW) of the low-frequency rotor Fast speed (FAST) of the high-frequency rotor Fast speed (FAST) of the low-frequency rotor Simultaneously switches the rotational speed of the low frequency rotor and high frequency rotor.

SLOW:

Slow Rate.

FAST:

Fast Rate.

Adjusts the time it takes the high frequency rotor to reach the newly selected speed when switching between fast and slow speeds. Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching between fast and slow speeds.

Stereo width of the sound

L out

R out

Slows down the speed to the

Speeds up the speed to the

17: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give richness and spaciousness to the sound.

fig.MFX17

L in

R in

Parameter

Pre Delay

Rate #1 0.05–10.00

Depth 0–127 Depth of modulation Pre Delay Deviation Depth Deviation

Pan Deviation

Balance #2 D100:0W–

Level 0–127 Output level

Balance D

Hexa Chorus

Balance D

Value Description

0.0–100.0 ms Adjusts the time until chorusing is heard. Frequency of modulation

0–20 Adjusts the differences in Pre De-

lay between each chorus layer.

-20– +20 Adjusts the difference in modulation depth between each chorus layer.

0–20 Adjusts the difference in stereo lo-

cation between each chorus layer.

Volume balance between the di-

D0:100W

rect sound (D) and the chorus sound (W)

L out

Balance W

R out

All chorus layers are in the

center.

20:

The chorus layers are spaced at 60-degree intervals relative to the center.

18: TREMOLO CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of volume).

fig.MFX18

L in

Tremolo Chorus

R in

Parameter Value Description

Pre Delay

Chorus Rate Chorus Depth Tremolo Rate #1 Tremolo Separation Tremolo Phase Balance #2 D100:0W–

Level 0–127 Output level

Balance D

0.0–100.0 ms Adjusts the time until the chorus

0.05–10.00 Hz 0–127 Modulation depth of the chorus

0.05–10.00 Hz 0–127 Spread of the tremolo effect

0–180 deg Depth of the tremolo effect

D0:100W

sound is heard. Modulation frequency of the chorus effect

effect Modulation frequency of the tremolo effect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

L out

Balance W

R out

Multi-Effects List

19: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo. It creates no audible modulation, yet produces a transparent chorus effect.

fig.MFX19

L in

R in

Parameter

Pre Delay

Balance D

Space D

Balance D

Value Description

0.0–100.0 msAdjusts the time until the chorus

2-Band

Balance W

2-Band

L out

R out

sound is heard.

Rate #1 0.05–10.00 HzFrequency of modulation

Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance #2 D100:0W–

D0:100W

Volume balance between the direct sound (D) and the chorus sound (W)

Level 0–127 Output level

20: STEREO CHORUS

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorused sound.

fig.MFX20

L in

Balance D

Chorus

R in

Balance D

2-Band

Balance W

2-Band

L out

R out

21: STEREO FLANGER

This is a stereo flanger. It produces a metallic resonance that rises and falls somewhat like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.

fig.MFX21

L in

Balance D

Flanger

Feedback Feedback

Flanger

R in

Balance D

Parameter

Filter Type

Value Description

OFF, LPF,

Type of filter

HPF

Cutoff Freq 200–8000 HzBasic frequency of the filter

Pre Delay 0.0–100.0 msAdjusts the time until the flanger

sound is heard.

Rate #1 0.05-10.00

Frequency of modulation

Hz, note Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Feedback #2-98– +98 % Adjusts the amount of the flanger

sound that’s fed back into the effect. Negative (-) settings invert the

phase. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance D100:0W–

D0:100W

Volume balance between the direct

sound (D) and the flanger sound

(W) Level 0–127 Output level

2-Band

Balance W

2-Band

OFF:

no filter is used

LPF:

cuts the frequency range

L out

R out

above the Cutoff Freq

HPF:

cuts the frequency range

below the Cutoff Freq

Effects

Parameter

Filter Type

Value Description

OFF, LPF, HPF

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range

above the Cutoff Freq

HPF:

cuts the frequency range

below the Cutoff Freq

Cutoff Freq 200–8000 HzBasic frequency of the filter

Pre Delay 0.0–100.0 msAdjusts the time until the chorus

sound is heard.

Rate #1 0.05–10.00 HzFrequency of modulation

D0:100W

Volume balance between the direct sound (D) and the chorus sound (W)

Level 0–127 Output level

Multi-Effects List

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

Distortion

22: STEP FLANGER

This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note value based on a specified tempo.

fig.MFX22

L in

Step Flanger

R in

Parameter

Pre Delay

Rate 0.05–10.00

Depth 0–127 Depth of modulation Feedback #2-98– +98 % Adjusts the amount of the flanger

Step Rate #10.10–20.00

Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance D100:0W–

Level 0–127 Output level

Balance D

Feedback Feedback

Balance D

Value Description

0.0–100.0 msAdjusts the time until the flanger sound is heard.

Hz, note

D0:100W

Frequency of modulation

sound that’s fed back into the effect. Negative (-) settings invert the phase. Rate (period) of pitch change

Volume balance between the direct sound (D) and the flanger sound (W)

2-Band

Balance W

2-Band

L out

R out

23: OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube amplifiers.

fig.MFX23

L in

Over drive

R in

Parameter

Drive #1

Tone #2 0–127 Sound Quality Pan L64–63R Stereo location of the OVERDRIVE

Amp Sw OFF, ON Amp simulator on/off Amp Type SMALL,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

0–127 Amount of distortion

BUILT-IN, 2-STACK, 3-STACK

Amp

Simulator

2-Band

Also changes the volume.

output

Type of guitar amp

SMALL: BUILT-IN: 2-STACK: large double-stack amp 3-STACK:

small amp

single-unit type amp

large triple-stack amp

L out

Pan L

Pan R

R out

24: DISTORTION

Produces a more intense distortion than Overdrive. The parameters are the same as for “23: OVERDRIVE.”

fig.MFX24

Multi-Effects List

25: GUITAR AMP SIM (Guitar Amp Simulator)

This is an effect that simulates the sound of a guitar amplifier.

fig.MFX25

L in

Pre Amp

R in

Parameter

Pre Amp Sw Pre Amp Type

Pre Amp Volume #1 Pre Amp Master #2 Pre Amp Gain Pre Amp Bass Pre Amp Middle Pre Amp Treble Pre Amp Presence

Pre Amp Bright

Speaker Sw OFF, ON Determines whether the

Speaker Type Mic Setting 1, 2, 3 Adjusts the location of the

Mic Level 0–127 Volume of the microphone Direct Lev-el0–127 Volume of the direct sound

Value Description

OFF, ON Turns the amp switch on/

JC-120, Clean Twin, Match Drive, BG Lead, MS1959I, MS1959II, MS1959I+II, SLDN Lead, Metal 5150, Metal Lead, OD-1, OD-2 TURBO, Distortion, Fuzz 0–127 Volume and amount of dis-

0–127 Volume of the entire pre-

Low, Mid, High Amount of pre-amp distor-

0–127 Tone of the bass/mid/tre-

0–127 (MATCH DRIVE:

-127 - 0)

OFF, ON Turning this “On” produc-

(See the table below.)

Speaker

off. Type of guitar amp

tortion of the amp

amp

tion

ble frequency range * Middle cannot be set if

“Match Drive” is selected as the Pre Amp Type.

Tone for the ultra-high frequency range

es a sharper and brighter sound.

* This parameter applies to

the “JC-120,” “Clean Twin,” and “BG Lead” Pre Amp Types.

signal passes through the speaker (ON), or not (OFF). Type of speaker

mic that’s capturing the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.

L out

Pan L

Pan R

R out

Specifications for each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type

Small1 Small2 small open-back enclosure 10 dynamic Middle open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic Built In 1 open back enclosure 12 x 2 dynamic Built In 2 open back enclosure 12 x 2 condenser Built In 3 open back enclosure 12 x 2 condenser Built In 4 open back enclosure 12 x 2 condenser Built In 5 open back enclosure 12 x 2 condenser BG Stack 1 sealed enclosure 12 x 2 condenser BG Stack 2 large sealed enclosure 12 x 2 condenser MS Stack1 large sealed enclosure 12 x 4 condenser MS Stack 2 large sealed enclosure 12 x 4 condenser Metal Stack large double stack 12 x 4 condenser 2 Stack large double stack 12 x 4 condenser 3 Stack large triple stack 12 x 4 condenser

Cabinet Spea

ker

small open-back enclosure 10 dynamic

Microphone

Effects

Pan L64–63R Stereo location of the out-

put

Level 0–127 Output level

Multi-Effects List

L in

R in

L out

R out

Limiter

2-Band EQ

Limiter

26: COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.

fig.MFX26

L in

R in

Compressor

Parameter

Attack #1

Threshold #20–127 Adjusts the volume at which com-

Post Gain 0, +6, +12,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

0–127 Sets the speed at which compres-

+18 dB

2-Band EQ

sion starts

pression begins Adjusts the output gain.

L out

R out

27: LIMITER

Compresses signals that exceed a specified volume level, preventing distortion from occurring.

fig.MFX27

Parameter

Release #1

Threshold #20–127 Adjusts the volume at which com-

Ratio 1.5:1, 2:1,

Post Gain 0, +6, +12,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

0–127 Adjusts the time after the signal vol-

ume falls below the Threshold Level until compression is no longer applied.

pression begins Compression ratio

4:1, 100:1

Adjusts the output gain.

+18 dB

28: SLICER

By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustaintype sounds.

fig.MFX28

L in

R in

Parameter

Rate #1

Attack #2 0–127 Speed at which the volume changes

Input Sync SwOFF, ON Determines whether the LFO for

Input Sync Threshold Mode LEGATO,

Shuffle 0–127 Timing of volume changes in levels

Level 0–127 Output level Beat 1-1–4-4

Slicer

Value Description

0.05–

10.00 Hz, note

0–127 Volume level at which the reset be-

SLASH

0–127 For a single measure containing

Cycle for one measure

between beats

switching the vowels is reset by the input signal (ON) or not (OFF).

gins Sets the manner in which the volume changes as one beat progresses to the next.

LEGATO:

from one beat’s level to the next remains unaltered. If the level of a following beat is the same as the one preceding it, there is no change in volume.

SLASH:

ly set to 0 before progressing to the level of the next beat. This change in volume occurs even if the level of the following beat is the same as the preceding beat.

for even-numbered Beats (Beat 1-2/ Beat 1-4/Beat 2-2/...).

The higher the value, the later the beat progresses.

four quarter notes, this sets the level of each sixteenth note when the measure is divided into sixteenth notes.

* This can be set using the sliders of

the part mixer.

L out

R out

The change in volume

The level is momentari-

100

Roland MC-909 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Features of the MC-909

Panel Descriptions

Top Panel

Rear Panel

Getting Ready

Making Connections

Turning On/Off the Power

An Overview of the MC-909

The sound generator section

The sequencer section

The controller section

The sampler section

Adjusting the display contrast

Editing a value

Quickly changing a value

Saving your data

Regarding the locations where samples are stored

Restoring the factory settings (Factory Reset)

Pattern Mode

How Things Work (in Pattern mode)

Playing a pattern

Basics of pattern play

Basic playback operation

Selecting a pattern to play back

Changing the BPM (Tempo)

Turning the metronome (click) on/off

Muting (silencing) a part

Velocity pads

Pattern Call

Arpeggiator

Chord Memory

Realtime Modify section

Part Mixer

Selecting the part whose sound you want to modify

Mix In

Directly outputting the sound of an external device

Playing various pitches using the sound of an external device

Selecting the input source device

D Beam Controller

CUT + RESO (Cutoff + Resonance)

SOLO SYNTH

TURNTABLE

ASSIGNABLE (Other applications)

Turntable emulation

Auto Sync

Effects

Mastering

Recording a pattern

Realtime recording

Rehearsal

Recording procedure

Realtime Erase

Recording Cancel

TR-REC

Recording procedure

About the timing scale

Step recording

Recording procedure

Tempo/mute recording

Pattern editing

Basic procedure for pattern editing

Extract a Rhythm Instrument

Pattern Copy

Erase

Delete Measure

Transpose

Change Velocity/ Change Duration

Insert Measure

Shift Clock

Data Thin

Edit Quantize

Reclock

Microscope