Roland SP-606 User Manual

Page 1

Owner’s Manual

Thank you, and congratulations on your choice of the Roland Sampling Workstation SP-606.

201a

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2–3; p. 4–6). 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, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

202

Page 2

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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002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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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.

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.

008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

................................................................................................

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.

Page 3

012c

• Immediately turn the power off, remove the AC adaptor 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 AC adaptor or the power-supply cord

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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023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

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102d

• Always grasp only the output plug or the body of the AC adaptor when plugging into, or unplugging from, this unit or an outlet.

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103b

• At regular intervals, you should unplug the AC adaptor 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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107d

• Never handle the AC adaptor body, or its output plugs, with wet hands when plugging into, or unplugging from, an outlet or this unit.

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108b

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 21).

................................................................................................

110b

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

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118c

• Keep any screws you may remove and the included card theft prevention cover in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

Page 4

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

302

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

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.

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.

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355b

• When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

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.

Repairs and Data

452

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on a memory card, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

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.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a memory card once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

Page 5

553

CompactFlash™

• 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.

555

•A small amount of noise may be heard from the display during normal operation.

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.

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.

563

• Unauthorized duplication, reproduction, hiring, and lending prohibited.

564

• Before you open the included CD-ROM, you must read the “license agreement.” Opening the CD-ROM will be taken to mean your acceptance of the license agreement.

566b

• The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

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.

Before Using Cards

Using DATA Cards

704

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

705

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

707

• This unit’s memory card slot accepts CompactFlash memory cards. Microdrive storage media are not compatible.

708

• Memory cards are constructed using precision components; handle the cards carefully, paying particular note to the following.

• To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the cards.

• Do not touch or allow metal to come into contact with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock or vibration.

• Do not keep cards in direct sunlight, in closed vehicles, or other such locations (storage temperature: -25 to 85° C).

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

Handling CD-ROMs

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CDROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

Page 6

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 copyright-protection 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.

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

* MacOS is a trademark of Apple Computer, Inc.

213

* Pentium is a registered trademark of Intel Corpo-

ration.

220

* All product names mentioned in this document are

trademarks or registered trademarks of their respective owners.

231

* OMS is a registered trademark of Opcode Systems,

Inc.

232

* FreeMIDI is a trademark of Mark of the Unicorn,

Inc.

233

* VST is a trademark of Steinberg Media Technologies

AG.

234

* CompactFlash and are trademarks of SanDisk

Corporation and licensed by CompactFlash association.

235

* Roland Corporation is an authorized licensee of the

CompactFlash™ and CF logo ( ) trademarks.

236

rights reserved.

Page 7

Main Features.....................................................................................................10

Conventions Used in This Manual....................................................................................................................... 11

An Overview of the SP-606 ...............................................................................12

How the Various Sections Are Connected.......................................................................................................... 12

Audio Signal Flow Inside the SP-606................................................................................................................... 12

How the SP-606 Is Organized............................................................................................................................... 13

Playing and Performing Sounds ............................................................................................................13

Switching the Mode (Internal/External) ..............................................................................................15

Top, Front, and Rear Panels .............................................................................16

Connecting the SP-606 to Your Equipment.....................................................20

Turning the Power On/Off .................................................................................21

Turning the Power On ........................................................................................................................................... 21

Shutting Down and Turning the Power Off....................................................................................................... 21

Inserting and Removing a Memory Card .........................................................22

Inserting a Memory Card ...................................................................................................................................... 22

Removing a Memory Card after Shutdown ....................................................................................................... 22

Quick Start..........................................................................................................23

Playing Samples from the Pads............................................................................................................................ 23

How to Play a Sample.............................................................................................................................. 23

Switching Pad Banks................................................................................................................................ 23

Adjusting the Loudness of the Sound When You Strike the Pads.................................................... 23

Playing Patterns...................................................................................................................................................... 24

Basic Procedure for Playing a Pattern ................................................................................................... 24

Selecting and Playing a Pattern from the Pattern List ........................................................................24

Changing the BPM (Tempo) During Pattern Playback ......................................................................25

Muting Individual Tracks .......................................................................................................................25

The Number of Samples That Can Be Played Simultaneously.......................................................... 25

Playing an Audio Input Signal ............................................................................................................................. 25

Recording Your Own Samples .............................................................................................................................26

Preparations for Sampling ......................................................................................................................26

Sampling.................................................................................................................................................... 27

Editing a Sample..................................................................................................................................................... 28

Looping a Sample..................................................................................................................................... 28

Changing How the Sample Plays and Stops........................................................................................ 28

Reversing the Playback............................................................................................................................ 29

Chapter 1. Playing the Pads/Making Pad Settings .........................................30

Playing the Pads .....................................................................................................................................................30

Playing a Roll ............................................................................................................................................ 30

Using the Sub Pad Function.................................................................................................................... 30

Using the Hold Function......................................................................................................................... 30

Making Pad Settings ..............................................................................................................................................31

Pad Bank Protect....................................................................................................................................... 31

Basic Procedure for Pad Utility Settings ............................................................................................... 31

Pad Utility Parameters............................................................................................................................. 31

Deleting a Sample..................................................................................................................................... 32

Using the Clipboard to Copy a Sample................................................................................................. 32

Chapter 2. Using Effects ...................................................................................33

Basic Effect Operation............................................................................................................................................ 33

Turning Effects On/Off........................................................................................................................... 33

Using the Control Knobs......................................................................................................................... 33

Choosing the MFX Type from a List ..................................................................................................... 33

Page 8

Contents

Selecting What the Effect Will Apply to (MFX Assign)...................................................................... 34

Making Mastering Settings ..................................................................................................................... 34

List of Effects ........................................................................................................................................................... 35

Chapter 3. Sampling ..........................................................................................42

Available Sampling Time ...................................................................................................................................... 42

Basic Sampling Procedure..................................................................................................................................... 43

Preparations for Sampling ......................................................................................................................43

Recording the Sample.............................................................................................................................. 44

Resampling.............................................................................................................................................................. 45

Applying an Effect While Resampling.................................................................................................. 45

Resampling (Automatic) .........................................................................................................................46

Resampling (Manual) ..............................................................................................................................47

Using EXT SEQ SAMPLING................................................................................................................................. 48

Sampling the Playback of an External Sequencer................................................................................ 48

Sampling a Performance from the P606................................................................................................ 49

Chapter 4. Editing a Sample .............................................................................50

Basic Procedure for Editing Sample Parameters................................................................................................ 50

Sample Parameters................................................................................................................................................. 50

Specifying the Start/End Points of a Sample (Omitting Unwanted Portions).............................................. 51

Changing a Sample’s BPM (Tempo).................................................................................................................... 52

Dividing a Sample (Chop)..................................................................................................................................... 53

Chapter 5. Creating a Pattern ...........................................................................54

About Pattern Recording....................................................................................................................................... 54

Realtime Recording ................................................................................................................................................ 54

Erasing Unwanted Performance Data................................................................................................... 55

Step Recording ........................................................................................................................................................ 56

Step Recording Note Procedure............................................................................................................. 56

Step Recording Sample Procedure......................................................................................................... 57

Chapter 6. Pattern Editing.................................................................................58

Preloaded Pattern Protect...................................................................................................................................... 58

Changing the Pattern BPM (Tempo) ...................................................................................................................58

Storing Track Mute Settings in a Pattern ............................................................................................................59

Microscope Editing ................................................................................................................................................ 59

Basic Procedure for Microscope Editing............................................................................................... 59

Inserting Performance Data (CREATE) ................................................................................................60

Erasing Performance Data (ERASE) ...................................................................................................... 60

Moving Performance Data (MOVE) ...................................................................................................... 60

Changing the Groove of a Pattern (SWING) ...................................................................................................... 61

Naming a Pattern.................................................................................................................................................... 61

Deleting a Pattern ................................................................................................................................................... 62

Copying a Pattern................................................................................................................................................... 62

Chapter 7. Songs ...............................................................................................63

Recording a Song.................................................................................................................................................... 63

Basic Procedure for Recording a Song ..................................................................................................63

Editing a Song ......................................................................................................................................................... 64

Basic Procedure for Editing a Song........................................................................................................ 64

Changing the Song BPM (Tempo) .........................................................................................................64

Naming a Song ......................................................................................................................................... 64

Deleting a Song......................................................................................................................................... 65

Copying a Song......................................................................................................................................... 65

Playing a Song......................................................................................................................................................... 65

Basic Procedure for Playing a Song ....................................................................................................... 65

Selecting and Playing a Song from the Song List ................................................................................66

Changing the Song Playback BPM (Tempo) ........................................................................................66

Muting Individual Tracks .......................................................................................................................66

Page 9

Chapter 8. Using a Memory Card .....................................................................67

Formatting (Initializing) a Memory Card ........................................................................................................... 67

Basic Procedure for Card Utility Operations...................................................................................................... 67

Card Utility Operations ......................................................................................................................................... 68

FILE IMPORT............................................................................................................................................ 68

FILE EXPORT............................................................................................................................................ 69

BACKUP SAVE......................................................................................................................................... 70

BACKUP LOAD .......................................................................................................................................70

BACKUP DELETE.................................................................................................................................... 71

Chapter 9. Using the D Beam............................................................................72

Using the D Beam Controller................................................................................................................................ 72

D Beam Controller Settings................................................................................................................................... 72

Basic Procedure for Making D Beam Settings......................................................................................72

D Beam Setting Parameters..................................................................................................................... 73

D BEAM INFO (D Beam Information) Screen .....................................................................................74

Chapter 10. About V-LINK .................................................................................75

What Is V-LINK? ....................................................................................................................................................75

Connection Example .............................................................................................................................................. 75

Basic V-LINK Operation........................................................................................................................................ 75

V-LINK Setup Parameters..................................................................................................................................... 76

Appendix .................................................................................................................................................................76

Controllable V-LINK Functions and MIDI Messages......................................................................... 76

Bank Select/Program Change Function List........................................................................................77

Chapter 11. Using the SP-606 with Other MIDI Equipment ............................78

About MIDI .............................................................................................................................................................78

About MIDI Connectors.......................................................................................................................... 78

About the MIDI Implementation Chart ................................................................................................ 78

MIDI on the SP-606................................................................................................................................................. 78

Changing the MIDI Settings .................................................................................................................................79

Basic Procedure for MIDI Utility Settings ............................................................................................79

MIDI Utility Parameters.......................................................................................................................... 79

Chapter 12. System Settings ............................................................................80

About the System Settings ....................................................................................................................................80

Using the Included CD-ROM to Restore the Factory-Set Condition................................................ 80

Making System Settings ..........................................................................................................................81

Checking System Information ................................................................................................................ 82

Adjusting the Master Level................................................................................................................................... 82

Chapter 13. About USB .....................................................................................83

Installing the USB Driver....................................................................................................................................... 83

Making the USB Connection................................................................................................................................. 83

USB Audio Signal Flow .........................................................................................................................................84

Making USB Audio and MIDI Settings............................................................................................................... 84

Copying Files or Folders via USB ........................................................................................................................ 85

Contents

Chapter 14. About P606.....................................................................................86

Installing P606......................................................................................................................................................... 86

Controlling P606 from the SP-606 ........................................................................................................................ 86

Before You Control P606 from the SP-606 ............................................................................................86

List of Control Functions......................................................................................................................... 86

Troubleshooting.................................................................................................87

Message Lists/Recommended Memory Cards................................................90

MIDI Implementation..........................................................................................92

MIDI Implementation Chart ...............................................................................96

Specifications.....................................................................................................98

Page 10

Main Features

Quick and easy sampling (p. 26, p. 42)

The SP-606 lets you use any of three sampling modes, whichever is most convenient for your situation.

SAMPLING

no need for settings or editing, sampling is quick and easy.

Sample from a variety of sources (p. 12, p. 84)

You can sample audio sources from the analog or digital inputs, or even via the USB connection, giving you the flexibility to use any type of source.

Use the Chop function to automatically divide phrases (p. 53)

The SP-606 provides a Chop function, which automatically divides an audio phrase into several one-shot samples. The divided samples can be rearranged randomly, combined, or used to create a virtually infinite number of variations.

Velocity-sensitive pads are ideal for creating grooves (p. 23, p. 30)

The sixteen velocity-sensitive pads are a superb way to program grooves with natural-sounding dynamics, and also offer great potential for realtime performance. In addition, pad 16 can operate as a played pad. This gives you much more freedom for performance expression, such as letting you use both hands to play rolls or repeated notes.

makes it easy to capture a loop phrase of the appropriate length from an external MIDI device. With

Sub Pad

, which remembers and plays the same sound as the previously

EXT SEQ

Four-track pattern sequencer (p. 54)

In addition to realtime input, you can use two different step-input methods: the standard “ which you specify each note for input; and “ determines the timing of the next sample. These input methods accommodate a wide range of track-making situations.

Step Rec Smpl

,” in which the length of the sample you input

Step Rec Note

BPM (tempo) sync capability (p. 52)

Any phrase sample can be freely made to follow the tempo of the internal sequencer. Since you can adjust the BPM in real time without affecting the pitch, you can use samples in a whole new variety of ways.

Two independent multi-effects processors (p. 33)

Forty-five types

and also include unique effects such as “ used by either of the two multi-effects modules connected in series, giving you enormous potential for creative sound-making. Intuitive knob-based control makes it easy to create bold and smooth changes in the sound.

of multi-effects range from familiar standards, such as spatial effects and distortion-type effects,

TAPE ECHO

” and “

LO-FI PROCESSOR

.” Any of these effects can be

Mastering effects for adding the finishing touch (p. 33)

Separately from the two multi-effects modules, a mastering effect module is provided to let you add finishing touches at the final stage of your song, bringing it into a professional level of sound quality.

D Beam controller and V-LINK functionality (p. 72, p. 75)

The SP-606 features a D Beam controller, which lets you control a filter or solo synthesizer simply by moving your hand. New realms of expression are made possible by V-LINK functionality, which lets you connect a compatible video device and control it to create video effects that are linked to the expressive elements of a musical performance.

,” in

Page 11

Use memory cards for easy expansion (p. 67)

A memory card slot is provided on the front panel. By inserting a commercially available 512 MB CompactFlash card, you can perform up to 386 minutes of sampling (LONG mode, mono). There’s no need to load the data into internal memory—data on the card can be accessed directly, even for playing from the pads. Even extremely large samples can be handled quickly and freely.

USB connection to your computer (p. 83)

The SP-606 provides not only USB-MIDI functionality, but also file transfer capability for importing and exporting .WAV and AIFF files. Audio drivers for WDM and ASIO are included, letting the SP-606 function as a versatile USB audio interface (on Windows or Macintosh) with a variety of inputs and outputs.

Dedicated “P606” software for unlimited creation of loops (p. 86)

• The dedicated P606 software application developed by Cakewalk Corporation is included. P606

consists of three different sound generator modules, sophisticated multi-effects, and a sixteen-part

pattern sequencer and mixer—in other words, it’s a virtual groovebox!

• Phrases you create using P606 can be captured into the USB-connected SP-606 easily and quickly via

EXT SEQ SAMPLING

number of measures of the phrase, and makes the appropriate loop settings, meaning that you won’t

have to perform any bothersome processes after sampling.

• Of course the SP-606 also functions as a control surface for P606.

. The SP-606 automatically obtains the BPM (tempo), time signature, and

Main Features

Conventions Used in This Manual

Operating buttons are enclosed by square brackets [ ]; e.g., [ENTER]. Reference pages are indicated by (p. **).

The following symbols are used.

This indicates an important note; be sure to read it.

This indicates a memo regarding the setting or function; read it as desired.

This indicates a useful hint for operation; read it as necessary.

This indicates information for your reference; read it as necessary.

This indicates an explanation of a term; read it as necessary.

Page 12

An Overview of the SP-606

How the Various Sections Are Connected

fig.0G-1

Sampler

This records (samples) sounds, such as musical performances or vocals, and plays back these sounds.

Effects

This section applies various effects to the sampled sounds (samples). You can choose from forty-five different types of effect, such as “reverb” which adds reverberation, and “lo-fi processor” which intentionally degrades the audio quality of the sound.

Pads

You can strike these pads to play the samples. You can also vary the loudness of the sound by the strength with which you strike a pad.

Sequencer

Pattern

Song

record

perform automatically

Pads

Sampler

Sample

Effects

manual play

Output

applies various effects

Sequencer

This section lets you record the timing at which you want samples to play, and specify how the samples will be played. You can then play back this data to create automatic performances.

Audio Signal Flow Inside the SP-606

fig.audioFlow

Digital In

Level

Audio In

Rec Level

Knob

MFX Assign

USB Input SW

Input Select

Send Select

Input

Source

MFX Assign

Input Send Select

MFX1

MFX2

* D BEAM

FILTER

USB

Digital

Line

Mic

Input

Sampler

* D BEAM

SYNTH

* You can use either D BEAM SYNTH or D BEAM FILTER (not both).

Mastering

Metronome

Master

Level

Volume

Sampling

Gain

USB Output SRC

Knob

USB

Digital

Line

Phones

Sampling

Output

Page 13

How the SP-606 Is Organized

An Overview of the SP-606

The SP-606 uses four types of data: “ “

songs

,” which contain performance data. In addition the SP-606 operates in one of two modes: “ in which you use the SP-606’s pads and knobs to control the SP-606 itself; and “ and knobs control the included P606 application running on your computer.

samples

Playing and Performing Sounds

What Are Samples?

A sample is the most basic unit of audio material, consisting of a waveform (wave) that was created by sampling a performance, instrumental sound, or voice, together with settings that specify how this waveform will be played back. You can play the samples that are assigned to the pads, or play them from the internal sequencer or an external sequencer. There are two types of samples, which differ in the way that they are played back: phrase samples and single samples.

Phrase Samples

In general, samples created by sampling a performance are called Phrase samples. To use a sample as a phrase sample on the SP-606, set the sample’s “Play Type” (p. 50) parameter to This causes the sample BPM (tempo) to automatically match the playback BPM or sequencer BPM. This setting is appropriate for phrases that are one or several measures long.

fig.0G-2

Performance

Sampling

The sample BPM can be varied within the range from 0.5 through 1.3. If the sequencer BPM would

cause the sample BPM to exceed this allowable range, the sample BPM will be doubled or halved so

that it stays within this range.

Single Samples

On the SP-606, short samples (such as individual notes) are called Single samples. To use a sample as a single sample, set its “Play Type” (p. 50) parameter to length. This setting is suitable for sounds that you use as single notes, such as drum hits or sound effects.

Phrase Sample

” and “

SINGLE

pad banks

,” which contain sounds; and “

external mode

. This causes the sample to always play at its original

patterns

internal mode

,” in which the pads

” and

PHRASE

”

Drum Sound

Sampling

Single Sample

Page 14

An Overview of the SP-606

What Are Pad Banks?

A group of sixteen samples assigned to the pads of the top panel are collectively called a Pad Bank. The SP-606 has thirty-two pad banks, letting you use a total of 512 samples.

About Pad Banks 1–8

When you sample into these banks, the samples will be saved in internal memory.

About Pad Banks 9–32

When you sample into these banks, the samples will be saved on a memory card.

What Are Patterns?

A pattern consists of 1–32 measures of performance (sequence) data that specifies the timing at which samples will be played. Each pattern contain four “parts” (tracks), in which separate performances can be recorded. You can select and play different patterns in succession, or create a song by specifying the order in which you want patterns to play.

fig.0G-4

Pattern

Drum Part

Refer to “Switching Pad Banks” (p. 23).

When the SP-606 is shipped from the factory, samples are already loaded into pad banks 1–4. Since

these samples are protected so that they will not be erased accidentally, you will be unable to edit or

delete them. If you want to disable protection for these samples, disable the pad bank protect setting

(p. 31).

(Hi-hat) (Snare Drum) (Bass Drum)

Bass Part

Inst 1 Part

Inst 2 Part

A pattern can be up to 32 measures long.

The pattern simply specifies the timing at which the samples play; it does not contain the samples

themselves. This means that if you change the sample, the playback result will also change.

What Is a Song?

On the SP-606, an arrangement of multiple patterns in a desired playback order is called a Song.

fig.0G-5

Song

Pattern Pattern Pattern Pattern Pattern Pattern

Melody

Intro MelodyBMelodyAMelody

The song simply specifies the order in which patterns will play; it does not contain the sequence

data of the patterns themselves. This means that if you edit a pattern, the song playback will be

affected.

Ending

Page 15

Switching the Mode (Internal/External)

Internal

In this mode you can use the SP-606’s pads and knobs to control the SP-606 itself. To select Internal mode, press

External

In this mode you can use the SP-606’s pads and knobs to control the P606 application (an included sequencer for Windows) running on your USB-connected computer. To select External mode, press

If you want to control both the SP-606 itself and the P606 application, press [INT] and [EXT] so both

buttons are lighted.

What Is the Play Screen?

The “play screen” refers to the screen that appears when you perform the following steps.

1. Power up the SP-606 as described in “Turning the Power On/Off” (p. 21).

2. Press [INT] so it’s lit.

At this time, [EXT] will be unlit.

3. Press [SONG] or [PTN].

If you press [SONG], the word “Song” will appear vertically at the left edge of the screen. If you press [PTN], the word “Pattern” will appear vertically at the left edge of the screen.

[INT]

[EXT]

so it’s lit.

An Overview of the SP-606

Canceling the Previous Operation (Undo/Redo)

Before Recording/Editing

Recording/Editing

After Recording/Editing

REDO

UNDO

fig.0G-6

You can cancel the editing or recording operation that you performed most recently on a song or pattern.

Procedure

Hold down [FUNC] and press [ ] (Top).

* You can execute Undo for Pattern (microscope edit, realtime

recording, step recording) and Song (edit, recording) operations.

* The Redo function cancels the Undo, returning you to the state before

executing Undo. After you’ve executed Undo, you can once again

hold down [FUNC] and press [ ] (Top) to execute Redo.

Page 16

Top, Front, and Rear Panels

Top Panel

fig.top-panel

D BEAM controller

By placing your hand above this you can apply various

effects to a pattern or sample. (p. 72)

TRIGGER button

This lets you use the D Beam controller to play pads as an

alternative to striking the pads. (p. 72)

SYNTH button

This lets you use the D Beam controller to control the

pitch of a monophonic synthesizer. (p. 72)

FILTER button

This lets you use the D Beam controller to control a filter

that has an extremely steep slope. (p. 72)

V-LINK button

This turns V-LINK on/off. (p. 75)

Page 17

Top, Front, and Rear Panels

AUDIO IN REC LEVEL knob

This adjusts the volume of the audio signal that is input

via the rear panel INPUT (p. 19).

Adjust this knob so that the level indicator does not light.

(p. 26, p. 44)

VOLUME knob

This adjusts the volume of the audio signal that is output

from the rear panel OUTPUT and PHONES jacks (p. 19).

MASTERING button

This switches the mastering effect (used to add final

touches) on/off. (p. 33)

Screen

Various information is shown here according to the

operations you perform.

MENU button

You can press [MENU] to get the Top Menu screen.

F1, F2, F3 buttons

Various functions are assigned to these buttons

depending on the currently shown screen.

BPM button

This adjusts the BPM (tempo). (p. 25, p. 58, p. 64, p. 66)

MFX1 button

This switches MFX1 on/off. (p. 33)

MFX2 button

This switches MFX2 on/off. (p. 33)

KNOB ASSIGN button

This selects the MFX module controlled by the CTRL 1–3

knobs. (p. 33)

CTRL 1, CTRL 2, CTRL 3 knobs

These control effect parameters. (p. 33)

SONG button

This accesses the Song Play screen (p. 15).

PTN button

This accesses the Pattern Play screen (p. 15).

TRACK 1–4 buttons

These select the tracks for recording/playback. (p. 25,

p. 54, p. 59)

[] (Top)

Returns to the beginning of the song or pattern.

EXIT/ENTER buttons

These are used as Cancel (EXIT) or OK (ENTER) buttons

in various screens.

[][][][]

These move the cursor left/right/up/down in various

screens.

VALUE dial

Use this to adjust the value of a setting.

* You can hold down [FUNC] and turn the VALUE dial to make

larger changes in a value other than BPM (tempo).

DEC/INC buttons

These are used to change the value of a parameter

(setting) in steps of one.

* You can hold down [FUNC] and use [DEC][INC] to make

larger changes in a value other than BPM (tempo).

[] (Rewind)

Moves backward by one measure or one step.

[] (Fast-forward)

Moves forward by one measure or one step.

[] (Stop)

Stops playback.

[] (Play)

Starts playback.

[] (Record)

Records a pattern or song. (p. 54, p. 63)

Page 18

Top, Front, and Rear Panels

INT/EXT buttons

These buttons switch between Internal and External

modes. Normally you will leave Internal mode selected.

(p. 15)

FUNC button

You can hold down [FUNC] and press another button or

pad to access an alternate function for that button or pad.

CLIP BOARD button

This button lets you use the clip board to copy a sample.

(p. 32)

SAMPLING button

Use this button to perform sampling. (p. 26, p. 42)

Front Panel

fig.front-panel

PAD BANK button

Use this button to switch pad banks. (p. 23)

ROLL button

Use this button to play a roll. (p. 30)

HOLD pad

This pad activates the Hold function. (p. 30)

INPUT SOURCE pad

This pad sounds the audio input signal. (p. 25)

Pads [1]–[16]

You can play samples by striking these pads. (p. 23)

Memory card slot

You can insert a memory card here. (p. 22)

* You can use a Phillips screwdriver to remove the two screws

immediately under each end of the card slot (i.e., on the SP-

606’s bottom panel edge closest to yourself), and use these same

two screws to attach the included card theft prevention cover.

This will prevent the memory card from being removed and

stolen.

* When turning the unit upside-down, get a bunch of

newspapers or magazines, and place them under the four

corners or at both ends to prevent damage to the buttons and

controls. Also, you should try to orient the unit so no buttons

or controls get damaged.

* When turning the unit upside-down, handle with care to avoid

dropping it, or allowing it to fall or tip over.

Page 19

Rear Panel

fig.rear-panel

123 4 5 8 121169107

Top, Front, and Rear Panels

1. Cord hook

Use this to fasten the AC adaptor cable (p. 20)

2. Ground terminal

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. 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.

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)

3. POWER switch

This turns the power on/off. (p. 21)

6. MIDI connectors (OUT/IN)

Use these to connect MIDI equipment. (p. 78)

7. DIGITAL jacks (OUT/IN)

Connect your audio source to the IN jack if you want to

sample via the digital input. Connect to the OUT jack if

you want to use digital output. (p. 20)

8. FOOT SWITCH jack

You can connect a foot switch (DP-2, BOSS FS-5U; sold

separately) to this jack. (p. 20)

9. INPUT jacks

Connect your audio source or microphone to this jack if

you want to sample via the analog input. If you’re

inputting a monaural source, connect it to the L (MONO)

jack. (p. 20)

10. OUTPUT jacks

These are analog output jacks. If you’re outputting in

monaural, use the L (MONO) jack. (p. 20)

11. PHONES jack

Connect a set of stereo headphones to this jack. Even if

headphones are connected, sound will still be output

from the DIGITAL OUT and OUTPUT jacks. (p. 20)

4. AC adaptor jack

Connect the included AC adaptor here. (p. 20)

5. USB connector

Use a USB cable to connect the SP-606 to your computer.

(p. 83)

12. Security slot ( )

http://www.kensington.com/

Page 20

Connecting the SP-606 to Your Equipment

For details on USB connections, refer to “Chapter 13. About USB” (p. 83).

fig.connects

Refer to the diagram, and make connections according to the following procedure.

Before you make any connections, switch off the power on all your equipment.

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.

Connect the included AC adaptor to the AC adaptor jack.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out

accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord

using the cord hook, as shown in the illustration.

CD/MD Player

Connect your audio system or amp(s) to the OUTPUT or DIGITAL OUT jacks. If you’re using headphones, connect them to the PHONES jack.

If you intend to sample (p. 26, p. 42), connect your audio source device (e.g., CD player or mic) to the

DIGITAL IN

Plug the AC adaptor into an AC outlet.

jacks.

When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT, DIGITAL IN) may be low. If this happens, use connection cables that do not contain resistors, such as those from the Roland PCS series.

Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels.

INPUT

Page 21

Turning the Power On/Off

Turning the Power On

Once the connections have been completed (p. 20), turn on power to 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.

Turn the VOLUME knob all the way to the left to set the volume to the minimum position.

Turn the volume of the connected amp or audio system to the minimum position.

Press [POWER] to power up the SP-606.

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.

Power up the connected amp or audio system.

While striking a pad to produce sound, adjust the volume by gradually raising the VOLUME knob.

Also raise the volume level of the connected amp or audio system to the appropriate level.

Shutting Down and Turning the Power Off

Before powering off the SP-606, you must first perform the shutdown operation. If you simply turn

off the power without shutting down, the data in internal memory or the memory card may be

damaged.

Go to the Play screen (p. 15).

Hold down [FUNC] and press [EXIT] (SHUTDOWN) to get the SHUTDOWN screen.

Press [F3] to shut down.

When you have returned to the Play screen, it is safe to switch off the power. If you decide not to shut down, press [F2] (CANCEL).

Lower the volume on the SP-606 and all your external equipment so they’re at the lowest possible level.

Switch off all your external equipment.

Press [POWER] to switch off the SP-606’s power.

Page 22

Inserting and Removing a Memory Card

Inserting a Memory Card

Insert the memory card into the card slot located on the front panel.

You can insert a memory card whether the SP-606 is turned on or off.

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

When using a memory card for the first time, you must format it on the SP-606. (p. 67)

Memory cards formatted by another device will not be recognized by the SP-606.

Removing a Memory Card after Shutdown

If the SP-606 is powered up, you must shut it down before removing the memory card. If you

remove the card without shutting down, you risk damaging the internal memory or the contents of

the memory card.

Go to the Play screen (p. 15).

Hold down [FUNC] and press [EXIT] (SHUTDOWN) to get the SHUTDOWN screen.

Press [F3] to shut down.

When you have returned to the Play screen, it is safe to remove the memory card. If you decide not to shut down, press [F2] (CANCEL).

After shutdown, a memory card will not be detected even if it is present in the card slot. It will be

detected when you remove the memory card from the slot and re-insert it.

Press the eject button located beside the front panel card slot. A portion of the card will protrude, allowing you to grasp the card and pull it out.

Page 23

Quick Start

Playing Samples from the Pads

How to Play a Sample

Strike a pad, and you’ll hear the sample of that pad.

Switching Pad Banks

Go to the Play screen (p. 15).

Press [PAD BANK].

The list of pad banks will appear.

Turn the VALUE dial or use [ ][ ][DEC][INC] to move the cursor.

You can select pad banks 1–16 directly by pressing pads [1]–[16]. Pressing [F1] (INT) will move the cursor to the internal memory banks, and pressing [F2] (CARD) will move to the memory card banks.

Pad banks 9–32 are for the memory card. They cannot be selected unless a memory card is inserted.

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

The selected pad bank will appear in the display.

When the SP-606 is shipped from the factory, pad banks 1–4 contain preloaded data.

Adjusting the Loudness of the Sound When You Strike the Pads

Here’s how to adjust the loudness of the sounds produced when you strike the pads. This setting is common to all sixteen pads.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [9] (PAD UTIL) to get the PAD UTILITY screen.

Use [ ][ ] to move the cursor to the “Pad Velocity” line.

Turn the VALUE dial or use [DEC][INC] to select REAL or 1–127. REAL

: The force with which you strike the pad will determine the

loudness.

1–127

: The loudness will be fixed at the level you specify (127 steps).

If you specified REAL in step 4, press [ ] to move the cursor to the “Pad Sens” line.

If you specified a value of 1–127 in step 4, proceed to step 7.

Turn the VALUE dial or use [DEC][INC] to select either LIGHT, MEDIUM, or HEAVY. LIGHT

: Sound will be produced even if you strike a pad lightly.

MEDIUM HEAVY

Press [EXIT] to return to the Play screen.

: This is the standard sensitivity setting.

: You will need to strike a pad strongly in order to produce sound.

Page 24

Quick Start

Playing Patterns

Basic Procedure for Playing a Pattern

Go to the Pattern Play screen (p. 15).

The upper line of the screen shows the BPM (tempo) and number of measures in the pattern. The lower line of the screen shows the number of the currently selected pad bank.

Turn the VALUE dial or use [DEC][INC] to select a pattern.

When the SP-606 is shipped from the factory, patterns 1–40

contain preloaded pattern data.

Press [ ] (Play) to begin playback.

If you turn the VALUE dial or use [DEC][INC] to select another pattern while a pattern is playing, the name of that pattern will appear in the lower line, and will be reserved as the next-played pattern. When the currently playing pattern has played to the end, the reserved pattern will automatically begin playing.

If the pattern number indication shown in the lower line is not highlighted, the SP-606 is already

preparing to switch to the next pattern, so you will not be able to reserve the next pattern.

You can press [ ][ ] while a pattern is playing to force the currently playing pattern to switch.

Press [ ] (Stop) to stop playback.

If you press [ ] (Stop) once again or press [ ] (Top), you will return to the beginning of the pattern.

Pressing [ ] (Backward) moves you one measure back, while pressing [ ] (Forward) moves you one measure forward.

Selecting and Playing a Pattern from the Pattern List

Go to the Pattern Play screen (p. 15).

Press [F1] (LIST) to get the PATTERN LIST screen.

If the preloaded patterns are protected (p. 58), a lock symbol

is shown at the left of the corresponding pattern in the

screen.

Turn the VALUE dial or use [DEC][INC] to select a pattern, and press [F3] (SELECT) or [ENTER] to confirm your choice.

Patterns 1–16 can be selected directly by pressing pads [1]–[16]. If you decide you don’t want to select a pattern, you can press [EXIT] to cancel this procedure.

Press [ ] (Play) to start playback.

Press [ ] (Stop) to stop playback.

Page 25

Changing the BPM (Tempo) During Pattern Playback

Go to the Pattern Play screen (p. 15).

Press [BPM] to get the BPM screen.

The current BPM is displayed.

Turn the VALUE dial or use [DEC][INC] to adjust the BPM (40.0–

200.0).

The BPM can be adjusted in steps of one. You can make adjustments even while the pattern is playing.

To adjust the BPM in 0.1 units, hold down [FUNC] and turn the VALUE dial.

You can press the [F3] (TAP) button three times or more in succession to set the BPM to the interval

at which you pressed the button (Tap Tempo function).

You cannot change the BPM if “Sync Mode” (p. 79) is set to SLAVE.

Press [EXIT] to return to the Play screen.

Muting Individual Tracks

You can mute (silence) specific tracks while a pattern plays.

Go to the Pattern Play screen (p. 15).

Quick Start

Press [ ] (Play) to play the pattern.

Press TRACK [1]–[4].

Button lit: playing Button blinking: muted

If a track button is unlit, that track contains no data.

The mute status of each track can be stored with the pattern. (p. 59)

The Number of Samples That Can Be Played Simultaneously

Including the playback of the song/pattern and the sounds you play from the pads, a maximum of eight notes can be played simultaneously. Each stereo sample uses two notes. If you attempt to play more than eight notes simultaneously, the samples you most recently played from the pads will take priority, and the sample played by a previously pressed pad will stop sounding. Samples whose “Play Type” (p. 50) is set to PHRASE will take priority over SINGLE samples.

Playing an Audio Input Signal

The SP-606’s [INPUT SOURCE] pad lets you start/stop the sound of an external audio input source in the same way as when controlling a sample. You can also apply effects to this sound. In the explanation below, we will use a connected CD player as an example.

Make sure that the SP-606 and your CD player are powered off.

On the top panel, turn the AUDIO IN REC LEVEL knob to the minimum position (far left).

Connect your CD player to the rear panel INPUT L/R or DIGITAL IN jack (p. 20).

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.

Power up your CD player.

Page 26

Quick Start

Power up the SP-606 using the procedure described in “Turning the Power On” (p. 21).

Wait until the Pattern Play screen (p. 15) appears in the display.

Hold down [FUNC] and press the [INPUT SOURCE] pad to get the INPUT SETTING screen.

Turn the VALUE dial or use [DEC][INC] to set “Input Select” as follows.

If you made connections to If you made connections to

Play back your CD player.

When you press the [INPUT SOURCE] pad so it’s lighted, the external input sound will be heard.

When you press the [INPUT SOURCE] pad once again and switch off its illumination, the sound will stop.

10.

Use the AUDIO IN REC LEVEL knob to adjust the volume.

Adjust the AUDIO IN REC LEVEL knob until the level is as high as you can get it without causing the knob’s level indicator to light.

If you made connections to DIGITAL IN in step 3, the AUDIO IN REC LEVEL knob has no effect.

INPUT L/R DIGITAL IN

in step 3:

LINE

DIGITAL

Recording Your Own Samples

The SP-606 lets you sample up to approximately eleven minutes of sound (monaural).

third party without permission for any purpose other than personal enjoyment. Do not use this

device to make illegal recordings.

Roland Corporation accepts no responsibility for any damages or penalties you may be required to

pay as a result of making illegal recordings using Roland-manufactured equipment.

As an example, here’s how to sample sound from a CD player.

Preparations for Sampling

Connect your CD player to the SP-606

Make sure that the SP-606 and your CD player are powered off.

On the top panel, turn the AUDIO IN REC LEVEL knob to the minimum (far left).

Connect your CD player to the rear panel INPUT L/R or DIGITAL IN jack (p. 20).

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.

Power up your CD player.

Power up the SP-606 using the procedure described in “Turning the Power On” (p. 21).

Wait until the Pattern Play screen (p. 15) appears in the display.

Specify the input jack, and adjust the input level

Hold down [FUNC] and press [INPUT SOURCE] to get the INPUT SETTING screen.

Turn the VALUE dial or use [DEC][INC] to set “Input Select” as follows.

If you made connections to If you made connections to

INPUT L/R DIGITAL IN

in step 3:

LINE

DIGITAL

Page 27

Play back your CD player and adjust the input level.

If you selected INPUT in step 3, adjust the AUDIO IN REC LEVEL knob until the level is as high as you can get it without causing the knob’s level indicator to light.

Sampling

Press [SAMPLING] to get the SAMPLING MENU screen.

Press [F1] (SAMPL).

[SAMPLING] will blink, and the appear.

The display will indicate “Select Pad”; turn the VALUE dial or use [DEC][INC] to switch the pad bank. For this example, select pad bank 8. Then press the desired pad to select it as the sampling destination. For this example, press pad [1].

At this time, pads that do not contain samples will blink. The pad number is displayed at the left of the upper line in the screen (PAD 8-1).

Quick Start

If you made connections to DIGITAL IN, the AUDIO IN REC LEVEL knob has no effect.

SAMPLING STANDBY

If the selected pad already contains a sample, you’ll be presented with this message: “A Sample

Already Exists! Overwrite?” If you are sure you want to overwrite the existing sample, press [F3]

(EXEC). To cancel, press [F2] (CANCEL).

If the Pad Bank Protect setting is turned on for a bank, a lock symbol is displayed at the right of the

pad bank number shown in the upper left of the screen. If you press a pad of such a bank, the screen

will indicate “Protected Pad Bank!”, and the pad cannot be selected. If you want to sample into a

pad of this bank, you will have to turn off the Protect setting (p. 31).

screen will

Use [ ][ ] to move the cursor to the “Auto Trig” line.

Turn the VALUE dial or use [DEC][INC] to select the OFF setting.

If you decide to cancel the sampling operation at this point, press [EXIT].

Press the [INPUT SOURCE] pad to hear the audio input signal.

At the appropriate moment in the music, press [SAMPLING] or [F3] (START) to start sampling.

[SAMPLING] will change from blinking to lit.

At the moment you want to stop sampling, press [SAMPLING] or [F3] (STOP).

If you exceed the available sampling time, sampling will stop automatically.

Press the pad to play back the sampled sound.

You can use the BPM Sync function (p. 52) to change the BPM (tempo) of the sampled sound.

If the beginning or end of the sample contains unwanted sound or silence, you can make settings so

that only the desired portion of the sound is actually played. For details, refer to “Specifying the

Start/End Points for Playback (Skipping Unwanted Portions)” (p. 51).

If you are not satisfied with the sampled sound, refer to “Deleting a Sample” (p. 32).

Page 28

Quick Start

Editing a Sample

Looping a Sample

Causing a sample to play repeatedly from its beginning to its end is called “looping.” The SP-606 makes it easy for you create phrases by playing phrases repeatedly in this way.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [13] (SAMPLE PARAM) to get the SAMPLE EDIT screen.

Press the pad whose sample you want to edit.

If you want to edit a sample that’s in a different pad bank, switch the pad bank (p. 23) and then choose a sample to edit.

If the pad bank is protected, a lock symbol is displayed in the upper right of the screen. In this case

you will not be able to edit the sample unless you turn off the Protect setting (p. 31).

Use [ ][ ] to move the cursor to the “Loop Sw” line.

Turn the VALUE dial or use [DEC][INC] to select OFF or ON. OFF

: not looped

: looped

If you want to make settings for other samples as well, repeat steps 3–5.

Press [EXIT] to return to the Play screen.

Changing How the Sample Plays and Stops

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [13] (SAMPLE PARAM) to get the SAMPLE EDIT screen.

Press the pad whose sample you want to edit.

If you want to edit a sample that’s in a different pad bank, switch the pad bank (p. 23) and then choose a sample to edit.

If the pad bank is protected, a lock symbol is displayed in the upper right of the screen. In this case

you will not be able to edit the sample unless you turn off the Protect setting (p. 31).

Use [ ][ ] to move the cursor to the “Trig Mode” line.

Turn the VALUE dial or use [DEC][INC] to select either SHOT, ALTERNATE, or GATE. SHOT

: The sample will begin playing when you press the pad, and will

stop automatically when the end of the sample is reached.

If you select the SHOT setting, the Loop setting (p. 28)

is ignored; the sample will play only once. Note that if you select SHOT, you will not be able

to interrupt the sound, so use this setting with caution if the sample is extremely long.

ALTERNATE

GATE

: The sample will begin playing when you press the pad, and will continue playing even after you

release the pad. It will stop when you press the pad once again.

: The sample will begin playing when you press the pad, and will stop playing when you release the pad.

If you want to make settings for other samples as well, repeat steps 3–5.

Press [EXIT] to return to the Play screen.

Page 29

Reversing the Playback

The Reverse setting makes a sample play in the opposite direction, as if a tape were being played backward.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [13] (SAMPLE PARAM) to get the SAMPLE EDIT screen.

Press the pad whose sample you want to edit.

If you want to edit a sample that’s in a different pad bank, switch the pad bank (p. 23) and then choose a sample to edit.

If the pad bank is protected, a lock symbol is displayed in the upper right of the screen. In this case

you will not be able to edit the sample unless you turn off the Protect setting (p. 31).

Use [ ][ ] to move the cursor to the “Reverse Sw” line.

Turn the VALUE dial or use [DEC][INC] to select OFF or ON. OFF

: not reversed

: reversed

If you want to make settings for other samples as well, repeat steps 3–5.

Press [EXIT] to return to the Play screen.

Quick Start

Page 30

Chapter 1. Playing the Pads/Making Pad Settings

Playing the Pads

For details on basic ways to play the pads, refer to “Playing Samples from the Pads” in the Quick

Start (p. 23).

Playing a Roll

Here’s how you can make a sample play repeatedly (i.e., “roll”) as long as you hold down a pad.

Go to the Play screen (p. 15).

Press [ROLL] so the button is lit; this enables the Roll function.

Hold down a pad, and the roll will begin.

You can play a roll by pressing any pad [1]–[16], or by pressing multiple pads simultaneously.

You can specify the resolution of the roll. Refer to “Basic Procedure for Pad Utility Settings” (p. 31) and “Pad Utility Parameters” (p. 31).

When you release the pad, the roll will stop.

To turn off the Roll function, press [ROLL] so its illumination is turned off.

Using the Sub Pad Function

You can use the Sub Pad to play the sample of the pad you struck most recently. This is a convenient way to play a drum roll manually.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [9] (PAD UTIL) to get the PAD UTILITY screen.

Press [ ] to move the cursor to the “Sub Pad Sw” line.

Turn the VALUE dial or use [DEC][INC] to turn the setting ON.

Pad [16] will light green, and will now operate as the Sub Pad.

This does not erase the sample of pad [16]; its original sample will reappear when you turn off the Sub Pad setting.

When you press pad [16], the sample of the most recently struck pad will sound.

If you turn the “Sub Pad Sw” OFF, pad [16] will go dark, and the Sub Pad function will be disabled.

Using the Hold Function

The Hold function makes a sample continue sounding even after you take your finger off the pad. This is convenient when you want a phrase loop sample to continue playing. However, you cannot exceed the maximum polyphony of eight notes even when using the Hold function.

Hold applies only to samples for which GATE playback (p. 50) is specified. Hold does not apply to

samples for which ALTERNATE playback or SHOT playback (p. 50) is specified, nor to the Roll

function (p. 30).

Go to the Play screen (p. 15).

Press a pad to play its sample.

Page 31

Before you take your finger off the pad, press the [HOLD] pad while the sample is still sounding.

The Hold function will be turned on, and the sample will continue sounding even after you take your finger off the pad.

The sound will stop when you press the currently sounding pad or the [HOLD] pad once again.

When you press the [HOLD] pad again, all currently held sounds will stop.

Making Pad Settings

Pad Bank Protect

You can protect a pad bank so that it cannot be edited or erased.

When the SP-606 is shipped from the factory, you will not be able to edit or erase pad banks 1–4

since they are protected to prevent the samples from being deleted accidentally.

Go to the Play screen (p. 15).

Hold down [FUNC] and press [PAD BANK] to get the PAD BANK PROTECT screen.

A list of the pad banks will appear.

Turn the VALUE dial or use [ ][ ][DEC][INC] to move the cursor.

Press [F1] (PRTCT) to turn on the Protect setting. A lock icon will appear at the left edge of the cursor line.

To turn off Protect, press [F1] (PRTCT) once again. The lock icon will disappear.

Press [EXIT] to return to the Play screen.

Chapter 1. Playing the Pads/Making Pad Settings

Basic Procedure for Pad Utility Settings

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [9] (PAD UTIL) to get the PAD UTILITY screen.

Use [ ][ ] to select the setting (parameter) you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Press [EXIT] to return to the Play screen.

Pad Utility Parameters

Parameter

Pad Velocity

Pad Sens LIGHT,

Roll Resolution 1/4–1/48 Specifies the resolution (interval) for the Roll function (p. 30). Sub Pad Sw OFF, ON Specifies the Sub Pad setting (p. 30).

Value Explanation

REAL, 1–127

MEDIUM, HEAVY

Specifies the loudness of the sound when you strike a pad.

REAL

: You can vary the loudness at which the sample plays by varying the force

of your pad strikes.

1–127

: The sample will play at the velocity value you specify.

Adjusts the sensitivity of the pad. This specifies how the loudness will respond to the force of your strike.

LIGHT

: Even light strikes will produce loud sounds.

MEDIUM HEAVY

: There will be no sound unless you strike the pad strongly.

This setting is used only if “Pad Velocity” is set to REAL.

: Medium sensitivity.

Page 32

Chapter 1. Playing the Pads/Making Pad Settings

Deleting a Sample

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [9] (PAD UTIL) to get the PAD UTILITY screen.

Press [F1] (DELETE) to get the PAD DELETE screen.

Press the pad whose sample you want to delete; the pad number will be highlighted (black).

To cancel your selection, press a selected pad once again; the indication will revert to white. You can select more than one pad simultaneously. If you want to select samples from another pad bank, turn the VALUE dial or use [DEC][INC] to switch the pad bank, and press a pad to select a sample.

Pads that don’t contain a sample are displayed as a dotted line, and cannot be selected.

To delete the sample(s), press [F3] (EXEC).

If you decide to cancel, press [F2] (CANCEL) or [EXIT].

Never turn off the power while the display indicates “Now Processing...”

Press [EXIT] to return to the Play screen.

Using the Clipboard to Copy a Sample

The Clipboard function lets you temporarily save a desired sample, which you can then copy to another location. You can also copy samples between pad banks.

Go to the Play screen (p. 15).

Hold down the pad whose sample you want to copy, and press [CLIPBOARD].

The sample will be copied to the clipboard, and [CLIPBOARD] will light. The copied sample will sound when you press [CLIPBOARD].

If you delete the copy-source sample at this time, the sample copied to the clipboard will also be

deleted.

Hold down [CLIPBOARD] and press the copy-destination pad.

When you press [CLIPBOARD], pads that contain samples will light. If you want to copy the sample to a different pad bank, press [PAD BANK] and select the desired pad bank (p.

23).

To delete the copied sample from the clipboard, hold down [FUNC] and press [CLIPBOARD].

You cannot copy to a pad that already contains a sample.

Page 33

Chapter 2. Using Effects

The SP-606 contains three built-in effect modules, which can be used simultaneously.

“MFX” stands for Multi-Effects.

Refer to “Audio Signal Flow Inside the SP-606” (p. 12).

Basic Effect Operation

Turning Effects On/Off

Go to the Play screen (p. 15).

Press [MFX1], [MFX2], or [MASTERING] to turn each effect on/off.

Lit: ON Unlit: OFF

When you turn [MFX1] or [MFX2] on, the MFX module that you turned on will automatically

become the module controlled by the CTRL 1–3 knobs.

Using the Control Knobs

Switching the MFX Module Controlled by the Control Knobs

Here’s how to select whether the control knobs will control MFX1 or MFX2.

Go to the Play screen (p. 15).

Hold down [KNOB ASSIGN] to see which MFX module the knobs are controlling.

Of the [MFX1] and [MFX2] buttons, the MFX button that blinks indicates the MFX module currently controlled by the knobs.

Continue to hold down [KNOB ASSIGN], and press the button that is not blinking; this switches the MFX module that is controlled by the knobs.

Controlling the Effect

Go to the Play screen (p. 15).

Turn the CTRL 1–3 knobs to adjust the MFX.

If you want to check the currently used type of effect and its settings, press [F3] (EFFECT) to get the EFFECT INFO (Effect Information) screen.

Press [EXIT] to return to the Play screen.

Choosing the MFX Type from a List

Go to the Play screen (p. 15).

Press [F3] (EFFECT) to get the EFFECT INFO (Effect Information) screen.

The screen will show the MFX settings controlled by the CTRL 1–3 knobs.

You can get the same screen by holding down [FUNC] and

pressing [MFX1] or [MFX2].

Press [F2] (MFX1/2) to switch between MFX1 and MFX2.

The upper right of the screen indicates whether MFX1 or MFX2 settings are shown. The MFX unit being controlled by the CTRL 1–3 knobs will automatically switch to the MFX unit that is shown in the display.

Page 34

Chapter 2. Using Effects

You can exchange MFX1 and MFX2 by holding down [FUNC] and pressing [F1] (EXCHG). A message of “Exchange MFX1&2, Are You Sure?” will appear. Press [F3] (EXEC) to perform the exchange, or press [F2] (CANCEL) if you decide to cancel the operation.

Press [F1] (LIST) to get the MFX1 TYPE LIST or MFX2 TYPE LIST screen.

Turn the VALUE dial or use [ ][ ][DEC][INC] to select the effect type.

Effect types 1–16 can be selected directly by pressing pads [1]–[16].

Press [F3] (SELECT) or [ENTER] to confirm your choice.

You will return to the If you decide to cancel, press [EXIT].

EFFECT INFO

(Effect Information) screen.

Selecting What the Effect Will Apply to (MFX Assign)

You can select whether effects will be applied to multiple pads, to individual pads, or to the audio input via USB.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [12] (MFX ASGN) to get the MFX ASSIGN screen.

Turn the VALUE dial or use [DEC][INC] to select the pad bank for which you want to make settings.

Press the appropriate pads to turn MFX assign on/off. The setting will alternate on/off each time you press the pad.

MFX is turned on for

pads

that are displayed in black on the screen.

You can press [F2] (BANK) to switch all sixteen pads of the pad bank on/off.

Pressing [F1] (USB) will switch MFX assign on/off for the audio input received via USB.

MFX is enabled for

Press [F3] (WRITE) to save the settings.

A message of “MFX Assign Write, Are You Sure?” will appear. Press [F3] (EXEC) to save the settings, or press [F2] (CANCEL) if you decide to cancel the operation.

Press [EXIT] to return to the Play screen.

USB

audio if the

Making Mastering Settings

Go to the Play screen (p. 15).

Press [F3] (EFFECT) to get the EFFECT INFO (Effect Information) screen.

The screen shows the settings for the MFX module being controlled by the CTRL 1–3 knobs.

Press [F3] (MASTER) to get the MASTERING screen.

You can also get this screen by holding down [FUNC] and

pressing [MASTERING].

Selecting a Mastering Setup

Press [F1] (LIST) to get the MASTERING SETUP LIST screen.

Turn the VALUE dial or use [ ][ ][DEC][INC] to select the mastering setup you want to use.

“1 USER SET” is selected when you turn on the power. If you want to use a certain preset setting as

the power-on default, write those preset settings to “1 USER SET.”

USB

indication in the screen is highlighted in black.

Page 35

Press [F3] (SELECT) or [ENTER] to confirm your choice.

You will return to the

MASTERING

screen.

If you decide to cancel, press [EXIT].

Editing the Mastering Setup

Use [ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Parameter Value Explanation

Spilt Freq 200–8000Hz Frequency at which the High and Low ranges are divided

In Level -24–0dB Mastering input volume

Low Attack 0.05–50ms Time over which compression is applied to the volume after the input exceeds the

Low Release 0.05–2000ms Time over which compression is released after the input falls below the Low

Low Threshold 0–127 Volume level at which compression begins to be applied to the low frequency

Low Ratio 1:1–inf:1 Compression ratio for the low frequency range (inf: infinite)

Low Level -24–+24dB Output volume of the low frequency compressor

High Attack 0.05–50ms Time over which compression is applied to the volume after the input exceeds the

High Release 0.05–2000ms Time over which compression is released after the input falls below the High

High Threshold 0–127 Volume level at which compression begins to be applied to the high frequency

High Ratio 1:1–inf:1 Compression ratio for the high frequency range (inf: infinite)

High Level -24–+24dB Output volume of the high frequency compressor

Low Threshold

Threshold

range

High Threshold

Threshold

range

Chapter 2. Using Effects

If you want to save your settings, press [F3] (WRITE) to save them to “1 USER SET.”

The display will ask “System Write, Are You Sure?” To save your settings, press [F3] (EXEC) or [ENTER].

If you decide not to save your settings, press [F2] (CANCEL) or [EXIT].

List of Effects

MFX CTRL 1 CTRL 2 CTRL 3 1 FILTER + DRIVE CUTOFF RESO DRIVE

This is a low pass filter with overdrive. It cuts the high-frequency range and adds distortion.

2 REVERB REV TIME HF DAMP E.LEVEL

This is a reverb that cuts the reverb sound midway through its decay.

3 DELAY DLY TIME FEEDBACK E.LEVEL

This is a stereo delay Adjusts the delay length (*2) Adjusts the proportion of the

4 TAPE ECHO

This simulates a classic tapetype echo unit.

5 ISOLATOR LOW MIDDLE HIGH

Isolates or eliminates the low, mid, or high-frequency regions.

Adjusts the frequency at which the sound will be cut.

Adjusts the length of the reverberation.

Adjusts the amount of peak (boost) applied to the region of the cutoff frequency.

Adjusts the frequency at which the high-frequency portion of the reverb is cut.

delayed sound that will be returned to the input.

Adds distortion.

Adjusts the volume of the reverb sound.

Adjusts the volume of the delay sound.

REPEAT INTENS E.LEVEL

Adjusts the tape speed. Adjusts the number of echo re-

Isolates/eliminates the lowfrequency range.

peats.

Isolates/eliminates the midfrequency range.

Adjusts the volume of the echo sound.

Isolates/eliminates the highfrequency range.

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Chapter 2. Using Effects

MFX CTRL 1 CTRL 2 CTRL 3 6 COMPRESSOR SUSTAIN ATTACK LEVEL

Makes the sound levels more consistent.

7 LO-FI PROCESSOR

Produces a “lo-fi” sound. Adjusts the sampling rate. (*3) Adjusts the bit depth (2–14 BIT,

Adjusts the amount of compression.

Adjusts the sense of attack. Adjusts the volume.

SMPL RATE BIT FILTER

OFF)

Adjusts the filter depth.

8 GUITAR AMP SIM AMP TYPE AMP VOL SPEAKER

Simulates a guitar amp Selects the type of guitar amp.

OFF, JC-120, Clean Twin, Match Drive, BG Lead, MS1959 I, MS1959 II, MS1959 I+II, SLDN Lead, Metal 5150, Metal Lead, OD-1, OD-2 Turbo, Distortion, Fuzz

Adjusts the output volume. Selects the speaker type. (*4)

9 OVERDRIVE DRIVE TONE LEVEL

Mildly distorts the sound. Adjusts the amount of distor-

tion.

Adjusts the tone. Adjusts the volume.

10 PITCH SHIFTER PITCH FEEDBACK BALANCE

Changes the pitch. Changes the pitch over a +/-2

octave range.

Adjusts the amount of feedback for the pitch-shifted sound.

Adjusts the balance between the effect sound and the direct sound.

11 FEEDBACK RIPPER

This effect periodically cuts the sound and sends the cut portion to a delay. You can create new phrases by applying this effect to a phrase (e.g., drum phrase).

RATE DLY TIME FEEDBACK

Adjusts the interval (*2) at which the effect is applied.

Adjusts the delay time (*2) from when the original sound is heard until the delay sound is heard.

Adjusts the proportion of delayed sound that is returned to the input.

12 REVERSE THRESHOLD TIME BALANCE

Adds a reversed copy to the original sound.

Adjusts the volume level at which the reverse begins.

Adjusts the delay time (*2) from when the original sound is heard until the reverse sound is heard.

Adjusts the volume balance between the direct sound (D) and effect sound (E).

13 TUMBLING TIME PAN BALANCE

Adds a “rotating” delay sound. Particularly effective when applied to drum sounds.

14 FLANGER

Produces a twisting modulation effect reminiscent of a jet aircraft taking off and landing.

15 STEP FLANGER

Varies the pitch of the flanger sound in stepwise fashion. The interval of the pitch change can also be specified as a note value relative to the specified tempo.

Adjusts Time “A” in the diagram.

Level

original tone

Adjusts the left/right panning. Adjusts the volume balance be-

tween the direct sound (D) and effect sound (E).

Time

DEPTH RATE RESO

Adjusts the depth of modulation.

Adjusts the speed of modulation.

Adjusts the character of the modulation.

RATE STEP RATE RESO

Adjusts the rate of modulation. Adjusts the rate (*2) of pitch

change.

Adjusts the character of the modulation.

Page 37

Chapter 2. Using Effects

MFX CTRL 1 CTRL 2 CTRL 3 16 BPM AUTO PAN DEPTH RATE WAVE

Cyclically varies the pan position of the sound in synchronization with the BPM (tempo).

Adjusts the depth of the effect. Adjusts the rate (*2) at which

the effect is applied.

Specifies how the panning will change.

TRI

: Triangle wave

SQU

: Square wave

SIN

: Sine wave

SAW1

: Sawtooth wave (as-

cending)

SAW2

ing)

17 AUTO PAN DEPTH RATE WAVE

Cyclically varies the pan position of the sound.

Adjusts the depth of the effect. Adjusts the rate at which the ef-

fect is applied.

Specifies how the panning will change.

TRI

: Triangle wave

SQU

: Square wave

SIN

: Sine wave

SAW1

: Sawtooth wave (as-

cending)

SAW2

ing)

18 BPM TREMOLO DEPTH RATE WAVE

Cyclically varies the volume in synchronization with the BPM (tempo).

Adjusts the depth of the effect. Adjusts the rate at which the ef-

fect is applied.

Specifies how the volume will change.

TRI

: Triangle wave

SQU

: Square wave

SIN

: Sine wave

SAW1

: Sawtooth wave (as-

cending)

SAW2

ing)

19 TREMOLO DEPTH RATE WAVE

Cyclically varies the volume. Adjusts the depth of the effect. Adjusts the rate at which the ef-

20 BPM SLICE+FLANG

Periodically cuts the sound in synchronization with the BPM (tempo). A flanger is also applied.

21 SLICER + FLANGER

Periodically cuts the sound. A flanger is also applied.

PTN RATE FLANGER

Specifies the timing at which the sound is cut. (

)

PTN RATE FLANGER

Specifies the timing at which the sound is cut. (

)

fect is applied.

Adjusts the length of the PTN

(

Adjusts the length of the PTN. Adjusts the depth of the

Specifies how the volume will change.

TRI

: Triangle wave

SQU

: Square wave

SIN

: Sine wave

SAW1

: Sawtooth wave (as-

cending)

SAW2

ing)

Adjusts the depth of the flanger.

flanger.

22 ROTARY HI RATE LOW RATE LEVEL

Simulates the sound of a classic rotary speaker unit. Since the operation of the high-frequency and low-frequency rotors can be specified independently, the distinctive modulation is simulated realistically.

Adjusts the rate of the high-frequency rotor.

Adjusts the rate of the low-frequency rotor.

Adjusts the output volume.

23 CHORUS DEPTH RATE E.LEVEL

Adds spaciousness and depth to the sound.

Adjusts the depth of modulation.

Adjusts the rate of modulation. Adjusts the volume of the ef-

fect sound.

Sawtooth wave (descend-

Page 38

Chapter 2. Using Effects

MFX CTRL 1 CTRL 2 CTRL 3 24 PHASER DEPTH RATE RESO

Adds modulation to the sound. Adjusts the depth of modula-

tion.

Adjusts the speed of modulation.

Adjusts the character of modulation.

25 STEP PHASER RATE STEP RATE RESO

Varies the pitch of the phaser sound in stepwise fashion.

Adjusts the rate of modulation. Adjusts the rate of pitch change

(

Adjusts the character of modulation.

26 RING MODULATOR

Gives the sound a metallic character.

FREQ E.LEVEL D.LEVEL

Adjusts the pitch of the metallic sound.

Adjusts the volume of the effect sound.

Adjusts the volume of the direct sound.

27 STEREOIZER SHIFT BALANCE LEVEL

Creates a pseudo-stereo effect by delaying either the left or right side of the sound. Particularly effective when applied to a monaural sound.

Adjusts the amount of delay between left and right. Negative (-) settings delay the left, and positive (+) settings delay the right side. At the center position, there is no delay.

Adjusts the volume balance between the direct sound (D) and effect sound (E).

Adjusts the output volume.

28 SPACE-D DEPTH RATE BALANCE

A multi-stage chorus that applies two phases of modulation in stereo. This does not create a sense of movement, but rather a clear and transparent chorus effect.

Adjusts the depth of modulation.

Adjusts the rate of modulation. Adjusts the volume balance be-

tween the direct sound (D) and the effect sound (E).

29 LOW BOOST BST FREQ BST GAIN LEVEL

Boosts the volume of the lowfrequency range to create a deeper sound.

Adjusts the frequency (50–125 Hz) at which the low-frequency range will be boosted.

Adjusts the amount of boost applied to the low-frequency range.

Adjusts the output volume.

30 EQUALIZER LOW MIDDLE HIGH

Adjusts the volume of each frequency range.

Adjusts the volume of the lowfrequency range.

Adjusts the volume of the midfrequency range.

Adjusts the volume of the highfrequency range.

31 RADIO TUNING TUNING NOISE LV FREQ RNG

Simulates the sound heard from a radio.

32 VINYL SIMULATOR

Simulates the sound of a vinyl record.

33 GATE

Uses the volume of the input source coming into the effect to cut the release portion of the reverberant sound. Use this when you want to forcibly shorten the decay of a sound.

34 NOISE GENERATOR

Produces noise. Adjusts the color (tonal charac-

Adjusts the amount of tuning inaccuracy.

Adjusts the volume of the noise.

Adjusts the tonal character.

COMP NOISE LV WOW/F

Adjusts the sense of compression typical of an analog record.

Adjusts the volume of the noise typical of an analog record.

Adjusts the rotational instability typical of an analog record.

THRESHOLD MODE RELEASE

Adjusts the volume level at which the gate begins to close.

Selects the type of gate.

When the volume of the

GATE:

input source falls, the gate will close, cutting the input source.

When the volume of the

DUCK:

input source rises, the gate will close, cutting the input source.

Adjusts the time from when the gate begins to close after the hold time has elapsed until it finishes closing.

COLOR QUALITY LEVEL

ter) of the “rushing” or “hissing” noise.

Adjusts how often scratch noise (as produced by scratches on a record) will appear.

Adjusts the volume of the “rushing” or “hissing” noise.

35 ENHANCER SENS MIX LEVEL

Controls the overtone structure of the high-frequency range to add sparkle to the sound and improve the definition.

Adjusts the depth of the enhancer effect.

Adjusts the volume of the generated overtones.

Adjusts the output volume.

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Chapter 2. Using Effects

MFX CTRL 1 CTRL 2 CTRL 3 36 DISTORTION DIST TONE LEVEL

Severely distorts the sound. Adjusts the amount of distor-

Adjusts the tone. Adjusts the volume.

tion.

37 FUZZ DRIVE TONE LEVEL

Adds new overtones to the sound, distorting it severely.

Adjusts the amount of distortion.

Adjusts the tone. Adjusts the volume.

38 WAH SENS FREQ PEAK

Produces a wah effect. Adjusts the sensitivity of the

wah effect.

39 CENTER CANCELER

Cancels sounds that are localized at the center of the sound field, such as vocals.

L-R BAL LO BOOST HI BOOST

Finds the point at which the sound is cancelled most effectively.

Adjusts the frequency of the effect sound.

Boosts the low-frequency sounds localized at the center of the sound field, such as bass.

Adjusts the peak level of the wah.

Boosts the high-frequency range.

40 CHROMATIC P.S. PITCH1 PITCH2 BALANCE

This is a two-voice pitch shifter that lets you adjust the pitch in semitone steps.

Adjusts pitch 1 in semitone steps over a range of +/-1 octave.

Adjusts pitch 2 in semitone steps over a range of +/-1 octave.

Adjusts the balance between the effect sound and direct sound.

41 VOICE TRANSFORMER FORMANT E.LEVEL D.LEVEL

Processes a human voice to create a variety of vocal charac-

Adjusts the vocal formant (character).

Adjusts the volume of the effect sound.

Adjusts the volume of the direct sound.

ters.

42 OCTAVE -2OCT -1OCT D.LEVEL

Adds lower octaves to the sound.

Adds the sound two octaves below.

Adds the sound one octave below.

Adjusts the volume of the direct sound.

43 SUBSONIC THRESHOLD RELEASE BALANCE

Adds a sine wave of approximately 30 Hz according to the volume of the input source coming into the effect. By adding a small amount of this to

Adjusts the volume level at which the sine wave begins to sound.

Adjusts the time over which the sine wave disappears when the input source falls below the threshold.

Adjusts the volume balance between the direct sound (D) and effect sound (E).

(for example) a kick drum, you can create a fatter kick

sound.(

44 OSCILLATOR(PAD)

Uses DSP to simulate a synthesizer oscillator. You can use the pads to change the pitch of the oscillator. (

45 ENVELOPER(PAD)

Uses DSP to simulate an envelope follower. You can use the pads to vary the envelope. (

)

You can create a simple DSP

synthesizer by selecting “OSCILLATOR” for MFX1 and “ENVELOPER” for MFX2.

You can create a simple DSP

synthesizer by selecting “OSCILLATOR” for MFX1 and “ENVELOPER” for MFX2.

TUNE OSC WAVE BALANCE

Adjusts the pitch of the oscillator sound.

CUTOFF

Selects the waveform of the oscillator.

TRI

(Triangle wave)

SAW

(Sawtooth wave)

PLS1 PLS2 PLS3

PLS4 PLS5 PLS6

PLS7 PLS8 PLS9

PWM = 0 : PLS1, PLS2, PLS3 PWM = llight : PLS4, PLS5, PLS6 PWM = deep : PLS7, PLS8, PLS9

RESO RELEASE

Adjusts the cutoff frequency. Adjusts the amount of boost

applied at the region of the cut-

)

off frequency.

Adjusts the volume balance between the direct sound (D) and effect sound (E).

Adjusts the time from when you press a pad until the maximum volume is reached.

Page 40

Chapter 2. Using Effects

For effect types 43–45, you can hold down [FUNC] and press [F2] (SUB) to access a sub-parameter screen. The tables shown

below list the parameters that appear in these screens. Press [F3] (EXIT) to return to the previous screen.

43 SUBSONIC

Value Explanation

E.LEVEL 0–127 Adjusts the volume of the effect sound.

PITCH 0–127 Adjusts the frequency of the sine wave.

ATTACK 0–127 Adjusts the time from when the source exceeds the threshold until the sine wave is heard.

44 OSCILLATOR(PAD) Value Explanation

EFFECT LEVEL 0–127 Adjusts the volume of the effect sound.

PAD1 KEY C- –G9 Adjusts the key sounded by the oscillator when you press PAD 1.

LFO RATE 0–127 An LFO is an oscillator used to apply modulation; by increasing the vibrato or PWM you

can modulate the pitch or tone in a variety of ways.

LFO WAVE SAW,

TRI, SQR, S-H

(Sawtooth wave)

(Sample & Hold wave)

TRI

(Triangle wave)

SQR

(Square wave)

SAW

S-H

OSC TUNE -24–+24 Specifies the coarse tuning (semitone steps) of the oscillator pitch.

OSC VIB DEPTH 0–127 Adjusts the depth of vibrato (using the LFO to cyclically modulate the pitch) for the oscil-

lator.

OSC XMOD 0–127 Adjusts the depth of cross modulation (using the SUB OSC to modulate the pitch of the

oscillator).

OSC LEVEL 0–127 Adjusts the volume of OSC.

SUB OSC WAVE SAW,

Selects the SUB OSC waveform. (The choices are the same as for OSC WAVE on p. 39) TRI, PLS1–9

SUB OSC TUNE -24–+24 Adjusts the coarse tuning (semitone steps) of the SUB OSC pitch.

SUB OSC VIB DEPT 0–127 Adjusts the depth of vibrato (using the LFO to cyclically modulate the pitch) for the SUB

OSC.

SUB OSC LEVEL 0–127 Adjusts the SUB OSC volume.

RING SRC1 OSC,

RING SRC2

SUB

Selects the two inputs for the ring modulator.

MFX IN

: MFX input source)

( OSC, NOISE, MFX IN

RING LEVEL 0–127 Adjusts the volume of the ring modulator.

NOISE LEVEL 0–127 Adjusts the volume of the noise generator.

PORTA TIME 0–100 Adjusts the time over which pitch change will occur for the portamento effect (which cre-

ates smooth transitions between pitches).

45 ENVELOPER(PAD)

Value Explanation

ATTACK 0–127 Adjusts the time from when you release the pad until the volume falls to the minimum.

FILTER TYPE LP (-12),

BP (-12), HP (-12), LP (-24), BP (-24), HP (-24)

Available note values for synchronization (In the case of delay time, the result cannot exceed approximately three seconds.)

Low pass filter with a -12 dB slope

Band pass filter with a -12 dB slope

High pass filter with a -12 dB slope

Low pass filter with a -24 dB slope

Band pass filter with a -24 dB slope

High pass filter with a -24dB slope

32nd note( ), 16th note( ), 8th note triplet( ), dotted 16th note( ), 8th note( ), quarter note triplet( ), dotted

8th note( ), quarter note( ), half note triplet( ), dotted quarter note( ), half note( ), dotted half note( ), whole note( )

Page 41

Chapter 2. Using Effects

*3:

As you turn the knob toward the right, the sampling rate will change continuously over a range of 1–1/16th of 44.1 kHz.

*4:

Speaker type specifications

“Speakers” indicates the diameter (in inches) and number of the speakers.

Type Cabinet Speakers Mic

Off — — —

Small1 Small open back 10 Dynamic

Small2 Small open back 10 Dynamic

Middle Open back 12 x 1 Dynamic

JC-120 Open back 12 x 2 Dynamic

Built In 1 Open back 12 x 2 Dynamic

Built In 2 Open back 12 x 2 Condenser

Built In 3 Open back 12 x 2 Condenser

Built In 4 Open back 12 x 2 Condenser

Built In 5 Open back 12 x 2 Condenser

BG Stack 1 Sealed 12 x 2 Condenser

BG Stack 2 Large sealed 12 x 2 Condenser

MS Stack1 Large sealed 12 x 4 Condenser

MS Stack 2 Large sealed 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

*5:

When “20 BPM SLICE+FLANG” or “21 SLICER+FLANGER” are selected, the PTN settings selected by the CTRL 1 knob are as

follows.

PTN 1

PTN 2

PTN 3

PTN 4

PTN 5

PTN 6

PTN 7

PTN 8

PTN 9

PTN10

PTN11

PTN12

PTN13

PTN14

PTN15

PTN16

Page 42

Chapter 3. Sampling

Copyright law prohibits you from recording (sampling) copyrighted audio material belonging to a third party without permission for any purpose other than personal enjoyment. Do not use this device to make illegal recordings.

Roland Corporation accepts no responsibility for any damages or penalties you may be required to pay as a result of making illegal recordings using Roland-manufactured equipment.

Available Sampling Time

The following tables show the sampling time available with internal memory and with a memory card. In the table, LONG and STANDARD indicate the Grade (p. 43) used when sampling. The times shown below are for monaural sampling. If you sample in stereo, the available sampling time will be half as long.

Internal memory

LONG

Approx. 11 min.

Memory card

Card capacity

16 Mbyte 32 MByte Approx. 24 min. Approx. 12 min. 64 MByte Approx. 48 min. Approx. 24 min. 128 MByte Approx. 1 hour, 36 min. Approx. 48 min. 256 MByte Approx. 3 hours, 13 min. Approx. 1 hour, 36 min. 512 MByte Approx. 6 hours, 26 min. Approx. 3 hours, 13 min.

STANDARD

Approx. 5 min.

LONG STANDARD

Approx. 11 min. Approx. 5 min.

If backup data (p. 70) is saved on the memory card, the sampling time available on the memory card will be less.

About SAMPLING GAIN

When you sample or resample, the sound may be distorted depending on the effect or mastering settings. If this occurs, you can prevent distortion by adjusting the sampling gain to reduce the volume at which the sound is being sampled.

1. From the SAMPLING STANDBY screen (p. 44), RESAMPLING STANDBY screen (p. 46, p. 47), or

EXT SEQ SMPL STANDBY screen (p. 48, p. 49), hold down [FUNC] and press [F3] (GAIN).

The SAMPLING GAIN setting will appear.

* You can't access SAMPLING GAIN if the screen indicates “Select Pad.”

2. Turn the VALUE dial or use [DEC][INC] to adjust the “Sampling Gain” to a value from -12dB to

0dB.

3. Press [F3] (CLOSE) or [EXIT] to return to the Standby screen.

Page 43

Basic Sampling Procedure

Preparations for Sampling

You must perform the following steps before sampling.

Connecting your audio source device to the SP-606

Make sure that the SP-606 and your audio source device are powered-off.

Turn the top panel AUDIO IN REC LEVEL knob to the minimum (far left) setting.

Connect your audio source device to the rear panel INPUT or DIGITAL IN jacks (p. 20).

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.

Turn on the power of the device you connected in step 3.

Turn on the power of the SP-606, using the procedure described in “Turning the Power On” (p. 21).

Wait until the Pattern Play screen (p. 15) appears in the display.

Selecting the sampling grade

Press [MENU] to select “System,” and press [ENTER].

Use [ ][ ] to move the cursor to the “Sampling Grade” line.

Turn the VALUE dial or use [DEC][INC] to change the setting.

Chapter 3. Sampling

Parameter

Sampling Grade

Press [EXIT].

Specifying the input jacks and adjusting the input level

Hold down [FUNC] and press [INPUT SOURCE] to get the INPUT SETTING screen.

10.

Use [ ][ ] to move the cursor to the “Input Select” line.

Turn the VALUE dial or use [DEC][INC] to change the setting. Select one of the following according to the device you connected in step

Connected jack

INPUT L/R (stereo) DIGITAL IN (digital) INPUT MIC (mic)

11.

Use [ ][ ] to move the cursor to the “Input Send Sel” line.

Turn the VALUE dial or use [DEC][INC] to change the setting.

Parameter Value Explanation

Input Send Sel

Value Explanation

STANDARD, LONG

Setting LINE DIGITAL MIC

You can also sample via USB (p. 83).

DRY The audio input signal will not be sent to the effect. MFX The audio input signal will be sent to the effect.

Specifies the sampling grade.

STANDARD LONG

This setting is remembered even when the SP-606 is powered-off.

: Standard audio quality.

: Somewhat lower audio quality than STANDARD, but uses only

half as much memory.

Page 44

Chapter 3. Sampling

12.

Produce sound on the device you connected in step 3, and adjust the input level.

If you connected your device to

Adjust the AUDIO IN REC LEVEL knob until the level is as high as you can get it without causing the knob’s level indicator to light.

If you connected your device to

Adjust the “Digital In Level” within the 0–127 range as necessary.

If you connected your device to DIGITAL IN, the AUDIO IN REC LEVEL knob does nothing.

Recording the Sample

You can sample the synth sound controlled by the D Beam (p. 72).

Go to the Play screen (p. 15).

Press [SAMPLING] to get the SAMPLING MENU screen.

If P606 is running in Windows and is connected to the SP606, and the SP-606 is in External mode (p. 15), the EXT SEQ SAMPLING STANDBY screen (p. 49) will appear.

Press [F1] (SAMPL). Alternatively, press [ENTER] or [SAMPLING] from the screen of step 2.

[SAMPLING] will blink, and the

In the lower line of the screen, REMAIN indicates the length (remaining time) available for new sampling. This time will change depending on the Stereo Sw (p. 44) and Sampling Grade (p. 43) setting. It is shown in minutes and seconds.

The display will indicate “Select Pad”; press the desired pad to select it as the sampling destination.

Turn the VALUE dial or use [DEC][INC] to switch pad banks. At this time, pads that do not contain samples will blink. The pad number is shown in the upper left of the screen. (Example) PAD 8-1: pad bank 8, pad number 1

INPUT

in step 3:

DIGITAL IN

SAMPLING STANDBY

in step 3:

screen will appear.

If the selected pad already contains samples, the message “A Sample Already Exists! Overwrite?” will appear. If you are sure you want to overwrite the existing sample, press [F3] (EXEC). If you decide to cancel, press [F2] (CANCEL).

If the Pad Bank Protect setting is turned on for a bank, a lock symbol is displayed at the right of the pad bank number shown in the upper left of the screen. If you press a pad of such a bank, the screen will indicate “Protected Pad Bank!”, and the pad cannot be selected. If you want to sample into a pad of this bank, you will have to turn off the Protect setting (p. 31).

Use [ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to change the value. If you decide not to sample, press [EXIT]

Parameter

Stereo Sw

Auto Trig OFF,

Value Explanation

STEREO, MONO(L+R), MONO(L)

1–14

Selects stereo or monaural recording.

STEREO MONO(L+R)

MONO(L)

This setting causes sampling to start automatically when the audio input signal exceeds the level you specify.

OFF

: You will need to start sampling manually.

1–14

: Sampling will start automatically when the audio input signal exceeds

the specified level. Level 1 is the lowest.

: Stereo recording.

: The left and right channels of the stereo sample will be mixed,

: Monaural recording.

and recorded in monaural.

Page 45

Press [SAMPLING] or [F3] (START) to begin sampling.

[SAMPLING] will change from blinking to lit.

At the point where you want to stop sampling, press [SAMPLING] or [F3] (STOP).

Sampling will stop automatically if you exceed the available sampling time.

Press the pad to play the sampled sound.

Resampling

Chapter 3. Sampling

When sampling ends, the BPM (tempo) is automatically calculated from the length of the sample. You can use the BPM Sync function (p. 52) to change this BPM setting.

If the beginning or end of the sample contains unwanted sound or silence, you can make settings so that only the desired portion is played. For details, refer to “Specifying the Start/End Points of a Sample (Omitting Unwanted Portions)” (p. 51).

If you want to delete a sampled sound, refer to “Deleting a Sample” (p. 32).

“Resampling” is the process of playing back one or more existing samples and re-recording (resampling) the result.

On the SP-606, you can resample only samples within the same pad bank.

You cannot resample using the Roll function (p. 30).

You cannot use the D Beam during resampling.

Note messages from an external MIDI device are not received during resampling.

Applying an Effect While Resampling

If you want to apply an effect while resampling, press [MFX1], [MFX2], or [MASTERING] so the button is lit.

For details on effects, refer to “Chapter 2. Using Effects” (p. 33).

Page 46

Chapter 3. Sampling

Resampling Up to Four Existing Samples in Combination

Go to the Play screen (p. 15).

Press [SAMPLING] to get the SAMPLING MENU screen.

[SAMPLING] will blink.

Press [F2] (RESMPL) to get the RESAMPLING STANDBY screen.

In the lower line of the screen, REMAIN indicates the length (remaining time) available for resampling. This time will change depending on the Stereo Sw (p. 46) and Sampling Grade (p. 43) setting. It is shown in minutes and seconds.

From the screen of step 2, you can press [ ] to move the cursor to “Resampling” and then press [ENTER] or [SAMPLING] to obtain the same result.

The display will indicate “Select Pad”; press the desired pad to select it as the resampling destination.

Turn the VALUE dial or use [DEC][INC] to switch pad banks. At this time, pads that do not contain samples will blink.

If the selected pad already contains a sample, the message “A Sample Already Exists! Overwrite?” will appear. If you are sure you want to resample into that pad, press [F3] (EXEC). If you decide to cancel, press [F2] (CANCEL).

Resampling can be performed only within the same pad bank. You cannot resample within a pad bank that contains no samples. If you press a pad in an empty pad bank, the screen will indicate “Empty Pad Bank,” and the pad cannot be selected.

Select the resampling source pad(s).

You can select up to four pads, except for the pad you selected in step 4. Each time you press a pad, you will alternately select or de-select it.

You can press [F1] (PREVU) to preview the sound that will be resampled.

Press [F2] (FromTo) to toggle between selection of the resampling source and destination pads. This changes the item to which the [PAD SELECT] arrow in the screen is pointing. The upper line is the resampling-destination pad, and the lower line is the resampling-source pad.

Use [ ][ ][ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the value of the parameter.

Parameter

Velo Stereo Sw STEREO,

Auto Trig OFF,

Press [F3] (START) or [SAMPLING] to begin resampling automatically.

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

Resampling will end automatically, and you will return to the Play screen.

Value Explanation

1–127 Specifies the volume of the sample in the resampling-source pad.

Selects stereo or monaural recording. MONO(L+R), MONO(L)

1–14

STEREO MONO(L+R)

MONO(L)

This setting causes resampling to start automatically when the audio signal

from the source sample(s) exceeds the level you specify.

OFF 1–14

: Stereo recording.

: The left and right channels of the stereo sample will be mixed,

and recorded in monaural.

: Monaural recording.

: The level is not specified.

: Resampling will start automatically when the source signal exceeds

the specified level. Level 1 is the lowest.

Page 47

Resampling Your Pad Performance

Go to the Play screen (p. 15).

Press [SAMPLING] to get the SAMPLING MENU screen.

[SAMPLING] will blink.

Press [F2] (RESMPL) to get the RESAMPLING STANDBY screen.

In the lower line of the screen, REMAIN indicates the length (remaining time) available for resampling. This time will change depending on the Stereo Sw (p. 47) and Sampling Grade (p. 43) setting. It is shown in minutes and seconds.

From the screen of step 2, you can press [ ] to move the cursor to “Resampling” and then press [ENTER] or [SAMPLING] to obtain the same result.

The display will indicate “Select Pad”; press the desired pad to select it as the resampling destination.

Turn the VALUE dial or use [DEC][INC] to switch pad banks. At this time, pads that do not contain samples will blink.

Use [ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the value of the parameter.

Parameter

Stereo Sw

Auto Trig OFF,

Value Explanation

STEREO, MONO(L+R), MONO(L)

1–14

Selects stereo or monaural recording.

STEREO MONO(L+R)

MONO(L)

This setting causes resampling to start automatically when the audio signal

from the source sample(s) exceeds the level you specify.

OFF

: The level is not specified.

1–14

: Resampling will start automatically when the source signal exceeds

the specified level. Level 1 is the lowest.

: Stereo recording.

: The left and right channels of the stereo sample will be mixed,

: Monaural recording.

Chapter 3. Sampling

and recorded in monaural.

Press [F3] (START) or [SAMPLING] to begin resampling.

Pads that contain samples will light. If you decide to cancel the resampling procedure, press [EXIT].

Play the pads (except the pad you selected in step 4) as desired.

Press [F3] (STOP) or [EXIT] to stop resampling.

You will return to the Play screen.

Page 48

Chapter 3. Sampling

Using EXT SEQ SAMPLING

Sampling the Playback of an External Sequencer

Set your external sequencer to operate as a “MIDI slave,” and connect MIDI cables as shown below.

For details, refer to the owner’s manual for your

external sequencer

MIDI IN

MIDI OUT

Perform all of the steps in “Preparations for Sampling” (p. 43), and make audio connections from your external sound source to the SP-606.

Go to the Play screen (p. 15).

Press [SAMPLING] to get the SAMPLING MENU screen.

[SAMPLING] will blink.

Press [F3] (EXT) to get the EXT SEQ SMPL STANDBY (External Sequence Sampling Standby) screen.

In the lower line of the screen, REMAIN indicates the length (remaining time) available for further sampling. This time will change depending on the Stereo Sw (p. 48) and Sampling Grade (p. 43) setting. It is shown in minutes and seconds.

From the screen of step 4, you can press [ ] to move the cursor to “Ext Seq Smpln” and then press [ENTER] or [SAMPLING] to obtain the same result.

The display will indicate “Select Pad”; press the desired pad to select it as the sampling destination.

Turn the VALUE dial or use [DEC][INC] to switch pad banks. At this time, pads that do not contain samples will blink. The upper line of the screen indicates the “pad bank number - pad number.”

If the selected pad already contains a sample, the message “A Sample Already Exists! Overwrite?” will appear. If you are sure you want to sample into that pad, press [F3] (EXEC). If you decide to cancel, press [F2] (CANCEL).

Use [ ][ ] to select the parameter that you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Parameter

Stereo Sw

Auto Trig OFF,

BPM 40.0–200.0 Specifies the BPM (tempo). Beat 1–999 Specifies the number of beats

Value Explanation

STEREO, MONO(L+R), MONO(L)

1–14

MIDI OUT

MIDI IN

Selects stereo or monaural recording.

STEREO MONO(L+R)

MONO(L)

This setting causes resampling to start automatically when the audio signal

from the source sample(s) exceeds the level you specify.

OFF 1–14

: Stereo recording.

: The left and right channels of the stereo sample will be mixed,

and recorded in monaural.

: Monaural recording.

: The level is not specified.

: Resampling will start automatically when the source signal exceeds

the specified level. Level 1 is the lowest.

Page 49

Parameter Value Explanation

Meter 1/2–19/2,

1/4–19/4, 1/8–19/8, 1/16–19/16

Press [F3] (START) or [SAMPLING]; sampling will begin automatically.

If you decide to cancel sampling, press [EXIT].

Sampling will end automatically, and you will return to the Play screen.

Specifies the time signature.

Sampling a Performance from the P606

Connect the SP-606 via USB to the P606 running in Windows (p. 83).

Press [EXT] so it’s lit, and External mode (p. 15) is selected.

Press [SAMPLING]. The EXT SEQ SMPL STANDBY (External Sequence Sampling Standby) screen will appear.

[SAMPLING] will blink.

In the lower line of the screen, REMAIN indicates the length (remaining time) available for further sampling. This time will change depending on the Stereo Sw (p. 49) and Sampling Grade (p. 43) setting. It is shown in minutes and seconds.

The display will indicate “Select Pad”; press the desired pad to select it as the sampling destination.

Turn the VALUE dial or use [DEC][INC] to switch pad banks. At this time, pads that do not contain samples will blink. The upper line of the screen indicates the “pad bank number - pad number.”

Use [ ][ ] to select the parameter that you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Parameter

Stereo Sw

Auto Trig OFF,

Value Explanation

STEREO, MONO(L+R), MONO(L)

1–14

Selects stereo or monaural recording.

STEREO MONO(L+R)

MONO(L)

This setting causes resampling to start automatically when the audio signal

from the source sample(s) exceeds the level you specify.

OFF

: The level is not specified.

1–14

: Resampling will start automatically when the source signal exceeds

the specified level. Level 1 is the lowest.

: Stereo recording.

: The left and right channels of the stereo sample will be mixed,

and recorded in monaural.

: Monaural recording.

Chapter 3. Sampling

BPM, Beat, and Meter values are obtained automatically from the P606, so you don’t need to edit these values.

Press [F3] (START) or [SAMPLING]; sampling will begin automatically.

If you decide to cancel sampling, press [EXIT].

Sampling will end automatically, and you will return to the Play screen.

Page 50

Chapter 4. Editing a Sample

Basic Procedure for Editing Sample Parameters

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [13] (SAMPLE PARAM) to get the SAMPLE EDIT screen.

The number of the pad you press in step 3 is shown at the lower left of the screen. (Example) PAD 8-1: pad bank 8, pad number 1 The name, grade (STD/LNG, p. 43), monaural/stereo (MONO/ STEREO), and BPM (tempo) of the sample are shown in the bottom line of the screen.

Press the pad containing the sample whose settings you want to edit.

If you want to select a sample from a different pad bank, switch the pad bank (p. 23) and then press a pad to select a sample.

You can’t edit samples of a pad bank that is protected (p. 31).

Use [ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the value of the parameter.

If you want to edit the parameters of other samples, repeat steps 3–5.

Press [EXIT] to return to the Play screen.

Sample Parameters

Parameter

Level Pan L15–

Trig Mode SHOT,

Loop Sw Reverse Sw OFF, ON Specifies whether sample playback will be reversed (backward playback). Mute Group OFF,

Assign MONO,

Play Type

Value Explanation

0–127 Adjusts the volume of the sample.

Adjusts the pan (left/right) balance of the sample. 0 –15R, RND

This cannot be specified for samples recorded in stereo.

Specifies how the sample will start and stop sounding.

ALTERNATE

GATE

OFF, ON Specifies whether sample playback will loop (repeat).

1–8

POLY

SINGLE, PHRASE

Pads assigned to the same number are placed in a “mute group.” Within the identi-

cally numbered mute group, only the last-struck sound will play; the previous sound

will be turned off.

Specifies whether the sample will be played monophonically or polyphonically.

Specifies whether the sample will be played as a single sample or a phrase sample.

L15

: Far left.

: Center

R15

: Far right.

RND

: The panning will change randomly each time the sound is played.

SHOT

: The sample will sound each time you strike the pad.

ALTERNATE

GATE

MONO POLY

SINGLE

PHRASE

The sample will alternately sound or stop each time you strike the pad.

: The sample will sound only while you hold down the pad.

: A repeated strike will silence the preceding note before the new note is sounded.

: A repeated strike will sound a new note while the preceding note continues to be

heard.

: The sample will be played as a single sample (one note); it will always play at its

own BPM (tempo).

: The sample will be played as a phrase. During playback, the BPM of the sample will

automatically match the BPM setting or the BPM of the sequencer. -> “Changing a Sample’s BPM (Tempo)” (p. 52)

Page 51

Chapter 4. Editing a Sample

Parameter Value Explanation

Beat 1/4–8/4 Specifies the time signature of the sample.

When you change the time signature, the BPM of the sample is automatically recal-

culated. For example, if you double the time signature value, the BPM will also double.

You cannot change this in a way that would cause the sample’s BPM to exceed the

range of 40.0–200.0.

This cannot be set if “Play Type” is SINGLE.

Measure 1/128–1/2,

1–99998

Specifies the number of measures in the sample.

When you change the number of measures, the BPM of the sample is automatically

recalculated. For example, if you double the number of measures, the BPM will also double.

You cannot change this in a way that would cause the sample’s BPM to exceed the

range of 40.0–200.0.

This cannot be set if “Play Type” is SINGLE.

Specifying the Start/End Points of a Sample (Omitting Unwanted Portions)

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [14] (SAMPLE LOOP EDIT) to get the SAMPLE LOOP EDIT screen.

The waveform of the sample is displayed.

In the case of a stereo sample, only one of the L/R channels is displayed.

You can switch between L and R channels by holding down [FUNC] and pressing [ ] or [ ].

The number of the pad you press in step 3 is shown in the upper left of the screen. (Example) PAD 8-1: pad bank 8, pad number 1 The lower right of the screen indicates the location of the wave pointer in terms of a number of samples.

Press the pad whose sample you want to edit.

If you want to select a sample from a different pad bank, switch the pad bank (p. 23) and then press a pad to select a sample.

You can’t edit samples in a pad bank that is protected (p. 31).

Press [F1] (START) and then turn the VALUE dial or use [DEC][INC] to move the wave pointer to the point where you want the sound to start.

Press [ ] or [ ] to magnify/reduce the display vertically (amplitude axis). Press [ ] or [ ] to magnify/reduce the display horizontally (time axis). Hold down [FUNC] and press [ ] or [ ] to scroll left or right.

Press [F2] (END) and then turn the VALUE dial or use [DEC][INC] to move the wave pointer to the point where you want the sound to end.

You cannot set the Start and End points in a way that would cause the start/end duration to be

shorter than approximately 70 ms.

Press the pad to play the sample and check the Start and End points you specified.

If you want to edit the Start or End point again, repeat steps 4 or 5.

Wave Pointer

Page 52

Chapter 4. Editing a Sample

Press [F3] (TRUNC). A message “Truncate, Are You Sure?” will ask you whether you are sure you want to truncate (delete) the portions of the sample that are outside the specified Start and End points. To truncate the sample, press [F3 (EXEC). If you decide to cancel, press [F2] (CANCEL).

Executing the Truncate operation will conserve sample memory, increasing the sampling time that

remains.

Once you execute Truncate, you cannot return to the Start and End points prior to execution.

Press [EXIT] to return to the Play screen.

Changing a Sample’s BPM (Tempo)

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [15] (BPM SYNC) to get the BPM SYNC screen.

The number of the pad you press in step 3 is shown in the upper left of the screen. (Example) PAD 8-1: pad bank 8, pad number 1 The lower left of the screen shows the “Play Type” (p. 50) and BPM.

Press the pad whose sample settings you want to edit.

If you want to select a sample from a different pad bank, switch the pad bank (p. 23) and then press a pad to select a sample.

You can’t edit samples of a pad bank that is protected (p. 31).

Turn the VALUE dial or use [DEC][INC] to change the “Type” setting.

Parameter

Type

If you want to change the BPM for a sample of a different pad, repeat steps 3 and 4.

Pads set to a setting of other than OFF in step 4 will be highlighted.

Press [EXIT] to return to the Play screen.

Value Explanation OFF SEQ

FIX

By pressing [F1] (RESET) you can set “Type” to

The BPM of a sample can be adjusted in a range of 0.5–1.3 times. If synchronization would cause the sample BPM to exceed this range, the sample BPM will be doubled or halved to stay within the range.

Changing the BPM may cause noise to be more noticeable.

The BPM cannot be changed if the sample is shorter than approximately 200 ms.

The BPM cannot be changed if the “Play Type” (p. 50) is SINGLE.

The BPM cannot be changed for samples set to Reverse playback (p. 50).

The sample will play at its own BPM. The sample will synchronize to the BPM of the song or pattern.

Press [ ] to move to the line below, and turn the VALUE dial or use [DEC][INC] to select ALWAYS or PLAY ONLY.

ALWAYS

PLAY ONLY

Specify an individual BPM for the sample. Press [ ] to move to the line below, and turn the VALUE dial or use [DEC][INC] to change the BPM value (40.0–200.0).

: The sample will synchronize whether during playback or while stopped.

: The sample will synchronize only during playback.

OFF

for all pads in the currently selected pad bank.

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Dividing a Sample (Chop)

The Chop function automatically divides the sample of the currently selected pad into several samples, according to the Level (threshold value) you specify. The sample can be chopped into a maximum of sixteen samples.

For some phrases, such as those that contain many notes or simultaneously played notes, it may not

be possible to divide the sample appropriately.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [16] (CHOP) to get the CHOP screen.

The sample waveform is displayed.

For a stereo sample, only the L or R channel is shown.

To switch between L and R channels, hold down [FUNC] and press [ ] or [ ].

Hold down [FUNC] and press [ ] or [ ] to scroll left or right. Press [ ] or [ ] to magnify/reduce the display vertically (amplitude axis). Press [ ] or [ ] to magnify/reduce the display horizontally (time axis). The number of the pad you press in step 3 is shown in the upper left of the screen. (Example) PAD 8-1: pad bank 8, pad number 1

Press the pad whose sample you want to chop.

If you want to select a sample from a different pad bank, switch the pad bank (p. 23) and then press a pad to select a sample.

Turn the VALUE dial or use [DEC][INC] to change the “Level” setting (1–10).

This specifies the level (threshold) at which the sample will be chopped. Lower settings will cause the sample to be chopped more finely.

Press [F3] (CHOP) to chop the sample.

Press the pads to hear the result. The samples resulting from the Chop operation are assigned to consecutive pads starting with pad [1]. If you decide to cancel, press [F2] (CANCEL).

To save the results, press [F3] (EXEC). The CHOP SAMPLE WRITE screen will appear.

Use [ ][ ] to select the pad bank in which the chopped samples will be saved, and press [F3] (WRITE) or [ENTER]. If you want to try the Chop operation over again, press [F2] (UNDO).

If the pad bank you selected as the save destination already contains samples, the message “The Pad

Bank Contains Samples! Overwrite?” will appear. If you are sure you want to overwrite the existing

samples, press [F3] (EXEC) or [ENTER]. If you decide to cancel, press [F2] (CANCEL) or [EXIT].

Never turn off the power while the display indicates “Now Processing...”

Chapter 4. Editing a Sample

Page 54

Chapter 5. Creating a Pattern

About Pattern Recording

You can create original patterns by recording your performance on the pads. A pattern can be recorded in either of the following two ways.

Realtime Recording

In this method you strike the pads to record them while the pattern plays. The pattern will continue repeating, and the data you input (i.e., your pad strikes) will be added to the pattern. Even if your timing is not perfect, you can use the Quantize function to tighten up the timing. You can also input from an external MIDI device as well as from the pads.

Step Recording

In this method you input notes one by one, in “non-realtime.”

Realtime Recording

Go to the Pattern Play screen (p. 15).

Press [ ] (Record) to get the RECORDING MENU screen.

[] (Record) will blink.

Press [F1] (REALTM) to get the REALTIME REC STANDBY (Realtime Recording Standby) screen.

Alternatively, you can get the same result from the screen

of step 2 by moving the cursor to “Realtime Rec” and pressing [ENTER] or [ ] (Play).

Press TRACK [1]–[4] to select the track on which you intend to record.

The button you press will blink, and the track number will appear in the upper left of the screen.

You can also change tracks while recording.

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the parameter value.

Parameter

Beat

Meas 1–32 Specifies the number of measures.

Count In OFF,

Qtz Reso OFF, 1/32, 1/24, 1/16,

If you decide to discontinue, press [EXIT].

Value Explanation

1/4–32/4 Specifies the time signature.

This cannot be changed for patterns that already contain data.

This cannot be shortened for patterns that already contain data.

Specifies a count-in (unrecorded region). 1 MEAS, 2 MEAS, WAIT NOTE

1/12, 1/8, 1/6, 1/4

You can use a slower tempo for easy input, and then revert to the desired tempo after you’ve

recorded the data.

OFF

: No count-in.

1 MEAS

: One-measure count-in.

2 MEAS

: Two-measure count-in.

WAIT NOTE

Specifies the quantize resolution (p. 54).

You can also change this while recording.

: Recording will begin when you press [ ] (Play) or

strike a pad.

Page 55

Press [F3] (START) or [ ] (Play) to begin REALTIME RECORDING.

If you specified a “Count In” (p. 54) of 1 MEAS or 2 MEAS, a count-in (unrecorded region) will be inserted. Realtime recording will begin after the count-in. The screen will show the current measure and beat.

If you press [F2] (REHRSL), the screen will indicate “Rehearsal,” and you will be in Rehearsal mode;

you will hear sound when you press a pad, but nothing will be recorded. Press [F2] (REHRSL) once

again to exit Rehearsal mode.

If you want to select pads from a different pad bank, press [PAD BANK] and change the pad bank

(p. 23).

A Start message from an external MIDI device can also be used to initiate recording.

If a Start message from an external MIDI device is used to initiate recording, a count-in will not be

inserted.

If you send note messages from an external MIDI device to play samples, those note messages will

also be recorded.

Press [ ] (Stop) to stop recording.

You will return to the Play screen.

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

Erasing Unwanted Performance Data

Chapter 5. Creating a Pattern

During realtime recording (i.e., in step 6 of “Realtime Recording,” p. 55), press [F1] (ERASE) to get the REALTIME ERASE screen.

Press [F2] (ERASE) or a pad to erase the unwanted performance data.

If you press [ERASE], all performance data during the time you hold down [ERASE] will be erased. If you press a pad [1]–[16], the performance data of that pad will be erased during the time you hold down that pad.

Press [EXIT] to return to the REALTIME RECORDING screen.

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Chapter 5. Creating a Pattern

Step Recording

There are two types of step recording; “step recording note,” where you specify the length of the notes to input, and “step recording sample,” where input will proceed in steps equal to the actual length of the samples.

Step Recording Note Procedure

Go to the Pattern Play screen (p. 15).

Press [ ] (Record) to get the RECORDING MENU screen.

[] (Record) will blink.

Press [F2] (NOTE) to get the STEP REC NOTE STANDBY (Step Recording Note Standby) screen.

Alternatively, you can get the same result from the screen

of step 2 by pressing [ ] to move the cursor to “Step Rec Note” and pressing [ENTER].

Press TRACK [1]–[4] to select the track on which you intend to record.

The button you press will blink, and the track number will appear in the upper left of the screen.

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the parameter value.

Parameter

Beat

Meas 1–32 Specifies the number of measures.

Value Explanation

1/4–32/4 Specifies the time signature.

This cannot be changed for patterns that already contain data.

This cannot be shortened for patterns that already contain data.

Press [F3] (START) to get the STEP RECORDING NOTE screen.

The upper line of the screen shows the “measure-beat-tick” at which the note will be input.

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the parameter value.

Parameter

Step Time Velocity REAL, 1–127 Specifies the volume. With the

Gate Time 1–200% Specifies the note duration as a proportion of the Step Time.

Strike the pad that contains the sample you want to input.

If you want to use a sample from a different pad bank, press [PAD BANK] and switch the pad bank (p. 23). Press [F1] (TIE) to create a tie from the previously input note. Press [F2] (REST) to input a rest. Press [F3] (BACK) to delete the previously input note.

Repeat steps 7–8 to input more notes as desired.

10.

Press [ ] (Stop) to return to the Play screen.

Value Explanation

1/32–1/1 Specifies the note length (note value).

REAL

setting, this will be the actual force with

which you strike the pad.

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

Page 57

Step Recording Sample Procedure

Each time you input a sample, the input location will advance by the number of measures in the sample (minimum 1/128th of a measure). This is convenient when you are creating a succession of samples that you want to synchronize to the tempo of the pattern.

Go to the Pattern Play screen (p. 15).

Press [ ] (Record) to get the RECORDING MENU screen.

[] (Record) will blink.

Press [F3] (SMPL) to get the STEP REC SAMPLE STANDBY (Step Recording Sample Standby) screen.

Alternatively, you can get the same result from the screen

of step 2 by pressing [ ] to move the cursor to “Step Rec Smpl” and pressing [ENTER].

Press TRACK [1]–[4] to select the track on which you intend to record.

The button you press will blink, and the track number will appear in the upper left of the screen.

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the parameter value.

Parameter

Beat

Meas 1–32 Specifies the number of measures.

Value Explanation

1/4–32/4 Specifies the time signature.

This cannot be changed for patterns that already contain data.

This cannot be shortened for patterns that already contain data.

Chapter 5. Creating a Pattern

Press [F3] (START) to get the STEP RECORDING screen.

The upper line of the screen shows the “measure-beat-tick” at which the sample will be input. Available pads (i.e., that contain samples) will light.

Turn the VALUE dial or use [DEC][INC] to edit the “Velocity” value.

Parameter

Velocity

Strike the pad that contains the sample you want to input.

The pad operation will be recorded. If you want to use samples from a different pad bank, press [PAD BANK] and switch the pad bank (p. 23). You can press [F3] (BACK) to delete the previously input sample.

Repeat steps 7–8 to input more samples as desired.

10.

Press [ ] (Stop) to return to the Play screen.

Value Explanation

REAL, 1–127 Specifies the volume. With the

which you strike the pad.

If you use a sample whose “Trig Mode” (p. 50) is set to ALTERNATE and whose “Loop Sw” (p. 50)

is ON, the pad operation will automatically be recorded in a way such that the sample playback

does not loop, but stops at the end point of the sample.

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

REAL

setting, this will be the actual force with

Page 58

Chapter 6. Pattern Editing

Preloaded Pattern Protect

“Preloaded patterns” are the patterns that are loaded into internal memory when the SP-606 is

shipped from the factory. Patterns 1–40 are preloaded. If the preloaded patterns are protected, a lock

icon is displayed at the left of the screen for the corresponding patterns in the pattern list (p. 24).

When the SP-606 is shipped, the Protect setting is turned on for the preloaded patterns. If you

attempt to edit or delete a preloaded pattern in this state, the message “Protected!” will appear, and

you will be unable to edit or delete the pattern unless you turn off the Protect setting.

Go to the Pattern Play screen (p. 15).

Press [MENU] to get the Top Menu screen.

Move the cursor to the “1:SYSTEM” line, and press [ENTER].

The

SYSTEM

Press [F1] (CONFIG).

Press [ ] to move the cursor to the “Preload Ptn” line.

Turn the VALUE dial or use [DEC][INC] to change the setting to WRITABLE.

Preloaded pattern protection will be turned off. If you don’t want to edit or delete the preloaded patterns, leave this setting at

Press [EXIT] to return to the Play screen.

screen will appear.

PROTECT

Changing the Pattern BPM (Tempo)

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to edit.

You can also choose a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Press [BPM] to get the PATTERN BPM screen.

The BPM specified for that pattern is displayed.

Turn the VALUE dial or use [DEC][INC] to change the BPM (40.0–

200.0).

The BPM will change in steps of one.

You can change the BPM in steps of 0.1 by holding down

[FUNC] and turning the VALUE dial.

Press [EXIT] to return to the Play screen.

Page 59

Storing Track Mute Settings in a Pattern

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to edit.

You can also select a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

The upper line of the screen will indicate “Track Mute.”

Use [ ][ ][ ][ ] to move the cursor to Track 1–4, and turn the VALUE dial or use [DEC][INC] to add or remove a check mark.

Tracks with a check mark are muted. The mute status for each track is stored in the pattern.

You can also use TRACK [1]–[4] to add or remove check

marks in the “Track Mute” screen.

Press [EXIT] to return to the Play screen.

Microscope Editing

You can use Microscope editing to make detailed changes in the performance data of a pattern.

Chapter 6. Pattern Editing

Basic Procedure for Microscope Editing

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to edit.

You can also choose a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Press [F1] (MICRO) to get the MICROSCOPE EDIT screen.

Press TRACK [1]–[4] to select the track you want to edit.

Use [ ][ ] to move the cursor to the location of the performance data you want to edit.

Use [ ][ ] to select the parameter you want to edit.

From the left, the parameters are 1–32-16),

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Repeat steps 5–8 to continue editing.

10.

When you are finished, press [EXIT].

Velocity

(the force with which you strike the pad; 1–127), and

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

Pad

(pad bank number - pad number; 1-

Gate

(note duration; 1–65535).

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Chapter 6. Pattern Editing

Inserting Performance Data (CREATE)

Here’s how to insert new performance data at the desired location in a pattern.

Press [F1] (CREATE) to get the CREATE EVENT screen.

Specify the location at which you want to insert data.

(Example) 01-1-00: measure 1, beat 1, tick 00 Use [ ][ ] to move the cursor to “measure,” “beat,” and “tick,” and turn the VALUE dial or use [DEC][INC] to edit the values.

Press [F3] (EXEC) to insert the performance data.

If you decide to cancel, press [F2] (CANCEL).

Edit the parameters of the performance data you inserted.

Refer to “Basic Procedure for Microscope Editing” (p. 59).

Erasing Performance Data (ERASE)

Here’s how to erase performance data from a specific location.

Use [ ][ ] to move the cursor to the location of the performance data you want to erase.

Press [F2] (ERASE) to erase that performance data.

Moving Performance Data (MOVE)

Here’s how to move performance data to another location.

Use [ ][ ] to move the cursor to the location of the performance data you want to move.

Press [F3] (MOVE) to get the MOVE EVENT screen.

Specify the location to which you want to move the data.

(Example) 01-1-00: measure 1, beat 1, tick 00 Use [ ][ ] to move the cursor to “measure,” “beat,” and “tick,” and turn the VALUE dial or use [DEC][INC] to edit the values.

Press [F3] (EXEC) to move the performance data.

If you decide to cancel, press [F2] (CANCEL).

Page 61

Changing the Groove of a Pattern (SWING)

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to edit.

You can also choose a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Press [F2] (SWING) to get the SWING screen.

Use [ ][ ] to select the parameter you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

Parameter Value Explanation

Position 8th notes,

16th notes

Percentage 0%–100% Specifies how far the backbeats (relative to the notes specified by Position) will be

Track 1 OFF, ON Specifies whether swing will be applied to each track. Track 2 OFF, ON Track 3 OFF, ON Track 4 OFF, ON

Specifies the swing timing as a note value.

shifted away from the downbeats. Shifting the timing of the backbeats will produce a sense of “swing.”

: The backbeats will be at the same timing as the downbeats.

50%

: The backbeats will be exactly between the adjacent downbeats.

100%

: The backbeats will be at the same timing as the preceding downbeat.

The check mark means that swing will be applied.

Chapter 6. Pattern Editing

Press [EXIT] to return to the PATTERN EDIT screen.

Naming a Pattern

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to edit.

You can also choose a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Press [F3] (NAME) to get the PATTERN NAME screen.

Use [ ][ ] to move the cursor to the character you want to change, and turn the VALUE dial or use [DEC][INC] to change the character.

Press [F1] (TYPE) to switch between uppercase/lowercase/numerals. Press [F2] (DELETE) to delete the character at the cursor location. Press [F3] (INSERT) to insert a space at the cursor location.

Press [ENTER] to update the name of the pattern.

If you decide to cancel, press [EXIT].

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Chapter 6. Pattern Editing

Deleting a Pattern

Go to the Pattern Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the pattern you want to delete.

You can also choose a pattern from the pattern list (p. 24).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Hold down [FUNC] and press [F1] (DELETE) to get the PATTERN DELETE screen.

Press [F3] (EXEC) to delete the pattern.

If you decide to cancel, press [F2] (CANCEL).

Copying a Pattern

Go to the Pattern Play screen (p. 15).

Press [F2] (EDIT) to get the PATTERN EDIT screen.

Hold down [FUNC] and press [F2] (COPY) to get the PATTERN COPY screen.

Use [ ][ ] to move the cursor, and turn the VALUE dial or use [DEC][INC] to select a pattern.

Upper line: copy source Lower line: copy destination

Press [F3] (EXEC) to copy the pattern.

If you decide to cancel, press [F2] (CANCEL).

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Chapter 7. Songs

Recording a Song

Basic Procedure for Recording a Song

You create a song by connecting patterns in the desired order.

Go to the Song Play screen (p. 15).

While the song is stopped, turn the VALUE dial or use [DEC][INC] to select the song you want to record.

You can also choose a song from the song list (p. 66).

Press [ ] (Record) to get the SONG RECORDING screen.

In the upper line of the screen, the song number and name (“Empty Song” if the song is empty) are shown at the left, and the current step/ total number of steps (“EMPTY” if the song is empty) are shown at the right. The lower line of the screen shows the pattern number and name of each step. (If the song is empty, this will indicate “EMPTY.”)

Move to the step at which you want to insert a pattern.

Pressing [ ] (Rewind) will move to the previous step, and pressing [ ] (Fast-forward) will move to the next step.

Turn the VALUE dial or use [DEC][INC] to select a pattern, and press [F3] (SELECT) or [ENTER] to confirm the pattern for the current step.

You can also press [F1] (LIST) and choose a pattern from the pattern list (p. 24).

To stop, press [ ] (Stop).

Repeat steps 4–5 to continue recording.

When you are finished, press [ ] (Stop).

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

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Chapter 7. Songs

Editing a Song

Basic Procedure for Editing a Song

Go to the Song Play screen (p. 15).

Press [F2] (EDIT) to get the SONG EDIT screen.

In the upper line of the screen, the song name is shown at the left, and the current step/total number of steps are shown at the right. The lower line of the screen shows the pattern number and name of each step. (If the song is empty, this will indicate “EMPTY.”)

Turn the VALUE dial or use [ ][ ][DEC][INC] to move the cursor to the location you want to edit.

To insert a step at the current location, press [F1] (PtnINS). To delete the step at the current location, press [F2] (PtnDEL).

Repeat steps 3–4 to continue editing.

When you have finished editing, press [EXIT].

You can execute Undo/Redo by holding down [FUNC] and pressing [ ] (Top) (p. 15).

Changing the Song BPM (Tempo)

Go to the Song Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the song you want to edit.

You can also choose a song from the song list (p. 66).

Press [F2] (EDIT) to get the SONG EDIT screen.

Press [BPM] to get the SONG BPM screen.

The BPM specified for that song is displayed.

Turn the VALUE dial or use [DEC][INC] to change the BPM (40.0–

200.0).

The BPM will change in steps of one. If you press [F1] (PTN), the BPM specified for the pattern will become the BPM for the song.

You can adjust the BPM in steps of 0.1 by holding down [FUNC] and turning the VALUE dial.

Press [EXIT] to return to the Play screen.

Naming a Song

Go to the Song Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the song you want to edit.

You can also choose a song from the song list (p. 66).

Press [F2] (EDIT) to get the SONG EDIT screen.

Press [F3] (NAME) to get the SONG NAME screen.

Use [ ][ ] to move the cursor to the character you want to edit, and turn the VALUE dial or use [DEC][INC] to change the character.

Page 65

Press [F1] (TYPE) to switch between uppercase/lowercase/numerals. Press [F2] (DELETE) to delete the character at the cursor location. Press [F3] (INSERT) to insert a space at the cursor location.

Press [ENTER] to update the name of the song.

If you decide to cancel, press [EXIT].

Deleting a Song

Go to the Song Play screen (p. 15).

Turn the VALUE dial or use [DEC][INC] to select the song you want to edit.

You can also choose a song from the song list (p. 66).

Press [F2] (EDIT) to get the SONG EDIT screen.

Hold down [FUNC] and press [F1] (DELETE) to get the SONG DELETE screen.

Press [F3] (EXEC) to delete the song.

If you decide to cancel, press [F2] (CANCEL).

Copying a Song

Go to the Song Play screen (p. 15).

Press [F2] (EDIT) to get the SONG EDIT screen.

Hold down [FUNC] and press [F2] (COPY) to get the SONG COPY screen.

Use [ ][ ] to move the cursor, and turn the VALUE dial or use [DEC][INC] to select the copy-source and copy-destination songs.

Upper line of the screen: copy source Lower line of the screen: copy destination

Press [F3] (EXEC) to copy the song.

If you decide to cancel, press [F2] (CANCEL).

Chapter 7. Songs

Playing a Song

Basic Procedure for Playing a Song

Go to the Song Play screen (p. 15).

While the song is not playing, turn the VALUE dial or use [DEC][INC] to select a song.

Press [ ] (Play) to start playback.

The upper line of the screen shows the current tempo, and measure/beat. The lower line shows the pattern number and name (if the song is empty, this will indicate “EMPTY”).

You can’t switch songs while a song is playing.

Press [ ] (Stop) to stop playback.

Press [ ] (Top) to return to the beginning of the song.

Press [ ] (Rewind) to move one step back, or [ ] (Fast-forward) to move one step forward.

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Chapter 7. Songs

Selecting and Playing a Song from the Song List

Go to the Song Play screen (p. 15).

Press [F1] (LIST) to get the SONG LIST screen.

Turn the VALUE dial or use [ ][ ][DEC][INC] to select a song, and press [F3] (SELECT) or [ENTER] to confirm your choice.

If you decide to cancel, press [EXIT].

Songs 1–16 can be selected directly by pressing pads [1]–

[16].

Press [ ] (Play) to start playback.

You can’t switch songs while a song is playing.

Press [ ] (Stop) to stop playback.

Changing the Song Playback BPM (Tempo)

Go to the Song Play screen (p. 15).

Press [BPM] to get the BPM screen.

The current BPM is displayed.

Turn the VALUE dial or use [DEC][INC] to change the BPM (40.0–

200.0).

The BPM will change in steps of one. You can also adjust this while the song is playing.

You can adjust the BPM in steps of 0.1 by holding down

[FUNC] and turning the VALUE dial.

You can also set the BPM by pressing [F3] (TAP) three times or more at the desired interval (Tap

Tempo function).

You can’t change the BPM if “Sync Mode” (p. 79) is set to SLAVE.

Press [EXIT] to return to the Play screen.

Muting Individual Tracks

You can mute (silence) individual tracks while the song plays.

Go to the Song Play screen (p. 15).

Press [ ] (play) to play back the song.

Press TRACK [1]–[4].

Button lit: playing Button blinking: muted

If a track button is unlit, that track contains no data.

Page 67

Chapter 8. Using a Memory Card

If the SP-606 is powered up, do not remove the memory card from the SP-606’s card slot before

shutting down (p. 22). Doing so may damage the SP-606 or the data in the memory card.

Make sure that the memory card is oriented correctly, and insert it all the way into the slot. Do not

use excessive force.

When using a memory card for the first time, you must format it on the SP-606. Memory cards

formatted by another device will not be recognized by the SP-606.

For more about inserting and removing memory cards, refer to “Inserting/Removing Memory

Cards” (p. 22).

For details on the recommended memory cards, refer to “Recommended Memory Cards” (p. 91) in

the Appendix.

Formatting (Initializing) a Memory Card

Formatting a memory card will erase all data from that card.

Insert the memory card into the front panel card slot.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [10] (CARD UTIL) to get the CARD UTILITY screen.

Use [ ] to move the cursor to the “Card Format” line.

Press [ENTER] to get the CARD FORMAT screen.

If a memory card is not inserted, the display will indicate

“Card Not Ready!”

Press [F3] (EXEC). The display will indicate “All the data on the card will be lost, are you sure?”

Press [F3] (EXEC) to begin formatting.

If you decide to cancel, press [F2] (CANCEL). While formatting is being carried out, the display will indicate “Executing ...”

When the display indicates “Complete,” press [F3] (EXIT) or [EXIT] to return to the Play screen.

Do not modify or delete the files or folders that are created when a memory card is formatted. If you

do so, the SP-606 will not recognize the card correctly.

Basic Procedure for Card Utility Operations

Insert the memory card into the front panel card slot.

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [10] (CARD UTIL) to get the CARD UTILITY screen.

Page 68

Chapter 8. Using a Memory Card

The rest of the procedure will depend on the utility operation. Refer to the following pages for details on each operation.

• FILE IMPORT -> p. 68

• FILE EXPORT -> p. 69

• BACKUP SAVE -> p. 70

• BACKUP LOAD -> p. 70

• BACKUP DELETE -> p. 71

• CARD FORMAT -> p. 67

Card Utility Operations

FILE IMPORT

This operation loads an audio file from a memory card.

If “memory full” is indicated for the memory card (p. 90), you may not be able to perform file

operations from your computer. In this case, reduce the amount of data on the memory card.

Caution When Importing Audio Files (WAV/AIFF)

• When using your computer or other device to copy or save an audio file (WAV/AIFF) onto a

memory card, place the file in the root directory (the top level) of the card. If you place the file

anywhere else on the card, the SP-606 will be unable to import it.

• When importing, the SP-606 can recognize a maximum of 200 audio files.

• File names that are longer than eight characters or that contain double-byte (e.g., Japanese)

characters will not be displayed correctly.

• WAV files must have a filename extension of WAV, and AIFF files must have a filename extension

of AIF. Files will not be recognized if they have any other extension.

• The SP-606 can only import 8-bit or 16-bit samples.

• Sample rate conversion is not performed. The audio file will be imported as 44.1 kHz data. If the

actual sample rate of the imported file is other than 44.1 kHz, it will play at an incorrect pitch.

• The loop point settings within an AIFF file are ignored.

• If you attempt to import WAV/AIFF data in a format not supported by the SP-606, the error

message “unsupported!” will appear, and the data will not be imported.

• Compressed audio files (WAV/AIFF) cannot be imported.

• In some cases, it may not be possible to import extremely short audio files (WAV/AIFF).

• The following table shows the time required to import large audio files.

* Once the Import operation has begun, it cannot be canceled.

File size Audio playback time Time required for import

1 MB Approx. 10 seconds of stereo Approx. 30 seconds 10 MB Approx. 2 minutes of stereo Approx. 5 minutes 50 MB Approx. 10 minutes of stereo Approx. 25 minutes 100 MB Approx. 20 minutes of stereo Approx. 50 minutes

In the CARD UTILITY screen, use [ ][ ] to move the cursor to the “File Import” line.

Press [ENTER] to get the FILE IMPORT screen.

If a memory card is not inserted, the message “Card Not

Ready!” will appear.

Page 69

Turn the VALUE dial or use [DEC][INC] to select the file you want to import.

If you want to select multiple files, press [F1] (MARK) to assign a check mark to each file you want to select.

Press a pad to select the import-destination pad.

If you want to change pad banks, press [PAD BANK] and switch the pad bank (p. 23). If check marks were assigned to files in step 3, these files will be imported consecutively starting at pad [1] of the current pad bank. The pad number is displayed in the lower line of the screen. (example) PAD 8-1: pad bank 8, pad number 1

Press [F3] (EXEC) to import the file.

If you decide to cancel, press [F2] (CANCEL).

FILE EXPORT

This operation exports (saves) a sample to a memory card as an audio file.

In the CARD UTILITY screen, use [ ][ ] to move the cursor to the “File Export” line.

Press [ENTER] to get the FILE EXPORT screen.

Chapter 8. Using a Memory Card

If the memory card contains no files, the display will indicate “Empty.”

If a memory card is not inserted, the message “Card Not

Ready!” will appear.

Press a pad to select the pad containing the sample you want to export.

If you want to change pad banks, press [PAD BANK] and switch the pad bank (p. 23). If you want to export all samples of the current pad bank, press [F1] (BANK). The pad number is displayed in the upper line of the screen. (example) PAD 8-1: pad bank 8, pad number 1

Turn the VALUE dial or use [DEC][INC] to select WAV or AIFF as the “File Type.”

This specifies the type of file that will be exported.

Press [F3] (EXEC) to export the file.

If you decide to cancel, press [F2] (CANCEL).

About the Exported Audio Files (WAV/AIFF)

Audio files (WAV/AIFF) exported to a memory card will be located in the root directory (highest level) of the memory card. When you use a computer or other device to view the root directory of the memory card, the exported audio files (WAV/AIFF) will appear with the following names.

Samples exported from pad banks 1–8 (internal memory):

WAV: i01_01.WAV–i08_16.WAV AIFF: i01_01.AIF–i08_16.AIF

Samples exported from pad banks 9–32 (memory card):

WAV: c09_01.WAV–c32_16.WAV AIFF: c09_01.AIF–c32_16.AIF

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Chapter 8. Using a Memory Card

BACKUP SAVE

This operation saves backup data (all settings of the SP-606, including the samples, pad banks, patterns, and songs) to a memory card. Up to four sets of backup data can be saved on one memory card.

Fewer sets of backup data can be saved if numerous samples have been saved on the card, reducing

its remaining free capacity.

In the CARD UTILITY screen, use [ ][ ] to move the cursor to the “Backup Save” line.

Press [ENTER] to get the BACKUP SAVE screen.

Empty backup data sets are displayed as dotted lines.

You can also get to the same screen by pressing [F1] (SAVE)

from the

If a memory card is not inserted, the message “Card Not Ready!” will appear.

Turn the VALUE dial or use [ ][ ][ ][ ][DEC][INC] to select 1–4 as the “Backup” setting.

This selects the backup set in which the data is to be saved.

Press [F3] (EXEC) to save the backup data.

If you decide to cancel, press [F2] (CANCEL).

If the save destination you selected already contains backup data, the message “A Backup Data

Already Exists! Overwrite?” will appear. If you want to overwrite the existing data, press [F3]

(EXEC) or [ENTER]. If you decide to cancel, press [F2] (CANCEL) or [EXIT].

CARD UTILITY

screen.

BACKUP LOAD

This operation loads backup data (all settings of the SP-606, including the samples, pad banks, patterns, and songs) from a memory card.

In the CARD UTILITY screen, use [ ][ ] to move the cursor to the “Backup Load” line.

Press [ENTER] to get the BACKUP LOAD screen.

Empty backup data sets are displayed as dotted lines.

You can also get to the same screen by pressing [F2] (LOAD)

from the

Turn the VALUE dial or use [ ][ ][ ][ ][DEC][INC] to select 1–4 as the “Backup” setting.

This selects the backup set from which the data will be loaded.

Press [F3] (EXEC) to load the backup data.

If you decide to cancel, press [F2] (CANCEL).

Be aware that when you execute the Backup Load operation, the internal settings will be replaced

(overwritten) by the backup data that is loaded.

CARD UTILITY

If a memory card is not inserted, the message “Card Not Ready!” will appear.

screen.

Page 71

BACKUP DELETE

This operation deletes the specified set of backup data (all settings of the SP-606, including the samples, pad banks, patterns, and songs) from a memory card.

In the CARD UTILITY screen, use [ ][ ] to move the cursor to the “Backup Delete” line.

Press [ENTER] to get the BACKUP DELETE screen.

Empty backup data sets are displayed as dotted lines.

If a memory card is not inserted, the message “Card Not

Ready!” will appear.

Turn the VALUE dial or use [ ][ ][ ][ ][DEC][INC] to select 1–4 as the “Backup” setting.

This selects the backup set that will be deleted.

Press [F3] (EXEC) to delete the selected backup set.

If you decide to cancel, press [F2] (CANCEL).

Chapter 8. Using a Memory Card

Page 72

Chapter 9. Using the D Beam

Using the D Beam Controller

The D Beam is a controller that you use simply by moving your hand above it. Three different ways of using the D

Beam are already set up for immediate use; trigger, synth, and filter. By adjusting the D Beam settings you can use

it to apply a wide range of other effects.

Press [TRIGGER], [SYNTH], or [FILTER] to turn on one of the D Beam settings; the button will light. The button

will go out when you turn it off.

You cannot simultaneously turn on more than one of these three buttons.

The Range of the D Beam Controller

The effective range of the D Beam controller is shown in the diagram below. No effect will occur if

you move your hand outside this range.

The effective range of the D Beam controller will be severely reduced if used in strong,

direct sunlight. Be aware of this when using the D Beam controller outside.

D Beam Controller Settings

Basic Procedure for Making D Beam Settings

Go to the Play screen (p. 15).

Press [MENU] to get the Top Menu screen.

Press [ ] to move the cursor to “2:D Beam Setting” and press [ENTER].

The

D BEAM SETTING

Use [ ][ ] to select the parameter you want to edit.

Press [F1] (TRIG) to edit trigger-related parameters.

Press [F2] (SYNTH) to edit synth-related parameters.

Press [F3] (FILTER) to edit filter-related parameters.

Hold down [FUNC] and press [F1] (INFO) to get the

Turn the VALUE dial or use [DEC][INC] to edit the parameter value.

If you want to save the changes you made, hold down [FUNC] and press [F3] (WRITE) to save the parameter values.

Press [EXIT] to return to the Play screen.

screen will appear.

D BEAM INFO

(D Beam Information) screen.

Page 73

D Beam Setting Parameters

TRIGGER

As an alternative to striking the pad itself, you can use the D Beam controller to play a specified pad.

Parameter Value Explanation

Pad Number 1–16 Specifies the pad number that will be played by the D Beam controller. Pad Velocity 1–127 Specifies the loudness of the pad sound played by the D Beam controller. Trig Mode

SYNTH

This lets you use the D Beam to control the pitch of a built-in monophonic synthesizer.

Parameter Value Explanation

Send Select DRY, MFX Specifies whether an effect will be applied.

Pitch Low 0–127 Specifies the lower pitch limit for the D Beam controller. Pitch High 0–127 Specifies the upper pitch limit for the D Beam controller. Scale

Level 0–127 Specifies the volume of the synth sound. Osc Wave SAW, TRI, PLS,

PWM Depth 0–127 Depth specifies the depth to which the LFO will modulate the pulse width of

PWM Duty 0–127 Specifies the width of the pulse. Higher settings produce a narrower pulse

MOMENTARY,

LATCH

CHROMATIC, TCHEREPINS, SPANISH, BLUES MIXO, COMB DIM, MAJOR, MINOR, HARMONIC MAJ, HARMONIC MIN, DBL HARMONIC, MELO MIN, GYPSY, DOMINANT, HEX, HEX BLUE, AUGMENT, RYUKYU, INSEN DEC, INSEN ASC, PENTA, PENTA MIN

NOISE

Specifies what will happen when you place your hand above the D Beam.

MOMENTARY

LATCH

Specifies the scale that will be used. Moving your hand closer to the D Beam controller will produce higher pitches. Choose one of the following 21 scales.

Selects the waveform of the oscillator that generates the sound.

the pulse wave. This creates a distinctive cyclic tonal change. Higher settings produce a deeper effect.

width.

Chapter 9. Using the D Beam

: The pad sound will be on only while your hand stays above the

D Beam; it will turn off when you take your hand away.

: The pad sound will alternately turn on/off each time you place

your hand above the D Beam.

DRY

: The synth sound will not be sent to the effect.

MFX

: The synth sound will be sent to the effect.

CHROMATIC TCHEREPINS SPANISH BLUES MIXO COMB DIM: MAJOR MINOR HARMONIC MAJ HARMONIC MIN DBL HARMONIC MELO MIN GYPSY DOMINANT HEX

: Whole Tone Scale

HEX BLUE AUGMENT RYUKYU INSEN DEC INSEN ASC PENTA PENTA MIN

SAW TRI

(triangle wave): A mild sound with fewer overtones.

PLS

(pulse wave): The sound will be affected by the following two settings

: Chromatic Scale

: Tcherepnin's Scale

: Spanish Scale

: Blues Mixolydian Scale

Combination of Diminished Scale

: Diatonic Major Scale

: Natural Minor Scale

: Harmonic Major Scale

: Harmonic Minor Scale

: Double Harmonic Scale

: Melodic Minor Scale

: Gypsy Scale

: Dominant Scale

: Hexatonic Blue Scale : Augmented Scale

: Ryukyu Scale

: In Sen Scale, Decending : In Sen Scale, Ascending

: Major Pentatonic Scale

: Minor Pentatonic Scale

(

sawtooth wave

): A thick sound rich in overtones.

(“PWM Depth” and “PWM Duty”).

NOISE

: Noise.

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Chapter 9. Using the D Beam

Parameter Value Explanation

Vibrato Depth 0–127 Specifies the depth of vibrato (an effect that uses an LFO to cyclically vary the

LFO Wave 0–127 An LFO (Low Frequency Oscillator) is used to apply various types of modula-

LFO Rate 0–127 Specifies the speed of modulation.

PORTAMENT

TIME

FILTER

This lets you use the D Beam to control a built-in filter that features an extremely steep slope.

Parameter Value Explanation

Cutoff Low 0–127 Specifies the lower frequency limit for the D Beam controller. Cutoff High 0–127 Specifies the upper frequency limit for the D Beam controller. Resonance 0–127 Specifies the resonance level of the filter. Raising this value will boost the sound in the

Type LPF,

Slope -12dB,

Gain 0–+12dB Adjusts the amount of boost for the filter output.

pitch of the oscillator).

tion (cyclic change) to the tone or pitch. You can select one of the following LFO waveforms.

SAW

: sawtooth wave

TRI

: triangle wave

SQR

: square wave

RND

: randomly changing waveform

0–100 Specifies the time over which Portamento (a function that creates smooth pitch

transitions between synthesizer notes) will vary the pitch. With higher settings, the pitch change will take longer.

region of the cutoff frequency.

Specifies the type of filter. Each type of filter will pass the following frequencies. BPF, HPF, NOTCH

-24dB,

-36dB

LPF

: frequencies below the Cutoff

BPF

: frequencies near the Cutoff

HPF

: frequencies above the cutoff

NOTCH

: frequencies other than at the Cutoff

Specifies the steepness of the filter (expressed as the amount of attenuation per octave).

D BEAM INFO (D Beam Information) Screen

In this screen you can view the D Beam value in graphical form. (Vertical axis: D Beam value; Horizontal axis:

time)

Press [F3] (EXIT) or [EXIT] to return to the

D BEAM SETTING

screen.

Page 75

Chapter 10. About V-LINK

What Is V-LINK?

V-LINK ( ) is functionality promoted by Roland that allows linked performance of music and visual material. By using V-LINK-compatible video equipment (such as the Edirol DV-7PR or P-1), visual effects can be easily linked to, and made part of the expressive elements of a performance. For example, when the SP-606 is used in conjunction with the Edirol P-1, applications such as the following are made possible:

• Use the SP-606’s sequencer to play music and show images in synchronization.

• Use the SP-606’s pads or sequencer playback (song or pattern) to switch photos or pages on the Edirol P-1.

In order to use V-LINK between the SP-606 and the Edirol P-1, you will need to connect the two

units using a MIDI cable (sold separately).

Connection Example

Use a MIDI cable to connect the SP-606’s MIDI OUT connector to the MIDI IN connector of the Edirol P-1.

To prevent malfunction and/or speaker damage, you must turn down the volume on all devices

and turn off their power before making connections.

SP-606 P-1

Basic V-LINK Operation

Go to the Play screen (p. 15).

Press [V-LINK] so it’s lit.

The

V-LINK

In this state, you can operate the SP-606’s pads or knobs to control images in conjunction with the SP-606’s performance. When you press [F1] (RESET), the display will indicate “Send All Reset”; the effects being applied to the image will be reset, and settings such as brightness and hue will all return to their default settings. When you press [F2] (MODE), you can select whether the pads will switch When you press [F3] (SETUP), the

Press [EXIT].

The V-LINK function will remain on, and you will return to the Play screen.

When you are ready to turn off the V-LINK function, press [V-LINK] so its illumination is turned off.

If you returned to the Play screen in step 3, press [V-LINK] to return to the V-LINK screen and then press [VLINK] once again so its illumination is turned off.

screen will appear.

PALETTES

CLIPS

V-LINK SETUP

The V-LINK function will always be off when you turn on the power.

MIDI INMIDI OUT

screen will appear (p. 76).

Page 76

Chapter 10. About V-LINK

V-LINK Setup Parameters

Use [ ][ ] to choose the setting (parameter) you want to edit.

Turn the VALUE dial or use [DEC][INC] to edit the value of the parameter.

Parameter Value Explanation

V-LINK Ctrl Ch 1–16 Specifies the MIDI channel used to control V-LINK functions. CTRL1

CTRL2 CTRL3 D Beam

Seq Ctrl Bank OFF, 1–32 Of the pad settings included in the pattern data, only the pads of the

OFF, PLAY SPEED, DISSOLVE TM, T BAR, COLOR Cb, COLOR Cr, BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT FADER

Assign V-LINK functions to the control knobs and D Beam controller.

OFF PLAY SPEED DISSOLVE TM

T BAR COLOR Cb COLOR Cr BRIGHTNESS VFX1 VFX2 VFX3 VFX4 OUT FADER

specified pad bank will be assigned to V-LINK functions.

: No V-LINK function is assigned.

: Playback speed

: Dissolve time (the time over which images will

change)

: T bar

: Color Cb (color difference signal)

: Color Cr (color difference signal)

: Brightness : Visual effect 1 : Visual effect 2 : Visual effect 3 : Visual effect 4

: Output fader

When you have finished setting the parameters, press [F3] (WRITE) to store the settings.

A message of “System Write, Are You Sure?” will appear. Press [F3] (EXEC) if you want to store the settings, or press [F2] (CANCEL) if you decide to cancel.

Appendix

Controllable V-LINK Functions and MIDI Messages

V-LINK function

Clip/Photo 1–16 Palette/Page 1–32 CC#0 (Bank Select) Playback Speed CC#8 (Balance) CTRL1 Dissolve Time CC#73 (Attack) T Bar CC#11 (Expression) Color Cb CC#1 (Modulation) Color Cr CC#71 (Resonace) Brightness CC#74 (Cutoff) VFX1 CC#72 (Release) VFX2 CC#91 (Reverb) VFX3 CC#92 (Tremolo) VFX4 CC#93 (Chorus) Output Fade CC#10 (Panpot)

Transmitted MIDI message Controller

PC Pad

CTRL2 CTRL3 D Beam

Page 77

Bank Select/Program Change Function List

DV-7PR P-1 V-4

Bank Select

Program Change

Palette 1–20 (00H 00H–13H 00H)

Clip 1–32 (00H–1FH)

Page 1–20 (00H 00H–13H 00H)

Photo 1–12 (00H–0BH)

Chapter 10. About V-LINK

Ch A/B (00H 00H/01H 00H)

Input 1–4 (00H–03H)

Page 78

Chapter 11. Using the SP-606 with Other MIDI Equipment

Do not use a MIDI cable to connect the SP-606’s MIDI IN connector directly to its MIDI OUT

connector (i.e., in a loop). Also, if you make connections with other MIDI equipment in a way that

forms a loop, do not set your other MIDI device to “thru” (“software thru”) the incoming data. The

SP-606 may not operate correctly if you fail to observe these points.

About MIDI

MIDI stands for Musical Instrument Digital Interface. It is a universal standard that allows electronic musical instruments, computers, and similar devices to exchange performance data and other musical information. The SP-606 is MIDI-compatible, and provides two MIDI connectors; MIDI IN and MIDI OUT. By using these connectors to connect the SP-606 to other devices, you can take advantage of a wide range of possibilities.

About MIDI Connectors

The SP-606 has two types of MIDI connector.

MIDI IN

: Receives MIDI messages from another MIDI device.

MIDI OUT

About the MIDI Implementation Chart

: Transmits MIDI messages from the SP-606.

The MIDI implementation chart (p. 96) provides an easy way to see just what MIDI messages the SP-606 is able to transmit and receive. By placing this chart beside the MIDI implementation chart of another MIDI device, you can see at a glance which MIDI messages can be sent and received between the two devices.

MIDI on the SP-606

If you’re using an external MIDI device to play the SP-606’s pads, transmit the following note numbers.

MIDI ch

NOTE #

35(0x23) : 50(0x32)

51(0x33) : 66(0x42)

67(0x43) : 82(0x52)

83(0x53) : 98(0x62)

Pad Base Ch

PAD 1 : PAD16

[PadBank 1]

PAD 1 : PAD16

[PadBank 2]

PAD 1 : PAD16

[PadBank 3]

PAD 1 : PAD16

[PadBank 4]

Pad Base Ch + 1 Pad Base Ch + 2 Pad Base Ch + 3 Pad Base Ch + 4 Pad Base Ch + 5 Pad Base Ch + 6 Pad Base Ch + 7

PAD 1 : PAD16

[PadBank 5]

PAD 1 : PAD16

[PadBank 6]

PAD 1 : PAD16

[PadBank 7]

PAD 1 : PAD16

[PadBank 8]

PAD 1 : PAD16

[PadBank 9]

PAD 1 : PAD16

[PadBank10]

PAD 1 : PAD16

[PadBank11]

PAD 1 : PAD16

[PadBank12]

PAD 1 : PAD16

[PadBank13]

PAD 1 : PAD16

[PadBank14]

PAD 1 : PAD16

[PadBank15]

PAD 1 : PAD16

[PadBank16]

PAD 1 : PAD16

[PadBank17]

PAD 1 : PAD16

[PadBank18]

PAD 1 : PAD16

[PadBank19]

PAD 1 : PAD16

[PadBank20]

PAD 1 : PAD16

[PadBank21]

PAD 1 : PAD16

[PadBank22]

PAD 1 : PAD16

[PadBank23]

PAD 1 : PAD16

[PadBank24]

PAD 1 : PAD16

[PadBank25]

PAD 1 : PAD16

[PadBank26]

PAD 1 : PAD16

[PadBank27]

PAD 1 : PAD16

[PadBank28]

PAD 1 : PAD16

[PadBank29]

PAD 1 : PAD16

[PadBank30]

PAD 1 : PAD16

[PadBank31]

PAD 1 : PAD16

[PadBank32]

If you want to change the MIDI channel, edit the “Pad Base Ch” setting (p. 79).

Page 79

Chapter 11. Using the SP-606 with Other MIDI Equipment

Changing the MIDI Settings

Basic Procedure for MIDI Utility Settings

Go to the Play screen (p. 15).

Hold down [FUNC] and press pad [11] (MIDI UTIL) to get the MIDI UTILITY screen.

Use [ ][ ] to select the parameter you want to change.

Turn the VALUE dial or use [DEC][INC] to change the setting.

Press [EXIT] to return to the Play screen.

MIDI Utility Parameters

Parameter Value Explanation

Pad Base Ch OFF,

1–9

Pad Tx Mode TYPE1,

TYPE2

Effect Ctrl Ch OFF,

1–16, OMNI

Sync Source MIDI,

USB

Sync Mode INT,

REMOTE, SLAVE

Tx MIDI Sync OFF, ON Specifies whether the SP-606 will transmit synchronization-related MIDI messages. If this is

Soft Thru OFF, ON Specifies whether data (except for system realtime messages) received at the SP-606’s MIDI

Specifies the channels used to play the SP-606’s pads from an external MIDI device.

OFF

: The pads will not sound even if messages are received from an external MIDI device.

1–9

: Specify the channel that will play Pad Banks 1–4. The MIDI channel for each set of

four banks is assigned relative to this value, as described in “MIDI on the SP-606” (p. 78).

When the Note Trigger function (p. 86) is selected, this specifies whether the note numbers transmitted to an external MIDI device will be different for each pad bank.

TYPE1

: Note numbers will be fixed as follows.

Channel: 1 Note numbers: Pad 1 -> 35

TYPE2

: Note numbers will be different for each pad bank. For the note numbers trans-

The Pad Base Ch setting does not change the channel. (Note messages are transmitted on

channels 1–8.)

Specifies the MIDI channel used to control effects.

OFF 1–16 OMNI

Specifies the synchronization source used when the “Sync Mode” is SLAVE. The SP-606 will synchronize to an external device (e.g., sequencer) connected via a MIDI cable if this is set to

Specifies how the SP-606 will synchronize with an external MIDI device.

INT

REMOTE

SLAVE

ON, the SP-606 will transmit the following MIDI messages from MIDI OUT.

• Timing Clock: F8

• Start: FA

• Continue: FB

• Stop: FC

• Song Position Pointer: F2

IN connector will be retransmitted from its MIDI OUT connector along with the performance data generated and sent by the SP-606 itself.

To make the pads more responsive to your playing, leave this setting OFF unless you re-

quire it.

mitted by each bank, refer to “MIDI on the SP-606” (p. 78).

: Not used.

: The channel you specify will be used.

: Any channel can be used.

MIDI

, or to an external device connected via USB if this is set to

: The SP-606’s internal sequencer will operate according to its own internal BPM

(tempo) setting.

: Basic operation is the same as for the INT setting, but the external MIDI device

will be able to remotely start/stop playback of the SP-606’s internal sequencer.

: The internal sequencer will synchronize to incoming MIDI Clock messages.

Pad 2 -> 36 : Pad 16 -> 50

USB

Page 80

Chapter 12. System Settings

About the System Settings

Using the Included CD-ROM to Restore the Factory-Set Condition

The included “DRIVER/FACTORY DATA” CD-ROM contains data you can use to restore the SP-606 to the state it was in when it left the factory.

All internal memory data will be lost if you perform this procedure. If you want to keep your data,

make a backup before you proceed. (Backup Save -> p. 70)

You will need the following items.

•A computer with a CD-ROM drive

• An appropriate card reader for the memory card

• The included “DRIVER/FACTORY DATA” CD-ROM

•A memory card (formatted on the SP-606)

Refer to “Formatting (Initializing) a Memory Card” (p. 67).

Connect the card reader to your computer, and make it ready for use.

For details on how to connect and use your computer and card reader, refer to their owner’s

manuals.

Insert the included “DRIVER/FACTORY DATA” CD-ROM into your CD-ROM drive.

Insert the memory card into the card reader.

Copy the “FCTRY” folder from the included “DRIVER/FACTORY DATA” CD-ROM into the “ROLAND” folder of the memory card.

If the “ROLAND” folder of the memory card already contains a “FCTRY” folder, delete this

“FCTRY” folder from the card before copying from the CD-ROM.

Remove the memory card from the card reader, and insert it into the SP-606’s card slot.

Go to the SP-606’s Play screen (p. 15).

Press [MENU] to get the Top Menu screen.

Move the cursor to the “1:SYSTEM” line, and press [ENTER].

The

SYSTEM

Press [F3] (INT) to get the SYSTEM INITIALIZE screen.

10.

Press [F1] (LOAD) to add a check mark to “Load Factory Data”

screen will appear.

If a memory card is not inserted, the display will indicate

“Card Not Ready!”

If you initialize without adding a check mark, all the data in

internal memory will be erased, and the system settings will

be initialized. However, if the Protect setting is turned on for pad banks or preloaded patterns (p. 31,

p. 58), the message “Protected” will appear, and the Initialize operation cannot be executed.

11.

Press [F3] (EXEC).

If you decide to cancel, press [F2] (CANCEL).

Page 81

12.

The message “This will clear all the internal contents. Are you sure?” will appear. Press [F3] (EXEC).

If you decide to cancel, press [F2] (CANCEL). The display will indicate “Executing...”

13.

The message “Please Power Off.” will blink. Turn off the power of the SP-606, and then turn it back on again.

Making System Settings

Go to the Play screen (p. 15).

Press [MENU] to get the Top Menu screen.

Move the cursor to the “1:SYSTEM” line and press [ENTER].

The

SYSTEM

screen will appear.

Chapter 12. System Settings

You can access the

[FUNC] and pressing [F1] (INFO). (p. 82)

Press [F1] (CONFIG).

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the value.

Parameter

LCD Contrast Sampling

Grade

Metro. Mode OFF, ON,

Metronome Level

Preload Ptn WRITABLE,

Press [F2] (CTRL).

Use [ ][ ] to select the parameter you want to set.

Turn the VALUE dial or use [DEC][INC] to set the value.

Parameter

Foot Sw Assign

D Beam Sens 0–127 Adjusts the sensitivity of the D Beam controller.

Value Explanation

1–16 Adjusts the contrast of the display. STANDARD,

LONG

REC ONLY, PLAY&REC

0–127 Specifies the metronome volume.

PROTECT

Value Explanation

OFF, START/STOP, TAP TEMPO, MFX1 SW, MFX2 SW

SYSTEM INFO

Specifies the sampling grade.

Specifies the metronome setting.

Specifies whether the preloaded patterns (the patterns loaded in internal memory when the SP-606 is shipped) are protected.

Specifies the function of the foot switch.

screen by holding down

STANDARD LONG

OFF ON

: The metronome will always sound.

REC ONLY PLAY&REC

WRITABLE PROTECT

OFF START/STOP

TAP TEMPO

MFX1 SW MFX2 SW

: Standard audio quality.

: Somewhat lower audio quality than STANDARD, but uses only

half the amount of memory.

: The metronome will not sound.

: The metronome will sound only while recording.

: The metronome will sound during playback and recording.

: The preloaded patterns can be edited or erased.

: The preloaded patterns are protected; they cannot be edited or

erased.

: Not used.

: Song or pattern playback will start/stop each time you

press the foot switch.

: The tempo will be set by the interval at which you press the

foot switch (Tap Tempo function -> p. 25, p. 66). : MFX1 will turn on/off each time you press the foot switch. : MFX2 will turn on/off each time you press the foot switch.

Press [EXIT] to return to the Play screen.

Page 82

Chapter 12. System Settings

Checking System Information

If you hold down [FUNC] and press [F1] (INFO) in steps 3–7 of “Making System settings,” the (System Information) screen will appear.

• You can press [F1] (MEMORY) to see the following items of memory-related information.

Item Explanation

Internal Internal memory: remaining available capacity (MB) / total capacity (16.0 MB) Card Card memory: remaining available capacity (MB) / total capacity (MB)

If a memory card is not inserted, the display will indicate “No Card.” Pattern Number of notes that can be saved in patterns Song Number of songs that can be saved

• Press [F2] (VER) to check the system program version.

Adjusting the Master Level

This setting simultaneously adjusts the If a USB connection is being used, this also adjusts the USB audio volume.

Go to the Play screen (p. 15).

Press [MENU] to get the Top Menu screen.

Press [ ] to move the cursor to the “6:Master Level” line, and press [ENTER].

The

MASTER LEVEL

Turn the VALUE dial or use [DEC][INC] to adjust the “Master Level” value (0–127).

screen will appear.

OUTPUT L/R

(analog) and

DIGITAL OUT

SYSTEM INFO

(digital) volume.

The OUTPUT L/R volume can also be adjusted by the top

panel VOLUME knob; however, the VOLUME knob does not affect the DIGITAL OUT or USB

audio volume.

Press [EXIT] to return to the Play screen.

This setting is not remembered when you turn off the power.

Page 83

Chapter 13. About USB

When the SP-606 is connected to your computer via USB, it can send and receive MIDI messages, audio signals, files, and folders. The operating systems that can be used will depend on your setup, as shown in the table below.

Functionality Operating System

Using the P606 application Windows XP/2000 Transmitting/receiving audio and MIDI Windows 98 or later, Mac OS 9.0 or later, Mac OS X 10.2 or later Reading/writing memory card data Windows Me/2000/XP, Mac OS 9.0.4 or later

The SP-606’s power must be off when you connect or disconnect the USB cable. Never connect or

disconnect the USB cable or turn off the power while data is being transferred or while P606 is

running.

Installing the USB Driver

In order to take full advantage of the SP-606’s capabilities, you will need to install the included USB driver in your computer.

Windows XP/2000

From the “DRIVER/FACTORY DATA CD-ROM” (included), open “DRIVER\USB_XP2K\README_E.HTM,” and install the USB driver as directed in the “Installation” procedure.

Windows Me/98

From the “DRIVER/FACTORY DATA CD-ROM” (included), open “DRIVER\USB_ME98\README_E.HTM,” and install the USB driver as directed in the “Installation” procedure.

Mac OS X

Mac OS 9

users: From the “DRIVER/FACTORY DATA CD-ROM” (included), open “DRIVER\OSX\Readme_E.htm,” and install the USB driver as directed in the “Installation” procedure.

users:

From the “DRIVER/FACTORY DATA CD-ROM” (included), open “DRIVER\OS9\Driver E (Mac OS

9)\Readme_E.htm,” and install the USB driver as directed in the “Installation” procedure.

users:

The P606 application runs only on Windows XP/2000.

Making the USB Connection

In order to use the included P606 sequencer application for Windows, and to take full advantage of

the SP-606’s capabilities, you will need to install the included USB driver before you continue with

the procedure below (p. 83).

Use a USB cable to connect the SP-606 to your computer.

Turn on the power of the SP-606 (p. 21).

To change the type of USB driver you are using, you will need to change the “Vender Driver”

setting (p. 84) before starting up your computer.

Start up your computer.

Page 84

Chapter 13. About USB

USB Audio Signal Flow

USB Audio

Input SW

Input

Source

USB Audio Output Src

INPUT MIX

Input

Sampler

SP-606

Making USB Audio and MIDI Settings

Make the USB connection (p. 83).

Press [MENU] to get the Top Menu screen.

Use [ ][ ] to move the cursor to the “4:USB Audio/MIDI” line, and press [ENTER].

The

USB AUDIO/MIDI

Use [ ][ ] to select the setting (parameter) you want to edit.

Turn the VALUE dial or use [DEC][INC] to change the parameter value.

Parameter

Vender Driver

USB Audio Input Sw OFF,

USB Audio Output Src OFF,

screen will appear.

Value Explanation

OFF, ON

INPUT, MIX

Specifies the type of USB driver that will be used.

Turns USB audio input on/off.

Selects the source that will be output to USB audio. (p. 84)

OFF

: Use the driver provided by Windows or Mac OS.

After you change this setting, you need to cycle the power to the

SP-606.

: Use the Roland driver. Choose this setting when using P606 or in

order to take full advantage of the SP-606’s capabilities.

This setting is not remembered when you turn off the power.

OFF

: Not used.

INPUT

: The audio signal selected for “Input Select” in the INPUT SET-

TING screen (p. 43) will be output directly to USB.

MIX

: The same audio signal as the OUTPUT and PHONES output will

be sent to USB.

If you turn “USB Audio Input Sw” ON and make settings so that

the audio signals coming into your USB-connected computer are being “thru-ed” (re-transmitted), be aware that the audio signals may loop and cause oscillation. Please use caution.

This setting is not remembered when you turn off the power.

Output

Press [EXIT] to return to the Play screen.

Page 85

Copying Files or Folders via USB

Here’s how you can copy files or folders between a drive on your computer and a memory card inserted in the SP-606.

Make the USB connection (p. 83).

Insert a memory card into the card slot (p. 22).

Before using a memory card for the first time, you must format it on the SP-606 (p. 67). The SP-606

will not recognize a memory card that was formatted by another device.

Press [MENU] to get the Top Menu screen.

Use [ ][ ] to move the cursor to the “5:USB Mass Storage” line, and press [ENTER].

The

USB MASS STORAGE

Press [ENTER] to enable the USB connection.

If you decide to cancel, press [F3] (EXIT).

If a memory card is not inserted, a message of “Card Not Ready!” will appear.

screen will appear.

Chapter 13. About USB

Windows

Macintosh

To copy the desired files or folders, drag and drop them between a drive on your computer and the memory card drive shown in step 5.

Terminate the USB connection. Windows

Macintosh

users: The SP-606’s memory card will appear on Windows as a drive named “Removable Disk” inside My Computer.

users: The SP-606’s memory card will appear on the desktop as a drive icon showing the volume name of the memory card.

Do not modify, move, or delete any files or folders in the

The SP-606 will become unable to recognize the memory card if you do so.

users: Use the “Safely Remove Hardware” button shown in the taskbar at the bottom right of the screen to terminate the connection with the SP-606. Then press [F3] (EXIT) or [EXIT] on the SP-606.

users:

Drag the SP-606 drive icon into the trash. Then press [F3] (EXIT) or [EXIT] on the SP-606.

ROLAND

folder of the memory card drive.

Page 86

Chapter 14. About P606

* In order to use P606 you will need to install the included USB

driver in your computer. Refer to “Installing the USB Driver”

(p. 83).

* For details on how to use P606, refer to

* P606 will not start up unless the SP-606 is connected to your

computer using USB.

P606 Help

Installing P606

Run the program setup.exe from the included “P606” CD-

ROM. Install P606 as directed by the instructions that appear

on your screen.

Controlling P606 from the SP-606

When using the SP-606 together with P606, you can set the SP-

606 to External mode so the P606 can be controlled from the

SP-606 (p. 15).

Before You Control P606 from the SP-606

Using USB, connect the SP-606 to your computer (p. 83).

Start up P606.

On the SP-606, press [EXT] so it’s lit.

The screen will indicate “

EXT Control

.”

• Hold down [FUNC] and press pad [2] (MUTE)

Pads [1]–[16] will directly switch Mute on/off for the

identically numbered part within P606.

• Hold down [FUNC] and press pad [3] (SOLO)

Pads [1]–[16] will directly switch Solo on/off for the

identically numbered part within P606.

• Hold down [FUNC] and press pad [5] (NOTE TRIG)

Pads [1]–[16] will transmit note messages to P606; you

can use the pads to play the current part within P606.

• Hold down [FUNC] and press pad [6] (SEQ TRIG)

Pads [1]–[16] will switch to the identically numbered

current sequence within P606.

Cursor [ ][ ][ ][ ]

These buttons move the cursor within the “PART MIXER” of

P606.

•[ ] (Left) / [ ] (Right)

Press these buttons to move the cursor between parts.

•[ ] (Up) / [ ] (Down)

Press these buttons to move the cursor between

MUTE, SOLO, PAN

, and

LEVEL

SELECT

VALUE dial, [DEC][INC]

These edit the value (

cursor location.

MUTE, SOLO, PAN, LEVEL

) at the

[ENTER]

When the cursor is located at

switches the setting on/off.

MUTE

SOLO

, this button

List of Control Functions

Pads [1]–[16]

By holding down [FUNC] and pressing pads [1], [2], [3], [5], or

[6], you can select the function that the pads will subsequently

perform.

• Hold down [FUNC] and press pad [1] (PART SEL)

Pads [1]–[16] will directly select the identically numbered

part within P606.

SEQUENCER [ ] [ ] [ ] [ ] [] []

These buttons correspond to the “TRANSPORT” buttons in

P606.

CTRL 1–3 knobs, D Beam controller

These correspond to P606’s “ASSIGNABLE CONTROLS”

settings for the CTRL 1–3 knobs and D BEAM.

Page 87

Troubleshooting

This section provides points to check and actions to take when

the SP-606 does not function as you expect. Refer to the

appropriate section for the problem you are experiencing.

The Screen Display Is Not Visible, or Is Difficult to Read

If you find the screen display difficult or impossible to read,

hold down [

adjust the contrast.

KNOB ASSIGN

] and turn the

VALUE

dial to

Problems When Playing Sounds

No Sound/Insufficient Volume

Is the SP-606 correctly connected to your external equipment?

Check the connections. (p. 20)

Could your audio cables be broken?

Could you be using a cable with a built-in resistor?

Use connection cables that do not have built-in resistors (such

as the Roland PCS series).

Could the volume be lowered on the connected amp or mixer?

Adjust the volume to an appropriate level.

Could the volume of the SP-606 be too low?

Adjust the volume to an appropriate level.

Is there sound from the headphones?

If you hear sound from the headphones, the problem lies in a

broken cable or in the amp or mixer that is connected. Check

the connections and the connected devices. (p. 20)

Specific Pads Do Not Sound

Could the level of the sample be lowered?

Adjust the level of the sample. (p. 50)

Try turning off the MFX1 and MFX2 switches.

If you now hear sound, it may be that the level was being

constrained by the MFX parameters, or that the MFX type was

set to “

ENVELOPER (PAD)

appropriate settings. If the MFX type is “

(PAD)

,” striking a pad will apply an envelope so that the

sound will be heard.

.” Adjust the parameters to

ENVELOPER

The Sound Stops Unexpectedly

Could a Mute Group be specified?

Turn off the Mute Group. (p. 50)

Could “Trig Mode” be set to ALTERNATE?

If “Trig Mode” is set to

alternately play or stop each time you strike the pad. If you

want the sample to sound each time you strike the pad, set

“Trig Mode” to

GATE

ALTERNATE

SHOT

. (p. 50)

, the sample will

The Sound Does Not Stop

Could “Trig Mode” be set to SHOT?

If “Trig Mode” is set to

to its end, so that for a long sample it may seem that the sound

does not stop. If you set “Trig Mode” to

sample will alternately play or stop each time you strike the

pad. Or, if you set “Trig Mode” to

continue playing only as long as you hold down the pad. (p.

50)

Could the Loop setting of the sample be turned on?

Turn looping off. (p. 50)

SHOT

, the sample will play all the way

ALTERNATE

GATE

, the sample will

, the

In the MASTER screen, could “In Level,” “Low Gain,” or “High Gain” be lowered?

Adjust the various levels in the

appropriately. (p. 34)

Is the SP-606 in External mode?

Samples will not sound in External mode. (p. 15)

MASTERING

screen

Can’t Control the Volume by Varying Your Striking Force on the Pads

Could “Pad Velocity” be set to a fixed setting?

If you want to control the volume by varying your striking

force on the pads, you must set “Pad Velocity” to

31)

REAL

. (p.

Page 88

Troubleshooting

No Sound from a Device Connected to LINE IN

Is the [INPUT SOURCE] pad lit?

If you want to output sound from an external input source,

press the [

Is “Input Select” set to LINE?

In the

43)

Could the AUDIO IN REC LEVEL be lowered?

Adjust the

appropriate. (p. 44)

Could the level of the connected device be lowered?

Adjust the volume appropriately.

Could you be using a cable with a built-in resistor?

Use connection cables that do not have built-in resistors (such

as the Roland PCS series).

INPUT SOURCE

INPUT SETTING

AUDIO IN REC LEVEL

] pad so it is lit. (p. 25)

screen, set “Input Select” to

knob until the level is

LINE

. (p.

No Sound from a Device Connected to DIGITAL IN

Is “Input Select” set to MIC?

In the

INPUT SETTING

43)

Could the AUDIO IN REC LEVEL be lowered?

Adjust the

appropriate. (p. 44)

AUDIO IN REC LEVEL

screen, set “Input Select” to

knob until the level is

MIC

. (p.

Can’t Sample

If you’re sampling to a memory card, has the memory card been formatted by the SP-606?

Format the memory card on the SP-606. (p. 67)

Sampled Sound Contains Noise or Distortion

Is the input level appropriate?

If the input level is too high, the sampled sound will be

distorted. If the input level is too low, the sampled sound will

contain obtrusive noise. Watch the level meter displayed in

the screen, and adjust the

appropriately. (p. 44)

AUDIO IN REC LEVEL

knob

Is the [INPUT SOURCE] pad lit?

If you want to output sound from an external input source,

press the [

Has the correct setting been made in the INPUT SETTING screen?

In the

and adjust the “Digital In Level” appropriately. (p. 43)

Could the level of the connected device be lowered?

Adjust the volume appropriately.

INPUT SOURCE

INPUT SETTING

] pad so it is lit. (p. 25)

screen, set “Input Select” to

DIGITAL

No Sound from Your Computer

Make the correct “USB Audio/MIDI” settings. (p. 84)

No Sound from the Mic/Insufficient Volume

Is the [INPUT SOURCE] pad lit?

If you want to output sound from an external input source,

press the [

INPUT SOURCE

] pad so it is lit. (p. 25)

Memory-Related Problems

Data Was Not Saved Correctly

It is possible that you didn’t turn off the power correctly.

In particular, if you turn off the power while the display still

indicates “Processing ...,” not only will the data not be saved

correctly, but other data may also be damaged. The damaged

data cannot be recovered. Always be sure to turn off the

power using the correct procedure. (p. 21)

Can’t Select Data from a Memory Card

Is the memory card inserted correctly?

Shut down the SP-606, remove the memory card, and reinsert

it all the way into the slot. (p. 22)

Is the memory card of the correct type?

The SP-606 can use CompactFlash cards with a capacity of

from 16 MB through 512 MB (3.3V). No other types of cards

can be used.

Page 89

Was the memory card formatted correctly?

Only memory cards that were formatted by the SP-606 can be

used. Format the memory card on the SP-606. (p. 67)

Sequencer-Related Problems

Doesn’t Play When You Press [ ] (Play)

Have you selected a pattern or song that contains data?

A pattern or song containing no data has no measures, and

therefore playback cannot take place. Record the pattern or

song before you play it (p. 54, p. 63).

After Recording, There’s No Sound When You Play Back the Song or Pattern

Could the tracks be muted?

Un-mute the tracks. (p. 25, p. 59, p. 66)

Troubleshooting

Problems When Playing Samples from an External MIDI Device or Computer

Samples Don’t Sound

Is the cable connected correctly?

Check the MIDI or USB cable connection.

Are you transmitting the correct note for the sample?

In order to play a sample from an external device, you must

transmit the appropriate note number on the appropriate

channel.

For the correspondence between samples and note numbers,

refer to “MIDI on the SP-606.” (p. 78)

Is the Sync Mode set correctly?

If the Sync Mode is set to Slave, playback will not progress

unless Clock messages are being received from the external

MIDI device. Also, make sure that the clock transmission

source matches the Sync Source (p. 79).

Playback Lags or Is Interrupted

This can occur if a heavy processing load is being placed on

the sequence playback or sample playback. The most likely

reasons and the appropriate actions to take are as follows.

Could more than eight notes be playing simultaneously?

Try decreasing the number of notes.

Could a large amount of data be concentrated at the beginning of the beats in a pattern?

If you used step-recording to input data, or if you applied

quantization to realtime recording, it is easy for data to

become concentrated at the beginning of the beats in a pattern.

Using

MICROSCOPE

time so that the data is separated by one or two clocks.

, try shifting data located at the same

Page 90

Message Lists/ Recommended Memory Cards

Message Lists

Memory (Card)

Message Explanation Action

SYSTEM DAMAGED A serious problem has occurred in the memory

because the power was not turned off correctly. The memory has been initialized in order to recover the contents; please turn the power off and then on again.

MEMORY INITIALIZE

MEMORY RESTORE Part of the memory was damaged because the

Memory Full! The operation cannot be executed because there

Memory Damaged! The contents of internal memory were damaged. Execute the System Initialize operation (p. 80). If

Not Supported Format!

Unformatted! You inserted a memory card of a format that the

Card Damaged! The contents of the memory card were damaged. Card Ejected! You removed the card without performing the

Memory was lost because the power was not turned off correctly. The memory is being initialized.

power was not turned off correctly. The memory contents are being recovered.

is not enough remaining memory.

You inserted a card of a capacity that the SP-606 cannot use.

You are attempting to import an audio file that the SP-606 cannot import.

SP-606 cannot use.

Shutdown procedure. The contents of internal memory or the memory card may have been damaged.

You must use the correct procedure to turn off the power. (p. 21)

Delete unneeded data (samples, patterns, songs). (p. 32, p. 62, p. 65)

this does not resolve the problem, contact your dealer or a Roland service center.

The SP-606 can use CompactFlash cards with a capacity of from 16 MB through 512 MB (3.3V). Check the card you are using.

Check the points of caution regarding the import of audio files (p. 68).

Format the memory card. (p. 67)

—

Roland Corporation accepts no responsibility for the recovery of data lost from internal memory or memory card,

nor any damages resulting from such loss.

Page 91

Message Lists/ Recommended Memory Cards

MIDI

Message Explanation Action

MIDI RxError! The received MIDI message was invalid. Make sure that the MIDI device connected to the

SP-606 is operating correctly.

MIDI Buffer Full! Too many MIDI messages were received at the

same time and could not be successfully processed.

MIDI Offline! There is a problem with the MIDI cable or USB

cable connection.

Reduce the amount of MIDI messages being sent to the SP-606.

Check whether the MIDI cable or USB cable has been disconnected or broken.

Protect

Message Explanation Action

Protected Pad Bank! The operation cannot be executed because Bank

Protect is turned on.

Protected Pattern! The operation cannot be executed because the

preloaded pattern protect setting is turned on.

Either use a bank that is not protected, or defeat the Bank Protect setting. (p. 31)

Either use a pattern that is not protected, or defeat the Protect setting. (p. 58)

Other

Message Explanation Action

No Backup Data! You selected a backup file that contains no data. Select a backup file that contains data, and exe-

cute the operation again. (p. 70, p. 71)

Empty Pad! You selected a pad that contains no sample. Select a pad that contains a sample, and execute

the operation again.

Recommended Memory Cards

As of the date of writing, the following memory cards have been tested by Roland and found to operate correctly with the SP-606.

Maker

DELKIN DEVICES LEXAR CF*** 8X USB (***: card capacity) Memorex THNCF064MMA (64 MByte),

PNY TECHNOLOGIES THNCF064MBA (P-CF064-RF) (64 MByte),

PQI (Power Quotient International) FC128 (Hi-Speed) (128 MByte) SanDisk ultra series SST (Silicon Storage Technology, Inc.) SST48CF032 (32 MByte) vivanco FC032 (CFC F32) (32 MByte) hama THNCF128MMA (128 MByte),

HAGIWARA SYS-COM V series,

HITACHI C6 series

Model number

DDCFFLS-064 (eFilm) (64 MByte)

THNCF128MBA (128 MByte)

THNCF128MBA (P-CF128-RF) (128 MByte)

FC128 (Hi-Speed) (128 MByte)

Z series

Page 92

MIDI Implementation

Model: SP-606

Date: Mar. 30, 2004

Version: 1.00

1. Receive data

■

Channel Voice Messages

* For the correspondence between note numbers and pad banks, refer to “MIDI

on the SP-606” (p. 78).

●

Note Off

Status

8nH kkH vvH

9nH kkH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

kk = note number: 23H - 62H (35 - 98)

vv = note off velocity: 00H - 7FH (0 - 127)

●

Note On

Status

9nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

kk = note number: 23H - 62H (35 - 98)

vv = note on velocity: 01H - 7FH (1 - 127)

●

Control Change

❍

MFX1 Type (Controller number 12)

Status

BnH 0CH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

2nd byte 3rd byte

❍

MFX2 CTRL1 (Controller number 21)

Status

BnH 15H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX2 CTRL2 (Controller number 22)

Status

BnH 16H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX2 CTRL3 (Controller number 23)

Status

BnH 17H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX1 Switch (Controller number 24)

Status

BnH 18H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127) (0 - 63 = OFF, 64 - 127 = ON)

❍

MFX2 Switch (Controller number 25)

Status

BnH 19H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127) (0 - 63 = OFF, 64 - 127 = ON)

■

Channel Mode Messages

2nd byte 3rd byte

❍

MFX1 CTRL1 (Controller number 13)

Status

BnH 0DH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX1 CTRL2 (Controller number 14)

Status

BnH 0EH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX1 CTRL3 (Controller number 15)

Status

BnH 0FH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127)

❍

MFX2 Type (Controller number 20)

Status

BnH 14H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

2nd byte 3rd byte

* If the following channel mode message is received during realtime recording,

note-off messages will be generated for all notes on the corresponding channel

that are currently on, and those note-off messages will be recorded.

●

All Sounds Off (Controller number 120)

Status

BnH 78H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* If the All Sound Off message is received, all notes will be silenced regardless of

their channel.

●

All Notes Off (Controller number 123)

Status

BnH 7BH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When All Notes Off is received, all samples whose Trig Mode is GATE and that

are in a note-on state will be silenced, regardless of their channel.

2nd byte 3rd byte

Page 93

MIDI Implementation

■

System Common Message

●

Song Position Pointer

Status

F2H mmH llH

(mm ll: 00 00H - 7F 7FH (0 - 16383))

* This message is received if Sync Mode is SLAVE.

■

System Realtime Message

●

Timing Clock

Status

F8H

* This message is received if Sync Mode is SLAVE.

●

Start

Status

FAH

* This message is received if Sync Mode is SLAVE or REMOTE.

●

Continue

Status

FBH

* This message is received if Sync Mode is SLAVE or REMOTE.

●

Stop

Status

FCH

* This message is received if Sync Mode is SLAVE or REMOTE.

●

Active Sensing

Status

FEH

2nd byte 3rd byte

F7H EOX (End Of Exclusive)

* Even if the Device ID is 7FH (Broadcast), Identity reply message will be

transmitted.

❍

Data set 1 (DT1)

Status Data byte Status

F0H 41H, dev, 00H, 6EH, 12H,F7H

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (00H - 1FH (1 - 32))

00H 6EH Model ID (SP-606)

12H Command ID (DT1)

aaH Address MSB:

bbH Address

ccH Address

ddH Address LSB

eeH Data: the actual data to be transmitted. Multiple bytes of

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

aaH, bbH, ccH, ddH, eeH,...

ffH, sum

data are transmitted starting from the address.

2. Transmit data

* For details on the messages that are transmitted during V-LINK operation, refer

to “Chapter 10. About V-LINK” (p. 75).

■

Channel Voice Messages

* Channel voice messages are transmitted in NOTE TRIG mode.

* For the correspondence between note numbers and pad banks, refer to “MIDI

on the SP-606” (p. 78).

■

System Exclusive Message

Status Data byte Status

F0H iiH, ddH, ......, eeH F7H

F0H: System Exclusive Message status

ii = ID number: an ID number (manufacturer ID) to indicate the

dd,..., ee = data: 00H - 7FH (0 - 127)

F7H: EOX (End Of Exclusive)

●

Universal Non-realtime System Exclusive

manufacturer whose Exclusive message this is. Roland’s

manufacturer ID is 41H.

ID numbers 7EH and 7FH are extensions of the MIDI

standard; Universal Non-realtime Messages (7EH) and

Universal Realtime Messages (7FH).

Messages

❍

Identity Request

Status Data byte Status

F0H 7EH, dev, 06H, 01H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (universal non-realtime message)

dev Device ID (00H - 1FH (1 - 32))

06H, 01H Identity Request

●

Note Off

Status

8nH kkH 40H

n = MIDI channel number: 0H - 7H (ch.1 - ch.8)

kk = note number: 23H - 62H (35 - 98)

●

Note On

Status

9nH kkH vvH

n = MIDI channel number: 0H - 7H (ch.1 - ch.8)

kk = note number: 23H - 62H (35 - 98)

vv = note on velocity: 01H - 7FH (1 - 127)

■

System Common Message

●

Song Position Pointer

Status

F2H mmH llH

(mm ll: 00 00H - 7F 7FH (0 - 16383))

* This message is transmitted only if Tx MIDI Sync is ON.

2nd byte 3rd byte

Page 94

MIDI Implementation

■

System Realtime Message

●

Timing Clock

Status

F8H

* This message is transmitted only if Tx MIDI Sync is ON.

●

Start

Status

FAH

* This message is transmitted only if Tx MIDI Sync is ON or during EXT SEQ

SAMPLING.

●

Continue

Status

FBH

* This message is transmitted only if Tx MIDI Sync is ON or during EXT SEQ

SAMPLING.

●

Stop

Status

FCH

* This message is transmitted only if Tx MIDI Sync is ON or during EXT SEQ

SAMPLING.

●

Active Sensing

Status

FEH

12H Command ID (DT1)

aaH Address MSB

bbH Address

ccH Address

ddH Address LSB

eeH Data: the actual data to be sent. Multiple bytes of data are

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

transmitted in order starting from the address.

3. Parameter address map

■

Addresses Transmitted and Received When

Switching to EXT Mode

The following address is transmitted and received when switching to EXT mode.

Address

00 00 00 00

Description Data (Value)

EXT Control mode 0 (OFF),

1 (ON/PART SELECT), 2 (ON/MUTE), 3 (ON/SOLE), 4 (ON/SEQ TRIGGER), 5 (ON/NOTE TRIGGER)

■

System Exclusive Message

●

Universal Non-realtime System Exclusive

Messages

❍

Identity Reply

Status

F0H 7EH, 10H, 06H, 02H, 41H,F7H

Byte Explanation

F0H Exclusive status

7EH ID number (universal non-realtime message)

10H Device ID

06H 02H Identity Reply

41H ID number (Roland)

6EH 01H Device family code

00H 00H Device family number code

00H 02H 00H 00H software revision level

F7H EOX (End Of Exclusive)

●

Data set 1 (DT1)

Status

F0H 41H, 10H, 00H, 6EH, 12H,F7H

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

10H Device ID

00H 6EH Model ID (SP-606)

Data byte Status

6EH, 01H, 00H, 00H,

00H, 02H, 00H, 00H

Data byte Status

aaH, bbH, ccH, ddH, eeH,...

ffH, sum

Page 95

■

Addresses Transmitted by Panel Operations

■

Other Addresses Received

MIDI Implementation

The following addresses are transmitted when you operate the panel in EXT mode.

Address

01 00 00 00 TRIGGER (D BEAM) 0 (OFF), 01 00 00 01 SYNTH (D BEAM) 01 00 00 02 V-LINK 01 00 00 03 FILTER (D BEAM) 01 00 00 04 MENU 01 00 00 05 F1 01 00 00 06 F2 01 00 00 07 F3 01 00 00 08 BPM 01 00 00 09

01 00 00 0a

01 00 00 0b

01 00 00 0c

01 00 00 0d EXIT 01 00 00 0e ENTER 01 00 00 0f DEC 01 00 00 10 INC 01 00 00 11 MASTERING 01 00 00 12 MFX1 01 00 00 13 MFX2 01 00 00 14 KNOB ASSIGN 01 00 00 15 SONG 01 00 00 16 PTN 01 00 00 17 1 (TRACK) 01 00 00 18 2 (TRACK) 01 00 00 19 3 (TRACK) 01 00 00 1a 4 (TRACK) 01 00 00 1b

01 00 00 1c

01 00 00 1d

01 00 00 1e

01 00 00 1f

01 00 00 20

01 00 00 21 (reserved) 01 00 00 22 (reserved) 01 00 00 23 PAD BANK 01 00 00 24 FUNC 01 00 00 25 ROLL 01 00 00 26 CLIP BOARD 01 00 00 27 SAMPLING 01 00 00 28 HOLD 01 00 00 29 INPUT SOURCE 02 00 00 00 CTRL1 0–127 02 00 00 01 CTRL2 02 00 00 02 CTRL3 02 00 00 03 D BEAM 03 00 00 00 VALUE Increment 1–127 03 00 00 01 VALUE Decrement 04 00 00 00 PAD 1 0 (MUTE), 04 00 00 01 PAD 2 04 00 00 02 PAD 3 04 00 00 03 PAD 4 04 00 00 04 PAD 5 04 00 00 05 PAD 6 04 00 00 06 PAD 7 04 00 00 07 PAD 8 04 00 00 08 PAD 9 04 00 00 09 PAD 10 04 00 00 0a PAD 11 04 00 00 0b PAD 12 04 00 00 0c PAD 13 04 00 00 0d PAD 14 04 00 00 0e PAD 15 04 00 00 0f PAD 16

(*1): This is transmitted when you press a pad (it is not transmitted when you

release the pad). It is not transmitted for NOTE TRIG.

Description Data (Value)

1 (ON)

(CURSOR)

(TOP)

(BWD)

(FWD)

(STOP)

(PLAY)

(REC)

1 (reserved), 2 (PART SELECT), 3 (SOLO), 4 (SEQ TRIGGER) (*1)

For addresses marked by #, the data is divided into multiple pieces for reception.

Example: for Beat = 32

32 is expressed in hexadecimal as 020H. 020H is divided as [00H 02H 00H].

Address

10 00 00 00 PAD 1 LED 0 (OFF), 10 00 00 01 PAD 2 LED 10 00 00 02 PAD 3 LED 10 00 00 03 PAD 4 LED 10 00 00 04 PAD 5 LED 10 00 00 05 PAD 6 LED 10 00 00 06 PAD 7 LED 10 00 00 07 PAD 8 LED 10 00 00 08 PAD 9 LED 10 00 00 09 PAD 10 LED 10 00 00 0a PAD 11 LED 10 00 00 0b PAD 12 LED 10 00 00 0c PAD 13 LED 10 00 00 0d PAD 14 LED 10 00 00 0e PAD 15 LED 10 00 00 0f PAD 16 LED

Address

# 11 00 00 00

# 11 00 00 03 0000 aaaa EXT SEQ

11 00 00 06 00aa aaaa EXT SEQ

11 00 00 07 0000 0aaa EXT SEQ

Description Data (Value)

1 (ON), 2 (BLINK)

0000 aaaa EXT SEQ 0000 bbbb 0000 cccc

0000 bbbb 0000 cccc

Description Data (Value)

SAMPLING BPM

SAMPLING Beat

SAMPLING Meter num

SAMPLING Meter den

400 (40.0)– 2000 (200.0)

1–999

1–32

1 (2BEAT), 2 (4BEAT), 3 (8BEAT), 4 (16BEAT)

4. Supplementary material

■

Calculation of the Checksum of Exclusive

Messages

Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end

(before F7) to make sure that the message was correctly received.

The value of the checksum is determined by the address and data (or size) of the

transmitted exclusive message.

❍

How to calculate the checksum (hexadecimal numbers are

indicated by “H”)

The checksum is a value derived by adding the address, size and checksum itself

and inverting the lower 7 bits.

Here’s an example of how the checksum is calculated.

We will assume that in the exclusive message we are transmitting, the address is aa

bb cc ddH and the data or size is ee ff gg hhH.

aa + bb + cc + dd + ee + ff + gg + hh = sum

sum / 128 = quotient ... remainder

128 - remainder = checksum

(However, the checksum will be 0 if the remainder is 0.)

The SP-606 will process the data even if the received checksum is incorrect.

Page 96

MIDI Implementation Chart (INT MODE)

Model SP-606 (INT MODE) Date : Mar. 30,2004

MIDI Implementation Chart

Version : 1.00

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Function...

Default Changed

Default Messages Altered

True Voice

Note On Note Off

Key's Channel's

12 13 14 15 20 21 22 23 24 25

Transmitted Recognized

X X

**************

X X

X X X X X X X X X X

1–16 1–16

Mode 3 X

35–98 35–98

O X

X X

O O O O O O O O O O

Remarks

MFX1 TYPE MFX1 CTRL 1 MFX1 CTRL 2 MFX1 CTRL 3 MFX2 TYPE MFX2 CTRL 1 MFX2 CTRL 2 MFX2 CTRL 3 MFX1 SWITCH MFX2 SWITCH

Program Change

: True Number

System Exclusive

System Common

System Real Time

Aux Messages

: Song Position : Song Select : Tune Request

: Clock : Commands

: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset

Notes

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

**************

O *0 X X

O *0 O *1

X X X X O X

O *2 X X

O *2 O *3

O X X X O X

*0 Transmitted if Tx MIDI Sync is ON. *1 Transmitted if Tx MIDI Sync is ON, or while EXT SEQ SAMPLING is being executed. *2 Received if Sync Mode is SLAVE. *3 Received if Sync Mode is SLAVE or REMOTE.

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

Page 97

MIDI Implementation Chart (EXT MODE)

Model SP-606 (EXT MODE) Date : May 27, 2004

MIDI Implementation Chart

Version : 1.01

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Function...

Default Changed

Default Messages Altered

True Voice

Note On Note Off

Key's Channel's

Transmitted Recognized

1–8 1–8

Mode 3 X

**************

35–98

**************

O X

X X

O *4

1–16 1–16

Mode 3 X

35–98 35–98

O X

X X

O O O O

O O O O O O

Remarks

MFX1 TYPE MFX1 CTRL 1 MFX1 CTRL 2 MFX1 CTRL 3 D BEAM MFX2 TYPE MFX2 CTRL 1 MFX2 CTRL 2 MFX2 CTRL 3 MFX1 SWITCH MFX2 SWITCH

Program Change

: True Number

System Exclusive

System Common

System Real Time

Aux Messages

: Song Position : Song Select : Tune Request

: Clock : Commands

: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset

Notes

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

**************

O *0 X X

O *0 O *1

X X X X O X

O *2 X X

O *2 O *3

O X X X X X

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

Page 98

Specifications

SP-606: Sampling Workstation

Maximum Polyphony

8 voices

Maximum Sampling Time (mono, approx.)

Internal Memory

STANDARD LONG

5 min. 11 min.

* Including Pre-loaded Sample Banks

Card Memory (CompactFlash)

Card capacity STANDARD LONG

16 MB 5 min. 11 min.

32 MB 12 min. 24 min.

64 MB 24 min. 48 min.

128 MB 48 min. 96 min.

256 MB 96 min. 193 min.

512 MB 193 min. 386 min.

Sampling Mode

STANDARD/LONG

Sampling Frequency

44.1 kHz

Data Format

SP-606 original format

(.WAV/AIFF import/export possible)

Internal Memory

Samples: 128 (8 Banks)

* Including Pre-loaded Sample Banks

Card Memory

Sample: 384 (24 Banks)

Effects Section

Multi-Effects: 2 systems, 45 types

Mastering Effect: 2-bands Compressor

Sequencer Section

Mode: PATTERN, SONG

Tracks: 4

Resolution: 96 ticks per quarter note

Song Steps: 999

Songs: 25

Patterns: 140

* Including Pre-loaded Patterns

Maximum measures per Pattern: 32

Beats: 2/4–32/4

Tempo: 40.0–200.0

Pattern recording method: Realtime, Step Recording (Note/

Sample)

Maximum recordable notes: Approximately 18,000 notes

(Approx. 8,000 per Pattern)

Others

Display: 128 x 64 dots (Backlit graphic LCD)

Controllers: Control Knobs x 3, D Beam

Pads: 16 with velocity sensitivity

Connectors

Headphones Jack

Output Jacks (L (MONO), R)

Input Jacks (L (MONO)/MIC, R)

Foot Switch Jack

Digital Audio Interfaces (COAXIAL, IN/OUT)

MIDI Connectors (IN, OUT)

USB Connector (compatible with MIDI, audio and mass

storage class)

AC Adaptor Jack

Power Supply

DC 9 V (AC Adaptor)

Current Draw

1,000 mA

Dimensions

358.3 (W) x 271.2 (D) x 84.0 (H) mm

14-1/8 (W) x 10-11/16 (D) x 3-5/16 (H) inches

Page 99

Specifications

Weight

2.3 kg

5 lbs 2 oz

* Excluding AC Adaptor

Accessories

Owner’s Manual

AC Adaptor (ACI Series or PSB-1U)

USB Cable

CD-ROM (DRIVER/FACTORY DATA, P606)

Card theft prevention cover

Options

Pedal Switch (DP-2)

Foot Switch (BOSS FS-5U)

P606 System Requirements

Operating System

Microsoft® Windows® 2000/XP

CPU/Clock

Pentium®-class

Pentium® 4 1.7 GHz or higher recommended

Memory (RAM)

256 MB or more

(512 MB or more recommended)

Display

1024 x 768 pixels or higher

Hard Disk

500 MB or more

USB Port

CD-ROM Drive (required for installation)

986

• While under most conditions, a computer similar to the above will permit normal operation of the P606, Roland cannot guarantee compatibility solely on these factors. This is due to numerous variables that may influence the processing environment, such as differences in motherboard design and the particular combination of other devices involved.

962a/b

* In the interest of product improvement, the specifi-

cations and/or appearance of this unit/package are subject to change without prior notice.

Page 100

Index

AC adaptor ............................................................................ 19–20

Assign ........................................................................................... 50

AUDIO IN REC LEVEL ..................................... 17, 25–26, 43–44

Auto Trig .................................................................... 27, 44, 46–49

Backup .................................................................................... 70–71

BACKUP DELETE ...................................................................... 71

BACKUP LOAD .......................................................................... 70

BACKUP SAVE ........................................................................... 70

Bank Select ................................................................................... 77

Beat ........................................................................ 48, 51, 54, 56–57

BPM ............................................................................. 17, 25, 48, 66

BPM SYNC ................................................................................... 52

CARD FORMAT ......................................................................... 67

Card Slot ................................................................................. 18, 22

CARD UTILITY ..................................................................... 67–71

CHOP ............................................................................................ 53

CHOP SAMPLE WRITE ............................................................ 53

CLIP BOARD ......................................................................... 18, 32

Control Knob ............................................................................... 33

Copy .............................................................................................. 32

Cord Hook ............................................................................. 19–20

Count In ........................................................................................ 54

CREATE EVENT ......................................................................... 60

CTRL 1 .................................................................................... 17, 33

CTRL 2 .......................................................................................... 17

CTRL 3 .......................................................................................... 17

Cutoff High .................................................................................. 74

Cutoff Low ................................................................................... 74

D BEAM ....................................................................................... 16

D BEAM INFO ...................................................................... 72, 74

D Beam Information ................................................................... 74

D Beam Sens ................................................................................ 81

D BEAM SETTING ..................................................................... 72

DEC ............................................................................................... 17

DIGITAL .............................................................. 19–20, 25–26, 43

Digital In Level ............................................................................ 44

Effect ................................................................................. 12, 35, 45

Effect Ctrl Ch ............................................................................... 79

EFFECT INFO ........................................................................ 33–34

End ................................................................................................ 51

ENTER .......................................................................................... 17

ERASE ........................................................................................... 60

EXIT .............................................................................................. 17

EXT .......................................................................................... 18, 49

EXT Control ................................................................................. 86

EXT SEQ SMPL STANDBY ................................................. 48–49

External ......................................................................................... 15

External Sequence Sampling Standby ............................... 48–49

F1 ................................................................................................... 17

F2 ................................................................................................... 17

F3 ................................................................................................... 17

Fast-forward ................................................................................ 17

FILE EXPORT .............................................................................. 69

FILE IMPORT .............................................................................. 68

File Type ....................................................................................... 69

FILTER .............................................................................. 16, 72, 74

Foot Sw Assign ............................................................................ 81

FOOT SWITCH ........................................................................... 19

FUNC ............................................................................................ 18

Gain ............................................................................................... 74

Gate Time ..................................................................................... 56

Ground Terminal ........................................................................ 19

HOLD ..................................................................................... 18, 31

INC ................................................................................................ 17

INPUT ................................................................... 19–20, 25–26, 43

Input Select ............................................................................ 26, 43

Input Send Sel .............................................................................. 43

INPUT SETTING ................................................................... 26, 43

INPUT SOURCE ............................................................. 18, 26–27

INT ................................................................................................ 18

Internal ......................................................................................... 15

100

KNOB ASSIGN ...................................................................... 17, 33

Roland SP-606 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Main Features

Conventions Used in This Manual

An Overview of the SP-606

How the Various Sections Are Connected

Audio Signal Flow Inside the SP-606

How the SP-606 Is Organized

Playing and Performing Sounds

Switching the Mode (Internal/External)

Top, Front, and Rear Panels

Top Panel

Front Panel

Rear Panel

Connecting the SP-606 to Your Equipment

Turning the Power On/Off

Turning the Power On

Shutting Down and Turning the Power Off

Inserting and Removing a Memory Card

Inserting a Memory Card

Removing a Memory Card after Shutdown

Quick Start

Playing Samples from the Pads

How to Play a Sample

Switching Pad Banks

Adjusting the Loudness of the Sound When You Strike the Pads

Playing Patterns

Basic Procedure for Playing a Pattern

Selecting and Playing a Pattern from the Pattern List

Changing the BPM (Tempo) During Pattern Playback

Muting Individual Tracks

The Number of Samples That Can Be Played Simultaneously

Playing an Audio Input Signal

Recording Your Own Samples

Preparations for Sampling

Sampling

Editing a Sample

Looping a Sample

Changing How the Sample Plays and Stops

Reversing the Playback

Chapter 1. Playing the Pads/Making Pad Settings

Playing the Pads

Playing a Roll

Using the Sub Pad Function

Using the Hold Function

Making Pad Settings

Pad Bank Protect

Basic Procedure for Pad Utility Settings

Pad Utility Parameters

Deleting a Sample

Using the Clipboard to Copy a Sample

Chapter 2. Using Effects

Basic Effect Operation

Turning Effects On/Off

Using the Control Knobs

Choosing the MFX Type from a List

Selecting What the Effect Will Apply to (MFX Assign)

Making Mastering Settings

List of Effects

Chapter 3. Sampling

Available Sampling Time

Basic Sampling Procedure

Preparations for Sampling

Recording the Sample

Resampling

Applying an Effect While Resampling

Resampling Up to Four Existing Samples in Combination

Resampling Your Pad Performance

Using EXT SEQ SAMPLING

Sampling the Playback of an External Sequencer

Sampling a Performance from the P606

Chapter 4. Editing a Sample

Basic Procedure for Editing Sample Parameters

Sample Parameters

Specifying the Start/End Points of a Sample (Omitting Unwanted Portions)

Changing a Sample’s BPM (Tempo)

Dividing a Sample (Chop)