V
,*'
OPERATION
IVIANUAL
iiOUEfiiiAL
-1
v
SEQUENTIAL
CM620A
Publications
Department
August,
1984
MAX
MIDI
VOICE
EXPANDER/
COMPUTER
PERIPHERAL
OPERATION
MANUAL
By
Stanley
Jungleib
Sequential Sequential
,
POSTBUS16
3051
North
First
Street
3640AAMijdrecht
San
Jose,CA95134-2093
Netherlands
U.S.
A.
4'
02979-6211
408/946-5240
i
TELEX:
12721
SQNTL
NL
TELEX:
4997150
SEQCIR
MAX
MIDI
VOICE
EXPANDER/
COMPUTER
PERIPHERAL
OPERATION
MANUAL
by
Stanley
Jungleib
Manual
No.
CM620A
Issued:
October, 1984
Software
Release:
PSIXO
0 0
©1984
by
SEQUENTIAL
CIRCUITS,
INC.
All
rights
reserved.
CM620A
10/84
TableofContents
page
Preface
k
SET-UP
INSTRUCTIONS
4
1.
Connect
Audio
k
2.
Connect
Power
Transformer
*
3.
Power
On
4
Set-Up
Diagram
5
k.
Initial
Tuning
5
5.
Master
Tune
5
BASIC
PLAYING
6
1.
Play
the
Keyboard
6
2.
Select
Sounds
6
3.
Tune
6
4.
Transpose
6
Sound
Names
Chart
7
SONG
PLAYBACK
FUNCTIONS
8
1.
Start
8
2.
Stop
8
3.
Play
Live
withaSong
8
*.
Display
Track
Sound
Number
8
5.
Adjust
Speed
9
6.
Adjust
Volume
9
7.
Change
Track
Sound
10
8.
Transpose
10
9.
Erase
Track
11
10.
Erase
Song
11
MAKING
SONGS
12
1.
Maximum
Memory
Capacity
12
2.
Erase
Demo
Songs
12
3.
Set
Recording
Speed
12
4.
Record
Basic
Track
12
5.
Overdub
Tracks
13
SONG
EXAMPLE
14
"MAXimum
Blues"
16
TROUBLE?
20
GENERAL
DESCRIPTION
21
MAX
Block
Diagram
22
CM620A
10/84
Preface
This
manual
begins
with
the
procedures
needed
to set-up,
play,
and
create
songs
with
MAX.
For
quick
scanning,
control
names
areinbold
and
instructions
are
printed
all
in
capitals.
Explanatory
informationisindented
under
the
instructions.
General
remarksonthe
functional
designofthe
MAX
follow
the
instructions
(see
page
21).
NOTE:
For
all
interfacing
and
programming
information
(including
Computer
Load),
see
the
MAX
MIDIGUIDE
(MG620).
SET-UP
INSTRUCTIONS
WARNING!
Switch
power
offtoall
equipmentinuse
before
connectingordisconnecting
anything.
NOTE:
See
figureonpage
5.
1.
CONNECT
THE
AUDIO
OUTPUT.
CAUTION!Ifyou
are
usinganexternal
amplifier,
switch
the
amplifier
power
off.
NOTE:
For
best
fidelity,
the
amplifier
and
speakers
must
haveafull
frequency
range
and
adequate
power
ratings.
The
MAX
hasamonaural
(mono)
audio
output
available
from
three
jacksonthe
back
panel.
The
Main/Headphone
jack
drivesastandard
mono
phone
cable
usedtoconnect
most
instrument
amplifiers.
But
you
can
plug
stereo
headphones
into
the
Main/Headphone
jack.
Since
this
jackisa
tip-ring-sleeve
(TRS)
type,itdrives
both
sidesofthe
headphones.
TheAandB"RCA/phono"
jacks
acceptastandard
dual
cable
for
driving
the
L
andR"auxiliary'1
or
"monitor"
inputsofa
component-type
stereo
amplifier.
2.
CONNECT
POWER
TRANSFORMER.
Connect
the
transformer
cabletothe
PowerInjackonthe
MAX.
Check
that
the
MAX
Power
switchisoff.
Plug
the
transformer
intoapower
outletofthe
correct
voltage.
(The
transformer
requiresnogrounding.)
3.
SWITCH
POWER
ON.
Switch
the
MAX
Power
switchtoOn.
Switch
amplifier
poweron(if
used).
(Later,
when
you
are
done
playing,topreventa"pop"
switch
off
amplifier
power
first,
then
switch
off
the
MAX.)
CM620A
10/84
*
SET-UP
DIAGRAM
NARNIN6!
Switch
power
offtoall
equipmentinuse
before
connectingordisconnecting
anything
TO
INSTRUMENT
TO
AMP
HEADPHONES
TRANSFORMER
(included)
Connect
to correct
power
source
U.87Japan:
11SV.
Europe:
230V.
4.
OBSERVE
INITIAL
TUNING.
When
you
apply
power,
the
LEDs
for
Tracks
1-6
lightinsequenceasthe
numbers1through6appearinthe
Sound
Selection
display.
This
indicates
that
the
synthesizer
voices
are
tuning.
This
takes
about20seconds.
You
can't
play
the
MAX
and
the
recorder
will
not
operate
during
tuning.
When
initial
tuningisdone,00appearsinthe
Sound
Selection
display.
This
indicates
that
the
MAXisreadytoplay,
and
that
sound
number00(Full
Organ)
is
selected.
Song1and
Stop
are
also
lit.
This
means
that
the
multi-track
recorderisready.
5.IFDESIREDTOADJUST
MASTER
TUNE,
HOLD
Record
AND
PRESS
THE
LOWER
OR
UPPER
Track
Volume
SWITCHES.
The
pitch
will
change
very
slowly.
Use
this
"hidden
function11totune
the
MAX
toanacoustic
piano,
for
example.
CAUTION!Toprotect
speakers
(and
ears!),
first
lower
Master
Volume
all
the
way,
then,
while
playing,
gradually
raiseitto
the
desired
level.
NOTE;
For
best
signal-to-noise
ratio
when
using
external
amplifiers,
raise
Master
Volume
and
lower
the
amplifier
level.
CM620A
10/8*
BASIC
PLAYING
1.
PLAY
THE
KEYBOARD.
When
you
play
the
keyboard,
the
MAX.
should
now
produceanorgan
sound,
whichissound
number
00.Atthis
point
all
six
track
voices
play
this
same
sound.
Thisiscalled
homophonic
(same-sounding)
mode.
As
you
play
the
keys,
the
Track
LEDs
show
which
voices
are
active.
These
indicate
voice
assignment.
While
you
play,
the
computer
continuously
assigns
the
voicestothe
most
recently-played
keys.
You
can
playamaximumofsix
keysatonce.Ifyou
play
more
than
six
keysatthe
same
time,
then
the
computer
assigns
the
voicestoonly
the
latest
six
keys.
For
example,
play
and
holdC,D,
E, F,G,A. Listen
carefully
while
also
pressing
B.
Notice
that
theCdisappears
when
you
play
theB.In
other
words,
the
MAX
normally
operates
on a
"last-note
priority"
system:
each
new
note
played
is
assignedtothe
earliest-used
voice.Ifyou
strike
the
same
key
repeatedly,
the
computer
assigns
the
same
voice.
2.
TO
SELECT
SOUNDS:
ENTER
TWO
DIGITS
USING
THE
SOUND
SELECT
KEYPAD.
The
MAX
is
"ready-to-play,"
with
80
permanent
sounds.
These
presentawide
rangeofinstruments
and
effects.
Most
were
createdbySCPs
Product
Specialist,
John
Bowen,
with
some
contributions
from
other
SCI
staff.
The
SOUNDS
chartonthe
MAX
control
p^nel
lists
the
general
categories
into
which
the
sounds
are
organized.
A
complete
list isonthe
next
page.
To
selectasound,
simply
enter
the
corresponding
two
digits
using
the
SOUND
SELECT
numerical
keypad.
The
first
digit
appearsinthe
left
place.
When
you
enter
the
next
digit,
the
sound
switchestothe
new
selection.
NOTE:Assound
"locations"
80-99
are
normally
empty
(unless
they
have
been
loaded
by
an
external
MIDI
device),
when
you
try
to
enteranumber
from
80-99
the
keypad
does
not
respond.
For
more
information
on
loading
these
sound
locations
by
computer,
see
the
MAX
MIDIGUIDE.
3.
PRESS
Tune
OCCASIONALLY.
After
you
have
played
forawhile,
you
may
notice the
voices
going
outoftune.
This
occurs
because
MAX
contains
analog
oscillators
which,
like
ail
acoustic
instruments,
are
affectedbytemperature
changes.
You
may
needtoretune
periodically
as
the
MAX
warms-up.
After15to20minutes
the
oscillators
stabilize,
so
retiming
won'tberequired
very
often.
*.TOTRANSPOSE
MAX:
Hold
Transpose.
Pressakey
relativetoC.
Release
Transpose.
(MAX
is
transposed
up
to
the
selected
interval.)
To
cancel
the
transposition,
transpose
the
keyboardtoC.
(This
affects
live
playing
and
song
playback.)
CM620A
10/S4
Organ
^^
OP""
00
-
01
-
02
-
03
-
04
-
05
-
06
-
07
-
08
-
09
-
Brass
10
-
11
-
12
-
13
-
14
-
15
-
16
-
17
-
18
-
19
-
Full
Organ
Percussive
Organ
I
Percussive
Organ
II
Organ
Flutes
Light
Leslie
High
Organ
Flutes
Percussive
Organ
III
Fast
Leslie
Chorale
Organ
I
Chorale
Organ
II
Brass
I
Brass
II
Brass
with slow
attack
Cornet
Brassy
with
vibrato
Punchy
high
brass
Digi-horn
Concert
Brass
I
Concert
Brass
II
Tuba
Strings/Woodwinds
20
-
21
-
22
-
23
-
24
-
25
-
26
-
27
-
28
-
29
-
Strings
I
Strings
II
Strings
III
Strings
IV
String
Swell
Pennywhistle
Clarinet
Woodwind
I
Woodwind
II
Flute
Keyboards
30
-
31
-
32
-
33
-
34
-
35
-
36
-
37
-
38
-
39
-
Piano
I
Clavet
Harpsichord
•
Piano
II
Electric
Piano
Synth-clav
I
Synth-clav
II
Acoustic Piano-Part
1
Acoustic
Piano-Part
2*
Deep
Clav.
SOUND
NAMES
Bass/Percussion
40
41
42
43
44
45
46
47
48
49
-
String
BassI.
-
String
Bass
II
-
Res-bass
I
-
Res-bass
II
-
Clav-bass
-
Synth-bass
-
Snare
Drum
-
Log
Drum
-
Bass
Drum
-
Syn-Tom
Synthesizer
I
50
51
52
53
54
55
56
57
58
59
-
Synth,
with
resonance
-
Loris
-
Pulse
Width
Mod.
I
-
Seraphim
-
Echo
I
-
Full
Synth.
-
Razor
Sharp
-
Poly
Glide
-
BezMod
-
Plucky
Synthesizer
II
60
61
62
63
64
65
66
67
68
69
-
Pleides
Zarene
-
Harp
-
Echo
II
-
High
3osef
-
Ariel
-
Power
Pack
-
Vocalings
-
Pulse
Width
Mod.
II
Miridium
Special
Effects
70
71
72
73
74
75
76
77
78
79
-
Wind
-
Meow
-
Space
Chimes
I
-
Percussive
Noise
-
Chirp
Dive
-
UFO
-
Square
Wave
Spacey
-
Space
Chimes
II
-
Alien
-
Alien
Wind
♦For
use with
//38
over
MIDI.
Computer
Load
80-99
(see
MAX
MIDIGUIDE)
CM620A
10/84
SONG
PLAYBACK
FUNCTIONS
Before
tryingtorecord
songs,
familiarize
yourself
with
the
playback
functions
explainedinthis
section.
NOTE:
The
MAX
does
not
remember
songs nor
any
song
adjustments
suchasspeed
or
track
volume,
while
powerisoff.
But
every
time
powerisswitched
on,
two
short
demonstration
songs
are
automatically
created.
You
can
play
these
songstoshow
that
the
MAX
is
properly
connected
and
operating
correctly.
Because
they
are
always
available
when
power
goes
on,wewill
use
these
"demo"
songs
for
examplesinthe
instructions
below.
1.TOSTART
PLAYBACK:
SELECT
DESIRED
SONG THEN
PRESS
Start.
a.
Stop
mustbelit.
Select
Song1or
Song
2.
b.
Press
Start.
The
selected
song
starts
playing-back.
2.TOSTOP
PLAYBACK:
PRESS
Stop.
Songs
always
repeat
continuously
until
stopped.
Each
repetitioniscalled
a
"loop."
During
playback,
those
Track
LEDs
light
for
tracks
which
are
recorded
in
the
song.
For
example,
Demo
Song1uses
all
six
tracks.
While
Demo
Song
1
plays,
all
Track
LEDs
are
lit.
Demo
Song
2 also
uses
all
six
tracks.
(Demo
Song
2isnot
reallyasong,
butasound
effects
piece.)
You
must
stop
one
song
before
you
can
start
the
other.Inother
words,toswitch
songs,
Stop
mustbelit.
At
the
endofeach
loop,
the
Track
LEDs
blink.
3.
DURING
SONG
PLAYBACK,IFANY
TRACKS
ARE
NOT
LIT,
YOU
CAN
PLAY
THE
KEYBOARD
"LIVE,"
USING
THE
SOUND
WHICHISCURRENTLY
SELECTED.
If
any
trackisnot
lit,
this
trackisavailable
for
live
accompaniment.
Since
both
demo
songs
use
all
tracks,
you
can't
play
along
with
them
until
you
erase
a
track
(see
page
11).
4.TODISPLAYATRACK'S
CURRENT
SOUND
NUMBER:
PRESS
THE
DESIRED
Track
SWITCH.
If
you
have
just
switchedonthe
MAX,
for
example,
the
sound
selectionis00.
Did you
notice
that
although
the
MAX
displays
00,
neither
demo
song
uses
this
organ
sound?
Thisisbecause
the
multi-track
recorder
operates
multi-timbrally
(as
opposedtohomophonically).
Songs
can
have
different
sound
selections
for
each
track.
For
example,
with
Song1lit,
press
Track1.48
appears.
Thisisthe
number
of
the
sound
(Bass
Drum)
which
Track1usesinDemo
Song1.When
you
release
the
Track
switch,
the
display
returnsto00
(or
whatever
the current
sound
selection
is).
Press
the
other
Track
switches
and
you
learn
that
for
Demo
Song1the
tracks
have
these
sounds:
CM620A
10/84
8
Track
2
3
5
6
Sound
Number
48
46
44
07
07
64
Sound
Name
Bass
Drum
Snare
Drum
Clav
Bass
Fast
Leslie
Fast
Leslie
High
Josef
With
Song2selected,
press
the
Track
switchestodisplay
the
sound
assignments
in
Demo
Song
2:
Track
1
2
3
4
5
6
Sound
Number
77
79
79
78
70
52
Sound
Name
Space
Chimes
II
Alien
Wind
Alien
Wind
Alien
Wind
Pulse
Width
Mod
I
Ifatrack
has
not
been
recorded,
when
you
press
its
switch,
the
display
continuestoshow
the
current
sound
selection.
This
demonstrates
that
unrecorded
tracks
(which
are
available
for
live
playing)
use the
current
sound
number.
5.TOADJUST
PLAYBACK
SPEED:
USE
THE
SPEED
SWITCHES.
a.
With
the
desired
song
selected
(whether
startedorstopped),
hold
the
upper
or
lower
Speed
switches.
When
you
press
either
Speed
switch,aspeed
value01-
61
is
displayed.
b.Toraiseorlowerbyone
speed
increment,
tap
either
Speed
switch.
The
song
always
playsatthe
speedtowhichitwas
last
adjusted
(unless
you
have
switched
power
off).
For
example,
select
Song1.Press
the
upper
Speed
switch.
The
display
counts
up
from
04.04is
the
initial
speed
valueofDemo
Song1.If
the
songisrunning,
it
gets
faster.Toreduce
speed, hold
the
lower
Speed
switch.
Now
select
Demo
Song2and
adjust
its
speed.
Notice
thatithasaninitial
speed
valueof06.
6.TOADJUSTATRACK
VOLUME:
HOLD
DESIRED
Track
SWITCH
WHILE
TAPPING
OR
HOLDING
EITHER
Track
Volume
SWITCH.
a.
Start
playback.
b.
Hold
oneofthe
lit
Track
switches.
c.
Use
the
upper
or
lower
Track
Volume
switches.
When
you
press
either
track
volume
switch,
the
MAX
displays
a
volume
value
00-15.
When
you
release
the
Track
Volume
switch,
the
MAX
displays
the
track's
sound
number.
d-
To
raise
or
lower
by
one
volume
increment,
tap
the
Track
Volume
switches.
CM620A
10/84
9
e.
The
track
always
plays
at
the
volume
to
which
it
was
last
adjusted
(unless
you
have
switched
power
off).
During
playback
you
can
adjust
the
"mixture"
of
the
track
volumes.
For
example,
start
Demo
Song
1.
Hold
Track6(which
is
lit)
and
the
lower
Track
Volume
switch.
The
volume
of
the
lead
line
drops
as
the
display
counts
down
from
15.
When
it
reaches
00,
you
can
not
hear
the
track
and
it
is
said
to
be
"muted."
Now
stop
Demo
Song1and
start
it
again.
Track6is
lit,
but
you
do
not
hear
the
lead
line.
Keep
this
in
mind
asareminder
to
check
the
track
volume
whenatrack
appears
to
be
off.
Now
raise
the
volume
of
track6by
holding
its
switch
and
the
upper
Track
Volume
switch.
(Each
song
has
independent
volumes.
In
other
words,
if
song1volumes
are
adjusted,
song2is
not
affected.)
Adjust
the
volume
of
the
other
tracks
in
Demo
Songs1or
2.
You
can
emphasize
or
demphasize
any
of
the
tracks,
to
make many
variations
of
one
song.
SELECT
NEwfoCND^01^'5
S°UND* SWITCH
*****
°N'
SELECT
TRACK(S)'
THEN
a.
Select
song.
Stop
or
Start
can
be
lit.
Switch
Record
on.
It
blinks.
b.
Press
the
Trade
switch
for
the
track
(or
tracks)
you
want
to
change.
It
(or
they)
blink,
too.
If
the
song
is
playing,
when
the
current
loop
ends,
the
Record
LED
stops
blinking.
Ignore
this.
(You
will
learn
more
below
about
this
indication.)
c.
Enter
the
two
digits
for
the
desired
sound
(even
if
the
sound
number
is
already
displayed).
While
Record
is
on
or
the
Track
LEDs
are
blinking,
you
can
try
several
sound
selections.
d.
Switch
Record
off.
e.
Start
playback.
The
tracks
now
have
the
new
sound.
Experiment
with
changing
the
track's
sounds
in
the
two
demo
songs.
Verify
the
changes
(by
simply
pressing
the
Track
switches).
THEN
PRESS
A KEY
WHICHIS
a.
Start
the
song.
b.
Hold
Transpose.
f•Select
the
transP°se
interval
by
pressing
a
key
in
relationship
to
Middle
C.
(The
transpose
rangeisone
octave
above
the
original
key.)
For
example,
pressing
anyFtransposes
upaperfect
fourth,
while
pressing
any
B-flat
transposes
upaminor
7th,
andsoon.
d.
The
song
plays
as
transposed,
until
you
cancel
the
transposition
(or
power
goes
off).
To
cancel
the
transposition,
simply
transpose
the
song
back
to
Middle
C
(hold
Transpose
and
press
any
C).
CM620A
10/8*
10
9.TOERASEATRACK
FROMASONG:
SWITCH
Erase
ON,
THEN
PRESS
THE
Track
SWITCH.
a.
Select
song.
b.
The
song
can
be
running
or
stopped.
'
c.
Press
the
Erase
switch.Itblinks.
d.
Press
the
switch
for
the
track
you
wanttoerase.Ifthe
song
was
running,
it
stops.
CAUTION!
When
Erase
blinks,donot
press
any
SOUND
SELECT
switches.
If
you
do,
you
may
lose
your
songs.
For
more
informationonMIDI
coded
functions,
see
the
MAX
MIDIGUIDE.
e.Toerase
another
track,
repeat
from
step
b.
For
example,
select
Demo
Song1and
erase
track6.You
now
have
an
unrecorded
tracktouse
for
live
playing.
When
Eraseison,besuretopress
the
correct
Track
switch,oryou
may
accidentally
eraseapart
you
wantedtokeep.
When
you
erase
the
last
trackofa
song,
the
speedisnot
erased.
10.
TO
ERASEASONG:
SWITCH
Erase
ON,
THEN
PRESS
THE
SONG
SWITCH.
a.
Select
song
you
wanttoerase.
b.
Either
StoporStart
canbelit.
c.
Press
the
Erase
switch.Itblinks.
CAUTION!
When
Erase
blinks,donot
press
any
SOUND
SELECT
switches.
d.
Press
the
song
switch.
e.
Press
Start.
Nothing
plays,
proving
that
the
songiserased.
NOTE;Asdiscussed
in
the
next
section,
every
time
you
switch
power
on,
you
must
first
erase
the
two
demo
songs
before
you
can
create
your
own
songs.
Otherwise
you
will
onlybemakinganoverdub
over
the
demo
songs.
Erase
both
demo
songs.
Switch
power
off,
then
back
on.
The
demo
songs
are
back!
Erase
both
demo
songs
again.
Now
press
the
lower
Speed
switch.
This
displays
a
speed
settingof32.
Unlike
erasingasong's
last
track,
erasingasong
sets
the
speedto33.
CM620A
10/8*
11
MAKING
SONGS
Having
covered
the
playback
functions,wenow
turntorecording
and
overdubbing.
NOTE:
Remember
that
whenever
ypu
switch
power
off,
all
song
informationinthe
MAX
is
erased.
Therefore
you
may
wanttouseanexternal
MIDI
device
for
song
storage.
(For
more
information,
see
the
MIDIGUIDE.)
It
maybea
good
ideatoat least
audio-record
any
song
into
which
you've
putalotofwork.Ifyoua)trust
someonetonot
accidentally
disconnect
it,
andb)trust
your
power
sourcetoremain
uninterrupted,
leaving
your
MAX
on keeps
the
songsinmemory.
This
costs
about
two
cents
per
day.
1.
THE
MAX
STORESAMAXIMUMOF500
NOTES.
WHEN
CAPACITYISREACHED,
RECORD
MODE
SWITCHES
OFF
AUTOMATICALLY.
You
can
create
more
spacebyerasing
undesired
tracksineither
song,orby
erasing
the
other
song
entirely.
2.TORECORDANEW
SONG:
FIRST
ERASE
CURRENT
SONG.
Because
the
demo
songs
are
created
each
time
you
switch
power
on,
you
have
to
specifically
erase
them
before
you
can
makeasong.
(For
instructions,
see
the
previous
page.)
Whenever
you
eraseasong,
the
speedisinitially
setto33
(medium).
(All
track
volumes
are
settothe
valueofthe
voice
volume
parameterofthe
selected
sound.
For
more
information
on
sound
parameters,
see
the
MIDIGUIDE.)
3.IFDESIRED,
ADJUST
SPEED
CONTROL.
If
you
leave
the
recording
speed
setto33
(the
"default"
value),
you
may
not
have
enough
speed
control
rangetoallow
the
songtoplay
really
quickly.Soif
you
know
that
you
are
goingtowanttosignificantly
increase
the
speed,
preset
the
speedtoabout10or
20.
Then
you
will
have
ample
rangetospeed
things
up.
*.TORECORD
BASIC
TRACK:
The
basic
trackortracks
are
the
first
recordedina
song.
They
determine
the
song
length.
Therefore
you
usually
use
the
basic
tracks
for
the
rhythmicorbass
foundations
ofasong,
butofcourse
you
can
record
anything
you
want.
a.
Select
and
erase
Song1or
Song
2.
b.
Select
sound
desired
for
this
first
trackortracks.
c.
Switch
Record
on.Itblinks.
Track1blinks.
d.
One
track
can
only
play
one
noteata
time.Ifyou need
more
than
one
voice
for
the
basic
track,
switchonadditional
Track
switches
(2,3,etc.).
e.Ifyou
decidetonot
record,
you
can
switch
Record
off
now.
f.Tobegin
recording,
press
Start.
Record
lights
solidly,
indicating
record
mode.
But
actual
recording
has
not
yet
started.
CM620A
10/84
12
g.
Play
the
notes
for
the
basic
track(s).
Recording
starts
automatically
with
the
first
note
you
play.
i.Tostop
recording,
in
time
with
the
desired
ending,
either:
1.
Press
Record,
switching
it
off.
The
track(s)
play
back,
or,
2.
Press
Stop.
The
tracks
do
not
playback.
(If
desired,
press
Start.)
NOTE:Ifthe
endingofthe
song
was
not
recorded
correctly,
the
song
will
not
loop
in
correct
time.
To
correct,
erase
the
track
and
re-record.
(It
may
take
a
little
practice
to
get
used
to
endingasong
at
the
correct
time.)
5.TOOVERDUB
TRACKS:
You
can
overdub
either
while
the
soneisin
playback
(Method
1),orexactly
from
the
beginning,
whenitis
stopped
(Method
2):
Method
1
a.
Select
and
start
song.
b.
Adjust
playback
speedtodesired
rate.
c.Ifdesired,
adjust
volumesoftrack(s)
which
are
playing
back.
d.
Select
the
sound
desired
for
this
overdub.
(You
can
try
various
sounds
by
playing
liveonthe
keyboard.)
e.
Switch
Record
on.Itblinks.
f.
Switchondesired
overdub
tracks.
Note:
Record
and
these
Track
switches
now
blink,
but
only
until
the
endofthe
current
loop.
During
this
first
loop,
while
Record
blinks,
anything
playedonthe
keyboardisignored.
g.
While
Record
blinks,
hold
keys
for
any
notes
which
you
wanttorecord
exactlyatthe
startofthe
song.
h.
When
this
loop
ends,
Record
lights
and
recording
begins
when
you
play.
i.
Play
the
overdubbed
part
through
the
current
loop.
When
the
loop
ends,
the
overdubbed
tracks
play
back
with
the
others.
j.Tooverdub
more
tracks,
repeat
from
step
b.
Method
2
a.
Select
the
song.
b.
Switch
Record
on.
c.
Switchontrackstobe
recorded.
d.
Hold
key(s)
for
downbeat
note(s)
(if
any).
e.
Press
Start.
Note
thatispossibletooverdub
notesona track
which
you
have
already
already
recorded.
(For
more
practical
information
on
overdubbing,
see
the
example
which
follows.)
CM620A
10/84
13
SONG
EXAMPLE
This
section
shows
howtomulti-track
recordacomplete
song,
"MAXimum
Blues,"
to
demonstrate
the
various
techniques
used—whether
you
wanttoworkonBachorrock.
We
choosea12-bar
bluesinF,
becauseawide
cross-section
of
players
are
familiar
with
this
form.
Before
attemptingtorecord
the
song,
you
may
wanttopractice
the
partsatleast
one
voiceata
time
(see
page
16).
NOTE:
For
instructions
on
synchronous
MIDI
operation
with
the
Drumtraks,
see
the
MAX
MIDIGUIDE.
1.
DECIDE
THE
BASIC
ARRANGEMENT
AND
SOUNDS.
As
you
know
from
reading
the
playback
instructions,
you
can
changeatrack's
soundatany
time.
Yetitis
besttorecord
using
the
desired
sound,
because
of
the
interaction
between
the
characteristics
of
the
sound
and
the
exact
way
that
you
play
it.
We
choose
the
following
sounds:
Track
1
42
Res-bass
I
Track
2
07
Fast
Leslie
Track
3
07
Fast
Leslie
Track
4
07
Fast
Leslie
Track
5
60
Pleides
Track
6
11
Brass
II
2.
ESTIMATE
THE
NUMBEROFNOTES.
Youdonot
needanexact
count,
just
enough
information
to
tell
you
that
what
you
haveinmind
won't
exceed
500
notes.
Lookingattrack1of
the
score,
we
find
four
notes
per
bar,
foratotalof48.
Tracks
2, 3,
and4each
have
fifteen
notes,
makingatotalof93
(48+45).
Track5has
30.
This
makes
123
total
notes-
-weil
under
the
limit
and
with
enough
extra
for
anything
you
may
want
to
record
under
track
Sfor
asasecond
song
3.
ERASE
SONG.
We
are
goingtouse
song2.With
Stop
lit,
press
Song2.Switch
Erase
on.
It
blinks.
This
means
"Warning."
Press
Song2.Erase
turns
off.Toverify
that
song
2isempty,
press
Start—nothing
happens.
4.
SET
SPEEDTO15.
Of
courseamain
benefitofusing
the
recorderisthat
you
can
recordata
much
slower,
error-free
speed,
then
raise
the
speed
for
playback
(without
any
pitch-
changeasthereiswith
audio
tape).
To
increase
the
maximum
playback
speedofthe
song,
recorditwithalow
initial
speed
value.
For
this
example,
press
the
lower
Speed
switchtodecrease
the
value
from33to
15.
CM620A
10/84
14
5.
TUNE
UP.
Don't
forgettopress
Tune
occasionally.
6.
SELECT
SOUND
42.
This
bass
soundisused
for
recording the
basic
trackontrack
1.
7.
SWITCH
Record
ON.
Record
and
Track1both
blink.
If
you
decide
to
not
record,
you
can
switch
Record
back
off at
this
point.
8.
START
YOUR
METRONOME.
Especially
when
laying
downabass
line
such
as
this
track
it
is
important
to
play
atasteady
rate.
If
you
vary
the
timing
of
this
part,
it
may
sound
nice
by
itself
but
unless
you
remember
exactly
what
you've
done
it
may
be
impossible
to
later
synchronize
the
other
trackstoit.
9.
PRESS
Start.
Record
goes
solid.
10.
PLAY
THE
BASS
LINE.
Because
this
sound
is
very
low,
you
should
play
it
on
the
keyboard
one
octave
higher
than
written.
Recording
starts
with
the
first
note
you
play.
Concentrate
on
placing
the
notes
directly
on
each
beat.
When
you
get
to
measure
10.
prepare
to
press
the
Record
switch.
c—c—
11.
PRESS
Record
EXACTLY
ON
WHAT
WILL
BE
THE
FIRST
BEAT
OF
THE
NEXT
LOOP.
THE
BASS
LINE
PLAYS
BACK.
Recording
the
ending
is
very
important
to
makingaloop
that
repeats
accurately.
Itiseasytodo
but
may
takealittle
practice.
All
you
havetodo
is,
after
counting
1,
2,
3,4for
measure
12,
press
Record
on
beat1of
measure
13
(which
becomes
the
first
beat
of
measure
1).
During
playback
you
may
hear
that
some
notes
have
an
initial
"pluck,"
while
others
do
not.
This
results
from
playing
two
keys
at
once.
When
recording
one
track,
if
you
press
two
keys
at
the
same
time,
however
briefly,
the
MAX
only
records
the
last
key
played.Toensure
that
each
note
receives
its
proper
articulation,
you
have
to
be
careful
to
play
very
cleanly--not
staccato,
but
not
too
legato,
either.
CM620A
10/8*
15
n
2
8
o
00
MAXIMUM
BLUES
Blues—Any
Tempo
F7«9
Bb13
Improviseonblues
scale:
F7«9
F7#9
Bb13
2/.
1/_
[♦Player/Sound
Number]
ty
Stanley
Bb7
E
O
CM620A
10/84
17
12.IFTHE
BASIC
TRACKISNOT
CORRECT,
ERASE
THE
TRACK,
THEN
RE-
RECORD.
The
only
waytocorrectanendingisto
erase
the
track
then
re-record
the
track.Itis
worthittobepatient
and
take
the
timetoget the
basic
track
just
right.
If
you
erase
just
track1,the
speed
remains
setto15.
Butifyou
erase
the
song,
speedisinitialized
to
33.
13.IFTHE
BASIC
TRACK
IS
CORRECT,
SELECT
SOUND
NUMBER
07
(FOR
OVERDUBBING
TRACK
2).
To
makeaclean
opening,
you
should
record
overdubs
with
start-correction.
There
are
two
waystodo
this;
either
with
the
song
running,orwithitstopped.
We
will
record
track2with
the
song
running
(Method
1),
then
record
tracks
3
and4fromastop
(Method
2).
14.
JUST
AFTER
THE
LOOP
STARTS,
SWITCH
Record
ON.
At
this
point
the
songisin
playback.
15.
SWITCH
Track2ON.ITBLINKS,
TOO.
After
you
press
Track2,Record
continuestoblink
only
through
the
endofthe
current
loop.
The
recorder
plays
through
the
looptogive
you
timetoget
ready
to
record.Ifyou
hit
the
keyboard
while
the
LEDs
are
blinking,
nothing
is
recorded. Butifyou
playorhold
any
keysatthe
endofthis
loop,
they
are
automatically
recorded
exactlyonthe
first
beatonthe
new
recording
loop.
(This
autocorrect
downbeat
recording
is
only
possible
on the
first
loop
after
you
activate
Record.Onfollowing
loops,besuretoplay
overdub
notes
just
after
the
start of
the
song.)
16.
WHILE
RecordISBLINKING,
HOLD
THE
OPENING
NOTE
FOR
TRACK2(WHICH
IS
AN
"A").
WHEN
THE
BEGINNING
OF
THE
SONG
COMES
AROUND,
RECORDING
STARTS.
PLAY
THROUGHTOTHE
END.
17.
WHEN
THE
END
(OF
THE
BASIC
TRACK)
APPEARS,
TRACK2PLAYS-BACK
AUTOMATICALLY.
18.IFTRACK2IS
NOT
CORRECT,
ERASEITAND
RE-RECORD.
You
can
play
the
keyboard
now,
using
voices
(tracks)
3-6,
without
anything
being
recorded.
19.
WHEN
TRACK2IS
RECORDED,
LOWER
ITS
VOLUMETOA
VALUEOF8.
This
makesiteasiertohear
the
bass
line
when
overdubbing
tracks3and
4.
CM620A
10/84
18
20.
STOP
THE
SONG.
PREPARETORECORD
TRACKS3AND
4.
The
advantageofrecording
more
than
one
trackata
timeisthatbypiaying
simultaneously
you
can
add
rhythmic
nuances
which
maybemore
difficult
to
create
one
trackata
time.
Note
that
since
tracks1and2were
recordedondifferent
loops,
you
know
exactly
which
notes
each
track
plays.Ifyou
erase
track2,for
example,
this
has
no
effectonthe
bass
line.
But
when
two
tracks
are
recordedatthe
same
time,
they
may
exchange
parts,
dependingonexactly
how
you
play
the
keyboard.Soif
you
makeanerrorinone
part,
you
may
havetoerase
both
tracks
and
start
over
(because
you
can't
always
predict
which
track
records
which
note.)
If
this
pointisunclear
now,
withalittle
more
practice
you
will
learn
how
to
best
apply
your
own
keyboard
technique.
The
best
waytomake
sure
that
you
record
notesonone
track
"in
sync"
with
another
trackisto play
them
allinthe
same
loop.Ifnecessary,
you
can
later
change
the
track's
sound.
21.
THE
SOUND
SELECTIONISSTILL
07.
If
you
wishtochange
the
sound,
you
candoit
now.
22.
SWITCH
Record
ON.
Tracks1and2light
because
they
have
already
been
recorded.
23.
SWITCH
TRACKS3AND4ON.
They
blink
because
they
are
readytorecord.
2*.
HOLD
THE
OPENING
NOTES
FOR
TRACKS3(E-FLAT)
and4(G-SHARP).
Although
you
play
the
keyboard,
nothingisheard.
Butbeprepared,
because
recording
starts
when
you
press
Start.
Recording
from
stopinthis
way
starts
all
opening
notes
exactlyonthe
first
beat,
without
your
needingtolistentothe
entire
song
loop.
25.
PRESS
Start.
RECORDING
STARTS
IMMEDIATELY.
PLAY
PARTS3AND
*
THROUGHTOTHE
END.
Again,
when
the
endofthe
song
occurs,
all
recorded
tracks
play
back.
26.
FOR
BETTER
BALANCE,
ADJUST
VOLUMESOFTRACKS3AND*DOWN
TO
ABOUT
8.
27.
SELECT
SOUND
NUMBER
60,
FOR
TRACK
5.
28.
RECORD
THE
MELODY
FOR
TRACK5,USING
EITHER
THE
RUNNING
OR
STOPPED
METHOD.
CM620A
10/84
19
29.
AFTER
RECORDING,
ADJUST
VOLUMEOFTRACK
5.
You
can
turnitall
the
way
down,togive
youaversionofthe
song
without
the
melody.
30.
WITH
THE
SONG
PLAYING,
SELECT
SOUND11(OR
ANYTHING
ELSE
YOU
WANT
TO
TRY),
AND
PLAY
ALONG
LIVE
WITH
THE
SONG.
Or,ofcourse,
you can
record
track6,too.
Possibilities
for
this
track
might
include
percussion,analternate
bass
line,analternate
melody,oreven
more
harmonic
density.
31.IFDESIRED,
TRANSPOSE THE
SONG,
Now
you
can
haveablues
versioninany
key.
32.
FOR
PRACTICE,
TRY
THE
FOLLOWING:
Erase
the
song
anddoit
all
again.
Change
the
sounds
for
any
track.
Try
recording
tracks2,3,
and4allatonce—inserting
rhythm
and
syncopation
insteadofthe
held
chords.
Record
your
own
harmonies
and
melodies
over
the
bass
line.
TROUBLE?
Power
If
the
MAXisreceiving
power,itdisplays
sound
numbers.Ifno
LEDs
are
lit,
either
the
MAXisnot
switched
on,orpowerisnot
reaching
the
unit.
Check
the
power
source
by
plugginginother
equipment.
Examine
the
transformer
cable
for
damage.
Thereisno
fusetocheck.
Audio
If
the
Sound
Selection
display
lights
butnosoundisheard,
check
that
Master
Volume
is
turned
up.
Check
that
track
volumes
are
not
set
too
low.
Test
the
synthbysimply
connecting
stereo
headphones
directlytothe
output.
Try
substituting
the
audio
output
cable
with
one
known
to
be
good.
Check
your
amplifier
by
tryingahigh-level
audio
input
suchasanother
synthesizer
or
tape
deck.
Control
If
the
keyboardorcontrols
"lock
up,"
check
that
you
are
not
makinganoperational
error.Ifnecessary,
reset
the
computerbyswitching
power
off,
then,
afterafew
moments,
back
on.
Note
that
this
erases
any
song
information
in
memory.
If
the
recorder
does
not
work,
check
that
the
MIDI
clock
has
not
accidentally
been
enabled.Ifthe
MIDI
clock
has
been
enabled,
pressing
either
Speed
switch
displays
a
speedof00.Todisable
MIDI
clock
(and
restore
the
internal
clock),
hold
Record
and
press
the
lower
Speed
switch.
If
the
keyboard
does
not
play
and
you
want
to
try
to
save
songs,
press
Erase
then
enter
31.
This
enables
"local
control"
if
it
has
somehow
been
turned
off.
(For
more
information,
see the
MIDIGUIDE.)
CM620A
10/8*
20
GENERAL
DESCRIPTION
A
compact,
affordable
musical
tool,
the
MAX
contains
functions
until
now
provided
only
by a
synthesizer
in
combination
withamulti-track
tape
recorder.
The
block
diagram
(next
page)
shows
the
main
sub-sections:
keyboard,
recorder,
sound
memory,
voices,
and
MIDI.
Using
this
asabasis
for
discussion,
we
trace
backwards
from
the
audio
output,tosee
how
the
sub-sections
work
together.
The
audio
output
comes
from
the
six
independent
synthesizer
voices.Incontrast
to
homophonic
synthesizers,
which
program
each
voice
with
the
same
sound,
each
of
the
MAX's
voices
can
haveadifferent
sound.
Each
voice
hasamulti-waveform
oscillator
(or
noise)
as
the
principal
sound
source.
The
oscillator
drivesaresonant
low-pass
filter
which
contours
the
timbre,
and
an
amplifier
which
contours
the
dynamics.
There
are
three
attack-decay-su
stain-release
(ADSR)
envelope
generators:
for
oscillator
frequency,
filter
cutoff
frequency,
and
amplifier
gain.
(The
polarity
of
the
first
two
can
be
inverted.)
A
triangle-
or
square-wave
low
frequency
oscillator
(LFO)
can
modulate
oscillator
frequency,
pulse
width,orfilter
frequency.Asecond
modulation
route
runs
from
the
oscillator
triangle
outputtothe
filter
frequency,
for
frequency
modulation
(FM).
Frequency
glide
("portamento")
and
voice
volume
are
programmable.
A
voice
has
two
typesofinputs.
First
are
the
sound
parameters
from
the
sound
memory.
These
operateonthe
synthesizer
voicestodefine
the
track's
timbre—in
other
words,
the
instrumental
sound.
The
parameter
memory
contains
80
permanent
sounds
(in
ROM).
You
can't
change
these
sounds.
But
the
RAM
area
of
memory
accepts
up
to
20
sounds
which
can
be
loaded
from
an
external
MIDI
device.
For
example,
you
can
use
the
SCI
Model
610
Six-Traktodevelop
custom
sound
programs,
then
send
themtothe
MAX
over
MIDI.
(For
more
informationonprogramming
sounds,
please
see
the
MAX
MIDIGUIDE.)
The
MAX
sounds
canbeselected
either
with
the
keypadorbyaMIDI
sound
selection
command.
The
second
type
of
input
toavoice
are
the
notes.
Notes
tell
the
voice
when
to
play
and
what
pitch
to
play.Avoice
can
be
played
by
notes
coming
from
three
sources:
the
keyboard,
the
recorder,
and
MIDI.
When
playing
the
MAX
keyboard
"live,"
the
six
voices
are
each
programmed
with
the
same
sound
(homophonic
mode).
Live
multi-timbres
are
not
possible
because
the
MAX
cannot
know
which
keystrokes
you
intend
for
which
timbres.
But
the
recorder
can
record
whatever
you
play
on
the
keyboard
asaseparate
track
using
its
own
voice.Soeach
track
canbeoverdubbed
withadifferent
sound.
The
recorder
allows
overdubbing
and
editing
without
re-recording,
splicing,
or
accumulating
noise
and
distortion
by
"mixing-down"
and
"bouncing"
audio
tape
tracks.
Lastly,
the
voices
can
also
play
notes
coming
in
from
MIDI,
which
may
be
from
another
synthesizerorexternal
sequencer.
Both
the
sound
RAM
and
the
song
memory
are
volatile—they
lose
memory
when
you
switch
power
off.
To
save
songs
permanently,
you
can
"dump"
them
to
the
external
MIDI
recorder.
The
MAX
can
send
live
notes,
recorded
notes, or
sounds
out
to
MIDI.
For
example,
SCI's
Model
64
Sequencer
for
the
Commodore
64
and
associated
software
offers
increased
recorder
storage
(upto4000
notes),
sound
program
storageoncassette
or
disc,
song
transposition,
and
alternate
keyboard
modes,
as
well
as
forthcoming
music
display
and
editing
functions.
Finally,
if
you
useaMIDI
rhythm
unit
(such
as
the
SCI
Model
400
Drumtraks),
it
sendsaMIDI
clock
to
the
MAX
recorder,
which
synchronizes
the
MAX
song
to
the
drum
song
(or
pattern).
For
more
information
on
the
synthesizer
voice
parameters
and
MIDI
applications,
please
see
the
MAX
MIDIGUIDE.
CM620A
10/84
21
MAX
BLOCK
DIAGRAM
CM620A
10/84
22
Loading...