SAMPLING UNIT
Owner's Manual
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
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found in this manual BEFORE making any connections, including connection to the main supply.
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where they are to be sold. If you should move, or if any doubt
exists about the supply voltage in your area, please contact
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found in the Special Message Section of this manual.
3. This product may be equipped with a polarized plug
(one blade wider than the other). If you are unable to insert the
plug into the outlet, turn the plug over and try again. If the
problem persists, contact an electrician to have the obsolete
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4. Some electronic products utilize external power sup-
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Yamaha.
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connecting cords of any kind. The use of an extension cord is
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capacity. For longer extension cords, consult a local electrician.
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other devices that produce heat should be avoided.
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sink, or wet basement.
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supplied or; a cart, rack, or stand that is recommended by the
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qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have been
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c. The product has been exposed to rain: or
d. The product dose not operate, exhibits a marked change
in performance; or
e. The product has been dropped, or the enclosure of the
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13. Do not attempt to service this product beyond that de-
scribed in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
14. This product, either alone or in combination with an ampli-
fier and headphones or speaker/s, 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 consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time period
before damage occurs.
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benches are stable and any optional fixtures (where applicable) are
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92-469-2
PLEASE KEEP THIS MANUAL
SPECIAL MESSAGE SECTION
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CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
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REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
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Battery Notice: This product MAY contain a small
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information contained in this manual is believed to be
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unit is operating as designed) are not covered by the
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responsibility. Please study this manual carefully and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number,
serial number, power requirements, etc., are located on
this plate. You should record the model number, serial
number, and the date of purchase in the spaces provided
below and retain this manual as a permanent record of
your purchase.
92-469- ➀ (rear)
Model _____________________________________
Serial No. __________________________________
Purchase Date ______________________________
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,
short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• This instrument contains no user-serviceable parts. Do not attempt to
disassemble or modify the internal components in any way.
• Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill
into any openings.
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the instrument, or if any unusual smells or
smoke should appear to be caused by it, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the instrument
inspected by qualified Yamaha service personnel.
• Only use the voltage specified as correct for the instrument. The required
voltage is printed on the name plate of the instrument.
• Before cleaning the instrument, always remove the electric plug from the
outlet. Never insert or remove an electric plug with wet hands.
• Check the electric plug periodically and remove any dirt or dust which may
have accumulated on it.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the
instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the power cord near heat sources such as heaters or radiators,
and do not excessively bend or otherwise damage the cord, place heavy
objects on it, or place it in a position where anyone could walk on, trip over,
or roll anything over it.
• When removing the electric plug from the instrument or an outlet, always
hold the plug itself and not the cord. Pulling by the cord can damage it.
• Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause
overheating in the outlet.
• Remove the electric plug from the outlet when the instrument is not to be
used for extended periods of time, or during electrical storms.
• Before connecting the instrument to other electronic components, turn off
the power for all components. Before turning the power on or off for all
components, set all volume levels to minimum.
• Do not expose the instrument to excessive dust or vibrations, or extreme
cold or heat (such as in direct sunlight, near a heater, or in a car during the
day) to prevent the possibility of panel disfiguration or damage to the internal
components.
• Do not use the instrument near other electrical products such as televisions,
radios, or speakers, since this might cause interference which can affect
proper operation of the other products.
• Do not place the instrument in an unstable position where it might accidentally
fall over.
• Before moving the instrument, remove all connected cables.
• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners,
solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do
not place vinyl, plastic or rubber objects on the instrument, since this might
discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument, and do
not use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss. If
you experience any hearing loss or ringing in the ears, consult a physician.
■SAVING USER DATA
• Always save data to a floppy disk frequently, in order to help prevent the loss
of important data due to a malfunction or user operating error.
Yamaha cannot be held responsible for damage caused by improper use or
modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
Intro Yamaha SU700 Sampling Unit
Owner’s Manual
Thank you for your purchase of the Yamaha SU700 sampling unit. The
SU700 is a combination sampler, sequencer, mixer, and multi-effector—
a powerful new tool for a wide range of performance and recording
environments.
This manual will help you learn what you need to know to make effective use of all of the SU700’s many features. Please read through the
essential parts of the manual carefully before beginning work with the
SU700, and refer back to the manual for additional information as
necessary. Please keep the manual in a safe and handy location so that
you can refer to it as necessary.
INTRO
Intro 5
Intro
Features
The SU700 is an ideal tool for artists in need of sampling and sequencing capabilities
for their recording and performance work. Here is just an abbreviated list of what’s
included.
◆ Forty-two tracks. With 40 sample tracks plus 2 special tracks, you can make your
songs as complex as you wish.
◆ Three different sample track types. LOOP tracks that generate automatic con-
tinuous loops; COMPOSED LOOP tracks that let you build your own custom loop
phrases; and FREE tracks that are ideal for adding fills and playing along in real
time.
◆ AUDIO IN track lets you mix realtime vocals into your songs. You can control
the sound of the realtime audio using both the knob functions and the effects.
◆ Intuitive, playable controls. Use pads and knobs to control an astonishing num-
ber of functions on each track. You can record all control actions as sequence data,
or you can apply controls on the fly during realtime performance. Special ribbon
controller can be set to “scratch out” samples, or can be set to control level, pitch,
or virtually any other parameter.
◆ Powerful sampling capability. Provides high-quality sampling at any of five dif-
ferent sampling frequencies.
◆ Triple-block effect system applies up to three effects at any given time. Select
from a total of 43 great-sounding Yamaha effects. Set effect parameters for the
effect itself, for the effect block, and for each track.
◆ Scene memory stores up to eight scenes. Each scene holds an entire set of knob
settings, mute settings, and effects. You can recall scenes instantly during performance, and you can record scene changes directly into your song.
◆ Ample MIDI support. Use an external sequencer to control and synchronize
SU700 track play; or use the SU700 to control playback from an external tone generator.
◆ Easily expandable. Supports up to 64MB of expansion memory. Optional SCSI
board (ASIB1) enables connection to external SCSI storage device. Optional I/O expansion board (AIEB1) adds digital and optical input/out and six assignable analog
outputs.
◆ Colorful, easy-to-read fluorescent display gives you all the feedback you need to
maintain full control of the SU700’s power.
6 Intro
Accessories
Please check your SU700 package to confirm that all of the following accessories are
present. If any items are missing or damaged, please contact your Yamaha dealer for
assistance.
●
Sampling CD “SU700 Sampling Audio”
●
Demo floppy disk
●
Power cord
●
This Owner’s Manual
●
Flat 40-pin cable and round 3-pin cable (for use with optional AIEB1 board)
Using the Manual
Recommended Approach
Before switching on the machine you should read though Chapter 1 to familiarize
yourself with the SU700 arrangement, and the usage of each of the SU700 controls
and connectors. You may then want to jump into the comprehensive tutorial provided in Chapter 2, or instead read Chapters 3 and 4 first to familiarize yourself with
the underlying concepts of SU700 operation. Refer also to Chapter 5 for details about
samples and sampling.
INTRO
Chapters 6 to 10 and various appendixes offer detailed reference information, and
should be referred to as necessary.
Chapter Arrangement
■ Chapter 1: SU700 Components, Connections, And Start-Up
Explains all of the SU700 controls and connectors, and shows you how to connect
up and start the SU700. Please read through this chapter before you begin working
the SU700.
■ Chapter 2: Tutorial
Takes you through a comprehensive tutorial, showing you step-by-step how to
build a complex song using samples provided on the accessory CD. Working
through the tutorial will help you gain rapid mastery of SU700 operation.
Intro 7
Intro
■ Chapter 3: Basic Concepts, Track Types, and Memory
Introduces basic concepts underlying SU700 operation. Also provides a detailed explanation of the different track types, and explains how the SU700 memory is organized. You should read through this chapter before you begin serious work with
the SU700.
■ Chapter 4: SU700 Operating Modes
Describes the six operating modes. Shows you how you can immediately identify
the current mode by looking at the screen display; explains how you move from
one mode to another; and indicates the operations that are and are not available
from each mode.
■ Chapter 5: Samples and Sampling
Explains samples, sampling, and the various sampling parameters. Provides detailed procedures for recording samples onto the SU700.
■ Chapter 6: Using the Features
Offers detailed, reference-level explanations about how to use each of the SU700’s
song-related features. Describes pad usage, knob usage, ribbon usage, scenes,
markers, quantizing, and more.
■ Chapter 7: Effects
Gives a detailed explanation of the SU700’s effects implementation. Describes the
relation between tracks, effects, and the three effect blocks; explains how to set up
the effects and record your setups into scenes; and explains the difference between
system effects and insertion effects.
■ Chapter 8: Knob Functions
Gives detailed information about the 22 parameters controlled by the track knobs.
■ Chapter 9: Editing Functions
Describes the functions provided by the SU700’s Editing Function panel. You use
these features to clear or set up the effects, to delete note events, to reset knob settings to their defaults, and to assist in name-editing.
■ Chapter 10: Jobs
Provides detailed explanations and procedures for all of the SU700 jobs. You use
these jobs for a wide variety of purposes—to configure your system, to save and
load data, to edit or delete song data, to set the track characteristics, and much
more.
8 Intro
■ Appendixes
Appendix 1 provides detailed instructions for installing each of the SU700’s supported options. Appendix 2 gives the SU700 specifications. Appendix 3 offers a
number of helpful usage tips. Appendix 4 explains the SU700 error messages. Appendix 5 lists and describes the 43 built-in effects and their associated parameters.
Appendix 6 explains the MIDI implementation.
Notations
This manual employs the following notational conventions.
●
Button names are capitalized printed in uppercase bold and enclosed in brackets.
Examples: [CANCEL] and [OK].
●
Words that appear directly on the screen are printed in a distinctive font.
Examples: SONG01 and SELECT TRACK.
●
Jobs are identified by the job-group selector and job selector that you must press to
access them. The group-selector appears first, followed by a bar, followed by the
job selector.
Examples: SONG | NAME and RESAMPLE | TRACK
In cases where you must then select from multiple jobs by turning the dial, the job
name is appended as shown below.
Example: SAMPLE | PROCESS/TRIM
●
Buttons on the Knob Function panel and Editing Function panel are indicated by
the group name, then a slash, then the button name.
Examples: SOUND/[LEVEL] and NAME/[INSERT]
●
SU700 operating modes are written in uppercase.
Examples: REC STANDBY and PLAY
INTRO
●
The following icons and symbols are also used.
NOTE
. Indicates reference information indirectly related to the con-
tent of the main text. May contain practical advice or general supplementary information.
Procedure. Step-by-step instructions for carrying out a particular op-
eration. Note that a ▼ mark within a procedure indicates the result
produced by carrying out the immediately preceding instruction.
→number Page reference. Directs to another page for related information.
Intro 9
Intro
Finally, please note that screen illustrations and other drawings presented in this
manual are for explanatory purposes only, and in some cases may differ from actual
displays and configurations.
10 Intro
Table of Contents
Intro Yamaha SU700 Sampling Unit Owner’s Manual
Features ............................................................................................................. 6
Accessories ........................................................................................................ 7
Using the Manual .............................................................................................. 7
Notations ........................................................................................................... 9
Chapter 1 SU700 Components, Connections, and Startup
1.1 SU700 Layout ........................................................................................ 14
1.2 SU700 Display Configuration............................................................... 23
1.3 Connecting Up....................................................................................... 29
1.4 Starting Up ............................................................................................ 33
Chapter 2 Tutorial
2.1 Setting Up .............................................................................................. 36
2.2 Listening to the Demo Song ................................................................. 37
2.3 Building Your Own Song ...................................................................... 47
2.4 Modifying sampled sounds................................................................... 95
Chapter 3 Basic Concepts, Track Types, and Memory
3.1 Basics ................................................................................................... 132
3.2 Sample-Track Types ............................................................................ 135
3.3 Memory Implementation.................................................................... 137
TABLE OF CONTENTS
Chapter 4 SU700 Operating Modes
4.1 Introduction ........................................................................................ 140
4.2 Sequencer Modes ................................................................................ 141
4.3 Other Modes ........................................................................................ 146
Chapter 5 Samples and Sampling
5.1 All about Samples ............................................................................... 150
5.2 Sample Recording Procedure............................................................. 156
Chapter 6 Using the Features
Chapter 7 Effects
7.1 Introduction ........................................................................................ 186
7.2 Using the Effects ................................................................................. 186
7.3 Effect Blocks ....................................................................................... 188
7.4 System Effects ..................................................................................... 189
7.5 Insertion Effects .................................................................................. 190
7.6 Usage Tips............................................................................................ 191
7.7 Changing the Effect Resolution ......................................................... 192
Table of Contents 11
Chapter 8 Knob Functions
Chapter 9 Editing Functions
Chapter 10 Jobs
Table of Contents
Appendix
8.1 Overview .............................................................................................. 194
8.2 Knob Settings for Each Track ............................................................ 195
8.3 Quantize and Resolution .................................................................... 196
8.4 Parameter Descriptions ...................................................................... 197
9.1 Overview .............................................................................................. 214
9.2 EFFECT SETUP Group ...................................................................... 214
9.3 JOB Group ........................................................................................... 220
9.4 NAME Group ...................................................................................... 221
10.1 Overview and Job List......................................................................... 224
10.2 General Procedure .............................................................................. 225
10.3 Job Explanations ................................................................................. 227
Installing the Options ................................................................................... 312
Specifications ................................................................................................ 326
SU700 Usage Hints ....................................................................................... 328
Error Messages ............................................................................................. 331
Effect Type List ............................................................................................. 333
Effect Parameter List.................................................................................... 335
MIDI Data Format ........................................................................................ 345
MIDI Implementation Chart ........................................................................ 348
12 Table of Contents
Chapter 1
SU700 Components,
Connections, and Startup
This chapter describes the SU700’s layout and screen displays, shows
you how you can connect the SU700 to other devices, and takes you
through the SU700 startup procedure.
CHAPTER 1
CONTENTS
1.1 SU700 Layout 14
1.2 SU700 Display Configuration 23
1.3 Connecting Up 29
1.4 Starting Up 33
Chapter 1 SU700 Components, Connections, and Startup 13
1.1 SU700 Layout
3
56
This section explains all of the SU700 components.
1.1.1 Main Panel
O
P
N
MKJIH
L
1
G
F
E
D
C
B
A
0
9
8
7
2
SU700 Components, Connections, and Startup
1 Display
The display provides all the information you need to work effectively at the
SU700. For a detailed explanation of common screen displays and indications, see
page 23.
Chapter 1
14 Chapter 1 SU700 Components, Connections, and Startup
4
2 TRACK BANK Selectors
You use the track bank selectors in combination with the sample track pads to se-
lect tracks for playback, recording, editing, and control.
The SU700 provides four track banks, each with ten sample tracks. This gives you
a total of 40 sample tracks. This means that each song can utilize anywhere from
1 to 40 samples.
3 Sample Track Pads
You use these 10 pads to control play on the sample tracks, and to select tracks for
sample recording, track editing, and track setup.
Each pad can be used to control a variety of operations. At any given time, each
pad controls a single operation only. You can switch the pad operation using the
PAD FUNCTION selectors (see item 5 below).
The pads for COMPOSED LOOP and FREE tracks include velocity sensors that
are effective for PLAY and LOOP RESTART pad functions. (→ p.167, 301)
4 AUDIO IN Track Pad
You use this pad to set or release the mute for the AUDIO IN track, or to select the
AUDIO IN track during setup work.
CHAPTER 1
5 MASTER Track Pad
Use this pad to set or release the mute on all other tracks, to restart looping on the
LOOP and COMPOSED LOOP tracks, or to select the MASTER track during setup
work.
6 PAD FUNCTION Selectors
The pad function selectors select the operation to be controlled by the pad.
Each track has a default pad function that is effective whenever you are working
at the main screen. You can set these defaults using the TRACK SET | MAIN job
(→ p. 231).
You can override the defaults by pressing any of these selectors during song recording, playback, or standby. This will switch you to a function screen and will
cause all pads to switch to the selected function.
For detailed information about pad functions and their selection, see page 166.
For information about the difference between the main screen and the function
screens, see page 144.
Chapter 1 SU700 Components, Connections, and Startup 15
7 Knobs
You use these knobs to control the values of multiple parameters (or knob settings)
on each track. At any given time each knob controls a single parameter only. You
use the KNOB FUNCTION panel (see item 9 below) to switch the parameter controlled by the knobs.
When you are working the main screen, each knob controls its default parameter.
You can set these default separately for each track using the TRACK SET | MAIN
job (→ p.231).
8 [RIBBON TRACK] Button
You use this button when you want to change the track(s) controlled by the ribbon. You select the track(s) by holding down the button and pressing the appropriate pad.
If you press the pad for a sample track, then the ribbon will work on all four
tracks associated with that pad (the tracks in Banks 1, 2, 3, and 4 for that pad). If
you press the pad for the AUDIO IN or MASTER track, then the ribbon will operate on that track only.
9 NOTE Display and Button
The bottom right corner of the display indicates relevant Quantize or Resolution
interval. If necessary, you can adjust the setting by pressing the [NOTE] button
(so that the indication starts blinking) and then turning the dial. Intervals are indicated using note images (
, , etc.).
Exception: To set the resolution for the ROLL pad function, you must first press the
[NOTE] button, and then hold down the [ROLL] button while turning the dial.
0 BPM Display and Button
The center right line of the screen indicates the song’s current tempo, in BPM
(beats per minute). You can change the tempo by pressing the [BPM] button (so
that the BPM indication starts blinking) and then turning the dial.
A MEASURE Display and Button
The top right corner of the screen indicates the current song location, by measure
SU700 Components, Connections, and Startup
and beat. One way to change the location is to use the
described above. Another way is to press the [MEASURE] button (so that the measure indication starts blinking) and then turn the dial.
B Ribbon Controller
You can set the ribbon up to control a single selected function with respect to a
single pad. You select the track set using the [RIBBON TRACK] button; see below.
Chapter 1
, , and buttons, as
16 Chapter 1 SU700 Components, Connections, and Startup
Once you have set this up, you can rub your finger along the ribbon to control the
selected function on the corresponding track. For example, if you set the function
to LEVEL then you use the ribbon to adjust the level on the track.
Available functions include most of the knob functions, and a special scratch function that lets you scratch out the sound of a selected track—the same kind of
sound that you would get by manually turning a vinyl record forward or backward. For more information about ribbon use, see page 172.
C [CANCEL] and [OK] Buttons
Use these buttons to confirm or cancel various operations, or to move forward or
backward through the various job screens. Actual operation varies according to
the SU700’s current state.
D Dial
Use this dial to enter and adjust various values. Actual operation varies according
to the SU700’s current state. The value that can be adjusted by the dial is usually
shown in blinking format on the display.
E [BPM COUNTER] button
This button makes it easy to set the tempo to match the tempo of external playback that you may be preparing to record or play along with. To get a tempo reading, simply tap on the counter along with the beat (hitting the counter once at
each beat). The SU700 detects a BPM value from your taps, and flashes this value
in the BPM area on the screen. If you wish to keep the new tempo, press [OK]. (If
you do not press [OK], the SU700 will restore the previous setting.)
CHAPTER 1
F Cursor Buttons (
Use these buttons to move the cursor position when editing names on the screen,
or to move from one parameter to another when working at setup screens containing multiple parameters.
G MASTER VOLUME Knob
Turn the knob to adjust the output level to the STEREO OUT jacks. Note that this
adjustment does not affect the output level to any of the outputs on the optional
AIEB1 board.
H SAMPLING: STANDBY/START/STOP Button ([SAMPLING] button)
Use this button to begin and end sample recording. For details about how to
record samples, see the explanation beginning on page 156.
I SAMPLING: ANALOG LEVEL Knob
Turn this knob to adjust the input level when recording a sample from analog input. The screen displays a level meter that will help you set an appropriate level.
and )
Chapter 1 SU700 Components, Connections, and Startup 17
J [UNDO/REDO] Button
You use this button to undo or redo all changes that you recorded into your song
during your previous recording pass. This feature is useful for undoing poor results, or for comparing “before” and “after” versions to determine which you want
to keep. The [UNDO/REDO] button operates only while the sequencer is in PLAY
STANDBY mode. (→ p.183)
K Sequencer Controls
Use these buttons to control the sequencer. Button usage is outlined below. For
detailed information, refer to “Using the Sequencer,” (→ p.162). Also refer to
Chapter 4, “SU700 Operating Modes,” for an overview of the different sequencer
modes (→ p.139).
RECORD
Press to enter recording standby.
TOP OF SONG
Press to jump back to the top of the song (first beat of first measure).
FAST REVERSE
Hold down to move rapidly backward through the song.
STOP
Press to stop song playback or recording.
PLAY
Press to start song playback or recording.
FAST FORWARD
Hold down to move rapidly forward through the song.
L Job Grid
You use these buttons to access various SU700 jobs. These jobs let you carry out
a wide variety of editing, setup, and management tasks.
To select a job, you first press one of the job group selectors along the top of the
grid, and then press one of the job selectors along the left of the grid. You can then
carry out the job using the dial, cursor buttons, [CANCEL] or [OK] buttons, and
any other relevant controls.
For detailed explanations of all jobs, refer to Chapter 10, “Jobs,” on page 223.
SU700 Components, Connections, and Startup
M [SCENE/MARKER] Buttons
Operation depends on whether you have selected [SCENE] or [MARKER] with
the scene/marker switch.
If SCENE: The SU700 lets you store up to eight scenes per song. A scene is an
Chapter 1
entire environment of knob settings, mute settings, and effect settings. To store the current environment, hold down one of the scene
buttons (from [TOP] to [G]) for approximately 1.5 seconds, until
the screen says SCENE STORED. To recall a scene, press the corre-
sponding scene button briefly.
18 Chapter 1 SU700 Components, Connections, and Startup
If you store a scene into the [TOP] button, this scene will automatically be recalled when you return the song to its start position.
You can use the [INIT] scene button to initialize (clear) the content
of any scene. Simply hold down the [INIT] button and then press
the scene button that you want to initialize. (→ p.180)
Note that you can store and initialize scenes only while the sequencer is in PLAY or PLAY STANDBY mode. You can recall scenes
at any time.
For more information about scenes, refer to page 176.
If MARKER: Use markers [1] to [8] to store song positions or to immediately
jump the song to a stored position. These buttons only work while
the sequencer is in PLAY or PLAY STANDBY mode.
To store the current position, hold down one of the marker buttons
for about 1.5 seconds, until the screen says MARKER STORED. To
jump to that position, press the same button briefly.
N SCENE/MARKER Switch
Use this switch to select the operating mode of the [SCENE/MARKER] buttons.
Set the switch to the left if you want the buttons to control scenes; set to the right
if you want the buttons to control markers.
CHAPTER 1
O KNOB FUNCTION Panel
When you press one of these buttons during song standby, recording, or playback,
the display automatically switches to the corresponding function screen, and all
knobs automatically get control of the selected parameter. You can adjust the
value on each track by turning the corresponding knob (and using the bank selectors as necessary to switch the bank).
You can also use these buttons to make selections within certain jobs; for example, to select the default knob functions for the TRACK SET | MAIN job.
For detailed information, refer to Chapter 8, page 193.
P Edit Function Panel
You can use these buttons to perform various tasks: to set up each of the three effect blocks, to switch off any of the effects, to reset knob settings on selected
tracks, and to insert or delete characters within a name you are editing. For detailed information, see Chapter 9, page 213.
Chapter 1 SU700 Components, Connections, and Startup 19
1.1.2 Front Panel
3
1 Floppy-Drive Slot
The drive accepts 3.5" floppy disks (2HD or 2DD). You can use the disks to save
and reload all data, and to import commercially available sample or voice data.
2 Floppy Eject Button
Press this button to eject the floppy disk currently inserted in the slot. Remember:
Do not eject the disk while the access lamp is lit.
3 Floppy Access Lamp
This lamp lights up to indicate that the SU700 is currently accessing the disk.
CAUTION
Do not press the EJECT button or switch off the power while this lamp is lit, as doing so
may destroy data on the disk or cause damage to the disk drive.
4 Headphone Jack
Connects to standard stereo headphones. Outputs the same signal as the stereo
output jacks on the rear panel.
1
2
4
SU700 Components, Connections, and Startup
Chapter 1
20 Chapter 1 SU700 Components, Connections, and Startup
1.1.3 Rear Panel
67 8
OUTIN
STEREO OUT
R L/MONO
1
ANALOG INPUT
R L
2
ASSIGNABLE OUTDIGITALOPTICAL
MIDI
OUT IN
345
AS2 AS1AS3AS4AS5AS6OUTIN
CAUTION
RISK OF ERECTRIC SHOCK
ATTENTION :RISQUE DE CHOC ELECTRIQUE ME PAS OUVRIR.
WARNING
DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
DO NOT OPEN
TO REDUCE THE RISK OF FIRE OR ERECTRIC SHOCK
9
SCSI
POWER
AC INLET
ON/ OFF
∗ Circled numbers indicate standard connectors. Numbers enclosed in squares indicate options.
In its standard configuration, the rear panel provides connectors 1 to 5 above. If
you install the optional AIEB1 board, you also get the assignable and digital outputs
(items 7, 8, and, 9 above). If you install the optional ASIB1 board (SCSI board),
you also get the SCSI connector (number 6 above).
Note that if an option board is not installed, the corresponding area of the panel is
covered with an expansion cover.
CHAPTER 1
1 STEREO OUT Jacks
These jacks output the stereo analog signal produced by the SU700 to powered
speakers or other playback device. (For monaural output, use the left jack only.)
These are the standard outputs.
2 ANALOG INPUT Jacks
Standard analog input jacks accept line or microphone input. Use these jacks to
input analog signals to be recorded (as samples) or fed to the AUDIO IN track
(during realtime performance).
Note that you must use the SYSTEM | SETUP job to inform the system of the
actual audio input you are using (→ p.298).
3 MIDI Connectors
Standard MIDI connectors. Use these connectors to link the SU700 to other MIDI
devices.
Chapter 1 SU700 Components, Connections, and Startup 21
4 AC Inlet
Connects to SU700 power cord.
CAUTION
Use the supplied power cord only. Use of a different cord may result in electric shock or
device damage.
5 POWER Switch
Switches the SU700 power ON and OFF.
<If AEIB1 option board is installed>
6 OPTICAL IN/OUT connectors
7 DIGITAL IN/OUT connectors
Use the OPTICAL connectors to input or output digital audio signals over opticalfiber cable. Use the DIGITAL connectors to input or output digital audio signals
over coaxial (RCA-pin) cable, in CD/DAT (S/P DIF) format.
Each connector can support both mono and stereo signals.
Input Signal: The SU700 can accept input digital frequencies of 11.025kHz,
22.05kHz, 32.0kHz, 44.1kHz, and 48.0kHz. (If you wish to enable
this input, you must open the SYSTEM | SETUP job and set AU-
DIO IN to either OPTICAL or DIGITAL. See page 302.)
Output Signal: The output frequency is always 44.1kHz. The output is the digital
8 ASSIGNABLE analog output jacks
You can set the output destination independently for each nonempty sample
track. Settings can be entered separately for each song. Note that these settings
are not available for the AUDIO IN track, for the MASTER TRACK, and for
sample tracks that do not currently contain a sample.
Under default conditions, output is directed to the STEREO OUT jacks (and OP-
SU700 Components, Connections, and Startup
Chapter 1
TICAL and DIGITAL connectors). As an alternative, however, you can use the
TRACK SET | SETUP job to direct the track’s output to any one of the assignable
outputs (AS 1 to AS 6), or to an adjacent pair of outputs (AS 1+2, AS 3+4, or AS
5+6). Note that signals directed to assignable outputs do not pass through the ef-
fects blocks (do not receive any effects).
<If ASIB1 option board is installed>
9 SCSI connector
A SCSI-2 D-sub half-pitch 50-pin connector that can be used to connect to an external SCSI disk device. Allows for convenient saving and loading of large quantities of data.
equivalent of the signal directed to the STEREO OUT jacks, but
is not passed through the effects blocks. Note that the OPTICAL
OUT and DIGITAL OUT connectors will always produce the identical signal.
22 Chapter 1 SU700 Components, Connections, and Startup
1.2 SU700 Display Configuration
You refer to the SU700 screen for information and guidance during all SU700 operations. This section presents an overview of the various screen displays.
The first part, “Screen Layout,” introduces the various elements of the display panel.
The second part, “Main-Screen and Function-Screen Displays,” shows screen examples for the two most frequently used working environments. The third part,
“Other Screen Indication,” gives an overview of less commonly encountered screen
indications.
1.2.1 Screen Layout
The screen is divided into several different areas, each presenting a different type of
information. The general arrangement is described below. The amount of information displayed at any given time will vary according to the operating mode and current conditions.
2
1
4
5
1 Bank ............................ Shows the currently selected bank. Always displayed.
2 REC indicator ............ Comes on to indicate that the sequencer is in REC or REC
3 Pad function .............. Shows the currently selected pad function. Displayed
4 Parameter data .......... This area shows parameter information and error mes-
3
MEASURE
BPM
NOTE
6
7
8
STANDBY mode.
whenever you are working at a function screen.
sages.
When you are at the main screen, this area shows the current song number and song name. When you are at a
function screen, this area shows the current knob function and the function value. When you are executing a
job, this area shows the job type and/or current setting.
Before you record a sample, you refer to this area to set
the sampling parameters.
CHAPTER 1
Chapter 1 SU700 Components, Connections, and Startup 23
5 Track indicator .......... When you are working at the main screen or a function
screen, each vertical bar meter (or track meter) indicates
the relevant knob-function value for the corresponding
track (of the current bank). The brackets (above and below the meter) are visible if the track is not muted; they
disappear if the track is muted.
When you are standing by to record a sample, the meter
area operates as a two-bar horizontal level meter that you
can use to monitor the input level. The upper bar indicates the L-channel level; the lower bar indicates the Rchannel level.
6 MEASURE .................. Shows the current location (measure and beat) within the
current song.
7 BPM ............................. Shows the current tempo (in beats per minute).
8 NOTE ........................... Shows the quantize interval or time resolution, when ap-
plicable.
SU700 Components, Connections, and Startup
Chapter 1
24 Chapter 1 SU700 Components, Connections, and Startup
1.2.2 Main-Screen and Function-Screen Displays
The screen display content varies according to the current machine state. This section shows screen displays for two most commonly used machine states.
Main Screen
This screen that appears immediately following power-on. It is also the default
screen, and will reappear when you exit from job mode, when you finish sample recording, and when you press [OK] to escape from a function screen.
Note that this screen can appear only while the sequencer is operating in PLAY
STANDBY or PLAY mode. (→ p.142)
When you are working at this screen, the knob and pad action for each track is deter-
mined by the settings you make at the TRACK SET | MAIN job (→ p.231). This means
that the knobs and pads on different tracks may operate in different ways.
1
2
3
1 Currently selected bank.
2 Currently selected song number and name. (If the sequencer is in PLAY STANDBY, you can change to a dif-
ferent song by turning the dial and then pressing [OK].)
3 Shows function values and muting for each track within the current bank.
• Note that all meters always indicate the value for the default knob parameter on the most recently controlled track (the track whose pad or knob you last touched). If you hit the pad on a track whose default
knob-function is set to PITCH, for example, then all meters indicate PITCH levels. If you then hit a pad on
another track whose default knob function is set to ATTACK, all meters change to indicate ATTACK levels.
• Brackets are visible if track is non-muted; invisible if track is muted.
4 Current position in song.
5 Tempo setting.
6 The NOTE area is always empty.
4
5
6
CHAPTER 1
Chapter 1 SU700 Components, Connections, and Startup 25
Function Screen
You enter this screen from the main screen when you press any knob-function or
pad-function button, or when you press the [REC] button.
When you are working at a function screen, knob functions and pad functions are the
same on all tracks.
A typical display appears as follows.
1 2 4
3
6
5
1 Appears only if you have pressed to set the sequencer into RECORD mode.
2 Indicates the current pad function.
3 Indicates the current knob function.
4 Indicates the knob-function value for the track whose pad or knob you last used.
5 Each meter indicates the knob function’s value ( in this case, the PITCH value) for the corresponding track.
The bracket is visible if the track is not muted; invisible if the track is muted.
6 Indicates the QUANTIZE or RESOLUTION setting, if applicable. (Does not appear for some knob functions.)
SU700 Components, Connections, and Startup
1.2.3 Other Screen Indications
Track Selection
Before you can record a sample, you must select the target track. Many job screens
will also require you to select a track.
To select a track, you press the appropriate bank selector and hit the appropriate
track pad (in either order). The bank number will appear at the upper left of the
screen, and brackets will move to indicate the selected track.
When you are making this type of a selection, the screen will also let you know
whether or not the selected track contains a sample. If the track does contain a
sample, then a double bar will appear at the center of the bracketed area. If the track
is empty, then no bar will appear.
The following shows the display you use to select the track when preparing to record
a sample.
Chapter 1
26 Chapter 1 SU700 Components, Connections, and Startup
Indicates that the selected track already contains a sample. If the track is empty, this
bar will not appear.
NOTE:
For TRACK EDIT | EVENT COPY, TRACK EDIT | EVENT INIT etc., it is also important to
know whether a selected track contains recorded sequence data. For these jobs, six bars
will appear at the center of the bracketed area to indicate that the track contains both a
sample and some sequence data.
Sample only: Sample plus sequence data:
Sample Recording Meter
When you are standing by to record a sample (or to execute a resampling job), the
meter operates as a two-bar horizontal level meter. The top part of the meter monitors the level for the LEFT channel input, while the bottom part of the meter moni-
tors the level for the RIGHT channel input. In addition, the word CLIP will appear at
the upper right of the screen if the input level exceeds the clip level.
In general, you want to adjust the input level so that the meter peaks all the way to
the right without triggering the CLIP indication.
The following shows how the screen may appear when you are standing by to begin
sample recording.
5
1
2
3
CHAPTER 1
4
1 Shows the recording parameters.
2 Monitors the left-channel input level.
3 Monitors the right-channel input level.
4 Shows the destination track.
5 CLIP indicator
Chapter 1 SU700 Components, Connections, and Startup 27
Flashing Parameters
When you are working at a screen that allows you to set more than one parameter
value, the parameter currently selected for setting will be blinking, indicating that
you can proceed to change its value by turning the dial (or pressing an appropriate
button). Note that only one parameter can be blinking at any given time.
In the screen illustration shown above, for example, the 44K value (frequency setting)
is flashing. This tells you that turning the dial will change the frequency setting. If
you wish to change one of the other parameters, then you would first need to press
the
Multipage Displays
Some setup screens consist of multiple pages. A right-arrow in the display indicates
that you can advance to another page by pressing the
means that you can move back to a previous page by pressing the
The following shows the third page of the AMPSIM-effect setup screen.
to move the flashing indication to either 16BIT or STEREO.
cursor button; a left arrow
button.
SU700 Components, Connections, and Startup
Ribbon-Track Indication
When you press the [RIBBON TRACK] button, the brackets for the currently selected ribbon track blink on the screen. You can change the selection by pressing a
different pad. (→ p.172)
Chapter 1
28 Chapter 1 SU700 Components, Connections, and Startup
1.3 Connecting Up
The SU700 is extremely easy to set up. Simply connect the appropriate components
as described below.
Power
Connect the power as follows.
Confirm that the power switch (on the rear panel) is in the OFF position (pro-
1.
truding from the panel). If the switch is ON, press it so that it pops out into the
OFF position.
Connect the small end of the supplied power cable to the power inlet on the rear
2.
panel.
Connect the other end to a standard wall outlet.
3.
CAUTION
Do not connect the power while the power switch is ON.
Input Source
If you are going to record a sample or supply an audio input signal to accompany
realtime playback, you need to connect an input source. You can connect up one or
more of the following.
●
Connect a microphone to the one of the ANALOG INPUT jacks on the rear panel.
●
Connect analog line input (for example, from a CD player or electronic instrument)
to the ANALOG INPUT jacks on the rear panel. To input a stereo signal, connect to
both jacks.
●
(If you have installed the optional AIEB1 board:) Connect a digital or optical line
to the DIGITAL IN or OPTICAL IN connector on the rear panel.
CHAPTER 1
Chapter 1 SU700 Components, Connections, and Startup 29
To enable input, you must set the A UDIO IN parameter to the source you wish to
use. You can set the parameter using the SYSTEM | SETUP job; see page 302. The
SU700 can only accept input from one source at a time.
CD Record (turntable) Microphone
STEREO OUT
ANALOG INPUT
R L/MONO
R L
Electric keyboard
Output
You can connect any or all of the following.
●
Connect amplifiers, powered speakers, mixer, analog recorder, or other such device
to the STEREO OUT jacks on the rear panel.
SU700 Components, Connections, and Startup
IMPORTANT
If you are connecting up a single speaker or amp only, be sure to connect to the L/MONO
jack.
NOTE:
If connecting to a device with adjustable pan (such as a mixer) set the pan for the channel
receiving the L/MONO output all the way to the left; set the pan for the RIGHT output all
the way to the right.
●
Connect headphones to the PHONES jack on the front panel.
●
(If you have installed the optional AIEB1 board:) Connect speakers to any of the
ASSIGNABLE OUT jacks on the rear panel, or connect a digital device to the DIGITAL OUT or OPTICAL OUT connector on the rear panel.
If using powered speakers, connect as shown below.
Chapter 1
30 Chapter 1 SU700 Components, Connections, and Startup
STEREO OUT
ANALOG INPUT
R L/MONO
R L
Using the AIEB1-board outputs
If you have installed the optional AIEB1 board (input/output expansion
board), you will be able to use the board’s assignable and digital/optical
outputs. Note the following points.
• Under factory defaults, the output goes to the STEREO OUT jacks.
• The signal to the STEREO OUT jacks is also directed to the DIGITAL
OUT and OPTICAL OUT connectors.
• You can use the TRACK SET | SETUP job’s OUTPUT TO parameter to
direct output from selected sample tracks to selected assignable output
jacks. For each track, you can decide whether to output to a single output
jack or to a pair of output jacks.
• Note that that when you direct a track to an assignable output:
CHAPTER 1
(a) The track is directed to the selected jack(s) only. It does not flow to
the STEREO OUT or digital/optical outputs.
(b) The track output does not pass through the effect blocks.
For information about setting up the OUTPUT TO parameter, see page 239.
Chapter 1 SU700 Components, Connections, and Startup 31
MIDI Connections
●
If you are going to use an external MIDI device to synchronize SU700 playback or
to control track play, run a MIDI cable from the MIDI OUT connector of the controlling device (or the MIDI THRU connector on an intermediate device) to the
MIDI IN connector on the SU700.
●
If you plan to use the SU700 to control playback from an external tone generator,
external sequencer, or other such device, run a MIDI cable from the SU700’s MIDI
OUT connector to the MIDI IN connector on the target device.
●
Note that you must use the SYSTEM | MIDI jobs to set up the SU700’s MIDI opera-
tion (→ p.303). You can also use the SONG | MTC OFFSET job to set an offset for
an externally supplied MTC synchronization signal.
MIDI Use on the SU700
The SU700 supports the following MIDI operations.
• Sends and received note-on and note-off messages, control-change messages, and system realtime messages (Timing Clock, Start, Continue, and
Stop).
• Can synchronize with externally supplied MIDI time code (MTC).
SU700 Components, Connections, and Startup
• You can set transmit channel independently on each of the 40 sample
tracks. You can set receive channel on up to 16 sample tracks (where
each track must receive on a different channel).
For full details about the SU700’s MIDI implementation, refer to page 345.
Connecting an External SCSI Drive
If you have installed the SCSI expansion board (ASIB1 board), you can connect a
SCSI drive to the SU700. Simply run a SCSI cable from the SCSI connector on the
external device to the SCSI connector on the SU700’s rear panel.
Note the following points.
●
Although you are free to connect together multiple SCSI devices (in a SCSI chain
configuration), the SU700 can recognize only one external SCSI device at a
given time.
●
You use the SYSTEM | SCSI job (→ p.307) to select the SCSI ID of the external de-
vice you wish to recognize. (Note that you must also set a matching ID setting at
the external device side, as well.)
Chapter 1
32 Chapter 1 SU700 Components, Connections, and Startup
●
Use good-quality SCSI cable. Cable length should be kept short. For specific limitations on cable length, refer to the documentation provided with your external
SCSI device.
●
If you are connecting multiple devices in a chain, the SU700 must be at one
end of the chain. It cannot be in the middle of the chain.
●
If you are connecting to a single SCSI device, that device must be terminated. If
you are connecting to a chain of SCSI devices, the device at the other end of the
chain must be terminated. For information about SCSI termination, refer to the
instructions provided with your external SCSI device(s).
For information about how to format and use external SCSI disks, refer to the expla-
nations for the DISK | UTILITY jobs (→ p.293).
1.4 Starting Up
Use the following procedure to start up the SU700.
Make sure that the power cable is connected as described above.
1.
If you wish to begin by loading a volume from floppy disk, insert the disk before
2.
switching on the power. (The SU700 will automatically load the floppy-disk volume during the startup sequence.)
CHAPTER 1
Before starting the SU700 for the first time, therefore, you should insert the
accessory floppy disk in the slot.
NOTE:
Auto-loading does not work with volumes that span multiple disks. If you want to load a
volume from multiple disks, you must start the SU700 first and then use the DISK | LOAD/
LOAD V OLUME
Press the power switch on the rear panel so that it engages in the ON position.
3.
This causes the SU700 to execute its power-on sequence.
• The SU700 begins by displaying its name.
• It then checks for options and indicates any options that it finds.
• It then checks the amount of installed RAM, and indicates the results.
• It then checks whether a floppy disk with a valid volume has been inserted in
the disk slot. If so, it indicates that it has found the volume, and then proceeds
to load the volume.
• The SU700 enters PLAY STANDBY mode, with SONG 01 selected.
job (→ p.281).
Chapter 1 SU700 Components, Connections, and Startup 33
SU700 Components, Connections, and Startup
Chapter 1
34 Chapter 1 SU700 Components, Connections, and Startup
Chapter 2 Tutorial
This chapter takes you through a tutorial that will give you some quick
hands-on experience with the SU700. The first part of the tutorial how
to play the demo song and how to use various features. The second part
of the tutorial takes you through the procedures for recording samples
and building a song.
CHAPTER 2
CONTENTS
2.1 Setting Up 36
2.2 Listening to the Demo Song 37
2.3 Building Your Own Song 47
2.4 Modifying sampled sounds 95
Chapter 2 Tutorial 35
2.1 Setting Up
Connections
Chapter 2 Tutorial
First you will need to connect your audio system so that you can listen to the demo
song and monitor the process of creating a song. You will also need to connect a CD
player so that you can playback the sampling sources from the included audio CD.
Before you make connections, be sure that the power of the SU700, your CD
player, and your audio system is turned off.
Connect the analog outputs from your CD player to the ANALOG INPUT jacks
1.
on the rear of the SU700.
●
The ANALOG INPUT (L, R) jacks are each monaural phone jacks. In order to
connect them to your CD player, you will need to obtain connecting cables that
are appropriate for each type of jack.
Connect powered speakers or another monitoring device to the STEREO OUT
2.
(L/MONO, R) jacks.
●
If you are using a monaural audio system, make connections to the L/MONO
jack.
POWER
ON/ OFF
AC INLET
STEREO
OUT
STEREO OUT
R L/MONO
ANALOG INPUT
R L
MIDI
OUT IN
ANALOG
INPUT
CAUTION
RISK OF ERECTRIC SHOCK
DO NOT OPEN
ATTENTION
:RISQUE DE CHOC ELECTRIQUE ME PAS OUVRIR.
TO REDUCE THE RISK OF FIRE OR ERECTRIC SHOCK
WARNING
DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.
CD player
Audio system for monitoring
(amplified speakers, etc.)
If you are using headphones, connect them to the PHONES jack located on the front
panel of the SU700.
●
The PHONES jack can be used simultaneously with the STEREO OUT jacks.
36 Chapter 2 Tutorial
Headphones
PHONES
Turn the MASTER VOLUME of the SU700 and the volume controls of your CD
3.
player and audio system all the way down to 0.
Turn down to 0
Do not turn on the power yet. We still need to prepare the SU700 to auto-load
the demo song when its power is turned on.
CHAPTER 2
2.2 Listening to the Demo Song
This section shows you how to load and play the demo song included in the accessory
floppy disk.
Loading the Demo Song (auto-load)
In order to playback the demo song from the included the following diagram, the
contents of the floppy disk must be loaded into the internal memory of the SU700.
If you insert the included floppy disk into the disk drive and turn on the power, the
SU700 will automatically load the demo song.
CAUTION
If you load the demo song after using the SU700, all data currently in internal memory will
be lost. If memory contains any data you wish to keep, be sure to save it to disk etc. (Save:
→
p.287) before you load the demo song.
Chapter 2 Tutorial 37
Chapter 2 Tutorial
Procedure
Insert the accessory floppy into the slot on the SU700 front panel.
1.
●
Insert with label facing up and shutter facing the front panel. Push in lightly until the
disk clicks into place.
Switch on the power to the SU700.
2.
The SU700 begins automatic loading of the song data. While data is being loaded,
3.
the display will indicate “LOADING …”
●
Do not eject the floppy disk or switch off the SU700 power while the word LOADING... is on the display, as doing so may cause damage to the disk or the disk drive.
When loading is finished, the screen will look like this.
4.
*“SU_DEMO”
Composer: Takashi MORIO (synthesizer artist)
*This demo-FD features samples from the world’s foremost sample
developer AMG.
38 Chapter 2 Tutorial
Playing the Demo
■ You’re now ready to play the song.
●
Press the sequencer start button ( ) to begin playback of the song.
●
Adjust the volume by turning the MASTER VOLUME knob.
●
You can stop playback by pressing the stop button ( ).
●
You can jump back to the top of the song by pressing .
Use this knob to adjust
the volume.
● Reading the display
Track bank
Song number Song name
Track data BPM (tempo)
Song location
(beat:measure)
Track Bank Indicates the currently selected bank.
Song number Indicates the song number of the currently selected song. (The
SU700 stores up to 20 songs, each identified by a number.)
Song name Name of the currently selected song. (Each song takes a name of
up to eight alphanumeric characters.)
CHAPTER 2
Track Data Shows information about tracks in the currently selected bank.
Brackets (
) indicate that track is not muted. (Brackets disap-
pear if you mute the track.) The bar meters (track meters) indicate
the value on each track for the selected knob setting. (Under factory defaults, the meters indicate the LEVEL setting.)
Song Location Indicates the current location in the song, by measure and beat.
BPM Indicates the song’s playback tempo, in beats per minute.
Chapter 2 Tutorial 39
■ Changing the Tempo
Press the [BPM] button.
1.
◆ The BPM indication on the screen begins blinking.
Turn the dial to change the tempo. Turn right to increase the tempo, or left to re-
2.
duce it.
Chapter 2 Tutorial
Another way to set the BPM:
You can use the [BPM COUNTER] button to tap out the tempo that you want to use.
The SU700 automatically detects the tempo and displays it in the BPM area. If you
wish to use the newly displayed tempo, press [OK]. (If you don’t press OK within sev-
eral seconds, the old tempo value will reappear.) (→ p.164)
[BPM COUNTER] button
■ Using the Mutes
With the song playing, press the [ON/MUTE] pad-function button. This will
1.
cause the pads to operate as mute switches.
◆ You’ll notice that the ON/MUTE indication appears (in blue) along the top of
the screen.
Try pressing the pads on the various tracks. Tracks that are muted ( unlit)
2.
will not be played. Pressing the same pad again switches the mute back off (the
sound returns and the brackets reappear).
40 Chapter 2 Tutorial
●
When the song data is played back to a location where Track Mute on/off data
was written, the mute settings you made manually will change.
ON
(These tracks
are audible.)
MUTED
(These tracks
are silenced.)
■ Using the ROLL Pad Function
The roll function generates a drum-roll (machine-gun) type of sound by rapidly repeating the first part of the sample. The repetition rate is set by the interval, or “resolution.” Let’s try it out now.
Set the roll rate (the “resolution”).
1.
Press the [NOTE] button once. Then hold down the [ROLL] pad-function but-
ton. The NOTE area of the screen will now blink “RESOLUTION=” to indicate
the currently set roll rate (resolution) as a note value symbol.
MEASURE
BPM
NOTE
Continue to hold down the [ROLL] button and turn the dial to change the rate.
2.
Select the rate that you want to try.
CHAPTER 2
With the song playing back, hold down the [ROLL] button and press and hold
3.
the pad for the (un-muted) track that you want to roll. As long as you hold the
pad down, the sample will repeatedly playback from its beginning for the length
that you specified by the Resolution setting.
●
Roll works best with samples that start out with a sharp attack. It does not
work so well with samples that start out quietly, or samples that have a portion of silence at their beginning.
●
The Roll function cannot be used when the sequencer is stopped.
Chapter 2 Tutorial 41
■ Using the LOOP START Pad Function
You can use this feature to restart the loop on any of the LOOP or COMPOSED
LOOP tracks.
Press the [LOOP RESTART] pad-function button. The upper part of the display
1.
will indicate “LOOP RESTART.”
Chapter 2 Tutorial
Listening To and Adjusting Samples One Track at a Time
With the song playing, try pressing the pad on any (un-muted) LOOP or COM-
2.
POSED LOOP track that you wish to restart. The track’s loop phrase jumps back
to the top when you press the pad.
Now let’s try listening the samples with the song stopped.. First, press the button
to stop the song. (This places the sequencer into PLAY STANDBY mode.)
Next, to make sure that pads can be used to play samples on all tracks, you want to
be sure that all mutes (on all tracks) are switched off, and that the pad function is set
to PLAY. Proceed as follows.
First press the [ON/MUTE] pad-function button, so that pads will operate as
1.
mute switches.
Press the MASTER track pad either once or twice, so that meter brackets on all
2.
tracks are visible.
●
You use the MASTER track to control all other tracks at the same time. Setting
the mute on or off on the MASTER track causes all mutes to go on or off.
42 Chapter 2 Tutorial
Now press the [PLAY] pad-function button, so that pads can be used to play the
3.
samples.
Now you can use the pads to play the samples. Try pressing the pad for each track to
hear the sample. By doing this you can identify all of the song’s samples and the
tracks they are located on.
■ Adjusting the Levels
The sound from each track is conditioned by numerous parameter settings. These are
called knob settings, since you control them using the track knobs. First you select the
parameter you want to control by pressing the corresponding button on the Knob
Function panel. You can then adjust the values on each track by turning the knobs.
Let’s try using the knobs to adjust the level on each track (sample) — just as you
might on a conventional mixer.
Press the SOUND/[LEVEL] button on the Knob Function panel.
1.
CHAPTER 2
◆ The display switches to the function screen illustrated below. The track meter
for each track indicates the track’s current LEVEL setting. The numerical
LEVEL value (127 in the figure below) shows the precise level setting for the
track whose pad or knob you last operated. The twelve knobs will now adjust
the volume level of the corresponding track.
Chapter 2 Tutorial 43
Chapter 2 Tutorial
To adjust the level on any track, turn the track’s knob. You can listen to the re-
2.
sult by hitting the track’s pad.
Rotate the knob for the
LOOP1 track to adjust
the volume
■ Adjusting the Other Parameters
Now try adjusting some of the other parameters in the same way. First press the button on the Knob Function panel, and then turn the knobs on each track while at the
same time hitting the pad so that you can hear the sound. Try working will all parameters, starting with SOUND/[LEVEL] and ending with EFFECT/[EFFECT␣ 3].
NOTE:
• Not all knob settings are supported on all tracks. If a setting is not supported, the display will show “---” in place of a numerical value.
• You will not be able to hear the results of GROOVE adjustments while the sequencer
is stopped—since the groove feature operates only while the song is playing. You
should adjust the GROOVE-group settings after you start song playback.
• The EFFECT group settings ([EFFECT 1], [EFFECT 2], and [EFFECT 3] control the signal
levels to the three effect blocks. The effects themselves are selected using the Editing
Panel’s [EFFECT SETUP] buttons ([SETUP 1], [SETUP 2], [SETUP 3]). For information
about the effects implementation, see Chapter 7, “Effects,” on page 185.
44 Chapter 2 Tutorial
Using the Ribbon Controller
You can use the ribbon controller to control any one of the knob settings, or else to
control a special scratch function. The ribbon controller (or just ribbon) works on
only one selected track at a time. (For details about ribbon setup, see page 172.)
■ Trying Out the Scratch Function
Under factory defaults, the ribbon is set to control the scratch function. Assuming
you haven’t changed the ribbon setup, you can proceed without making any adjustment.
NOTE:
If you have already changed the ribbon function to something other than SCRATCH, you
can change the setting using the SYSTEM | SETUP job, as described following the procedure given below.
Hold down the [RIBBON TRACK] button and press the pad for the first LOOP
1.
track. This sets the ribbon so that it works with the first LOOP track.
CHAPTER 2
The brackets ( ) of the selected track (LOOP1) will blink.
Now try rubbing on the ribbon with your finger. Rubbing upward from the bot-
2.
tom plays the sample out from its start point; rubbing downward from the top
plays the sample out in reverse. Rubbing from the middle of the ribbon starts
playback from somewhere in the middle of the sample.
Note also that the playback rate varies according to the speed of your finger
3.
along the ribbon. Operation simulates the scratch sound you get by manually
rotating a vinyl disk on a turntable.
Chapter 2 Tutorial 45
Chapter 2 Tutorial
NOTE:
To provide this function, the SU700 maps the sample to the ribbon, with the start point of
the sample mapped to the bottom of the ribbon. Each point on the ribbon corresponds to
a specific location on the sample waveform. For more information, see page 173.
Sample start point
■ Using the Ribbon to Control the Level
Now let’s change the ribbon function so that the ribbon can be used to control the
LEVEL on each track.
Select the SYSTEM | SETUP job. First press the [SYSTEM] job-group selector,
1.
and then press the top job selector.
Turn the dial until the screen displays RIBBON FUNCTION, and then press
2.
[OK].
Dial
[OK] button
Now you want to set the function to LEVEL. You can do this either by pressing
3.
the SOUND/[LEVEL] button on the Knob Function panel, or else by turning the
dial all the way to the left.
46 Chapter 2 Tutorial
You can now use the ribbon to control the level on the selected ribbon track (the
4.
first LOOP track, as selected in the previous procedure). Try holding down the
pad as you touch different parts of the ribbon and as you move your finger
along the ribbon.
NOTE:
Touching the ribbon at the very bottom causes the track’s LEVEL setting to immediately
drop to 0; touching the ribbon at the top causes the tracks LEVEL setting to jump to 127.
You can also slide your finger up or down the ribbon so as to adjust the value more
gradually.
■ Using the Ribbon to Control Other Parameters
Now try using the ribbon to control some of the other functions. Repeat the above
procedure but at step 3 select some function other than LEVEL or SCRATCH. Note
that available functions vary somewhat according to track type.
2.3 Building Your Own Song
Now we’ll proceed to build an entire song using the samples provided on the “SU700
Sampling Audio” audio CD included with the SU700.
During these procedures you will gain experience at recording samples and sequence
data.
Song Design Plan
We’ll build the song according to the design plan given below.
A finished version of the song we will be creating is provided on the included audio
CD “SU700 Sampling Audio” (Track 93). You may want to listen the song on your CD
player so that you can hear the type of sound we are trying to create.
CHAPTER 2
●
In this section, the sampling grade and various procedures have been simplified for
instructional purposes, in order to clarify the operations and procedures. For this
reason, the song that you create will differ slightly from the example (Track 93) in
audio quality and other respects.
Chapter 2 Tutorial 47
● Track Structure
Our song will use all of the tracks in bank 1 plus FREE tracks 1–4 of bank 2, for a
total of fourteen tracks. Tracks 79–92 of the included audio CD (SU700 Sampling
Audio) contain the sample sources that we will use for this tutorial. First let’s sample
these sources and use them to create a song.
NOTE:
Tracks 79-92 were created by processing sources from tracks 1-78. For details on how to
use these original sources to create new sounds, refer to the section “Modifying sampled
sounds,” which begins on page 95.
LOOP 1: ............................. Source used: Track 79 (*Loop 1)
Loop track for drum patterns.
LOOP 2: ............................. Source used: Track 80 (*Loop 2)
Loop track for bass.
Chapter 2 Tutorial
COMPOSED LOOP 1: ....... Source used: Track 81 (*Composed Loop 1)
A bass track that plays a 16-beat loop.
COMPOSED LOOP 2: ....... Source used: Track 82 (*Composed Loop 2)
A bass track that plays a 16-beat loop. This is a
sample of the COMPOSED LOOP 1 track with its
pitch shifted upward.
COMPOSED LOOP 3: ....... Source used: Track 83 (*Composed Loop 3)
A synth-sound track which plays a 16 beat loop.
COMPOSED LOOP 4: ....... Source used: Track 84 (*Composed Loop 4)
A synth-sound track which plays a 32 beat loop.
FREE 1: ............................. Source used (sound type A): Track 85 (*Free 1a)
Source used (sound type B): Track 89 (*Free 1b)
These are samples that are 16 or more beats long.
Two different samples are provided for track banks
1 and 2, and will be used in different blocks of the
song.
FREE 2: ............................. Source used (sound type A): Track 86 (*Free 2a)
Source used (sound type B): Track 90 (*Free 2b)
FREE 3: ............................. Source used (sound type A): Track 87 (*Free 3a)
Source used (sound type B): Track 91 (*Free 3b)
FREE 4: ............................. Source used (sound type A): Track 88 (*Free 4a)
Source used (sound type B): Track 92 (*Free 4b)
48 Chapter 2 Tutorial
We’ll use these tracks to play sound effects, drums, and fills at various locations
throughout the song. We’ll also use the ribbon controller to scratch out these
sounds during the Intro and Ending sections.
As with the sample on FREE 1, we’ll set the sound up in two different ways for
track banks 1 and 2, so we can get different sounds in different sections.
* This CD features samples from the world’s foremost sample developer — AMG.
● Structure of the song
Our song will consist of 10 sections, as outlined below.
Measure Section Description
001
009
023
025
041
057
071
Intro A • Track bank 2 samples are used for FREE tracks 1–4.
:
:
:
:
Intro B • FREE tracks continue as in Intro A, using the samples of track bank 2.
:
Break • All tracks muted for two measures.
Section A • At the beginning of section A, we will switch the samples for FREE tracks 1:
:
:
:
:
Section B • Start COMPOSED LOOP 3 and 4 loops at beginning of this section.
:
Section C • Switch mute ON for LOOP 1 and LOOP 2 at beginning of this section.
:
:
:
:
:
Section D • Switch mute ON for COMPOSED LOOP 1 and 2 at beginning of this section.
:
• We’ll play the sample on FREE 1 continuously (all the way through to the end
of Intro B).
• We’ll use the ribbon control to scratch out the sound on FREE tracks 2–4
(both in Intro A and again in Intro B).
• At start of Intro B, begin bass loop phrases on COMPOSED LOOP 1 and 2.
4 to different samples (track bank 1) than those that were used in the Intro.
• Start LOOP 1 and LOOP 2 loops at beginning of this section.
• Also start COMPOSED LOOP 1 and 2 loops at beginning of this section.
• Hold FREE 1 sound from start of this section for approximately 2 measures.
• Begin playback of other FREE tracks starting from the middle of this section.
• Other tracks continue as from section A. All tracks are now playing.
• All COMPOSED LOOP tracks continue playing without change (sound is
same as in Section B).
• At start of this section, switch all FREE tracks back to the samples they had
during the Intro sections (Track Bank 2), and play them in the same way as
during Intro A.
• Continue COMPOSED LOOP 3–4 and all FREE tracks from Section C.
CHAPTER 2
073
105
121
130
Section E • At start of this section, change FREE tracks back to the samples of track bank 2.
:
:
:
:
Ending A • Switch mute ON for LOOP 1 and 2 tracks and for COMPOSED LOOP 3 and 4.
:
:
Ending B • At start of this section, switch mutes ON for COMPOSED LOOP 1 and 2, so
:
:
• Also at start of this section, release mutes on LOOP tracks 1 and 2, and on
COMPOSED LOOP 1 and 2, so that all tracks are playing.
• Play the same content as Section B (16 measures) twice in succession (32
measures).
• Switch the samples of FREE tracks 1–4 back to those of track bank 2, and
play FREE tracks 1–4 in the same way as in Intro B.
that all looping tracks are muted and only FREE tracks are unmuted.
• Play FREE tracks 1–4 as in Intro A.
• Hold FREE 1 until measure 130, where the song ends.
Chapter 2 Tutorial 49
Chapter 2 Tutorial
2.3.1 Setting Up The First LOOP Track (“LOOP 1”)
The above design plan is intended to give you an idea of how we will go about building the song. But note that when building your own songs, you do not need to set up
a detailed plan ahead of time. You can use knobs, pads, and the ribbon controller
freely to try out different ideas while listening to the sounds and using mutes to
switch different combinations of samples on and off. You are also free to replace
samples you don’t like with better ones, to use the “resampling” features, and to edit
your recorded sequence and setup data to customize the sound. You can also change
the settings freely in real time during performance.
Before You Start Sampling...
You always want to make sure you have enough memory before you begin to
record your samples. If you have loaded the demo song into the machine, let’s delete it now to ensure you have plenty of room for the operations described below.
One way is to eject the floppy from the slot (press the EJECT button just under the
slot) and then switch the SU700 power off and back on. Another way is to delete
the song using the SONG | INIT job (→ p.230).
■ Recording the Sample
We begin by recording a one-measure sample of a drum phrase from the sampling
CD (track 79 on the CD). We record the sample onto the first LOOP track (“LOOP 1”).
NOTE:
• Note that the SU700 can record samples only when the sequencer is in PLAY
STANDBY mode. Before proceeding, press once to ensure that the sequencer is in
PLAY STANDBY.
• The following procedure takes you through the basic steps for recording a sample, but
omits many details. For detailed instructions about how to record a sample, detailed
explanations about the various parameters, and information about what to do in the
case of unexpected error or warning messages, refer to Chapter 5, “Samples and
Sampling” starting on page 149.
Procedure
Turn down the MASTER VOLUME knob of the SU700, and all volume controls of
1.
your CD player and audio system. Then turn on the power of your CD player.
Specify the input jacks from which the sample will be recorded.
2.
Press the [SYSTEM] button, and then press the topmost [SETUP] button.
50 Chapter 2 Tutorial
Now turn the dial as necessary so that the screen says AUDIO IN. Then press [OK].
3.
Then turn the dial again (if necessary) so that the screen says AUDIO␣ IN=LINE. Then
press [OK] once more.
Dial
[OK] button
With this setting, the included audio CD can be used as a source for sampling.
NOTE:
You can also supply sound through a microphone connected to the ANALOG IN
input(s), provided that you first set
optional AIEB1 board (optional I/O expansion board), you can also record samples directly through the board’s OPTICAL or DIGITAL connectors.
Press the [SAMPLING] button. The screen displays the SELECT TRACK message.
4.
ANALOG INPUT
to
MIC
. If you have installed the
CHAPTER 2
NOTE:
• If sampling memory is already full when you try to record a sample, the screen will
display MEMORY FULL. If this occurs, press [CANCEL] to return to the main screen,
and then delete or reduce the size of the samples you have already recorded.
• If you have specified digital input for AUDIO IN, one of the following error messages
may be displayed.
”DIG-IN UNPLUGGED”
Digital input connections have been broken, and the PLL lock has been broken.
”DIG-IN PARITY ER”
A parity error has occurred in the digital input.In either case, press the [CANCEL]
button to exit sampling mode, and resolve the problem before you continue.
Chapter 2 Tutorial 51
Chapter 2 Tutorial
Now select the track you want to record on. In this case we are going to record on
5.
the first LOOP track in bank 1. (We will call this track “LOOP 1.”) So press TRACK
BANK button [1], and then hit the first (leftmost) LOOP pad. The brackets move to
this track to indicate that it is selected.
First LOOP track in bank 1
NOTE:
If you select a track to which a sample has already been assigned, the bracket display
will be , and when you press the [OK] button the display will ask “REPLACE
SAMPLE?” If you execute sampling, the data in the sampling display will be overwritten
and lost. If you wish to keep the existing data, you should either select a different vacant
track, or save the song to disk etc. before you continue.
Press [OK] to register the track selection and move to the parameter and input-moni-
6.
toring screen. You use this screen to adjust the three recording parameters and to
monitor and adjust the input level.
NOTE:
You can often reverse the action of the [OK] button by pressing the [CANCEL] button. In
this case, for example, you can press [CANCEL] to return to the
screen.
▼The screen presents three parameters, as shown below.
Sampling
frequency.
Let’s leave the frequency at 44K and the resolution at 16BIT, but let’s change the
format to “MONO L” (so that the SU700 will record a monaural sample from the
left channel of the stereo CD).
Bit resolution Format
(stereo or mono)
SELECT TRACK
52 Chapter 2 Tutorial
NOTE:
On LOOP tracks, stereo samples may sometimes produce an inappropriate click at the
loop ends. You can avoid this problem by using monaural recording for these tracks. Alternatively, you can record these as stereo samples and then convert to monaural later,
if necessary, using the SAMPLE | PROCESS
To adjust, press the right arrow button twice to select the format parameter, so
that the parameter is blinking on the screen. Then turn the dial to select MONO L.
Now let’s adjust the input level from the CD. First, start playback of track 79 on the
7.
sampling CD.
▼If the CD player is correctly connected to the SU700, you will hear the sound com-
ing through the SU700 and you will see the level meter moving on the screen. Note
that the meter grows to the right as the level increases; and that the word CLIP ap-
pears if the level goes too high.
SAMPLE TO MONO
Press twice
job (→ p.270).
CHAPTER 2
Lch
Rch
Meter grows this way to indicate rising level.
(The upper horizontal bar indicates the input to the right-channel level. The
lower bar indicates the input to the left-channel level. For monaural recording, both bars move together.)
Turn the ANALOG LEVEL dial to adjust the level. You want to adjust so that peak
levels bring the meter reading all the way to the right
warning.
Appears if level
goes too high.
without
triggering the CLIP
Chapter 2 Tutorial 53
Chapter 2 Tutorial
NOTE:
If you are recording to a digital input on the optional AIEB1 board, the parameter settings and level settings are fixed.
After you have finished setting the level, press the [SAMPLING] button on the SU700
8.
to begin recording. To stop sampling, press the button once again.
●
Track 79 repeats the same phrase four times. You can sample at any location that is
convenient.
NOTE:
You generally want to include excess material at the beginning and end of your recording. This will allow you to freely edit the playback start points and end points to get just
the area you need.
◆ Recording begins. The screen keeps track of remaining free sampling time as re-
cording proceeds.
NOTE:
• If you run out of memory while sampling, the display will indicate “MEMORY FULL,”
and sampling will end automatically.
• You can press [CANCEL] to cancel the recording and return to the
screen. If you cancel before concluding the recording, the previously existing sample
on the target track (if any) will be retained.
• (For LOOP tracks only): If the recorded length is too short or too long, the screen will
display the CANNOT FIND LOOP message. In this case you must press either [CAN-
CEL] or [OK] to escape: the SU700 will discard the recorded data and return you to
the main screen. If the track already held a sample, that sample is retained.
SELECT TRACK
After recording the part of the sample that you want to use, press the [SAMPLING]
9.
button to stop recording.
▼Recording stops. The SU700 displays WAIT... as it process the new data. It then re-
turns to PLAY STANDBY mode and redisplays the main screen.
The sample will automatically be assigned a sample name. For details on naming
rules, refer to page 154.
54 Chapter 2 Tutorial
■ Track editing (Creating an endless loop phrase)
Now you want to listen to the results of your recording, and edit the playback start
and end points to get a clean loop.
NOTE:
• If the recording results are not acceptable, you can simply repeat the previous procedure to record the sample again. When you select the same track as the recording
destination, the SU700 will display the query
wish to replace the data that you have already recorded. Simply press [OK] to proceed.
• The following steps show how to edit the sample’s length. When working on your
own, you may also want to edit the sample in other ways as well. (For example, you
may want to “normalize” the sample to get a better dynamic range.) For information
about the various types of editing you can perform on samples, refer to pages 151 and
152, and also to the explanation of the SAMPLE jobs (pages 262 to 271).
REPLACE?
, asking you whether you
Procedure
Press and hold the LOOP 1 track pad to play the sample.
1.
▼The sample loops continuously as you hold down the pad.
CHAPTER 2
NOTE:
You can also listen to the loop by starting the sequencer (by pressing ), since the
SU700 automatically generates the loop. But you must stop the playback (press )
before you can proceed to edit the sample as described below.
We will now use the SAMPLE | START POINT and SAMPLE | END POINT jobs to adjust the playback range (the length) of the sample. (For full details about these jobs,
refer to page 259.)
EXPLANATION:
When recording the sample, you almost certainly did not record the exact area that you
wish to use for your loop. Rather, you presumably recorded some excess. You must therefore adjust the start and end points to zero in on the area you want to replay.
Start point End point
First, press the SAMPLE job-group selector to select the SAMPLE job group.
2.
Chapter 2 Tutorial 55
Next, press the top job selector if you wish to adjust the start point, or the second job
3.
selector if you wish to adjust the end point. You can move back and forth between
the two adjustments as necessary by pressing these two buttons.
Chapter 2 Tutorial
Then press here or here to
move to start-point or endpoint adjustment screen.
After selecting the start point (or end point) adjustment screen, you can adjust the
4.
start point (end point) by turning the dial. (You can change the increment of adjustment using the
Continue holding the pad down while making the adjustments, so that you can hear
the results. Move back and forth between start-point and end-point adjustment screens
until you have selected the precise span of the waveform that you want.
Start-point adjustment End-point adjustment
When you are satisfied with the results, press the [OK] button to return to the main
5.
screen.
NOTE:
You are not locked into these settings. If you decide later that the start and end points are
not quite right, you can always go back and readjust.
and buttons.)
Press here first
(one time only.)
Now press the pad for the LOOP 1 track and listen to the playback. Confirm that the
6.
loop sounds good.
56 Chapter 2 Tutorial
2.3.2 Setting Up LOOP 2
■ Recording the Sample
Using the same procedure as we did for the LOOP 1 track, we will now sample Track
80 (bass phrase) from the included audio CD to the LOOP 2 track.
Procedure
Press the [SAMPLING] button to enter sample-recording mode.
1.
The screen displays the [SELECT TRACK] message.
Press the second LOOP pad to select the track. Then press [OK].
2.
Set the sampling parameters as follows:
3.
Start the CD player, play the sample, and adjust the level (using the ANALOG LEVEL
4.
dial) while watching the meter on the display.
CHAPTER 2
Playback the source, and press the [SAMPLING] button to begin sampling.
5.
●
Track 80 repeats the same two-measure phrase four times. Sample two measures at
a convenient location.
When you have finished sampling the sound you need, press [SAMPLING] again to
6.
stop the recording.
■ Editing the track (Creating an endless loop phrase)
Now adjust the start and end points for the sample on LOOP 2 just as you did for the
sample on LOOP 1. Adjust as necessary so that you get a good sounding, smooth
loop.
●
The start/end points can be adjusted only when the sequencer (the song) is
stopped.
Procedure
Press and hold the LOOP 2 track pad to play the sample.
1.
▼The sample loops continuously as you hold down the pad.
Chapter 2 Tutorial 57
Chapter 2 Tutorial
NOTE:
You can also listen to the both loop tracks together by starting the sequencer (by pressing
).You may want to try this to get an idea of how the loops sound when playing together. But remember that you must stop the sequencer before you can proceed to edit
the sample length.
Now use the SAMPLE | START POINT and SAMPLE | END POINT jobs to adjust the
2.
playback range (the length) of the LOOP 2 sample. (Again, you can find full details
about these jobs on page 258.) After completing the adjustment, press [OK] to return
to the main screen.
■ Matching the LOOP 1 and LOOP 2 tracks
Press the sequencer button, and LOOP 1 (drum) and LOOP 2 (bass) samples will
playback as loops. Now we will set the tempo (BPM) and the volume balance, and
adjust the groove so that the drum and bass match.
● Setting the Tempo (BPM)
The samples for this song have been designed to be played back at BPM=172.0
Start the sequencer in PLAY mode (press the
loops play, press the [BPM] button, and turn the dial to adjust the BPM. Set the BPM
value to 172.0.
MEASURE
BPM
NOTE
● Setting the Loop Lengths
If LOOP 1 and LOOP 2 sound different than the finished example on the included au-
dio CD, use TRACK SET/SETUP/LOOP LENGTH (→ p.238) to check the loop length
of the sample.
button). While listening to both
58 Chapter 2 Tutorial
The sample length of the LOOP 1 and LOOP 2 tracks will be detected automatically
by the SU700. In this example of creating a song — if samples were recorded correctly — the SU700 should have detected a LOOP LENGTH of 004 for LOOP 1 and
008 for LOOP 2, and a BPM value in the region of 172 for both. Alternatively, the
SU700 may have detected a LOOP LENGTH of 002 for LOOP 1 and 004 for LOOP 2,
with a BPM in the region of 86 for both. In this latter case, you will need to set the
LOOP LENGTH manually to the correct value.
LOOP LENGTH=008 means that the loop is 8 beats long when calculated at
BPM=172. If the display indicates the wrong loop length for the two loops, use the
dial to correct the settings to LOOP LENGTH = 004 for LOOP 1, and LOOP
LENGTH=008 for LOOP 2. The BPM will be recalculated automatically, and should
be a value in the region of 172.
● Adjusting the volume balance
Here’s how to adjust the volume balance between the LOOP 1 track and the LOOP 2
track.
CHAPTER 2
Procedure
Press the SOUND group [LEVEL] button.
1.
Press the LOOP 1 pad. The display will numerically indicate the volume level that is
2.
currently specified for the LOOP 1 track.
Use the knob for the LOOP 1 track to set “LEVEL=127.”
Next press the LOOP 2 pad, and rotate the knob for the LOOP 2 track to set
3.
“LEVEL=075.”
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Chapter 2 Tutorial
● Adjusting the groove
When you listen to LOOP 1 (drums) and LOOP 2 (bass) together, the groove may not
match precisely. There are several possible reasons.
●
Loop point connections
If the loop points of the sample do not coincide with beats, the groove will not feel
right.
→Try making fine adjustments to the start/end points of the sample.
Even if the loop length is identical, the location of the connection between start/
end points can affect the groove.
Moving the start/end point forward will “rush” the overall groove, and moving it
backward will “drag” the groove.
●
Differences in groove unique to each sample
Even if a loop by itself has a satisfactory groove, two or more sample loops with
differing grooves may sound wrong when they are played back simultaneously.
→Use the following procedure to adjust the RESOLUTION so that the sample
plays in units of an individual note.
Alternatively, you can adjust the GROOVE function to create new grooves. (→
p.201)
●
Adjusting the RESOLUTION
Press the GROOVE/[TIMING] button.
1.
The NOTE area of the display will indicate “RESOLUTION= note value,” so
2.
press the [NOTE] button to make that display blink.
60 Chapter 2 Tutorial
Press the sequencer button to playback the LOOP 1 and LOOP 2 tracks,
3.
and use the dial to try various note value settings.
Notice how the groove changes.
For this example, let’s set this parameter to an 8th note (
MEASURE
BPM
NOTE
●
Aligning the left and right channels of a stereo sample
In the case of a stereo sample, skewed timing between the left and right channels
may impair the groove.
→This can be solved by converting the stereo sample to a mono sample. (SAMPLE
| PROCESS/STEREO TO MONO. p.270)
Here we will end our work on the LOOP 1 and LOOP 2 tracks.
Next let’s proceed to the COMPOSED LOOP tracks.
) .
2.3.3 Setting Up The First COMPOSED LOOP track (“CL1”)
CHAPTER 2
■ Recording the Sample
Now record the next sample onto the first COMPOSED LOOP track (“COMPOSED
LOOP 1”, or “CL1”). This time please record Track 81 from the sampling CD.
Record the sample in the same manner that you recorded samples for the two LOOP
tracks. Set the recording parameters to 22K, 8BIT, and MONO L.
■ Setting the Loop Length
Using the same procedure as you used to set the LOOP 2 track, set the loop length of
the sample for the CL1 track to “LOOP LENGTH=016.”
Chapter 2 Tutorial 61
Chapter 2 Tutorial
■ Recording to the Sequencer
Now we will record the CL1 track sample to the sequencer. The sample of a COMPOSED LOOP track will playback as a loop over the specified length (number of
measures).
The CL1 track sample will play as a loop of 16 quarter-note beats (i.e., 4 measures),
and will sound for five beats starting at the beginning of the third measure. (See diagram below.)
CL1 sample
[Setting up the Recording Parameters]
Before beginning recording, you will want to set appropriate values for the following
parameters. To keep things as simple as possible, we will leave all of these settings at
their factory defaults. But you should be aware that when building your own songs
you will want to set these carefully. All of these parameters can be set using the SYSTEM | SETUP job; for information, see pages 298 to 303.
METRONOME: Determines whether the SU700 produces a metronome sound
(one click per beat) during playback and/or recording. With the
factory settings, the SU700 does not produce this sound.
COUNTDOWN: When the metronome is turned on, you can choose whether re-
cording begins immediately (when you engage REC mode) or
whether the SU700 will produce a click sound as a 1-measure or
2-measure lead-in. The factory default is a 2-measure lead-in.
REC MODE: Determines whether new recording actions “overdub” or “re-
place” actions recorded in previous recording sessions. The factory default is “replace.”
62 Chapter 2 Tutorial
[Recording the Loop Phrase]
Press to return the song to the top position, then press to set the se-
1.
quencer in REC STANDBY mode. Also press the [PLAY] pad-function button to
ensure that pads can be used to record notes.
◆ The SU700 displays a function screen (similar to the one shown below). Note
that the “REC” and “PLAY” indications appear along the top of the screen.
Now we want to set the quantize interval. Press the [NOTE] button, so that the
2.
QUANTIZE= indication is blinking. Then turn the dial to set the quantize value
to quarter note (
).
MEASURE
BPM
CHAPTER 2
NOTE
NOTE:
• When recording your input actions, the SU700 automatically adjusts the timing of pad
actions and certain knob actions in accordance with you QUANTIZE setting. Since we
have set quantize to quarter-note, the SU700 will automatically move all of the
quantizable input actions to the nearest quarter-note interval (the nearest beat). For
more information about quantizing, see page 174.
• If you do not see the QUANTIZE= indication on the screen, you can always get it back
by pressing any of the pad-function buttons or the SOUND/[LEVEL], SOUND/[PAN],
SOUND/[LENGTH], or FILTER/[CUTOFF] knob-function button.
Chapter 2 Tutorial 63
Chapter 2 Tutorial
Press to start song recording (to switch the sequencer into REC mode), and
3.
get ready to press the CL1 pad to record the note event for your loop.
Watch the location indicator as the SU700 plays through the lead-in measures
and the first two measures of the song. Press the pad when the indicator is
reaches 003:1, hold it for five beats, and release it just before the indicator
reaches 004:2.
Allow the sequence to keep playing. Since the loop length is set to 16 beats, you
should now hear the note played every four measures (measure 7, measure 11,
and so on).
NOTE:
• Be aware that the SU700 quantizes the pad-press event (note-on event), but does not
quantize the pad-release event (note-off event). Provided that you hit the pad within a
one-eighth note interval on either side of 003:1, the SU700 will record the note-on
event at 003:1 exactly. But you want to be more precise when you release the pad,
since the SU700 will not adjust the timing of the note-off event.
• Since this is a looping track, you can record the pad input at any third measure in the
loop: 003:1, or 007:1, or 011:1, etc. (For more details about the COMPOSED LOOP
implementation, see page 136.)
• If the PAD SENS parameter (in the TRACK SETUP | SETUP job) is set to ON, the COMPOSED LOOP and FREE track pads are velocity sensitive. This means that the loudness
of the recorded note will depend on the force with which you hit the pad (stronger
force produces a louder sound).
Press to stop recording.
4.
◆ The sequencer stops recording. Press the
which you started recording, and the main screen reappears.
Press the
ceptable. Confirm that the sound of the CL1 track repeats every fourth measure (at 003:1, 007:1, 011:1, and so on). Then press
turning the SU700 to PLAY STANDBY mode.
● If you make a mistake while recording
The Undo function lets you cancel the result of a single recording operation (i.e.,
from stop → recording → stop). If you make a mistake while recording, press the
[UNDO/REDO] button once. All data recorded by the previous recording operation
will be cancelled, and you will return to the state prior to recording. If you then press
the [UNDO/REDO] button once again, the Undo operation itself will be cancelled. In
other words, the data will return to the state prior to when you pressed the [UNDO/
REDO] button.
button to start playback, to determine whether the results are ac-
button to return to the point at
to stop the playback, re-
64 Chapter 2 Tutorial
●
Undo is valid only for the immediately-previous recording operation (stop → recording → stop). When you perform the next recording operation (stop → recording → stop), it will not be possible to Undo any prior recording operations.
CL1 sample
Undo
Redo
disappears
● To delete a sample that was recorded by mistake
Put the sequencer in recording mode (
+ ), and at the location where the sample
you wish to delete is played, hold down the JOB group [NOTE DEL] button and
press the CL1 pad to delete any note-on data for the CL1 sample that occurs in that
area. Since the CL1 track is a loop, the samples deleted from that area will disappear
from the entire song.
CHAPTER 2
●
Since this will delete CL1 note-on data, performing the above operation is enough
to stop the sample from playing.
Alternatively, you can set the recording mode to “REPLACE,” and then re-record over
again while erasing the previously-recorded data.
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Chapter 2 Tutorial
● Tips for recording
●
If the tempo is too fast for you to achieve accurate timing, use the dial to lower the
BPM setting and try recording at a slower tempo.
●
You can press the [MEASURE] button, use the dial to move to the desired measure location, and begin recording from there.
●
If you do not wish to listen the sound of other tracks while you record, you can
mute those tracks before you begin recording.
● Detailed adjustments of the recorded sample
The sequencer records the timing at which the CL1 track sample is played, its volume, and its duration (gate time). This data is collectively referred to as an “event,”
and can be edited in detail using the Event Edit group parameters Location and
Value. (→ EVENT EDIT / LOCATION & VALUE: p.246)
EXAMPLE:
If the CL1 sample was recorded by mistake at 003:2
Press the [EVENT EDIT] button, and then press the top button for [LOCA-
1.
TION & VALUE].
A display indicating the track to be edited.
2.
Press the CL1 track pad, and press the [OK] button.
COMPOSED LOOP 1 track of track bank 1
The display will allow you to specify the type of event to be edited.
3.
Rotate the dial to select “NOTE,” and press the [OK] button.
The display will indicate the note event as follows.
4.
Measure Beat Clock
Location
66 Chapter 2 Tutorial
Use the cursor buttons ( , ) to make the “beat” field of the location blink, rotate the dial to set it to “1,” and press the [OK] button.
●
If there is more than one note event, use to move to the previous event, to
the next event, or
●
In addition to the location of a note event, you can also modify its velocity and gate
time.
to the first event.
2.3.4 Setting Up The Second COMPOSED LOOP track (“CL2”)
■ Sampling
As you did for the LOOP 1 track, sample Track 82 from the included audio CD to
COMPOSED LOOP 2 (subsequently referred to as CL2).
●
Set the sampling grade to “22K 8BIT MONO L.”
■ Setting the loop length
Using the same procedure as you did for the LOOP 2 track, set the sample of the CL2
track to “LOOP LENGTH=016.”
CHAPTER 2
■ Recording the Loop Phrase
The sample for the CL2 track will be in a loop that is 16 quarter-note beats long (four
measures), and will play for the final three beats of the loop, starting at beat 004:2
and ending at 005:1, as shown below.
CL2 sample
Record this phrase using the same method you used to record on track CL1. Start the
sequencer in REC mode, press the pad when the location indicator gets to 004:2, hold
it for three beats, and release it just as the indicator is about to change to 005:1.
Chapter 2 Tutorial 67
2.3.5 Setting Up The Third COMPOSED LOOP track (“CL3”)
Chapter 2 Tutorial
■ Sampling
Using the same procedure as you did for the LOOP 1 track, sample Track 83 of the
included audio CD to the COMPOSED LOOP 3 track (hereafter referred to as “CL3”).
●
Set the sampling grade to “22K 8BIT MONO L.”
■ Setting the Loop Length
Using the same procedure as you did for the LOOP 2 track, set the CL3 track to
“LOOP LENGTH=016.”
■ Recording the Loop Phrase
Now we’ll record the sample to the CL3 track of the sequencer.
The CL3 track is 16 quarter-notes long (four measures), and we will play the sample
over the first three beats of the loop, beats 001:1 to 001:4, as shown below.
CL3 sample
Record this phrase using the same method you used to record on the other CL tracks.
Start the sequencer in REC mode, press the CL3 pad when the location indicator
reaches 001:1, hold it for three beats, and release it just as the indicator reaches
001:4.
2.3.6 Setting Up The Fourth COMPOSED LOOP track (“CL4”)
■ Sampling
Using the same procedure as for the LOOP 1 track, sample Track 84 from the included audio CD to the COMPOSED LOOP 4 track (subsequently referred to as
“CL4”).
●
Set the sampling grade to “22K 8BIT MONO L.”
■ Setting the Loop Length
Using the same procedure as you did for the LOOP 2 track, set the CL4 track to
“LOOP LENGTH=032.”
68 Chapter 2 Tutorial
■ Recording the Loop Phrase
Now we’ll record the sample to the CL4 track of the sequencer.
The CL4 track is a loop 32 quarter-notes long (eight measures), and will play the
sample starting at the first beat of measure 3 and extending for four beats.
CL4 sample
Record this phrase using the same method you used to record on the other CL tracks.
Start the sequencer in REC mode, press the CL4 pad when the location indicator
reaches 003:1, hold it for four beats, and release it just before the indicator reaches
004:1.
2.3.7 Setting Up The FREE Tracks
Recording onto the FREE tracks of the sequencer will be discussed later. First let’s
record samples onto FREE tracks 1–4.
CHAPTER 2
●
Since the FREE tracks do not loop, we do not need to specify the loop length as we
did for the LOOP tracks and COMPOSED LOOP tracks.
■ Sampling
For the FREE tracks 1–4, we will provide different samples for track banks 1 and 2,
and use these two samples in different blocks of the song.
For track bank 1 of FREE tracks 1–4, sample the following sources from the included audio CD.
FREE 1 track: Track 85 (*Free 1a)
FREE 2 track: Track 86 (*Free 2a)
FREE 3 track: Track 87 (*Free 3a)
FREE 4 track: Track 88 (*Free 4a)
For track bank 2 of FREE tracks 1–4, sample the following sources from the included audio CD.
FREE 1 track: Track 89 (*Free 1b)
FREE 2 track: Track 90 (*Free 2b)
FREE 3 track: Track 91 (*Free 3b)
FREE 4 track: Track 92 (*Free 4b)
Chapter 2 Tutorial 69
Chapter 2 Tutorial
●
For each sample, set the sampling grade to “22K 8BIT MONO L.”
The sampling procedure is the same as for the LOOP 1 track. (→ p.50)
When sampling to track bank 1, press the TRACK BANK button [1] before selecting
the sampling track (the “SELECT TRACK” display). When sampling to track bank 2,
press the TRACK BANK button [2].
Example: to select TRACK BANK=2 and FREE track 1
2.3.8 Adjusting the levels of each track
Now that all samples have been recorded, let’s adjust the sound levels on each track,
so that the levels are correctly balanced.
Procedure
Set all mutes off. Press the [ON/MUTE] pad-function button, then hit the MASTER
1.
pad either once or twice so that the MASTER track’s mute is off (so that the MASTER
track brackets are visible).
▼When you set the MASTER mute off, all mutes go off.
Press the [PLAY] pad-function button, so that you can use the pads to play the
2.
samples. Then press the SOUND/[LEVEL] button on the Knob Function panel, so that
all knobs will control the LEVEL setting.
Press to start playback. As playback proceeds you will hear sound coming from
3.
both LOOP tracks and all four COMPOSED LOOP tracks.
Turn the knobs on the LOOP and COMPOSED LOOP tracks to adjust the level on
4.
each of these tracks. Adjust so as to get a good balance.
With the sequencer still playing, adjust the sound for each of the FREE tracks. For
5.
each of these tracks, hit the pad to play the sound, and turn the track’s knob to adjust
the level. (See “Note” below.)
70 Chapter 2 Tutorial
If you wish to adjust the overall sound, turn the knob on the MASTER track.
6.
NOTE:
• You can also adjust the overall sound using the MASTER VOLUME knob. But the
MASTER-track setting can be stored into a scene and reproduced each time you play
the song. The MASTER VOLUME setting is not stored as song data.
• LEVEL settings
Track bank 1 Track bank 2
LOOP 1 ...........................127 FREE 1 ............................. 100
LOOP 2 ...........................075 FREE 2 ............................. 055
COMPOSED LOOP 1 ......085 FREE 3 ............................. 055
COMPOSED LOOP 1 ......080 FREE 4 ............................. 055
COMPOSED LOOP 1 ......090
COMPOSED LOOP 1 ......075 MASTER ............................... 127
FREE 1 ............................. 127
FREE 2 ............................. 105
FREE 3 ............................. 090
FREE 4 ............................. 110
CHAPTER 2
2.3.9 Adjusting the effects for each track
Now let’s adjust the effects for each track.
Here we will make the minimum settings necessary to make this song musically interesting.
Procedure
Press the EFFECT/[EFFECT 2] button.
1.
Rotate the knob of the track to which you wish to apply an effect, and set the follow-
2.
ing values.
Track bank 1: COMPOSED LOOP 3,4, FREE 1
1DELAY = 080
Track bank 2: FREE 1–4
1DELAY = 090
Press the EFFECT/[EFFECT 3] button.
3.
Rotate the knob of the track to which you wish to apply an effect, and set the follow-
4.
ing values.
Track bank 2: FREE 1–4
HALL = 090
Chapter 2 Tutorial 71
2.3.10 Putting the Song Together
Now we’ll build a song using the samples we have recorded into our ten sample
tracks in bank␣ 1.
The song will consist of ten sections, as outlined on page 49 and again below. For
each section we will use a different muting arrangement. For FREE tracks only, we’ll
prepare two different sound setups (Setup “A” and Setup “B”), and use one or the
other of these in each section.
In order to establish the sound changes at the start of each section, we will use
scenes. Each scene stores an entire environment: all mute settings and all knob settings for all tracks we are using. First we will prepare the environments and store
them into scene memory. Then, when recording the song, we will record a scenebutton press at the start of each section. This button-press will record a scene-recall
event that will automatically recall the required environment.
Chapter 2 Tutorial
Note that the top scene is a special scene that is automatically recalled whenever you
return the song to its top position.
NOTE:
In addition to mute and knob settings, scenes also store the effects setup. For more about
scenes, refer to pages 176 to 181.
72 Chapter 2 Tutorial
■ Song Transition Structure
We will assign the following content to each of the eight scene buttons, which correspond with places where the track mute settings change during the song. (For details
on the structure of this song, see page 49.)
Measure Section TRACK LOOP C. LOOP FREE FREE-Track Sound Setup Scene
001:1 Intro A [1] ЧЧ ЧЧЧЧЧЧЧЧ Setup “B” [TOP]
: [2] ×× ××××
009:1
: Intro B [1] ××
: [2] ×× ××××
023:1
: Break [1] ЧЧ ЧЧЧЧЧЧЧЧ Setup “A” [B]
: [2] ЧЧ ЧЧЧЧЧЧЧЧ
025:1
: Section A [1]
: [2] ЧЧ ЧЧЧЧЧЧЧЧ
041:1
: Section B [1]
: [2] ЧЧ ЧЧЧЧЧЧЧЧ
057:1
: Section C [1] ××
: [2] ×× ××××
071:1
: Section D [1] ×× ××
: [2] ×× ××××
073:1
: Section E [1]
: [2] ЧЧ ЧЧЧЧЧЧЧЧ
105:1
: Ending A [1] ××
: [2] ×× ××××
121:1
: Ending B [1] ЧЧ ЧЧЧЧЧЧЧЧ Setup “B” [G]
: [2] ×× ××××
130:1
*1:
: ON (track is audible). ×: MUTE (track is silenced).
BANK 1 2 12341234
Track Mutes *1
ЧЧЧЧЧЧ Setup “B” [A]
×× Setup “A” [C]
Setup “A” [D]
×× ×× Setup “B” [E]
×× ×× Setup “B” [F]
Setup “A” [D]
ЧЧЧЧЧЧ Setup “B” [A]
CHAPTER 2
Chapter 2 Tutorial 73
■ Storing the mute settings of each block to a scene button
Let’s store the mute settings of the tracks for each song block to a scene button.
● Intro A = scene button [TOP]
● Ending B = scene button [G]
Intro A and Ending B have the same mute settings.
We will defeat muting only for the FREE 1–4 tracks of track bank [2], and mute all
the other tracks.
The same settings will be stored to scene buttons [TOP] and [G].
NOTE:
The settings of the [TOP] button are automatically written at the beginning of the song
even if you do not record any sequence data. When you start from the beginning of the
song, the settings of the [TOP] scene will always be used.
Since the [TOP] scene is a special case, we will store its settings in another scene button
even though they are identical.
Chapter 2 Tutorial
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1] × × ×××× ××××
[2] × × ××××
Procedure
Press the PAD FUNCTION [ON/MUTE] button.
1.
Press the MASTER track pad to mute all tracks.
2.
The bracket display (
muted.
Press the TRACK BANK [2] button to select track bank [2], and press the FREE 1–4
3.
track pads to un-mute them.
The bracket display (
) of all tracks will go dark.All track banks [1]-[4] will be
) of the FREE 1–4 tracks will reappear.
74 Chapter 2 Tutorial
Press the PAD FUNCTION [PLAY] button.
4.
▼This completes mute settings.
Now we will store this condition to the [TOP] and [G] scene buttons.
Set the [SCENE/MARKER] switch to the SCENE position.
5.
Continue pressing the [TOP] button until the display indicates “SCENE STORED.”
6.
set to the SCENE position
Release the [TOP] button. The settings have now been stored to the [TOP] button.
7.
CHAPTER 2
Next store the same mute settings to the [G] button.
8.
▼Press and hold the [G] button until the display indicates “SCENE STORED.”
Release the [G] button. The settings have now been stored to the [G] button.
9.
● Intro B and Ending A = Scene button [A]
Intro B and Ending A have the same mute settings.
We will defeat muting for the CL1/2 tracks of track bank [1] and the FREE 1–4 tracks
of track bank [2]. All other tracks will be muted.
We will store these settings in scene button [A].
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1] ××
[2] × × ××××
×× ××××
Chapter 2 Tutorial 75
Chapter 2 Tutorial
Procedure
Press the PAD FUNCTION [ON/MUTE] button.
1.
We will start with the settings of the [TOP] and [G] scenes, and un-mute the CL1/2
2.
tracks of track bank [1].
▼Press the TRACK BANK [1] button to select track bank [1]. Then press the pads of
CL1/2 tracks to make the bracket (
Press the PAD FUNCTION [PLAY] button.
3.
Set the [SCENE/MARKER] switch to the SCENE position.
4.
Continue pressing the [A] button until the display indicates “SCENE STORED.”
5.
Release the [A] button. The settings have now been stored.
6.
Using the same procedure as you did for Intro A and Ending B, store mute settings
for each scene button as described below.
● Break = scene button [B]
All tracks are muted.
) appear for the CL1/2 tracks.
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1] × × ×××× ××××
[2] × × ×××× ××××
●Section A = scene button [C]
Un-mute the LOOP1/2, CL1/2, and FREE 1–4 tracks of track bank [1], so that they
will be heard.
Mute all FREE 1–4 tracks of track bank [2].
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1]
[2] × × ×××× ××××
●Sections B and E = scene button [D]
Un-mute all tracks of track bank [1] so that they will be heard.
Mute all FREE 1–4 tracks of track bank [2].
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1]
[2] × × ×××× ××××
××
76 Chapter 2 Tutorial
● Section C = scene button [E]
Un-mute CL 1–4 tracks of track bank [1] and FREE 1–4 tracks of track bank [2] so
that they will be heard.
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1] ××
[2] × × ××××
●Section D = scene button [F]
Un-mute CL3/4 tracks of track bank [1] and FREE 1–4 tracks of track bank [2] so that
they will be heard.
××××
TRACK LOOP C.LOOP FREE
BANK 1 2 1234 1234
[1] ×× ××
[2] × × ××××
××××
■ Recording Scene-Recall Events Into the Song
Now that we’ve set up the scenes, we’re ready to record the scene-recall events into
our songs. We’ll record a scene-recall event at the start of each section, so that mutes
and sound will change as necessary as we move from section to section.
NOTE:
• We don’t need to record a scene-recall event for Intro A, since the top scene is recalled
automatically.
• To make it easier for you to press buttons at the correct timing, we recommend that
you record with the metronome turned on. (→ p.298 )
Procedure
Press the button to return the song to its top position. (This will automatically
1.
recall the top scene.) Then press the
STANDBY mode.
▼Confirm that the REC indication appears along the top line of the display
button to set the sequencer into REC
CHAPTER 2
NOTE:
You do not need to worry about the QUANTIZE setting at this point, since scene-recall
events are never quantized. When you use a scene button to record an event, the event
is recorded into the song at the precise location at which you release the button.
Press to begin recording.
2.
▼You will hear the song begin playback. Mutes and knobs are now set in accordance
with the environment you stored into the top scene.
Chapter 2 Tutorial 77
Chapter 2 Tutorial
Watch the location indicator. You now want to press and release the Scene [A] but-
3.
ton, timing your action so that you
ing from 008:4 to 009:1.
Then press scene buttons to record the remaining scene changes at the measure locations shown below.
NOTE:
• You can press the button at any time (for example, you can begin pressing it when
the song reaches location 008:1), but you must release it at the exact location at
which you want to recall the scene. The event is recorded when you release the
button, not when you press it.
• Note that when recalling a scene while the sequencer is in PLAY or PLAY STANDBY
mode, you want to be very careful that you don’t hold the scene button down too
long—since doing so will result in a scene-store rather than a scene-recall. During
REC STANDBY and REC modes, however, scene storing is disabled; the scene buttons
produce recalls only, no matter how long they are held down.
• The [UNDO/REDO] button can also be used when recording scenes.
• To delete a scene event, you can use Location and Value of the Event Edit group. (
p.246)
Location Button
023:1 Scene button [B]
025:1 Scene button [C]
041:1 Scene button [D]
057:1 Scene button [E]
071:1 Scene button [F]
073:1 Scene button [D]
105:1 Scene button [A]
121:1 Scene button [G]
release
the button as the song location is chang-
→
* Depending on the timing at which a scene is recalled, sound may remain at the
beginning of a measure, or conversely the beginning of a measure may be omitted.
In such cases, use Undo/Redo (→ p.183) or Event Clear (EVENT EDIT/EVENT
CLEAR: → p.251) to correct the scene recall event.
The secret to avoiding cutting off the beginning of a measure is to recall the scene
a sixteenth note before the measure.
78 Chapter 2 Tutorial
Press to stop the sequencer. Then press to return to the top of the song. Fi-
4.
nally, press
the mute settings and the FREE-track setup (the samples that are played by the FREE
1–4 track pads) change as you move from one section to another.
NOTE:
• Even if the song returns automatically to the top position when you finish recording,
you must nevertheless press the button (or the [TOP] button, briefly) to restore the
top scene.
• If you are not happy with the results, you can use the UNDO/REDO feature to remove them. This feature works only while the sequencer is in PLAY STANDBY mode,
and only on the events recorded during the last recording pass. (→ p.183)
• You can also delete selected scene-recall events using the EVENT EDIT |
LOCATION&VALUE job (→ p.246).
▼After starting playback, you should notice that the mute-setup changes as follows as
the song location changes from 008:4 (end of Intro A) to 009:1 (start of Intro␣ B).
to listen to the result. As playback proceeds, you should see and hear
End of Intro A (End of top scene)
CHAPTER 2
Start of Intro B
(Recall of Scene A)
Chapter 2 Tutorial 79
2.3.11 Recording the FREE Tracks
Now that we’ve set up the basic structure for our song, we’ll proceed to record note
and ribbon events onto our FREE tracks. This is the final step in the building of our
song.
NOTE:
• If the PAD SENS parameter (in the TRACK SETUP | SETUP job) is set to ON, the COMPOSED LOOP and FREE track pads are velocity sensitive. This means that the loudness
of the recorded note depends on the force with which you hit the pad (stronger force
produces a louder sound). If you set PAD SENS to OFF, then all pad hits produce the
same loudness.
• If you are not happy with the results of a recording pass, you can undo them using the
UNDO/REDO feature. Alternatively, you are always free to use the EVENT EDIT |
LOCATION&VALUE job to delete or adjust the timing, duration, and velocity of any
recorded note events.
Chapter 2 Tutorial
■ Building Intro A and Intro B
The sample we recorded onto the first FREE track (FREE 1) is quite long—long
enough to play continuously for more than 16 measures. We’ll hold this note down all
the way through Intros A and B. Since we will record it from the beginning of the
song (001:1), let’s set a count-in of 2 or 1. (→ SYSTEM/SETUP/COUNTDOWN: p.299)
For the other FREE tracks (2/3/4), we’ll use the ribbon controller to record scratch
actions.
Procedure
Recording Note Play on FREE 1 of track bank 2
So that the sample we prepared for track bank 2 will sound when we press the FREE
1.
1 track pad, press the TRACK BANK [2] button.
▼Press the [PLAY] PAD FUNCTION button to ensure that the pads can be used to
play notes.
Press to return the song to the top position and restore the main scene. Then
2.
press
▼Confirm that the REC and PLAY indications appears along the top line of the display.
Press the [NOTE] button, so that the NOTE area of the screen is blinking. This area
3.
should now be showing the QUANTIZE= display. Turn the dial to set the quantize
value to a quarter note: QUANTIZE=
80 Chapter 2 Tutorial
to set the sequencer into REC standby mode.
.
MEASURE
BPM
NOTE
Press to begin recording. Allow the lead-in measures to pass, while watching the
4.
location indicator. When the position reaches 001:1 (the actual start of the song),
press and hold the FREE 1 track pad. Continue to hold the pad down for 22 measures, releasing it when the location reaches 023:1.
NOTE:
The number of lead-in measures is determined by the COUNTDOWN parameter in the
SYSTEM | SETUP job (→ p.299). It is assumed that the SU700 is currently set to give you
two lead-in measures (since this is the factory default).
Press to stop the sequencer. Press to restore the top scene.
5.
Recording Ribbon Actions on FREE 2, FREE 3, and FREE 4 of track bank 2
First we set the ribbon so that it controls the “scratch” function.
CHAPTER 2
Press the [SYSTEM] job-group selector, and then the top job selector. This opens the
1.
SYSTEM | SETUP job.
Turn the dial until the screen displays RIBBON FUNCTION, and press [OK].
2.
Chapter 2 Tutorial 81
Chapter 2 Tutorial
Turn the dial until the screen indicates that the function is set to SCRATCH, and press
3.
[OK].
Now let’s assign the ribbon so that it works with the second FREE track (FREE␣ 2). To
4.
do this, hold down the [RIBBON TRACK] button and press and release the FREE 2
pad.
▼Now you can use the ribbon controller to record scratch actions onto the FREE 2
track.
Press to start recording. Slide your finger up and down the ribbon to record
5.
scratch actions at appropriate places as the song moves through Intro A and Intro B
(from 001:1 through 022:4).
Press to stop the sequencer, and to restore the top scene.
6.
▼Now repeat steps 4–6 to record scratch actions for FREE tracks 3 and 4 wherever
desired.
82 Chapter 2 Tutorial
■ Building Sections A and B
Now we will record FREE tracks 1–4 of track bank 1 for sections A and B.
We will play the sample on FREE track 1 at the beginning of each section.
For the other FREE tracks (FREE 2, 3, 4), you can strike pads to record notes (pad
presses) at any locations you like while listening to the playback from the other
tracks.
●
Since the FREE track pads are velocity-sensitive, the force with which you strike
the pads can be used to change the volume or record other types of data. If you
wish to record each strike at the same volume, turn off the pad sensitivity. (→
p.301: PADSENS)
●
The [UNDO/REDO] button can also be used when recording the FREE tracks.
Procedure
Recording on FREE 1 of track bank 1
Press the [MEASURE] button, and then turn the dial to set the location to 025:1.
1.
CHAPTER 2
NOTE:
If you are not using any lead-in, you may want to set the location to one or two measures
before 025:1, so you have adequate lead-time to prepare to enter pad and knob action.
Press the button to put the sequencer in REC STANDBY mode.
2.
Set the quantize interval to quarter-note (QUANTIZE= ), and press to begin
3.
recording.
When the location reaches 025:1, press and hold the FREE 1 pad of track bank 1.
4.
Continue holding the pad until 026:2.
▼At the location 041:1 once again press the FREE 1 pad, and hold it until 042:2. This
completes the recording for this track.
Chapter 2 Tutorial 83
Recording on Other Free Tracks (FREE 2, 3, and 4)
Put the sequencer in recording mode, and press the pads for FREE tracks 2/3/4 at the
locations shown in the table below.
Chapter 2 Tutorial
MEASURE
Section A 025:1
028:1 ●
032:1 ●
032:4 ●
036:1 ●
040:1 ●
040:4 ●
Section B 041:1
044:1 ●
048:1 ●
048:4 ●
052:1 ●
056:1 ●
056:3 ●
FREE Tracks
234
■ Building Sections C and D
In sections C and D, the LOOP tracks 1 and 2 are muted. FREE track 1 of track bank
2 will play continuously as in Intro A and B, and we will use FREE tracks 2/3/4 of
track bank 2 to record scratch actions.
Procedure
Recording on FREE 1 of track bank 2
Press the [MEASURE] button, and then turn the dial to set the location to 057:1 (the
1.
beginning of section C).
▼If the count-in has been turned off, select a location earlier than 057:1 (such as
055:1).
Press the button to put the sequencer in REC STANDBY mode. Then press to
2.
begin recording.
Set “QUANTIZE= ,” and then press to begin recording.
3.
When the location reaches 057:1, press and hold the FREE 1 pad of track bank 2.
4.
Hold the pad down for 16 measures, releasing it at 072:4.
Recording Ribbon Actions on FREE 2, FREE 3, and FREE 4 of track bank 2
Proceed in the same way as you did when recording these tracks for the Intro A and Intro B
sections, and use the scratch function of the ribbon controller to record FREE tracks 2/3/4.
84 Chapter 2 Tutorial
■ Building Section E
Section E is simply two repetitions of Section B (16 measures). Record section E in
the same way that you did for Section B.
Record each track as shown in the following table.
MEASURE
073:1 ●
076:1 ●
080:1 ●
080:4 ●
084:1 ●
088:1 ●
088:4 ●
089:1 ●
092:1 ●
096:1 ●
096:4 ●
100:1 ●
104:1 ●
104:3 ●
FREE Tracks
1234
Building the Endings (Ending A and Ending B)
Ending A is identical to Intro B, and Ending B to identical to Intro A.
FREE 1 of track bank 2 is a long sample. Press the pad at 105:1 and hold until 120:2.
Then press again at 121:1 and hold until 129:4.
For the other FREE tracks (FREE 2, 3, and 4 of track bank 2), use the ribbon controller to record scratch actions.
CHAPTER 2
Use the same procedure as when recording Intro A and B to record the FREE 1 track
of track bank 2 and FREE 2/3/4 tracks.
2.3.12 Adjusting the Finished Song
Finally, playback the song and make adjustments to the overall volume balance or other finish-
ing touches.
●
If you are not happy with any of the knob settings recalled from a scene, you can
adjust the scene content as follows. With the sequencer stopped (in PLAY
STANDBY), press the scene button briefly to recall the scene. Then adjust only the
settings that you wish to change. Then press and hold the same scene button again
until the screen displays the SCENE STORED message.
●
You can use the MASTER track LEVEL knob setting to adjust the overall level or
to introduce fade-ins and fade-outs. You can record LEVEL knob action on the
MASTER track just as you do on other tracks.
Chapter 2 Tutorial 85
●
In the same way as for [LEVEL] settings, the parameters set by the KNOB FUNCTION buttons can be modified and stored again to a scene button. When the song
is played back, the modified settings will be recalled.
●
Detailed adjustments to note events can be made using the Event Edit function
“LOCATION & VALUE” (→ p.246).
●
Note, mute, roll, loop restart, and scene events can be deleted using an Event Edit
function (→ p.246).
2.3.13 Assigning a Name to the Song
By default, a newly-created song is assigned a name of “SONG01.” Here’s how to assign an original name. This example shows how to assign a song name of “1
GROOVE.”
Chapter 2 Tutorial
Procedure
Open the SONG | NAME job: With the sequencer stopped (in PLAY STANDBY),
1.
press the [SONG] job-group selector, and then press the top job selector [NAME].
The following display will appear.
2.
The first character “S” of the name is blinking. Turn the dial until the first letter be-
3.
comes “1”.
Now press the cursor button once to move the cursor to the second character
4.
position. Then turn the dial all the way to the left so that the “O” character changes
to a blinking “_”.
Press the cursor button once more to move to the third character position and
5.
make the “N” blink. Notice that the second character has been set to a blank space.
With the third character “N” blinking, turn the dial to change the “N” to “G.”
86 Chapter 2 Tutorial
Use the same procedure to finish entering the name. Then press [OK] to register the
6.
song name and return to the main screen. (Or press [CANCEL] at any time to restore
the original name and return to the main screen.) The main screen will show the
song name that you specified.
Naming rules
●
Names are limited to eight characters.
●
The following characters can be used in a song name.
Numerals: 0–9
Uppercase alphabet: A–Z
Symbols: space, _ (underline)
●
You can use the JOB/[INSERT] button (on the Editing Function panel) to insert a
space character at the current cursor position (pushing all subsequent characters
ahead one position; the character original in the eighth position, if any, will disappear).
CHAPTER 2
●
You can use the JOB/[DELETE] button to delete the character at the current position (all subsequent characters will move forward to fill in the gap).
Chapter 2 Tutorial 87
2.3.14 Saving the Song
Chapter 2 Tutorial
●
All names must be unique. If you attempt to use a name already in use by another
song in memory, the screen will briefly display the NAME EXISTS message and
then return you to the editing screen. You can then re-edit the name, or else press
[CANCEL] to restore the original name.
●
If you press the [OK] button when the song name consists only of blank spaces,
the display will indicate “ILLEGAL NAME” for several seconds, and will then return you to the song name editing screen.
The SU700 loses all song data when you switch off the power. So let’s save the song to
floppy disk.
To save a song, you must execute a volume save. This will write all existing song data
(all songs currently in SU700 internal memory) to disk. In this case our volume will
have only one song—the song we just created.
Volume: All song data, sample data, markers, and scenes in the memory of the
SU700 is collectively referred to as a Volume.
For this procedure, it is assumed that you are using an empty MS-DOS formatted
floppy disk (2DD or 2HD type), with the disk’s write-protect tab switched off (so that
writing is enabled). In fact it is also possible to use an unformatted or non-empty
floppy disk, although the procedure flow will differ somewhat.
NOTE:
For detailed information about all aspects of data saving and loading, refer to the explanations of the DISK | LOAD and DISK | SAVE jobs (pages 281 to 292). Note that if you
have installed the optional SCSI board (ASIB1 board), you have the option of saving data
to an external SCSI hard disk, MO drive, or ZIP disk. While floppy disks are limited to a
single volume, external SCSI disks can hold multiple volumes.
Procedure
Insert the floppy disk into the disk slot on the front panel.
1.
▼Make sure that the write protect slider of the floppy disk is in the OFF position. (→
p.287)
88 Chapter 2 Tutorial
Open the DISK | SAVE job: Press the [DISK] job-group selector, and then press the
2.
second job selector.
Turn the dial as necessary to select the following, and press the [OK] button.
3.
Confirm that the display appears as follows.
4.
▼If you have installed an ASIB1 board and mounted a SCSI drive, you may need to
turn the dial to select FDD at the above screen.
Press [OK]. The screen will display the volume name for the volume your are saving.
5.
The default volume name for floppy-disk saves is FD VOLUM.
▼If the inserted disk already contains a volume, or its write protect tab is in the ON
position, or is not in MS-DOS format, an appropriate message will appear. (Refer to
SAVE, → p.288)
Press [OK] to execute the save. While the data is being saved, the display will indi-
6.
cate “SAVING…”
▼You cannot use [CANCEL] to stop the operation while the SU700 is writing to disk.
CHAPTER 2
If the volume is too large to fit on a single floppy, the screen will display a slightly
7.
different message: SAVING... FD01. When the first disk becomes full, the screen will
prompt you for another disk. Exchange floppy disks and press [OK]. The next screen
will then display the message SAVING FD02. The SU700 will continue to prompt for
new disks until the entire volume has been saved (or until you press [CANCEL] to
cancel the operation between disks).
NOTE:
Never switch off power or attempt to eject the disk while writing is in progress. Doing
so may cause loss of data and damage to the disk drive.
Chapter 2 Tutorial 89
2.3.15 Loading a song
Chapter 2 Tutorial
When saving is completed, the main screen will reappear.
8.
Here’s how data (a volume) previously saved to a floppy disk can be loaded back into
the SU700. When you load a volume, the previously-created song data as well as the
SU700 setup data will be loaded.
●
It is also possible to load individual samples from data that was saved as a volume.
(→ p.283)
●
If a floppy disk containing a volume is inserted into the disk drive and the SU700’s
power is turned on, the volume will automatically be loaded from disk.
CAUTION
When a volume is loaded, all data currently in the SU700 will be lost. Be sure that any
important data has been saved to disk before you execute the load operation.
Procedure
Insert a floppy disk containing a volume into the floppy disk drive.
1.
Press the [DISK] button, and then press the [LOAD] button located at the top.
2.
Rotate the dial to select “LOAD VOLUME,” and press [OK].
3.
90 Chapter 2 Tutorial
The following display will appear, allowing you to confirm that the load source drive
4.
is the floppy disk drive.
▼If a SCSI drive is connected, use the dial to select “FDD.”
Press the [OK] button, and the load source volume select display will appear. Since
5.
a floppy disk can contain only one volume, that volume name will be displayed.
Press [OK] to load the volume. During this process, the display will indicate “LOAD-
6.
ING…”
▼At this time it is not possible to use [CANCEL] to cancel the loading process.
If you are loading volume data that was distributed across two or more floppy disks,
7.
you will need to insert each floppy disk in the correct order, starting with the first
(FD 01). The display will prompt you for the required disk. If you insert a disk out of
order, the display will indicate “INSERT FD xx” (where xx is the disk number 01–99).
Insert the correct floppy disk and press [OK] to continue the loading process.
▼If you press [CANCEL] at the “INSERT FD xx” prompt, the loading process will be
canceled, and you will return to the main screen.
CHAPTER 2
When loading ends, the main screen will reappear, with the name of the song that
8.
was loaded.
Chapter 2 Tutorial 91
2.3.16 Techniques for song playback
By taking advantage of various techniques as you playback a song, you can add variety to the performance.
● Using the function knobs
●
When you press a KNOB FUNCTION button, the knobs of all tracks will perform
the specified function. When the power is turned on, the knobs will control the
volume (LEVEL) of each track.
→ When the [LEVEL] parameter is selected, you can create fade-in/out effects for
an individual track. The MASTER track knob will control the master volume, allowing you to fade-in/out the entire song.
You can use the KNOB FUNCTION buttons to select a parameter, and use the
knobs to control the sound while the song plays back.
Chapter 2 Tutorial
●
If you assign knob functions for each track beforehand in the TRACK SET/MAIN
screen (→ p.231), these knob function assignments will be in effect when the main
display is shown. This method lets you assign different knob functions for each
track.
●
If you use SYSTEM/SETUP/REC MODE (→ p.300) to set the sequencer recording
mode to “OVERDUB,” you can record additional knob movements onto existing
song data.
● Pad play
●
You can strike pads to play samples during playback. In addition to simply playing
samples from the pads, you can also use the [ROLL] or [LOOP RESTART] pad
functions.
●
The pad function [ON/MUTE] lets you halt playback of a currently-sounding
sample, or cause a currently-muted loop to be heard.
● Adding an external source (AUDIO IN)
●
While a song plays back, you can mix in an audio source from the ANALOG INPUT. You can use the AUDIO IN track knob to adjust the volume, pan, and effects
of the audio input. You can also mute it.
● Using the ribbon controller
●
The ribbon controller can be used to control parameters in the same way as the
function knobs. Specify the track and the parameter that you wish to control. (→
p.172)
92 Chapter 2 Tutorial
●
The ribbon controller has a “SCRATCH” function that is unique to it, and which
allows you to play a sample manually by scratching the ribbon controller.
● Use scene memory to change the settings of various parameters
●
Function knob data and mute on/off settings can be stored in the scene buttons. (→
p.176)
The scene buttons offer a wide range of possibilities; for example you might program a scene button to raise the pitch of all non-rhythm instrument by a semitone,
or switch the LOOP tracks to other tracks, etc.
●
By using SYSTEM/SETUP/REC MODE (→ p.300) to set the sequencer recording
mode to “OVERDUB,” you can add scene changes to existing song data.
● Jump using the marker buttons
●
Measure locations within a song can be stored in the MARKER buttons. Marker
button data cannot be recorded in a song, but by pressing a marker button while a
song plays, you can make the playback jump. If each location at which the song
changes has been stored to a marker button, you can use the marker buttons to
jump to any desired section in the song.
CHAPTER 2
● Synchronized operation with an external MIDI device
●
The SU700 can be synchronized with an external MIDI device. An external MIDI sequencer synchronized with a SU700 song can be used to play the melody, or you can
play SU700 samples along with the playback of an external MIDI device.
● Modifying measure, BPM, and note (quantize and grid)
●
When a song is played back, the MEASURE area of the display will show the position (measure number and beat) of the song.
By pressing the [MEASURE] button and using the dial, you can move the position
within the song. The position can also be moved by using the sequencer control
buttons
●
When a song is played back, the BPM area of the display will indicate the BPM
, and , or by storing a song position in a MARKER button.
(tempo value) of the currently-playing song.
You can modify the BPM by pressing [BPM] and using the dial. The BPM can also
be modified by striking the [BPM COUNTER] button at regular intervals.
* You can specify what will happen when BPM is modified; either the pitch will
change (as when you modify the rotational speed of an analog record player), or
the pitch will remain unchanged and only the BPM will change. (→ TRACK
SET/SETUP/BPM TRACKING: p.237)
Chapter 2 Tutorial 93
Chapter 2 Tutorial
●
When a song is played back, the NOTE area of the display may indicate “QUANTIZE” or “RESOLUTION,” depending on the selected knob function or pad function.
By setting “QUANTIZE,” you can correct the timing at which a sample is played.
(The accuracy is specified as a note value.)
“RESOLUTION” will appear when you use GROOVE to set the groove, or when
you set the cyclic frequency of an effect, or when you use the [ROLL] button to
roll-playback a sample.
94 Chapter 2 Tutorial
2.4 Modifying sampled sounds
The audio tracks (tracks 79–92 of the audio CD) that we sampled in the previous section (“Building Your Own Song”) were all created by processing various sources from
tracks 1–78 of the audio CD.
In this section, we will sample these original sources, use effects, equalizer, and filter
settings to modify them, and finally create a song.
Track Structure
Our song will use ten samples—thereby making use of all tracks in Bank 1. All tracks
will use samples recorded from the included sampling CD (SU700 Sampling Audio).
Using the procedure described in “Building Your Own Song,” go ahead and sample
these unprocessed sources (tracks 79–92).
In the previous section “Building Your Own Song,” we used two banks to provide
a total of eight samples for FREE tracks 1–4, but this time we will use only one
bank and four samples. We will store two sound settings in the scene buttons, and
switch scenes during the song to use a total of eight different samples.
CHAPTER 2
LOOP 1: ......................... Source: Track 14-2 (Dear John B (Wet) - 102 bpm)
We’ll use this track for a drum pattern. We’ll apply an amp-simulator effect, and
use the equalizer to provide emphasis in the lower frequency range.
LOOP 2: ......................... Source: Track 77-5 (Jumping Jaks)
On this bass track we’ll use an effect-type bass sound. We’ll drop down the pitch of
the original sample and apply a band-pass filter to get a kind of drunken walking
bass.
COMPOSED LOOP 1: ... Source: Track 75-1 (Lo Note Rezo C2)
On this bass track we’ll use a four-measure (16 beat) loop phrase. We’ll raise the
pitch and apply a low-pass filter and a delay.
COMPOSED LOOP 2: ... Source: Track 75-1 (Lo Note Rezo C2).
Here we’ll use the same sample as on COMPOSED LOOP 1 track, but we’ll set it to
a different pitch.
COMPOSED LOOP 3: ... Source: Track 45-1 (*Harp Gliss Down)
We’ll build a four-measure effect-type phrase. We’ll raise the pitch of the original
sample, and apply LFO modulation, filtering, and effects.
Chapter 2 Tutorial 95
Chapter 2 Tutrial
COMPOSED LOOP 4: ... Source: Track 45-13 (*Radiator)
We’ll build an eight-measure effect-type phrase. We’ll drop the pitch of the original sample, and apply LFO modulation, filtering, and effects.
FREE 1: ......................... Source: Track 64-1 (*Japaneez Rev)
We’ll use a long sample, with a duration of at least four measures (16 beats). We’ll
set the sound up in two different ways, and use the different sounds in different
sections of the song.
FREE 2: ......................... Source: Track 58-10 (*Dance Hall)
FREE 3: ......................... Source: Track 9-1 (Hooper Looper A-88 bpm)
FREE 4: ......................... Source: Track 5-6 (Dry Relaxed Loop-97 bpm)
We’ll use these tracks to include sound effects, drums, and fills at various locations
throughout the song. We’ll also use the ribbon controller to scratch out these
sounds during the Intro and Ending sections. As with the sample on FREE 1, we’ll
set the sound up in two different ways, and use them in different sections of the
song.
96 Chapter 2 Tutorial
Song structure
The song will be structured in the same ten blocks as in the previous section, “Building Your Own Song.” In the following table, the material printed in bold indicates the
differences from the song you created in “Building Your Own Song.”
Measure Section Description
001 Intro A Sound type B settings are used for FREE tracks 1–4.
.
.
.
.
009 Intro B FREE tracks continue as in Intro A, using the sound type B settings.
.
.
023 Break All tracks muted for two measures.
.
.
025 Section A Start LOOP 1 and LOOP 2 loops at beginning of this section.
.
.
.
041 Section B Start COMPOSED LOOP 3 and 4 loops at beginning of this section.
.
057 Section C Switch mute ON for LOOP 1 and LOOP 2 at beginning of this section.
.
.
.
.
.
071 Section D Switch mute ON for COMPOSED LOOP 1 and 2 at beginning of this section.
.
073 Section E At start of this section, change FREE tracks back to the type A sound set-
.
.
.
.
.
105 Ending A At the beginning of this section, switch mute ON for LOOP 1 and 2 tracks
.
.
.
121 Ending B At the start of this section, switch mutes ON for COMPOSED LOOP 1 and
.
.
130 Hold FREE 1 until measure 130, where the song ends.
We’ll play the sample on FREE 1 continuously (all the way through to the
end of Intro B).
We’ll use the ribbon control to scratch out the sound on FREE tracks 2–4
(both in Intro A and again in Intro B).
At start of Intro B, begin bass loop phrases on COMPOSED LOOP 1 and 2.
Here we switch the sounds of FREE tracks 1–4 to different settings (sound
type A) than were used during the intro.
Also start COMPOSED LOOP 1 and 2 loops at beginning of this section.
Hold FREE 1 sound from start of this section for approximately 2 measures.
Begin playback of other FREE tracks starting from the middle of this section.
Other tracks continue as from section A. All tracks are now playing.
All COMPOSED LOOP tracks continue playing without change (sound is
same as in Section B).
At start of this section, switch all FREE tracks back to the sound settings
they had during the Intro sections (sound type B), and play them in the
same way as during Intro A. All FREE tracks play the same as in Intro A.
Continue COMPOSED LOOP 3–4 and all FREE tracks from Section C.
tings.
Also at start of this section, release mutes on LOOP tracks 1 and 2, and on
COMPOSED LOOP 1 and 2, so that all tracks are playing.
Play the same content as Section B (16 measures) twice in succession (32
measures).
and for COMPOSED LOOP 3 and 4.
Switch the sounds of FREE tracks 1–4 back to sound type B, and play
FREE tracks 1–4 in the same way as in Intro B.
2, so that all looping tracks are muted and only FREE tracks are unmuted.
Play FREE tracks 1–4 as in Intro A.
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Before you sample!
Make sure that you have sufficient memory before you begin sampling. If you have
loaded the demo song or created a song as described in the previous section, turn
the power off and then on again to clear the memory before you begin creating the
song described below.
2.4.1 Creating the LOOP 1 track
■ Sampling
On the LOOP 1 track, we will record the last measure from track 14-2 “Dear John B
(wet)-102 bpm” (drum phrase) of the included audio CD.
●
The sampling procedure is the same as described on page 50 of “Building Your
Own Song.”
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●
Set the sampling grade to “44K 16BIT MONO L.”
■ Track editing (creating a looped phrase)
Adjust the start/end points of the sample of the LOOP 1 track to create an endless
loop.
●
The procedure for creating a looped phrase is the same as described on page 55 of
“Building Your Own Song.”
■ Modifying the sound
You can modify the tone of the sample and the way in which it sounds by playing it
back at a different pitch, by applying equalizer or effects, and by modifying the playback timing (attack, release, length).
Of the KNOB FUNCTION buttons, changes you make to parameters other than the
GROOVE parameters can be heard by pressing the pads. You can make as many
changes as you wish, even before playing back the sequencer.
● Effect settings
First let’s apply the amp simulator effect that is assigned to the [EFFECT 1] button.
The amp simulator effect simulates the result of playing a sound through a guitar
amplifier.
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Procedure
Press the EFFECT/[EFFECT 1] button. The effect type “AMP SIM” that is assigned to
1.
EFFECT 1 will be displayed.
Since the amp simulator effect is a system effect (→ p.189), you can use the knobs to
2.
independently adjust the depth of the effect for each track.
▼Use the LOOP 1 track knob to set “AMP SIM=040.” At this time you can press the
pad to hear the result.
Rotate the LOOP 1
track knob to set
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In this example, we simply used the amp simulator that was assigned to [EFFECT
1] by default. However you are free to choose from 43 types of effect, and adjust
the effect parameters as desired.
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● Equalizer (EQ) settings
Next we will use the EQ/[LO GAIN] button to raise the level of the low-frequency region.
Procedure
Press the EQ/[LO GAIN] button.
1.
The display will indicate “EQ LO GAIN = +00.” Rotate the LOOP 1 track knob to
2.
make the display read “EQ LO GAIN = +24.” At this time you can press the pad to
hear the results.
LO GAIN setting of LOOP 1 track
LOOP 1 track
● Pitch settings
We will raise the playback pitch of the sample.
LO GAIN setting display for each track
Procedure
Press the SOUND/[PITCH] button.
1.
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