Owner’s Manual
Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.
201b
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS”
(Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual pp. 3–4), and “IMPORTANT
NOTES” (Owner’s Manual p. 5). These sections provide important information concerning the
proper operation of the unit. Additionally, in order to feel assured that you have gained a good
grasp of every feature provided by your new unit, Quick Start and Owner’s Manual should be read in
its entirety. The manual should be saved and kept on hand as a convenient reference.
Convention Used in This Manual
•
•
Words enclosed in square brackets indicate buttons or a dial or a knob or a slider on the panel.
(p. **) indicates a reference page.
985
*
The explanations in this manual include illustrations that depict what should typically be shown by the
display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes
newer sounds), so what you actually see in the display may not always match what appears in the manual.
202
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Download from Www.Somanuals.com. All Manuals Search And Download.
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
008e
•
•
001 Before using this unit, make sure to read the
Use only the attached power-supply cord.
..........................................................................................................
..........................................................................................................
009 Do not excessively twist or bend the power cord,
002b
•
•
Do not open or perform any internal modifica-
tions on the unit. (The only exception would be
where this manual provides specific instructions
which should be followed in order to put in place
user-installable options; see p. 142, p. 144, p. 146,
and p. 148.)
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010 This unit, either alone or in combination with an
..........................................................................................................
•
•
003 Do not attempt to repair the unit, or replace parts
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
..........................................................................................................
•
004 Never use or store the unit in places that are:
..........................................................................................................
011 Do not allow any objects (e.g., flammable material,
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
•
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
• Damp (e.g., baths, washrooms, on wet floors);
or are
..........................................................................................................
012a
• Humid; or are
•
Immediately turn the power off, remove the
power cord from the outlet, and request servicing
by your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page when:
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007 Make sure you always have the unit placed so it is
• The power-supply cord, or the plug has been
damaged; or
•
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been
spilled onto the unit; or
..........................................................................................................
008a (Modified)
•
The unit should be connected to a power source
only of the type described in the operating instruc-
tions, or as marked on the bottom of the unit.
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
..........................................................................................................
3
Download from Www.Somanuals.com. All Manuals Search And Download.
101a
•
•
013 In households with small children, an adult
The unit should be located so that its location or
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
position does not interfere with its proper venti-
lation.
..........................................................................................................
102b
..........................................................................................................
014 Protect the unit from strong impact.
•
Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
•
(Do not drop it!)
..........................................................................................................
..........................................................................................................
103a:
•
015 Do not force the unit’s power-supply cord to share
•
At regular intervals, you should unplug the power
plug and clean it by using a dry cloth to wipe all
dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
..........................................................................................................
104 Try to prevent cords and cables from becoming
•
016 Before using the unit in a foreign country, consult
•
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
•
106 Never climb on top of, nor place heavy objects on
..........................................................................................................
022a
the unit.
•
Always turn the unit off and unplug the power
cord before attempting installation of the circuit
board (SRX series/DIMM; p. 16).
..........................................................................................................
107b
•
Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
•
026 Do not put anything that contains water (e.g.,
flower vases) on this unit. Also, avoid the use of
insecticides, perfumes, alcohol, nail polish, spray
cans, etc., near the unit. Swiftly wipe away any
liquid that spills on the unit using a dry, soft cloth.
..........................................................................................................
..........................................................................................................
108a
•
Before moving the unit, disconnect the power
plug from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
•
Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 16).
110a
•
Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
115a
•
Install only the specified circuit board (SRX
series). Remove only the specified screws (p. 142,
p. 144, p. 146, and p. 148).
..........................................................................................................
•
118 Should you remove screws, make sure to put them
in a safe place out of children’s reach, so there is
no chance of them being swallowed accidentally.
..........................................................................................................
4
Download from Www.Somanuals.com. All Manuals Search And Download.
IMPORTANT NOTES
291b
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2
and 3, please read and observe the following:
Power Supply
Additional Precautions
301
551
• Do not use this unit on the same power circuit with any
• Please be aware that the contents of memory can be
device that will generate line noise (such as an electric
motor or variable lighting system).
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory on a memory card,
or in another MIDI device (e.g., a sequencer).
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
308
552
• Although the LCD and LEDs are switched off when the
• Unfortunately, it may be impossible to restore the contents
POWER switch is switched off, this does not mean that the
unit has been completely disconnected from the source of
power. If you need to turn off the power completely, first
turn off the POWER switch, then unplug the power cord
from the power outlet. For this reason, the outlet into
which you choose to connect the power cord’s plug
should be one that is within easy reach and readily acces-
sible.
of data that was stored in the unit’s memory, a memory
card, or another MIDI device (e.g., a sequencer) once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
• Never strike or apply strong pressure to the display.
556
Placement
• Using the unit near power amplifiers (or other equipment
• When connecting / disconnecting all cables, grasp the
351
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
557
• A small amount of heat will radiate from the unit during
normal operation.
558a
352a
• This device may interfere with radio and television
• To avoid disturbing your neighbors, try to keep the unit’s
reception. Do not use this device in the vicinity of such
receivers.
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
352b
• Noise may be produced if wireless communications
559a
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
5•62Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
355
• To avoid possible breakdown, do not use the unit in a wet
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
area, such as an area exposed to rain or other moisture.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
5
Download from Www.Somanuals.com. All Manuals Search And Download.
IMPORTANT NOTES
Before Using Memory Cards
Copyright
851
• Unauthorized recording, distribution, sale, lending, public
Using Memory Cards
performance, broadcasting, or the like, in whole or in part,
of a work (musical composition, video, broadcast, public
performance, or the like) whose copyright is held by a
third party is prohibited by law.
704
• Carefully insert the Memory card all the way in—until it is
firmly in place.
852b
• When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subjected to some of the
restrictions of the Serial Copy Management System
(SCMS). This is because the unit is intended solely for
musical production, and is designed not to be subject to
restrictions as long as it is used to record works (such as
your own compositions) that do not infringe on the
copyrights of others. (SCMS is a feature that prohibits
second-generation and later copying through a digital
connection. It is built into MD recorders and other
consumer digital-audio equipment as a copyright-
protection feature.)
705
• Never touch the terminals of the Memory card. Also,
avoid getting the terminals dirty.
853
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsi-
bility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
Installing the card protector
The MC-909 provides a card protector to prevent theft of the
memory card. To install the card protector, use the following
procedure.
1. Use a screwdriver to remove both screws that are at
either side of the memory card slot.
*
204 Microsoft and Windows are registered trademarks of
2. Insert the memory card into the memory card slot.
Microsoft Corporation.
*
206jWindows® is known officially as: “Microsoft®
Windows® operating system.”
3. Use the screws to fasten the card protector as shown
below.
*
207 Apple and Macintosh are registered trademarks of Apple
Card protector
Computer, Inc.
*
209 Mac OS is a trademark of Apple Computer, Inc.
*
230 SmartMedia is a trademark of Toshiba Corp.
Side view
6
Download from Www.Somanuals.com. All Manuals Search And Download.
Panel Descriptions................................................................................14
Top Panel................................................................................................................................................... 14
Rear Panel.................................................................................................................................................. 15
Basic structure of the MC-909................................................................................................................. 17
The controller section ................................................................................................................... 18
The sampler section ...................................................................................................................... 18
Editing a value .......................................................................................................................................... 18
Quickly changing a value ............................................................................................................ 18
Regarding the locations where samples are stored............................................................................. 19
Restoring the factory settings (Factory Reset)...................................................................................... 20
Playing a pattern...................................................................................24
Basics of pattern play............................................................................................................................... 24
Arpeggiator.................................................................................................................................... 30
Chord Memory.............................................................................................................................. 32
Directly outputting the sound of an external device ............................................................... 34
Playing various pitches using the sound of an external device ............................................. 34
Selecting the input source device................................................................................................ 34
D Beam Controller.................................................................................................................................... 35
SOLO SYNTH................................................................................................................................ 35
CUT + RESO (Cutoff + Resonance) ............................................................................................ 35
TURNTABLE ................................................................................................................................. 35
ASSIGNABLE (Other applications)............................................................................................ 35
7
Download from Www.Somanuals.com. All Manuals Search And Download.
Contents
Mastering................................................................................................................................................... 36
Realtime recording................................................................................................................................... 37
Realtime Erase ............................................................................................................................... 39
Step recording........................................................................................................................................... 41
Extract a Rhythm Instrument...................................................................................................... 44
Erase................................................................................................................................................ 45
Delete Measure.............................................................................................................................. 45
Data Thin........................................................................................................................................ 46
Edit Quantize................................................................................................................................. 46
Reclock............................................................................................................................................ 47
Microscope ................................................................................................................................................ 48
Performance data that can be edited in the Microscope ......................................................... 48
Inserting performance data (Create) .......................................................................................... 49
Moving performance data (Move).............................................................................................. 49
Copying performance data (Copy)............................................................................................. 49
Saving a pattern....................................................................................50
Patch Edit ..............................................................................................54
How a Patch Is Organized ...................................................................................................................... 54
How a Tone Is Organized............................................................................................................ 54
Tips for Creating a Patch......................................................................................................................... 54
Selecting a patch/rhythm set.................................................................................................................. 55
Selecting from a list....................................................................................................................... 55
Selecting directly ........................................................................................................................... 55
Selecting the Tone(s) That Will Sound .................................................................................................. 56
8
Download from Www.Somanuals.com. All Manuals Search And Download.
Selecting a Tone to Edit................................................................................................................ 56
Selecting the Wave(s) That Will Sound................................................................................................. 70
Saving a Patch/Rhythm Set .................................................................77
Copying and Initializing a Patch/Rhythm Set.....................................78
Copying a Patch Tone.............................................................................................................................. 78
Copying a Rhythm Tone (Key)............................................................................................................... 78
Initializing a Rhythm Set......................................................................................................................... 78
Selecting a song to play................................................................................................................ 82
Recording a song..................................................................................83
Song editing ..........................................................................................84
Delete Step...................................................................................................................................... 84
Insert Step....................................................................................................................................... 84
Effects....................................................................................................88
Effect on/off.............................................................................................................................................. 88
Effect settings ............................................................................................................................................ 88
Effect connection (Effect Routing) .............................................................................................. 88
Compressor.................................................................................................................................... 89
Multi-effects ................................................................................................................................... 90
Reverb............................................................................................................................................. 90
Realtime control of effects....................................................................................................................... 91
Selecting the effect that you want to control............................................................................. 91
9
Download from Www.Somanuals.com. All Manuals Search And Download.
Contents
Multi-Effects List...................................................................................92
Multi-Effects Types .................................................................................................................................. 92
Multi-Effects Parameters......................................................................................................................... 92
Sampling....................................109
Sampling.................................................................................................................................................. 112
Mix Sampling.......................................................................................................................................... 112
Auto Divide Sampling........................................................................................................................... 112
Zoom In/Out............................................................................................................................... 114
Sample Parameters................................................................................................................................. 116
Automatically dividing a sample (Auto Chop)...................................................................... 118
Auditioning the divided samples............................................................................................. 119
Create Rhythm........................................................................................................................................ 119
Normalize................................................................................................................................................ 121
Amp.......................................................................................................................................................... 122
Saving a sample..................................................................................123
Menu (in Sample Edit) ........................................................................124
Using the menu....................................................................................................................................... 124
Loading a sample ........................................................................................................................ 124
Loading all samples.................................................................................................................... 124
Importing WAV/AIFF data ...................................................................................................... 124
Deleting a sample........................................................................................................................ 124
Erasing a sample ......................................................................................................................... 124
10
Download from Www.Somanuals.com. All Manuals Search And Download.
Sampling.................................................................................................................................................. 129
D Beam..................................................................................................................................................... 130
System Information................................................................................................................................ 130
Utility....................................................................................................131
Import SMF ............................................................................................................................................. 131
Deleting a file (Delete) ........................................................................................................................... 134
Copying a file.......................................................................................................................................... 134
USB communication procedure ........................................................................................................... 135
Canceling USB communication................................................................................................. 135
About V-LINK.......................................................................................138
What is V-LINK? .................................................................................................................................... 138
Connection examples............................................................................................................................. 138
Using V-LINK ......................................................................................................................................... 138
Turning V-LINK on .................................................................................................................... 138
Turning V-LINK off.................................................................................................................... 138
V-LINK settings...................................................................................................................................... 139
Resetting the image..................................................................................................................... 139
11
Download from Www.Somanuals.com. All Manuals Search And Download.
Contents
Installation d’une carte d’expansion Wave ........................................................................................ 144
Vérifier que la carte d’expansion Wave est installée correctement................................................. 145
Expanding the Memory ......................................................................146
Précautions à prendre lors de l’ajout de mémoire............................................................................. 148
Retrait du module de mémoire................................................................................................. 149
Arpeggio Style List .............................................................................166
Chord Form List..................................................................................167
MIDI Implementation Chart ................................................................170
Index.....................................................................................................172
Specifications......................................................................................175
Error Message List..............................................................................177
12
Download from Www.Somanuals.com. All Manuals Search And Download.
Features of the MC-909
Cutting-edge groovebox that unifies
MIDI and sampling
Plenty of external interfaces
The MC-909 provides a USB connector for file transfer with
your computer. Waveform data files in .WAV or .AIFF formats
and SMF-format sequence data can be imported or exported
between the MC-909 and your computer with the click of a
mouse, as easily as if you were using an external drive.
In a single unit, the MC-909 delivers the power of a
conventional groovebox (an all-in-one synthesizer and
sequencer) plus a full-fledged sampler. It’s a new generation of
workstation that gives you everything you need to perfect your
music.
Highly evolved turntable emulation,
and dual D Beam controllers
Built-in mastering functionality
A three-band compressor is built-in, letting you apply the
mastering operations that are the indispensable final step in
music production. The output of the MC-909 can be recorded
directly to CD or MD.
By automatically time-stretching a sample according to the
sequencer playback tempo, you can maintain playback
synchronization between the sequencer and samples. This lets
you use the turntable emulation slider to control the sequencer
and sample BPM in real time. You can also specify the variable
range of the slider.
Sample synthesis
In addition, the MC-909 features dual D Beam controllers,
located at the left and right of the panel. This gives you the
capability for special effects that have never been possible until
now.
Waveforms sampled by the MC-909 or loaded from an external
source can be freely manipulated using the filter, LFO, and
effects in the same way as the internal preset waveforms.
Full-fledged sampler
Easy creation of original patterns
The high-performance 44.1 kHz sampler provides five sampling
modes for various situations. You can sample external analog or
digital input sources, or resample the internal sounds. The full
range of editing functions includes Time Stretch and Chop.
Memory can be expanded to a maximum of 256 MB by adding
DIMM modules. When added to the internal 16 MB of RAM
(approximately 3 minutes of monaural sampling), this gives
you up to 272 MB (approximately 51 minutes of monaural
sampling).
With a large LCD, knobs and a mixer section that can be
operated at any time to modify the sound directly, and newly
developed velocity pads, the MC-909 is an ideal recording
environment. You can use realtime, TR-REC, and step recording
methods, and manipulate your music with editing functionality
that goes well beyond previous grooveboxes.
The sequencer has also been upgraded, letting you create 16-
part patterns that are up to 998 measures long. SMF Convert
Load/Save functions ensure easy data exchange with other
sequencers.
High-performance synthesizer sound
generator
Two multi-effects, a compressor, and
reverb
Features Roland's latest high-performance synthesizer sound
generator, with 800 patches and 64 rhythm sets that are based
on new waveforms created especially for the MC-909.
You can also install one wave expansion board (SRX series) to
increase the waveforms available to you when the need arises.
In particular, installing the SRX-05 “Supreme Dance” board will
let you use special patches and rhythm sets created specifically
for the MC-909.
The two independent MFX units (multi-effects: MFX1 provides
38 types, MFX2 provides 47 types) provide a complete array of
effects that are ready to go whenever you need them. In
particular, MFX2 can produce long delays of up to four seconds.
The two-band compressor is a great way to power-up rhythm
instruments such kick drum. The acclaimed reverb from the XV
series is also provided.
The latest patterns for creative use
and immediate performance
V-LINK function
V-LINK (
) is a function that provides for the
For immediate playing or for use in your own compositions, the
MC-909 provides 215 preset patterns and 440 different RPS
patterns, covering a broad range of current dance styles,
including techno, trance, house, hiphop, and R&B.
play of music and visual material. By using V-LINK-compatible
video equipment, visual effects can be easily linked to, and
made part of the expressive elements of a performance. By
connecting the MC-909 to the Edirol DV-7PR, you can switch
images in synchronization with music, or use the MC-909’s
knobs to control the brightness, color, or playback speed of the
images.
13
Download from Www.Somanuals.com. All Manuals Search And Download.
Panel Descriptions
Top Panel
fig.0-01
1
2
8
16
9
6
3
10
11
7
13
12
4
15
5
1. D Beam Controllers
9. Effect Section
these (p. 35).
Applies special effects to the sound (p. 88).
10. Mode Section
2. Volume Section
mode (p. 51).
Adjusts the output volume of the entire MC-909, and the input
volume to the MC-909.
The button of the currently selected mode will light.
3. Realtime Modify Section
Modifies the tone (p. 33).
Used to select patterns or patches, and to input values (p. 18).
4. Mastering Section
12. Sequencer Section
Applies a mastering effect (compressor) (p. 108).
5. Velocity Pads
Used as a keyboard to play sounds or trigger phrases (p. 27).
(p. 36).
6. Function Buttons
14. TAP Button
screen.
Adjusts the BPM (tempo) according to the timing at which you tap
this button (p. 25).
7. Part Mixer Section
15. V-LINK Button
Adjusts the volume and pan for each part in the pattern (p. 33).
Switches V-LINK (p. 137) on/off.
8. Sampling Section
16. SmartMedia card slot
Records external sounds into the MC-909 as waveforms, and
processes them (p. 109).
Insert a SmartMedia card (3.3V, maximum 128 MB) here.
14
Download from Www.Somanuals.com. All Manuals Search And Download.
Panel Descriptions
Rear Panel
fig.0-02
11
1
2
3
4
5
6
9
8
1. POWER Switch
7. MIX OUTPUT Jacks
Turns the MC-909’s power on and off (p. 16).
These jacks output stereo (L/R) audio signals to your amp or mixer.
If you want to use mono output, connect to the L jack.
2. AC Inlet
8. DIRECT 1 OUTPUT Jacks
Connect the included power cable here (p. 16).
The sound of the part/patch/rhythm set/tone/rhythm tone whose
stereo (L/R) from these jacks to your amp or mixer. If you want to
use mono output, connect to the L jack.
The unit should be connected to a power source only of
the type marked on the bottom of the unit.
3. USB Connector
This connector lets you use a USB cable to connect your computer to
the MC-909 (p. 135).
9. DIRECT 2 OUTPUT Jacks
The sound of the part/patch/rhythm set/tone/rhythm tone whose
Output Assign (p. 88, p. 89, and p. 90) you set to “DIR2” is output in
stereo (L/R) from these jacks to your amp or mixer. If you want to
use mono output, connect to the L jack.
4. MIDI Connectors (IN, OUT)
These connectors connect the MC-909 with other MIDI devices,
enabling the sending and receiving of MIDI messages (p. 16).
•
•
IN: This connector receives messages from another MIDI device.
OUT: This connector transmits messages to another MIDI
device.
10. PHONES Jack
Headphones are plugged in here (p. 16).
11. Ground Terminal
5. Digital Audio Interface
927
Depending on the circumstances of a particular setup, you may
These are optical-type and coaxial-type S/P DIF format digital in/
out connectors.
experience a discomforting sensation, or perceive that the surface
feels gritty to the touch when you touch this device, microphones
connected to it, or the metal portions of other objects, such as guitars.
This is due to an infinitesimal electrical charge, which is absolutely
harmless. However, if you are concerned about this, connect the
ground terminal (see figure) with an external ground. When the unit
is grounded, a slight hum may occur, depending on the particulars
of your installation. If you are unsure of the connection method,
contact the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
S/P DIF: A digital interface format used in consumer digital audio
devices.
The digital output connectors output the same audio signal as is
6. INPUT Jack
Accept input of audio signals in stereo (L/R) from external devices.
If you want to use mono input, connect to the L jack.
Unsuitable places for connection
When recording from a mic, connect it to the L jack, and set Input
Select (p. 34) to “MICROPHONE.”
•
•
•
Water pipes (may result in shock or electrocution)
Gas pipes (may result in fire or explosion)
Telephone-line ground or lightning rod (may be dangerous in
the event of lightning)
15
Download from Www.Somanuals.com. All Manuals Search And Download.
Getting Ready
Making Connections
The MC-909 is not equipped with an internal amp or speakers. To
hear sound, you will need to connect it to a keyboard amp or audio
system, or connect headphones. Refer to the following figure when
connecting the MC-909 with external devices.
*
To prevent malfunction and/or damage to speakers or other devices,
always turn down the volume, and turn off the power on all devices
before making any connections.
fig.Connect.e
Make connections to
the MIX OUTPUT jacks
MIDI IN
to Power outlet
Stereo headphones
MIDI OUT
External MIDI device
(MIDI Keyboard, Sequencer, etc.)
Power amp
Mixer, etc.
Speaker
(with built-in Amp)
Stereo set, etc.
1. Before making any connections, confirm that power to all
3. Connect audio and MIDI cables as shown in the diagram.
If connecting headphones, plug the headphones into the
PHONES jack.
devices has been turned off.
2. Connect the AC power cord included with the MC-909 to
the unit, then plug the other end into a power outlet.
Turning On/Off the Power
*
Once the connections have been completed (p. 16), turn on power to
your various devices in the order specified. By turning on devices in
the wrong order, you risk causing malfunction and/or damage to
speakers and other devices.
5. Adjust the volume levels for the devices.
*
This unit is equipped with a protection circuit. A brief interval (a few
seconds) after power up is required before the unit will operate
normally.
1. Make sure that all volume controls on the MC-909 and
Turning Off the Power
connected devices are set to “0.”
Before switching off the power, lower the volume on each of the
devices in your system and then TURN OFF the devices in the
reverse order to which they were switched on.
2. Turn on the device connected to the INPUT Jacks.
3. Turn on the MC-909’s POWER switch.
*
If you need to turn off the power completely, first turn off the POWER
switch, then unplug the power cord from the power outlet. Refer to
Power Supply (p. 5).
4. Turn on the devices connected to the OUTPUT Jacks.
16
Download from Www.Somanuals.com. All Manuals Search And Download.
An Overview of the MC-909
Rhythm set
Basic structure of the MC-
A rhythm set assigns a separate instrumental sound to each
909
note of the keyboard. These instrumental sounds are not played
as a scale. The MC-909 provides 64 preset rhythm sets.
(Example)
This section provides an overview of the sequencer section, sound
generator section, controller section, and sampler section, which
fig.0-04
make up the main parts of the MC-909.
fig.0-03.e
SNARE CLAP
HI-HAT
B3
Sampling
Sampler
Section
KICK
RIM
TOM
CYMBAL
Tones
Sequencer
Section
Sound Generator
Section
Tones are the raw materials of sound that are combined to
create a patch. The MC-909 provides 693 different waveforms,
and two waveforms can be assigned to each tone. (Waveforms
can be assigned in stereo; one for L and one for R.)
You can install separately sold wave expansion boards (SRX
series) to add more waveforms, and sounds that you sample
can also be used as waveforms.
PLAY
Velocity Pad Play
Recording
Controller (Velocity Pad, Knob, etc.)
Effects
Effects let you apply a variety of special effects to patches or
rhythm sets. You can use four effects simultaneously:
compressor (an effect that makes the sound more consistent),
reverb (which adds reverberation), and two multi-effects (each
selectable from 47 types such as equalizer, overdrive, and
delay).
The sound generator section
This is the section that actually generates the sound. It produces
sounds in response to data received from the MC-909’s Controller or
Sequencer sections. You can also play the sound generator by
sending it performance data from an external MIDI device.
Since the sound generator section of the MC-909 is able to play up to
64 notes simultaneously, it can easily handle multiple parts.
The sequencer section
Song
A sequencer is a device that records musical performance data, and
can play back the performance data that was recorded.
The MC-909 is a sequencer that plays back patterns and adds
changes to the playback method. This type of sequencer is referred
to as a pattern sequencer.
Two or more patterns connected in the order of playback are
called a song.
In one song, you can register up to 50 patterns in the desired
order of playback.
Recording/playing a performance
Pattern
The MC-909 comes with 215 previously prepared patterns
(preset patterns). These preset patterns can be played back
easily.
A pattern is 1–998 measures of performance data consisting of
sounds (patches or rhythm sets) for up to 16 parts.
The MC-909 provides 215 different preset patterns.
You can also create your own original patterns, either by
modifying preset patterns or by creating a pattern from scratch.
Part
A part corresponds to a single musician in a band or orchestra.
Since the MC-909 has sixteen parts, you can use sixteen
different patches or rhythm sets to play as many as sixteen
performances simultaneously.
Simultaneous playback of multiple parts
The MC-909 is able to play multiple sounds (patches)
simultaneously. For example, with the following part
configuration, you can simultaneously play drums, bass, piano
and guitar; and the resulting performance will sound like a
band.
Patch
A patch corresponds to a single instrument such as a piano or
guitar. A patch consists of up to four “tones.” The MC-909
provides 800 different patches, and you can enjoy an enormous
variety of sounds simply by choosing from these patches.
Part 1
Part 2
Part 3
Part 10
Guitar
Bass
Piano
Rhythm (Drum) Set
17
Download from Www.Somanuals.com. All Manuals Search And Download.
An Overview of the MC-909
Editing performance data
Adjusting the display
contrast
Unlike a cassette tape or MD, a sequencer records a
performance as musical data (not as sound). It’s easy to edit the
performance data to create your own original patterns.
Use the [LCD CONTRAST] knob located at the right of the display to
adjust the contrast.
Turn the knob toward the right to darken the screen, or toward the
left to lighten it.
The controller section
The “controllers” of the MC-909 are its velocity pads, D Beam
controllers, and the panel knobs and sliders. By operating these
controllers you can modify the performance and sound in various
ways.
Editing a value
Use the [VALUE] dial to make large changes in a value, or use the
[INC]/[DEC] buttons to change a value in steps of one. Your
changes will affect the value that is displayed in white characters
within a black frame in the screen. This location is called the
“cursor.” If a screen contains more than one value that can be edited,
use the [CURSOR] buttons to move the cursor to the value you want
to edit.
Velocity pads
These pads function just like a music keyboard. They are also
used to trigger RPS (p. 28) and the arpeggiator (p. 30).
Normally, pad number 2 will be C4. The force with which you
strike a pad will control the velocity (dynamics) of the note.
D Beam controllers
Quickly changing a value
By passing your hand over these controllers you can play or
modify sounds (p. 35).
•
If you hold down [SHIFT] while you turn the [VALUE] dial, the
value will change more rapidly.
Turntable emulation
These buttons and slider allow realtime synchronized
performance with sound sources such as a turntable, assisting
you with DJ performance (p. 36).
Key Repeat function
•
The value will continue changing if you press and hold [INC] or
[DEC].
•
The cursor will continue moving if you press and hold a
[CURSOR] key.
Realtime modify knobs
These knobs and sliders give you realtime control over sound
parameters such as filter cutoff frequency and resonance or LFO
speed.
Turbo Repeat function
•
•
•
The value will increase rapidly if you hold down [INC], then
press and hold [DEC].
The value will decrease rapidly if you hold down [DEC], then
press and hold [INC].
The sampler section
A sampler is a device that captures sounds from a wave file or an
The cursor will move rapidly if you hold down a [CURSOR]
button and then press the opposite [CURSOR] button.
external source such as a CD.
On the MC-909, a sampled sound can be handled just like an internal
waveform of the sound generation section; you can change the pitch
of the sampled sound, apply a filter to it, or modify its envelope.
without saving, your settings or recorded performance will be lost.
•
•
•
•
•
•
•
•
Saving a pattern (p. 50)
Saving a Patch/Rhythm Set (p. 77)
Saving a song (p. 85)
Saving a sample (p. 123)
Saving a Pattern Set (p. 27)
Saving an RPS set (p. 30)
Saving an arpeggio style (p. 32)
Saving a chord form (p. 33)
Saving takes several seconds. Do not turn off the power until saving
is completed. Doing so may cause the MC-909 to malfunction.
18
Download from Www.Somanuals.com. All Manuals Search And Download.
An Overview of the MC-909
Regarding the locations where samples are stored
The MC-909 can use two types of memory; sample memory and DIMM whose contents are lost
when you turn off the power, and user area and memory card whose contents are preserved even
when the power is off.
When shipped from the factory, the MC-909 has 16 MB of sample memory and 16 MB of user
area. By adding a DIMM module you can expand the sample memory to a maximum of 272 MB
(if a 256 MB DIMM is used).
The user area can hold up to 16 MB, but by using a memory card you can store a maximum of 128
MB in addition to the user area.
When you record a sample on the MC-909 or play a patch that uses a sample, the sample is
loaded into sample memory (including the DIMM). However when you turn off the power,
the contents of the sample memory and DIMM will be lost. This means that if you want to
keep the sample, you must use the Write operation to save it in the user area or on a
memory card.
When managing data from your computer or from the MC-909’s Utility menu, you can manage
only the data located in the user area or the memory card. You cannot manage data that is located
in sample memory or DIMM.
fig.SampleMem-e
MC-909
Factory-installed
Sample memory
16MB
User area
16MB
memory
USB
Expandable
memory
Memory
card
DIMM
128 or 256MB
8–128MB
Computer
For sampling and playback
(contents disappear when powered-off)
For saving and transfer to/from computer
(contents preserved even when powered-off)
Be aware that because of this, the MC-909 can play samples larger than 128 MB, but cannot save
samples larger than 128 MB.
19
Download from Www.Somanuals.com. All Manuals Search And Download.
An Overview of the MC-909
3. Press [ENTER] to access the Utility menu.
fig.0-06
Restoring the factory settings
(Factory Reset)
Here’s how to restore the settings of the MC-909 to their factory-set
state.
When you execute Factory Preset, the data of the internal user
memory will be lost. If the internal memory of the MC-909
contains data that you want to keep, you must save it on
SmartMedia or via USB to your computer.
4. Press [F4 (Factory Reset)].
A warning message will appear.
fig.0-07
Never turn off the power while Factory Reset is being
executed. Doing so may destroy the contents of memory.
1. Press [MENU].
2. Use [CURSOR] to select “Utility.”
fig.0-05
5. To execute a Factory Reset, press [F6 (Execute)].
The Factory Reset will be carried out.
*
If you decide not to proceed with the reset, press [F5 (Cancel)].
When the screen indicates “Please Power Off,” turn the power off,
then on again.
20
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Pattern mode)
fig.0-01
1
8
2
9
6
3
10
11
7
13
12
4
5
14
When you press the Mode section [PATTERN] button, the button’s
indicator will light and the MC-909 will be in Pattern mode.
In Pattern mode, the various parts of the panel will perform the
following functions.
4. Mastering section
[ON]
[BAND]
[ATTACK]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Specify the time from when the volume goes up
plies.
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
[RELEASE]
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
[BEAM 1 ON]
Turns the left D Beam controller
(BEAM 1) on/off.
[BEAM 2 ON]
Turns the right D Beam controller
(BEAM 2) on/off.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
[TWIN D BEAM ASSIGN]
Selects the function of the D Beam
controller.
27).
2. Volume section
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
[OUTPUT]
[INPUT]
Adjusts the output volume of the MIX OUT jacks
and the headphone.
Adjusts the input volume from the INPUT jacks.
3. Realtime Modify section
These controls modify the sound (p. 33).
22
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Pattern mode)
12. Sequencer section
7. Part Mixer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
Plays a pattern (p. 24).
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
[PART]
(SELECT/MUTE)
Selects the function of the Part buttons [1]–
[16].
The buttons work as Part Select buttons
when the indicator is not lighted, and as
Mute buttons when the indicator is lit.
Switches on/off the Tempo/Mute part (a
part that records tempo changes and mute
operations, p. 42).
[REC]
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
When you press this button so its indicator
lights, the Mixer screen will appear.
Selects the parts that are controlled by the
sliders.
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
The sliders will control parts 1–8 if this indi-
cator is lit.
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
8. Sampling section
[EDIT]
Displays the Sample Edit
screen (p. 114).
[SAMPLING/RESAMPLING]
[MIX IN]
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the IN-
PUT jack into the output (p.
34).
[AUTO SYNC]
Synchronizes a sample to the
pattern (p. 36).
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
Switch each effect on/off (p. 88).
Selects the effect to be controlled in real
time (p. 91).
[TYPE]
[C1], [C2]
Selects the type of effect.
Modifies the assigned function in real
time.
10. Mode section
Press the [PATTERN] button to enter Pattern mode.
Pressing one of the other two buttons will switch you to the
corresponding mode.
11. Cursor/Value section
Use these buttons and dial to select patterns or input values (p. 18).
23
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Basic playback operation
Use the following buttons to control the playback.
Basics of pattern play
The top screen of Pattern mode
fig.1-01
fig.1-02.e
Return to the previous measure
Move to the beginning
of the pattern
Advance to the
next measure
1
2
Stop playback Play back Used for recording
*
*
The [FWD], [BWD], and [TOP] buttons can also be used during
playback.
* Press [STOP] twice to return to the beginning of the pattern.
1. Current pattern
The pattern that is now playing
2. Next pattern
The pattern that will play next
a list.
*
“Len” is the number of measures (Length) of the pattern.
Selecting a pattern directly
Function buttons
Selecting the current pattern
[F1 (List)]
(Pattern List)
[F2 (Edit)]
(Pattern Edit)
[F3 (Mixer)]
(Part Mixer)
[F4 (Effects)]
While the pattern is stopped, use [VALUE] or [INC/DEC] to select a
pattern.
Edit the settings of a pattern (p.
43).
Specify the volume, pan, etc., of
each part (p. 33).
Apply special effects to the sound
(p. 88).
Selecting the next pattern
While the pattern is playing, use [VALUE] or [INC/DEC] to select a
pattern.
[F5 (Mastering)]
[F6 (BPM/Click)]
Make settings for the Mastering ef-
fect (p. 108).
nome on/off (p. 25).
When the current pattern finishes playing, the selected pattern
will start playing.
Shortly before the current pattern finishes playing, the word
“LOCKED” will appear above the name of the next pattern. You will
not be able to change the next pattern while this is displayed, since
preparations are being made to move to that pattern.
[SHIFT] + [F1 (Arp)]
(Arpeggiator)
[SHIFT] + [F2 (Chord Mem-
ory)]
Make arpeggiator settings (p. 30).
Register chords (p. 32).
fig.1-03
[SHIFT] + [F3 (Pattern Call)]
[SHIFT] + [F4 (RPS)]
[SHIFT] + [F5 (System)]
(System Edit)
Select a pattern set (p. 27).
Make RPS settings (p. 29).
Make settings that apply to the en-
tire MC-909 (p. 126).
[SHIFT] + [F6 (Utility)]
(Utility Menu)
Open the Utility menu (p. 131).
24
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Changing the BPM (Tempo)
If you press [CURSOR (left/right)] while a pattern is playing, the
pattern will change immediately, and will start playing from the
beginning of the pattern.
Using the [VALUE] dial
1. Press [F6 (BPM/Click)] to access the BPM window.
fig.1-05
Selecting a pattern from the list
1. Press [F1 (List)].
fig.1-04
2. Use [VALUE] or [INC/DEC] to set the BPM.
3. Press [F6 (Close)] to close the BPM window.
2. Press [F1 (Preset)], [F2 (User)], or [F3 (Card)] to
choose the group that contains the desired pattern.
You can access the BPM window during TR-REC by pressing
[SHIFT]+[F6], or during sampling by pressing [F4].
3. Use [VALUE], [INC/DEC] or [CURSOR (up/down)] to
select a pattern.
Using the TAP button
Press [TAP] three or more times at quarter-note intervals of the
If you hold down [SHIFT] while using the above controls, the
pattern number will change in steps of ten.
desired BPM.
*
If desired, you can set the BPM by pressing [TAP] at eighth-note/
sixteenth-note intervals (Tap Resolution ->p. 127).
4. Press [F6 (Select Pattern)] to finalize your selection.
[F1 (Preset)]
Choose preset patterns.
[F2 (User)]
[F3 (Card)]
[F6 (Select Pattern)]
Choose user patterns.
Choose patterns stored on a memory card.
Finalize the selected pattern.
Turning the metronome (click)
on/off
1. Press [F6 (BPM/Click)] to access the BPM window.
BPM (tempo) when playing patterns
successively
2. Press [F5 (Click)] to select on or off.
When on, the “✔” will be displayed.
Each pattern has its own specified tempo (BPM). If you play back
patterns successively, the tempo will also change when the pattern
changes.
3. Press [F6 (Close)] to close the BPM window.
*
The metronome volume adjustment is a System setting (Metronome
Level -> p. 117)
Selecting the metronome output
destination
If desired, you can maintain the tempo of the first-played pattern
even while switching patterns (BPM Lock ->p. 128).
1. Press [F6 (BPM/Click)] to access the BPM window.
2. Press [CURSOR (up/down)] to move the cursor to
“Output Asgn.”
3. Use [VALUE] or [INC/DEC] to select the output
destination.
MIX
DIR1
DIR2
Output from the MIX OUT jacks and the headphones.
Output from the DIRECT 1 OUTPUT jacks.
Output from the DIRECT 2 OUTPUT jacks.
25
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
All Parts Mute
This function mutes all parts at once.
Muting (silencing) a part
A pattern contains sixteen parts. You can mute (silence) each part in
real time.
fig.1-06
1. Hold down [SHIFT] and press [PART ASSIGN].
The sound of all parts will be muted.
All Parts On
This function un-mutes all parts at once.
1. Hold down [SHIFT] and press [MIXER ASSIGN].
Muting will be cancelled for all parts, so they are all allowed to
play.
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is lighted.
Part buttons [1]–[16] now control part muting.
Mute Reverse
This function inverts the currently muted and currently playing
2. Press the button of the part that you want to mute,
making it blink.
parts.
That part will be muted.
1. Hold down [SHIFT] and press [TEMPO/MUTE
3. To cancel muting, press the button of the muted part
CONTROL].
once again, making it light.
The status of parts that are currently muted changes, so they are
allowed to play, while the parts that are currently playing will
be muted.
The indicators of the part buttons show the muted state of the
parts as follows:
Default Mute
This function restores the part mute settings to the state stored in the
•
•
•
Lit: The part can be played.
Blinking: The part is muted.
pattern.
Not lit: No performance has been recorded in the part. (The
indicator will light when you record data.)
1. Hold down [SHIFT] and press [PART] (SELECT/
MUTE).
The part mute settings will return to the state stored in the
pattern.
Mute Remain
This function maintains the mute status of each part while the next
pattern plays. For example, this lets you play the next pattern
without sounding the rhythm part.
On the MC-909, the following parameters allow their settings to
be individually stored for each pattern. These parameters are
collectively called the “setup parameters.”
1. During pattern playback, press [PLAY].
The screen will indicate “MUTE REMAIN.”
2. Select the next pattern.
•
•
•
•
•
•
•
•
•
•
•
•
•
BPM (Tempo) (p. 25)
After a time, the selected pattern will play, with the mute
settings of each part remaining as they were.
When the pattern changes, the Mute Remain function will
automatically be cancelled.
Patch/Rhythm set * (p. 55)
Part Level * (p. 33)
Part Pan * (p. 33)
Part Key Shift * (p. 33)
*
Mute Remain will be cancelled if you press [PLAY] once again before
the pattern changes.
Part Reverb Level * (p. 33)
Part Output Assign * (p. 55)
Sequencer Output Assign * (p. 55)
Reverb settings (p. 90)
Solo
This function assigns play-ready status to one specified part, muting
Compressor settings (p. 89)
Multi-effect settings (p. 90, p. 92)
Part mute status * (p. 26)
Auto Sync on/off * (p. 36)
the others.
1. Hold down [SHIFT] and press the part button [1]–[16]
of the part you want to play.
All parts other than the selected part will be muted.
*
The asterisk indicates parameters that can be set for each part.
26
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
1. Select the pattern you want to register, so it is the
Velocity pads
These pads work just like a keyboard. They can also be used to play
RPS and the arpeggiator. Normally, pad number 2 will be C4. The
force with which you strike the pads will vary the dynamics
(velocity) of the sound.
current pattern.
2. Select the pattern set into which you want to register
that pattern.
3. Hold down [PATTERN CALL], and press the velocity
pad to which you want to register the pattern.
That pattern will be registered to the pad you pressed.
You can also set velocity to a fixed value (Pad Velocity ->p. 127).
[HOLD]
If you press this button so its indicator lights,
the sound will still be heard even after you
take your finger off the velocity pad. The
sound will stop when you press [HOLD]
once again, extinguishing the indicator.
These buttons shift the range of the velocity
octaves).
Saving a Pattern Set
Pattern Set settings that you have edited will be lost when you turn
off the power. If you want to keep your changes, you must save
them as follows.
[OCT -]/[OCT +]
1. Hold down [PATTERN CALL] and press [F6 (PtnCall
Setting)].
the octave shift will be reset to 0.
Alternatively, hold down [SHIFT] and press [F3 (Pattern Call)].
The Pattern Call editing screen will appear.
2. Use [VALUE] or [INC/DEC] to select the pattern set
[PATTERN CALL]
[RPS]
The pads will recall patterns (Pattern
Call, p. 27).
The pads will trigger phrases (RPS, p.
28).
The pads will play arpeggios (Arpeggia-
tor, p. 30).
Produce chords by pressing a single pad
(Chord Memory, p. 32).
that you want to save.
3. Press [WRITE].
[ARPEGGIO]
[CHORD MEMORY]
The Write menu screen will appear.
Make sure that “Pattern Set” is highlighted.
4. Press [ENTER] or [F4 (PCL)].
5. Assign a name to the pattern set.
Pattern Call
For details on how to assign a name, refer to “Saving a pattern”
(p. 43).
You can use the sixteen velocity pads as buttons to select patterns.
The patterns that are registered to each of the sixteen velocity pads
are handled as one “pattern set.” You are free to edit the contents of
a pattern set, and can store 50 different sets. You can also switch
between pattern sets during pattern playback.
6. When you finish inputting the name, press [F6
(Write)].
A message will ask you for confirmation.
7. To save the pattern set, press [F6 (Execute)].
You can use this method to select either the current pattern or the
next pattern.
*
To cancel without saving, press [F5 (Cancel)].
*
Pattern Call cannot be used in Song mode.
Patterns that are registered in a pattern set allow you to specify setup
parameters that are different than in conventional pattern mode.
Using Pattern Call
1. Press [PATTERN CALL] so its indicator is lighted.
2. Press one of the velocity pads [1]–[16].
The pattern that is registered to the pad you pressed will be
selected.
*
*
[HOLD] and [OCT +/-] will have no effect.
Pattern Call cannot be used simultaneously with RPS, arpeggiator, or
chord memory.
Selecting a pattern set
1. Hold down [PATTERN CALL] and use [VALUE] or
[INC/DEC] to select a set.
27
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Registering a phrase in an RPS set
1. Select the pattern that contains the phrase you want
RPS
Any phrase that’s been assigned to one of the sixteen velocity pads
will continue playing as long as you hold down its pad.
The phrases that are registered to the sixteen velocity pads are
handled as one “RPS set.” You are free to edit the contents of an RPS
set, and can store 50 different sets. You can also switch between RPS
sets during pattern playback.
to register, so it is the current pattern.
2. Mute all parts other than the single part you want to
register in RPS.
Refer to p. 26 for details on muting.
Using RPS
1. Press [RPS] so its indicator is lighted.
You may find it convenient to use the Solo function (p. 26).
3. Select the RPS set in which you want to register that
2. Press one of the velocity pads [1]–[16].
phrase.
The phrase that is registered to the pad you pressed will
continue playing.
4. Hold down [RPS], and press the velocity pad to
which you want to register the phrase.
*
*
[OCT +/-] will have no effect.
That phrase will be registered to the pad you pressed.
RPS cannot be used simultaneously with pattern call, arpeggiator, or
chord memory.
<Note when assigning RPS>
RPS Hold
*
It is not possible for multi-part phrases to be assigned to each of
the velocity pads. You must mute all parts other than the part
that contains the phrase you wish to assign. If you attempt to
assign a phrase in which two or more parts are un-muted, the
display will indicate “Cannot Assign Phrase!”.
You can make a phrase continue playing even after you release your
finger from the velocity pad.
• To hold all phrases
1. Press [HOLD] so the indicator is lit.
*
If you have assigned a phrase from a user pattern to RPS, and
modify the performance data of the pattern that contains that
phrase after it has been assigned, be aware that the phrase played
by RPS will be affected by these modifications. For example if you
delete the performance data of a pattern that contains an assigned
phrase, no sound will be heard when you use RPS to play that
phrase.
2. Press a velocity pad to play a phrase.
You can stop that phrase by pressing the same pad once again.
• To hold individual phrases
1. Hold down [HOLD] and press a velocity pad to play a
phrase.
*
If you assign a phrase from a part that uses MFX, the MFX
settings during RPS playback will be determined by the MFX
settings of the currently selected pattern. This means that the
RPS playback may sound different than the original phrase.
[HOLD] will blink, and that phrase will continue playing until
you press the same pad once again.
2. To play a phrase that you want to hold, hold down
[HOLD] and press the appropriate pad, as described
in step 1.
The phrases will play together.
3. To play a phrase that you do not want to hold, press
Patterns that are registered in an RPS set allow you to specify setup
parameters that are different than in conventional pattern mode.
only the appropriate pad.
When you release your finger from the pad, that phrase will
stop playing.
*
In steps 1 and 2, you can also press [HOLD] while pressing the
velocity pad to play the phrase, as an alternative to holding down
[HOLD] and then pressing the pad.
To stop all phrases, press [HOLD] so the indicator goes out.
Selecting an RPS set
1. Hold down [RPS] and use [VALUE] or [INC/DEC] to
select a set.
28
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
RPS Settings
Adjusting the settings of the RPS parts
RPS playback uses dedicated RPS parts that are separate from
conventional pattern playback. The patterns that are assigned to
velocity pads [1]–[16] will play RPS parts 1–16.
1. Hold down [RPS] and press [F6 (RPS Setting)].
Alternatively, hold down [SHIFT] and press [F4 (RPS)].
The RPS setting screen will appear.
Here's how to adjust the settings of these RPS parts.
2. Use [CURSOR (up/down)] to select a parameter.
1. Hold down [RPS] and press [F6 (RPS Setting)].
Alternatively, hold down [SHIFT] and press [F4 (RPS)].
The RPS setting screen will appear.
3. Use [VALUE] or [INC/DEC] to edit the parameter.
Parameter
RPS Set
RPS Part
RPS Part Patch
Bank
Range
01–50
Part 1–16
—
Explanation
RPS set to edit
RPS part to edit
Patch assigned to RPS part
2. Press [F3 (RPS Mixer)].
The RPS Mixer screen will appear.
RPS Part Patch
Number
—
RPS Part Output
Select
DRY, MFX1,
MFX2,
COMP,
DIR1, DIR2,
RHY
How the original sound of
each part will be output
DRY: Output to MIX OUT-
PUT jacks without passing
through effects
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through
the compressor
DIR1 (2): Output to the DI-
RECT 1 (or DIRECT 2)
jacks without passing
through effects
RHY: Output according to
the settings of the rhythm
set assigned to the part
Refer to p. 128.
3. Use the part mixer section to adjust the volume, pan,
Remote Key-
board Switch
OFF, ON
etc. of RPS parts 1–16.
[PART ASSIGN]
Selects the RPS parts that will be controlled
by the sliders.
<RPS Trigger Quantize>
If this indicator is not lighted, parts 1–8
will be controlled. If lit, parts 9–16 will be
controlled.
Adjust the volume, pan, key, and reverb lev-
el of parts 1–8 or parts 9–16.
When using RPS during pattern playback, patterns and phrases may
not play back in precise alignment, depending on the timing at
which you press the velocity pads. On the MC-909 you can specify
the playback timing of the phrase, so it will play back in precise
synchronization with the pattern. (RPS Trigger Quantize ->p. 128)
Sliders
Use [F1]--[F4] to select a parameter, and use the sliders to adjust
the values.
•
REAL:
The phrase will play back immediately, at the timing at which
you pressed velocity pads.
Function button
[F1 (Level)]
Parameter adjusted by the sliders
Volume of the RPS part
[F2 (Pan)]
[F3 (Key Shift)]
Left/right position of the RPS part
Transposition of the RPS part
The pitch will change in semitone steps
over a range of +/-4 octaves.
Reverb level of the RPS part
•
16TH, 8TH, QUARTER:
The pattern will be divided into selected note units, and when
you press the velocity pads, the phrase will begin playing at the
beginning of the next note unit.
[F4 (Reverb Level)]
*
You can also use [CURSOR] to select a part and parameter, and then
use [VALUE] or [DEC/INC] to adjust the value.
•
MEASURE:
The pattern will be divided into one-measure units, and when
you press the velocity pads, the phrase will begin playing at the
beginning of the next measure.
4. Press [F6 (Close)] to close the RPS Mixer screen.
*
*
Except when this parameter is set to “REAL,” pressing on the velocity
pads slightly before the actual desired timing will help you
synchronize the phrase to the pattern.
If the pattern is stopped, the phrase will play back immediately,
regardless of the setting that is selected in the above procedure.
29
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
RPS realtime modify
You can use the panel knobs and sliders to modify the sound of the
Arpeggiator
The MC-909’s Arpeggiator function lets you perform arpeggios
(chords in which notes are played in succession, one note at a time)
just by playing the chords, using the notes in the chords you play.
Not only can you use the factory-set arpeggio styles, which
determine the way the arpeggio is played, but you can also freely
rewrite styles.
phrase being played by RPS.
1. Press [RPS] to make the indicator light.
2. Press a velocity pad to play back a phrase.
3. While holding down a pad, you can operate the
following knobs and sliders to modify the sound of
the phrase.
Using the arpeggiator
1. Press [ARPEGGIO] so its indicator is lighted.
PITCH:
FINE/COARSE TUNE, ENV DEPTH/A/D
FILTER: CUTOFF, RESONANCE, ENV DEPTH/A/D/S/R
2. Press a chord using the velocity pads.
AMP:
LFO1:
LEVEL, ENV DEPTH/A/D/S/R
An arpeggio will play according to the specified arpeggio style.
PITCH DEPTH, FILTER DEPTH, AMP DEPTH,
PAN DEPTH, RATE, WAVEFORM
*
Arpeggiator cannot be used simultaneously with Pattern Call or RPS.
*
*
Your changes will affect the sound of the phrase assigned to the pad
you pressed last.
If you take your finger off the pads, the changes you make will apply to
the sound of the current part. The same is true even if you are playing
back a phrase with [HOLD] turned on.
Selecting an arpeggio style
1. Hold down [ARPEGGIO] and use [VALUE] or [INC/
DEC] to select a style.
*
Operating MATRIX CONTROL 1, RANDOM MODIFY, or FAT
will always affect the sound of the current part.
Making arpeggiator settings
Here's how to change the way that the arpeggio is sounded.
Saving an RPS set
The edited settings of an RPS set will be lost when you turn off the
power. If you want to keep the settings you edited, save the RPS set
as follows.
1. Hold down [ARPEGGIO] and press [F6 (Arp Setting)].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
1. Hold down [RPS] and press [F6 (RPS Setting)].
Alternatively, hold down [SHIFT] and press [F4 (RPS)]. The RPS
setting screen will appear.
3. Use [VALUE] or [INC/DEC] to edit the parameter.
2. Use [VALUE] or [INC/DEC] to select the RPS set that
Using in Combination with the Chord
Memory Function
you want to save.
3. Press [WRITE].
When performing with the Arpeggiator, you can also use it
along with the Chord Memory (p. 32). After first storing
complex Chord Forms in memory, you can then call them up
when Arpeggiator is on, and you can easily create complex
arpeggio sounds just by pressing a single pad.
The Write menu screen will appear.
Make sure that “RPS Set” is highlighted.
4. Press [ENTER] or [F3 (RPS)].
5. Assign a name to the RPS set.
For details on how to assign a name, refer to “Saving a pattern”
(p. 50).
Parameter Explanation
Arpeggio
Grid (Grid
Type)
Sets the particular note division and resolution in a
“single grid” used in creating the arpeggio in an Ar-
peggio Style, and how much of a “shuffle” syncopa-
tion is to be to applied (none/weak/strong) to it.
1/4: Quarter note
6. When you finish inputting the name, press [F6
(Write)].
A message will ask you for confirmation.
1/8: Eighth note
1/8L: Eighth note shuffle Light
1/8H: Eighth note shuffle Heavy
1/12: Eighth note triplet
7. To save, press [F6 (Execute)].
*
To cancel without saving, press [F5 (Cancel)].
1/16: Sixteenth note
1/16L: Sixteenth note shuffle Light
1/16H: Sixteenth note shuffle Heavy
1/24: Sixteenth note triplet
30
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Parameter Explanation
Arpeggio
Motif
Selects the method used to play sounds when you
have a greater number of notes than programmed for
the Arpeggio Style.
UP(L ): Only the lowest of the pads pressed is
sounded each time, and the notes play in order
from the lowest of the pressed pads.
UP(L&H): Notes from both the lowest and highest
pressed pads are sounded each time, and the notes
play in order from the lowest of the pressed pads.
UP(_ ): The notes play in order from the lowest of
the pressed pads. No one note is played every time.
DOWN(L ): Only the lowest of the pads pressed is
sounded each time, and the notes play in order
from the highest of the pressed pads.
DOWN(L&H): Notes from both the lowest and
highest pressed pads are sounded each time, and
the notes play in order from the highest of the
pressed pads.
DOWN(_ ): The notes play in order from the high-
est of the pressed pads. No note is played every
time.
UP&DOWN(L ): Only the lowest of the pads
pressed is sounded each time, and the notes in the
arpeggio are played in order from the lowest of the
pressed pads and then back again in the reverse or-
der.
4. To input data, press a pad that corresponds to the
timing at which you want to input a note, so the pad’s
indicator lights.
To delete a note you’ve input, press the
corresponding pad so its indicator goes out.
*
*
You cannot edit the velocity of a note message once you input it. If you
want to change the velocity, you must delete the note and re-input it.
A maximum of sixteen notes (specified pitches) can be used in one style.
UP&DOWN(L&H): Notes from both the lowest and
highest pressed pads are sounded each time, and
the notes play in order from the lowest of the
pressed pads and then back again in the reverse or-
der.
UP&DOWN(_ ): The notes play in order from the
lowest of the pressed pads, and then back again in
the reverse order. No note is played every time.
RANDOM(L ): While only the lowest of the pads
pressed is sounded each time, the notes in the ar-
peggio are played in random order.
Determines whether the sounds are played staccato
(short and clipped), or tenuto (fully drawn out).
30–120%: For example, when set to “30,” the
length of the note in a grid (or when a series of
the full length of the note set in the grid type.
FULL: Even if the linked grid is not connected with
a tie, the same note continues to sound until the
point at which the next new sound is specified.
Adds an effect that shifts arpeggios one cycle at a
time in octave units. You can set the shift range up-
wards or downwards (up to three octaves up or
down).
[F1 (Tie)]
By holding down [F1 (Tie)] and pressing a pad,
you can extend the length of the previously in-
put note by the current setting.
Sets the particular note division and resolution
in a “single grid” used in creating the arpeggio
in an Arpeggio Style, and how much of a “shuf-
fle” syncopation is to be to applied (none/
weak/strong) to it.
1/4: Quarter note
1/8: Eighth note
1/8L: Eighth note shuffle Light
1/8H: Eighth note shuffle Heavy
1/12: Eighth note triplet
[F2 (Grid)]
Arpeggio
Duration
1/16: Sixteenth note
1/16L: Sixteenth note shuffle Light
1/16H: Sixteenth note shuffle Heavy
1/24: Sixteenth note triplet
Specifies the style length
Range: 1–32
Specifies the pitch of the note to be input.
Range: 0 (C-1)–127 (G9)
Specify the velocity (volume) of the note mes-
sages you will input.
[F3 (End Step)]
[F4 (Note Num-
ber)]
[F5 (Velocity)]
Arpeggio
Octave
Range
Range: REAL, 1–127
Remote
Keyboard
Switch
Refer to p. 128.
* If this is set to REAL, your playing strength
on the pads will vary the dynamics.
Audition arpeggio currently being input. (The
operation is the same when [SHIFT] is held.)
Zoom-in the arpeggio style input screen.
[F6 (Preview)]
Creating an arpeggio style
1. Hold down [ARPEGGIO] and press [F6 (Arp Setting)].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
[SHIFT] +
[F1 (V-Zoom In)]
[SHIFT] +
[F2 (V-Zoom Out)]
[SHIFT] +
[F3 (Tie)]
Zoom-out the arpeggio style input screen.
Input a tie at the cursor location, and advance to
the next step.
Delete all data at the step where the cursor is lo-
2. Press [F4 (Arp Edit)].
[SHIFT] +
The arpeggio style input screen will appear.
[F4 (Rest (Clear))] cated.
[SHIFT] +
[F5 (Step Rec)]
If you press this to add a check mark, you will
be able to input data for individual notes (p. 32).
3. Use the function buttons and [VALUE] or [INC/DEC]
to specify the note that you want to input.
You can also use [CURSOR (up/down)] to select the note
number.
5. When you finish inputting the arpeggio style, press
[EXIT].
31
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Step-recording an arpeggio style
You can create an arpeggio style by inputting and editing individual
Chord Memory
You can play a previously registered chord form simply by pressing
a single pad. You can use the factory-set chord forms, and are also
free to rewrite them as desired.
notes.
Using chord memory
1. Press [CHORD MEMORY] so its indicator is lighted.
2. Press one of the velocity pads.
The pre-specified chord form will sound.
When you press velocity pad [2] (C4), the chord form will sound at
the pitch that was specified. Other pads will sound parallel chords at
pitches relative to pad [2] (C4).
*
Chord Memory cannot be used simultaneously with Pattern Call or
RPS.
1. In the arpeggio style input screen, hold down [SHIFT]
and press [F5 (Step Rec)] to apply a check mark.
[SHIFT] will be locked.
Selecting a chord form
1. Hold down [CHORD MEMORY] and use [VALUE] or
2. Use [CURSOR (up/down)] to select the note number,
[INC/DEC] to select a chord form.
and [CURSOR (left/right)] to select the step.
Inputting a chord form
3. Use [VALUE] or [INC/DEC] to edit the data at the
cursor (velocity: OFF, 1–127, Tie).
1. Hold down [CHORD MEMORY] and press [F6 (Chord
Setting)].
*
You can also strike a velocity pad to input a note for the corresponding
note number.
Alternatively, hold down [SHIFT] and press [F2 (Chord
Memory)].
[F1 (V-Zoom In)]
[F2 (V-Zoom Out)] Zoom-out the arpeggio style input screen.
Zoom-in the arpeggio style input screen.
The chord memory setting screen will appear.
[F3 (Tie)]
Input a tie at the cursor location, and advance
to the next step.
2. Press [F4 (Chord Edit)].
[F4 (Rest (Clear))] Delete all data at the step where the cursor is lo-
cated.
The chord form input screen will appear.
[F6 (Preview)]
Audition arpeggio currently being input. (The
operation is the same when [SHIFT] is held.)
3. Use the velocity pads to input the chord you want to
sound.
*
If you press [F5 (Step Rec)] and clear the check mark, you are returned
to the normal input screen.
Input the notes that you want to sound when velocity pad [2]
(C4) is pressed.
The pads will light to indicate the notes that will sound.
If you press a pad once again, it will go dark and will not sound.
Saving an arpeggio style
A arpeggio style you create will be lost when you turn off the power.
If you want to keep your settings, save them as follows.
4. When you finish inputting the chord form, press
[EXIT].
1. Hold down [ARPEGGIO] and press [F6 (Arp Setting)].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
While inputting the chord form, you can press [F6 (Preview)] to play
the chord that you have input.
2. Press [F6 (Arp Write)].
A screen will appear in which you can select the user arpeggio
style to which your settings are to be written.
3. Use [VALUE] or [INC/DEC] to select the arpeggio
style that you want to save.
4. Press [F6 (Write)].
A message will ask you for confirmation.
5. To write the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
32
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Saving a chord form
A chord form you create will be lost when you turn off the power. If
Part Mixer
Here you can adjust the volume, pan, etc., of each part.
you want to keep your settings, save them as follows.
1. Hold down [CHORD MEMORY] and press [F6 (Chord
[PART]
(SELECT/MUTE)
Selects the function of part buttons [1]–[16].
Setting)].
If this indicator is not lighted, the part
buttons will select parts. If lit, the part
buttons will mute parts.
Switches the Tempo/Mute part (a part that
records tempo changes and mute opera-
tions, p. 42) on/off.
The Mixer screen will appear when you
press this button and get it to light.
Selects the parts that will be controlled by
the sliders.
Alternatively, hold down [SHIFT] and press [F2 (Chord
Memory)].
[TEMPO/MUTE
CONTROL]
The chord memory setting screen will appear.
2. Press [F6 (Chord Write)].
[MIXER ASSIGN]
[PART ASSIGN]
A screen will appear in which you can select the user chord
form to which your settings are to be written.
3. Use [VALUE] or [INC/DEC] to select the chord form
If this indicator is not lighted, parts 1–8
will be controlled. If lit, parts 9–16 will be
controlled.
that you want to save.
Sliders
Adjust the volume of parts 1–8 or parts 9–16.
By accessing the Mixer screen, you can
also adjust the pan, key, and reverb depth
of each part (see illustration below).
4. Press [F6 (Write)].
A message will ask you for confirmation.
5. To write the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Realtime Modify section
You can use the knobs and sliders of this section to modify the sound
while it plays.
For details on the function of each knob and slider, refer to Patch
mode (p. 51).
Selecting the part whose sound
you want to modify
fig.1-06
Use [F1]–[F4] to select a parameter, and use the sliders to adjust the
values.
Function button
[F1 (Level)]
Parameter adjusted by the sliders
Volume of the part
[F2 (Pan)]
[F3 (Key Shift)]
Left/right position of the part
Transposition of the part
The pitch will change in semitone steps
over a range of +/-4 octaves.
Reverb level of the part
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
[F4 (Reverb Level)]
[F6 (Close)]
Returns to the previous screen.
2. Press the button for the part whose sound you want
to modify. The button will light.
*
You can also use [CURSOR] to select a part and parameter, and then
use [VALUE] or [DEC/INC] to adjust the value.
That part is now selected.
The letter displayed below the part number at the top of the
Mixer screen indicates the status of each part, as follows:
If you select a part to which a rhythm set is assigned, the FILTER
section “TYPE” indicator will go out.
•
•
•
P: playable
This is because a rhythm set lets you select a different filter type for
each rhythm tone (percussion instrument).
M: muted
Blank: No performance has been recorded
33
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Selecting the input source device
1. Press and hold [MIX IN].
Mix In
The sound of a device connected to the INPUT jacks or the digital in
The Mix In select sub window will appear.
connector can be mixed into the output.
You can also use the velocity pads to play different pitches using the
input sound.
2. Press [F5 (Input Setting)].
The input setting screen will appear.
3. Press [CURSOR (up/down)] to move the cursor to the
Directly outputting the sound of
an external device
item that you want to set.
4. Use [VALUE] or [INC/DEC] to make the desired
1. In the sampling section, press [MIX IN] so its
setting.
indicator is lighted.
The sound of the external device will be mixed into the output.
Parameter
Range
Explanation
Input Select
LINE IN L/R,
LINE IN L,
Input source of the external
input sound
2. To cancel the Mix In function, press [MIX IN] once
DIGITAL(OPT),
DIGITAL(CO-AX),
MICROPHONE
LINE IN L/R: INPUT jacks
L/R (stereo)
LINE IN L: INPUT jack L
(mono)
DIGITAL(OPT): Digital In-
put (Optical)
DIGITAL(CO-AX): Digital
Input (Coaxial)
again so its indicator goes out.
Playing various pitches using the
sound of an external device
1. Press and hold [MIX IN].
MICROPHONE: INPUT
jack (mono, mic level)
Switches Mix In on/off
OFF:Externalinputsound
will not be used.
The Mix In select sub window will appear.
Mix-In
OFF, ON,
VELOCITY PADS
ON: External input sound
will be mixed into the out-
put.
VELOCITY PADS: The ve-
locity pads can be used to
play scales using the exter-
nal input sound.
Ext Output
Asgn
(External
Output
DRY, MFX1,
MFX2, COMP
Output destination of the ex-
ternal input sound that is
mixed in
DRY: Output to MIX OUT-
PUT jacks without passing
through effects
Assign)
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through
the compressor
Volume level of the external
input sound (left channel)
Volume level of the external
input sound (right channel)
Depth of reverb applied to
the external input sound
Set this to 0 if you don’t
want to apply reverb.
2. Continuing to hold down [MIX IN], press [F6 (Velo
Pads)] or turn [VALUE] to select “VELOCITY PADS.”
Ext Level L
Ext Level R
0–127
0–127
0–127
The indicator will blink, and now you can use the velocity pads
to change the pitch of the input sound.
Ext Reverb
Send Level
3. Play the velocity pads.
You can control the pitch and duration just as on a conventional
keyboard.
When you press pad 2 (C4), the input sound will be heard at its
original pitch.
Adjusting the volume of the external
device
You can play the input sound in a range of 14 semitones higher
(pad [16]) through 25 semitones lower (pad [1] with [OCT -]
pressed twice) than the original pitch.
You can use the volume section’s [INPUT] knob to adjust the volume
of the external device.
*
You cannot play chords.
*
[INPUT] cannot adjust the volume of a device connected to the digital
in connector. You will need to adjust the volume on the connected
external device.
4. To cancel the Mix In function, press [MIX IN] once
again so its indicator goes out.
34
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
CUT + RESO (Cutoff + Resonance)
D Beam Controller
Your left hand (beam 1) controls the cutoff frequency of the filter (p.
The D Beam controllers let you perform control operations simply by
passing your hand over the controller. Three different uses (such as
solo synth and turntable) for this controller are offered as presets,
but by editing the settings you can use these controllers to apply a
wide range of other effects.
1. Press [D BEAM ASSIGN] so the “CUT+RESO”
indicator is lighted.
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
[BEAM 1 ON]
[BEAM 2 ON]
Turns the left D Beam controller (BEAM 1)
on/off.
Turns the right D Beam controller (BEAM 2)
on/off.
Selects the function of the D Beam controller.
Press to cycle through the available choic-
es, which are: SOLO SYNTH, CUT+RESO,
TURNTABLE, and ASSIGNABLE.
indicators are lighted.
3. In the FILTER block, press [TYPE] to select Filter
Type (p. 59).
[TWIN D BEAM
ASSIGN]
4. Pass your hands over beams 1/2 to control the sound
of the current part.
•
•
Moving your hand closer to beam 1 will raise the cutoff
frequency, and moving your hand away will lower it.
Moving your hand closer to beam 2 will increase the resonance,
and moving your hand away will decrease it.
The effective range of the D Beam controller
The following diagram shows the effective range of the D Beam
controller. Movements of your hand that occur outside of this
range will not produce any effect.
*
The effective range of the D Beam controller will be greatly
reduced when it is used in strong, direct sunlight. Please be
aware of this when using the D Beam controllers outdoors.
If the Filter Type has been set to LPF2 or LPF3, the resonance setting
will have no effect, so moving your hand over beam 2 will not affect
the sound.
fig.DBeam
You can adjust the variable range of the parameters (p. 130).
TURNTABLE
Your left hand (beam 1) controls the tempo (BPM), and your right
hand (beam 2) controls the pitch.
1. Press [D BEAM ASSIGN] so the “TURNTABLE”
indicator is lighted.
SOLO SYNTH
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
This is a monophonic synthesizer for which your left hand (beam 1)
indicators are lighted.
controls volume, and your right hand (beam 2) controls the pitch.
3. Pass your hands over beams 1/2 to control the BPM
1. Press [D BEAM ASSIGN] so the “SOLO SYNTH”
and pitch of all parts.
indicator is lighted.
•
•
Moving your hand closer to beam 1 will slow down the tempo.
Moving your hand closer to beam 2 will lower the pitch.
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
indicators are lighted.
*
If your hand leaves the effective range of the D Beam controller, the
sound will return to the original BPM and pitch.
3. When you move your hand near beam 1, sound will
be heard.
•
make the volume softer, and moving your hand away will make
the volume louder.
You can also set it so moving your hand closer to the D Beam
controller will increase the tempo and raise the pitch (p. 130).
•
Moving your hand closer to beam 2 will raise the pitch, and
moving your hand away will lower the pitch.
ASSIGNABLE (Other applications)
*
If the hand that is near beam 1 leaves the effective range of the D Beam
controller, the volume will gradually diminish and finally the sound
will disappear. This prevents the sound from remaining “stuck on.”
Refer to the D Beam controller-related parameters (p. 130) in the
System settings.
*
You can change the pitch range (p. 130).
35
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing a pattern
Turntable emulation
You can use this slider and the [PUSH]/[HOLD] buttons to
When playing a patch/rhythm set from a wave expansion board that
uses waveforms with an indicated tempo (BPM), it will not be
possible to control pitch and BPM independently.
synchronize your performance with a turntable or other audio
source.
fig.1-07
Auto Sync
The playback tempo of a sample (waveform) you sampled or loaded
from your computer can be automatically synchronized to the
playback tempo of the pattern.
In order to use Auto Sync, you must first set the BPM (p. 116) sample
parameter.
1. As the current part, select the part to which is
assigned the patch that uses the sample that you
want to auto-sync.
2. Press [AUTO SYNC] so its indicator is lighted.
The playback tempo of the sample will automatically
synchronize to the BPM of the pattern.
Slider
The BPM will slow down as you move the slider up-
ward (toward “-”), and speed up as you move it
downward (toward “+”).
The BPM will be the original value when the slider is
at the detent in the center of its range.
Auto Sync can be turned on/off independently for each part.
* You can also adjust the variable range of the slider
(p. 127).
[PITCH],
[BPM]
These buttons select whether the slider and [HOLD]/
[PUSH] buttons will control the pitch or the BPM.
The pitch and BPM will both
Auto Sync requires double the usual polyphony. This means that if
you turn Auto Sync on, the polyphony of the entire MC-909 will
decrease.
change.
This produces the same result
as a turntable.
Both lit
Only the pitch will change.
Effects
Only [PITCH] lit
See p. 88.
Only the BPM will change.
Only [BPM] lit
Operating the slider or
[HOLD]/[PUSH] buttons will
not change the pitch or BPM.
Mastering
See p. 108.
Both not lighted
Use this setting if you want to
prevent the pitch and BPM
from changing when the slid-
er is touched accidentally.
[HOLD]
[PUSH]
Slows the performance to the minimum tempo of the
slider range in order to match your performance with
the turntable.
Speeds up the performance to the maximum tempo
of the slider range in order to match your perfor-
mance with the turntable.
You can also assign other functions to the slider, such as pitch bend
(p. 127).
36
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
1. Use [VALUE] or [INC/DEC] to select the number of
Realtime recording
the pattern you want to record.
This method lets you record your performance on the MC-909’s
velocity pads and D Beam controllers or an external MIDI keyboard.
Knob and slider movements can also be recorded.
2. Press [REC].
fig.1-20
Standby screen
fig.1-21
3. Press [F1]–[F4] to select a recording method.
Function button
Recording method
[F1 (Realtime)]
Realtime Recording (p. 37)
Data from the velocity pads,
knobs, and external MIDI
devices will be recorded in
real time.
Parameter
Rec Beat
Range
Explanation
2/4–7/4, 5/8– Pattern time signature
7/8, 9/8, 12/8,
9/16, 11/16,
13/16, 15/16,
17/16, 19/16
1–998
empty pattern.
[F2 (TR-Rec)]
TR-REC (p. 39)
represent notes, allowing
you to input note data by
switching each pad on or off.
Step Recording (p. 41)
Successively record each
note one after the other in a
non-realtime fashion.
Tempo/Mute Recording (p.
42)
Rec Measure
Length
Pattern length
* An already-recorded pattern
can be made longer, but not
shorter. To shorten it, use the
pattern edit Delete Measure
(p. 45) to delete one or more
measures.
Whether the recorded data will
be added to, or replace, the exist-
ing data
[F3 (Step)]
Rec Mode
MIX,
REPLACE
[F4 (Tempo/Mute)]
Record tempo changes or
mute on/off events in real
time.
MIX: Newly recorded data
will be added to the previous-
ly-recorded data.
The corresponding recording standby screen will appear.
REPLACE: Previously-re-
corded data will be replaced
by the newly-recorded data.
Length of the count before re-
cording begins
If this is set to Wait Note, re-
cording will start when you
press a velocity pad or the
[PLAY] button.
4. Specify the time signature and length of the pattern,
and then record.
Rec Count In
OFF, 1 MEAS,
2 MEAS,
WAIT NOTE
For details, refer to the section on each recording method.
Rec Loop Rest OFF, ON
Insert a blank measure before
you return to the beginning of
the pattern
If this is ON, one blank mea-
sure will be inserted before
you turn to the first measure of
the pattern.
The maximum number of notes per pattern is
approximately 30,000 notes.
* This provides a convenient
way to keep the end of the last
measure from being recorded
into the first measure.
37
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
Parameter
Quantize Res- OFF,
olution 32nd note–
quarter note
Range
Explanation
Note value to which timing is to
be corrected
If this is set to OFF, timing will
not be corrected.
Degree to which timing will be
adjusted.
Settings near 0% will produce
essentially no effect, while a
setting of 100% will adjust the
note timings all the way to the
note locations specified in the
Input Quantize Resolution.
Volume (velocity) of the notes
that you input from the velocity
pads.
Controllers that can be recorded
•
•
•
•
Velocity pads
Quantize Tim- 0–100%
ing
D Beam controllers
Realtime modify knobs
Turntable Emulation Slider *
*: Can be recorded only if assigned as pitch bender or
modulation.
Rec Velocity
REAL, 1–127
If this is set to REAL, your
playing strength on the pads
that is input.
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
Function buttons
2. Press the button for the part that you want to record.
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
You can select the part for recording even while you are recording.
[F6 (BPM/Click)]
Set the tempo, and turn the metronome on/
off (p. 25).
Rehearsal
You can temporarily cease recording without actually halting the
realtime recording operation. This lets you alternate between trying
out ideas and actually recording, without having to actually perform
“record” and “stop” operations each time.
Recording procedure
1. Select realtime recording (p. 37).
2. Press [PLAY], and start recording.
1. During realtime recording, press [F4 (Rehearsal)] or
[REC].
[REC] will blink, and you will be in rehearsal mode. No
performance data will be recorded.
In this state you can try playing phrases before actually
recording them.
2. Press [F4 (Rehearsal)] or [REC] once again, and you
will resume recording.
Perform using the velocity pads, D Beam controllers, or your
external MIDI keyboard.
When you come to the last measure, recording will repeat from
the first measure. You will also hear what’s been recorded so
far. Your performance during each pass of the recording will be
added to the previously recorded data.
3. Press [STOP] to stop recording.
38
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
Realtime Erase
During realtime recording, you can use the velocity pads or the
TR-REC
This is a recording method in which the velocity pads of the MC-909
are used as timing scale buttons to enter note messages.
You can input/delete notes by pressing the velocity pads to switch
them between lit/extinguished. This is an easy way to specify the
timing at which notes are to be placed.
realtime modify knobs to erase data.
1. Select the part from which you want to erase data.
Select a part in the same way as described in “Selecting the part
to record” (p. 38).
*
This method cannot be used to record data other than note messages
(e.g., control changes produced by operating the realtime modify
knobs).
2. During recording, press [F2 (Erase)].
The realtime erase window will appear.
fig.1-**
Standby screen
fig.1-30
3. In the Erase Type field, choose the type of data that
you want to erase.
ALL
All data
NOTE
P-AFT
C-AFT
CC
Note messages
Polyphonic aftertouch
Channel aftertouch
Control change
PC
Program change
Bend data
System exclusive data
Tempo change data
Mute on/off
BEND
SYSEX
BPM
MUTE
EXCEPT NOTE
Parameter
Range
Explanation
All data other than note messages
Rec Beat
2/4–7/4, 5/8–
7/8, 9/8, 12/8,
9/16, 11/16,
13/16, 15/16,
17/16, 19/16
1–998
Pattern time signature
*
If you want to erase knob data, operate the corresponding knob of the
panel to specify that data.
* Can be specified only for
an empty pattern.
4. Erase the data.
•
Rec Measure
Length
Pattern length
When “NOTE” has been selected, hold down two notes on the
velocity pads or on an external MIDI keyboard, and all note
messages within the region defined by those two notes will be
erased while you continue holding down the notes.
* An already-recorded pat-
tern can be made longer,
but not shorter. To shorten
it, use the pattern edit De-
lete Measure (p. 45) to de-
lete one or more measures.
Volume (velocity) of the
notes that you input from the
velocity pads.
If this is set to REAL, your
playing strength on the
locity that is input.
•
For other types of data, the data selected by Erase Type will be
erased while you continue holding down [F5 (Erase)].
Rec Velocity
REAL, 1–127
5. To return to recording mode, press [F5 (Close)] or
[EXIT].
Recording Cancel
Here’s how you can cancel the entire content of a recording, and
Function buttons
return to the recording-standby state.
1. During recording, press [F5 (Rec Cancel)].
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
A message will ask for confirmation.
[F6 (BPM/Click)]
Set the tempo, and turn the metronome on/
off (p. 25).
2. To carry out Recording Cancel, press [F6 (Execute)].
All the data that has been recorded from the time you pressed
[PLAY] to start recording until you pressed [F5 (Rec Cancel)]
will be discarded.
*
To cancel, press [F5 (Cancel)].
39
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
4. Use [CURSOR (left/right)] or [BWD/FWD] to move the
Recording procedure
1. Select TR-REC (p. 37).
note message input region
2. Press [PLAY] to begin recording.
The bottom of the screen will always show two bars to indicate the
input region shown in the screen and the current playback position
of the pattern.
You will enter recording mode, and will hear the notes you
enter played as a loop.
fig.1-31
If you press [TOP], the pattern playback location will return to the
beginning of the input region shown in the screen.
5. To input data, press a pad that corresponds to the
timing at which you want to input a note, so the pad’s
indicator lights.
To delete a note you’ve input, press the
corresponding pad so its indicator goes out.
You cannot edit the note type, gate time, or velocity of a note
message once you input it. If you want to change these parameters,
you must delete the note and re-input it.
3. Use the function buttons and [VALUE] or [INC/DEC]
6. Press [STOP] to stop recording.
to specify the note messages to enter.
You can also use [CURSOR (up/down)] to select the note
number.
Selecting the part to record
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
[F1 (Patch List)]
[F2 (Scale)]
Choose the patch/rhythm set from a list
(p. 55).
The timing scale (see the explanatory box
on this page) of the velocity pads will
change each time you press this.
Choose the pitch of the note to be input.
For a rhythm set, this selects the rhythm
tone to be input.
Range: 0 (C-1)–127 (G9)
Choose the note value to be input.
Range: 1/32–1/1
Specify the gate time (the duration that the
note will be held) for the note data to be in-
put, as a proportion of the value you chose
for Note Type.
Range: 5–200%
Specify the velocity (volume) of the note
data to be input.
2. Press the button for the part that you want to record.
You can select the part for recording even while you are recording.
About the timing scale
[F3 (Note Number)]
[F4 (Note Type)]
[F5 (Gate Time)]
Each time you press [F2 (Scale)], the scale will alternate in the
following order.
•
•
•
•
16th notes
[F6 (Velocity)]
Velocity pads [1]–[16] will correspond to a recording input
region of one measure, and you will be able to input notes
at 16th note intervals.
Range: REAL, 1–127
* If you set this to REAL, the force with
which you strike the pad will be input as
the velocity value.
display.
You can use this when you want to view
an expanded display for specific notes.
Broaden the region of keys shown in the
display.
You can use this when you want to see
which notes have been input.
Set the tempo, and turn the metronome
on/off (p. 25).
32nd notes
Velocity pads [1]–[16] will correspond to a recording input
region of two beats, and you will be able to input notes at
32nd note intervals.
[SHIFT] +
[F1 (V-Zoom In)]
8th note triplets
[SHIFT] +
[F2 (V-Zoom Out)]
Velocity pads [1]–[12] will correspond to a recording input
region of one measure, and you will be able to input notes
at 8th note triplet intervals.
[SHIFT] +
[F6 (BPM/Click)]
16th note triplets
Velocity pads [1]–[12] will correspond to a recording input
region of two beats, and you will be able to input notes at
16th note triplet intervals.
By holding down [SHIFT] and pressing [TOP] [BWD] [FWD], you
can move the pattern playback location in the same way as during
playback.
40
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
Recording procedure
1. Select step recording (p. 37).
Step recording
This is a recording method in which you input note messages one by
one.
2. Press [PLAY] to begin recording.
*
This method cannot be used to record data other than note messages
(e.g., control changes produced by operating the realtime modify
knobs).
You are now ready to record.
fig.1-31
Standby screen
fig.1-40
3. Use function buttons [F4]–[F6], and [VALUE] and
[INC/DEC] to specify the length and velocity of the
notes to input.
[F1 (Patch List)]
From a list, select the patch/rhythm
set that you want to use (p. 55).
Cancel the previously input note.
Extend the length of the previously
input note by the current setting.
Select the type of note value that you
want to input.
Parameter
Range
Explanation
[F2 (Step Back)]
[F3 (Tie)]
Rec Beat
2/4–7/4, 5/8–
7/8, 9/8, 12/8,
9/16, 11/16,
13/16, 15/16,
17/16, 19/16
1–998
Pattern time signature
* Can be specified only for
an empty pattern.
[F4 (Note Type)]
[F5 (Gate Time)]
Range: 1/32–1/1
Rec Measure
Length
Pattern length
Specify the gate time (duration) of
the note messages you will input, as
a proportion of the note value you
selected as the Note Type.
* An already-recorded pat-
tern can be made longer,
but not shorter. To shorten
it, use the pattern edit De-
lete Measure (p. 45) to de-
lete one or more measures.
Volume (velocity) of the
notes that you input from the
velocity pads.
Range: 5–200%
[F6 (Velocity)]
Specify the velocity (volume) of the
note messages you will input.
Range: REAL, 1–127
Rec Velocity
REAL, 1–127
* If this is set to REAL, your playing
strength on the pads will vary the
dynamics.
Narrow the range of keys shown in
the display.
Use this when you want to view
certain notes at greater magnifica-
tion.
If this is set to REAL, your
playing strength on the
pads will determine the ve-
locity that is input.
[SHIFT] + [F1 (V-
Zoom In)]
Function buttons
[SHIFT] + [F2 (V-
Zoom Out)]
Expand the range of notes shown in
the display.
Use this when you want to see
which notes have been input.
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
4. Use the velocity pads to input note messages.
The note number is selected by the pad you press. You can also
input chords.
When you input a note message, the input position will
advance by the value of the Note Type you specified.
5. Repeat steps 2 and 3 to input note messages.
6. When you are finished recording, press [STOP].
41
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a pattern
Selecting the part to record
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
Tempo/mute recording
fig.1-49
2. Press the button for the part that you want to record.
You can select the part for recording even while you are recording.
Moving the input location
•
Pressing [CURSOR (right)] will move the input location
forward by the current Note Type value.
•
Pressing [CURSOR (left)] will move the input location
backward by the current Note Type value.
•
•
Pressing [FWD] will advance the input location by one measure.
Pressing [BWD] will return the input location by one measure.
Tempo changes and mute operations can be recorded on the
dedicated tempo/mute part.
The recording procedure is essentially the same as for realtime
recording.
You cannot move back to a position at which notes have already
been input.
Parameter
Range
Explanation
Rec Beat
2/4–7/4, 5/8–
7/8, 9/8, 12/8,
9/16, 11/16,
13/16, 15/16,
17/16, 19/16
1–998
Pattern time signature
Moving the display region
* Can be specified only for
an empty pattern.
•
•
•
Pressing [CURSOR (up/down)] will move the displayed region
of notes upward or downward.
Rec Measure
Length
Pattern length
Holding down [SHIFT] and pressing [FWD] will move the
displayed region one measure forward.
Rec Count In
OFF, 1 MEAS,
2 MEAS
OFF, ON
Length of the count before re-
cording begins
Insert a blank measure before
you return to the beginning
of the pattern
Holding down [SHIFT] and pressing [BWD] will move the
displayed region one measure backward.
Rec Loop Rest
measure will be inserted
before you turn to the first
measure of the pattern.
* This provides a convenient
way to keep the end of the
last measure from being re-
corded into the first mea-
sure.
1. Select tempo/mute recording (p. 37).
2. Press [PLAY] to start recording.
Only changes in BPM (tempo) and changes in the part mute
status will be recorded. No operations of the velocity pads, D
Beam controllers, knobs, or sliders will be recorded.
•
•
You can adjust BPM (tempo) by using [VALUE], [INC/DEC], or
turntable emulation.
For details on muting parts, refer to p. 26.
3. Press [STOP] to stop recording.
42
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Here’s how you can edit the performance data of a pattern in units of
measures. You can create completely new patterns by editing the
performance data of a pattern, or by combining various patterns.
[F1 (Micro Scope)]
Edit individual items of perfor-
mance data within a pattern. (p.
48)
*
You must stop the pattern before you can edit it.
[F2 (Copy)]
Copy a pattern. (p. 44)
[F3 (Erase)]
Erase unwanted data. (p. 45)
Delete unwanted measures. (p. 45)
Insert blank measures. (p. 45)
Transpose the pitch. (p. 45)
Split the rhythm set. (p. 44)
[F4 (Delete Measure)]
[F5 (Insert Measure)]
[F6 (Transpose)]
Basic procedure for pattern
editing
[SHIFT] +
[F1 (Extract Rhythm)]
[SHIFT] +
Modify the strength/length of the
notes. (p. 45)
[F2 (Velocity Duration)]
(Change Velocity/
Change Duration)
[SHIFT] + [F3 (Shift Clock)]
[SHIFT] + [F4 (Data Thin)]
[SHIFT] +
1. Select the pattern that you want to edit.
2. Press [F2 (Edit)] to access the Pattern Edit Menu
Slightly shift the timing. (p. 45)
Thin out unnecessary data. (p. 46)
Apply quantization. (p. 46)
screen.
fig.1-60
[F5 (Edit Quantize)]
[SHIFT] + [F6 (Reclock)]
Convert the note values. (p. 47)
5. Press the part button [1]–[16] and [TEMPO/MUTE] of
the part(s) whose data you want to edit, illuminating
the relevant indicator(s).
6. Set the parameters, and press [F6 (Execute)].
*
To cancel the procedure, press [F5 (Cancel)].
The procedures for Extract a Rhythm Instrument and Pattern
Copy are explained on the next page.
3. Select the region of measures that you want to edit.
When you are specifying the Note (Minimum/Maximum) in Pattern
Edit, you can specify the Minimum and Maximum by pressing two
velocity pads. First press Minimum, then press Maximum.
If you press one velocity pad twice, the Minimum and Maximum
will be the same.
•
Source From: first measure of the region
If you set this to “SETUP,” the setup parameters (p. 18) will be
included.
•
Source End: last measure of the region
If you set this to “SETUP,” only the setup parameters will be
selected, and no measures will be included.
4. Use the function buttons to select the type of editing
that you want to carry out.
The corresponding editing sub-window will appear.
fig.1-61
43
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Extract a Rhythm Instrument
This operation extracts data of a specific note number from the
specified part, and moves it to a different part. You can use this to
divide a rhythm set into separate parts for each instrument.
Pattern Copy
This operation copies data from the current pattern to another
pattern.
1. In step 5 on the preceding page, press a part button
[1]–[16] or [TEMPO/MUTE CONTROL] to select the
move-source part; the button will light.
1. In step 5 on the preceding page, press a part button
[1]–[16] to select the move-source part; the button
will light.
2. Select the data that you want to copy.
2. Select the note number that you want to move.
3. Press [F6 (Select)].
3. Press [F6 (Select)].
4. Press a part button [1]–[16] or [TEMPO/MUTE
CONTROL] to select the move-source part; the
button will light.
4. Press a part button [1]–[16] to select the move-
destination part; the button will light.
5. Press [F6 (Execute)].
5. Press [F6 (Execute)].
*
To cancel the procedure, press [F5 (Cancel)].
*
To cancel the procedure, press [F5 (Cancel)].
Parameter
Src Part
Extract Note
Dest Part
Range
1–16
0 (C-1)–127 (G9)
1–16
Explanation
Move-source part
Note number to be moved
Move-destination part
Parameter
Event
Range
ALL, NOTE,
PROG, CC, BEND,
PAFT, CAFT, SYS-
EX, BPM, MUTE
0 (C-1)–127 (G9)
Explanation
Data to be copied
*
*
*
If the move-source part does not contain any data of the note number
Note Minimum
Note Maximum
Note region to be cop-
ied
specified by Extract Note, a message of “Cannot Extract!” will appear.
* This can be specified
only if Event is set to
“NOTE.”
Control change mes-
sage to be copied
Messages in the
specified range will
be copied
If the move-destination part contains no performance data, the setup
parameters (p. 26) of the move-source part will be copied.
If the move-destination part does contain performance data, only the
note data will be moved. This means that the note data will be played
using the sound of the patch selected for the move-destination part.
Min
Max
CC#0–CC#127
* This can be specified
only if Event is set to
“CC.”
Dest Pattern
Dest Meas
Preset, User, Card
Bank of the copy-desti-
nation pattern
Copy-destination pat-
tern number
1–650 (Preset)
1–200 (User)
1–999 (Card)
1–(last measure + 1)
First measure of the
copy-destination
Copy-destination part
How the copy will oc-
cur
Dest Part
Copy Mode
1–16
REPLACE, MIX
REPLACE: The
copy-destination
data will be replaced
by the copy-source
data.
MIX: The copy-desti-
nation data will be
combined with the
copy-source data.
Number of times the
data is to be copied
Copy Times
1–998 (Max)
*
You can specify a copy-destination part (Dest Part) only if there is
just one copy-source part. If there are two or more copy-source parts,
they will be copied to the same parts of the copy-destination.
*
When copying data from one part to another part within the same
pattern, you can select only one part at a time.
44
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Erase
Transpose
This operation shifts the note numbers (pitch) of one or more parts in
This operation erases all or part of the data from a pattern.
the pattern. You can transpose the notes in a range of +/-2 octaves.
Parameter
Range
Explanation
Event
ALL, NOTE,
PROG, CC,
BEND, PAFT,
CAFT, SYS-EX,
BPM, MUTE
0 (C-1)–127 (G9)
Data to be erased
Parameter
Value
Note Minimum
Note Maximum
Range
-24– +24
0 (C-1)–127 (G9)
Explanation
Amount of transposition
Range of notes to be trans-
posed
Note Minimum
Note Maximum
Note region to be erased
* This can be specified
only if Event is set to
“NOTE.”
Control change message
to be erased
Messages in the speci-
fied range will be
erased
Change Velocity/
Change Duration
This operation modifies the velocity (strength) or duration (the
length that the note is held) of the notes recorded in the pattern.
You can use Change Duration to give the overall performance a
staccato feel or tenuto feel.
Min
Max
CC#0–CC#127
* This can be specified
only if Event is set to
“CC.”
Parameter
Type
Range
VELOCITY,
DURATION
Explanation
Data to be modified
VELOCITY:
Strength of the notes
DURATION:
Length of the notes
Delete Measure
This operation deletes unwanted measures from a pattern, and joins
the remaining measures together.
If a part contains data following the deleted region, the performance
data of that part will be shortened by the corresponding length. If
you specify all parts as the object of the delete operation, the pattern
When Type is “VELOCITY”
Value
-99– +99
Amount by which the ve-
locity is to be changed
Range of notes whose ve-
locity is to be changed
Note Minimum
Note Maximum
0 (C-1)–127 (G9)
itself will be shortened.
When Type is “DURATION”
fig.Delete
Value
-960– +960
Amount by which the du-
ration is to be changed
Range of notes whose du-
ration is to be changed
1
2
3
4
4
5
5
6
Note Minimum
Note Maximum
0 (C-1)–127 (G9)
1
2
3
If this operation would result in a velocity greater than 127 (or less
than 1), the resulting velocity data will be limited to 127 (or 1).
Insert Measure
This operation inserts blank measures between the specified
measure of a pattern and the following measure. If you want to add
more playing in the middle of a existing performance, use this
operation to insert one or more blank measures, and then record the
additional performance. The inserted measures will have the same
Shift Clock
This operation shifts the timing of the performance data recorded in
the pattern backward or forward in units of one clock (1/96th of a
beat). Use this when you want to slightly shift the overall
performance.
time signature as the time signature preceding the insert location.
fig.Insert
Parameter
Value
Event
Range
-960– +960
Explanation
1
1
2
2
3
4
4
5
5
Amount of clock shift
Type of data whose timing
is to be adjusted
ALL, NOTE,
PROG, CC,
BEND, PAFT,
CAFT, SYS-EX,
BPM, MUTE
0 (C-1)–127 (G9)
23
6
Note Minimum
Note Maximum
Range of notes for which
the timing is to be adjusted
Parameter
Range
Explanation
Insert Meas
1–998 (Max)
Number of measures to insert
* You cannot specify a number
that would cause the pattern to
exceed 998 measures.
45
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Groove Template List
Data Thin
Since data such as pitch bend or control change varies the value
continuously, it can occupy an unexpectedly large amount of
memory. The Data Thin operation thins out such data to reduce the
amount of memory it occupies without audibly affecting the
resulting playback. This lets you use the internal memory more
efficiently.
16 Beat Dance type
Dance-Nm-L.Ac
Dance-Nm-H.Ac
Dance-Nm-L.Sw
Dance-Nm-H.Sw
Dance-Hv-L.Ac
Dance-Hv-H.Ac
Dance-Hv-L.Sw
Dance-Hv-H.Sw
Dance-Ps-L.Ac
Dance-Ps-H.Ac
Dance-Ps-L.Sw
Dance-Ps-H.Sw
exact/low dynamics
exact/high dynamics
exact/light swing
exact/strong swing
dragging/low dynamics
dragging/high dynamics
dragging/light swing
dragging/strong swing
rushing/low dynamics
rushing/high dynamics
rushing/light swing
rushing/strong swing
Parameter
Range
Explanation
Value
0–99
Amount by which data is
to be thinned
Thin Event
ALL, CC, BEND,
PAFT, CAFT
Type of data to be thinned
16 Beat Fusion type
Fuson-Nm-L.Ac
Fuson-Nm-H.Ac
Fuson-Nm-L.Sw
Fuson-Nm-H.Sw
Fuson-Hv-L.Ac
Fuson-Hv-H.Ac
Fuson-Hv-L.Sw
Fuson-Hv-H.Sw
Fuson-Ps-L.Ac
Fuson-Ps-H.Ac
Fuson-Ps-L.Sw
Fuson-Ps-H.Sw
exact/low dynamics
exact/high dynamics
exact/light swing
Edit Quantize
This operation corrects the timing of performance data recorded in
the pattern, according to the timing criteria you specify.
Conventional quantization adjusts only the timing of the notes in the
pattern as they are played back, without affecting the actual content
of the data. However, the Edit Quantize operation lets you quantize
the actual data itself.
exact/strong swing
dragging/low dynamics
dragging/high dynamics
dragging/light swing
dragging/strong swing
rushing/low dynamics
rushing/high dynamics
rushing/light swing
rushing/strong swing
Parameter
Range
Explanation
Type of quantization
QTZ Type
GRID,
16 Beat Reggae type
SHUFFLE,
GROOVE
When Type is “GRID”
Regge-Nm-L.Ac
Regge-Nm-H.Ac
Regge-Nm-L.Sw
Regge-Nm-H.Sw
Regge-Hv-L.Ac
Regge-Hv-H.Ac
Regge-Hv-L.Sw
Regge-Hv-H.Sw
Regge-Ps-L.Ac
Regge-Ps-H.Ac
Regge-Ps-L.Sw
Regge-Ps-H.Sw
exact/low dynamics
exact/high dynamics
exact/light swing
QTZ
1/32, 1/24,
Note value toward which notes
are to be moved
exact/strong swing
Template
1/16, 1/12,
1/8, 1/6,
1/4
dragging/low dynamics
dragging/high dynamics
dragging/light swing
dragging/strong swing
rushing/low dynamics
rushing/high dynamics
rushing/light swing
rushing/strong swing
QTZ Timing
0–100
Strength of quantization
Higher settings of this parame-
ter will cause the note timings
to be moved closer toward
their exact value.
When Type is “SHUFFLE”
8 Beat Pops type
Pops-Nm-L.Ac
Pops-Nm-H.Ac
Pops-Nm-L.Sw
Pops-Nm-H.Sw
Pops-Hv-L.Ac
Pops-Hv-H.Ac
Pops-Hv-L.Sw
Pops-Hv-H.Sw
Pops-Ps-L.Ac
Pops-Ps-H.Ac
Pops-Ps-L.Sw
Pops-Ps-H.Sw
8 Beat Rhumba type
Rhumb-Nm-L.Ac
Rhumb-Nm-H.Ac
Rhumb-Nm-L.Sw
Rhumb-Nm-H.Sw
Rhumb-Hv-L.Ac
Rhumb-Hv-H.Ac
Rhumb-Hv-L.Sw
Rhumb-Hv-H.Sw
Rhumb-Ps-L.Ac
Rhumb-Ps-H.Ac
Rhumb-Ps-L.Sw
Rhumb-Ps-H.Sw
QTZ
Template
QTZ Timing
1/16, 1/8
Note value toward which notes
are to be moved
Amount of “shuffle” for back-
beats
“straight” rhythm with no
shuffle. Settings in a range of
60–66 will usually produce a
pleasant shuffle feel.
exact/low dynamics
exact/high dynamics
exact/light swing
0–100
exact/strong swing
dragging/low dynamics
dragging/high dynamics
dragging/light swing
dragging/strong swing
rushing/low dynamics
rushing/high dynamics
rushing/light swing
rushing/strong swing
When Type is “GROOVE”
QTZ
Template
Refer to
“Groove
Template
List” (p. 46)
0–100
Template to use
exact/low dynamics
exact/high dynamics
exact/light swing
QTZ Timing
Strength of timing adjustment
Higher settings of this parame-
ter will cause the note timings
to be moved closer toward the
timings of the template.
Strength of velocity adjustment
Higher settings of this parame-
ter will cause the velocities to
be adjusted closer toward the
velocities of the template.
exact/strong swing
dragging/low dynamics
dragging/high dynamics
dragging/light swing
dragging/strong swing
rushing/low dynamics
rushing/high dynamics
rushing/light swing
rushing/strong swing
QTZ
Velocity
0–100
46
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Others
Samba 1
Samba 2
Axe 1
Axe 2
Salsa 1
Salsa 2
Triplets
Quituplets
Sextuplets
7 Against 2
Lagging Tri
Reclock
samba (pandero)
samba (surdo and timba)
axe (caixa)
axe (surdo)
salsa (cascara)
salsa (conga)
triplets
quintuplets
sextuplets
seven notes played over two beats
lagging triplets
This operation doubles or halves the note values of performance
data recorded in the pattern. For example, a four-measure pattern
recorded at tempo = 120 can be converted to a two-measure pattern
with halved note values, and played at tempo = 60 to produce the
identical playback. If you want to connect patterns whose tempo
differs drastically, you can use the Reclock operation to match the
note values of the two patterns.
fig.Reclock
DOUBLE
HALF
Quantization will correct only note messages; other messages are not
corrected. This means that if messages that modify the sound in real
time (such as pitch bend) have been recorded in the pattern, some
Quantize settings may cause the timing of these messages to become
incorrect, so that they are no longer played correctly. It is best to use
Quantize on patterns that do not contain messages that produce
realtime change.
*
Using the Reclock operation will not change the original tempo of the
pattern.
Parameter
Reclock Size
Range
HALF,
DOUBLE
Explanation
How the note values are to be
changed
HALF: Note values will be
halved.
DOUBLE: Note values will be
doubled.
*
You cannot set this parameter in a way that would make the Reclock
operation produce a pattern longer than 998 measures or shorter than
1 measure.
47
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Performance data that can be
edited in the Microscope
Microscope
This lets you edit individual events of performance data within a
The Microscope editor lets you edit the following nine types of data
(MIDI message).
completed pattern.
*
You must stop the pattern before you can edit it.
MIDI message
Explanation
Note
Note data for playing sounds
From the left, the parameters are Note Num-
ber, which indicates the name of the note; On
Velocity, which specifies the force with which
the key is pressed; Duration (Beat-Tick),
which specifies the duration of the note; and
Off Velocity, which determines the speed
with which the key is released.
Basic procedure in the
Microscope
1. Select the pattern that you want to edit.
2. Press [F2 (Edit)] to access the Pattern Edit Menu
Program Change Messages that switch sounds (patches)
The program number (PC#) selects the sound.
Control Change Messages that can apply effects such as modula-
tion or portamento, depending on the controller
number of the message
screen.
3. Press [F1 (Micro Scope)] to access the Microscope
screen.
fig.1-50
The controller number (CC#) selects the func-
tion, and Value specifies the depth of the ef-
fect (function).
Messages that change the pitch while you play
The value specifies the amount of pitch
change.
Location of the sequencer data (measure-beat-clock)
MIDI channel (Part)
Sequencer data
Pitch Bend
Poly Aftertouch Messages that apply aftertouch to individual
keys
From the left, the parameters are Note Num-
ber which specifies the key, and Value which
specifies the depth of the aftertouch.
Channel After-
touch
MIDI channel
Value specifies the depth of the aftertouch.
System Exclusive MIDI messages specific to the MC-909
Tempo Change
Mute Control
Messages that change the tempo
Mute data for each part
System Exclusive, Tempo Change, and Mute Control are included in
the Tempo/Mute Part (p. 42).
4. Use part buttons [1]–[16] and [TEMPO/MUTE] to
Function buttons
select the part that you want to edit.
[F1 (Create)]
[F2 (Erase)]
[F3 (Move)]
[F4 (Copy)]
[F5 (Place)]
Inserts new performance data.
Erases performance data.
Moves performance data.
Copies performance data.
Places performance data.
5. Use [CURSOR (up/down)] to select the performance
data that you want to edit.
6. Use [CURSOR (left/right)] to select the parameter that
[F6 (View Switch)] Displays only specific data.
Data marked by “✔” will be displayed.
you want to edit.
[SHIFT] +
[F1 (V-Zoom In)]
Narrow the range of keys shown in the display.
Use this when you want to view certain
notes at greater magnification.
7. Use [VALUE] or [INC/DEC] to edit the value.
8. Repeat steps 4–7 to continue editing.
9. When you are finished, press [EXIT].
[SHIFT] +
Expand the range of notes shown in the dis-
[F2 (V-Zoom Out)] play.
Use this when you want to see which notes
have been input.
*
In the Microscope, you can press [ENTER] to transmit the currently
selected performance data from the MIDI OUT connector.
48
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern editing
Inserting performance data
(Create)
Here’s how to insert new performance data at a desired location in a
pattern.
Copying performance data
(Copy)
Here's how to copy a performance data event to the specified
location. This is convenient when you want to use the same
performance data two or more times.
1. Press [F1 (Create)].
The Create Event window will appear.
1. Use [CURSOR (up/down)] to move the cursor to the
2. Use [VALUE] or [INC/DEC] to select the performance
performance data that you want to copy.
data that you want to insert.
2. Press [F4 (Copy)] to copy the event.
3. Press [F6 (OK)].
The Create Position window will appear.
3. Press [F5 (Place)].
The Place Event window will appear.
4. Use [CURSOR (left/right)] to move the cursor to the
“measure,” “beat,” and “clock” fields, and use
[VALUE] or [INC/DEC] to specify the location at
which the data will be inserted.
4. Use [CURSOR (left/right)] to move the cursor to the
“measure,” “beat,” and “clock” fields, and use
[VALUE] or [INC/DEC] to specify the location to
which the data will be pasted.
5. Press [F6 (OK)] to insert the performance data.
6. The parameters of the inserted performance data will
have the default values, so edit the values as
necessary.
5. Press [F6 (OK)] to paste the performance data.
Editing a system exclusive
message
Erasing performance data (Erase)
Here's how to erase only a single specific event of performance data.
1. Press [TEMPO/MUTE CONTROL] to select the tempo/
1. Use [CURSOR (up/down)] to move the cursor to the
mute part.
performance data that you want to erase.
2. Use [CURSOR (up/down)] to move the cursor to the
location of the system exclusive message that you
want to edit.
2. Press [F2 (Erase)] to erase that performance data.
Moving performance data
(Move)
3. Press [CURSOR (right)].
The System Exclusive Edit window will appear.
4. Use [CURSOR] to move the cursor to the location of
Here's how to move a performance data event to a different location.
the data that you want to edit.
1. 1. Use [CURSOR (up/down)] to move the cursor to
5. Use [VALUE] or [INC/DEC] to edit the value.
the performance data that you want to move.
6. Press [F6 (OK)] to finalize the data.
2. Press [F3 (Move)].
The Move Event window will appear.
3. Use [CURSOR (left/right)] to move the cursor to the
“measure,” “beat,” and “clock” fields, and use
[VALUE] or [INC/DEC] to specify the location to
which the data will be moved.
Function buttons
[F1 (Auto Sum)]
If the message is a Roland type IV system ex-
clusive message, you can calculate the check-
sum automatically when the values are
finalized. If this displays a “✔” mark, the
check sum will be calculated automatically
when the data values are finalized.
Deletes the data at the cursor location.
Inserts data at the cursor location.
Transmits the data being edited from the
MIDI OUT connector.
4. Press [F6 (OK)] to move the performance data.
[F2 (Delete)]
[F3 (Insert)]
[F4 (Test)]
[F5 (Cancel)]
[F6 (OK)]
Cancels the change in the data.
Finalizes the data.
49
Download from Www.Somanuals.com. All Manuals Search And Download.
Saving a pattern
Pattern settings that you edit will be lost if you edit another pattern
or turn off the power. If you want to keep the edited data, you must
save it as follows.
4. Assign a name to the pattern you created.
[CURSOR (left/right)]
[CURSOR (up/down)]
Moves the cursor (the location at which
to enter/edit a character).
Switches letters between uppercase
and lowercase.
1. Select the pattern that you want to save.
2. Press [WRITE].
[VALUE] [INC/DEC]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will al-
ternately select the first character of
the uppercase alphabet (A), lower-
case alphabet (a), or numerals and
symbols (0).
The write menu screen will appear.
Make sure that “Pattern” is highlighted.
[F2 (Delete)]
[F3 (Insert)]
Deletes the character at the cursor loca-
tion, while shifting the following char-
acters to the left, closing the gap.
Inserts a space at the cursor location.
*
If you decide not to enter the name, press [F5 (Cancel)].
5. When you finish inputting the name, press [F6
(Write)].
A screen will appear in which you can select the pattern to
which the data will be written.
3. Press [ENTER] or [F1 (PTN)].
The pattern name input screen will appear.
6. Use [VALUE] or [INC/DEC] to select the pattern to
which the data will be written.
Use [CURSOR (left/right)] to select the bank (user or card).
7. Press [F6 (Write)].
A message will ask you to confirm that you want to write the
data.
8. To write the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
50
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Pattern mode)
fig.0-01
1
8
2
9
6
3
10
11
7
13
12
4
5
14
When you press the Mode section [PATCH/SAMPLE] button, the
button’s indicator will light and the MC-909 will be in Patch/Sample
mode.
3. Realtime Modify section
These controls modify the sound in real time (p. 33).
In Patch/Sample mode, the various parts of the panel will perform
the following functions.
Knob/Button
[WAVE SELECT]
PITCH block
[TUNE]
Parameter
Displays the Wave List.
button is not lit: Patch Fine Tune (p. 57)
button is lit: Patch Coarse Tune (p. 57)
Pitch Envelope Depth (p. 59)
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
[DEPTH]
[A]
Pitch Envelope Time1 (p. 59)
[D]
Pitch Envelope Time3 (p. 59)
[BEAM 1 ON]
Turns the left D Beam controller
(BEAM 1) on/off.
Turns the right D Beam controller
(BEAM 2) on/off.
Selects the function of the D Beam
controller.
FILTER block
[TYPE]
[CUTOFF]
[RESONANCE]
[DEPTH]
[A]
[D]
[S]
Filter Type (p. 59)
Cutoff Frequency (p. 59)
Resonance (p. 60)
Filter Envelope Depth (p. 61)
Filter Envelope Time1 (p. 61)
Filter Envelope Time3 (p. 61)
Filter Envelope Level3 (p. 61)
Filter Envelope Time4 (p. 61)
[BEAM 2 ON]
[TWIN D BEAM ASSIGN]
2. Volume section
[R]
AMP block
[OUTPUT]
[INPUT]
Adjusts the output volume of the MIX OUT jacks
and the headphone.
Adjusts the input volume from the INPUT jacks.
[LEVEL]
Patch Level (p. 62)
[A]
[D]
[S]
[R]
Amp Envelope Time1 (p. 63)
Amp Envelope Time3 (p. 63)
Amp Envelope Level3 (p. 63)
Amp Envelope Time4 (p. 63)
LFO 1 block
[DEPTH/RATE]
button is not lit: LFO1 Pitch/Filter/Amp/
Pan Depth (p. 64, p. 65)
* Selectable
button is lit: LFO1 Rate (p. 64)
LFO1 Waveform (p. 64)
[WAVEFORM]
52
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Pattern mode)
Knob/Button
Others
Parameter
[AUTO SYNC]
pattern (p. 36).
[MATRIX
CONTROL 1]
[RANDOM
MODIFY]
[FAT]
9. Effect section
Applies special effects to the sound (p. 88).
rameters for the current part (p. 56).
Unison Fat Level (p. 66)
[UNISON]
[PORTAMENTO]
[SOLO]
TONE SWITCH
[1]–[4]
Unison Switch (p. 66)
Portamento Switch (p. 65)
Mono/Poly (p. 65)
[COMP]–[REVERB]
[KNOB ASSIGN]
Switch each effect on/off (p. 88).
Selects the effect to be controlled in real
time (p. 91).
Selects the type of effect.
Modifies the assigned function in real
time.
[TYPE]
[C1], [C2]
Turns the tone on/off (p. 56).
Selects a tone to edit (p. 56).
TONE SELECT
[1]–[4]
10. Mode section
Press the [PATTERN] button to enter Pattern mode.
Pressing one of the other two buttons will switch you to the
corresponding mode.
4. Mastering section
[ON]
Switches the mastering effect (compressor) on/off.
[BAND]
[ATTACK]
Selects the frequency band to adjust.
Specify the time from when the volume goes up
plies.
11. Cursor/Value section
Use these buttons and dial to select patterns or input values (p. 18).
You can press [ENTER] to see a list of the values that can be specified
for the currently selected parameter.
[RELEASE]
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
12. Sequencer section
27).
[STOP]
[FWD]
[BWD]
[TOP]
Plays a pattern (p. 24).
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
[REC]
Applies an effect that simulates increasing/decreasing the rotational
7. Part Mixer section
speed of a turntable (p. 36).
[PART]
(SELECT/MUTE)
Selects the function of the Part buttons [1]–
[16].
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
The buttons work as Part Select buttons
when the indicator is not lighted, and as
Mute buttons when the indicator is lit.
Switches on/off the Tempo/Mute part (a
part that records tempo changes and mute
operations, p. 42).
timing (p. 25).
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
When you press this button so its indicator
lights, the Mixer screen will appear.
Selects the parts that are controlled by the
sliders.
The sliders will control parts 1–8 if this indi-
cator is lit.
8. Sampling section
[EDIT]
Displays the Sample Edit
screen (p. 114).
[SAMPLING/RESAMPLING]
[MIX IN]
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the IN-
PUT jack into the output (p.
34).
53
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
TVA (Time Variant Amplifier)
How a Patch Is Organized
This determines how the volume and panning of the Tone change.
The type of sound most commonly played on the MC-909 is called a
Envelope
Patch. Each Patch can contain up to four Tones.
fig.2-01.e
An envelope applies changes to the Tone over time. There are
separate envelopes for pitch, TVF (filter) and TVA (volume). For
example, you would use the TVA Envelope to modify the way in
which the Tone attacks and decays.
Tone
4
Tone
1
Tone
2
Tone
3
LFO (Low Frequency Oscillator)
Use the LFO to create cyclical changes-or cyclical “modulation”-in a
Tone. Each Tone has two LFOs. An LFO can be applied to the Tone’s
pitch settings, TVF (filter), and TVA (volume). When an LFO is
applied to pitch, a vibrato effect is produced. When an LFO is
applied to the TVF cutoff frequency, a wah-wah effect is produced.
When an LFO is applied to the TVA volume, a tremolo effect is
produced.
Example 1:A Patch consisting of only one Tone
(Tones 2—4 are turned off).
Tone
1
Tone
2
Tone
3
Tone
4
Example 2: A Patch consisting of four Tones.
You can turn the Tones in a Patch on or off. Only Tones that are
turned on are heard when you play the Patch. (p. 56)
You can also set the structure of a Patch to specify how Tones 1 and 2
and Tones 3 and 4 are combined. (p. 66)
Tips for Creating a Patch
•
Choose a Patch that’s similar to the sound you wish to create.
When you want to create a new sound, it’s a good idea to begin
with a Patch that’s close to the sound that you have in mind.
Starting with a Patch that bears no resemblance to the one you
want to create is likely to result in much more programming
work for you.
How a Tone Is Organized
Tones are the smallest programmable unit of sound on the MC-909,
and are the basic building blocks that make up a Patch. You can’t
play a Tone by itself-it can only be played as part of a Patch or
•
•
Decide which Tones will sound
When creating a Patch, it’s important to decide which Tones
you want to use. It’s also important to turn off unused Tones to
avoid wasting voices, unnecessarily reducing the number of
simultaneous notes you can play.
Rhythm Set. A Tone consists of the following five components.
fig.2-02.e
Tone
LFO 1
LFO 2
Check the way in which the Tones are combined
Structure Type 1&2 and 3&4 are important parameters that
determine how the four Tones are combined. Before you select
new Tones, make sure you understand how the currently
selected Tones are affecting each other.
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
control signal
audio signal
WG (Wave Generator)
This selects the PCM waveform material that provides the basis of
the Tone. Two waveforms can be assigned to each Tone.
The MC-909 has 693 different waveforms. (See Waveform List p.
150.)
All Patches built into the MC-909 consist of combinations of Tones
based on these waveforms.
TVF (Time Variant Filter)
This specifies how the frequency components of the Tone change.
54
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Top screen of Patch/Sample mode
fig.2-03
Selecting a patch/rhythm set
Selecting from a list
1. Press [F1 (List)] to display the Patch List screen.
The currently selected patch/rhythm set (the current patch/
rhythm set) will be highlighted.
Bank
Bank/Number/Name of the
Num (Number)
Patch/Rhythm
patch (rhythm set) used by each
part (1–16)
(Patch Name/Rhythm Set
Name)
Lev (Part Level)
Pan (Part Pan)
Refer to p. 33
Key (Part Key Shift)
Rev (Par Reverb Send Level)
Out (Part Output Assign)
2. To select a patch, press [F3 (Patch)]. To select a
How the original sound of each
part will be output
rhythm set, press [F4 (Rhythm)].
DRY: Output to MIX OUTPUT
jacks without passing through
effects
3. Use [F1] [F2] or [CURSOR (left/right)] to select a
bank.
MFX1 (2): Output through
multi-effects 1 (or 2)
4. Press [F6 (Select)] to finalize your selection.
COMP: Output through the
compressor
DIR1 (2): Output to the DI-
RECT 1 (or DIRECT 2) jacks
without passing through ef-
fects
Selecting a patch by category
1. In the Patch Select screen, press [F5 (Categ)].
The patches will be displayed by category.
RHY: Output according to the
settings of the rhythm set as-
signed to the part
2. Use [F1] [F2] or [CURSOR (left/right)] to select a
category.
* “RHY” can be set only when a
rhythm set is assigned to the
part.
3. Press [F6 (Select)] to finalize your selection.
Seq
Output distination from the se-
quencer
(Sequencer Output Assign)
INT: Internal soundgenerator
EXT: MIDI OUT connector
BOTH: Both of the above si-
multaneously
Function buttons
[CURSOR] to move the cursor to the patch/rhythm
set name or bank.
[F1 (List)]
Select a patch/rhythm set from a list (p. 55).
(Patch List)
[F2 (Edit)]
Edit the settings of a patch/rhythm set (p. 56,
p. 70).
Specify the volume/pan of each part (p. 33).
2. Use [VALUE] or [INC/DEC] to make your selection.
(Patch Edit)
[F3 (Mixer)]
(Part Mixer)
[F4 (Effects)]
[F5 (Mastering)]
Apply special effects to the sound (p. 88).
Make settings for the mastering effect (p.
108).
[F6 (BPM/Click)]
Set the tempo, and turn the metronome on/
off (p. 25).
55
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Selecting the Tone(s) That Will Sound
Turn “on” the tone(s) that you want to sound. If you want to hear just a specific tone, turn the other tones “off.”
Press TONE SWITCH [1]–[4] to switch a tone on (button’s indicator lit) or off (indicator extinguished).
Patch editing procedure
Editing from the Panel Knobs
Several of the sound generator parameters can be edited directly from the panel knobs.
Parameters that can be edited are marked by “#” in the detailed editing list.
Special editing
[RANDOM MODIFY]
way to use randomness to create sounds you like. Once you turn this toward the
right, the parameters will be modified randomly. If you turn it all the way to the left
and then toward the right once again, the parameters will be newly re-selected and
modified randomly.
[FAT]
This is valid if [UNISON] is on.
It produces a detune effect (when the knob is between the far left and the center),
or a harmonize effect (when the knob is between the center and the far right).
When you get a sound that you like, save the patch (p. 77).
LFO1 waveform morphing
The LFO1 waveform can be morphed (gradually shifted between waveforms) in the order shown on the panel.
Detailed Editing
1. In the top screen of Patch/Sample mode, move the cursor to the patch that you want to edit.
2. Press [F2 (Edit)] to access the Edit screen.
3. Use [F1] and [F2] to select a parameter group.
4. Press [CURSOR (up/down)] to select the parameter.
5. Use [VALUE] or [INC/DEC] to edit the desired parameter.
*
*
*
You can press [F6 (Zoom Edit)] to edit some parameters graphically.
You can press [ENTER] to see a list of the values that can be specified for the currently selected parameter.
You can also use the panel knobs and sliders to edit the sound (p. 52).
6. When you are finished editing, press [EXIT] to return to the top screen.
Selecting a Tone to Edit
Press TONE SELECT [1]–[4] so the indicator for the tone you want to edit is lighted.
*
By simultaneously pressing two or more [TONE SELECT] buttons, you can simultaneously select two or more tones.
56
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Wave
These parameters select the PCM waveform that is to form the basis of the tone, and apply effects to the waveform.
Parameter
Range
Explanation
Wave Group
INT, SRX, PRES,
USER, CARD
Group of the waveform upon which the tone is to be based
INT: Waveforms stored in internal memory
SRX: Waveforms stored in a wave expansion board
PRES: Preset sample waveforms
USER: User sample waveforms
CARD: Card sample waveforms
* SRX can be selected only if a wave expansion board is installed.
Waveform upon which the tone is to be based
On the MC-909 you can specify a separate waveform for the L and R channels.
Wave No. L/MONO
Wave No. R
0 (OFF)–693
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
Waveform gain (amplitude)
Wave Gain
-6, 0, +6, +12 dB
The value will change in steps of 6 dB (decibels). An increase of 6 dB will double the gain. If you
want to use the booster to distort the sound, it is effective to set this to the maximum.
FXM (Frequency Cross Modulation)
FMX creates a complex overtone structure by using a specific waveform to frequency-modulate the selected waveform. This is suitable for cre-
ating extreme sounds or sound effects.
FXM SW
OFF, ON
Selects whether FMX will be used (ON) or not (OFF)
(Wave FXM Switch)
FXM Color
(Wave FXM Color)
1–4
Selects how FXM will apply frequency modulation.
Increasing this value will produce a rougher sound. Decreasing this value will produce a more
metallic sound.
FXM Depth
0–16
Depth of frequency modulation applied by FXM
(Wave FXM Depth)
Pitch
These parameters specify the pitch of the waveform, and how your keyboard playing dynamics will affect the pitch envelope (change in pitch
over time).
Parameter
Value
Description
Patch Coarse Tune #
-48– +48
Pitch of the entire patch
Specifies the pitch in semitone steps over a range of +/-4 octaves.
Patch Fine Tune #
-50– +50
Pitch of the entire patch
Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or
downward.
Tone Coarse Tune
Tone Fine Tune
-48– +48
-50– +50
Pitch of the tone
Adjusts the pitch in semitone steps over a range of +/-4 octaves.
Pitch of the tone
Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or
downward.
Rnd Pitch Depth
(Tone Random Pitch
Depth)
0–1200
Range of random pitch change that occurs each time a pad is pressed
Set this to 0 if you do not want the pitch to change randomly. This value is set in units of one cent (1/
100th of a semitone).
57
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
Pitch Keyfollow
(Wave Pitch Keyfol-
low)
-200– +200
Amount of pitch change that occurs when you play upward one octave (12 notes)
Set this to +100 if you want the pitch to rise one octave as you play 12 notes upward (as on a conven-
tional keyboard). Set this to +200 if you want the pitch to rise two octaves as you play 12 notes up-
ward. Conversely, set this to a negative value if you want the pitch to fall as you play upward on the
keyboard. Set this to 0 if you want the same pitch to be sounded regardless of the note you play.
Pitch
+200
+100
+50
0
-50
-200
C6
-100
C7
Key
C1
C2
C3
C4
C5
P-Env V-Sens
-63– +63
-63– +63
Amount of pitch change that will occur in response to your pad playing dynamics.
Increasing this value will produce a greater difference in pitch between softly and strongly played
notes. Negative (-) values will produce the opposite result.
Amount by which T1 (time) of the pitch envelope will change in response to the speed (velocity) at
which you press a pad.
Increasing this value will produce a greater difference between softly and strongly played notes. Set
this to a positive (+) value if you want to speed up the T1 time, or to a negative (-) value to slow it
down.
(Pitch Envelope Ve-
locity Sensitivity)
P-Env T1 V-Sens
(Pitch Envelope
Time 1
Velocity Sensitivity)
P-Env T4 V-Sens
(Pitch Envelope
Time 4
-63– +63
Amount by which T4 (time) of the pitch envelope will change in response to the speed at which you
release a pad (key-off velocity)
Increasing this value will produce a greater difference between quickly released and slowly released
notes. Set this to a positive (+) value if you want to speed up the T4 time, or to a negative (-) value to
slow it down.
Velocity Sensitivity)
P-Env Time KF
(Pitch Envelope
Time Keyfollow)
-100– +100
Amount by which the pitch envelope times (T2--T4) will change in response to the key you play
Relative to middle C (C4), higher settings for this parameter will produce greater change. Positive (+)
values will cause the times to become shorter as you play toward the right on the velocity pad. Con-
versely, negative (-) values will cause the times to become longer.
Time
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
58
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Pitch Env (Pitch Envelope)
These parameters specify the depth of the pitch envelope (the way in which pitch will change over time), and the shape of the envelope itself.
T1
T2
T3
T4
L1
L0
L3
Pitch
Time
key is
key is
pressed
L2
released
L4
Parameter
Value
Description
P-Env Depth #
-12– +12
Pitch envelope depth
Increasing this value will produce greater change. Negative (-) values will invert the change pro-
duced by the envelope.
P-Env Time1–4 #
P-Env Level0–4
0–127
Pitch envelope times (T1–T4)
Increasing this value will lengthen the time until the next pitch level is reached (for example, T2 is the
time over which the pitch will change from L1 to L2).
* Realtime modify knob [A] adjusts Time 1, and knob [D] adjusts Time 3.
Pitch envelope levels (L0–L4)
-63– +63
These parameters specify the amount by which the pitch will change from the basic pitch (specified
by Coarse Tune and Fine Tune) at each point of the envelope. Positive (+) values will raise the pitch
above the basic pitch, and negative (-) values will lower it.
Filter
These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and
fatness of the sound.
Parameter
Value
Description
Filter Type #
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
Type of filter
A filter cuts a specific frequency region of the sound to modify the brightness or thickness of the
sound.
OFF: A filter will not be used.
LPF: Low Pass Filter. Cuts the region that lies above the cutoff frequency. The sound will become
more mellow as the high frequency region is cut. This is the most commonly used type of filter.
BPF: Band Pass Filter. Leaves only the region in the vicinity of the cutoff frequency, and cuts the rest.
Suitable for creating sounds with a distinctive character.
HPF: High Pass Filter. Cuts the region that lies below the cutoff frequency. Suitable for creating per-
cussion instrument sounds that have a distinctive high range.
PKG: Peaking filter. Emphasizes the region in the vicinity of the cutoff frequency. You can create a
wah effect by using an LFO to cyclically modulate the cutoff frequency.
LPF2: Low Pass Filter 2. Cuts the region that lies above the cutoff frequency. This lets you leave the
cutoff frequency fixed, and use the TVF envelope settings to vary the depth of the cutoff. Since this
does not impair the feeling of energy of the sound, it is effective for acoustic-type sounds.
* The resonance setting is ignored.
LPF3: Low Pass Filter 3. Cuts the region that lies above the cutoff frequency. This filter cuts the high
frequency region more gently than LPF2. Since this does not impair the feeling of energy of the sound,
it is effective for acoustic-type sounds.
* The resonance setting is ignored.
Cutoff Frequency #
0–127
Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the wave-
form
If the Filter Type is LPF/LPF2/LPF3, reducing the cutoff frequency will diminish the higher over-
tones, producing a more mellow sound. Raising the cutoff frequency will brighten the sound.
If the Filter Type is BPF, the cutoff frequency value will change the harmonic content that will be
sounded. This is suitable for creating sounds with a distinctive character.
If the Filter Type is HPF, raising the cutoff frequency will diminish the lower overtones, emphasiz-
ing only the bright portion of the sound.
If the Filter Type is PKG, the cutoff frequency value will change the harmonic content that will be
boosted.
59
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
Cutoff Keyfollow
-200– +200
Specifies how the pad position will affect the cutoff frequency
Relative to the cutoff frequency of the C4 key, positive (+) values will raise the cutoff frequency as
you play above C4, and negative (-) values will lower the cutoff frequency as you play above C4. In-
creasing this value will produce a correspondingly greater change.
Cutoff frequency
(Octave)
+200
+100
+2
+50
+1
o
0
-1
-2
-50
-200
C6
-100
C1
C2
C3
C4
C5
C7
Key
Cutoff Velo Curve
(Cutoff Frequency
Velocity Curve)
FIX, 1–7
Curve by which pad playing dynamics will affect the cutoff frequency
If you select “FIX,” the cutoff frequency will remain fixed regardless of your playing dynamics.
1
2
3
4
5
6
7
Cutoff Velo Sens
(Cutoff Frequency
Velocity Sensitivity)
Resonance #
-63– +63
0–127
Amount by which your pad playing dynamics will affect the cutoff frequency
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
Amount by which the sound in the region of the cutoff frequency will be emphasized
Increasing this value will produce a more strongly distinctive character. Raising this excessively will
cause oscillation and distortion.
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
Low
Reso Velo Sens
(Resonance Velocity
Sensitivity)
F-Env V-Curve
(Filter envelope
velocity curve)
-63– +63
FIX, 1–7
Amount by which your pad playing dynamics will affect the resonance
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
Curve by which keyboard playing dynamics will affect the filter envelope
If you select “FIX,” the filter envelope will remain constant regardless of your playing dynamics.
1
2
3
4
5
6
7
F-Env V-Sens
-63– +63
-63– +63
Amount by which your pad playing dynamics will affect the filter envelope depth
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
Amount by which your pad playing dynamics (velocity) will affect T1 (time) of the filter envelope
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change. Specify a positive (+) value if you
want to speed up the T1 time, or a negative (-) value to slow it down.
(Filter envelope
velocity sensitivity)
F-Env T1 V-Sens
(Filter Envelope
Time 1 Velocity
Sensitivity)
60
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
F-Env T4 V-Sens
(Filter Envelope
Time 4 Velocity
Sensitivity)
-63– +63
Amount by which the speed at which you release the pad (key-off velocity) will affect T4 (time) of the
filter envelope
Increasing this value will cause a correspondingly greater difference between slowly released and
quickly released notes. Specify a positive (+) value if you want to speed up the T4 time, or a negative
(-) value to slow it down.
Filter Env (Filter Envelope)
These parameters specify the depth of the filter envelope (time-variant change in cutoff frequency), and specify the shape of the envelope itself.
T1
T2
T3
T4
L1
L0
L3
L2
L4
Cutoff
Frequency
Time
key is
key is
pressed
released
Parameter
Value
Description
F-Env Depth
-63– +63
Depth of the filter envelope
(Filter envelope
depth)
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
F-Env Time KF
(Filter Envelope
Time Keyfollow)
-100– +100
Amount by which the note you play (relative to C4) will affect the filter envelope times (T2–T4)
Increasing this value will cause greater change to occur. Positive (+) values will cause the times to be-
come shorter as you play toward the right of the keyboard. Conversely, negative (-) values will cause
the times to become longer.
Time
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
F-Env Time1–4 #
(Filter Envelope
Time 1–4)
0–127
0–127
Filter envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next cutoff frequency level of
the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Filter envelope levels (L1–L3)
Specifies the change in cutoff frequency at each point, relative to the reference level.
F-Env Level0–4 #
(Filter Envelope
Level 0–4)
* Realtime modify knob [S] adjusts Level 3.
61
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Amp
These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.
Parameter
Patch Level #
Tone Level
Value
0–127
0–127
Description
Volume of the entire patch
Volume of each tone
This parameter is used mainly to adjust the volume balance between tones.
BIAS
Use the Bias parameter when you want the position of notes on a keyboard to affect the TVA level.
LOWER&UPPER
Level
ALL
Level
LOWER
Level
UPPER
Level
—
0
+
+
+
+
+
0
0
0
0
0
+
—
—
—
—
—
Key
Key
Key
Key
G9
C-1
G9
C-1
G9
C-1
G9
C-1
Bias Point
Bias Point
Bias Point
Bias Point
Bias Level
-100– +100
Angle at which the volume will change relative to the bias direction
Increasing this value will produce a greater change. Negative (-) values will invert the direction of the
change.
Bias Position
Bias Direction
0–127
LWR, UPR,
L&U, ALL
Selects the note number relative to which the volume will change.
Direction of change relative to the bias point
LWR: Notes below the bias point
UPR: Notes above the bias point
L&U: Notes to the left and right of the bias point
ALL: Bias level varies the angle relative to the bias point
Pan of each tone
Tone Pan
L64–63R
L64 is far left, 0 is center, and 63R is far right.
Pan Keyfollow
(Tone Pan Keyfol-
low)
-100– +100
Set this parameter if you want the pan to be affected by the note you play.
Increasing this value will produce a greater change relative to middle C (C4). Positive (+) values will
cause the pan to move toward the right as you play toward the right. Conversely, negative (-) values
will adjust pan toward the right.
Pan
+100
+50
0
R
o
-50
-100
C7
L
Key
C1
C2
C3
C4
C5
C6
Random Pan Depth
(Tone Random Pan
Depth)
0–63
Amount by which the pan will be varied randomly each time you play a note
Increasing this value will produce a greater amount of random change.
Alter Pan Depth
(Tone Alternate Pan
Depth)
L63–63R
Amount by which the pan will be moved alternately between left and right each time you play a note
Increasing this value will produce a greater amount of change. This value can be adjusted in the L or
R direction, and these will invert the order in which the tone is panned to left and right. If you want
two tones to alternate between left and right, set each tone to opposite L and R values.
62
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Amp Env (Amp Envelope)
These parameters specify the depth of the amp envelope (change in volume over time) and the shape of the envelope itself.
Level
T1
T2
T3
T4
L1
L2
L3
Time
key is pressed
key is released
Parameter
Value
Description
A-Env V-Curve
(Amp Envelope
Velocity Curve)
FIX, 1–7
Curve by which pad playing dynamics will affect the volume of the tone
If you specify “FIX,” the volume of the tone will remain the same regardless of your playing dynamics.
1
2
3
4
5
6
7
A-Env V-Sens
-63– +63
-63– +63
Amount by which pad playing dynamics will affect the volume of the tone
Specify a positive (+) value if you want the volume of the tone to increase as you play more strongly.
Specify a negative (-) value if you want the volume to decrease.
Amount by which T1 (time) of the Amp envelope will change in response to your playing dynamics
Increasing this value will produce a greater change between softly played and strongly played notes.
Specify a positive (+) value if you want the T1 time to speed up, or a negative (-) value if you want it
to slow down.
(Amp Envelope
Velocity Sensitivity)
A-Env T1 V-Sens
(Amp Envelope
Time 1 Velocity
Sensitivity)
A-Env T4 V-Sens
(Amp Envelope
Time 4 Velocity
Sensitivity)
-63– +63
Amount by which T4 (time) of the Amp envelope will change in response to the speed at which you
release the pad (key-off velocity)
Increasing this value will produce a greater change between slowly released and quickly released
notes. Specify a positive (+) value if you want the T4 time to speed up, or a negative (-) value if you
want it to slow down.
A-Env Time KF
(Amp Envelope
Time Keyfollow)
-100– +100
Amount by which Amp envelope times (T2–T4) will be affected by the pad you play
Higher settings for this value will produce a greater change relative to the C4 key. Positive (+) values
will cause the times to become shorter as you play toward the right. Conversely, negative (-) values
will cause the times to become longer.
Time
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
A-Env Time1–4 #
(Amp Envelope
Time 1–4)
0–127
0–127
Amp envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next volume level of the enve-
lope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Amp envelope levels (L1–L3)
Specifies the change in volume at each point, relative to the reference level.
A-Env Level1–3 #
(Amp Envelope
Level 1–3)
* Realtime modify knob [S] adjusts Level 3.
63
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
LFO1/LFO2
LFO (Low Frequency Oscillator) creates cyclic changes. Each tone has two LFOs, and these can be used to apply change to pitch, filter cutoff
frequency, amp level, and pan.
Using the LFOs
An LFO applied to pitch creates vibrato, applied to filter cutoff frequency creates a wah effect, and applied to amp level creates tremolo. When
LFO is applied to pan, a distinctive auto-pan effect is produced.
LFO settings can also be used to do things such as cyclically exchanging two tones. For example, to cyclically exchange tones 1 and 2, specify the
same LFO effect for each, and set the LFO depth to opposite polarities (+/-) for the amp level.
*
The parameters of LFO 1 and 2 are the same.
Parameter
Value
Description
LFO1(2) Waveform
#
SIN, TRI,
SAWU,
SAWD,
LFO waveform
SQR: square wave RND: random wave
SQR, RND,
BD-U,
BD-D, TRP,
S&H, CHS,
XSIN,
BD-U: a waveform that lets the LFO output waveform rise to the reference level and holds it there
BD-D: a waveform that lets the LFO output waveform fall to the reference level and holds it there
TRP: trapezoidal wave S&H: sample and hold wave (LFO value will change once each period)
CHS: chaos wave
XSIN: sine wave that reverses between positive and negative at an extremely short interval
TWM: modified triangle wave STRS: stair-step wave VSIN: modified sine wave suitable for vibrato
M001–M113: the waveform will change continuously from a sine wave to sample & hold
TWM,STRS,
VSIN,
M001–M113
* If you select “BD-U” or “BD-D,” set the Key Trigger (p. 64) parameter to “ON.” There will be no effect
if you set it to “OFF.”
Speed of the LFO cycle
LFO1(2) Rate #
0–127, note
* The chaos waveform has no cycle. If you select the chaos waveform, the rate setting will be ignored.
Offset level of the LFO waveform
Adjusts the waveform upward or downward.
Offset
-100– +100
0–127
(LFO Offset)
Rate Detune
(LFO Rate Detune)
Delay Time
Amount by which the LFO rate will be changed
0–127
Time from when you press (or release) a pad until the LFO amplitude begins to change
(LFO Delay Time)
Delay Time KF
(LFO Delay Keyfol-
low)
-100– +100
Amount by which the Delay Time will be affected by the note you play
Modifies the Delay Time parameter according to the note you play, relative to C4 (middle C). Specify
a positive (+) value if you want the LFO effect to be applied more quickly as you play higher notes,
or specify a negative (-) value if you want a greater delay to occur before the effect is applied. Higher
settings will produce a correspondingly greater change.
Time
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
Fade Mode
(LFO Fade Mode)
On<, On>,
Off<, Off>
How the LFO effect is applied
On< (ON-IN): The effect will be applied gradually after you press the pad.
On> (ON-OUT): The effect will be applied when you press the pad, and will gradually disappear.
Off< (OFF-IN): The effect will be applied gradually after you release the pad.
Off> (OFF-OUT): The effect will be applied as long as you hold down the pad, and will gradually
disappear when you release the pad.
Fade Time
0–127
Rise (or decay) time for the LFO effect
(LFO Fade Time)
Key Trigger
(LFO Key Trigger)
Pitch Depth #
OFF, ON
-63– +63
Selection for whether the beginning of the LFO cycle will be aligned to the timing at which you press a
pad (ON), or will not be aligned (OFF)
Depth to which the LFO will affect the WG pitch
(LFO Pitch Depth)
64
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
Filter Depth #
(LFO Filter Depth)
Amp Depth #
(LFO Amp Depth)
Pan Depth #
-63– +63
Depth to which the LFO will affect the filter cutoff frequency
-63– +63
-63– +63
Depth to which the LFO will affect the amp level
Depth to which the LFO will affect the amp pan
(LFO Pan Depth)
* If the Waveform is “XSIN,” it may be difficult to notice the effect.
note:
fig.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Eighth note),
(Dotted half note),
(Thirty-second note),
(Quarter-note triplet),
(Whole note),
(Sixteenth-note triplet),
(Dotted thirty-second note),
(Sixteenth note),
(Eighth-note triplet),
(Half note),
(Dotted sixteenth note),
(Whole-note triplet),
(Dotted eighth note),
(Quarter note),
(Half-note triplet),
(Double note)
(Dotted quarter note),
(Double-note triplet),
(Dotted whole note),
Solo/Porta (Portamento)
Parameter
Value
Description
Mono/Poly #
MONO,
POLY
Specifies how notes will be produced
MONO: Only one note at a time will sound.
POLY: More than one note can be played simultaneously.
It is effective to use the MONO setting when playing a patch of a single-note instrument such as sax
or flute.
Legato Switch
OFF, ON
OFF, ON
Specifies whether legato will be used (ON) or not (OFF)
Legato is a function that is available when the Mono/Poly parameter is set to MONO. When Legato
is turned ON, pressing another key while the previously played key is still held down will cause the
pitch to change to the newly played key, while the note continues to sound. This can be used to sim-
ulate the hammering-on/pulling-off performance techniques used by a guitarist.
Selects whether the note will be retriggered when using Legato.
Legato Retrigger
Normally, you will leave this “ON.” If this parameter is turned “OFF,” pressing another key while
the previously played key is still held down will cause only the pitch to change, which may cause an
unnatural-sounding result for some waveforms. It is best to turn this “OFF” when playing wind or
bowed-string instrument sounds, or when simulating a monophonic synthesizer.
* This setting is ignored if the Legato Switch is “OFF.”
PORTAMENTO
Portamento is a function that causes the Patch’s pitch to change smoothly from one note to the next note played. When the Key Mode Asign is
MONO, this can be effective in simulating performance techniques such as a violinist’s glissando.
Portamento Switch #
Porta Mode
(Portamento Mode)
OFF, ON
NORMAL,
LEGATO
Portamento on/off
Method of play for which the portamento effect will be applied
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato (i.e., press the next note before re-
leasing the previous note).
Portamento Type
RATE,
TIME
How the difference in pitch between the notes you play will affect the time over which the pitch change
occurs
RATE: The time over which the pitch changes will be proportionate to the difference in pitch between
the two notes.
TIME: The pitch change will occur over a fixed time, regardless of the difference in pitch between the
two notes.
65
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
Porta Start
(Portamento Start)
PITCH,
NOTE
Portamento begins anew if you press another key during a pitch movement. This setting specifies how
the new portamento starts.
PITCH: The pitch begins changing immediately to the new note’s pitch when its key is pressed.
Pitch
C5
D4
C4
Time
press D4 key
press C5 key
press C4 key
NOTE: The pitch begins changing to the new note’s pitch only after it has first reached its original pitch
destination.
Pitch
C5
D4
C4
Time
press D4 key
press C5 key
press C4 key
Portamento Time
Unison Switch #
0–127
OFF, ON
Time over which the next pitch is reached
Switches the detune effect on/off
If this is “ON,” the sound of the selected patch will be layered (three notes), producing a fatter sound.
* If this is turned “ON,” the Mono/Poly parameter will also be set to “MONO” ([SOLO] will light), and
the selected patch automatically uses single notes.
Unison Fat Level #
0–127
Strength of the detune effect
Increasing this value will cause the pitch of the layered notes to be raised and lowered farther away
from each other (maximum one octave up and down).
TMT (Tone Mix Table)
These parameters specify how the tones will be combined, and how they will be played.
Parameter
Structure Type 1&2
(3&4)
Value
1–10
Description
How tones 1 and 2, or 3 and 4, will be combined
If you press [F6 (Zoom Edit)] while this parameter is selected, the screen will show the way
in which the tones are combined. (Press [EXIT] to return to the previous screen.)
B indicates Booster, and R indicates Ring Modulator.
* If you select Type 2–10 and turn off one of the tones, the other tone will use the conventional
configuration of WG/TVF/TVA.
Booster 1&2 (3&4)
(Booster Gain)
0, +6, +12, +18 dB
Depth of the booster effect when “Type” is set to 3 or 4
TMT (Tone Mix Table)
On the MC-909, you can specify how each tone will sound in response to pad playing dynamics (velocity). These parameters are collectively
referred to as the TMT (Tone Mix Table) settings.
Level
Lower
L.Fade value
Upper
Velocity
1
U.Fade value
Velocity Control
(TMT Velocity
Control)
OFF, ON,
RANDOM
Specifies whether velocity data will be used (ON) or ignored (OFF)
If you specify RANDOM, the tones will sound randomly, regardless of velocity data.
66
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Value
Description
Velo Fade Lower
(TMT Velocity Fade
Width Lower)
0–127
Rate of volume change when you play less strongly than the lower limit of the velocity range
Greater settings for this value will cause the volume to decrease more gradually. Set this to 0
if you want notes outside the velocity range to not sound at all.
Velo Range Lower
(TMT Velocity
Range Lower)
1–Upper
Lower limit of velocities that will sound the tone
Set this parameter if you want to use velocity to switch between tones.
Velo Range Upper
(TMT Velocity
Range Upper)
Lower–127
Upper limit of velocities that will sound the tone
Set this parameter if you want to use velocity to switch between tones.
* It is not possible to set Lower to a greater value than Upper, nor Upper to a lesser value than
Lower.
Velo Fade Upper
(TMT Velocity Fade
Width Upper)
0–127
Rate of volume change when you play more strongly than the upper limit of the velocity range
Greater settings for this value will cause the volume to decrease more gradually. Set this to 0
if you want notes outside the velocity range to not sound at all.
TMT Control Switch
OFF, ON
Specifies whether the controller of the matrix control will control TMT (ON) or not (OFF)
By turning Velocity Control (TMT Velocity Control) OFF and turning this parameter on/off,
you can easily switch between sounding all tones and using the matrix control. This is con-
venient when checking the sound.
Bend Range Down
Bend Range Up
-48–0
0–48
Specifies the pitch change that occurs when the Pitch Bend lever is moved fully to the left (or
down on some MIDI controllers).
Specifies the pitch change that occurs when the Pitch Bend lever is moved fully to the right (or
up on some MIDI controllers).
What is a Booster?
A Booster amplifies the incoming signal, causing it to distort. This
creates an effect similar to the distortion often used on an electric guitar.
What is a Ring Modulator?
A Ring Modulator mathematically multiplies two Tones, creating a new
sound that includes inharmonic overtones that were not present in either
of the two original Tones. Since the difference in pitch between the two
Tones changes the overtone structure, an un-pitched “metallic” sound
often results. Ring modulation is therefore especially suitable for
creating bells and other metallic sounds.
fig.
67
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
CTRL1
These parameters let you specify the operation and result of various controllers.
Parameter
Value
Description
MATRIX CTRL #
This selects the parameters to be controlled by Matrix Control Source 1–4 and the Sens settings, as well as the specific Tones whose parameters
you wish to control. Up to four destination parameters can be selected for each controller and controlled simultaneously.
CTRL1 Destination 1–4
(Matrix Control 1
Destination 1–4)
OFF, PCH, CUT, RES, LEV, PAN,
DRY, CHO, REV, PIT-LFO1(2),
TVF-LFO1(2), TVA-LFO1(2),
PAN-LFO1(2), LFO1(2)-RATE,
PIT-ATK, PIT-DCY, PIT-REL,
TVF-ATK, TVF-DCY, TVF-REL,
TVA-ATK, TVA-DCY, TVA-REL,
TMT, FXM, MFX-CTRL1–4
-63– +63
Parameter to be controlled
CTRL1 Sens 1–4
(Matrix Control 1 Sens
1–4)
Range of change obtained through operating the controller
Negative (-) values will invert the change. If you set LFO depth to a nega-
tive value, the phase will be inverted. Setting LFO rate to a negative value
will lengthen the cycle, and setting it to a positive value will shorten the cy-
cle.
CTRL1 Switch 1–4
(Matrix Control 1 Tone
Control Switch 1–4)
OFF, ON, REVS
Tones to which the preceding two parameter settings will apply
The settings will apply to tones for which this is turned “ON.” The effect
will be inverted for tones that are set to “REVS.”
General
Various other parameters are provided here.
Parameter
Value
Description
Patch Priority
LAST,
LOUDEST
Specifies what will happen if the maximum polyphony (64 voices) is exceeded
LAST: Voices played most recently will be given priority, while currently sounding voices will be
successively turned off, beginning with the oldest one.
LOUDEST: Voices of the loudest volume will be given priority, while currently sounding voices will
be successively turned off, beginning with the one with the lowest volume.
Specifies how notes will continue to sound while you hold down the key
NSUS (NO-SUSTAIN): The sound will decay naturally even if you continue to hold down the pad.
SUST (SUSTAIN): The sound will be sustained as long as you hold down the pad.
Tone Env Mode
(Tone Envelope
Mode)
NSUS, SUST
* If you have selected a one-shot waveform, the sound will not be sustained even if you select “SUST.”
68
Download from Www.Somanuals.com. All Manuals Search And Download.
Patch Edit
Parameter
Tone Delay
Value
Description
This produces a time delay between the moment a key is pressed (or released) and the moment the Tone actually begins to sound. Since you can
adjust the timing of each Tone in a Patch, you can create effects in which pressing a single key produces two or more sounds occurring at differ-
ent times. If you don’t wish to use Tone Delay, set Tone Dly to NORMAL and Tone Delay Time to 0.
Tone Delay Mode
NORM,
HOLD,
OFFN,
OFFD
Specifies how the tone will be sounded
* If you have selected a decay-type waveform (in which the sound disappears naturally even if you do
not release the key), the sound may not be heard if you set this parameter to OFFN or OFFD.
NORM (NORMAL): The Tone sounds after the specified Delay Time.
Delay Time
press key
release key
HOLD: The Tone will only sound if the key is held for longer than the specified Delay Time. If the key
is released before the Delay Time has elapsed, the Tone will not sound.
Delay
Time
Delay Time
press key
Tone does
not sound
release key press key release key
OFFN (KEY-OFF-NORMAL): The Tone doesn’t sound while the key is being pressed, but sounds af-
ter the specified Delay Time when the key is released.
Delay
Time
press key
release key
OFFD (KEY-OFF-DECAY): The Tone doesn’t sound while the key is being pressed, but sounds after
the specified Delay Time when the key is released. However, for this setting-unlike KEY-OFF-NOR-
the TVA envelope of the Tone begins when the key is first pressed. As a result, in most cases, only the
decay portion of the sound is heard.
Delay
Time
press key
release key
Tone Delay Time
0–127, note
Time by which each tone will be delayed when using tone delay
If you've selected a Structure Type of 2–10, the output of tone 1 (3) and 2 (4) will be combined into
tone 2 (4). Thus, the setting of tone 1 (3) will have no effect.
note:
fig.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Eighth note),
(Dotted half note),
(Thirty-second note),
(Quarter-note triplet),
(Whole note),
(Sixteenth-note triplet),
(Dotted thirty-second note),
(Quarter note), (Half-note triplet),
(Dotted whole note), (Double note)
(Sixteenth note),
(Eighth-note triplet),
(Half note),
(Dotted sixteenth note),
(Whole-note triplet),
(Dotted eighth note),
(Dotted quarter note),
(Double-note triplet),
69
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
How Percussion Instruments
Are Organized
A Rhythm Set is a collection of Rhythm Tones, each of which
represents a percussion instrument played on a single key. An
instrument consists of the following four elements.
Rhythm editing procedure
1. In the top screen of Patch/Sample mode, move the
cursor to the rhythm set that you want to edit.
2. Press [F2 (Edit)] to access the edit screen.
3. Use [F1] [F2] or [CURSOR (left/right)] to select a
parameter group.
Rhythm Set
4. Use [CURSOR (up/down)] to select a parameter.
Note Number 74 (D5)
Note Number 73 (C#5)
5. Use [VALUE] or [INC/DEC] to edit the parameter.
*
You can also use the panel knobs and sliders to edit the sound (p. 52).
Note Number 60 (C4)
6. When you are finished editing, press [EXIT] to return
Note Number 59 (B3)
to the top screen.
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
Selecting the rhythm tone to edit
edit.
WG (Wave Generator)
This specifies the PCM waveform (or “wave”) that forms the basis of
the Rhythm Tone - four waveforms can be assigned to each Rhythm
Tone. You can also determine how the pitch of the Rhythm Tone will
change.
Selecting the wave that you
want to edit
Press TONE SELECT [1]–[4] to illuminate the button for the wave
The MC-909 has 693 different waveforms. (See Waveform List p.
150.)
that you want to edit.
*
By simultaneously pressing two or more [TONE SELECT] buttons,
you can simultaneously select two or more waves.
All Rhythm Sets built into the MC-909 consist of Rhythm Tones
based on these waveforms.
TVF (Time Variant Filter)
This sets how the frequency characteristics of the Rhythm Tone will
change.
TVA (Time Variant Amplifier)
This sets how the Rhythm Tone’s volume and stereo positioning will
change.
Envelope
An envelope applies changes to the Rhythm Tone over time. There
are separate envelopes for pitch, TVF (filter) and TVA (volume). For
example, you would use the TVA Envelope to modify the way in
which the Rhythm Tone attacks and decays.
Selecting the Wave(s) That
Will Sound
Turn “on” the wave(s) that you want to sound. If you want to hear
just a specific wave, turn the other waves “off.”
Press TONE SWITCH [1]–[4] to switch a wave on (button’s indicator
lit) or off (indicator extinguished).
70
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
Wave
These parameters select the PCM waveform that is to form the basis of the rhythm tone, and apply effects to the waveform.
Parameter
Value
Description
Wave Group
INT, SRX, PRES,
USER, CARD
Group of the waveform upon which the rhythm tone is to be based
INT: Waveforms stored in internal memory
SRX: Waveforms stored in a wave expansion board
PRES: Preset sample waveforms
USER: User sample waveforms
CARD: Card sample waveforms
* SRX can be selected only if a wave expansion board is installed.
Waveform upon which the tone is to be based
On the MC-909 you can specify a separate waveform for the L and R channels.
Wave No. L/MONO
Wave No. R
0 (OFF)–693
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
Waveform gain (amplitude)
Wave Gain
-6, 0, +6, +12 dB
The value will change in steps of 6 dB (decibels). An increase of 6 dB will double the gain. If you
want to use the booster to distort the sound, it is effective to set this to the maximum.
FXM (Frequency Cross Modulation)
FMX creates a complex overtone structure by using a specific waveform to frequency-modulate the selected waveform. This is suitable for cre-
ating extreme sounds or sound effects.
Wave FXM SW
OFF, ON
Selects whether FXM will be used (ON) or not (OFF)
(Wave FXM Switch)
Wave FXM Color
(Wave FXM Color)
1–4
Selects how FXM will apply frequency modulation.
Increasing this value will produce a rougher sound. Decreasing this value will produce a more
metallic sound.
Wave FXM Depth
(Wave FXM Depth)
0–16
Depth of frequency modulation applied by FXM
71
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
Pitch
These parameters specify the pitch of the waveform.
Parameter
Value
Description
Coarse Tune
(Rhythm Tone
Coarse Tune)
Fine Tune
(Rhythm Tone Fine
Tune)
Random Pitch
(Random pitch
depth)
0 (C-1)–127
(G9)
Basic pitch at which the Rhythm tone will play
-50– +50
0–1200
Pitch of the Rhythm tone
Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or
downward.
This specifies the width of random pitch deviation that will occur each time a key is pressed. If you don’t
want random pitch changes, set it to 0. The parameter can be adjusted in units of 1 cent (1/100th of a
semitone).
Wave Coarse Tune
-48– +48
-50– +50
Pitch of the Wave
Adjusts the pitch in semitone steps over a range of +/-4 octaves.
Pitch of the Wave
Wave Fine Tune
Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or
downward.
Pitch Env (Pitch Envelope)
These parameters specify the depth of the pitch envelope (the way in which pitch will change over time), and the shape of the envelope itself.
T1
T2
T3
T4
L1
L0
L3
Pitch
Time
key is
key is
pressed
L2
released
L4
Parameter
Value
Description
P-Env Depth
-12– +12
-63– +63
-63– +63
Pitch envelope depth
Increasing this value will produce greater change. Negative (-) values will invert the change pro-
duced by the envelope.
Amount of pitch change that will occur in response to your pad playing dynamics.
Increasing this value will produce a greater difference in pitch between softly and strongly played
notes. Negative (-) values will produce the opposite result.
Amount by which T1 (time) of the pitch envelope will change in response to the speed (velocity) at
which you press a pad.
Increasing this value will produce a greater difference between softly and strongly played notes. Set
this to a positive (+) value if you want to speed up the T1 time, or to a negative (-) value to slow it
down.
P-Env V-Sens
(Pitch Envelope Ve-
locity Sensitivity)
P-Env T1 V-Sens
(Pitch Envelope
Time 1
Velocity Sensitivity)
P-Env T4 V-Sens
(Pitch Envelope
Time 4
-63– +63
Amount by which T4 (time) of the pitch envelope will change in response to the speed at which you
release a pad (key-off velocity)
Increasing this value will produce a greater difference between quickly released and slowly released
notes. Set this to a positive (+) value if you want to speed up the T4 time, or to a negative (-) value to
slow it down.
Velocity Sensitivity)
P-Env Time1–4
0–127
Pitch envelope times (T1–T4)
Increasing this value will lengthen the time until the next pitch level is reached (for example, T2 is the
time over which the pitch will change from L1 to L2).
* Realtime modify knob [A] adjusts Time 1, and knob [D] adjusts Time 3.
Pitch envelope levels (L0–L4)
P-Env Level0–4
-63– +63
These parameters specify the amount by which the pitch will change from the basic pitch (specified
by Coarse Tune and Fine Tune) at each point of the envelope. Positive (+) values will raise the pitch
above the basic pitch, and negative (-) values will lower it.
72
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
Filter
These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and
fatness of the sound.
Parameter
Value
Description
Filter Type
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
Type of filter
A filter cuts a specific frequency region of the sound to modify the brightness or thickness of the
sound.
OFF: A filter will not be used.
LPF: Low Pass Filter. Cuts the region that lies above the cutoff frequency. The sound will become
more mellow as the high frequency region is cut. This is the most commonly used type of filter.
BPF: Band Pass Filter. Leaves only the region in the vicinity of the cutoff frequency, and cuts the rest.
Suitable for creating sounds with a distinctive character.
HPF: High Pass Filter. Cuts the region that lies below the cutoff frequency. Suitable for creating per-
cussion instrument sounds that have a distinctive high range.
PKG: Peaking filter. Emphasizes the region in the vicinity of the cutoff frequency. You can create a
wah effect by using an LFO to cyclically modulate the cutoff frequency.
LPF2: Low Pass Filter 2. Cuts the region that lies above the cutoff frequency. This lets you leave the
cutoff frequency fixed, and use the TVF envelope settings to vary the depth of the cutoff. Since this
does not impair the feeling of energy of the sound, it is effective for acoustic-type sounds.
* The resonance setting is ignored.
LPF3: Low Pass Filter 3. Cuts the region that lies above the cutoff frequency. This filter cuts the high
frequency region more gently than LPF2. Since this does not impair the feeling of energy of the sound,
it is effective for acoustic-type sounds.
* The resonance setting is ignored.
Cutoff Frequency
0–127
Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the wave-
form
If the Filter Type is LPF/LPF2/LPF3, reducing the cutoff frequency will diminish the higher over-
tones, producing a more mellow sound. Raising the cutoff frequency will brighten the sound.
If the Filter Type is BPF, the cutoff frequency value will change the harmonic content that will be
sounded. This is suitable for creating sounds with a distinctive character.
If the Filter Type is HPF, raising the cutoff frequency will diminish the lower overtones, emphasiz-
ing only the bright portion of the sound.
If the Filter Type is PKG, the cutoff frequency value will change the harmonic content that will be
boosted.
Cutoff Velo Curve
(Cutoff Frequency
Velocity Curve)
FIX, 1–7
Curve by which pad playing dynamics will affect the cutoff frequency
If you select “FIX,” the cutoff frequency will remain fixed regardless of your playing dynamics.
1
2
3
4
5
6
7
Cutoff Velo Sens
(Cutoff Frequency
Velocity Sensitivity)
Resonance
-63– +63
0–127
Amount by which your pad playing dynamics will affect the cutoff frequency
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
Amount by which the sound in the region of the cutoff frequency will be emphasized
Increasing this value will produce a more strongly distinctive character. Raising this excessively will
cause oscillation and distortion.
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
Low
Reso Velo Sens
(Resonance Velocity
Sensitivity)
-63– +63
Amount by which your pad playing dynamics will affect the resonance
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
73
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
Filter Env (Filter Envelope)
These parameters specify the depth of the filter envelope (time-variant change in cutoff frequency), and specify the shape of the envelope itself.
T1
T2
T3
T4
L1
L0
L3
L2
L4
Cutoff
Frequency
Time
key is
key is
pressed
released
Parameter
Value
Description
F-Env Depth
-63– +63
Depth of the filter envelope
(Filter envelope
depth)
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
F-Env V-Curve
(Filter envelope
velocity curve)
FIX, 1–7
Curve by which keyboard playing dynamics will affect the filter envelope
If you select “FIX,” the filter envelope will remain constant regardless of your playing dynamics.
1
2
3
4
5
6
7
F-Env V-Sens
-63– +63
-63– +63
Amount by which your pad playing dynamics will affect the filter envelope depth
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
Amount by which your pad playing dynamics (velocity) will affect T1 (time) of the filter envelope
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change. Specify a positive (+) value if you
want to speed up the T1 time, or a negative (-) value to slow it down.
(Filter envelope
velocity sensitivity)
F-Env T1 V-Sens
(Filter Envelope
Time 1 Velocity
Sensitivity)
F-Env T4 V-Sens
(Filter Envelope
Time 4 Velocity
Sensitivity)
-63– +63
Amount by which the speed at which you release the pad (key-off velocity) will affect T4 (time) of the
filter envelope
Increasing this value will cause a correspondingly greater difference between slowly released and
quickly released notes. Specify a positive (+) value if you want to speed up the T4 time, or a negative
(-) value to slow it down.
F-Env Time1–4
(Filter Envelope
Time 1–4)
0–127
0–127
Filter envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next cutoff frequency level of
the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Filter envelope levels (L1–L3)
Specifies the change in cutoff frequency at each point, relative to the reference level.
F-Env Level0–4
(Filter Envelope
Level 0–4)
* Realtime modify knob [S] adjusts Level 3.
74
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
Amp
These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.
Parameter
Value
Description
Tone Level
0–127
Volume of each Rhythm Tone
(Rhythm Tone Level)
Wave Level
This parameter is used mainly to adjust the volume balance between Rhythm Tones.
Volume of each wave
0–127
This parameter is used mainly to adjust the volume balance between waves.
Pan of each Rhythm Tone
L64 is far left, 0 is center, and 63R is far right.
Amount by which the pan will be varied randomly each time you play a note
Increasing this value will produce a greater amount of random change.
Amount by which the pan will be moved alternately between left and right each time you play a note
Increasing this value will produce a greater amount of change. This value can be adjusted in the L or
R direction, and these will invert the order in which the tone is panned to left and right. If you want
two tones to alternate between left and right, set each tone to opposite L and R values.
Pan of each wave
L64 is far left, 0 is center, and 63R is far right.
Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON)
or not (OFF).
The range of the panning change is set by the Random Pan Depth setting.
Set this to ON to pan the Wave according to the Alternate Pan Depth settings, or to REVS when you
want the panning reversed.
Tone Pan
(Rhythm Tone Pan)
Random Pan Depth
L64–63R
0–63
Alternate Pan Depth
L63–63R
Wave Pan
L64–63R
OFF, ON
Wave Rnd Pan Sw
(Wave Random Pan
Switch)
Wave Alt Pan Sw
(Wave Alternate Pan
Switch)
OFF, ON,
REVS
If you do not want the panning to change each time a key is pressed, set this to OFF.
Amp Env (Amp Envelope)
These parameters specify the depth of the amp envelope (change in volume over time) and the shape of the envelope itself.
Level
T1
T2
T3
T4
L1
L2
L3
Time
key is pressed
key is released
Parameter
Value
Description
A-Env V-Curve
(Amp Envelope
Velocity Curve)
FIX, 1–7
Curve by which pad playing dynamics will affect the volume of the tone
If you specify “FIX,” the volume of the tone will remain the same regardless of your playing dynamics.
1
2
3
4
5
6
7
A-Env V-Sens
-63– +63
-63– +63
Amount by which pad playing dynamics will affect the volume of the tone
Specify a positive (+) value if you want the volume of the tone to increase as you play more strongly.
Specify a negative (-) value if you want the volume to decrease.
Amount by which T1 (time) of the Amp envelope will change in response to your playing dynamics
Increasing this value will produce a greater change between softly played and strongly played notes.
Specify a positive (+) value if you want the T1 time to speed up, or a negative (-) value if you want it
to slow down.
(Amp Envelope
Velocity Sensitivity)
A-Env T1 V-Sens
(Amp Envelope
Time 1 Velocity
Sensitivity)
A-Env T4 V-Sens
(Amp Envelope
Time 4 Velocity
Sensitivity)
-63– +63
Amount by which T4 (time) of the Amp envelope will change in response to the speed at which you
release the pad (key-off velocity)
Increasing this value will produce a greater change between slowly released and quickly released
notes. Specify a positive (+) value if you want the T4 time to speed up, or a negative (-) value if you
want it to slow down.
A-Env Time1–4
(Amp Envelope
Time 1–4)
0–127
0–127
Amp envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next volume level of the enve-
lope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Amp envelope levels (L1–L3)
Specifies the change in volume at each point, relative to the reference level.
A-Env Level1–3
(Amp Envelope
Level 1–3)
* Realtime modify knob [S] adjusts Level 3.
75
Download from Www.Somanuals.com. All Manuals Search And Download.
Rhythm Edit
WMT (Wave Mix Table)
With the MC-909, up to four stereo Waves can be assigned to a single Rhythm Tone. You can select the way tones sound according to the force
with which the keys are played, thus allowing you to create Rhythm Tones featuring great expressive power. This function is called WMT (Wave
Mix Table).
Level
Lower
L.Fade value
Upper
Velocity
1
U.Fade value
Parameter
Value
Description
Velocity Control
(WMT Velocity Con-
trol)
OFF, ON,
RANDOM
Specifies whether velocity data will be used (ON) or ignored (OFF)
If you specify RANDOM, the waves will sound randomly, regardless of velocity data.
Velo Fade Lower
(WMTVelocityFade
Width Lower)
Velo Range Lower
(WMT Velocity
Range Lower)
Velo Range Upper
(WMT Velocity
Range Upper)
0–127
Rate of volume change when you play less strongly than the lower limit of the velocity range
Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you
want notes outside the velocity range to not sound at all.
Lower limit of velocities that will sound the tone
Set this parameter if you want to use velocity to switch between waves.
1–Upper
Lower–127
Upper limit of velocities that will sound the tone
Set this parameter if you want to use velocity to switch between waves.
* It is not possible to set Lower to a greater value than Upper, nor Upper to a lesser value than Lower.
Rate of volume change when you play more strongly than the upper limit of the velocity range
Greater settings for this value will cause the volume to decrease more gradually. Set this to 0 if you
want notes outside the velocity range to not sound at all.
Velo Fade Upper
(WMTVelocityFade
Width Upper)
0–127
Genaral
Various other parameters are provided here.
Parameter
Value
Description
Rhythm Level
(Rhythm Set Level)
Assign Type
0–127
Overall volume of the Rhythm Set
MULTI,
SINGLE
OFF, 1–31
This setting determines whether a Rhythm Tone note that is playing is stopped when the same note is
played again (SINGLE), or whether it will continue to play, layered with the new note.
The Mute Group function allows you to designate two or more Rhythm Tones that are not allowed to
sound simultaneously. For example, in a real-world acoustic drum set, an open hi-hat and a closed hi-
hat sound will never occur simultaneously, since they’re produced by the same instrument. To simulate
this behavior on the MC-909, you can set the open and closed hi-hat Rhythm Tones to the same Mute
Group. You can have up to 31 Mute Groups per Rhythm Set. If you do not want a Rhythm Tone to use
a Mute Group, turn the feature off.
Mute Group
Tone Env Mode
(Rhythm Tone
Envelope Mode)
Tone Pitch Bend
Range
NSUS, SUST
0–48
When a loop-type waveform is selected, it will normally continue to sound as long as a key is pressed.
If you want a note to decay naturally even when the key remains pressed, set this to “NSUS.”
* If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUST.”
Specifies the amount of pitch change that will occur when you move the Pitch Bend Lever.
(Rhythm Tone Pitch
Bend Range)
Tone Reverb Send
Level
0–127
Specifies the depth of reverb applied to each Rhythm Tone
Set this to 0 if you don’t want to apply reverb.
(Rhythm Tone Re-
verb Send Level)
Tone Output Asgn
(Rhythm Tone
Output Assign)
DRY, MFX1,
MFX2,
COMP,
Specifiests the original sound of each Rhythm Tone will be output
DRY: Output to MIX OUTPUT jacks without passing through effects
MFX1 (2): Output through multi-effects 1 (or 2)
DIR1, DIR2
COMP: Output through the compressor
DIR1 (2): Output to the DIRECT 1 (or DIRECT 2) jacks without passing through effects
76
Download from Www.Somanuals.com. All Manuals Search And Download.
Saving a Patch/Rhythm Set
Patch/rhythm set settings that you edit will be lost if you re-select
the patch/rhythm set or turn off the power. If you want to keep your
edits, you must use the following procedure to save the data.
4. When you have finished entering the name, press [F6
(Write)].
A screen in which you can select the write-destination patch/
rhythm set will appear.
1. Press [WRITE].
fig.2-52
The Write menu screen will appear.
Make sure that “Patch/Rhythm” is highlighted.
fig.2-50
5. Use [VALUE] or [INC/DEC] to select the write-
destination patch/rhythm set.
Use [CURSOR (left/right)] to select the bank (user, card).
2. Press [ENTER] or [F2 (Patch)].
The patch name/rhythm set name entry screen will appear.
6. Press [F6 (Write)].
fig.2-51
A message will ask you to confirm that you want to write the
data.
7. To write the data, press [F6 (Execute)].
*
If you decide to cancel, press [F5 (Cancel)].
3. Assign a name to the patch/rhythm set.
[CURSOR (left/right)]
[CURSOR (up/down)]
Moves the cursor (the location at which
to enter/edit a character).
Switches letters between uppercase
and lowercase.
[VALUE] [INC/DEC]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will al-
ternately select the first character of
the uppercase alphabet (A), lower-
case alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
[F3 (Insert)]
Deletes the character at the cursor loca-
tion, while shifting the following char-
acters to the left, closing the gap.
Inserts a space at the cursor location.
*
If you decide not to enter the name, press [F5 (Cancel)].
77
Download from Www.Somanuals.com. All Manuals Search And Download.
Copying and Initializing a Patch/Rhythm Set
Copying a Rhythm Tone (Key)
Copying a Patch Tone
Here’s how the rhythm tone (percussion sound) settings of a rhythm
set can be copied to the specified rhythm tone of the currently
selected rhythm set.
Here’s how the tone settings of a patch can be copied to the specified
tone of the currently selected patch.
1. In the top screen of patch / sample mode, move the
1. In the top screen of patch / sample mode, move the
cursor to the copy-destination patch.
cursor to the copy-destination rhythm set.
2. Press [F2 (Edit)] to access the edit screen.
2. Press [F2 (Edit)] to access the edit screen.
3. Press [F5 (Tone Copy)].
3. Press [F5 (R.Tone Copy)].
The Patch Tone Copy window will appear.
The Rhythm Tone Copy window will appear.
4. Use [CURSOR] and [VALUE] to select the copy-
source patch and tone, and the copy-destination
tone.
4. Use [CURSOR] and [VALUE] to select the copy-
source rhythm set and rhythm tone, and the copy-
destination rhythm tone.
Parameter
Source
Patch Bank
Value
Description
Parameter
Source
Rhythm
Bank
Value
Description
Current,
PresetA–G,
User, Card
Bank of the copy-source patch
To specify the currently selected
patch as the copy-source, set this
to “Current.”
Patch number of the copy-source
If Patch Bank is set to “Current,”
this cannot be selected.
Current,
Preset A,
User, Card
Bank of the copy-source rhythm set
To specify the currently selected
rhythm set as the copy-source,
set this to “Current.”
Rhythm set number of the copy-
source
If Rhythm Bank is set to “Cur-
rent,” this cannot be selected.
Copy-source rhythm tone (key) at
the copy-source rhythm set
No.
1–128
1–4
No.
1–128
Source
Copy-source tone at the copy-
source patch
Patch Tone
Destination
Temporary
Patch Tone
Source
B3–D5
B3–D5
Rhythm Key
Destination
Temporary
Rhythm Key
1–4
Copy-destination tone at the cur-
rently selected patch
Copy-destination rhythm tone
(key) at the currently selected
rhythm set
5. Press [F6 (Execute)].
A message will ask you for confirmation.
5. Press [F6 (Execute)].
6. Press [F6 (Execute)] to execute.
A message will ask you for confirmation.
*
To cancel, press [F5 (Cancel)].
6. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
If you press [F4 (Compare)] in step 4 so a “✔” appears in the check
box, you can use the velocity pads to play the copy source patch.
If you press [F4 (Compare)] in step 4 so a “✔” appears in the check
box, you can use the velocity pads to play the copy source rhythm
set.
Initializing a Patch
Here’s how the settings of the currently selected patch can be
returned to their default values.
Initializing a Rhythm Set
Here’s how the settings of the currently selected rhythm set can be
returned to their default values.
1. In the top screen of patch / sample mode, select a
part assigned a patch.
2. Turn [VALUE] to select the patch that you want to
1. In the top screen of patch / sample mode, select a
initialize.
part assigned a rhythm set.
3. Press [F2 (Edit)] to access the edit screen.
2. Turn [VALUE] to select the rhythm set that you want
4. Press [F4 (Patch Init)].
to initialize.
A message will ask you for confirmation.
3. Press [F2 (Edit)] to access the edit screen.
5. Press [F6 (Execute)] to execute.
4. Press [F4 (Rhythm Init)].
*
To cancel, press [F5 (Cancel)].
A message will ask you for confirmation.
5. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
78
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Song mode)
fig.0-01
1
8
2
9
6
3
10
11
7
13
14
12
4
5
When you press the Mode section [SONG] button, the button’s
indicator will light and the MC-909 will be in Song mode.
In Song mode, the various parts of the panel will perform the
following functions.
4. Mastering section
[ON]
[BAND]
[ATTACK]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Specify the time from when the volume goes up
plies.
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
[RELEASE]
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
[BEAM 1 ON]
Turns the left D Beam controller
(BEAM 1) on/off.
[BEAM 2 ON]
Turns the right D Beam controller
(BEAM 2) on/off.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
[TWIN D BEAM ASSIGN]
Selects the function of the D Beam
controller.
27).
2. Volume section
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
[OUTPUT]
[INPUT]
Adjusts the output volume of the MIX OUT jacks
and the headphone.
Adjusts the input volume from the INPUT jacks.
3. Realtime Modify section
These controls modify the sound (p. 33).
80
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Song mode)
12. Sequencer section
7. Part Mixer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
Plays a song (p. 82).
Advances to the next step.
Returns to the previous step.
Moves to the beginning of the song.
Used when recording (p. 83).
[PART]
(SELECT/MUTE)
Selects the function of the Part buttons [1]–
[16].
The buttons work as Part Select buttons
when the indicator is not lighted, and as
Mute buttons when the indicator is lit.
Switches on/off the Tempo/Mute part (a
part that records tempo changes and mute
operations, p. 42).
[REC]
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
When you press this button so its indicator
lights, the Mixer screen will appear.
Selects the parts that are controlled by the
sliders.
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
cator is not lighted, or parts 9–16 if the indi-
cator is lit.
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
8. Sampling section
[EDIT]
the Sample edit screen will ap-
pear (p. 114).
[SAMPLING/RESAMPLING]
When you press this button,
appear (p. 112).
[MIX IN]
Mix the sound from the INPUT
jacks into the output (p. 34).
Synchronize a sample with the
pattern (p. 36).
[AUTO SYNC]
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
Switch each effect on/off (p. 88).
Selects the effect to be controlled in real
time (p. 91).
[TYPE]
[C1], [C2]
Selects the type of effect.
Modifies the assigned function in real
time.
10. Mode section
Press the [SONG] button to enter Song mode.
Pressing one of the other two buttons will switch you to the
corresponding mode.
11. Cursor/Value section
Use these buttons and dial to select songs or input values (p. 18).
81
Download from Www.Somanuals.com. All Manuals Search And Download.
Playing songs
Two or more patterns connected in the order of playback are called a
“song.”
Song Reset
You can have playback resume from step 1 when the currently
When you play back a song, the patterns will switch automatically—
you don’t need to select each pattern yourself. In one song, you can
register up to 50 patterns in the desired order of playback.
The number describing the order in which the patterns are arranged
is called the “step.”
playing pattern finishes playing.
This is convenient when you want to play back a few measures
while you adjust the BPM to match a turntable, and then when the
BPM is correct, play back from step 1.
1. While the song is playing, press [PLAY].
Top screen of Song mode
fig.3-01
The screen will indicate “SONG RESET.”
When the currently playing pattern finishes, the playback will
return to the beginning of the song.
Selecting a song to play
There are two ways to select a song: directly, or from a list.
Selecting a song directly
While the song is stopped, use [VALUE] or [INC/DEC] to select
another song.
Selecting a song from a list
1. Press [ENTER].
The song list will appear.
Function buttons
select a song.
[F1 (Next Step)]
When Song Step Sw (p. 128) is set to “MANU-
the next step if you press this button to dis-
play the “✔” mark.
If you hold down [SHIFT] while using these controls, the song
number will change in steps of ten.
[F2 (Song Edit)]
[F3 (Mixer)]
Edit the settings of the song (p. 84).
Specify the volume, pan, etc., of each part (p.
33).
3. Press [F6 (Select)] or [ENTER] to confirm your
selection.
[F4 (Effects)]
[F5 (Mastering)]
[F6 (BPM Click)]
Apply special effects to the sound (p. 88).
Make settings for the mastering effect (p. 108).
Set the tempo, and turn the metronome on/
off (p. 25).
*
If you decide not to execute, press [F5 (Cancel)].
Changing the BPM or mute status
In Song mode as well, you can change the BPM or part muting status
in the same way as in Pattern mode. For details on how to change
these, refer to the section “Playing a pattern” (p. 24).
Basic playback operation
Use the following buttons to control the playback.
fig.1-02.e
Return to the previous step
Move to the beginning
of the song
Advance to the
next step
Stop playback Play back Used for recording
*
The [FWD], [BWD], and [TOP] buttons can also be used during
playback.
82
Download from Www.Somanuals.com. All Manuals Search And Download.
Recording a song
You can input patterns one by one to specify the order in which the
patterns will be played back.
Editing the setup parameters
During song recording, you can edit setup parameters (p. 26) such as
part mute and effect settings and then press [ENTER] to register the
state of those parameters. This will simply store the setup
parameters of each pattern as song data, and does not affect the
original pattern in any way.
Recording procedure
1. Use [VALUE] or [INC/DEC] to select the song number
that you want to record.
By using this to change the mute status of a pattern or to change the
MFX type, you can have a single pattern play in a variety of ways as
the song progresses.
2. Press [REC].
fig.3-03
•
•
Tempo (BPM) can be input/edited only at the first step.
It is not possible to change the tempo during the song.
3. Select the pattern to be played at this step.
Refer to Selecting a pattern to play back (p. 24)
4. Press [ENTER].
You will proceed to the next step.
5. Repeat the above steps 3 and 4 to input the patterns
to be played for the subsequent steps.
6. After you have finished inputting the last step, press
[STOP] to end the recording process.
Auditioning a pattern
While you are recording, you can press [PLAY] to audition the
selected pattern. You can select different patterns while you audition
them. To stop the auditioning, press [STOP].
Moving between steps
After recording several steps, you can press [BWD] [FWD] to move
between steps.
83
Download from Www.Somanuals.com. All Manuals Search And Download.
Song editing
“Song editing” is the process of editing individual steps of
performance data for a song.
Delete Step
This operation deletes an unwanted step from the song, and joins the
*
You must stop the song playback before you can edit the song.
two sections.
fig.1-54
1. Select the song that you want to edit.
1
1
2
2
3
3
4
5
6
2. In Song mode, press [F2 (Song Edit)] to access the
Song Edit screen.
fig.3-04
4
5
1. Use [VALUE] or [INC/DEC] to select the step that you
want to delete.
2. Press [F2 (Delete)].
The selected step will be deleted.
Insert Step
This operation inserts a step into the song, and moves subsequent
steps backward by one.
fig.1-56
1
1
2
2
3
23
4
4
5
5
Type of song editing
[F1 (Clear All)]
(Clear All Steps)
[F2 (Delete Step)]
[F3 (Insert Step)]
[F4 (Copy)]
Erase all steps.
Delete an unwanted step.
Insert a step.
Copies a song to a different song.
6
1. Use [VALUE] or [INC/DEC] to select the step at which
you want to insert a pattern.
(Song Copy)
[F6 (Close)]
Returns to the previous screen.
In the example shown above, select step 2.
Clear All Steps
This operation clears all of the steps that you input, returning them
to the blank condition. Use this when you want to create a song from
scratch.
2. Press [F3 (Insert)].
A step containing the same pattern as the step you selected in
step 1 will be inserted, and the subsequent steps will be moved
backward by one.
1. Press [F1 (Clear All)].
A message will ask you for confirmation.
Song Copy
This operation copies song data to a different song.
2. If you are sure that you want to clear all steps, press
[F6 (Execute)].
1. Press [F4 (Copy)].
*
To cancel, press [F5 (Cancel)].
2. Select the copy-destination song.
3. Press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
If the copy destination contains data, that data will be erased when
you execute this copy operation.
84
Download from Www.Somanuals.com. All Manuals Search And Download.
Saving a song
Songs that you record will be lost if you turn off the power. If you
want to keep the song data, you must save it as follows.
4. Assign a name to the song you created.
[CURSOR (left/right)]
[CURSOR (up/down)]
Moves the cursor (the location at which
to enter/edit a character).
Switches letters between uppercase
and lowercase.
1. Select the song that you want to save.
2. Press [WRITE].
[VALUE] [INC/DEC]
[F1 (Change Type)]
Selects characters.
The write menu screen will appear.
Make sure that “Song” is highlighted.
Selects the type of character.
Each time you press this, you will al-
ternately select the first character of
the uppercase alphabet (A), lower-
case alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
[F3 (Insert)]
Deletes the character at the cursor loca-
tion, while shifting the following char-
acters to the left, closing the gap.
Inserts a space at the cursor location.
*
If you decide not to enter the name, press [F5 (Cancel)].
5. When you finish inputting the name, press [F6
(Write)].
A message will ask you to confirm that you want to write the
data.
3. Press [ENTER] or [F5 (Song)].
The song name input screen will appear.
6. To write the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
85
Download from Www.Somanuals.com. All Manuals Search And Download.
MEMO
86
Download from Www.Somanuals.com. All Manuals Search And Download.
Effects
Here you can apply special effects to the sound.
Effect connection (Effect Routing)
You can specify the connections independently for each pattern.
The way in which the direct sound is output (2) and the depth of
reverb (3) can be set independently for each part.
fig.4-02
Effect on/off
Use the ON/OFF buttons of the Effects section to switch each effect
on/off.
fig.4-01
1
6
7
2
4
8
10
9
5
3
11
[COMP]:
[MFX 1]:
[MFX 2]:
[REVERB]:
Compressor
Multi-effects 1
Multi-effects 2
Reverb
Parameter
Range
Explanation
1.
1–16, EXT
The part for which you are
making effect settings.
EXT: External input
Part Number
Effect settings
1. In the top screen of each mode, press [F4 (Effects)].
2.
DRY, MFX1,
MFX2,
COMP, DIR1,
DIR2, RHY
How the original sound of
each part will be output
DRY: Output to MIX OUT-
PUT jacks without passing
through effects
Part Output
Assign
2. Press [F1]–[F5] to select an effect to adjust.
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through the
compressor
DIR1 (2): Output to the DI-
RECT 1 (or DIRECT 2) jacks
without passing through ef-
fects
RHY: Output according to
the settings of the rhythm
set assigned to the part
[F1 (Routing)]
Specify the connections (routing) between
parts, effects, and output destinations.
Compressor settings.
Multi-effects 1 settings.
Multi-effects 2 settings.
[F2 (Comp/EQ)]
[F3 (MFX 1)]
[F4 (MFX 2)]
[F5 (Reverb)]
Reverb settings.
3. Use [CURSOR] to select a parameter.
4. Use [VALUE] or [INC/DEC] to make settings.
* “RHY” can be set only
when a rhythm set is as-
signed to the part.
3.
0–127
Depth of reverb applied to
each part
Part Reverb
Send Level
Set this to 0 if you don’t
want to apply reverb.
Output destination of the
sound processed through the
compressor.
4.
(see explana-
tion)
Comp Output
Assign
DRY: MIX OUTPUT jacks
MFX1 (2): Multi-effects 1
(or 2 )
5.
0–127
sound processed through the
compressor
Comp Reverb
Send Level
Set this to 0 if you don’t
want to apply reverb.
The effect used by multi-ef-
fects 1
6.
See “Multi-Ef-
fects List” (p.
92)
(MFX Type)
* For details on each effect,
refer to “Multi-Effects List”
(p. 92).
88
Download from Www.Somanuals.com. All Manuals Search And Download.
Effects
Parameter
7.
MFX1 Reverb
Send Level
Range
0–127
Explanation
Compressor
Depth of reverb applied to the
sound processed through
multi-effects 1
The compressor is an effect that limits the level of loud sounds and
boosts the level of soft sounds, making the overall level more
Set this to 0 if you don’t
sound processed through
multi-effects 1
consistent.
fig.4-03
8.
DRY, MFX2
MFX1 Output
Assign
DRY: MIX OUTPUT jacks
MFX2: Multi-effects 2
(multi-effects 1 and 2 will be
connected in series)
The effect used by multi-ef-
fects 2
9.
See “Multi-Ef-
fects List” (p.
92)
(MFX Type)
refer to “Multi-Effects List”
(p. 92).
10.
MFX2 Reverb
Send Level
0–127
Depth of reverb applied to the
sound processed through
multi-effects 2
Set this to 0 if you don’t
want to apply reverb.
The type of reverb
11.
(Reverb Type)
See “Reverb”
(p. 90)
* For details on reverb, refer
to “Reverb” (p. 90).
Parameter
Comp Reverb
Send Level
Range
0–127
Explanation
Depth of reverb applied to the
sound processed through the
compressor
If you change the “Output Assign” setting, the routing connections
in the screen will also change.
Set this to 0 if you don’t
want to apply reverb.
Output destination of the
sound processed through the
compressor
Comp Output
Assign
DRY, MFX1,
MFX2
Parameters 4–11 in the above table are linked with the identically
named parameters in the setting screens of each effect.
DRY: MIX OUTPUT jacks
MFX1 (2): Multi-effects 1
(or 2)
Attack Time
Release Time
0.05–50 ms
Time from when the volume
goes up the threshold level
until the compressor effect ap-
plies
Time from when the volume
falls below the threshold level
until the compressor effect no
longer applies
0.05–2000 ms
Threshold
Ratio
0–127
Volume level at which com-
pression begins
Compression ratio (inf: infini-
ty)
1:1–inf:1
Output Gain
Low Freq
0– +24 dB
200, 400 Hz
Level of the output sound
Reference frequency of the
low range
Low Gain
High Freq
High Gain
Level
-15– +15
2k, 4k, 8kHz
-15– +15
0–127
Amount of low-range boost/
cut
Reference frequency of the
high range
Amount of high-range boost/
cut
Output volume of the com-
pressor
89
Download from Www.Somanuals.com. All Manuals Search And Download.
Effects
Multi-effects
Reverb
These are general-purpose multi-effects that can transform the
sound, and give it a completely different character. MFX1 provides
38 types, and MFX2 provides 47 types. You can select one effect type
for each of these two effect units. A wide range of types are included,
such as distortion and flanger. Although the multi-effect types
include a compressor, this is independent of the compressor
Reverb is an effect that creates the reverberation that is characteristic
of sound heard in a hall. You can choose from four types of reverb.
fig.4-05
described earlier.
fig.4-04
Parameter
Range
Explanation
(Reverb Type)
OFF, 1–4
Type of reverb
OFF: Reverb not used
1 (REVERB): Basic reverb
2 (SRV ROOM): A more de-
tailed simulation of room
reverberation
3 (SRV HALL): A more de-
tailed simulation of hall re-
verberation
Parameter
(MFX Type)
Range
0–38 (MFX1)
0–47 (MFX2)
Explanation
The effect used by multi-ef-
fects 1 (or 2)
* For details on each effect,
refer to “Multi-Effects List”
(p. 92).
Depth of reverb applied to the
sound processed through
multi-effect 1 (2)
Set this to 0 if you don’t
want to apply reverb.
Output destination of the
sound processed through
multi-effects 1
DRY: MIX OUTPUT jacks
MFX2: Multi-effects 2
(multi-effects 1 and 2 will be
connected in series)
4 (SRV PLATE): A simula-
tion of a plate echo (a reverb
device using a metal plate)
MFX1 (2) Re-
verb Send
Level
0–127
1 (REVERB)
Type
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2,
DELAY,
PAN-DELAY
Type of reverb/delay
ROOM1: Short, high-densi-
ty reverberation
ROOM2:Short, low-density
reverberation
STAGE1:A greater amount
of late reverberation
STAGE2: Emphasis on ear-
ly reflections
HALL1: Clear reverberation
HALL2: Rich reverberation
DELAY: A conventional de-
lay
MFX1 Output
Assign
DRY, MFX2
* This parameter exists only
for MFX 1.
PAN-DELAY: A delay in
which the reflected sound
moves between left and
right
Time
0–127
Length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
Frequency at which the high-
frequency portion of the re-
verberation will be cut (BY-
PASS: no cut)
HF Damp
200–8000 Hz,
BYPASS
Delay Feed-
back
0–127
0–127
Number of delay repetitions
(valid only if Type is DELAY
or PAN-DELAY)
Volume of the reverb sound/
delay sound
Level
90
Download from Www.Somanuals.com. All Manuals Search And Download.
Effects
Parameter
Range
Explanation
Realtime control of effects
The Effects section lets you control effect parameters in real time.
2 (SRV ROOM) / 3 (SRV HALL) / 4 (SRV PLATE)
Pre Delay
0.0–100.0 ms
Delay time from original
sound until reverb is heard
Length of reverb
fig.4-01
Time
0–127
Size
1–8
Size of room/hall
High Cut
160–12500Hz,
BYPASS
Frequency at which the high-
frequency portion of the final
output sound will be cut (BY-
PASS: no cut)
Density
Diffusion
0–127
0–127
Density of reverb
Change in reverb density over
time
Higher settings will cause
density to increase as time
passes. (This is more notice-
able with longer Time set-
tings.)
Frequency at which the low-
frequency portion of the re-
verb will be cut
Amount of attenuation for LF
Damp (0: no attenuation)
Frequency at which the high-
frequency portion of the re-
verb will be cut
Amount of attenuation for HF
Damp (0: no attenuation)
Volume of the reverb sound
Selecting the effect that you want
to control
LF Damp Freq
50–4000 Hz
-36–0 dB
1. Press and hold [KNOB ASSIGN].
LF Damp
Gain
The ON/OFF button of the currently selected effect will blink.
HF Damp
Freq
4000–12500
Hz
2. Still holding down [KNOB ASSIGN], press one of the
[COMP]–[REVERB] buttons to select the effect you
want to control.
HF Damp
Gain
Level
-36–0 dB
0–127
Knob
Parameter
When “COMP” is selected
[TYPE]
[C1]
[C2]
Attack Time
Release time
Threshold
When “MFX1/2” is selected
[TYPE]
Select the type of effect (p. 92).
[C1], [C2]
Control the assigned function in real
time.
When “REVERB” is selected
[TYPE]
[C1]
[C2]
Reverb Type
Time
Level
If you are controlling a multi-effect parameter that is set in terms of a
note value, it will not be possible to use the knob to select the note.
91
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
Multi-Effects Types
There are 47 types of multi-effect. MFX1 lets you use 38 types (delay-
type effects are unavailable), and MFX2 lets you use all 47 types.
FILTER (9 types)
01
02
03
04
05
06
07
08
09
STEREO EQ
SPECTRUM
ENHANCER
ISOLATOR
LOW BOOST
SUPER FILTER
STEP FILTER
AUTO WAH
HUMANIZER
p. 92
p. 92
p. 93
p. 93
p. 93
p. 93
p. 94
p. 94
p. 94
fig.MFX01
L out
R out
4-Band EQ
4-Band EQ
MODULATION (7 types)
10
11
12
13
14
15
16
PHASER
p. 94
p. 95
p. 95
p. 95
p. 95
p. 96
p. 96
STEREO PHASER
STEP PHASER
RING MODULATOR
TREMOLO
AUTO PAN
ROTARY
Value
Description
#1
200, 400 Hz
-15– +15 dB
Frequency of the low range
Gain of the low frequency
range
2000, 4000,
8000 Hz
Frequency of the high range
CHORUS (6 types)
-15– +15 dB
Gain of the high frequency
range
17
18
19
20
21
22
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
p. 96
p. 96
p. 97
p. 97
p. 97
p. 98
200–8000 Hz
0.5, 1.0, 2.0, 4.0, 8.0
Frequency of Middle Range 1
Width of Middle Range 1
Select a higher Q value to
narrow Middle Range 1.
Gain of Middle Range 1
Frequency of Middle Range 2
Width of Middle Range 2
Select a higher Q value to
narrow Middle Range 2.
Gain of Middle Range 2
Output level
-15– +15 dB
200–8000 Hz
0.5, 1.0, 2.0, 4.0, 8.0
DYNAMICS (7 types)
23
24
25
26
27
28
29
OVERDRIVE
DISTORTION
GUITAR AMP SIMULATOR
STEREO COMPRESSOR
STEREO LIMITER
SLICER
p. 98
p. 98
p. 99
p. 100
p. 100
p. 100
p. 101
Level
-15– +15 dB
0–127
GATE
This is a type of filter that modifies the timbre by boosting or cutting
the level of specific frequencies. It is similar to an equalizer, but has
eight frequency points fixed at locations most useful for adding
LOFI (6 types)
30
31
32
33
34
35
LOFI NOISE
LOFI COMPRESS
LOFI RADIO
TELEPHONE
PHONOGRAPH
TAPE ECHO
p. 101
p. 102
p. 102
p. 102
p. 102
p. 103
PITCH (2 types)
L out
Pan L
36
37
FBK PITCH SHIFTER
2Vo PITCH SHIFTER
p. 103
p. 103
Spectrum
Pan R
REVERB (1 type)
R out
38
GATED REVERB
p. 104
DELAY (9 types)
* These cannot be selected for MFX1.
Q
Value
0.5, 1.0, 2.0,
4.0, 8.0
Description
Simultaneously adjusts the
width of the adjusted ranges
for all of the frequency bands.
Stereo location of the SPEC-
TRUM output
39
40
41
42
43
44
45
46
47
STEREO DELAY
p. 104
p. 105
p. 105
p. 105
p. 106
p. 106
p. 106
p. 107
p. 107
MODULATION DELAY
TRIPLE TAP DELAY
QUADRUPLE TAP DELAY
MULTI TAP DELAY
REVERSE DELAY
SHUFFLE DELAY
TIME CONTROL DELAY
TIME SKIP DELAY
Pan #1
L64–63R
Level #2
0–127
-15– +15 dB
Output level
Gain of each frequency band
Band 1 (250Hz)
Band 2 (500Hz)
Band 3 (1kHz)
Band 4 (1.25Hz)
Band 5 (2kHz)
Band 6 (3.15Hz)
Band 7 (4kHz)
Band 8 (8kHz)
* This can be set using the
sliders of the part mixer.
92
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
03: ENHANCER
05: LOW BOOST
Controls the overtone structure of the high frequencies, adding
Boosts the volume of the lower range, creating powerful lows.
fig.MFX05
sparkle and brightness to the sound.
L in
L out
R out
fig.MFX03
Low Boost
Low Boost
2-Band EQ
2-Band EQ
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
R in
Mix
Mix
2-Band
EQ
Parameter
Boost Fre-
quency #1
Boost Gain #2
Value
Description
R in
50–125 Hz
Center frequency at which the
lower range will be boosted
Amount by which the lower
range will be boosted
Width of the lower range that
will be boosted
0–12 dB
Parameter
Sens #1
Mixl #2
Value
0–127
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by
the enhancer
Boost Width
WIDE,
MID, NAR-
ROW
Low Gain
High Gain
Level
-15– +15 dB
Gain of the low frequency range of
frequencies
Gain of the high frequency range of
frequencies
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Gain of the low frequency range
Gain of the high frequency range
Output level
-15– +15 dB
0–127
Output level
06: SUPER FILTER
This is a filter with an extremely sharp slope. The cutoff frequency
can be varied cyclically.
04: ISOLATOR
fig.MFX06
This is an equalizer that radically cuts the volume of selected
L in
L out
R out
Super Filter
Super Filter
frequencies, allowing you to create special effects cutting the volume
in various ranges.
fig.MFX04
R in
L in
L out
R out
Parameter
Filter Type
Value
LPF, BPF,
HPF,
Description
Filter type
Frequency range that will pass
through each filter
Isolator
Isolator
Low Boost
Low Boost
R in
NOTCH
LPF: frequencies below the cutoff
BPF: frequencies in the region of
the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Amount of attenuation per octave
-36 dB: extremely steep
-24 dB: steep -12 dB: gentle
Cutoff frequency of the filter
Increasing this value will raise the
cutoff frequency.
Parameter
Boost/Cut
High
Boost/Cut
Middle #1
Boost/Cut
Low #2
AntiPhase
Middle Sw
Value
-60– +4 dB
Description
These boost and cut each of the
High, Middle, and Low frequency
ranges.
At -60 dB, the sound becomes in-
audible. 0 dB is equivalent to the
input level of the sound.
Settings of the Anti-Phase function
for the Middle frequency ranges.
When turned on, a stereo copy of
the sound is phase-inverted and
added to the signal.
Filter Slope
-12, -24,
-36 dB
OFF, ON
0–127
Filter Cut-
off #1
0–127
0–127
Filter Reso-
nance #2
Filter resonance level
Increasing this value will empha-
size the region near the cutoff fre-
quency.
Amount of boost for the filter output
On/off switch for cyclic change
AntiPhase
Middle
Level
Adjusts the level settings for the
Middle frequency ranges.
Adjusting this level for certain
frequencies allows you to lend
emphasis to specific elements
within a sound. (This is effective
only for stereo source.)
Settings of the Anti-Phase function
for the Middle frequency ranges
The parameters are the same as
for the Middle frequency ranges.
Turns Low Booster on/off.
This emphasizes the bottom fre-
quencies to create a heavy bass
sound.
Filter Gain
Modula-
tion Sw
Modula-
tion Wave
0–+12 dB
OFF,ON
TRI, SQU,
SIN,
SAW1,
SAW2
How the cutoff frequency will be
modulated
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (down-
ward)
Anti Phase
Low Sw
Anti Phase
Low Level
Low Boost
Sw
OFF, ON
0–127
OFF, ON
Rate
0.05–10.0
Hz, note
0–127
Rate of modulation
Low Boost
Level
0–127
0–127
Increasing this value gives you a
heavier low end.
Depth
Attack
Depth of modulation
Speed at which the cutoff frequency
will change
This is effective if Modulation
Wave is SQR, SAW1, or SAW2.
Output level
0–127
* Depending on the Isolator and
filter settings, this effect may be
hard to hear.
Level
Output level
Level
0–127
93
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
07: STEP FILTER
09: HUMANIZER
This is a filter whose cutoff frequency can be modulated in steps.
You can specify the pattern by which the cutoff frequency will
Adds a vowel character to the sound, making it similar to a human
voice.
fig.MFX09
change.
fig.MFX07
L in
L out
Pan L
L in
L out
R out
Step Filter
Step Filter
2-Band
EQ
Overdrive
Formant
Pan R
R in
R in
R out
Parameter
Value
Description
Rate
0.05–10.00
Hz, note
0–127
Rate of modulation
Parameter
Drive Sw
Drive
Value
OFF, ON
0–127
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Attack #1
Filter Type
Rate at which the cutoff frequency
will change between beats
Filter type
Frequency range that will pass
through each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of
the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Amount of attenuation per octave
-12 dB: gentle
-24 dB: steep
-36 dB: extremely steep
Filter resonance level
Increasing this value will empha-
size the region near the cutoff fre-
quency.
LPF, BPF,
HPF,
NOTCH
Vowel1 #1
Vowel2 #2
Rate
a, e, i, o, u
a, e, i, o, u
0.05–10.00
Hz, note
0–127
Frequency at which the two vowels
switch
Effect depth
Depth
Input Sync
Sw
OFF, ON
Determines whether the LFO for
switching the vowels is reset by the
input signal (ON) or not (OFF).
Volume level at which reset is ap-
plied
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a
longer duration.
50: Vowel 1 and 2 will be of equal
duration.
51 or more: Vowel 2 will have a
longer duration.
Input Sync
Threshold
Manual
0–127
0–100
Filter Slope
-12, -24,
-36 dB
Filter Reso-
nance #2
0–127
Filter Gain
Level
Beat
0– +12 dB
0– 127
0–127
Amount of boost for the filter output
Output level
Cutoff frequency for each 16th note of
a 4/4 measure
Low Gain
High Gain
Pan
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
1-1–4-4
Level
* This can be set using the sliders of
the part mixer.
10: PHASER
08: AUTO WAH
Adds a phase-shifted sound to the original sound, producing a
A filter that turns on and off to create a cyclical change in timbre.
swirling modulation that creates spaciousness and depth.
fig.MFX10
fig.MFX08
L in
L out
L in
L out
Pan L
Auto Wah
Phaser
Mix
Pan R
R in
R out
R in
Resonance
R out
Parameter
Value
Description
Filter Type
LPF, BPF
Type of filter
Parameter
Value
Description
LPF: The wah effect is applied
over a wide frequency range.
BPF: The wah effect is applied
over a narrow frequency range
Frequency of modulation
Manual #1
0–127
Adjusts the basic frequency at
which the sound will be modulated.
Frequency of modulation
Rate #2
0.05–10.00
Hz
0–127
0–127
0–127
Rate #2
0.05–
10.00 Hz,
note
0–127
0–127
Depth
Resonance
Mix
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the PHASER out-
put
Depth
Sens
Depth of modulation
Adjusts the sensitivity with which
the filter is controlled.
Adjusts the center frequency at
which the effect is applied.
Adjusts the amount of the wah ef-
fect that occurs in the range of the
center frequency.
Pan
L64–63R
Level
0–127
Output Level
Manual #1
Peak
0–127
0–127
Set a higher value for Q to narrow
the range to be affected.
Level
0–127
Output level
94
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
Parameter
Rate
Value
Description
Frequency of modulation
11:STEREO PHASER
This is a stereo phaser.
0.05–10.00
Hz, note
0–127
fig.MFX11
Depth
Depth of modulation
Manual #1
0–127
Adjusts the basic frequency from
which the sound is modulated.
Amount of feedback
Adjusts the amount of the phaser
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Rate of pitch change
2-Band
EQ
L in
L out
R out
Phaser
Resonance
Cross
Feedback
0–127
-98– +98 %
Mix
Mix
2-Band
EQ
Phaser
R in
Step Rate
#2
Mix
Low Gain
High Gain
Level
0.1–20.0
Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Level of the phase-shifted sound
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Value
Description
Mode
Polarity
4, 8 stage
INVERSE,
SYNCHRO
Number of stages in the phaser
Selects whether the left and right
phase of the modulation are the
same or opposite each other.
INVERSE: The left and right
phase are opposite. When using a
mono source, this spreads the
sound in stereo.
13: RING MODULATOR
This is an effect that applies amplitude modulation (AM) to the input signal,
producing bell-like sounds. You can also change the modulation frequency
in response to changes in the volume of the sound sent into the effect.
fig.MFX13
SYNCHRO: The left and right
phase are the same. Select this
when working with a stereo source.
Frequency of modulation
L in
L out
R out
Ring Mod
Ring Mod
2-Band EQ
2-Band EQ
Rate #2
0.05–10.00
Hz, note
0–127
R in
Depth
Depth of modulation
Manual #1
0–127
Adjusts the basic frequency from
which the sound is modulated.
Amount of feedback
Adjusts the amount of the phaser
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Level of the phase-shifted sound
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Value
Description
Resonance
Cross
Feedback
0–127
-98– +98 %
Frequency
#1
0–127
Adjusts the frequency at which
modulation is applied.
Sens
0–127
Adjusts the amount of frequency
modulation applied.
Mix
0–127
Polarity
UP,
DOWN
Determines whether the frequency
modulation moves towards higher
frequencies (UP) or lower frequen-
cies (DOWN).
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
12:STEP PHASER
With the Step effects, you can also make stepped changes in the pitch
Level
of sounds to which the Phaser effect is applied.
fig.MFX12
14: TREMOLO
Cyclically modulates the volume to add tremolo to the sound.
2-Band
EQ
L in
L out
R out
Step Phaser
Step Phaser
Mix
Mix
fig.MFX14
L in
L out
R out
Tremolo
Tremolo
2-Band EQ
2-Band EQ
2-Band
EQ
R in
R in
Parameter
Modula-
tion Wave
Value
TRI, SQR,
SIN,
SAW1,
SAW2
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (down-
ward)
Parameter
Mode
Polarity
Value
Description
4, 8 stage
INVERSE,
SYNCHRO
Number of stages in the phaser
Selects whether the left and right
phase of the modulation are the
same or opposite each other.
INVERSE: The left and right
phase are opposite. When using a
mono source, this spreads the
sound in stereo.
Rate #1
0.05–10.00
Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
SYNCHRO: The left and right
phase are the same. Select this
when working with a stereo source.
Depth #2
Low Gain
High Gain
Level
Depth to which the effect is applied
Gain of the low frequency range
Gain of the high frequency range
Output level
95
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
15: AUTO PAN
17: HEXA-CHORUS
Cyclically modulates the stereo location of the sound.
Uses a six-phase chorus (six layers of chorused sound) to give
fig.MFX15
richness and spaciousness to the sound.
fig.MFX17
L in
L out
R out
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
L in
L out
Balance D
R in
Balance W
Hexa Chorus
Balance W
Parameter
Modula-
tion Wave
Value
TRI, SQR,
SIN,
Description
Modulation Wave
TRI: triangle wave
R in
R out
Balance D
SAW1,
SAW2
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (down-
ward)
Parameter
Pre Delay
Value
0.0–100.0 ms
Description
Adjusts the time until chorusing is
heard.
Rate #1
0.05–10.00
Hz
0–127
0–20
Frequency of modulation
Rate #1
0.05–10.00
Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth
Depth of modulation
Pre Delay
Deviation
Depth
Adjusts the differences in Pre De-
lay between each chorus layer.
Adjusts the difference in modula-
tion depth between each chorus
layer.
Adjusts the difference in stereo lo-
cation between each chorus layer.
0: All chorus layers are in the
center.
20: The chorus layers are
spaced at 60-degree intervals
relative to the center.
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Depth #
Low Gain
High Gain
Level
Depth to which the effect is applied
Gain of the low frequency range
Gain of the high frequency range
Output level
-20– +20
0–20
Deviation
Pan
Deviation
16: ROTARY
The Rotary effect simulates the sound of the rotary speakers often
used with the classic electric organs. Since the movement of the high-
range and low-range rotors can be set independently, the unique
characteristics of these speakers can be simulated quite accurately.
Balance #2
Level
D100:0W–
D0:100W
This effect is most suitable for electric organ Patches.
fig.MFX16
L in
L out
R out
0–127
Output level
Rotary
18: TREMOLO CHORUS
R in
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
fig.MFX18
Parameter
Value
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
SLOW,
FAST
Description
Slow speed (SLOW) of the high-fre-
quency rotor
Slow speed (SLOW) of the low-frequen-
cy rotor
Fast speed (FAST) of the high-frequen-
cy rotor
Fast speed (FAST) of the low-frequency
rotor
Simultaneously switches the rotational
speed of the low frequency rotor and
high frequency rotor.
SLOW: Slows down the speed to the
Slow Rate.
FAST: Speeds up the speed to the
Fast Rate.
Adjusts the time it takes the high frequency
rotor to reach the newly selected speed when
switching between fast and slow speeds.
Adjusts the time it takes the low frequency
rotor to reach the newly selected speed when
switching between fast and slow speeds.
Volume of the high frequency rotor
Tweeter
Slow Rate
Woofer
Slow Rate
Tweeter
Fast Rate
Woofer
L in
L out
Balance D
Balance W
Tremolo Chorus
Balance W
R in
R out
Balance D
Fast Rate
Speed #1
Parameter
Pre Delay
Value
Description
0.0–100.0 ms
Adjusts the time until the chorus
sound is heard.
Chorus
Rate
Chorus
Depth
Tremolo
Rate #1
Tremolo
Separation
Tremolo
Phase
0.05–10.00
Hz
Modulation frequency of the cho-
rus effect
0–127
Modulation depth of the chorus
effect
Tweeter
Accelera-
tion
Woofer
Accelera-
tion
Tweeter
Level
Woofer
Level
0–15
0–15
0.05–10.00
Hz
Modulation frequency of the
tremolo effect
0–127
Spread of the tremolo effect
0–180 deg
Depth of the tremolo effect
0–127
0–127
Balance #2
D100:0W–
D0:100W
Volume balance between the di-
rect sound (D) and the tremolo
chorus sound (W)
Volume of the low frequency rotor
Separation
Level #2
0–127
0–127
Stereo width of the sound
Output level
Level
0–127
Output level
96
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
19: SPACE-D
21: STEREO FLANGER
This is a multiple chorus that applies two-phase modulation in
This is a stereo flanger. It produces a metallic resonance that rises
stereo. It creates no audible modulation, yet produces a transparent
and falls somewhat like a jet airplane taking off or landing. A filter is
chorus effect.
provided so that you can adjust the timbre of the flanged sound.
fig.MFX19
fig.MFX21
Balance D
2-Band
Balance D
2-Band
L in
L out
R out
L in
L out
EQ
EQ
Balance W
Flanger
Balance W
Space D
Space D
Balance W
Feedback
Feedback
2-Band
EQ
R in
Balance W
Balance D
Flanger
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Description
Pre Delay
0.0–100.0
ms
Adjusts the time until the chorus
sound is heard.
Parameter
Filter Type
Value
OFF, LPF,
HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Rate #1
0.05–10.00
Hz
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Frequency of modulation
Depth
Phase
Low Gain
High Gain
Balance #2
Depth of modulation
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the chorus sound
(W)
Cutoff Freq
Pre Delay
Rate #1
200–8000
Hz
0.0–100.0
ms
0.05-10.00
Hz, note
0–127
0–180 deg
-98– +98 %
Adjusts the time until the flanger
sound is heard.
Frequency of modulation
Level
0–127
Output level
20: STEREO CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the
Depth
Phase
Feedback
#2
Depth of modulation
Spatial spread of the sound
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the flanger sound
(W)
timbre of the chorused sound.
fig.MFX20
Balance D
2-Band
L in
L out
R out
EQ
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Balance W
Chorus
Chorus
Balance W
2-Band
EQ
R in
Level
0–127
Output level
Balance D
Parameter
Value
Description
Filter Type
OFF, LPF,
HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Cutoff Freq
Pre Delay
Rate #1
200–8000
Hz
0.0–100.0
ms
0.05–10.00
Hz
Basic frequency of the filter
Adjusts the time until the chorus
sound is heard.
Frequency of modulation
Depth
0–127
Depth of modulation
Phase
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the chorus sound
(W)
Low Gain
High Gain
Balance #2
Level
0–127
Output level
97
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
22: STEP FLANGER
23: OVERDRIVE
This is a flanger in which the flanger pitch changes in steps. The
Creates a soft distortion similar to that produced by vacuum tube
speed at which the pitch changes can also be specified in terms of a
amplifiers.
fig.MFX23
note value based on a specified tempo.
fig.MFX22
L in
L out
Pan L
Balance D
2-Band
Over
drive
Amp
Simulator
2-Band
EQ
L in
L out
EQ
Pan R
R in
R out
Step Flanger
Balance W
Feedback
Feedback
Parameter
Drive #1
Value
0–127
Description
Amount of distortion
Also changes the volume.
Sound Quality
Stereo location of the OVERDRIVE
output
Balance W
Step Flanger
2-Band
EQ
Tone #2
Pan
0–127
L64–63R
R in
R out
Balance D
Amp Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Amp simulator on/off
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double-stack amp
3-STACK: large triple-stack amp
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Pre Delay
Value
0.0–100.0
ms
0.05–10.00
Hz, note
0–127
Description
Adjusts the time until the flanger
sound is heard.
Rate
Frequency of modulation
Depth
Feedback
#2
Depth of modulation
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
-98– +98 %
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Step Rate
#1
Phase
Low Gain
High Gain
Balance
0.10–20.00
Hz, note
Rate (period) of pitch change
24: DISTORTION
Produces a more intense distortion than Overdrive. The parameters
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the flanger sound
(W)
are the same as for “23: OVERDRIVE.”
fig.MFX24
L in
L out
Pan L
Amp
2-Band
EQ
Distortion
Simulator
Pan R
Level
0–127
Output level
R in
R out
98
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
Specifications for each Speaker Type
25: GUITAR AMP SIM
(Guitar Amp Simulator)
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX25
Type
Cabinet
Spea
ker
10
Micro-
phone
L in
L out
Pan L
Small1
Small2
Middle
JC-120
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
Pre Amp
Speaker
10
Pan R
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
R in
R out
Built In 1
Built In 2
Built In 3
Built In 4
Built In 5
BG Stack 1
BG Stack 2
MS Stack1
MS Stack 2
Metal Stack
2 Stack
Parameter
Pre Amp
Sw
Pre Amp
Type
Value
OFF, ON
Description
Turns the amp switch on/
off.
JC-120,
Type of guitar amp
Clean Twin,
Match Drive,
BG Lead,
MS1959I,
MS1959II,
MS1959I+II, SLDN
Lead, Metal 5150,
Metal Lead,
OD-1,OD-2TURBO,
Distortion, Fuzz
0–127
3 Stack
Pre Amp
Volume #1
Pre Amp
Master #2
Pre Amp
Gain
Volume and amount of dis-
tortion of the amp
Volume of the entire pre-
amp
Amount of pre-amp distor-
tion
0–127
Low, Mid, High
0–127
Pre Amp
Bass
Tone of the bass/mid/tre-
ble frequency range
Pre Amp
Middle
Pre Amp
Treble
* Middle cannot be set if
“MatchDrive”isselected
as the Pre Amp Type.
Pre Amp
Presence
0–127
(MATCH DRIVE:
-127 - 0)
Tone for the ultra-high fre-
quency range
Pre Amp
Bright
OFF, ON
Turning this “On” produc-
es a sharper and brighter
sound.
* This parameter applies to
the “JC-120,” “Clean
Twin,” and “BG Lead”
Pre Amp Types.
Speaker Sw
OFF, ON
Determines whether the
signal passes through the
speaker (ON), or not (OFF).
Type of speaker
Speaker
Type
(See the table be-
low.)
Mic Setting
1, 2, 3
Adjusts the location of the
mic that’s capturing the
sound of the speaker.
This can be adjusted in
three steps, from 1 to 3,
with the mic becoming
more distant as the value
increases.
Mic Level
Direct Lev-
el
0–127
0–127
Volume of the microphone
Volume of the direct sound
Pan
L64–63R
0–127
Stereo location of the out-
put
Output level
Level
99
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
26: COMPRESSOR
28: SLICER
Flattens out high levels and boosts low levels, smoothing out
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustain-
fluctuations in volume.
fig.MFX26
type sounds.
fig.MFX28
L in
L out
R out
Compressor
Compressor
2-Band EQ
2-Band EQ
L in
L out
R out
Slicer
Slicer
R in
R in
Parameter
Attack #1
Value
0–127
Description
Sets the speed at which compres-
sion starts
Adjusts the volume at which com-
pression begins
Adjusts the output gain.
Parameter
Rate #1
Value
0.05–
10.00 Hz,
note
0–127
Description
Threshold
#2
Post Gain
0–127
Cycle for one measure
0, +6, +12,
+18 dB
-15– +15 dB
-15– +15 dB
0–127
Attack #2
Speed at which the volume changes
between beats
Low Gain
High Gain
Level
Gain of the low frequency range
Gain of the high frequency range
Output level
Input Sync
Sw
OFF, ON
0–127
Determines whether the LFO for
switching the vowels is reset by the
input signal (ON) or not (OFF).
Volume level at which the reset be-
gins
Sets the manner in which the vol-
ume changes as one beat progresses
to the next.
Input Sync
Threshold
Mode
27: LIMITER
Compresses signals that exceed a specified volume level, preventing
LEGATO,
SLASH
distortion from occurring.
fig.MFX27
LEGATO: The change in volume
from one beat’s level to the next
remains unaltered. If the level of
a following beat is the same as the
one preceding it, there is no
change in volume.
L in
L out
R out
Limiter
Limiter
2-Band EQ
2-Band EQ
R in
SLASH: The level is momentari-
ly set to 0 before progressing to
the level of the next beat. This
change in volume occurs even if
the level of the following beat is
the same as the preceding beat.
Timing of volume changes in levels
for even-numbered Beats (Beat 1-2/
Beat 1-4/Beat 2-2/...).
The higher the value, the later the
beat progresses.
Output level
For a single measure containing
four quarter notes, this sets the level
of each sixteenth note when the
measure is divided into sixteenth
notes.
Parameter
Release #1
Value
0–127
Description
Adjusts the time after the signal vol-
ume falls below the Threshold Lev-
el until compression is no longer
applied.
Adjusts the volume at which com-
pression begins
Shuffle
0–127
Threshold
#2
Ratio
0–127
1.5:1, 2:1,
4:1,
100:1
0, +6, +12,
+18 dB
-15– +15 dB
-15– +15 dB
0–127
Compression ratio
Level
Beat
1-1–4-4
0–127
0–127
Post Gain
Adjusts the output gain.
Low Gain
High Gain
Level
Gain of the low frequency range
Gain of the high frequency range
Output level
* This can be set using the sliders of
the part mixer.
100
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
29: GATE
30: LOFI NOISE (Lo-Fi Noise)
Cuts the reverb’s delay according to the volume of the sound sent
In addition to a lo-fi effect, this adds various types of noise such as
into the effect. Use this when you want to create an artificial-
white noise and disc noise.
fig.MFX30
sounding decrease in the reverb’s decay.
fig.MFX29
L in
L out
L in
L out
R out
Gate
Gate
Lo-Fi
Noise Gen.
Lo-Fi
R in
Parameter
Value
Description
R in
R out
Threshold
#1
Mode
0–127
Volume level at which the gate be-
gins to close
Type of gate
Parameter
LoFi Type
Value
1–9
Description
GATE,
DUCK
Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff
HPF: cuts the frequency range
below the Cutoff
GATE: The gate will close when
the volume of the original sound
decreases, cutting the original
sound.
DUCK (Ducking): The gate will
close when the volume of the
original sound increases, cutting
the original sound.
Volume balance between the direct
sound (D) and the effect sound (W)
Adjusts the time it takes for the gate
to fully open after being triggered.
Adjusts the time it takes for the gate
to start closing after the source
sound falls beneath the Threshold.
Adjusts the time it takes the gate to
fully close after the hold time.
Output level
Post Flter
Type
OFF, LPF,
HPF
Balance #2
D100:0W–
D0:100W
0–127
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
200–8000
Hz
WHITE,
PINK
200–8000
Hz, BY-
PASS
Center frequency of the filter
Attack
Time
Hold Time
Switch between white noise and
pink noise.
Center frequency of the low pass fil-
ter applied to the white/pink noise
(BYPASS: no cut)
0–127
Release
Time
Level
0–127
0–127
W/P Noise
Level
Disc Noise
Type
0–127
Volume of the white/pink noise
LP, EP, SP,
RND
Type of record noise
The frequency at which the noise
is heard depends on the selected
type.
Disc Noise
LPF
200–8000
Hz, BY-
PASS
Adjusts the cutoff frequency of the
low pass filter applied to the record
noise. If you don’t want to filter out
any high frequencies, set this pa-
rameter to BYPASS.
Disc Noise
Level
0–127
Volume of the record noise
HumNoise
Type
50Hz, 60Hz
Frequency of the hum noise
HumNoise
LPF
200–8000
Hz, BY-
PASS
Center frequency of the low pass fil-
ter applied to the hum noise (BY-
PASS: no cut)
HumNoise
Level
0–127
Volume of the hum noise
Balance #1
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level #2
101
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
31: LOFI COMPRESS
(Lo-Fi Compress)
33: TELEPHONE
fig.MFX33
L in
L out
R out
Telephone
Telephone
This is an effect that intentionally degrades the sound quality for
creative purposes.
fig.MFX31
R in
L in
L out
R out
Compressor
Compressor
Lo-Fi
Parameter
Value
Description
Voice
Quality #1
Treble
0–15
Audio quality of the telephone
voice
Bandwidth of the telephone voice
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
R in
Lo-Fi
-15– +15 dB
D100:0–
D0:100W
0–127
Balance #2
Parameter
Pre Filter
Type
Value
1–6
Description
Selects the type of filter applied to
the sound before it passes through
the Lo-Fi effect.
Level
34: PHONOGRAPH
Simulates a sound recorded on an analog record and played back on
a record player. This effect also simulates the various types of noise
that are typical of a record, and even the rotational irregularities of
LoFi Type
1–9
Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Type of filter
OFF: no filter is used
Post Filter
Type
OFF, LPF,
HPF
LPF: cuts the frequency range
above the Cutoff
an old turntable.
fig.MFX34
HPF: cuts the frequency range
below the Cutoff
Basic frequency of the Post Filter
Balance D
L in
L out
R out
Post Filter
Cutoff
Balance #1
200–
Balance W
Balance W
8000 Hz
D100:0W–
D0:100W
0–127
Phonograph
Phonograph
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level #2
R in
Balance D
32: LOFI RADIO (Lo-Fi Radio)
In addition to a Lo-Fi effect, this effect also generates various types
Parameter
Signal
Value
0–127
Description
Depth of distortion
of noise, such as radio noise or disk noise.
fig.MFX32
Distortion
Frequency
Range
0–127
Frequency response of the playback
system
L in
L out
Decreasing this value will pro-
duce the impression of an old
system with a poor frequency re-
sponse.
Rotational speed of the turntable
This will affect the frequency of
the scratch noise.
Lo-Fi
Lo-Fi
Radio
Disc Type
LP, EP, SP
Scratch
0–127
0–127
0–127
0–127
0–127
0–127
0–127
0–127
Amount of noise due to scratches
on the record
Volume of noise due to dust on the
record
R in
R out
Noise Level
Dust Noise
Level
Hiss Noise
Level
TotalNoise
Level #1
Wow
Parameter
LoFi Type
Value
1–9
Description
Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff
HPF: cuts the frequency range
below the Cutoff
Volume of continuous “hiss”
Volume of overall noise
Post Flter
Type
OFF, LPF,
HPF
Depth of long-cycle rotational irreg-
ularity
Depth of short-cycle rotational ir-
regularity
Depth of indefinite-cycle rotational
irregularity
Depth of overall rotational irregu-
larity
Flutter
Random
Post Filter
Cutoff
Radio
200–8000
Hz
0–127
Basic frequency of the Post Filter
Total Wow/
Flutter #2
Balance
Simulates the tuning noise of a ra-
dio. As this value is raised, the tun-
ing drifts further.
Detune #1
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
RadioNoise
Level
0–127
Volume of the radio noise
Level
Balance #2
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level
102
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
Parameter
Pre Delay
Value
0.0–500 ms
Description
Adjusts the time until the pitch
shifted sound is heard.
35: TAPE ECHO
A virtual tape echo that produces a realistic tape delay sound. This
simulates the tape echo section of a Roland RE-201 Space Echo.
fig.MFX35
Feedback
#2
-98– +98 %
Adjusts the amount of the pitch-
shifted sound that’s fed back into
the effect. Negative (-) settings in-
vert the phase.
Stereo location of the pitch-shifted
sound
L in
L out
Direct Level
Echo Level
Pan
L64–63R
Tape Echo
Echo Level
R out
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the pitch-shifted
sound (W)
R in
Direct Level
Parameter
Value
Description
Level
0–127
Output level
Mode
S, M, L,
S+M,S+L,
M+L,
Combination of playback heads to
use
Select from three different heads
with different delay times.
S: short M: middle L: long
Tape speed
Increasing this value will shorten
the spacing of the delayed
sounds.
Amount of delay repeats
Boost/cut for the lower range of the
echo sound
37: 2Vo PITCH SHIFTER
(2-Voice Pitch Shifter)
S+M+L
Repeat Rate
#1
0–127
Shifts the pitch of the original sound. This 2-voice pitch shifter has
two pitch shifters, and can add two pitch-shifted versions of the
original sound.
fig.MFX37
Intensity #2
Bass
0–127
-15– +15
Balance D
L in
L out
Level Balance A
Treble
-15– +15
L64–63R
Boost/cut for the upper range of the
echo sound
Independent panning for the short,
middle, and long playback heads
PanA L
PanA R
Balance W
Head S Pan
Head M Pan
Head L Pan
Tape Distor-
tion
2Voice Pitch Shifter
Level Balance B
PanB L
Balance W
R out
PanB R
0–5
Amount of tape-dependent distor-
tion to be added
R in
This simulates the slight tonal
changes that can be detected by
signal-analysis equipment. In-
creasing this value will increase
the distortion.
Speed of wow/flutter (complex
variation in pitch caused by tape
wear and rotational irregularity)
Depth of wow/flutter
Balance D
Parameter
Mode
Value
1, 2, 3, 4, 5
Description
Setting a higher value for this pa-
rameter results in a slower re-
sponse, but steadier pitch.
Adjusts the pitch of Pitch Shift A/B
in semitone steps.
Adjusts the pitch of Pitch Shift A/B
in 2-cent steps.
Adjusts the time until Pitch Shift A/
B is heard.
Wow/Flut-
ter Rate
0–127
0–127
Coarse A #1
Coarse B #2
Fine A
-24– +12
semi
-100–
+100 cent
0.0–500
ms
Wow/Flut-
ter Depth
Echo Level
Direct Level
Fine B
0–127
0–127
Volume of the echo sound
Volume of the original sound
Pre Delay A
Pre Delay B
Pan A
L64–63R
Stereo location of Pitch Shift A/B
Pan B
Level
Balance
Balance
36: FBK PITCH SHIFTER
(Feedback Pitch Shifter)
A100:0B–
A0:100B
Volume balance between Pitch Shift
A and Pitch Shift B
D100:0W–
D0:100W
Volume balance between the direct
sound (D) and the pitch shifted
sound (W)
This allows the pitch-shifted sound to be fed back into the effect.
fig.MFX36
2-Band
EQ
Level
0–127
Output level
L in
L out
Balance D
Balance W
Pitch Shifter
Balance W
Feedback
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Description
Mode
1, 2, 3, 4, 5
Setting a higher value for this pa-
rameter results in a slower re-
sponse, but steadier pitch.
Coarse #1
Fine
-24– +12
semi
-100– +100
cent
Adjusts the pitch of the pitch-shift-
ed sound in semitone steps.
Adjusts the pitch of the pitch-shift-
ed sound in 2-cent steps.
103
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
38: GATED REVERB
39: STEREO DELAY (MFX2 only)
This is a special type of reverb in which the reverb is cut off without
This is a stereo delay.
being allowed to decay naturally.
fig.MFX38
When Feedback Mode is NORMAL:
fig.MFX39a
Balance D
2-Band
EQ
Balance W
L in
L out
R out
2-Band
EQ
Balance W
L in
L out
Balance D
Delay
Gated Reverb
Balance W
Feedback
Feedback
2-Band
EQ
R in
Balance D
Balance W
Delay
2-Band
EQ
R in
Parameter
Type
Value
NORMAL,
REVERSE
Description
Type of reverb
NORMAL: conventional gated
reverb
REVERSE: backwards reverb
Adjusts the time until the reverb
sound is heard.
Adjusts the time from when the re-
verb is first heard until it disap-
pears.
Stereo location of Pitch Shift
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the reverb sound (W)
Output level
R out
L out
Balance D
When Feedback Mode is CROSS:
fig.MFX39b
Balance D
2-Band
EQ
Balance W
Pre Delay
Time
0.0–100.0
ms
5–500 ms
L in
Delay
Feedback
Feedback
Pan #1
L64–63R
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Balance W
Delay
2-Band
EQ
R in
R out
Balance D
Level
Parameter
Feedback
Mode
Value
NORMAL,
CROSS
Description
Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
#1
0–2000 ms,
note
NORMAL,
INVERT
-98– +98 %
Adjusts the time until the delay
sound is heard.
Phase of the delay sound
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
HF Damp
200–8000
Hz, BY-
PASS
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Level
104
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
40: MODULATION DELAY (MFX2 only)
41: TRIPLE TAP DELAY (MFX2 only)
Adds modulation to the delayed sound.
Produces three delay sounds; center, left and right.
fig.MFX41
When Feedback Mode is NORMAL:
fig.MFX40a
Balance D
2-Band
L in
L out
Balance D
2-Band
EQ
Balance W
Left Tap
L in
L out
EQ
Balance W
Delay
Modulation
Triple Tap Delay
Feedback
Center Tap
Feedback
Feedback
Balance W
Right Tap
2-Band
EQ
R in
R out
Balance W
Delay
Modulation
Balance D
Balance D
2-Band
EQ
R in
R out
L out
Parameter
Delay Left/ 0–4000 ms,
Right/Center
Feedback
#1
Value
Description
Adjusts the time until the delay
sound is heard.
When Feedback Mode is CROSS:
note
-98– +98 %
fig.MFX40b
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
Balance D
2-Band
EQ
L in
HF Damp
200–8000
Hz, BY-
PASS
Delay
Modulation
Balance W
Feedback
Feedback
Delay
Modulation
Balance D
Balance W
Left/Right/
Center Level
Low Gain
High Gain
Balance #2
0–127
Volume of each delay
2-Band
EQ
R in
R out
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Parameter
Value
Description
Feedback
Mode
NORMAL,
CROSS
Selects the way in which delay
sound is fed back into the effect (See
the figures above.)
Adjusts the time until the delay
sound is heard.
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Level
42: QUADRUPLE TAP DELAY (MFX2 only)
Delay Left
Delay Right
Feedback
0–2000 ms,
note
-98– +98 %
This effect has four delays.
fig.MFX42a
Balance D
L in
L out
Delay 1
Delay 2
Balance W
Feedback
HF Damp
Rate
200–8000
Hz, BY-
PASS
Quadruple Tap Delay
Delay 3
Balance W
R out
Delay 4
0.05–10.00
Hz
0–127
0-180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Frequency of modulation
R in
1
Balance D
Depth
Phase
Low Gain
High Gain
Balance #
Depth of modulation
fig.MFX42b
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Stereo location of each delay
2
3
4
R
L
Level
Parameter
Value
Description
Delay 1–4
0–4000 ms,
note
Adjusts the time until the delay
sound is heard.
Level 1–4
Feedback
#1
0–127
-98– +98 %
Volume of each delay
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
HF Damp
200–8000
Hz, BY-
PASS
Balance #2
Level
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
105
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
43: MULTI TAP DELAY (MFX2 only)
45: SHUFFLE DELAY (MFX2 only)
This effect provides four delays. Each of the Delay Time parameters
Adds a shuffle to the delay sound, giving the sound a bouncy delay
can be set to a note length based on the selected tempo. You can also
effect with a swing feel.
fig.MFX45
set the panning and level of each delay sound.
fig.MFX43
2-Band
EQ
L out
R out
L in
Balance D
2-Band
Feedback
Delay
Delay A
Delay B
A
B
L in
L out
EQ
Feed
back
Delay 1
Delay 3
Balance W
2-Band
EQ
Multi Tap Delay
Delay 4
R in
Balance W
Delay 2
Parameter
Delay #1
Value
0–4000 ms,
note
Description
Adjusts the time until the delay
sound is heard.
2-Band
EQ
R in
R out
Balance D
Shuffle
Rate
0–100 %
Adjusts the ratio (as a percentage)
of the time that elapses before Delay
B sounds relative to the time that
elapses before the Delay A sounds.
When set to 100%, the delay
times are the same.
Stereo location of Delay A/B
Volume balance between Delay A
and Delay B
Adjusts the amount of the delay
that’s fed back into the effect. Nega-
tive (-) settings invert the phase.
Adjusts the time over which the De-
lay Time changes from the current
setting to its specified new setting.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Parameter
Delay 1–4
Value
0–4000 ms,
note
L64–63R
0–127
-98– +98 %
Description
Adjusts the time until Delays 1–4
are heard.
Stereo location of Delays 1–4
Output level of Delays 1–4
Pan 1–4
Level 1–4
Feedback
#1
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any the high frequencies, set
this parameter to BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Pan A/B
Level
Balance
Feedback
#2
L64–63R
A100:0B–
A0:100B
HF Damp
200–8000
Hz, BY-
PASS
-98– +98 %
Accelera-
tion
0–15
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
HF Damp
200–8000
Hz, BY-
PASS
Level
44: REVERSE DELAY (MFX2 only)
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Adds the reverse of the input sound as a delay.
fig.MFX44
2-Band
EQ
L out
R out
L in
Level
D1
1
D2
Rev. Delay
Delay
2
3
D3
D4
Feedback 1
Feedback 4
2-Band
EQ
R in
Parameter
Threshold
Value
0–127
Description
Volume level at which the reverse
delay begins
Delay 1–4
0-2000 ms,
note
Adjusts the time until Delays 1–4
are heard.
Feedback 1
#1
Feedback 4
HF Damp 1
HF Damp 4
-98– +98 %
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
200–8000
Hz, BY-
PASS
Pan 1–3
Level 1–3
Balance #2
L64–63R
0–127
Stereo location of Delays 1–3 sound
Output level of Delays 1–3 sound
Volume balance between the direct
sound (D) and the effect sound (W)
Gain of the low frequency range
Gain of the high frequency range
Output level
D100:0W–
D0:100W
-15– +15 dB
-15– +15 dB
0–127
Low Gain
High Gain
Level
106
Download from Www.Somanuals.com. All Manuals Search And Download.
Multi-Effects List
46: TIME CONTROL DELAY (MFX2 only)
47: TIME SKIP DELAY (MFX2 only)
This lets you smoothly vary the delay time. As the delay time is
A delay that changes the delay time in stair-step fashion.
fig.MFX47
varied, the pitch will change correspondingly; lengthening the delay
2-Band
EQ
Balance W
time will lower the pitch, and shortening it will raise the pitch.
fig.MFX46
L in
L out
R out
Balance D
2-Band
EQ
L in
L out
Time Skip Delay
Balance D
Balance W
Balance W
Feedback
2-Band
EQ
Time Control Delay
R in
Balance D
Balance W
Feedback
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Description
Delay #1
0–4000 ms,
note
Adjusts the time until the delay is
heard.
Parameter
Delay #1
Value
0–4000 ms,
note
Description
Adjusts the time until the delay is
heard.
Skip Rate
0.05–10.0
Hz, note
-98– +98 %
Frequency at which the delay time
will change
Adjusts the amount of the delay
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Adjusts the time over which the De-
lay Time changes from the current
setting to its specified new setting.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Stereo location of the delay
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Feedback
#2
Feedback
#2
-98– +98 %
Adjusts the amount of the delay
that’s fed back into the effect. Nega-
tive (-) settings invert the phase.
Adjusts the time over which the De-
lay Time changes from the current
setting to a specified new setting.
The rate of change for the Delay
Time directly affects the rate of
pitch change.
Adjusts the frequency above which
sound fed back to the effect is fil-
tered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
Stereo location of the delay
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Accelera-
tion
0–15
Accelera-
tion
0–15
HF Damp
200–8000
Hz, BY-
PASS
HF Damp
200–8000
Hz, BY-
PASS
Pan
L64–63R
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Pan
L64–63R
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level
Level
note:
fig.notelist2.e
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Thirty-second note),
(Sixteenth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Eighth note),
(Quarter note),
(Quarter-note triplet),
(Half-note triplet),
(Dotted half note),
(Dotted whole note),
(Dotted eighth note),
(Dotted quarter note),
(Half note),
(Whole-note triplet),
(Double-note triplet),
(Whole note),
(Double note)
107
Download from Www.Somanuals.com. All Manuals Search And Download.
Mastering effect
This is a stereo compressor (limiter) that is applied to the final
output of the MC-909. It has independent high, mid, and low ranges.
By compressing sounds that exceed the specified volume level, it can
About THRESHOLD and RATIO
As shown in the diagram below, these parameters determine how
be used to prevent the sound from distorting.
the volume is to be compressed.
fig.Comp.e
fig.4-07
1:1
RATIO
2:1
4:1
INF:1
THRESHOLD
Input Level
Parameter
ATTACK
Range
0–100 ms
Explanation
Time from when the volume
goes up the threshold level un-
til the compressor effect ap-
plies
RELEASE
50–5000 ms
-36–0 dB
Time from when the volume
falls below the threshold level
until the compressor effect no
longer applies
Volume level at which com-
pression begins
THRESHOLD
RATIO
1.00:1–
INF:1
Compression ratio (INF: infini-
ty)
LEVEL
Split Frequency
High
0–24 dB
2000–8000
Hz
Output volume
Frequency at which the high-
frequency (HI) and mid-fre-
quency (MID) bands are split
Frequency at which the low-
frequency (LO) and mid-fre-
quency (MID) bands are split
Split Frequency
Low
200–800 Hz
You can use the controls of the Mastering section (ATTACK and
RELEASE) to adjust the mastering effect parametersin real time.
fig.4-08
[ON]
Switches the mastering effect on/off
[BAND]
Selects the frequency band that you want to adjust
Function buttons
[F1 (Techno)]
[F2 (Hip Hop)]
[F3 (Break Beats)]
[F4 (User)]
[F5 (Close)]
[F6 (System Write)]
Recall settings suitable for the correspond-
ing style.
Recalls the user settings that you saved.
Returns to the previous screen.
Saves the current settings as the user set-
tings.
Only one set of user settings can be
saved.
If you press [F1]–[F4], the settings you are editing will be lost. Press
[F6] first to save them.
108
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Sampling mode)
fig.0-01
1
8
2
9
6
3
10
11
7
13
12
4
5
14
In the Sampling section of the panel, press [SAMPLING/
RESAMPLING] so the indicator is lighted. The Sampling Menu
screen will appear.
4. Mastering section
[ON]
Selects the frequency band to adjust.
During sampling, the panel controls have the following functions.
[BAND]
[ATTACK]
[RELEASE]
Adjusts the attack time of the input sound.
Adjusts the time from when the volume falls below
the threshold level until the effect disappears.
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
[BEAM 1 ON]
Turns the left D Beam controller
(BEAM 1) on/off.
[BEAM 2 ON]
Turns the right D Beam controller
(BEAM 2) on/off.
27).
[D BEAM ASSIGN]
Selects the function of the D Beam
controller.
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
2. Volume section
[OUTPUT]
[INPUT]
Adjusts the output volume of the entire MC-909.
Adjusts the input volume from the INPUT jacks.
3. Realtime Modify section
These controls modify the sound (p. 33).
110
Download from Www.Somanuals.com. All Manuals Search And Download.
How Things Work (in Sampling mode)
12. Sequencer section
7. Part Mixer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
Plays a pattern (p. 24).
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
[PART]
(SELECT/MUTE)
Selects the function of the Part buttons [1]–
[16].
The buttons work as Part Select buttons
when the indicator is not lighted, and as
Mute buttons when the indicator is lit.
Switches on/off the Tempo/Mute part (a
part that records tempo changes and mute
operations, p. 42).
[REC]
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
When you press this button so its indicator
lights, the Mixer screen will appear.
Selects the parts that are controlled by the
sliders.
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
The sliders will control parts 1–8 if this indi-
cator is not lighted, or parts 9–16 if the indi-
cator is lit.
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
8. Sampling section
[EDIT]
screen (p. 114).
[CHOP]
[EMPHASIS]
Divides a sample (p. 118).
range (p. 120).
[COMBINE]
Combines multiple samples
Stretches or shrinks the sample
to change the length or tempo
(p. 121).
[TIME STRETCH]
[NORMALIZE/AMP]
Boosts the level of the sample
p. 121), or boosts/cuts the level
as specified (Amp, p. 122).
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the IN-
PUT jack into the output (p.
34).
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Synchronizes the sample to the
pattern (p. 36).
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
Switch each effect on/off (p. 88).
Selects the effect to be controlled in real
time (p. 91).
[TYPE]
[C1], [C2]
Selects the type of effect.
Modifies the assigned function in real
time.
10. Mode section
Press the [PATTERN] button to enter Pattern mode.
Pressing one of the other two buttons will switch you to the
corresponding mode.
11. Cursor/Value section
Use these buttons and dial to select patterns or input values (p. 18).
111
Download from Www.Somanuals.com. All Manuals Search And Download.
Sampling procedure
1. Press [SAMPLING/RESAMPLING] to access the
3. Make the settings for things such as the input source
Sampling Menu screen.
of the sound to be sampled, and triggering.
fig.5-01
Function buttons
[F1 (Input Setting)]
[F2 (Auto Trig)]
(Auto Trigger)
[F3 (Trim Sw)]
If this is on, sampling will begin automati-
cally when the input sound is detected.
If this is turned on, the Start point and End
point settings (p. 115) will be automatically
adjusted after sampling is performed, so
any silent portions at the beginning or end
of the sampled sound are excluded.
Set the tempo, and turn the metronome on/
off (p. 25).
[F4 (BPM/Click)]
Parameters
The upper part of the screen will show the amount of free
memory. If the free memory reaches 0%, no further sampling is
possible.
Parameter
Input Select
Range
LINE IN L/R,
LINE IN L,
DIGITAL(OPT),
DIGITAL(CO-AX),
MICROPHONE
Explanation
Input source to be sampled
LINE IN L/R: INPUT
jacks L/R (stereo)
LINE IN L: INPUT jack L
(mono)
DIGITAL(OPT): Digital
input (optical)
DIGITAL(CO-AX): Digi-
tal input (coaxial)
2. Press [F1 (Sampling)]–[F5 (Solo)] to select the
sampling mode. The sampling-standby screen will
appear.
[F1 (Sampling)]
Sample a sound from an external input source.
* Operating the velocity pads or D Beam con-
trollers will not play the internal sound gen-
erator.
MICROPHONE: INPUT
jack L (mono, mic level)
[F2 (Re-Sampling)] Resample the sound of the internal sound gen-
erator.
* This cannot be set when
resampling.
Stereo/mono setting for
sampling
MONO: The sound will
be sampled as one wave.
If the sound is stereo, the
left and right signals will
be mixed.
STEREO: The sound
will be sampled as two
waves, L and R.
* The sound of the external input will not be
heard.
Stereo
Switch
MONO, STEREO
[F3 (Mix)]
(Mix sampling)
Sample the combined sounds of the internal
sound generator and an external input source.
[F4 (Auto Divide)] Sample an extended source, and automatically
(Auto divide sam- divide it into several samples at silent regions.
pling)
* Operating the velocity pads or D Beam con-
trollers will not play the internal sound gen-
erator.
[F5 (Solo)]
(Solo sampling)
While playing the internal sound generator as
usual, sample only the sound from the external
input.
* Mono sampling uses
half as much memory
space.
The length of sound pre-
ceding the moment at
which sampling was man-
ually or automatically initi-
ated that will be captured
in the sample
* Effects cannot be applied to the external in-
put sound.
Pre Sample
Time
0–1000 ms
[F6 (Cancel)]
Return to the previous screen.
(Example) Standby screen for Sampling
fig.5-02
This lets you prevent the
attack portion of the
sound from being omit-
ted from the sample.
How sampling will end
MANUAL: Continue
sampling until you press
[F5 (STOP)].
Stop Trigger
MANUAL, BEAT,
TIME
BEAT: Sample the spec-
ified number of beats at
the current tempo
(BPM).
TIME: Sample the speci-
fied length of time.
112
Download from Www.Somanuals.com. All Manuals Search And Download.
Sampling procedure
6. Press [F5 (Stop)] to stop sampling.
Parameter
Sampling
Length
Range
When Stop Trigger is BEAT
1–20000 Number of beats to contin-
ue sampling
When Stop Trigger is TIME
Explanation
The Sample Edit (p. 114) screen will appear.
fig.5-04
00’00”010–
50’00”000
length of time to continue
sampling
The maximum value will depend on the amount
of memory.
* This parameter cannot be specified if Stop Trig-
ger is set to MANUAL.
Auto Trig-
ger Level
0–7
Volume level at which
sampling will begin when
Auto Trig is ON
A setting of 0 is the min-
imum.
Gap Time
500, 1000, 1500,
2000 ms
Length of silence at which
the sample will be divided
Whenever there is a si-
lent region longer than
the specified time, the
sample will be divided
at that point, and the
next sample number will
be assigned to the sound
that follows.
7. Press [EXIT] to go back to where you were before
you entered the Sampling screen.
About the sample numbers chosen during
sampling
* This parameter is valid
only when you are using
Auto Divide Sampling.
The samples created when you execute the sampling operation
are placed in an area where there are at least 256 consecutive
unused numbers in the sample list.
4. In the Volume section of the panel, use [INPUT] to
adjust the input level of the external source.
*
You cannot perform sampling if there are not at least 256
consecutive unused numbers in the sample list. You will need to
delete unneeded samples (p. 124) in order to allocate 256 or more
consecutive free numbers.
*
If the input level is excessive, the word “CLIP” will appear at the
lower right of the level meter in the screen, and the CLIP indicator at
the upper right of the meter will light.
*
*
Using a connection cable that contains a resistor can cause the sound
level to be low. Use a connection cable that does not contain a resistor.
The level meter shows the level after the signal has passed through the
effects (compressor, multi-effects, reverb) and the mastering effect. If
you want to see the actual input level, turn off all effects and the
mastering effect (p. 88, p. 108).
(During Solo sampling, effects cannot be applied to the external input
sound.)
Dividing a sample during
sampling
1. During sampling, press [F6 (Divide)].
The sample will be divided at the point where you pressed the
button, and the subsequent material will be sampled as a
sample of the next number.
*
When sampling in mono, you can divide the material into a maximum
into a maximum of 128 samples (L/R total 256 samples).
Howling could be produced depending on the location of
microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from
speakers.
Samples that you load can be used in patches or rhythm sets
in the same way as waves.
3. Lowering volume levels.
*
If you use a microphone, connect the ground terminal to an
electrical ground (p. 15).
Samples that you load will be lost when you turn off the power. If
you want to keep them, you must Save them (p. 123).
5. Press [F6 (Start)] to begin sampling.
About the volume when resampling
The volume of a phrase that you resample may be less than the
volume of the original phrase. If necessary, execute the Normalize
command (p. 121) to raise the volume.
You cannot save a sample that is larger than 128 MB
(approximately 24 minutes of monaural or 12 minutes of stereo).
If you are not using a memory card, you cannot save a sample that is
larger than 16 MB (approximately 180 seconds of monaural or 90
seconds of stereo).
*
Even if you expand the memory (DIMM), you cannot save a sample
that is larger than 128 MB. (However, you can play it.)
113
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Use sample edit to modify a waveform (sample) that you sampled/
loaded/imported.
Sample edit operations (Chop, Normalize, etc.) apply to the entire
sample. Even if you specify a start point or end point, they will be
ignored.
Basic sample editing
procedure
If you want to apply the operation only to the region between the
start point and end point, use Truncate to delete unwanted portions
of the sample, and then perform the sample editing operation.
1. When you press [EDIT] in the sampling section, the
Sample Edit screen will appear.
fig.5-04
Zoom In/Out
Here's how to change the magnification of the sample display.
1. In the Sample Edit screen, press [F6 (Zoom In/Out)].
The Zoom In/Out sub-window will appear.
Function buttons
[F1 (Sample List)]
[F2 (Sample Param)]
[F4 (Truncate)]
115).
Make various settings for the sample (p.
116).
Cut unwanted portions from the begin-
ning/end of the sample (p. 117).
(p. 117).
display (p. 114).
[F5 (Create Patch)]
[F6 (Zoom In/Out)]
2. Use [CURSOR] to change the magnification of the
display.
•
Horizontal axis (time axis): 1/1--1/65536
Panel buttons
Press [CURSOR (left)] to increase the display magnification.
[CHOP]
[EMPHASIS]
Divide the sample (p. 118).
Emphasize the sample’s upper range
(p. 120).
Combine multiple samples into a single
sample (p. 120).
Stretch or shrink the sample to change
the length or tempo (p. 121).
Boosts the level of the sample as high as
possible (Normalize, p. 121), or boosts/
cuts the level as specified (Amp, p. 122).
*
You can also use [VALUE] or [INC/DEC] to adjust this setting.
Vertical axis (waveform amplitude axis): x1--x128
•
[COMBINE]
Press [CURSOR (left)] to increase the display magnification.
Press [CURSOR (right)] to decrease the display magnification.
[TIME STRETCH]
[NORMALIZE/AMP]
3. Press [F6 (Close)] to close the sub-window.
Even without displaying the Zoom In/Out sub-window, you can
press [CURSOR (right/left) to expand/shrink the horizontal axis, or
hold down [SHIFT] and press [CURSOR (up/down)] to expand/
shrink the vertical axis.
You can access the Chop–Amp screens by holding down [SHIFT]
and pressing [F1]–[F6]. Alternatively, you can select these screens by
pressing [MENU].
114
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
of the sample
Here’s how to select a sample from a list.
You can specify the portion of the sample that will actually sound.
1. In the Sample Edit screen, press [F1 (Sample List)].
You can also specify the region that is to be looped.
1. Select the sample that you want to edit.
For details on how to select a sample, refer to Sample List (p.
115).
2. Use [CURSOR (up/down)] to select the point that you
want to set.
•
•
•
Start Point:
This is the point at which playback will start. Set this so that any
unwanted portion at the beginning of the sample will be
skipped, and the sound will begin at the desired moment.
Loop Start:
This is the point at which loop playback (second and
subsequent times) will start. Set this if you want to loop the
sound from a point other than the start point.
End Point:
2. Use [F1 (Preset)]–[F3 (Card)] to specify the bank from
This is the point at which playback will end. Set this so that any
unwanted portion at the end of the sample will not be heard.
which you want to select a sample.
3. Use [VALUE], [INC/DEC], or [CURSOR (up/down)] to
select a sample.
If you hold down [SHIFT] while you operate the above buttons,
the sample number will change in steps of ten.
4. Press [F6 (Select)].
The edit screen for the selected sample will appear.
Function buttons
[F1 (Preset)]
[F2 (User)]
Select from preset samples.
[F3 (Card)]
Select from memory card samples.
Add a check mark to the sample.
Display the edit screen for the selected
sample.
[F4 (Mark Clear)]
[F6 (Select)]
[SHIFT] +
[F1 (Delete Sample)]
[SHIFT] +
[F2 (Erase)]
[SHIFT] +
[F3 (Load)]
[SHIFT] +
[F4 (Mark Clear All)]
[SHIFT] +
[F5 (Mark Set All)]
[SHIFT] +
Delete all checked samples with their files.
(p. 124) (*1)
Erase all checked samples from memory
(p. 124). (The files will not be deleted.) (*1)
Load the checked samples into memory.
(p. 124) (*1)
Clear the check marks from all samples in
the folder.
Add a check mark to all samples in the
folder.
3. Use [VALUE] or [INC/DEC] to move the point so it's
where you want it to be.
You'll probably find it convenient to zoom-in when making fine
adjustments, and zoom-out when making major adjustments (p.
114).
Execute “Create Rhythm” (p. 119) on all
checked samples.
[F6 (Create Rhythm)]
After specifying the start point and end point, you can execute
Truncate (p. 117) to delete unwanted portions at the beginning and
end of the sample.
*1: If not even check mark is assigned, the operation will be
executed on the sample selected by the cursor.
The status of each sample in the sample list
Icon
Sample status
NEW
EDIT
UNLOAD
None
Sample has just been sampled or imported
Sample has been edited but not yet saved
Sample has not been loaded
Sample has just been saved or loaded
115
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
About the Loop Mode
FWD (Forward)
Sample Parameters
Here you can make various settings for the sample.
After the Sample played back from the Start point to the End point, it
will then be repeatedly played back in the forward direction, from
the Loop Start point to the End point.
1. In the Sample Edit screen, press [F2 (Sample
Param)].
Loop
Start
Start P.
End P.
ONE-SHOT
The sample will be played back only once, from the Start
point to the End point.
Loop
Start
Start P.
End P.
2. Use [CURSOR (up/down)] to select a parameter.
3. Use [VALUE] or [INC/DEC] to edit the value.
4. Press [F6 (Close)] when you are finished.
REV (Reverse)
Parameter
Values
Explanation
When the sample has been played back from the End point to the
Start point, it will be repeatedly played back in the reverse direction,
from the Loop Start point to the Start point.
Loop Mode
FWD,
ONE-SHOT,
REV,
REV-ONE
-50– +50
How the sample will be played
Refer to “About the Loop
Mode” (p. 116)
Loop Tune
Pitch of the loop region
Make fine adjustments in
one-cent (1/100 semitone) in-
crements.
Loop
Start
Start P.
End P.
Original Key
BPM
24 (C1)–
127 (G9)
Note number that will play the
sample at the pitch at which it
was sampled
5–300
Original BPM of the sample
* You will need to edit this val-
ue when using Auto Sync.
Auto sync method
Decreasing this value will op-
timize the sound for more
rapid phrases, and increasing
this value will optimize the
sound for slower phrases.
Fine adjustment of the Start
point.
REV-ONE (Reverse One-shot)
Time Stretch
Type
TYPE01–
TYPE10
The sample will be played back only once from the End point to the
Start point in the reverse direction.
Loop
Start P.
Start
End P.
Start Fine
0–255
0–255
0–255
Loop Start
Fine
Loop End
Fine
Fine adjustment of the Loop
Start point.
Fine adjustment of the End
point.
116
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Truncate
Create Patch
This operation cuts the portions of the sample that are earlier than
This operation creates a patch that uses the current sample as the
the Start Point and later than the Loop End Point.
wave for Tone 1.
If desired, the created patch can also be assigned to the current part.
1. In the Sample Edit screen, press [F4 (Truncate)].
1. In the Sample Edit screen, press [F5 (Create Patch)].
The patch name entry screen will appear.
2. If you want to replace the current sample with the
truncated sample, press [F4 (Over Write)] to display
the “✔” symbol.
2. Assign a name to the patch, and save it.
Refer to “Saving a Patch/Rhythm Set” (p. 77).
3. Press [F6 (Execute)].
*
If you decide to cancel the Create Patch operation, press [F5 (Cancel)]
to return to the previous screen.
A message will ask you for confirmation.
4. To execute the Truncate operation, press [F6
(Execute)].
time.
*
If you want to cancel without executing, press [F5 (Cancel)].
When saving the patch, a message will ask you whether you want to
assign the newly created patch to the current part.
3. If you want to assign the patch, press [F6 (Execute)].
The newly created patch will be assigned to the current part,
and the Patch Edit screen (p. 56) will appear.
4. If you do not want to assign the patch, press [F5
(Cancel)].
You will return to the Sample Edit screen.
117
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Automatically dividing a sample
(Auto Chop)
Chop
This operation divides the sample into two or more samples (a
maximum of 16 samples).
Here’s how you can automatically specify the points at which
the sample is to be divided, and then divide the sample.
1. In the Sample Edit screen, press [CHOP].
1. Press [F4 (Auto Chop)].
Alternatively, hold down [SHIFT] and press [F1 (Chop)].
The Auto Chop sub-window will appear.
2. Press [F1 (Sample List)] and select a sample.
2. Press [CURSOR (up)] to move the cursor to “Chop
Type.”
3. Use [VALUE] or [INC/DEC] to select the method by
which the sample is to be divided.
4. Press [CURSOR (down)].
5. Use [VALUE] or [INC/DEC] to set the value.
Parameter
Explanation
Chop Type
How the sample is to be divided
Level: Divide according to volume.
Beat: Divide at beats based on the BPM
(p. 116) of the sample.
Divide x: Divide into ‘x’ number of
equal lengths.
If Chop Type is Level
Level
Level at which the sample is to be divided
Lower settings of this value will cause
the sample to be divided more finely.
Range: 1–10
Procedure for dividing a sample
You can freely specify the point(s) at which the sample is to be
divided.
If Chop Type is Beat
Beat
Beat interval at which the sample is to be
divided
Range: 1/32, 1/16T, 1/16, 1/8T, 1/8,
1/4T, 1/4, 1/2, 1/1, 2/1
1. Press [CURSOR (up)] to move the cursor to “Current
Address.”
If Chop Type is Divide x
Times Number of samples into which the sam-
2. Use [VALUE] or [INC/DEC] to move the point.
ple is to be divided
Range: 2–16
3. At the location where you want to divide the sample,
press [F2 (Add Point)].
6. Press [F6 (Auto Chop)].
The current location will be the dividing point.
The dividing points will be automatically specified according to
the settings you made.
The sample will be divided into a maximum of 16 samples.
4. Repeat steps 2 and 3 to specify other dividing points
as desired.
*
To cancel Auto Chop, press [F5 (Close)].
The sample will be divided into a maximum of 16 samples.
7. Press [F6 (Execute)].
5. Press [F6 (Execute)].
A message will ask you for confirmation.
A message will ask you for confirmation.
8. To execute, press [F6 (Execute)].
6. To execute, press [F6 (Execute)].
The Chop operation will be executed, and the divided samples
sample numbers.)
The Chop operation will be executed, and the divided samples
sample numbers.)
*
To cancel, press [F5 (Cancel)].
*
To cancel, press [F5 (Cancel)].
When you execute the Auto Chop, a message will ask whether
you want to execute Create Rhythm.
When you execute the Chop operation, a message will ask
whether you want to execute Create Rhythm.
9. If you want to execute Create Rhythm, press [F6
7. If you want to execute Create Rhythm, press [F6
(Execute)].
(Execute)].
•
Create Rhythm -> p. 119
•
Create Rhythm -> p. 119
10.If you don't want to execute Create Rhythm, press
[F5 (Cancel)].
8. If you don’t want to execute Create Rhythm, press
[F5 (Cancel)].
You will return to the Sample Edit screen.
You will return to the Sample Edit screen.
118
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Auditioning the divided samples
Create Rhythm
This operation lets you create a rhythm set using the samples
selected from the sample list, or the samples you created by the
Chop operation.
After dividing the sample, you can press the velocity pads to
audition each of the divided samples.
From the sample nearest to the start point, the samples will be
played by pads [1], [2], ...
Each of the divided samples will become a separate rhythm tone.
Moving a dividing point
1. Use [CURSOR (up/down)] to move the cursor to
Create a Rhythm Set using the samples
selected from the Sample List
“Point No.”
1. In the sample list, add a check mark to the samples
2. Turn [VALUE] to select the point that you want to
move.
that you want to use as a rhythm tone.
You can select up to sixteen samples. If you select seventeen or
more samples, the rhythm set will be created from the sixteen
lowest-numbered samples.
In order from the start point, the points are numbered 1, 2, ...15.
3. Press [CURSOR (down)].
2. Hold down [SHIFT] and press [F6 (Create Rhythm)].
4. Turn [VALUE] to move the dividing point.
A message will ask whether you want to execute Create
Rhythm.
3. To execute, press [F6 (Execute)].
Deleting a dividing point
1. Use [CURSOR (up/down)] to move the cursor to
The Rhythm Set Name input screen will appear.
4. Assign a name to the rhythm set, and save it.
“Point No.”
For details, refer to “Saving a Patch/Rhythm Set” (p. 77).
2. Turn [VALUE] to select the point that you want to
*
To cancel the Create Rhythm operation, press [F5 (Cancel)] to return
to the previous screen.
delete.
3. Press [F3 (Clear Point)].
When you save a rhythm set, you will be asked whether you want to
assign the newly created rhythm set to the current part.
The dividing point will be deleted, and the waveforms before
and after that point will be connected.
5. If you want to assign it, press [F6 (Execute)].
The newly created rhythm set will be assigned to the current
part, and the Rhythm Edit screen (p. 70) will appear.
6. If you don’t want to assign it, press [F5 (Cancel)].
You will return to the sample edit screen.
Create a Rhythm Set using the samples
created by the Chop operation
When the sample chop operation is completed (p. 118), you will
be asked whether you want to execute Create Rhythm.
1. If you want to execute Create Rhythm, press [F6
(Execute)].
The Rhythm Set Name input screen will appear.
2. Assign a name to the rhythm set, and save it.
*
To cancel the Create Rhythm operation, press [F5 (Cancel)] to return
to the previous screen.
When you save a rhythm set, you will be asked whether you want to
assign the newly created rhythm set to the current part.
3. If you want to assign it, press [F6 (Execute)].
The newly created rhythm set will be assigned to the current
part, and the Rhythm Edit screen (p. 70) will appear.
4. If you don’t want to assign it, press [F5 (Cancel)].
You will return to the sample edit screen.
119
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Emphasis
Combine
In some cases, the audio quality will be improved if you boost the
high-frequency range of an imported sample. Also, the high-
frequency range of the sample may be emphasized when you use a
sampler made by another manufacturer. In this case, you can
minimize the change in tonal character by attenuating the high-
frequency range.
This operation combines multiple samples into a single sample. You
can combine as many as sixteen samples. You can also place silent
spaces between the samples.
1. Press [COMBINE].
Alternatively, hold down [SHIFT] and press [F3 (Combine)].
2. Press [F1 (Sample List)] and select a sample.
1. Press [EMPHASIS].
Alternatively, hold down [SHIFT] and press [F2 (Emphasis)].
2. Press [F1 (Sample List)] and select a sample.
3. Use [CURSOR] to select a parameter.
4. Use [VALUE] or [INC/DEC] to set the value.
3. Use [VALUE] or [INC/DEC] to select the emphasis
type.
Parameter
1–16
Range
Explanation
The sample or silence to be combined
TYPE
Sample,
Time, Beat
Sample: sample
Time: silent region (specified as
time)
PreEmphasis: Emphasizes the high-frequency range.
DeEmphasis: Attenuates the high-frequency range.
Beat: silent region (specified as a
note value)
Bank that contains the sample
U: user
4. If you want to replace the current sample with the
emphasized sample, press [F4 (Over Write)] to
display the “✔” symbol.
BANK
PRM
U, C
C: card
5. Press [F6 (Execute)].
* This will be displayed only if
TYPE is set to Sample.
A message will ask you for confirmation.
1–10000 ms
Sample number, or the duration/
note value of the silent region
The note value is based on the
BPM of the sample immediately
before the silent region.
6. To execute, press [F6 (Execute)].
note value:
1/32,1/16T,
1/16, 1/8T,
1/8, 1/4T,
1/4, 1/2,
*
To cancel, press [F5 (Cancel)].
* If there is no sample immediate-
ly before the silent region, the
current BPM will be used.
1/1, 2/1
5. Press [F6 (Execute)]
A message will ask you for confirmation.
6. To execute, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
120
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Edit Time Stretch
Normalize
This operation stretches or shrinks the sample to modify the length
This operation raises the level of the entire sample as much as
or tempo.
possible without exceeding the maximum level.
You can stretch or shrink the sample by a factor of one half to double
the original length.
1. Press [NORMALIZE/AMP].
1. Press [TIME STRETCH].
2. Press [F1 (Sample List)] and select a sample.
Alternatively, hold down [SHIFT] and press [F4 (Time Stretch)].
2. Press [F1 (Sample List)] and select a sample.
3. If you want to replace the current sample with the
normalized sample, press [F4 (Over Write)] to display
the “✔” symbol.
3. Press [CURSOR (up/down)] to select how you want
to specify the tempo/length.
4. Press [F6 (Execute)].
A message will ask you for confirmation.
Edit
Time
Stretch
BPM:
Change the BPM (p. 116) of the sample to the BPM
you specify.
Time:
Specify the length of the sample as a time value.
Rate:
5. To execute, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Specify the length relative to the current length of
the sample.
Range: 50.0–200.0%
Type
TYPE01–
TYPE10
Lower settings of this value will make
the sound more suitable for faster phras-
es, and higher settings will make the
sound more suitable for slower phrases.
Make fine adjustments to the tonal qual-
ity of the Time Stretch.
Quality
Adjust
1–10
4. Use [VALUE] or [INC/DEC] to specify the tempo/
length.
5. Press [F6 (Execute)].
The length of the sample will be changed as specified.
*
To cancel, press [F5 (Close)].
121
Download from Www.Somanuals.com. All Manuals Search And Download.
Sample Edit
Amp
This operation applies an envelope (time-variant change) to the
volume of the sample.
1. Press [NORMALIZE/AMP] and then press [F3 (Amp)].
Alternatively, hold down [SHIFT] and press [F6 (Amp)]).
2. Press [F1 (Sample List)] and select a sample.
3. Use [CURSOR (up/down)] to select a parameter.
4. Use [VALUE] or [INC/DEC] to set the value.
Current Point
Currently selected point
Beginning near the start point, the points
will be numbered 1, 2, 3, or 4.
Point 1–4
Rate 1–4
Location of the current point
Amplification ratio of the current point
Specifies how the volume of each point is
to be boosted relative to the current value.
Range: 0–400%
5. If you want the edited sample to replace the current
sample, press [F4 (Over Write)] to display the “✔”
mark.
6. Press [F6 (Execute)].
A message will ask you for confirmation.
7. To execute, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
122
Download from Www.Somanuals.com. All Manuals Search And Download.
Saving a sample
A newly loaded sample, as well as any changes you've made in the
settings for a sample will be lost as soon as you turn off the power. If
you want to keep such data, you must save it as follows.
5. Assign a name to the sample.
[CURSOR (left/right)]
[CURSOR (up/down)]
Moves the cursor (the location at which
to enter/edit a character).
Switches letters between uppercase
and lowercase.
1. Press [SAMPLING/RESAMPLING] to access the
Sample Edit screen.
[VALUE] [INC/DEC]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will al-
ternately select the first character of
the uppercase alphabet (A), lower-
case alphabet (a), or numerals and
symbols (0).
2. Select the sample that you want to save.
[F2 (Delete)]
[F3 (Insert)]
Deletes the character at the cursor loca-
tion, while shifting the following char-
acters to the left, closing the gap.
Inserts a space at the cursor location.
*
If you decide to discard your changes, press [F1 (Cancel)].
6. When you have finished inputting the name, press
[F6 (Write)].
3. Press [WRITE].
The Write Menu screen will appear.
Make sure that “Sample” is highlighted.
4. Press [ENTER].
The Sample Name input screen will appear.
7. Use [VALUE] or [INC/DEC] to select the write-
destination sample.
Use [CURSOR (left/right)] to select the bank (User or Card).
8. Press [F6 (Write)].
A message will ask you for confirmation.
9. To write the sample, press [F6 (Execute)].
*
If you decide to cancel without writing, press [F5 (Cancel)].
•
•
You cannot overwrite onto another sample.
When saving a stereo sample, two consecutive sample numbers
must be available.
123
Download from Www.Somanuals.com. All Manuals Search And Download.
Menu (in Sample Edit)
Importing WAV/AIFF data
Using the menu
1. In the Sample Edit screen, press [MENU].
Here’s how to import an audio file (WAV/AIFF) as a sample.
1. From the menu, choose “Import WAV/AIFF.”
2. Press [ENTER].
2. Use [CURSOR (up/down)] or turn [VALUE] to select
the function that you want to execute.
3. Select the sample that you want to import.
3. Press [ENTER].
A message will ask you for confirmation.
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
4. To execute, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Display the contents of the user area.
Display the contents of the memory card.
Remove the check mark from the file.
Add a check mark to the file.
Return to the previous screen.
Import the checked files. (*1)
Clear the check marks from all files in the
folder.
Add a check mark to all files in the folder.
Sample List
Sample Parameter
Make various settings for a sample
(p. 116).
[F2 (Card)]
[F3 (Mark Clear)]
[F4 (Mark Set)]
[F5 (Cancel)]
[F6 (Import)]
[SHIFT] +
[SHIFT] +
[F4 (Mark Set All)]
Load Sample
Load a sample.
Load All Sample
Load all samples from the user bank
and card bank.
Import WAV/AIFF
Create Patch
Import WAV/AIFF files from an ex-
ternal device.
Create a patch using a sample (p.
117).
*1: If not even check mark is assigned, the operation will be
executed on the file selected by the cursor.
Delete Sample File
Erase Sample
Completely delete a sample.
Erase a sample from memory.
4. Press [F6 (Import Sample)].
A message will ask you for confirmation.
Loading a sample
5. To import, press [F6 (Execute)].
Here’s how a sample that you specify in the sample list (p. 115) can
The file will be loaded as a sample.
be loaded into memory.
*
To cancel, press [F5 (Cancel)].
1. From the menu, choose “Load Sample.”
2. Press [ENTER].
Deleting a sample
Here’s how to completely delete a sample file.
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
1. From the menu, choose “Delete Sample File.”
*
To cancel, press [F5 (Cancel)].
2. Press [ENTER].
A message will ask you for confirmation.
Loading all samples
3. Press [F6 (Execute)] to execute.
Here’s how all samples in the user bank and card bank can be
*
To cancel, press [F5 (Cancel)].
loaded.
Erasing a sample
When you execute Load All Samples, all unsaved samples will be
erased.
Here’s how to erase a sample from memory. The file will not be
erased.
1. From the menu, choose “Erase Sample.”
If the total size of the data in the user bank and card bank exceeds
the size of memory, the samples of the user bank will be loaded first.
At this time, as many card bank samples as possible will be loaded,
starting from the lowest-numbered sample.
2. Press [ENTER].
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
1. From the menu, choose “Load All Sample.”
2. Press [ENTER].
A message will ask you for confirmation.
In the case of stereo samples, L and R will be loaded/deleted/erased
simultaneously.
3. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
124
Download from Www.Somanuals.com. All Manuals Search And Download.
System
Here you can make settings that affect the entire system, such as
those for tuning and synchronization.
6. Use [CURSOR (up/down)] to select a parameter.
7. Use [VALUE] or [INC/DEC] to edit the value.
1. Press [MENU].
*
Settings made here will revert to their original value as soon as you
turn off the power. If you want to keep your settings, press [F6
(System Write)].
2. Press [CURSOR (up/down)] to select “System.”
In Pattern mode/Song mode, you can also access this by
holding down [SHIFT] and pressing [F5 (System)].
8. When you are finished making settings, press [EXIT].
fig.6-01
You will return to the System menu.
9. Press [EXIT] once again to exit the System menu.
3. Press [ENTER].
The System menu will appear.
fig.6-02
4. Press [F1]–[F6] to select the item that you want to
set.
[F1 (Panel/Control)]
(Panel/Controller)
[F2 (Seq/MIDI)]
(Sequencer/MIDI)
[F3 (Sound)]
Make settings for the panel control-
lers and the screen.
Make sequencer and MIDI-related
settings.
Specify the tuning and how the
sounds are to be produced.
Make sampling-related settings.
Make D Beam settings.
[F4 (Sampling)]
[F5 (D Beam)]
[F6 (System Info)]
(System Information)
View the state of the MC-909.
5. Press a function button to make further selections.
126
Download from Www.Somanuals.com. All Manuals Search And Download.
System
Panel/Controller
Here you can make settings for the panel controllers and the screen.
Parameter
Range
Explanation
[F1 (Pad Velocity)]
Pad Velocity
REAL, 1–127
Strength of the note when you press a velocity pad
If you set this to REAL, you can vary the dynamics of the sound by varying the strength with
which you press the pad.
[F2 (TTE/Tap/DB)]
TTE Slider Type
TTE, PITCH BEND,
MODULATION
Function of the turntable emulation slider
TTE: Standard turntable emulation
PITCH BEND: Pitch bender
MODULATION: Modulation
TTE Magnify
Tap Switch
-1– +1 – -200– +200
OFF, ON
Variable range of the turntable emulation slider
Tap button on/off
Tap Resolution
QUARTER, 8TH,
16TH
Tap tempo resolution
The resolution (note value) to be used when using [TAP] to change the tempo
QUARTER: Quarter note
8TH: Eighth note
16TH: Sixteenth note
D Beam ID
0–3
When using two or more MC-909 units together, you can specify a different ID for each unit
so that the D Beam controllers of the units will not interfere with each other.
Sensitivity of the D Beam controllers
The sensitivity of the D Beam controller will change depending on the amount of light in
the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appro-
priate for the brightness of your location. Increasing this value will raise the sensitivity.
D Beam Sens L
D Beam Sens R
0–127
[F3 (Screen Saver)]
Screen Saver Type
Screen Saver Time
1–10
OFF, 5–60 min
Type of screen saver
Time (minutes) until the screen saver begins working
If this is OFF, the screen saver will not appear.
[F4 (Back Ground)]
Back Ground Picture
1–10
File that is to be displayed as the screen background
Press [F5 (Import BMP)], and load a bitmap file from the TMP/BMP folder within USER/
CARD.
Sequencer/MIDI
Here you can specify how the sequencer will operate, and make MIDI-related settings.
Parameter
Range
Explanation
[F1 (Seq Sync)]
Sync Mode
MASTER,
REMOTE,
SLAVE
Specifies how the internal sequencer will operate and how MIDI Clock messages will be transmitted and
received.
MASTER: The internal sequencer will synchronize to the internal tempo clock. Any MIDI Clock messag-
es received from an external device will be ignored.
REMOTE: Operation will be essentially the same as “MASTER.” However, Start/Stop messages from
the external MIDI device will control playback/stop for the internal sequencer.
SLAVE: The internal sequencer will synchronize to MIDI Clock messages received from an external de-
vice. If no MIDI Clock messages are being received, pattern/song playback will not occur even if you
press the [PLAY] button.
Sync Output
OFF, ON
Determines whether synchronization-related MIDI messages will be transmitted.
OFF: Messages will not be transmitted.
ON: The following messages will be transmitted from the MIDI OUT connector.
• Timing Clock: F8
• Start: FA
• Continue: FB
• Stop: FC
• Song Position Pointer: F2
Arpeggio Sync
Mode
OFF,
MODE1,
MODE2
Specifies how the arpeggio start timing will be synchronized to the pattern.
OFF: The start timing will not synchronize.
MODE1: When a pattern plays, the arpeggio will start in synchronization. When the pattern stops, the
arpeggio will also stop.
MODE2: In addition to the operation of MODE1, the arpeggio will start at the beginning of the next mea-
sure of the currently-playing pattern.
* If the pattern is stopped, the arpeggio will start immediately, regardless of which of the above settings
is selected.
127
Download from Www.Somanuals.com. All Manuals Search And Download.
System
Parameter
RPS Trigger
Quantize
Range
REAL,
16TH, 8TH,
QUARTER,
MEASURE
Explanation
When using RPS during pattern playback, patterns and phrases may not play back in precise alignment,
depending on the timing at which you press the velocity pads. On the MC-909 you can specify the playback
timing of the phrase, so it will play back in precise synchronization with the pattern.
REAL: The phrase will play back immediately, at the timing at which you pressed velocity pads.
16TH, 8TH, QUARTER: The pattern will be divided into selected note units, and when you press the ve-
locity pads, the phrase will begin playing at the beginning of the next note unit.
MEASURE: The pattern will be divided into one-measure units, and when you press the velocity pads,
the phrase will begin playing at the beginning of the next measure.
BPM Lock
OFF, ON
Specifies how the tempo will change when patterns are played back consecutively.
OFF: When the pattern changes, the tempo will change at the same time.
ON: The tempo of the first-played pattern will continue even when the pattern changes.
[F2 (Song/Pattern)]
Song Loop Mode
OFF,
Specifies how songs will be played back.
LOOP1,
LOOP2
OFF: The currently selected song will be played back only once.
LOOP1: The currently selected song will be played back repeatedly.
LOOP2: All songs will be played back repeatedly in sequence.
* When using “LOOP2” to playback a song, we recommend that a pattern which mutes all parts (i.e., a
silent pattern) be inserted at the end of the song, so that songs are joined smoothly.
Specifies whether or not the pattern setup parameters will be loaded when you move to the next step of the
song.
MODE1: The setup parameters, mute, and realtime modify settings will be loaded each time you move
to the next step.
MODE2: Setup parameters, mute, and realtime modify will be maintained during playback only if the
next step plays a pattern that is the same as the currently playing pattern.
Specifies whether playback will automatically advance to the next step of the song.
AUTO: Automatically advance to the next step.
Song Play Mode
Song Step Switch
MODE1,
MODE2
AUTO,
MANUAL
MANUAL: Advance to the next step if in Song mode you press [F1 (Next Step)] to display the “✔” mark.
Specifies how the pattern will be selected at power-on.
LAST WRITTEN: The pattern that was most recently written prior to the last power-off will be selected.
USER DEFINABLE: The pattern specified by the following parameters will be selected.
Startup Ptn
Mode
LAST
WRITTEN,
USER DE-
FINABLE
Preset, User,
Card
Startup Ptn Bank
The pattern that will be selected at power-on
Startup Ptn
Number
001–***
* Depends
on the
bank.
[F3 (MIDI Tx)]
Transmit Pro-
gram Change
Transmit Bank
Select
Transmit Active
Sensing
Transmit Patch
Edit Type
OFF, ON
OFF, ON
OFF, ON
Specifies whether or not program changes will be transmitted from MIDI OUT when the patch of each part
is changed. When this setting is “OFF,” program changes will not be transmitted.
Specifies whether or not bank select messages will be transmitted from MIDI OUT when the patch of each
part is changed. When this setting is “OFF,” bank select messages will not be transmitted.
Specifies whether or not bank select messages will be transmitted from MIDI OUT when the patch of each
part is changed. When this setting is “OFF,” bank select messages will not be transmitted.
Specifies the type of MIDI message that will be used to communicate with external devices when the panel
knobs are moved.
TYPE-
QUICK,
TYPE-CC
TYPE-QUICK: Knob/slider data will be transmitted and received as control changes and as system ex-
clusive data.
TYPE-CC: Knob/slider data will be transmitted and received as control changes. The amount of data
will be smaller than for TYPE-QUICK.
Transmit Edit
Data
Soft Through
OFF, ON
OFF, ON
Specifies whether the modified settings will be transmitted as System Exclusive data (ON), or not (OFF).
Specifies whether or not MIDI messages received at the MIDI IN will be re-transmitted without change
from the MIDI OUT.When this setting is “OFF,” MIDI messages received at the MIDI IN will not be re-
transmitted.
[F4 (MIDI Rx)]
Remote Key-
board Switch
OFF, ON
Set this parameter “ON” when you want to use an external MIDI keyboard instead of the MC-909’s velocity
pads.
* This parameter is set to “ON’ with the factory settings, enabling patches in the part selected on the MC-
909 to be played back regardless of the transmission channels of the external MIDI keyboard.
* Set it to “OFF” to control the MC-909 from an external sequencer, as a multi-timbre sound generator with
sixteen parts. Patches can be played back by part, according to the channel used for sending MIDI data
from the external sequencer.
128
Download from Www.Somanuals.com. All Manuals Search And Download.
System
Parameter
Range
Explanation
Device ID
17–32
Device ID number of a systemexclusive message on the MC-909
A system exclusive message can only be received if the device number included in the message matches
the device ID number set up on the receiving MIDI equipment. Using this function enables different Sys-
tem Exclusive messages to be received by more than one MC-909 unit at the same time.
* At the factory settings, the device ID number is set to “17.”
Specifies whether or not each part will receive program changes. When this is “OFF,” program changes will
not be received.
Specifies whether or not each part will receive bank select messages. When this is “OFF,” bank select mes-
sages will not be received.
Receive Program
Change
Receive Bank Se-
lect
Receive Exclu-
sive
OFF, ON
OFF, ON
OFF, ON
Specifies whether or not each part will receive system exclusive messages. When this setting is “OFF,” sys-
tem exclusive messages will not be received.
Sound
Here you can specify the tuning and how the sound is to be produced.
Parameter
Range
Explanation
[F1 (Sound/Tune)]
Master Tune
415.3–466.2 Hz
Adjusts the overall tuning of the MC-909.
The setting expressed as the frequency played by the A4.
Adjusts the volume of the entire MC-909.
Master Level
0–127
Output Gain
-12– +12 dB
0–10
-24– +24
OFF, ON
Adjusts the output gain from the MC-909’s Analog Out and Digital Out.
Adjusts the volume of the metronome.
Shifts the overall pitch of the MC-909.
Specifies whether currently sounding notes will continue sounding when another patch or
rhythm set is selected (ON), or not (OFF).
Metronome Level
Master Key Shift
Patch Remain
[F2 (Sound Control)]
Rhythm Octave
Switch
OFF, ON
50–127
Specifies the [OCT +/-] buttons will have effect when a rhythm set is assigned to current part
(ON), or not (OFF).
Specifies the range in which the [RESONANCE] knob can be adjusted.
As this setting is increased, the variable range of the [RESNANCE] knob will increase.
Specifies whether LFO1 Waveform will be modified smoothly by the knob (ON) or not (OFF).
Resonance Limiter
LFO Morphing
Switch
OFF, ON
Sampling
Here you can make sampling-related settings.
Parameter
Range
Explanation
[F1 (Sampling)]
Default File Type
Preset Default Load
WAV, AIFF
OFF, ON
File format used when saving a sample
Specifies whether the preset samples will be loaded into memory at power-on (ON) or not
(OFF).
Sample Default Load
Pre Sample Time
OFF, ON
Specifies whether the samples of the user area and memory card will be loaded into mem-
ory at power-on (ON) or not (OFF).
The length of sound preceding the moment at which sampling was manually or automati-
cally initiated that will be captured in the sample
0–1000 ms
This lets you prevent the attack portion of the sound from being omitted from the sample.
Volume level at which sampling will begin when Auto Trig is ON
A setting of 0 is the minimum.
Trigger Level
Gap Time
0–7
500, 1000, 1500, 2000 ms
Length of silence at which the sample will be divided
Whenever there is a silent region longer than the specified time, the sample will be divid-
ed at that point, and the next sample number will be assigned to the sound that follows.
* This parameter is valid only when you are using Auto Divide Sampling.
Input source of the external input sound
LINE-L-R: INPUT jacks L/R (stereo)
LINE-L: INPUT jack L (mono)
DIGI-OPT: Digital Input (Optical)
DIGI-COAX: Digital Input (Coaxial)
MIC: INPUT jack (mono, mic level)
If this is turned on, the Start point and End point settings will be automatically adjusted af-
ter sampling is performed, so any silent portions at the beginning or end of the sampled
sound are excluded.
External Source Select
Trimming Switch
LINE-L-R, LINE-L,
DIGI-OPT,
DIGI-COAX, MIC
OFF, ON
129
Download from Www.Somanuals.com. All Manuals Search And Download.
System
D Beam
Here you can make settings for the D Beam controller.
Parameter
Range
Explanation
[F1 (Solo Synth)]
Solo Synth Patch Bank
Solo Synth Patch No.
Solo Synth Note
Solo Synth Scale
Refer to Patch List (p. 151)
Patch played by the solo synth
0 (C-1)–127 (G9)
FREE, CHROMATIC
Reference note for the solo synth
Scale on/off
FREE: Continuous (no steps)
CHROMATIC: Semitone steps
Range of the solo synth
Solo Synth Range
[F2 (Cut+Reso)]
Cutoff Range Lower
Cutoff Range Upper
Resonance Range
Lower
2OCTAVE, 4OCTAVE
0–127
0–127
0–127
Filter cutoff frequency when you move your hand away from the D Beam
Filter cutoff frequency when you move your hand near the D Beam
Filter resonance when you move your hand away from the D Beam
Resonance Range Up-
per
0–127
Filter resonance when you move your hand near the D Beam
[F3 (Turntable)]
Turntable BPM Type
DOWN, UP
DOWN, UP
How the tempo will change when you move your hand near the D Beam
DOWN: The tempo will slow down as you move your hand nearer.
UP: The tempo will speed up as you move your hand nearer.
How the pitch will change when you move your hand near the D Beam
DOWN: The pitch will fall as you move your hand nearer.
Turntable Pitch Type
UP: The pitch will rise as you move your hand nearer.
[F4 (User Assign)]
Type
Control Change, Bend Up, Bend
Down, Bend Up/Down, Ch After-
touch, Start/Stop, Glissando, Adlib,
Arp Octave Up, Arp Octave Down,
Arp Octave Both, Arp Duration,
BPM Up, BPM Down, Pitch UP, Pitch
Down, Effects C1, Effects C2, All
Mute
Parameter that will be controlled by the D Beam
Number
CC#1–CC#31, CC#33–CC#95
Control change number
This can be set only if Type is set to “Control Change.”
Value of the parameter when you move your hand away
Value of the parameter when you move your hand nearer
Range Lower
Range Upper
0–127
0–127
System Information
Here you can view the state of the MC-909.
Press [F6 (Close)] to return to the System menu screen.
•
•
•
•
[F1 (Features)]
Displays the main features of the MC-909.
[F2 (Memory Info)]
Displays the amount of memory installed.
[F3 (SRX Exp Info)]
Displays the name of the wave expansion board that is installed.
[F4 (Version)]
Displays the version of the internal program.
130
Download from Www.Somanuals.com. All Manuals Search And Download.
Utility
Here you can manage various types of data.
Import SMF
Here’s how to load SMF pattern data, and write it to a user pattern
1. Press [MENU].
2. Use [CURSOR (up/down)] to select “Utility.”
fig.0-05
or memory card.
The MC-909 supports SMF formats 0 and 1.
If the write-destination user pattern contains data, that data will be
replaced by the data that is written.
1. In the Utility menu screen, press [F1 (Import SMF)].
2. Select the SMF that you want to import.
[F1 (User)]
[F2 (Card)]
[F5 (Cancel)]
[F6 (Import)]
Display the contents of the user area.
Display the contents of the memory card.
Return to the previous screen.
Import the selected file.
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
3. Press [ENTER].
3. Press [F6 (Import)].
The Utility menu screen will appear.
fig.0-06
A screen in which you can specify the write destination will
appear.
4. Use [CURSOR (left/right)] to specify the type of
destination—either a user pattern or a memory card.
5. Use the [VALUE] dial, [INC/DEC], or [CURSOR (up/
down)] to select the write-destination pattern.
6. Press [F6 (Write)].
A message will ask you for confirmation.
7. To write the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
•
•
•
•
Files with settings not supported by the MC-909’s sequencer
SMF data created with multiple channels can not be imported
correctly in some cases.
Level data and program changes located earlier than the note
data will be imported as setup data.
On the MC-909, the channel number corresponds to the part
number; e.g., channel 1 = part 1. Thus, data created on channel 1
will be imported into part 1.
Setup data located earlier than the note data will be reflected in
the Mixer screen as pattern setup data. Also, the first note
message will be imported as the first beat of the first measure. If
you import data that does not begin at the beginning of the first
measure, use the pattern edit operation Shift Clock to move it.
4. Press [F1]–[F6] to select the operation that you want
to execute.
[F1 (Import SMF)]
or memory card (p. 131).
tern in SMF format (p. 132).
Import sample data from a
WAV/AIFF file (p. 132).
Restore the factory settings (p.
20).
Save user data to a memory card
(p. 132).
Load user data from a memory
card (p. 132).
[F2 (Save As SMF)]
[F3 (Import WAV/AIFF)]
[F4 (Factory Reset)]
[F5 (User Backup)]
[F6 (User Restore)]
•
<Setup Data>
•
•
•
•
•
•
•
Program Change (PC)
Bank Select (CC#0, CC#32)
Level (CC#7)
Pan (CC#10)
Key Shift (CC#85)
Reverb Send Level (CC#91)
Various Effects (System Exclusive)
131
Download from Www.Somanuals.com. All Manuals Search And Download.
Utility
Save As SMF
User Backup
Here’s how to write the data of the current pattern to user memory
Here’s how all user data in the user area can be saved on a memory
or memory card as SMF data.
card.
Format 1 SMF data will be created.
•
•
•
•
•
•
•
•
•
•
User Patterns
User Patches
User Rhythm sets
Songs
save as SMF data.
2. In the Utility menu screen, press [F2 (Save As SMF)].
Samples
3. Select the destination in which the SMF data is to be
Pattern sets
RPS sets
saved.
For details on the selection procedure, refer to “Import SMF” (p.
131).
Arpeggio styles
Chord forms
System settings
4. Press [F6 (Save As SMF)].
A message will ask you for confirmation.
5. To save the data, press [F6 (Execute)].
In order to execute User Backup, the memory card must have
approximately 16 MB or more free area.
*
To cancel, press [F5 (Cancel)].
1. Insert a memory card into the slot.
2. In the Utility screen, press [F5 (User Backup)].
Import WAV/AIFF
A message will ask you for confirmation.
Here’s how to import a sample file (WAV/AIFF) as a user sample.
1. In the Utility screen, press [F3 (Import WAV/AIF)].
2. Select the sample that you want to import.
3. To execute the backup, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
[F1 (User)]
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
User Restore
Here’s how user data saved on a memory card by the User Backup
operation can be reloaded back into the user memory of the MC-909.
Display the contents of the user area.
Display the contents of the memory card.
Remove the check mark from the file.
Add a check mark to the file.
Return to the previous screen.
Import the checked files. (*1)
[F2 (Card)]
[F3 (Mark Clear)]
[F4 (Mark Set)]
[F5 (Cancel)]
When you execute User Restore, the current contents of the user area
will be completely erased.
[F6 (Import)]
[SHIFT] +
[F3 (Mark Clear All)]
[SHIFT] +
Clear the check marks from all files in the
folder.
Add a check mark to all files in the folder.
1. Into the slot, insert the memory card on which user
data has been saved.
[F4 (Mark Set All)]
2. In the Utility screen, press [F6 (User Restore)].
*1: If not even check mark is assigned, the operation will be
executed on the file selected by the cursor.
A message will ask you for confirmation.
3. Press [F6 (Import)].
3. To proceed with the restoration, press [F6 (Execute)].
A message will ask you for confirmation.
*
To cancel, press [F5 (Cancel)].
4. To import the sample, press [F6 (Execute)].
The data will be loaded into a user sample.
*
To cancel, press [F5 (Cancel)].
Factory Reset
You can restore the settings of the MC-909 to their factory-set
condition.
Refer to p. 20.
132
Download from Www.Somanuals.com. All Manuals Search And Download.
File Utility
Here you can perform file-handling operations.
* About the folder structure, refer to p. 135
1. Press [MENU].
Initializing a memory card
(Format)
2. Use [CURSOR (up/down)] to select “File Utility.”
fig.6-05
Here’s how to initialize a memory card.
When you execute the Format operation, the contents of the memory
card will be completely erased.
1. Press [F3 (Format)].
A message will ask you for confirmation.
2. To format the card, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Deleting a file (Delete)
Here’s how you can delete an unwanted file from a folder.
3. Press [ENTER].
The File Utility screen will appear.
fig.6-06
1. Select the file that you want to delete.
2. Press [F4 (Delete)].
A message will ask you for confirmation.
3. To delete the file, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Moving a file (Move)
Here’s how you can move a file to a different folder.
1. Select the file that you want to move.
2. Press [F5 (Move)].
4. Use [F3]–[F6] to select the operation you want to
A screen will appear, allowing you to select the folder to which
the file is to be moved.
carry out.
3. View the contents of the move-destination folder.
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
[F1 (User)]
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
4. To move the file, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Display the contents of the user area.
Display the contents of the memory card.
Format (initialize) a memory card.
Remove the check mark from the file.
Add a check mark to the file.
Move the checked files to another folder.
(*1)
[F2 (Card)]
[F3 (Card Format)]
[F4 (Mark Clear)]
[F5 (Mark Set)]
[F6 (Move)]
Copying a file
Here’s how you can copy a file to a different folder.
1. Select the file that you want to copy.
2. Press [F6 (Copy)].
[SHIFT] +
[F3 (Delete)]
[SHIFT] +
[F4 (Mark Clear All)]
[SHIFT] +
[F5 (Mark Set All)]
[SHIFT] +
Delete the checked files. (*1)
Clear the check marks from all files in the
folder.
Add a check mark to all files in the folder.
A screen will appear, allowing you to select the folder to which
the file is to be copied.
3. View the contents of the copy-destination folder.
Copy the checked files to another folder.
(*1)
[F6 (Copy)]
4. To copy the file, press [F6 (Execute)].
*1: If not even check mark is assigned, the operation will be
executed on the file selected by the cursor.
*
To cancel, press [F5 (Cancel)].
134
Download from Www.Somanuals.com. All Manuals Search And Download.
USB
Here’s how USB communication with your computer can be
switched on/off.
Canceling USB communication
USB communication allows files in the user area or memory card of
the MC-909 to be handled by your computer.
Windows Me/2000/XP users
1. Use the device eject button shown in the taskbar at
the lower right of the screen to cancel the connection
with the MC-909.
USB communication with the MC-909 is possible only for Windows
Me/2000/XP or later (Windows users), or Mac OS 9.04 or later
(Macintosh users).
2. Then press [F6 (Exit)] on the MC-909.
Macintosh users
1. Drag the MC-909 drive icon into the trash.
2. Then press [F6 (Exit)] on the MC-909.
Connect or disconnect the USB cable only when the MC-909 is
powered-off. Never connect or disconnect the USB cable or turn off
the power while in USB mode or while data is being transferred.
IMPORTANT!
USB communication
procedure
Cautions Regarding Folders
and Files
*
Before you continue, you must use a USB cable to connect the MC-
The folder structure of the user area and memory card is as
909 with your computer.
follows.
fig.Directory
1. Press [MENU].
(User, Card)
ROLAND
2. Press [CURSOR (up/down)] to select “USB.”
PNL
SEQ
3. Press [ENTER].
The USB screen will appear.
PCL
PTN
RPS
SMF
fig.6-07
SNG
SMPL
SND
TMP
BMP
SMF
WAV_AIFF
Do not modify the folder structure from a computer that is
connected to the MC-909 via USB.
The only files that can be transferred between the MC-909 and
your computer are audio files (WAV/AIFF formats), Standard
MIDI Files (SMF format 1), and bitmaps (320 x 240 pixels). Do
not place any other format of file in the user area or memory
card.
4. Press [F3 (Internal)] or [F4 (Memory Card)] to
establish the connection with your computer.
*
The MC-909 can only handle filenames that consist of single-
byte, alphanumeric characters.
•
•
[F3 (Internal)]: Connect to the user memory.
[F4 (Memory Card)]: Connect to the memory card.
When placing files from a USB-connected computer into the
MC-909’s user area or memory card, make sure to place them in
the relevant folders inside the TMP folder.
*
To cancel the connection, press [F6 (Cancel)].
•
•
•
Bitmaps
SMFs
BMP folder
Windows Me/2000/XP users
SMF folder
A drive named “Removable disk” will be displayed within My
Computer.
Audio files
WAV_AIFF folder
This drive will contain a folder named “ROLAND.”
Do not use your computer to move/delete the files located
within the ROLAND folder of the user area. Also, do not use
your computer to format or optimize the user area.
Macintosh users
A drive icon named “MC-909 USER” will appear on the desktop.
This will contain a folder named “ROLAND.”
135
Download from Www.Somanuals.com. All Manuals Search And Download.
Undo/Redo
Here’s how you can cancel the results of editing or recording a
pattern or song.
1. Press [MENU].
2. Use [CURSOR (up/down)] to select “Undo/Redo.”
The object of the Undo command will be displayed. For
example if you are undoing a Microscope operation, the display
will indicate “Undo Microscope.”
3. To execute, press [F6 (Execute)].
*
To cancel, press [F6 (Cancel)].
Undo can be executed for a pattern (pattern editing,
microscope, and recording) or a song (song editing and song
recording). Undo cannot be used for sample editing or patch
editing.
After executing Undo, you can use Redo to revert to the
previous state. After executing Undo, you can execute Redo by
performing the above procedure once again.
136
Download from Www.Somanuals.com. All Manuals Search And Download.
About V-LINK
What is V-LINK?
V-LINK (
) is a function that provides for the play of music and visual material. By using V-LINK-compatible video equipment,
visual effects can be easily linked to, and made part of the expressive elements of a performance.
(Examples)
By using the MC-909 and Edirol DV-7PR together, you can:
By using the MC-909 and Edirol V-4 together, you can:
•
•
•
Make Edirol DV-7PR playback settings remotely from the MC-909.
Use the MC-909’s sequencer to enjoy synchronized music and video.
Use the MC-909’s velocity pads to switch the Edirol DV-7PR’s
images (clips/palettes).
Use the MC-909’s knobs to adjust the brightness or color of the
image.
•
•
Make settings for remotely controlling the V-4 from the MC-909.
Use the MC-909’s sequencer to switch images on the V-4,
creating video performances with synchronized music.
Use the MC-909’s velocity pads to control the V-4’s input
selector, switching between images from various source
devices.
•
•
•
Use the MC-909’s turntable emulation to control the video
playback speed along with the music playback speed.
•
Use the MC-909’s knobs to specify the time for transition effects
(e.g., overlap or wipe).
*
In order to use V-LINK with the MC-909 and Edirol DV-7PR, you
will need to make connections using an Edirol UM1/UM-1S (sold
separately).
*
In order to use V-LINK with the MC-909 and Edirol V-4, you will
need a commercially-available MIDI cable.
Connection examples
*
Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Connection to Edirol DV-7PR
Connection to Edirol V-4
Use a UM-1 to connect the MC-909’s MIDI OUT connector to the DV-
Use a commercially-available MIDI cable to connect the MC-909’s
MIDI OUT connector to the Edirol V-4’s MIDI IN connector.
7PR’s remote jack.
fig.V-LINK-Connect.e
REMOTE
Edirol UM-1
Edirol DV-7PR
MIDI OUT
MIDI IN
Projector
MC-909
Using V-LINK
Turning V-LINK on
Edirol V-4
Display
Turning V-LINK off
1. Press [V-LINK] to access the V-LINK SETUP screen.
1. In the lower left of the panel, press [V-LINK] so the
indicator is lighted.
2. Press [V-LINK] again.
The V-LINK SETUP screen will appear.
The [V-LINK] indicator goes out, and you’re returned to the
previous screen.
The [V-LINK] indicator will remain lit, and you’re returned to
the previous screen.
In this state, you can operate the velocity pads and turntable emulation
slider to manipulate images in sync with the playback of the MC-909.
You cannot turn V-LINK off from a screen other than the V-LINK
SETUP screen.
Even when V-LINK is on, the panel will operate in the same way as
usual for Pattern mode (p. 22), Patch/Sample mode (p. 52), and Song
mode (p. 80).
138
Download from Www.Somanuals.com. All Manuals Search And Download.
About V-LINK
V-LINK settings
Parameter
Range
Explanation
Note Tx Ch
Clip 1 Note No.
1–16
0(C-1)–127(G9)
MIDI channel that will switch Edirol DV-7PR clips/palettes and will control dissolve time.
Note number (velocity pad) that corresponds to Edirol DV-7PR clip 1
If this is set to 59 (B3), velocity pads 1–16 will correspond to clips 1–16.
Range of video playback speed
The three values are the playback speeds (multiples of normal speed) at the negative,
center, and positive positions of the turntable emulation slider.
Play Speed Ctrl
0.0–1.0–2.0, 0.5–1.0–2.0,
0.0–1.0–4.0, 0.5–1.0–4.0,
0.0–1.0–8.0, 0.5–1.0–8.0,
0.0–1.0–16.0, 0.5–1.0–16.0,
0.0–1.0–32.0, 0.5–1.0–32.0,
0.0–2.0–4.0, 0.0–4.0–8.0,
0.0–8.0–16.0, 0.0–16.0–32.0,
-2.0–1.0–4.0, -6.0–1.0–8.0
OFF, CC1, CC5, CC7, CC10,
CC11, CC71–74, CC91–93,
Channel Aftertouch
Dissolve Time
Ctrl Tx Ch
Control change number that controls the dissolve time (time over which the image switch-
es)
1–16
MIDI channel that will control the Edirol DV-7PR color Cb/Cr, brightness, and video effect
switching
Color Cb Ctrl
Color Cr Ctrl
Brightness Ctrl
VFX1–4 Ctrl
OFF, CC1, CC5, CC7, CC10,
CC11, CC71–74, CC91–93,
Channel Aftertouch
Control change number that controls the Cb color of the image
Control change number that controls the Cr color of the image
Control change number that controls the brightness of the image
Control change number that controls the video effect
* VFX2–4 are not supported by the Edirol DV-7PR.
Control change number that controls the output fade
Selects whether the velocity pads will switch clips or palettes.
Press [F1 (Clip mode)]: switch clips
Fade Ctrl
PAD MODE
CLIP, PALETTE
Press [F2 (Palette)]: switch palettes
Local Sw
OFF, ON
Specifies whether the internal sound generator is disconnected (OFF) from the velocity
pads, or not (OFF).
Clip filter
(OFF), ✔ (ON)
Enable/disable switching for each clip
(check boxes 1–32)
Clips that are checked can be switched (see explanatory box below)
Resetting the image
Using the Clip Filter
For example, suppose that of the rhythm set you input in the
part used for V-LINK (i.e., the part of the same number as the
Note Tx Channel), you want only the kick and snare to switch
clips. In this case, check only the clips that correspond to the
note numbers of the kick and snare. The clips will switch when
the kick or snare plays.
[F3 (Clip Reset)]
[F4 (All Reset)]
Turn off the image (solid black).
The effect applied to the image will be reset,
and brightness, color difference, etc. will all
return to the default value.
*
For details on clips/palettes, dissolve time, color difference signals (Cb/
Cr), refer to the Edirol DV-7PR manual.
The MC-909 does not support the Edirol DV-7PR’s dual stream
mode.
139
Download from Www.Somanuals.com. All Manuals Search And Download.
MEMO
140
Download from Www.Somanuals.com. All Manuals Search And Download.
Installing the Wave Expansion Board
An optional Wave Expansion Board (SRX series) can be installed in
How to Install a Wave
the MC-909.
Expansion Board
Waveform data, patches and rhythm sets are stored on the Wave
Expansion Board, so you can increase the number of available
Install the Wave Expansion Board after removing the bottom panel
sounds by installing the board in the MC-909.
cover.
1. Before installing the Wave Expansion Board, turn off the power
of the MC-909 and all connected devices, and disconnect all
Cautions When Installing a
cables, including the Power cable, from the MC-909.
Wave Expansion Board
2. Turn the MC-909 over, remove the screws indicated in the
•
901 To avoid the risk of damage to internal components that can be
following diagram, and remove the cover.
fig.Exp-01.e_90
caused by static electricity, please carefully observe the following
whenever you handle the board.
1
• Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
Screws to be removed
electricity you might have been carrying has been discharged.
2
5
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
• Save the bag in which the board was originally shipped, and
put the board back into it whenever you need to store or
transport it.
•
•
Use a Philips screwdriver that is suitable for the size of the screw
(a number 2 screwdriver). If an unsuitable screwdriver is used,
the head of the screw may be stripped.
To remove a screw, rotate the screwdriver counter-clockwise. To
tighten the screws, rotate the screwdriver clockwise.
fig.Screw.e
loosen
tighten
•
•
Be careful that the screws you remove do not drop into the
interior of the MC-909.
3. Plug the connector of the Wave Expansion Board into the
connector on the unit, and at the same time insert the board
Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
holder through the hole of the Wave Expansion Board.
fig.Exp-02.e
•
911 Do not touch any of the printed circuit pathways or connection
Board holder
terminals.
•
912 Never use excessive force when installing a circuit board. If it
again.
Position it as shown
before you install
the board.
Connector
•
913 When circuit board installation is complete, double-check your
work.
4. Use the Installation Tool supplied with the Wave Expansion
•
914 Always turn the unit off and unplug the power cord before
Board to turn the holder in the LOCK direction, so the board
will be fastened in place.
fig.Exp-03
attempting installation of the circuit board (SRX series; Quick
Start p. 2).
915 Install only the specified circuit board (SRX series). Remove only
•
the specified screws (p. 142).
928 When turning the unit upside-down, get a bunch of newspapers
LOCK
•
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
damaged.
•
929 When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
5. Use the screws that you removed in step 2 to fasten the cover
•
Do not leave the bottom cover removed. After installation of the
Wave Expansion Board is complete, be sure to replace the cover.
back in place.
142
Download from Www.Somanuals.com. All Manuals Search And Download.
Installing the Wave Expansion Board
Checking that a wave
expansion board is installed
correctly
1. Turn on the power as described in “Turning On/Off the Power”
(p. 16).
2. Press [MENU].
3. Use [CURSOR] to select [System].
4. Press [ENTER] to access the System Menu screen.
fig.6-02
5. Press [F6 (System Info)].
6. Press [F3 (SRX Exp Info)].
Verify that the screen shows the model number of the
wave expansion board you installed.
7. Press [F6 (Close)] to return to the System Menu screen.
8. Press [EXIT] to exit the System Menu screen.
If the model number of the board does not appear, it is
possible that the wave expansion board is not being
recognized properly. Turn off the power as described in
“Turning On/Off the Power” (p. 16), and re-install the wave
expansion board correctly.
•
•
If SRX-01 “Dynamic Drum Kits” or SRX-02 “Concert Piano” is
cannot be used.
When using the rhythm sets included on an expansion board,
the rhythm tones for the sixteen keys from note numbers 35 (B1)
through 50 (D3) will correspond to velocity pad 1 (59: B3)
through pad 16 (74: D5).
•
For some of the patches/rhythm sets included on an expansion
board, pitch-related settings and FXM-related settings (p. 57, p.
71) will be ignored.
143
Download from Www.Somanuals.com. All Manuals Search And Download.
Installation de la carte d’extension Wave
(French Language for Canadian Safety Standard)
Une carte d’expansion Wave (modèle SRX) optionnelle peut être
Installation d’une carte
installée dans le MC-909.
d’expansion Wave
Les données Waveform, les retouches et les groupes de rythme sont
stockés sur la carte d’expansion Wave; vous pouvez donc augmenter
Avant d’installer la carte d’expansion Wave, retirez le panneau
le nombre de sons disponibles en installant la carte dans le MC-909.
inférieur.
1. Avant d’installer la carte d’expansion Wave, coupez
l’alimentation du MC-909 et de tous les appareils branchés, et
Précautions à prendre lors
débranchez tous les câbles du MC-909, y compris le cable
de l’installation d’une carte
d’alimentation.
d’expansion Wave
2. Tournez le MC-909 sens dessous dessus, retirez les vis indiquées
dans le diagramme ci-dessous et retirez le couvercle.
fig.Exp-01.f_90
•
901 V(Fe) uillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque d’endom-
magement des pièces internes par l’électricité statique.
1
Vis à enlever
• Toujours toucher un objet métallique relié à la terre (comme
un tuyau par exemple) avant de manipuler la carte pour vous
décharger de l’électricité statique que vous auriez pu
accumuler.
2
5
• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez
de toucher aux composants ou aux connecteurs.
• Conservez le sachet d’origine dans lequel était la carte lors de
l’envoi et remettez la carte dedans si vous devez la ranger ou
la transporter.
•
•
Utilisez un tournevis de type Philips de la taille adaptée à celle
des vis (tournevis numéro 2). Un tournevis inadéquat peut
endommager la tête de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire
des aiguilles d’une montre. Pour serrer les vis, tourner le
tournevis dans le sens des aiguilles d’une montre.
fig.Screw.f
desserrer
resserrer
3. Enfichez le connecteur de la carte d’expansion Wave dans le
connecteur de l’unité et, en même temps, insérez le support de
•
•
Assurez-vous que les vis que vous retirez ne tombent pas à
l'intérieur du MC-909.
carte par l’ouverture de la carte d’expansion Wave.
fig.Exp-02.f
Faites attention de ne pas vous couper sur le bord du couvercle
ou de l'ouverture lorsque vous retirez le couvercle.
Support à carte
911(F)
• Ne pas toucher aux circuits imprimés ou aux connecteurs.
912(F)
Placez le tout comme
le montre l'illustration
avant d'installer la carte.
•
Ne jamais forcer lors de l’installation de la carte de circuits
imprimés. Si la carte s’ajuste mal au premier essai, enlevez la
carte et recommencez l’installation.
Connecteur
913(F)
•
4. Utilisez l’outil d’installation fourni avec la carte d’expansion
Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
Wave pour tourner les supports en position LOCK (verrouillé)
914(F)
•
afin de retenir la carte en place.
fig.Exp-03
Toujours éteindre et débrancher l’appareil avant de commencer
l’installation de la carte. (modèle SRX; Quick Start p. 2).
915(F)
•
N’installez que les cartes de circuits imprimes spécifiées (modèle
SRX). Enlevez seulement les vis indiquées (p. 144).
928(F)
LOCK
•
Lorsque vous déposez le MC-909 face vers le bas, placez des piles
de journaux ou de magazines sous les quatre coins (ou des deux
côtés) pour le soutenir. Ainsi, les boutons, manettes et autres
pièces ne seront pas endommagés.
929(F)
•
En plaçant l’appareil sens dessus dessous, manipulez-le avec soin
pour éviter de l’échapper, de le laisser tomber ou de se renverser.
5. Remettez le couvercle en place à l’aide des vis retirées à l’étape
•
Ne pas laisser le panneau de protection avant detache. S’assurer
de l’avoir rattacher apres avoir installe le disque dur.
2.
144
Download from Www.Somanuals.com. All Manuals Search And Download.
Installation de la carte d’extension Wave
Vérifier que la carte
d’expansion Wave est
installée correctement
1. Mettre en marche tel que décrit sous « Turning On/Off the
Power » (p. 16)
2. Appuyer sur [MENU].
3. Utiliser [CURSOR] pour choisir [System].
4. Appuyer sur [ENTER] pour atteindre la fenêtre du menu du
système.
5. Appuyer sur [F6 (System Info)].
6. Appuyer sur [F3 (SRX Exp Info)].
Le numéro du modèle de la carte d’expansion Wave que vous
avez installée devrait apparaître dans la fenêtre.
7. Appuyer sur [F6 (Close)] pour revenir dans la fenêtre du menu
du système.
8. Appuyer sur [EXIT] pour quitter la fenêtre du menu du
système.
Si le numéro du modèle de la carte n’apparaît pas, il est possible
qu’elle n’ait pas été détectée correctement. Fermer tel que décrit sous
« Turning On/Off the Power » (p. 16), et réinstaller la carte
d’expansion Wave conformément aux instructions.
•
•
installé, seules les ondulations peuvent être utilisées. Il n’est pas
possible d’utiliser les groupes patch/rythme.
Lorsque les groupes de rythme inclus sur une carte d’expansion
sont utilisés, les rythmes d’accompagnement des seize touches
allant de la note 35 (B1) à 50 (D3) correspondent aux touches de
vélocité 1 (59: B3) à 16 (74: D5).
•
Pour certains des groupes patch/rythme inclus sur une carte
d’expansion, les réglages de tonie et FXM (p. 57, p. 71) ne sont
pas pris en compte.
145
Download from Www.Somanuals.com. All Manuals Search And Download.
Expanding the Memory
The MC-909 comes with 16 MB of memory into which audio samples
How to Expand the Memory
Install the memory module after removing the bottom panel cover.
can be loaded. However, in some cases, 16 MB of memory will be
insufficient for loading large amounts of data. In such a case, you
will have to add separately sold memory (DIMM). Memory can be
expanded up to 256 MB.
1. Before expanding the memory, turn off the power of the MC-909
and all connected devices, and disconnect all cables, including
the Power cable, from the MC-909.
Before expanding the memory, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland distributor.
2. Turn the MC-909 over, remove the screws indicated in the
following diagram, and remove the cover.
fig.Exp-01.e_90
Precautions for Expanding
Memory
Screws to be removed
•
901 To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the following
whenever you handle the board.
1
• Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
electricity you might have been carrying has been discharged.
2
5
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
• Save the bag in which the board was originally shipped, and
put the board back into it whenever you need to store or
transport it.
•
•
Use a Philips screwdriver that is suitable for the size of the screw
(a number 2 screwdriver). If an unsuitable screwdriver is used,
the head of the screw may be stripped.
To remove a screw, rotate the screwdriver counter-clockwise. To
tighten the screws, rotate the screwdriver clockwise.
fig.Screw.e
3. Press outward the white clips at either end of the socket should
be in the downward position.
fig.DIMM-01
loosen
tighten
•
•
Be careful that the screws you remove do not drop into the
interior of the MC-909.
Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
•
911 Do not touch any of the printed circuit pathways or connection
terminals.
•
912 Never use excessive force when installing a circuit board. If it
doesn’t fit properly on the first attempt, remove the board and try
again.
•
913 When circuit board installation is complete, double-check your
work.
•
914 A(Mlowdiafieyds) turn the unit off and unplug the power cord before
attempting installation of the memory DIMM board.
•
915 I(Mnsodtaifileldo) nly the specified memory DIMM board. Remove only the
specified screws (p. 146).
•
928 When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
damaged.
•
929 When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
•
Do not leave the bottom cover removed. After installation of the
memory module is complete, be sure to replace the cover.
146
Download from Www.Somanuals.com. All Manuals Search And Download.
Expanding the Memory
4. Paying attention to the location of the notch on the memory
Checking that memory is
installed correctly
module and the orientation, insert it vertically within the guides
at either side of the socket.
fig.DIMM-02
1. Turn on the power as described in “Turning On/Off the Power”
(p. 16).
2. Press [MENU].
3. Use [CURSOR] to select [System].
4. Press [ENTER] to access the System Menu screen.
fig.6-02
If you have difficulty inserting the memory module, try tilting it a bit
and inserting one end at a time.
5. Move the white clips upward, and press them until the memory
module is locked in place.
fig.DIMM-03
5. Press [F6 (System Info)].
6. Press [F2 (Memory Info)].
Verify that the screen correctly shows the amount of
memory you installed.
7. Press [F6 (Close)] to return to the System Menu screen.
8. Press [EXIT] to exit the System Menu screen.
6. Use the screws that you removed in step 2 to fasten the cover
*
If the correct amount of memory is not shown, it is possible
that the memory is not being recognized properly. Turn off the
power as described in “Turning On/Off the Power” (p. 16),
and re-install the memory correctly.
back in place.
Removing the Memory
To remove the memory module, reverse the installation procedure.
Specifications of the expansion memory
(DIMM) that can be used
1. Simultaneously press outward the white clips located at either
end of the socket.
fig.DIMM-04
Number of pins:
Speed:
168-pin
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
Voltage:
Capacity:
128 MB
256 MB
Board height:
38 mm or less
The MC-909 has been confirmed to work with standard
memory that meets the above specifications. However, we
cannot guarantee that all memory of these specifications will
work correctly. Please be aware that even with identical
specifications, differences in the design of the memory
module or the conditions of use may mean that a memory
module may not be usable.
2. Remove the memory module from the socket.
147
Download from Www.Somanuals.com. All Manuals Search And Download.
Ajouter de la mémoire
(French Language for Canadian Safety Standard)
Précautions à prendre lors
de l’ajout de mémoire
Installation du module de
mémoire
•
901 V(Fe) uillez suivre attentivement les instructions suivantes quand
Installez le module de mémoire après avoir retiré le couvercle
vous manipulez la carte afin d’éviter tout risque d’endom-
magement des pièces internes par l’électricité statique.
inférieur.
1
1. Avant d’installer la mémoire additionnelle, mettez hors tension
le MC-909 et tous les périphériques connectés et débranchez
tous les câbles, y compris le câble d’alimentation du MC-909.
• Toujours toucher un objet métallique relié à la terre (comme
un tuyau par exemple) avant de manipuler la carte pour vous
décharger de l’électricité statique que vous auriez pu
accumuler.
2. Tournez le MC-909 sens dessous dessus, retirez les vis indiquées
dans le diagramme ci-dessous et retirez le couvercle.
fig.Exp-01.e_90
2
5
• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez
de toucher aux composants ou aux connecteurs.
• Conservez le sachet d’origine dans lequel était la carte lors de
l’envoi et remettez la carte dedans si vous devez la ranger ou
la transporter.
Vis à enlever
•
•
Utilisez un tournevis de type Philips de la taille adaptée à celle
des vis (tournevis numéro 2). Un tournevis inadéquat peut
endommager la tête de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire
des aiguilles d’une montre. Pour serrer les vis, tourner le
tournevis dans le sens des aiguilles d’une montre.
fig.Screw.f
desserrer
resserrer
•
•
Assurez-vous que les vis que vous retirez ne tombent pas à
l'intérieur du MC-909.
Faites attention de ne pas vous couper sur le bord du couvercle
ou de l'ouverture lorsque vous retirez le couvercle.
911(F)
• Ne pas toucher aux circuits imprimés ou aux connecteurs.
912(F)
3. Appuyez sur les clips blancs à l’extrémité de la prise qui
•
Ne jamais forcer lors de l’installation de la carte de circuits
carte et recommencez l’installation.
devraient être orientés vers le bas.
fig.DIMM-01
913(F)
•
Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
914(F-Modified)
•
Avant de procéder à l’installation d’un module DIMM, il faut
toujours mettre l’unité hors tension et débrancher le câble
d’alimentation.
915(F-Modified)
•
Installez uniquement le module DIMM spécifié. Retirez
uniquement les vis spécifiées (p. 148).
928(F)
•
Lorsque vous déposez le MC-909 face vers le bas, placez des piles
de journaux ou de magazines sous les quatre coins (ou des deux
côtés) pour le soutenir. Ainsi, les boutons, manettes et autres
pièces ne seront pas endommagés.
929(F)
•
En plaçant l’appareil sens dessus dessous, manipulez-le avec soin
pour éviter de l’échapper, de le laisser tomber ou de se renverser.
•
Une fois l’installation du module terminée, remettez le couvercle
en place.
148
Download from Www.Somanuals.com. All Manuals Search And Download.
Ajouter de la mémoire
4. Prenez bien note de l’emplacement et de l’orientation de
Vérifier que la mémoire est
installée correctement
l’encoche du module de mémoire et insérez-le verticalement à
l’intérieur des guides qui se trouvent de chaque côté de la prise.
fig.DIMM-02
1. Mettre en marche tel que décrit sous « Turning On/Off the
Power » (p. 16).
2. Appuyer sur [MENU].
3. Utiliser [CURSOR] pour choisir [System].
4. Appuyer sur [ENTER] pour atteindre la fenêtre du menu du
système.
fig.6-02
*
Si vous éprouvez de la difficulté à insérer le module de mémoire,
inclinez-le légèrement et insérez une extrémité à la fois.
5. Ramenez les clips blancs vers le haut et appuyez dessus jusqu’à
ce que le module de mémoire soit verrouillé en place.
fig.DIMM-03
5. Appuyer sur [F6 (System Info)].
6. Appuyer sur [F2 (Memory Info)].
S’assurer de lire dans la fenêtre la taille de la mémoire que vous
avez installée.
6. À l’aide des vis retirées à l’étape 2, remettez le couvercle en
7. Appuyer sur [F6 (Close)] pour revenir dans la fenêtre du menu
place.
du système.
8. Appuyer sur [EXIT] pour quitter la fenêtre du menu du
Retrait du module de mémoire
système.
*
Si la taille de la mémoire dans la fenêtre n’est pas exacte, il est possible
que la mémoire n’ait pas été détectée correctement. Éteindre tel que
décrit sous « Turning On/Off the Power » (p. 16), et réinstaller la
mémoire conformément aux instructions.
Pour retirer le module de mémoire, procédez à l’inverse de la
procédure d’installation.
1. Appuyez simultanément, vers l’extérieur, sur les clips blancs
situés aux extrémités de la prise.
fig.DIMM-04
Spécifications de la mémoire d’expansion
(DIMM) qui peuvent être utilisées
Nombre de broches : 168 broches
Vitesse :
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
Tension :
Capacité :
128 Mo
256 Mo
Hauteur de la carte :
38 mm ou moins
2. Retirez le module de mémoire de la prise.
Il a été confirmé que le MC-909 fonctionne avec la mémoire standard
possédant les spécifications ci-dessus. Nous ne pouvons toutefois
pas certifier que toutes les mémoires possédant ces spécifications
fonctionneront correctement. Il faut se rappeler que même si les
spécifications sont identiques, des différences dans la conception du
module de mémoire ou les conditions d’utilisation peuvent faire en
sorte qu’il n’est pas possible d’utiliser le module de mémoire.
149
Download from Www.Somanuals.com. All Manuals Search And Download.
Waveform List
No. Name
No. Name
No. Name
No. Name
No. Name
No. Name
No. Name
001 MC SuperSawA
002 MC SuperSawB
003 MC SuperSawC
004 SuperSawSlwA
005 SuperSawSlwB
006 SuperSawSlwC
007 Trance Saw A
008 Trance Saw B
009 Trance Saw C
010 Alpha Rave
011 MG Big Lead
012 JUNO Rave
013 Blaster
014 Sync Sweep
015 TB Natural
016 TB303Saw HD
017 106 Saw HD
018 CustomSawAHD
019 JP8000 Saw
020 MG Reso Saw
021 MGSaw HD
022 Synth Saw
023 JP-8 Saw
100 EP MkI mf
101 Stage p A
102 Stage f A
103 Lo-Fi Wurly
104 FM EP mf
105 D-50 EP
199 Smear Hit 1
200 Smear Hit 2
201 LoFi MinorHt
202 OrchPrc Hit
203 Sitar Gliss
204 Scratch Menu
205 Scratch 16
206 Scratch 17
207 Scratch 18
208 Scratch 19
209 Scratch 20
210 Scratch 21
211 Scratch 22
212 Scratch 23
213 Scratch 24
214 Scratch 25
215 Scratch 26
216 Tape Rewind
217 Vox Menu 1
218 Vox Menu 2
219 One M
298 BPF Fx
397 R8 HiCongaOp
398 R8 LoCongaOp
399 Reg HiCng Mt
400 Reg HiCng Op
401 Reg LoCng Op
402 Reg HiBng Mt
403 Reg HiBng Op
404 Reg LoBng Op
405 TablaBayam 1
406 TablaBayam 2
407 TablaBayam 3
408 TablaBayam 4
409 TablaBayam 5
410 TablaBayam 6
411 TablaBayam 7
412 Udo
413 Udu Pot1 Hi
414 Udu Pot1 Slp
415 Cajon 1
416 Cajon 2
417 Cajon 3
418 AfroDrum Rat
419 Chenchen
420 Op Pandeiro
421 Mt Pandeiro
422 Timpani
423 Tambourine1
424 Tambourine2
425 Tambourine3
426 Tambourine4
427 CR78 Tamb
428 CR78 Beat
429 Timbale Hi
430 Timbale Lo
431 808 Maracas
432 Maracas
433 R8 Shaker A
434 R8 Shaker B
435 R8 Cabasa
436 Triangle 1
496 TR606 Kick
497 Jive Kick
498 TR909 Kick 5
499 TR909 Kick 6
500 Lo-Fi Kick 2
501 Wet Kick
595 R&B RegSnr 3
596 R&B RegSnr 4
597 R&B RegSnrG1
598 Funk Snr 1
599 Picc. Hrd Sn
600 Picc. Rol Sn
601 SnareWithCym
602 R8 BrshSwill
603 R8 BrushRoll
604 Urban RollSD
605 Roll Snare
606 RimShot Menu
607 TR909 Rim
608 TR808 Rim
609 R&B Rim 1
610 R&B Rim 2
611 R&B Rim 3
612 Neck Rim
299 Artful Perc1
300 Artful Perc2
301 MG Noise Fx
302 Beep
303 DarkSteam
304 MG Zap 1
305 MG Zap 2
306 MG Zap 3
307 MG Zap 4
308 MG Zap 5
309 MG Zap 6
310 MG Zap 7
311 MG Zap 8
312 MG Zap 9
313 MG Zap 10
314 MG Zap 11
315 MG Zap 12
316 MG Zap 13
317 MG Zap 14
318 MG Zap 15
319 MG Blip
320 Beam HiQ
321 MG Attack
322 MG Sweep 1
323 MG Sweep 2
324 MG Sweep 3
325 MG Sweep 4
326 MG Sweep 5
327 MG Sweep 6
328 Space FX Swp
329 SFX Menu 1
330 SFX Menu 2
331 Dial
332 Door Knob
333 Vinyl burst
334 Water Cock 1
335 Water Cock 2
336 Bomb Noise
337 Sea
338 Brush Noise
339 Space Noise
340 Scream
341 Jet Plane
342 Toy Gun 1
343 Toy Gun 2
344 Emergency
345 Buzzer
106 Clavi
502 Tight Kick
107 E.Organ 1
108 E.Organ 2
109 Full Stop
110 FM Club Org
111 Old Organ
112 Church Org
113 Tubular
114 Glockenspiel
115 Vibraphone
116 FantabellSub
117 DIGI Bell
118 Steel Dr
119 FM Mallet mf
120 Marimba
121 Balaphone
122 Kalimba
123 Soft NylonGt
124 Steel Guitar
125 Clean TC
126 Funk Gt
503 TR707 Kick 1
504 TR909 Kick 7
505 Regular Kick
506 Lite Kick 1
507 Roll Kick
508 Snare Menu 1
509 Snare Menu 2
510 Snare Menu 3
511 Snare Menu 4
512 Snare Menu 5
513 Snare Menu 6
514 Snare Menu 7
515 Sizzle Snr 1
516 LowDownSnr 1
517 Jngl Tiny SD
518 Tiny Snr 1
613 Swag Rim
614 Step Rim
615 R&B Rim 4
616 Street Rim
617 Regular Rim
618 R8 Comp Rim
619 Tom Menu
220 Two M
221 Three M
222 Four M
223 Aah! M
224 Hou! M
225 Ha! M
226 Hi! M
227 Hi2 M
024 P5Saw HD
025 P5 Saw
026 OB2Saw HD
027 OB Saw
028 Digital Saw
029 OSC Saw
030 OSC Reso Saw
031 Air Wave
519 DJ Snare
520 R8 Brush Tap
521 Phat Snare
522 Lo-Hard Snr
523 ElectroSnr 1
524 RaggaTightSD
525 Flange Snr
526 Slap Snr 1
527 Analog Snr 1
528 Analog Snr 2
529 Analog Snr 3
530 Modern Snr 1
531 Swallow Snr
532 Jam Snr
620 R8 Comp Tom1
621 R8 Comp Tom2
622 R8 Comp Tom3
623 R8 Comp Tom4
624 Natural Tom
625 TR909 Tom
626 TR909 DstTom
627 TR808 Tom
628 TR606 Tom
629 Deep Tom
630 CHH Menu 1
631 CHH Menu 2
632 Modern CHH
633 Hipping CHH
634 Urban CHH
635 Regular CHH1
636 Regular CHH2
637 Regular CHH3
638 Bristol CHH
639 R8 Brush CHH
640 Bang CHH
127 Funk Gt Mute
128 Overdrive
129 D.MuteGt mp
130 DistGtrChord
131 CleanGtrCut
132 Gtr Trill
228 Wow M
229 Yeah2 M
230 You Know M
231 Get It Up M
232 Come On M
233 Ah Hah M
234 Ah M
032 DistTB Sqr
033 DistTBSqr Lp
034 TB Dst Sqr
035 TB303Sqr HD
036 TB Square 1
037 TB Square 2
038 JP-6 Square
039 MGSqr HD
040 MG Square
041 P5Sqr HD
042 P5 Square
043 OB2Sqr HD
044 CustomSquAHD
045 PureSqr1kHz
046 PureSqr440Hz
047 106 SubOscHD
048 JP8PLS05 HD
049 JP8PLS25 HD
050 JP8PLS40 HD
051 JP8PLS45 HD
052 JP-8 Pulse
053 MG Pulse
054 260 Pulse
055 Frog Wave
056 FM Pulse
057 JP8000 PWM
058 JP8000 FBK
059 260 Sub OSC
060 MGTri HD
061 MG Triangle
062 ARPSin HD
063 Sine
064 PureSine1kHz
065 PureSin440Hz
066 700SynthBass
067 Mini Bs 1A
068 Mini Bs 1B
069 Mini Bs 1C
070 Syn Bass 1
071 Syn Bass 2
072 Syn Bass 3
073 Mini Bs 2
074 Mini Bs 2 Lp
075 MG Big Bass
076 Garage Bass
077 Delta Bass
078 Jungle Bass
079 SH-101 Bass
080 MC-202 Bass
081 Poly Bass
082 Organ Bass
083 Voco Bass
084 Reso Bass 1A
085 Reso Bass 1B
086 Reso Bass 2A
087 Reso Bass 2B
088 FM Bass f
089 Solid Bass
090 Fingered Bs
091 Stick Bass
092 P.Bass
133 Gtr Cut
134 DistGtrRiff1
135 DistGtrRiff2
136 Wah Gtr Riff
137 GtrShtSlide
138 FullStr mf A
139 FullStr mf B
140 FullStr mf C
141 JV Strings
142 Tron Strings
143 JP Strings
144 Tremolo sfz
145 STR Attack
146 StrChord Maj
147 StrChord Min
148 VlnPizzicato
149 Pizzy Techno
150 FemChoirOosA
151 FemChoirOosB
152 FemChoirOosC
153 Brass Sect A
154 Brass Sect B
155 Brass Sect C
156 BrsShortFall
157 Solo Trumpet
158 Mute Trumpet
159 Soft AltoSax
160 Blow Tnr Sax
161 Wild Tnr Sax
162 Afro Flute
163 Pure Flute
164 Tron Flute
165 Pan Flute
166 Flute Gliss
167 Shamisen
168 Sitar
169 Hit Menu 1
170 Hit Menu 2
171 Hit Menu 3
172 OrangeHit 1
173 OrangeHit 2
174 OrangeHit 3
175 OrangeHit 4
176 OrangeHit 5
177 OrangeHit 6
178 OrangeHit 7
179 OrangeHit 8
180 Ambience
181 7th Hit
182 Minor Hit
183 Drive Hit
184 Brassy Hit
185 6th Hit
186 Filtered Hit
187 Mild Hit
235 Ah2 M
236 Uuh Yeah! M
237 ComeOn F
238 Ha F
533 Back Snr
534 Keen Snr 1
535 Boys Snr 1
536 Slap Snr 2
537 Neck Snr
538 Artful Snr
539 Pin Snr
540 Chemical Snr
541 Sizzle Snr 2
542 Antigua Snr
543 Tiny Snr 2
544 Real Snare
545 R&B Snr 1
546 R&B Snr 2
547 Cross Snr
239 Woow F
437 Triangle 2
240 MetalVoiceW1
241 MetalVoiceW2
242 MetalVoiceW3
243 Aah Formant
244 Eeh Formant
245 Iih Formant
246 Ooh Formant
247 Uuh Formant
248 MetalVoiceL1
249 MetalVoiceL2
250 MetalVoiceL3
251 VoxPerc Menu
252 Vox Kick 1
253 Vox Kick 2
254 VoxKickSweep
255 Vox Snare 1
256 Vox Snare 2
257 Vox Hihat 1
258 Vox Hihat 2
259 Vox Hihat 3
260 Vox Cymbal
261 Pa!
438 CR78 Guiro
439 Reg Guiro A
440 Reg Guiro B
441 Reg Guiro C
442 Whistle Shrt
443 Whistle
444 TR727Quijada
445 TR808 Claves
446 R8 ClavesCmp
447 Club FinSnap
448 Single Snap
449 Snap
450 Kick Menu 1
451 Kick Menu 2
452 Kick Menu 3
453 Kick Menu 4
454 Click Kick 1
455 Pick Kick
641 LowDownCHH
642 Disc CHH
346 Insect
347 Tonality
643 Club CHH 1
644 HipHop CHH
645 TR909 CHH 1
646 TR909 CHH 2
647 Shaky CHH
648 Club CHH 2
649 Swallow CHH
650 TR808 CHH 1
651 TR808 CHH 2
652 TR606 CHH 1
653 TR606 CHH 2
654 TR606 DstCHH
655 Lite CHH
348 Ring OSC
349 Reso FX
350 Vinyl Noise
351 Vinyl Stop
352 Construct.
353 Jack Hammer
354 Turbine
548 Grave Snr
549 Boys Snr 2
550 Boys Snr 3
551 LowDownSnr 2
552 TR909 SD 1
553 TR909 SD 2
554 TR909 SD 3
555 TR909 SD 4
556 TR909 SD 5
557 TR909 SD 6
558 TR909 DstSD
559 TR808 SD 1
560 TR808 SD 2
561 TR808 SD 3
562 TR808 SD 4
563 Lite Snare
564 TR808 SD 5
565 TR808 SD 6
566 TR808 SD 7
567 DanceHall SD
568 TR606 SD 1
569 TR606 SD 2
570 CR78 Snare
571 Sim Snare
572 Rap Snr 2
355 Sawing
356 Firebomb
357 Applause
358 Thunderbolt
359 Dolphin Hi 1
360 Dolphin Hi 2
361 Dolphin Md
362 Dolphin Lo
363 MetallicShot
364 Siren
456 Mild Kick
457 Back Kick
458 Vinyl Kick 1
459 Low Kick 1
460 Click Kick 2
461 Boys Kick
462 Hippie Kick
463 Frenzy Kick
464 PlasticKick1
465 Artful Kick
466 Swallow Kick
467 Neck Kick
468 Skool Kick
469 Dance Kick 1
470 HipHop Kick1
471 HipHop Kick2
472 Rap Kick
656 CR78 CHH
657 DR55 CHH 1
658 Neck CHH
659 Jungle Hat
660 PHH Menu
262 Chiki!
263 Punch
264 AahVoice Maj
265 AahVoice Min
266 Auh Voice
267 Breath
268 Feedbackwave
269 Atmosphere
270 MG White Nz
271 MG Pink Nz
272 DigiAtkNoise
273 P5 Noise
274 106 Noise
275 Noise AGG
276 Noise TMBR
277 Noise GIS
278 ThroatWind
279 Metal Wind
280 FX Menu 1
281 FX Menu 2
282 FX Menu 3
283 FX Menu 4
284 Euro Fx
285 LoFi Beep 1
286 LoFi Beep 2
287 LoFi Beep 3
288 Hardhock
289 Orbit
661 Hip PHH
365 Drill Hit
662 Pedal Hat 1
663 Street PHH
664 Swallow PHH
665 TR909 PHH 1
666 TR909 PHH 2
667 TR808 PHH 1
668 TR606 PHH 1
669 TR606 PHH 2
670 OHH Menu
671 Neck OHH
672 Regular OHH
673 Pop Hat Open
674 HipHop OHH
675 Bang OHH
676 TR909 OHH 1
677 TR909 OHH 2
678 TR808 OHH 1
679 TR808 OHH 2
680 TR606 OHH
681 Lite OHH
682 CR78 OHH
683 Cymbal Menu
684 TR909 Crash
685 NaturalCrash
686 Jungle Crash
687 Asian Gong
688 RAMA Cymbal
689 Analog Cym
690 TR606 Cym
691 Regular Ride
692 TR909 Ride
693 TR707 Ride
366 Clap Menu 1
367 Clap Menu 2
368 Disc Clap
369 Dist Clap
370 PD Clap
371 Old Clap
372 R8 Clap
373 TR909 Clap 1
374 TR909 Clap 2
375 TR808 Clap
376 TR707 Clap
377 Cheap Clap
378 Real Clap 2
379 Hip Clap
473 Low Kick 2
474 Pin Kick
573 Frenzy Snr 1
574 Frenzy Snr 2
575 Frenzy Snr 3
576 Jngl Rim 1
577 Jngl Rim 2
578 R8 Snr 1
475 Low Kick 3
476 Low Kick 4
477 AnalogKick 3
478 PlasticKick2
479 TR909 Kick 1
480 TR909 Kick 2
481 TR909 Kick 3
482 AnalogKick 4
483 TR909 Kick 4
484 Gabba Kick 1
485 AnalogKick 5
486 AnalogKick 6
487 AnalogKick 7
488 AnalogKick 8
489 AnalogKick 9
490 AnalogKick10
491 PlasticKick3
492 TR606 Dst BD
493 AnalogKick11
494 Sweep Kick
495 TR808 Kick
380 Group Clap
381 Claptail
579 R8 Snr 1cmp
580 R8 Snr 2
382 Planet Clap
383 Royal Clap
384 Happy Clap
385 Club Clap
386 Funk Clap
387 Perc Menu 1
388 Perc Menu 2
389 Perc Menu 3
390 Perc Menu 4
391 R8 Cowbell
392 TR808Cowbell
393 CR78 Cowbell
394 R8 Hi Agogo
395 R8 LowAgogo
396 R8 HiCongaMt
581 Slap Snr 3
582 Keen Snr 2
583 Reagae Snr
584 DR660 Snr
585 RegularSnrMP
586 RegularSnrMF
587 RegularSnr F
588 RegularSnrR1
589 RegularSnrR2
590 RegularSnrG1
591 RegularSnrG2
592 RegularSnrG3
593 R&B RegSnr 1
594 R&B RegSnr 2
188 Bright Hit
189 5th StackHit
190 Euro Hit
191 Dist Hit
192 Tekno Hit
193 Back Hit
194 Techno Chord
195 Thin Beef
196 Tao Hit
197 Philly Hit
198 ClassicHseHt
290 Density
093 Slap Bass
291 LoFi Beep 4
292 LoFi Beep 5
293 LoFi Beep 6
294 Metal Bar 1
295 Metal Press
296 Sand Hit
094 Bass Slide
095 FretlessSoft
096 Fretless Bs
097 UprightBs
098 Ac Bass
099 Piano EQ
297 Metal Bar 2
150
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Patch List
Preset A
(CC#0 = 81,
CC#32 = 64)
Preset B
(CC#0 = 81,
CC#32 = 65)
Preset C
(CC#0 = 81,
CC#32 = 66)
No.
Name
No.
Name
No.
Name
No.
Name
No.
Name
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Trance Chord
UltimateEuro
JP OctAttack
DstTBSQR Atk
DistTB SQR
Traveler
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Alpha Rave
Club Classic
Rubbery
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
RetroSynLead
Warm SawLead
Kickin'Synth
Buzz Saw
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Rave Stack
Line S&H
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
SynBs 4 Seq
StabSaw Bass
Now Bass
Yellow
Polychords
Atmorave
Strobe 909
Comptron
Poly Bass
HiPass Mg
LateFlapSqr
DualRateSqr
QuackyPSqr
Some Squares
Zooba Dooba
Pure Square
Voyage Mg
PortaSynLead
Jupiter6Sqr2
BandSqrMg
My OneOSix
DCOs4ever
Dist Lead 2
Griggley
D9 Trcker
MG Big Lead
Tech Lead
NRG Synthe 1
High Five
JPpulsingPWM
Dot16LFO Mg
Ray
TB + Sine
BreathingPad
Lonely Heart
STR Attack
DistGtrChord
Detune Saw
Pressyn
Low Downer
Basstrap
Galaxy
Foundation
Thick Bass 2
Home Baze
Atk Syn Bs
TB Tra Bass
Electro Rubb
Smoothbass
MC-404 Bass
MC-202 Bs
R&B Bass 1
R&B Bass 2
Enorjizor
Noise Punch
OB M6 Saw
Organ Stack
SftFatPolyOB
SftPolyPfive
Poly Key
Mars
Blurp
Bottle Clown
909 Waltz
BooSoloBoo
JUNO Rave 2
SuperSawSlow
Trance Wave
SuperSawFast
Powerline
Slice Choir
Fashion
Pulse Komp
NRG Synthe 2
OB Shinethru
KeyRand Saw
RndClaviator
Deowah Saw
PKG Key
Sync'ed Pass
909 Racer
MetroPoly 2
Sands of LFO
PanningFrmnt
Bells of Q
Detune Saws
Bustranza
Buzz Sucker
SonicVampire
Electrovox
Cyber Lead
Noisey
MG Bass
TempoLFO OB
SlicedBread2
Bass Engine
GuitarGroove
Twang Woo
Flow
MC-TB Bass
ArpeggioBass
HipHop Bs 1
Voco Bass 1
Voco Bass 2
Alter Bass
RAVtune
forSequence1
Shrtpin
Beep Mod
Blaster
MosquitoLead
Destroyed Ld
HC Solo Lead
Synkronizor
Sync Dink
Detuned Pad
Clean?
PsycoActive
SMILE :-)
DelayStrings
DOC Stack
Syn Stack
OB Raindrops
5th Saw
ClassicRaver
Mission time
Small_Groove
OB M6 x2
Farmer Joe
MG Big Bass
SH-101 Bs 2
Big Bass
PlasmaFields
HeavenlySine
FM Harp
Da Sync
Saw Stack
Trancy Synth
ScreaminLead
World Anthem
Houze Clav
PlayLow Dark
Digitaless
Sync Sweep
Elect Shock
Qube Sync
See a Chance
Splatter
Syn Harp
Dub Tales
Plus3 4 Bob
Venus
Mini Bs
Glow Bugs
Dust Rave
MiniMoe Bass
Chordpatch
Kickin'Bass
Phat bass
Klangosaurus
Grandiosity
12th Planet
NoisePeaker
Cave Tone
106 Saw
Nasty Blade
Criminal
Timed Hit
.16 Orch
You know?
Moon Synth
Innercross
Syncing Sand
Uranus
EchoResoPizz
TB Trancer
Doink
Super-G DX
Syn Bass 1
Pong
Play with ME
IRobot
MultiDance02
Brand X
Seq.Synth 1
Saw SEQ
R&B Bass 3
R&B Bass 4
Syn Bass 2
OctSaw Bass
R&B Bass 5
Monster TB
TB Clone
Kiss My Grts
Lone Prpht
W-Side Saw
Basic Mg
3rd Pulse Mg
GumbyBot
Vibrato Saw
Arpness TB
Dist TB
Sweep Lead
SweepPad w/D
Remix Stack
Def Filter
NY83 SEQ
Sqr SEQ
PortaSqr SEQ
Seq.Synth 2
Reso Bass 2
Detune Bass
JunoWotImean
Dust Bass
TechnoTribal
Glide-iator
Pop JunkBass
New Acid Grv
WoodenGroove
RubberBass
Reso TB Bs
TB Legato
Robot
Legato Saw
QuackyPfive
LPassRzSawMg
The Prpht OB
The Prpht TB
Q DualSaws
Dual Profs
Freedom
headHit Lead
Too Pure
Fast Detune
DenMrk Lead
Squeepy
NU-NRG Bass
Inside Bass
Rezo Bass
R&B Bass 6
FuzzBlockHed
Tracore Bass
Bau Bass
Old Synth
Basic 1
Xtatic
ResoLFO LD
Similar Lead
Air Wave
SaturnHolida
Anna Harp
Hyperactiver
Syn Lead
DualP
BandSawMg
BandSawMg2
Slow Mg
Mew Lead
Cue Tip
Acdg Bass
RingerBass
SQ Pan
RetroRave 2
RAVE w/me
HouseParty02
Rave Party
Rave It Up
BPF Sweeper
Alpha Time
Alphat
Basic 2
Freaky Fry
The Brothers
Mosquito
PeakArpSine
PekingTriMg
TubbyTriangl
Square Lead
Sine Mallet
SQR Diamond
Classy Pulse
Eat Skip
LFO Bass
AcidMoon
Digital BPF
HPF Sweep
Pulse Line
Loco Voco
Vel-o-TB
Jungle Bass
Sine Bass
Gate Me Buzz
eRobot Bass
Metalic Bass
Goldon Bass
R&B Bass 7
LFO SqrBs 2
SQR+Sub Bs
Square Bass
ArtifFrog
Electricity
Metal Frog
Waspy Lead
Bend Rave
NRG Synthe 3
151
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Patch List
Preset D
(CC#0 = 81,
CC#32 = 67)
Preset E
(CC#0 = 81,
CC#32 = 68)
No.
Name
No.
Name
No.
Name
No.
Name
No.
Name
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
FallDown Bs
PeakOfTEBE
Dub Bass
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Morphed Silk
Hy Synstring
OB Rezo Pad
Rev Sweep
Phat Pad
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
With ME
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Glockenspiel
Steel Drums
Sweep Mallet
Toy Jungle
FantabellSub
Small Bell
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Golem
1 Get Up^_^)
Puwa
StrChord Maj
StrChord Min
SynStrings
OB Slow Str
Super SynStr
Contrabass
VlnPizzicato
Pizz Orch
Bass it
Dance Grand
64voicePiano
Hard Piano
Epic House
Honktonkhous
Piano Trance
NY Piano+Str
Sine EP+
Basic SynBs
R&B Bass 8
808 Bass 2
Organ Bass 2
Org Atk Bs
Sqr Atk Bs
FM Bass
DCO Stack
Rise Pad
Synth Bell
Penta Pad
Kalimbells
Juno Waves
Mod Pad
DIGI Bell
TribellDance
NitrousDragn
Tubular-Bell
Gigoloid
Wet
Slow Gear
Piezzo
Front 909
DeepForest2
HPF Ensemble
Steamed Sawz
AiRye Bread-
Analogscape
The Pad
Soul Vibe
E-piz
FM Super Bs2
Univ Studies
Buum Bass
Solid Bass
T Nite Bass
Solid Goa
Talkin EP
Pizzicato
Psychic EP
Wah EP
Ring Sine
Pizz It
Steel Guitar
Steel-Str.Gt
HipHop Gtr
Twin Aco Gtr
PureAcoustic
Bright Nylon
Fake Guitar
Clean TC
Techno Pitz
AfricanFlute
Jazzy Flute
McFlute Atk
FluteSoloist
Faked Flute
TronM Flute
TronFlute5th
Lonely Ghost
Strangefruit
Casals dream
Flute Pipe
Noir
StageEP w/Tr
Back2the60s
Creep
JP Str Pad
Solid Bottom
Dark Bass 1
Dark Bass 2
Dark Bass 3
HipHop Bs 2
HipHop Bs 3
HipHop Bs 4
ConcreteBass
AfterHoursMx
Delta Bass
Basstar
Saw Pad
Palm Pad
Analog EP
Old EP X
909 Sweep
Undulate Pad
Sweet Vocode
Double Morph
Floating Pad
Juno Waves 2
Cosmosis
Str8Up Wurly
Wirle EeePee
Gentle Wurly
Dist Wurly
Trem EP Mod
Cool EP
CleanEG w/Tr
Clean&String
Lo-Fi Gtr
BPF Guitar
Funk Gtr
Pan Flute
Metal Pad
FM E.Piano
EppEEppE
SuperLushMod
Clavi
FnkDittyMute
JAMIn' 01
ACIDJdynaflt
Flute Gliss
Dr. Bellows
Whistle
Warm Pad
Tabla Bass
Pizz Bass
Soft Pad
Jazzin
Phaedra
CleanGtrCut
VeloWahDMute
ReTrigDsMute
RockinMuteGt
AutoWahMute
Wah Gtr Riff
Tripled8 Wah
GtrShtSlide
MuteFall /
Destroyed Bs
FXM Bass
Sine Pad
Funky D
Wide SynBrs
Special Saw
Silk Pad
Heavenly Pad
HauntedStars
Female Oos
Floor Choir
Windy Vox
Pulse Clav
Analog Clavi
Harpsichord
Pulse Key 2
Digi Key
Dendo Bass
XL Too
Silky JP
NY83 Bass
Velo fingers
P.Bass
Detuned DCOs
Cheap SynBrs
Synth Brass
Brass Stack
St Sfz Brass
30's Tpt
Digi Voices
SmoothGroove
Auh Luv Rave
JungleFever
Cheesy Stab
AahVoiceMaj
Sample Age
Sun Shower
CalifnSunset
AahVoiceMin
Right&Left
Cold Key
All Round
E.Organ 1
E.Organ 2
Organic
Nice P /
Gtr Cut
Stick Bass
DistGtrRiff1
DistGtrRiff2
Gtr Trill
NiceStick /
Heavy Bass
Upright Bs
Percs Organ
Fake Organ
Vade Retro 2
Club Organ
Continential
Hippy Organ
Bright Organ
Clubless Org
Happy Organ
Plastic
Stereo Brass
ThunderBrass
Solo Tpt
909 Strings
Hybrid Str 1
Hybrid Str 2
JV Strings
Acousta Bass
LoFiAtk Bass
Downright
LitlNapolian
Grit Brassh
Soft Brass
MuteTrumpet
KingApprochz
Brass Fall 1
Brass Fall 2
Mercury Fall
AltoSoftSax
Breathy Sax
Slow BlowSax
LatinTnr Sax
Sax Section
Bombay
E.Ac.Bass
Lo-FiStrings
Vinyl Strngs
Odd Strings
Melo Tapes
Mellody
Acid Jazz Bs
Fretless Bs1
FretlessBs P
Fretless Bs2
Warm LeadG
Slap Bass
Hit Chorus
VOCOclavinet
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
MetalVoice1L
MetalVoice2L
MetalVoice3L
Vox Menu 1
Vox Menu 2
MetalVoice 1
MetalVoice 2
MetalVoice 3
Try This
Remix Organ
Cheese Organ
Church Org
Rave Organ
Vibraphone
Vibrarimba
CTA Bell
Swim Strings
GloryOfCaesr
BunVox&Str
Tremolo SFZ
Finale
Bass Slide
V-BassHarm
MeanNoHarmBs
Tempest
NostalgicOrc
ScaryStringz
DrkTrem Orch
IfIKingDaFst
Radio 30's
Ping
Sweep Pad 1
Sweep Pad 2
Size Rizer
Marimba
Real Sitar
FM Mallet
Sitar LFO
Balaphone
Ethno Keys 1
Seq Fodder
Mu Island
FarOutSGliss
Tripn'Bombay
Cheep Lead
Maharagna
Juno Sweep
BPF Syn Pad
SmoothChange
Queasy
152
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Patch List
Preset F
(CC#0 = 81,
CC#32 = 69)
Preset G
(CC#0 = 81,
CC#32 = 70)
User: 001–128
(CC#0 = 81,
CC#32 = 0)
Card: 001–128
(CC#0 = 81,
CC#32 = 32)
No.
Name
No.
Name
No.
Name
User: 129–256
(CC#0 = 81,
CC#32 = 1)
Card: 129–256
(CC#0 = 81,
CC#32 = 33)
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Tsugaru Road
TribalRitual
It Began in
Duel Ethno
Ethno Keys 2
FX Menu 1
FX Menu 2
FX Menu 3
FX Menu 4
Hi?
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Home Sweep
Sub Atmosphe
Breeze
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
Kick Menu 1
Kick Menu 2
Kick Menu 3
Kick Menu 4
TR808 Kick
Liquid Air
Rev Cord
Trancer
Snare Menu 1
Snare Menu 2
Snare Menu 3
Snare Menu 4
Snare Menu 5
Snare Menu 6
Snare Menu 7
NY83 SD
Autovox
Randooom
Mod Hit 2
Mod Hit 3
Weird Snare
BreathingArp
Chiki /
Mad Mod
Q Jet FX 01
Abduction
Underground
Ambitech
Scratch Menu
SFX Menu 1
SFX Menu 2
Bomb Noise
Hit Menu 1
Hit Menu 2
Hit Menu 3
Bliss Sweepz
Maj7+11 Hit
Agent Orange
DfloorOrch
Blue Ice
TR909 Snare
Blip SD
ModtheGong
Breath Hit
RimShot Menu
Tom Menu
Smooth Jet
Lazer Points
Mod Hit 1
CHH Menu 1
CHH Menu 2
PHH Menu
Stopper
OHH Menu
We'r d'ROBOZ
Orbit Mod
Cymbal Menu
AirWave Solo
TronFlt Solo
TronStr Solo
JP8 Saw Solo
SuperSawSolo
Trumpet Solo
E.Organ Solo
RealStr Solo
MTLVoiceSolo
E.Voice Solo
Affects
LogicalSweep
BullsEye
Sweet Garage
Orch Hit 1
DownThePitch
DnB Fall
Orch Hit 2
Let it beep
Mousey Kick
Strange
Rave Hit
Chunky
Tekno ChdHit
Happy Hit
Fear
Touch EF
Dly Rls Stab
Classic Hit
RevHouse Hit
Smear Hit 1
Smear Hit 2
Dark Hit
NoFXrequired
Feedbackwave
Noise Voice
In The Mist
MagneticStrm
Take Effect
Random LFO
S&H Voc
Vinyl Brass
Funk Chank
Cheezy Movie
Mojo Man
RubbrBandSaw
Nasty Filt
Philly Hit
Lipple Ring
2Matt Colors
Flag Flash
Metalythm
Sync Tone
Down The Hit
MetallicShot
Kick Da Lion
Boost Tom
Perk Breath
WaitnOutside
GogSign
Power Hit
Neo Hit
HardHitnHous
Goto Europe
Dis The Bass
Bright Hit
Disminished
Tribal Song
Industrial02
Clap Menu 1
Clap Menu 2
Perc Menu 1
Perc Menu 2
Perc Menu 3
Perc Menu 4
Tablabaya
Hip Pluck
DingDong
Transport
GK Ready
to the stars
Dusted
Destructo
Udu/Udo
RockNSleestk
3D Flanger
Pacifica
Asian Gong
Timpani
VoxPerc Menu
153
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Rhythm Set List
(Preset: FCC#0 = 82, CC#32 = 64 User: CC#0 = 82, CC#32 = 0 Card: CC#0 = 82, CC#32 = 32)
001: 909 TR-909 1 004: 909 TR-909 3 007: 909 Techno 1 010: 909 Techno 4 013: 909 Trance 3 016: 909 House 2
Note No.
PlasticKick1
TR909 Kick 1
TR909 Kick 7
TR909 SD 1
TR909 SD 2
TR909 SD 3
TR909 Rim
TR909 Kick 1
TR909 Kick 2
TR909 Kick 3
TR909 SD 1
TR909 SD 2
TR909 SD 3
TR909 Rim
TR808 Kick
TR606 Dst BD
TR808 Kick
TR808 SD 1
TR808 SD 2
TR808 SD 3
TR808 Rim
TR909 Kick 6
Pick Kick
AnalogKick 9
AnalogKick 5
PlasticKick3
TR909 SD 3
Boys Snr 2
Analog Snr 1
R&B Rim 4
Claptail
Neck Kick
59
Back Kick
60
C4
AnalogKick 9
Tiny Snr 1
Tight Kick
61
63
Tiny Snr 1
62
64
65
67
69
71
Jngl Tiny SD
Slap Snr 1
Rap Snr 2
Tiny Snr 2
Aah Formant
R8 ClavesCmp
MG Attack
R&B Rim 4
Old Clap
TR909 Clap 1
TR909 Tom
TR909 Tom
TR909 Tom
TR909 CHH 1
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
TR909 Clap 2
TR909 Tom
TR808 Clap
TR606 Tom
TR606 Tom
TR808 Claves
TR606 CHH 1
TR606 PHH 1
TR606 OHH
TR606 Cym
TR909 Ride
66
68
70
Deep Tom
GtrShtSlide
Tambourine4
AahVoice Maj
LowDownCHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
TR909 Tom
Beam HiQ
Deep Tom
TR909 DstTom
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
TR909 Crash
TR909 Ride
MG Blip
Deep Tom
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 OHH
NaturalCrash
Urban CHH
TR808 PHH 1
Regular OHH
TR909 Crash
TR707 Ride
C5 72
74
73
002: 909 TR-808 1 005: 909 TR-909 4 008: 909 Techno 2 011: 909 Trance 1 014: 909 Minimal
017: 909 House 3
59
C4 60
62
TR808 Kick
TR808 Kick
TR808 Kick
TR808 SD 2
TR808 SD 4
TR808 SD 5
TR808 Rim
TR808 Clap
TR808 Tom
TR808 Tom
TR808 Tom
TR808 CHH 1
TR808 CHH 2
TR808 OHH 1
TR606 Cym
TR606 Cym
TR909 Kick 4
TR909 Kick 5
TR909 Kick 6
TR909 SD 4
TR909 SD 5
TR909 SD 6
TR909 Rim
Back Kick
AnalogKick 8
AnalogKick 6
AnalogKick 7
Analog Snr 2
Analog Snr 3
Analog Snr 1
Picc. Rol Sn
Dist Clap
TR808 Kick
TR909 Kick 1
AnalogKick10
TR909 SD 1
TR808 SD 4
TR909 SD 3
Snap
TR909 Kick 5
Pick Kick
PlasticKick1
PlasticKick1
Real Snare
Lo-Hard Snr
Swallow Snr
R&B Rim 3
PlasticKick3
LowDownSnr 1
Jngl Tiny SD
Tiny Snr 1
61
63
64
TR808 Rim
Club FinSnap
MG Attack
65
TR909 Clap 2
TR909 Tom
TR909 Tom
TR909 DstSD
TR909 CHH 2
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
R8 Clap
TR909 Clap 1
Disc Clap
66
68
70
TablaBayam 1
TablaBayam 2
TablaBayam 3
Regular CHH1
Street PHH
Regular OHH
NaturalCrash
TR707 Ride
R8 Shaker A
BPF Fx
67
Claptail
MG Blip
69
Density
CR78 Tamb
TR909 OHH 2
Neck OHH
TR909 OHH 2
TR909 Crash
TR909 Ride
Beam HiQ
TR909 CHH 2
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
NaturalCrash
71
C5 72
74
73
003: 909 TR-909 2 006: 909 TR-808 2 009: 909 Techno 3 012: 909 Trance 2 015: 909 House 1
018: 909 BrkBts 1
59
C4 60
62
AnalogKick 6
AnalogKick 7
AnalogKick 8
Analog Snr 1
Analog Snr 2
Analog Snr 3
TR909 Rim
TR808 Kick
TR808 Kick
TR808 Kick
TR808 SD 1
TR808 SD 2
TR808 SD 3
TR808 Rim
AnalogKick 9
AnalogKick11
TR909 Kick 1
TR909 SD 4
Pin Snr
Wet Kick
Wet Kick
Density
AnalogKick10
Frenzy Kick
TR909 SD 1
Frenzy Snr 1
TR808 SD 4
Swag Rim
Low Kick 1
MG Zap 4
Skool Kick
Pick Kick
61
63
TR909 SD 3
LowDownSnr 1
Tiny Snr 2
Analog Snr 1
Swallow Snr
Tiny Snr 2
64
Flange Snr
Street Rim
Old Clap
R&B Rim 4
R&B Rim 2
TR909 Clap 2
TR909 DstTom
TR909 DstTom
TR909 DstTom
Hipping CHH
Street PHH
Bang OHH
65
TR909 Clap 2
TR909 Tom
TR808 Clap
TR808 Tom
TR808 Tom
TR808Cowbell
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
TR808 OHH 2
TR707 Clap
Deep Tom
R8 Clap
66
68
70
Deep Tom
TR808 Tom
Deep Tom
Shaky CHH
Hip PHH
Reg HiBng Mt
Reg LoBng Op
Reg HiBng Op
Regular CHH1
TR606 PHH 1
Regular OHH
NaturalCrash
TR707 Ride
67
TR909 Tom
Deep Tom
TR909 DstTom
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
TR909 Crash
TR909 Ride
Deep Tom
69
TR606 CHH 1
TR606 PHH 1
TR909 OHH 2
Analog Cym
TR808 OHH 1
71
Pop Hat Open
TR909 Crash
TR606 Cym
C5 72
74
TR909 Crash
TR707 Ride
73
154
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Rhythm Set List
019: 909 BrkBts 2 022: 909 DnB 1
025: 909 2Step 1
028: 909 HipHop 2 031: 909 G-Funk 1 034: 909 R&B 1
Note No.
59
Vinyl Kick 1
Jive Kick
TR808 Kick
Jive Kick
Mild Kick
TR606 Kick
Low Kick 3
Mild Kick
Skool Kick
Pick Kick
HipHop Kick1
Low Kick 4
Tiny Snr 1
HipHop Kick1
Low Kick 4
60
61
62
63
64
C4
Click Kick 1
AnalogKick10
Jngl Tiny SD
Jngl Tiny SD
DJ Snare
Wet Kick
Low Kick 4
R8 Brush Tap
Real Snare
Cross Snr
R&B Snr 1
R&B RegSnr 1
Swag Rim
Snap
Back Snr
Jngl Tiny SD
LowDownSnr 1
DanceHall SD
R&B Rim 2
Royal Clap
Scratch 17
Analog Snr 3
TR909 SD 6
R&B Rim 1
Group Clap
Scratch 17
Scratch 20
Sand Hit
Sizzle Snr 1
Chemical Snr
R&B Rim 2
TR808 Clap
TR606 Tom
TR606 Tom
TR606 Tom
HipHop CHH
TR808 PHH 1
TR808 OHH 2
NaturalCrash
Regular Ride
Chemical Snr
R8 Comp Rim
TR909 Clap 1
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Hipping CHH
Hip PHH
TR808 Rim
Funk Clap
65
66
MG Attack
MG Blip
Ah M
67
68
69
Triangle 1
Uuh Yeah! M
Bristol CHH
Hip PHH
LoFi MinorHt
Scratch 17
Beam HiQ
70
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
Analog Cym
Hipping CHH
Hip PHH
Urban CHH
Hip PHH
71
Neck OHH
Pop Hat Open
Analog Cym
TR606 Cym
Pop Hat Open
NaturalCrash
Regular Ride
Pop Hat Open
NaturalCrash
Regular Ride
C5 72
74
TR909 OHH 2
NaturalCrash
73
020: 909 BrkBts 3 023: 909 DnB 2
026: 909 2Step 2
029: 909 HipHop 3 032: 909 G-Funk 2 035: 909 R&B 2
59
C4 60
62
Pick Kick
TR909 Kick 5
Pick Kick
Pick Kick
Mild Kick
Low Kick 3
Low Kick 3
Low Kick 1
Skool Kick
Back Snr
HipHop Kick2
AnalogKick 3
Flange Snr
Tiny Snr 1
Jive Kick
Skool Kick
Low Kick 3
LowDownSnr 1
Jngl Tiny SD
DanceHall SD
R&B Rim 2
Claptail
Low Kick 1
AnalogKick10
Tiny Snr 1
AnalogKick10
Tiny Snr 1
Skool Kick
61
63
Back Snr
Jngl Tiny SD
R8 Brush Tap
R&B Rim 1
Hip Clap
Boys Snr 3
Slap Snr 1
Slap Snr 1
Grave Snr
Swag Rim
Planet Clap
Snap
64
RegularSnrMF
R&B Rim 4
Group Clap
Euro Fx
R8 Snr 1cmp
R8 Comp Rim
TR909 Clap 2
R8 Comp Tom4
R8 Comp Tom2
R8 Comp Tom1
Neck CHH
Boys Snr 2
Swag Rim
65
Planet Clap
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Bang CHH
66
68
70
MG Attack
Scratch 19
Ha! M
67
Scratch 23
LoFi Beep 6
Urban CHH
Hip PHH
MG Blip
R8 Hi Agogo
Snap
69
Beam HiQ
Dial
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
NaturalCrash
TR606 Cym
TR909 CHH 1
Hip PHH
Hipping CHH
TR808 CHH 1
HipHop OHH
NaturalCrash
TR707 Ride
71
Pedal Hat 1
Regular OHH
TR909 Crash
Analog Cym
TR808 CHH 1
Regular OHH
TR909 Crash
Regular Ride
Pop Hat Open
NaturalCrash
Regular Ride
TR808 OHH 1
TR909 Crash
Regular Ride
C5 72
74
73
021: 909 BrkBts 4 024: 909 DnB 3
027: 909 HipHop 1 030: 909 HipHop 4 033: 909 G-Funk 3 036: 909 R&B 3
59
C4 60
62
Artful Kick
Jive Kick
Mild Kick
Mild Kick
Pin Kick
Swallow Kick
Back Kick
TR707 Kick 1
TR909 Kick 7
Real Snare
Mild Kick
HipHop Kick1
Low Kick 4
Jngl Tiny SD
LowDownSnr 1
DanceHall SD
R&B Rim 2
Claptail
HipHop Kick1
TR909 Kick 1
RaggaTightSD
RaggaTightSD
DanceHall SD
Swag Rim
Skool Kick
Click Kick 1
Keen Snr 1
Boys Snr 1
Slap Snr 1
Regular Rim
Hip Clap
PlasticKick3
Jngl Tiny SD
LowDownSnr 1
RegularSnr F
R&B Rim 1
Tight Kick
61
63
Tiny Snr 1
DanceHall SD
TR808 SD 7
R&B Rim 4
Rap Snr 2
64
Tiny Snr 2
Street Rim
65
TR808 Clap
TablaBayam 7
TR909 DstTom
Maracas
Disc Clap
Cheap Clap
Scratch 25
Old Clap
66
68
70
MG Sweep 5
MG Sweep 1
MG Sweep 3
Swallow CHH
TR606 PHH 2
HipHop OHH
NaturalCrash
Jungle Crash
Scratch 16
CR78 Tamb
R8 Shaker B
R8 Cabasa
Bang CHH
Street PHH
Bang OHH
TR606 Cym
Analog Cym
Tape Rewind
Tambourine4
Vox Cymbal
LowDownCHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
67
Scratch 19
Scratch 21
Metal Press
Hipping CHH
Hip PHH
ThroatWind
Modern CHH
Street PHH
HipHop OHH
TR909 Crash
Regular Ride
69
Bristol CHH
TR606 PHH 1
TR606 OHH
NaturalCrash
TR707 Ride
71
Pop Hat Open
NaturalCrash
Regular Ride
C5 72
74
73
155
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Rhythm Set List
037: 909 Human 1 040: 909 80's 2
043: 909 Elctrnca
046: 909 Regge 2
049: 909 Real 2
052: 909 World
Note No.
59
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Vox Snare 1
Chiki!
PlasticKick1
Artful Kick
AnalogKick 9
TR808 Kick
TR808 Kick
R&B RegSnr 1
R8 Snr 2
Vinyl Kick 1
Low Kick 3
Back Kick
Low Kick 4
Cajon 3
Mild Kick
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
Club Clap
60
61
62
63
64
C4
AnalogKick 5
Artful Snr
Dance Kick 1
Back Snr
Analog Snr 1
Real Snare
Antigua Snr
R&B Rim 2
Real Clap 2
Deep Tom
Deep Tom
Deep Tom
Hipping CHH
Hip PHH
Analog Snr 3
Analog Snr 1
R&B Rim 2
Disc Clap
Slap Snr 1
TR606 SD 1
Scratch 20
Happy Clap
Snap
Cross Snr
Swag Rim
65
66
Pa!
Hip Clap
Chiki!
TR808 Tom
TR606 Tom
Deep Tom
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Hipping CHH
TR808 CHH 1
TR606 PHH 1
NaturalCrash
Regular Ride
Udo
67
68
69
Ah M
TablaBayam 3
Udu Pot1 Hi
CR78 CHH
CR78 OHH
CR78 OHH
Analog Cym
Regular Ride
Udu Pot1 Hi
Udu Pot1 Slp
Chenchen
Ah2 M
70
Vox Hihat 2
Vox Hihat 1
Vox Hihat 3
Vox Cymbal
Vox Hihat 3
TR606 CHH 1
TR606 PHH 1
TR808 OHH 2
TR606 Cym
TR707 Ride
71
Op Pandeiro
Mt Pandeiro
Asian Gong
RAMA Cymbal
Neck OHH
TR909 OHH 2
NaturalCrash
C5 72
74
73
038: 909 Human 2 041: 909 80's 3
044: 909 Cheap
047: 909 Regge 3
050: 909 Jazz
053: 909 Perc 1
59
C4 60
62
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Ah M
PlasticKick2
AnalogKick10
PlasticKick3
TR808 SD 5
TR808 SD 3
TR808 SD 7
TR808 Rim
TR808 Clap
TR808Cowbell
MG Zap 9
Lite Kick 1
Artful Kick
TR606 Kick
Lite Snare
CR78 Snare
TR808 SD 1
TR808 Rim
PD Clap
TR909 Kick 7
Skool Kick
Pick Kick
R8 Cowbell
TR808Cowbell
CR78 Cowbell
R8 Hi Agogo
R8 LowAgogo
Noise AGG
Triangle 1
Low Kick 1
Jive Kick
TR707 Kick 1
Real Snare
61
63
DanceHall SD
TR909 SD 5
TR808 SD 3
TR808 Claves
Hip Clap
Cross Snr
64
R&B RegSnr 4
Neck Rim
Woow F
65
Funk Clap
Scratch 20
Pa!
R8 Clap
Triangle 1
66
68
70
CR78 Tamb
CR78 Beat
CR78 Guiro
Lite CHH
Udo
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Regular CHH1
Pedal Hat 1
Regular OHH
NaturalCrash
Regular Ride
Triangle 2
67
Udu Pot1 Hi
Udu Pot1 Slp
TR606 CHH 2
Hip PHH
Triangle 2
69
Chiki!
Beam HiQ
Tambourine1
Tambourine2
Tambourine3
Tambourine4
CR78 Tamb
CR78 Beat
Vox Hihat 2
Vox Hihat 1
Vox Cymbal
Asian Gong
Scratch 24
TR808 CHH 1
CR78 CHH
TR606 OHH
TR606 OHH
TR909 Ride
71
Lite OHH
Lite OHH
TR909 OHH 2
NaturalCrash
TR707 Ride
C5 72
74
TR606 Cym
Analog Cym
73
039: 909 80's 1
042: 909 Electro
045: 909 Regge 1
048: 909 Real 1
051: 909 Brash
054: 909 Perc 2
59
C4 60
62
HipHop Kick2
PlasticKick3
TR909 Kick 1
TR909 SD 5
Tiny Snr 1
Low Kick 3
Rap Kick
Boys Kick
Jive Kick
808 Maracas
Maracas
PlasticKick2
AnalogKick10
DanceHall SD
Lite Snare
Neck Kick
Low Kick 1
TR707 Kick 1
Regular Kick
R8 BrushRoll
R8 BrshSwill
R&B RegSnr 4
R&B Rim 3
Vinyl Kick 1
Frenzy Snr 2
Reagae Snr
Urban RollSD
Modern CHH
R8 Clap
Regular Kick
RegularSnrMP
RegularSnr F
RegularSnrMF
Regular Rim
R&B RegSnrG1
R8 Comp Tom4
R8 Comp Tom2
R8 Comp Tom1
Urban CHH
R8 Shaker A
R8 Cabasa
CR78 Guiro
Reg Guiro A
Reg Guiro B
Reg Guiro C
Whistle Shrt
Whistle
61
63
64
Analog Snr 1
R&B Rim 3
RegularSnr F
TR808 Rim
Dist Clap
65
TR909 Clap 1
Deep Tom
Real Clap 2
Natural Tom
Natural Tom
Natural Tom
Regular CHH2
Street PHH
66
68
70
TR606 Tom
TR606 Tom
TR606 Tom
TR909 CHH 2
TR606 CHH 1
TR606 OHH
TR909 Crash
TR707 Ride
TR909 DstTom
TR909 Tom
TR808 Tom
Swallow CHH
Street PHH
Neck OHH
Jungle Crash
Dist Clap
67
Deep Tom
Deep Tom
TR727Quijada
R8 ClavesCmp
TR808 Claves
Single Snap
Snap
69
Modern CHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
71
Pedal Hat 1
Regular OHH
NaturalCrash
Regular Ride
Regular OHH
NaturalCrash
Regular Ride
C5 72
74
73
Club FinSnap
156
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Rhythm Set List
*
Numbers 065–072 are sets to which the sample data used by patterns 1–5 have been assigned.
055: 909 Perc 3
058: 909 Scratch
061: 909 Vox Perc 064: 909 Sound FX 067: G-Funk Voice 070: House Guitar
Note No.
59
R8 HiCongaMt
R8 HiCongaOp
R8 LoCongaOp
Reg HiCng Mt
Reg HiCng Op
Reg LoCng Op
Reg HiBng Mt
Reg HiBng Op
Reg LoBng Op
Timbale Hi
Scratch 16
Scratch 17
Scratch 18
Scratch 19
Scratch 20
Scratch 21
Scratch 24
Scratch 25
Scratch 26
Scratch 22
Scratch 22
Scratch 23
Scratch 23
Tape Rewind
Vinyl Stop
Vinyl Noise
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Vox Hihat 1
Vox Hihat 2
Vox Hihat 3
Vox Cymbal
Pa!
Dial
Break It On
Check It Out
I Like That
Thats Tight
House Gtr1
House Gtr2
Door Knob
Water Cock 2
Sea
60
61
62
63
64
C4
Dolphin Md
Dolphin Lo
Applause
Thunderbolt
Vinyl burst
Bomb Noise
Firebomb
Jack Hammer
Turbine
65
66
67
68
69
Timbale Lo
Chiki!
70
Cajon 1
Punch
71
Cajon 2
Vox Cymbal
Pa!
Cajon 3
Sawing
C5 72
74
Op Pandeiro
Mt Pandeiro
Chiki!
Siren
73
Punch
Drill Hit
056: 909 Perc 4
059: 909 Voice 1
062: 909 Zap
065: R&B Vocal
068: Trance Vocal 071: Breath
59
C4 60
62
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
TablaBayam 7
Udo
One M
MG Zap 1
MG Zap 2
MG Zap 3
MG Zap 4
MG Zap 5
MG Zap 6
MG Zap 7
MG Zap 8
MG Zap 9
MG Zap 10
MG Zap 11
MG Zap 12
MG Zap 13
MG Zap 14
MG Zap 15
MG Blip
R&B Vocal1
R&B Vocal2
All Right1
All Right2
Breath1
Breath2
Two M
Three M
Four M
61
63
Aah! M
Hou! M
Ha! M
64
65
Hi! M
66
68
70
Udu Pot1 Hi
Udu Pot1 Slp
AfroDrum Rat
Sitar Gliss
Hi2 M
67
Wow M
Yeah2 M
You Know M
Get It Up M
Come On M
Ah Hah M
Ah M
69
71
Sitar Gliss
Chenchen
C5 72
74
73
RAMA Cymbal
Asian Gong
057: 909 Hit&Stab 060: 909 Voice 2
063: 909 Synth FX 066: R&B Guitar
069: House Vocal
Set Me Free
Uhh
072: Techno Voice
Yah
59
C4 60
62
OrangeHit 1
OrangeHit 3
OrangeHit 4
OrangeHit 7
7th Hit
Ah2 M
LoFi Beep 1
LoFi Beep 2
LoFi Beep 3
LoFi Beep 4
LoFi Beep 5
LoFi Beep 6
Hardhock
Euro Fx
R&B Guitar1
R&B Guitar2
Uuh Yeah! M
ComeOn F
Ha F
What I Want
61
63
Woow F
64
Minor Hit
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
MetalVoiceW1
MetalVoiceW2
MetalVoiceW3
AahVoice Maj
AahVoice Min
Auh Voice
Dist Hit
65
Tekno Hit
Back Hit
66
68
70
Orbit
67
Thin Beef
Tao Hit
Density
Metal Bar 1
Metal Bar 2
Metal Press
Sand Hit
69
Philly Hit
71
ClassicHseHt
Smear Hit 1
Smear Hit 2
LoFi MinorHt
C5 72
74
DarkSteam
Ambience
73
157
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Pattern List
No. Pattern Name
BPM Mes. Programmer
No. Pattern Name
BPM Mes. Programmer
001 R&B 1
65
77
4
4
8
4
4
8
4
4
4
4
8
8
4
8
4
4
8
8
4
8
4
4
8
4
8
8
8
4
4
4
4
4
8
8
4
8
8
8
8
8
8
8
8
8
8
8
8
4
4
4
8
8
4
8
8
4
8
8
8
8
Shinichiro Murayama
Kazuhiko Maeda
B.U.S
B.U.S
grogman
061 Drum'n'Bass 11
062 Drum'n'Bass 12
063 Drum'n'Bass 13
064 Break Beats 1
065 Break Beats 2
066 Break Beats 3
067 Break Beats 4
068 Break Beats 5
069 Break Beats 6
070 Break Beats 7
071 Break Beats 8
072 Break Beats 9
073 Break Beats 10
074 Break Beats 11
075 Break Beats 12
076 Break Beats 13
077 Break Beats 14
078 Euro Trance 2
079 Euro Trance 3
080 Euro Trance 4
081 Euro Trance 5
082 Euro Trance 6
083 Euro Trance 7
084 Euro Trance 8
085 Euro Trance 9
086 Hard Trance 1
087 Hard Trance 2
088 Hard Trance 3
089 Hard Trance 4
090 Hard Trance 5
091 Hard Trance 6
092 Hard Trance 7
093 Hard Trance 8
094 Hard Trance 9
095 Hard Trance 10
096 Hard Trance 11
097 Psy. Trance 1
098 Psy. Trance 2
099 Psy. Trance 3
100 Psy. Trance 4
101 Psy. Trance 5
102 Psy. Trance 6
103 Psy. Trance 7
104 UK HardHouse 1
105 UK HardHouse 2
106 UK HardHouse 3
107 UK HardHouse 4
108 UK HardHouse 5
109 UK HardHouse 6
110 UK HardHouse 7
111 US HardHouse 1
112 US HardHouse 2
113 US HardHouse 3
114 US HardHouse 4
115 US HardHouse 5
116 US HardHouse 6
117 US HardHouse 7
118 Progressive 1
119 Progressive 2
120 Progressive 3
170
180
180
140
140
136
126
110
128
120
120
154
170
175
138
127
144
140
135
140
140
138
136
138
145
140
150
150
140
145
136
140
134
140
138
140
140
140
138
138
138
143
140
150
145
142
142
142
140
140
133
125
125
129
130
130
130
133
130
132
8
8
4
4
4
8
8
4
8
8
8
8
8
4
4
4
8
8
8
8
8
4
4
8
8
8
8
8
8
8
4
8
4
4
4
4
4
4
4
4
8
8
8
8
8
4
8
8
4
8
4
4
4
4
4
4
4
8
8
8
Kunihiro Ueno
Kunihiro Ueno
Kunihiro Ueno
Heigo Tani
Heigo Tani
Kunihiro Ueno
Nick Tidy
Kunihiro Ueno
Nick Tidy
Kunihiro Ueno
Nick Tidy
Kunihiro Ueno
Heigo Tani
Heigo Tani
Heigo Tani
B.U.S
Nick Tidy
Roland Corporation
Roland Corporation
Hans-Joerg Scheffler
B.U.S
B.U.S
B.U.S
002 G-Funk 1
003 Euro Trance 1
004 Garage 1
005 Minimal 1
006 Techno 1
007 Techno 2
008 Techno 3
009 Techno 4
010 Techno 5
011 Techno 6
012 Techno 7
013 Techno 8
014 Techno 9
015 Techno 10
016 Techno 11
017 Techno 12
018 Techno 13
019 Techno 14
020 Techno 15
021 Techno 16
022 Techno 17
023 Techno 18
024 Techno 19
025 Techno 20
026 Techno 21
027 Techno 22
028 Minimal 2
029 Minimal 3
030 Minimal 4
031 Minimal 5
032 Minimal 6
033 Minimal 7
034 Minimal 8
035 Minimal 9
036 Minimal 10
037 Minimal 11
038 Minimal 12
039 Minimal 13
040 Hardcore 1
041 Hardcore 2
042 Hardcore 3
043 Hardcore 4
044 Hardcore 5
045 Ambient 1
046 Ambient 2
047 Ambient 3
048 Ambient 4
049 Ambient 5
050 Ambient 6
051 Drum'n'Bass 1
052 Drum'n'Bass 2
053 Drum'n'Bass 3
054 Drum'n'Bass 4
055 Drum'n'Bass 5
056 Drum'n'Bass 6
057 Drum'n'Bass 7
058 Drum'n'Bass 8
059 Drum'n'Bass 9
060 Drum'n'Bass 10
138
130
137
132
130
128
132
137
135
133
130
130
130
128
130
130
128
127
125
132
140
132
135
127
138
140
140
141
138
137
135
135
135
135
135
135
135
180
180
180
150
150
89
Q'HEY
Heigo Tani
Heigo Tani
Heigo Tani
grogman
Roland Corporation
Nick Tidy
Takatoshi Nishibu
Heigo Tani
Heigo Tani
Q'HEY
Kunihiro Ueno
Kunihiro Ueno
Kunihiro Ueno
Cappadocia Productions
Heigo Tani
Q'HEY
Nick Tidy
Q'HEY
Q'HEY
Nick Tidy
Roland Corporation U.S.
NEURON
Hans-Joerg Scheffler
NEURON
Nick Tidy
Heigo Tani
Heigo Tani
Daishiro Minami
Roland Corporation
grogman
Q'HEY
Q'HEY
Q'HEY
Q'HEY
Q'HEY
Q'HEY
Q'HEY
NEURON
NEURON
NEURON
NEURON
NEURON
NEURON
Hans-Joerg Scheffler
Roland Corporation
Takatoshi Nishibu
Hans-Joerg Scheffler
Roland Corporation U.S.
MASA
MASA
MASA
MASA
MASA
MASA
MASA
MASA
NEURON
NEURON
Roland Corporation
Roland Corporation
B.U.S
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
B.U.S
Roland Corporation U.S.
Roland Corporation
Roland Corporation
Roland Corporation U.S.
Kazuhiko Maeda
Kazuhiko Maeda
Kazuhiko Maeda
Roland Corporation
Roland Corporation
Roland Corporation U.S.
Cappadocia Productions
Cappadocia Productions
Roland Corporation U.S.
Roland Corporation
MASA
89
82
100
120
130
180
180
175
166
180
170
175
170
180
180
Q'HEY
Kunihiro Ueno
Kunihiro Ueno
Heigo Tani
Nick Tidy
Nick Tidy
Roland Corporation
Roland Corporation
Heigo Tani
Kunihiro Ueno
Kunihiro Ueno
158
Download from Www.Somanuals.com. All Manuals Search And Download.
Preset Pattern List
No. Pattern Name
BPM Mes. Programmer
No. Pattern Name
BPM Mes. Programmer
121 Progressive 4
122 Progressive 5
123 Progressive 6
124 Progressive 7
125 Garage 2
126 Garage 3
127 Garage 4
128 Garage 5
129 Garage 6
130 Garage 7
131 Garage 8
132 Garage 9
133 Garage 10
134 Disco 1
136
136
138
137
128
132
130
125
129
134
142
134
138
132
132
135
135
124
134
127
128
126
104
99
4
4
4
8
4
4
4
8
8
8
8
8
8
8
8
4
4
4
4
8
8
8
4
4
4
8
4
4
4
8
4
8
8
8
8
8
8
8
8
8
4
8
8
8
4
8
4
4
4
8
8
4
4
4
8
8
8
8
8
8
B.U.S
B.U.S
B.U.S
Nick Tidy
Roland Corporation U.S.
B.U.S
B.U.S
Hans-Joerg Scheffler
Hans-Joerg Scheffler
Hans-Joerg Scheffler
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
B.U.S
B.U.S
Roland Corporation U.S.
MASA
Hans-Joerg Scheffler
Hans-Joerg Scheffler
Nick Tidy
Hans-Joerg Scheffler
Hans-Joerg Scheffler
Shinichiro Murayama
Kazuhiko Maeda
181 G-Funk 10
182 G-Funk 11
183 Abstract 1
184 Abstract 2
185 Abstract 3
186 Abstract 4
187 Abstract 5
188 Abstract 6
189 Electro 1
190 Electro 2
191 Electro 3
192 Electro 4
193 Electro 5
95
90
95
80
60
95
92
96
124
135
127
100
133
113
120
120
110
110
120
120
130
128
130
4
4
4
4
4
4
8
8
4
8
8
4
8
8
4
4
4
4
4
4
8
8
4
4
4
4
4
4
4
4
8
8
4
4
8
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation U.S.
Roland Corporation U.S.
Cappadocia Productions
Cappadocia Productions
Cappadocia Productions
Cappadocia Productions
Nick Tidy
Roland Corporation U.S.
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Roland Corporation
Q'HEY
194 Electro 6
135 Disco 2
136 Disco 3
195 Electronica 1
196 Electronica 2
197 Electronica 3
198 Electronica 4
199 Electronica 5
200 Electronica 6
201 Electronica 7
202 Electronica 8
203 Electronica 9
204 Reggae 1 (Dance Hall) 90
205 Reggae 2 (Dance Hall) 90
206 Reggae 3 (Dance Hall) 85
207 Reggae 4 (Dance Hall) 85
208 Reggae 5 (Dance Hall) 93
209 Reggae 6 (Lovers)
210 Reggae 7 (Lovers)
211 Reggae 8 (Lovers)
212 Reggae 9 (Lovers)
213 Reggae 10 (Roots)
214 Reggae 11 (Roots)
215 Reggae 12 (Dub)
137 House 1
138 House 2
139 House 3
140 House 4
141 House 5
142 House 6
143 R&B 2
144 R&B 3
145 R&B 4
146 R&B 5
147 R&B 6
Q'HEY
Roland Corporation
Roland Corporation
Naoki Matsuura
89
66
70
80
92
96
97
100
90
Kazuhiko Maeda
Shinichiro Murayama
Kazuhiko Maeda
Kazuhiko Maeda
Kazuhiko Maeda
Naoki Matsuura
148 R&B 7
149 R&B 8
150 R&B 9
Roland Corporation
Roland Corporation
Kazuhiko Maeda
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
90
89
78
68
80
65
71
Shinichiro Murayama
Kazuhiko Maeda
151 R&B 10
152 R&B 11
153 R&B 12
154 R&B 13
155 R&B 14
156 R&B 15
157 R&B 16
158 R&B 17
159 R&B 18
160 Hip Hop 1
161 Hip Hop 2
162 Hip Hop 3
163 Hip Hop 4
164 Hip Hop 5
165 Hip Hop 6
166 Hip Hop 7
167 Hip Hop 8
168 Hip Hop 9
169 Hip Hop 10
170 Hip Hop 11
171 Hip Hop 12
172 Hip Hop 13
173 G-Funk 2
174 G-Funk 3
175 G-Funk 4
176 G-Funk 5
177 G-Funk 6
178 G-Funk 7
179 G-Funk 8
180 G-Funk 9
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Kazuhiko Maeda
90
105
100
98
100
102
84
*
Depending on the country in which you purchased your
MC-909, the first five preset patterns may be in a different
order.
93
Kazuhiko Maeda
001 Euro Trance 1
002 Garage 1
003 Minimal 1
004 R&B 1
138
130
137
65
8
4
4
4
4
B.U.S
B.U.S
grogman
Shinichiro Murayama
Kazuhiko Maeda
113
108
116
71
98
95
89
89
87
91
89
97
96
97
94
91
97
91
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation
Roland Corporation
Roland Corporation
Cappadocia Productions
Cappadocia Productions
Roland Corporation U.S.
Roland Corporation U.S.
Cappadocia Productions
Kazuhiko Maeda
005 G-Funk 1
77
No.: Pattern Number / Mes.: Measure Length
The sounds, phrases and patterns contained in this product are sound
recordings protected by copyright. Roland hereby grants to purchasers of
this product the permission to utilize the sound recordings contained in
this product for the creation and recording of original musical works;
provided however, the sound recordings contained in this product may
not be sampled, downloaded or otherwise re-recorded, in whole or in
part, for any other purpose, including but not limited to the transmission
of all or any part of the sound recordings via the internet or other digital
or analog means of transmission, and/or the manufacture, for sale or
otherwise, of any collection of sampled sounds, phrases or patterns, on
CD-ROM or equivalent means.
The sound recordings contained in this product are the original works of
Roland Corporation. Roland is not responsible for the use of the sound
recordings contained in this product, and assumes no liability for any
infringement of any copyright of any third party arising out of use of the
sounds, phrases and patterns in this product.
Kazuhiko Maeda
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
Roland Corporation U.S.
91
159
Download from Www.Somanuals.com. All Manuals Search And Download.
RPS Pattern List
No. Pattern Name
No. Pattern Name
No. Pattern Name
No. Pattern Name
216 Techno Drums 1
217 Techno Drums 2
218 Techno Drums 3
219 Techno Drums 4
220 Techno Drums 5
221 Techno Drums 6
222 Techno Drums 7
223 Techno Drums 8
224 Techno Drums 9
225 Techno Drums 10
226 Techno Drums 11
227 Techno Drums 12
228 Techno Drums 13
229 Techno Drums 14
230 Trance Drums 1
231 Trance Drums 2
232 Trance Drums 3
233 Trance Drums 4
234 Trance Drums 5
235 Trance Drums 6
236 Trance Drums 7
237 Trance Drums 8
238 House Drums 1
239 House Drums 2
240 House Drums 3
241 House Drums 4
242 House Drums 5
243 House Drums 6
244 House Drums 7
245 House Drums 8
246 2Step Drums 1
247 2Step Drums 2
248 Dnb Drums 1
271 Techno Bass 2
272 Techno Bass 3
273 Techno Bass 4
274 Techno Bass 5
275 Techno Bass 6
276 Techno Bass 7
277 Techno Bass 8
278 Techno Bass 9
279 Techno Bass 10
280 Techno Bass 11
281 Techno Bass 12
282 Techno Bass 13
283 Techno Bass 14
284 Trance Bass 1
285 Trance Bass 2
286 Trance Bass 3
287 Trance Bass 4
288 Trance Bass 5
289 Trance Bass 6
290 Trance Bass 7
291 Trance Bass 8
292 House Bass 1
293 House Bass 2
294 House Bass 3
295 House Bass 4
296 House Bass 5
297 House Bass 6
298 House Bass 7
299 House Bass 8
300 2Step Bass 1
301 2Step Bass 2
302 Dnb Bass 1
326 Kick Fill 5
327 Kick Fill 6
328 Kick Fill 7
329 Kick Fill 8
381 Cymbal 3
382 Cymbal 4
383 Clap Fill 1
384 Clap Fill 2
385 Clap Fill 3
386 Clap Fill 4
387 Clap Fill 5
388 Clap Fill 6
389 Clap Fill 7
390 Clap Fill 8
391 Tom Fill 1
392 Tom Fill 2
393 Perc. Fill 1
394 Perc. Fill 2
395 Perc. Fill 3
396 Perc. Fill 4
397 Perc. Fill 5
398 Perc. Fill 6
399 Perc. Fill 7
400 Perc. Fill 8
401 Perc. Fill 9
402 Perc. Fill 10
403 Perc. Fill 11
404 Perc. Fill 12
405 Perc. Fill 13
406 Perc. Fill 14
407 Perc. Fill 15
408 Perc. Fill 16
409 Perc. Fill 17
410 Perc. Fill 18
411 Perc. Fill 19
412 Perc. Fill 20
413 Perc. Fill 21
414 Perc. Fill 22
415 Perc. Fill 23
416 Perc. Fill 24
417 Perc. Fill 25
418 Perc. Fill 26
419 Perc. Fill 27
420 Cowbell 1
421 Human Fill 1
422 Human Fill 2
423 Human Fill 3
424 Human Fill 4
425 Human Fill 5
426 Human Fill 6
427 Scratch 1
428 Scratch 2
429 Scratch 3
430 Scratch 4
431 Scratch 5
432 Scratch 6
433 Scratch 7
434 Scratch 8
435 Scratch 9
330 Kick Fill 9
331 Kick Fill 10
332 Kick Fill 11
333 Kick Fill 12
334 Kick Fill 13
335 Snare Fill 1
336 Snare Fill 2
337 Snare Fill 3
338 Snare Fill 4
339 Snare Fill 5
340 Snare Fill 6
341 Snare Fill 7
342 Snare Fill 8
343 Snare Fill 9
344 Snare Fill 10
345 Snare Fill 11
346 Snare Fill 12
347 Snare Fill 13
348 Snare Fill 14
349 Snare Fill 15
350 Snare Fill 16
351 Snare Fill 17
352 Snare Fill 18
353 Snare Fill 19
354 Snare Fill 20
355 Hi-hat Fill 1
356 Hi-hat Fill 2
357 Hi-hat Fill 3
358 Hi-hat Fill 4
359 Hi-hat Fill 5
360 Hi-hat Fill 6
361 Hi-hat Fill 7
362 Hi-hat Fill 8
363 Hi-hat Fill 9
364 Hi-hat Fill 10
365 Hi-hat Fill 11
366 Hi-hat Fill 12
367 Hi-hat Fill 13
368 Hi-hat Fill 14
369 Hi-hat Fill 15
370 Hi-hat Fill 16
371 Hi-hat Fill 17
372 Hi-hat Fill 18
373 Hi-hat Fill 19
374 Hi-hat Fill 20
375 Hi-hat Fill 21
376 Cymbal Fill 1
377 Cymbal Fill 2
378 Cymbal Fill 3
379 Cymbal 1
303 Dnb Bass 2
304 Dnb Bass 3
305 Dnb Bass 4
249 Dnb Drums 2
250 Dnb Drums 3
251 Dnb Drums 4
306 B.Beats Bass 1
307 B.Beats Bass 2
308 B.Beats Bass 3
309 B.Beats Bass 4
310 HipHop Bass 1
311 HipHop Bass 2
312 HipHop Bass 3
313 HipHop Bass 4
314 HipHop Bass 5
315 HipHop Bass 6
316 HipHop Bass 7
317 HipHop Bass 8
318 HipHop Bass 9
319 HipHop Bass 10
320 Reggae Bass 1
321 Reggae Bass 2
322 Kick Fill 1
252 B.Beats Drums 1
253 B.Beats Drums 2
254 B.Beats Drums 3
255 B.Beats Drums 4
256 HipHop Drums 1
257 HipHop Drums 2
258 HipHop Drums 3
259 HipHop Drums 4
260 HipHop Drums 5
261 HipHop Drums 6
262 HipHop Drums 7
263 HipHop Drums 8
264 HipHop Drums 9
265 HipHop Drums 10
266 Reggae Drums 1
267 Reggae Drums 2
268 Human Beat 1
269 Human Beat 2
270 Techno Bass 1
323 Kick Fill 2
324 Kick Fill 3
325 Kick Fill 4
380 Cymbal 2
160
Download from Www.Somanuals.com. All Manuals Search And Download.
RPS Pattern List
No. Pattern Name
No. Pattern Name
No. Pattern Name
No. Pattern Name
436 Scratch 10
437 Scratch 11
438 Scratch 12
439 Scratch 13
440 Scratch 14
441 Scratch 15
442 Scratch 16
443 Scratch 17
444 Piano 1
445 Piano 2
446 Piano 3
447 Piano 4
448 Piano 5
491 Flute 1
492 Flute 2
493 Flute 3
546 Synth Riff 21
547 Synth Riff 22
548 Synth Riff 23
549 Synth Riff 24
550 Synth Riff 25
551 Synth Riff 26
552 Synth Riff 27
553 Synth Riff 28
554 Synth Riff 29
555 Synth Riff 30
556 Synth Riff 31
557 Synth Riff 32
558 Synth Riff 33
559 Synth Riff 34
560 Synth Riff 35
561 Synth Riff 36
562 Synth Seq 1
563 Synth Seq 2
564 Synth Seq 3
565 Synth Seq 4
566 Synth Seq 5
567 Synth Seq 6
568 Synth Seq 7
569 Synth Seq 8
570 Synth Seq 9
571 Synth Seq 10
572 Synth Seq 11
573 Synth Seq 12
574 Synth Seq 13
575 Synth Seq 14
576 Synth Seq 15
577 Synth Seq 16
578 Synth Seq 17
579 Synth Seq 18
580 Synth Seq 19
581 Synth Seq 20
582 Synth Seq 21
583 Synth Seq 22
584 Hit 1
585 Hit 2
586 Hit 3
587 Hit 4
588 Hit 5
589 Voice 1
590 Voice 2
591 Voice 3
592 Voice 4
593 Voice 5
594 Voice 6
595 Voice 7
596 Voice 8
597 Voice 9
598 Voice 10
599 Voice 11
600 Voice 12
601 Voice 13
602 Voice 14
603 Voice 15
604 Voice 16
605 Voice 17
606 Voice 18
607 Voice 19
608 FX 1
609 FX 2
610 FX 3
611 FX 4
612 FX 5
494 Ethnic Riff 1
495 Ethnic Riff 2
496 Balaphone 1
497 Balaphone 2
498 Bass Riff 1
499 Bass Riff 2
500 Synth Lead 1
501 Synth Lead 2
502 Synth Lead 3
503 Synth Lead 4
504 Synth Lead 5
505 Synth Lead 6
506 Synth Lead 7
507 Synth Lead 8
508 Synth Lead 9
509 Synth Pad 1
510 Synth Pad 2
511 Synth Pad 3
512 Synth Pad 4
513 Synth Pad 5
514 Synth Pad 6
515 Synth Pad 7
516 Synth Pad 8
517 Synth Pad 9
518 Synth Pad 10
519 Synth Pad 11
520 Synth Pad 12
521 Synth Pad 13
522 Synth Pad 14
523 Synth Pad 15
524 Synth Pad 16
525 Synth Pad 17
526 Synth Riff 1
527 Synth Riff 2
528 Synth Riff 3
529 Synth Riff 4
530 Synth Riff 5
531 Synth Riff 6
532 Synth Riff 7
533 Synth Riff 8
534 Synth Riff 9
535 Synth Riff 10
536 Synth Riff 11
537 Synth Riff 12
538 Synth Riff 13
539 Synth Riff 14
540 Synth Riff 15
541 Synth Riff 16
542 Synth Riff 17
543 Synth Riff 18
544 Synth Riff 19
545 Synth Riff 20
613 FX 6
614 FX 7
615 FX 8
616 FX 9
449 Piano 6
450 Piano 7
451 E.Piano 1
452 E.Piano 2
453 E.Piano 3
454 E.Piano 4
455 E.Piano 5
456 E.Piano 6
457 Organ 1
458 Organ 2
459 Organ 3
460 Guitar Riff 1
461 Guitar Riff 2
462 Guitar Riff 3
463 Guitar Riff 4
464 Guitar Riff 5
465 Guitar Riff 6
466 Guitar Riff 7
467 Guitar Riff 8
468 Guitar Riff 9
469 Guitar Riff 10
470 Guitar Riff 11
471 Guitar Riff 12
472 Strings 1
473 Strings 2
474 Strings 3
475 Strings 4
476 Strings 5
477 Strings 6
478 Strings 7
479 Vox 1
617 FX 10
618 FX 11
619 FX 12
620 FX 13
621 FX 14
622 FX 15
623 FX 16
624 FX 17
625 FX 18
626 FX 19
627 FX 20
628 FX 21
629 FX 22
630 FX 23
631 FX 24
632 FX 25
633 FX 26
634 FX 27
635 FX 28
636 FX 29
637 FX 30
638 FX 31
639 FX 32
640 FX 33
641 FX 34
642 FX 35
643 FX 36
644 FX 37
645 FX 38
646 FX 39
647 FX 40
648 FX 41
649 FX 42
650 FX 43
651 FX 44
652 FX 45
653 FX 46
654 FX 47
655 FX 48
480 Vox 2
481 Vox 3
482 Vox 4
483 Vox 5
484 Vox 6
485 Vox 7
486 Brass 1
487 Brass 2
488 Brass 3
489 Brass 4
490 Brass 5
161
Download from Www.Somanuals.com. All Manuals Search And Download.
RPS Set List
Pad No.
Pattern Name
Pad No.
Pattern Name
Pad No.
Pattern Name
Pad No.
Pattern Name
01. Techno 1
05. Hardcore
09. Break Beats 1
13. Hard Trance
1
2
3
4
5
6
7
8
216
217
270
271
376
322
335
383
526
562
527
563
509
608
609
589
Techno Drums 1
Techno Drums 2
Techno Bass 1
Techno Bass 2
Cymbal Fill 1
Kick Fill 1
1
2
3
4
5
6
7
8
224
225
278
279
337
338
397
379
566
567
444
535
536
537
615
591
Techno Drums 9
Techno Drums 10
Techno Bass 9
Techno Bass 10
Snare Fill 3
Snare Fill 4
Perc. Fill 5
1
2
3
4
5
6
7
8
252
253
306
307
329
339
361
421
538
460
623
624
461
427
625
592
B.Beats Drums 1
B.Beats Drums 2
B.Beats Bass 1
B.Beats Bass 2
Kick Fill 8
Snare Fill 5
Hi-hat Fill 7
Human Fill 1
Synth Riff 13
Guitar Riff 1
FX 16
FX 17
Guitar Riff 2
Scratch 1
FX 18
Voice 4
1
2
3
4
5
6
7
8
234
235
288
289
343
344
364
403
544
577
498
578
518
545
546
547
Trance Drums 5
Trance Drums 6
Trance Bass 5
Trance Bass 6
Snare Fill 9
Snare Fill 10
Hi-hat Fill 10
Perc. Fill 11
Synth Riff 19
Synth Seq 16
Bass Riff 1
Synth Seq 17
Synth Pad 10
Synth Riff 20
Synth Riff 21
Synth Riff 22
Snare Fill 1
Clap Fill 1
Cymbal 1
9
Synth Riff 1
Synth Seq 1
Synth Riff 2
Synth Seq 2
Synth Pad 1
FX 1
9
Synth Seq 5
Synth Seq 6
Piano 1
Synth Riff 10
Synth Riff 11
Synth Riff 12
FX 8
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
FX 2
Voice 1
Voice 3
02. Techno 2
06. Ambient
10. Break Beats 2
14. Psy. Trance
1
2
3
4
5
6
7
8
218
219
272
273
355
391
323
393
500
501
564
528
510
610
611
612
Techno Drums 3
Techno Drums 4
Techno Bass 3
Techno Bass 4
Hi-hat Fill 1
Tom Fill 1
1
2
3
4
5
6
7
8
226
227
280
281
357
377
398
325
568
569
570
511
512
616
617
472
Techno Drums 11
Techno Drums 12
Techno Bass 11
Techno Bass 12
Hi-hat Fill 3
Cymbal Fill 2
Perc. Fill 6
1
2
3
4
5
6
7
8
254
255
308
309
340
400
401
422
446
462
463
486
487
593
428
539
B.Beats Drums 3
B.Beats Drums 4
B.Beats Bass 3
B.Beats Bass 4
Snare Fill 6
Perc. Fill 8
Perc. Fill 9
Human Fill 2
Piano 3
Guitar Riff 3
Guitar Riff 4
Brass 1
Brass 2
Voice 5
1
2
3
4
5
6
7
8
236
237
290
291
345
346
386
365
548
549
550
579
519
630
631
464
Trance Drums 7
Trance Drums 8
Trance Bass 7
Trance Bass 8
Snare Fill 11
Snare Fill 12
Clap Fill 4
Hi-hat Fill 11
Synth Riff 23
Synth Riff 24
Synth Riff 25
Synth Seq 18
Synth Pad 11
FX 23
Kick Fill 2
Perc. Fill 1
Synth Lead 1
Synth Lead 2
Synth Seq 3
Synth Riff 3
Synth Pad 2
FX 3
Kick Fill 4
9
9
Synth Seq 7
Synth Seq 8
Synth Seq 9
Synth Pad 3
Synth Pad 4
FX 9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
FX 4
FX 5
FX 10
Strings 1
Scratch 2
Synth Riff 14
FX 24
Guitar Riff 5
03. Techno 3
07. Drum'n'Bass 1
11. Euro Trance 1
15. UK HardHouse
1
2
3
4
5
6
7
8
220
221
274
275
394
395
384
356
529
530
531
532
479
590
584
613
Techno Drums 5
Techno Drums 6
Techno Bass 5
Techno Bass 6
Perc. Fill 2
Perc. Fill 3
Clap Fill 2
Hi-hat Fill 2
Synth Riff 4
Synth Riff 5
Synth Riff 6
Synth Riff 7
Vox 1
1
2
3
4
5
6
7
8
248
249
302
303
358
380
326
327
502
503
504
473
571
618
619
620
Dnb Drums 1
Dnb Drums 2
Dnb Bass 1
Dnb Bass 2
Hi-hat Fill 4
Cymbal 2
1
2
3
4
5
6
7
8
230
231
284
285
341
362
379
385
505
540
573
574
516
575
626
627
Trance Drums 1
Trance Drums 2
Trance Bass 1
Trance Bass 2
Snare Fill 7
Hi-hat Fill 8
Cymbal 1
1
2
3
4
5
6
7
8
238
239
292
293
347
387
381
404
551
552
553
554
499
520
594
632
House Drums 1
House Drums 2
House Bass 1
House Bass 2
Snare Fill 13
Clap Fill 5
Kick Fill 5
Kick Fill 6
Cymbal 3
Clap Fill 3
Perc. Fill 12
Synth Riff 26
Synth Riff 27
Synth Riff 28
Synth Riff 29
Bass Riff 2
Synth Pad 12
Voice 6
FX 25
9
9
Synth Lead 3
Synth Lead 4
Synth Lead 5
Strings 2
Synth Seq 10
FX 11
9
Synth Lead 6
Synth Riff 15
Synth Seq 12
Synth Seq 13
Synth Pad 8
Synth Seq 14
FX 19
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
Voice 2
Hit 1
FX 6
FX 12
FX 13
FX 20
04. Minimal
08. Drum'n'Bass 2
12. Euro Trance 2
16. US HardHouse
1
2
3
4
5
6
7
8
222
223
276
277
324
336
396
496
494
480
533
565
534
481
585
614
Techno Drums 7
Techno Drums 8
Techno Bass 7
Techno Bass 8
Kick Fill 3
Snare Fill 2
Perc. Fill 4
Balaphone 1
Ethnic Riff 1
Vox 2
Synth Riff 8
Synth Seq 4
Synth Riff 9
Vox 3
Hit 2
FX 7
1
2
3
4
5
6
7
8
250
251
304
305
328
359
360
399
445
451
513
514
515
621
622
572
Dnb Drums 3
Dnb Drums 4
Dnb Bass 3
Dnb Bass 4
Kick Fill 7
Hi-hat Fill 5
Hi-hat Fill 6
Perc. Fill 7
Piano 2
1
2
3
4
5
6
7
8
232
233
286
287
342
363
378
402
506
541
542
543
517
576
628
629
Trance Drums 3
Trance Drums 4
Trance Bass 3
Trance Bass 4
Snare Fill 8
Hi-hat Fill 9
Cymbal Fill 3
Perc. Fill 10
Synth Lead 7
Synth Riff 16
Synth Riff 17
Synth Riff 18
Synth Pad 9
Synth Seq 15
FX 21
1
2
3
4
5
6
7
8
240
241
294
295
330
366
388
405
555
556
474
488
521
595
633
634
House Drums 3
House Drums 4
House Bass 3
House Bass 4
Kick Fill 9
Hi-hat Fill 12
Clap Fill 6
Perc. Fill 13
Synth Riff 30
Synth Riff 31
Strings 3
Brass 3
Synth Pad 13
Voice 7
FX 26
FX 27
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
E.Piano 1
10
11
12
13
14
15
16
10
11
12
13
14
15
16
Synth Pad 5
Synth Pad 6
Synth Pad 7
FX 14
FX 15
Synth Seq 11
FX 22
162
Download from Www.Somanuals.com. All Manuals Search And Download.
RPS Set List
Pad No.
Pattern Name
Pad No.
Pattern Name
Pad No.
Pattern Name
Pad No.
Pattern Name
17. Progressive
21. Hip Hop
25. Electronica
29. Human Set
1
2
3
4
5
6
7
8
242
243
296
297
348
367
389
406
557
558
559
452
522
596
635
636
House Drums 5
House Drums 6
House Bass 5
House Bass 6
Snare Fill 14
Hi-hat Fill 13
Clap Fill 7
Perc. Fill 14
Synth Riff 32
Synth Riff 33
Synth Riff 34
E.Piano 2
1
2
3
4
5
6
7
8
258
259
312
313
370
412
413
414
495
477
492
467
588
430
431
597
HipHop Drums 3
HipHop Drums 4
HipHop Bass 3
HipHop Bass 4
Hi-hat Fill 16
Perc. Fill 20
Perc. Fill 21
Perc. Fill 22
Ethnic Riff 2
Strings 6
Flute 2
Guitar Riff 8
Hit 5
Scratch 4
Scratch 5
1
2
3
4
5
6
7
8
228
229
282
283
332
333
374
424
583
648
649
650
651
652
653
654
Techno Drums 13
Techno Drums 14
Techno Bass 13
Techno Bass 14
Kick Fill 11
Kick Fill 12
Hi-hat Fill 20
Human Fill 4
Synth Seq 22
FX 41
FX 42
FX 43
FX 44
FX 45
FX 46
FX 47
1
2
3
4
5
6
7
8
268
269
425
426
599
592
600
601
602
603
595
604
590
605
606
607
Human Beat 1
Human Beat 2
Human Fill 5
Human Fill 6
Voice 11
Voice 4
Voice 12
Voice 13
Voice 14
Voice 15
Voice 7
Voice 16
Voice 2
Voice 17
Voice 18
Voice 19
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
Synth Pad 14
Voice 8
FX 28
FX 29
Voice 9
18. Garage 1
22. G-Funk
26. Reggae
30. Scratch Set
1
2
3
4
5
6
7
8
244
245
298
299
349
407
408
392
447
448
475
453
560
489
586
637
House Drums 7
House Drums 8
House Bass 7
House Bass 8
Snare Fill 15
Perc. Fill 15
Perc. Fill 16
Tom Fill 2
Piano 4
Piano 5
Strings 4
E.Piano 3
Synth Riff 35
Brass 4
1
2
3
4
5
6
7
8
260
261
314
315
350
371
372
415
507
493
468
478
456
640
641
432
HipHop Drums 5
HipHop Drums 6
HipHop Bass 5
HipHop Bass 6
Snare Fill 16
Hi-hat Fill 17
Hi-hat Fill 18
Perc. Fill 23
Synth Lead 8
Flute 3
Guitar Riff 9
Strings 7
E.Piano 6
FX 33
FX 34
1
2
3
4
5
6
7
8
266
267
320
321
334
353
375
419
459
470
471
561
485
655
598
490
Reggae Drums 1
Reggae Drums 2
Reggae Bass 1
Reggae Bass 2
Kick Fill 13
Snare Fill 19
Hi-hat Fill 21
Perc. Fill 27
Organ 3
Guitar Riff 11
Guitar Riff 12
Synth Riff 36
Vox 7
1
2
3
4
5
6
7
8
427
433
434
435
436
437
428
431
432
438
430
439
440
441
442
443
Scratch 1
Scratch 7
Scratch 8
Scratch 9
Scratch 10
Scratch 11
Scratch 2
Scratch 5
Scratch 6
scratch 12
Scratch 4
Scratch 13
Scratch 14
Scratch 15
Scratch 16
Scratch 17
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
FX 48
Voice 10
Brass 5
Hit 3
FX 30
Scratch 6
19. Garage 2
23. Abstract
27. Snare Fill Set
No.: RPS Pattern Number
1
2
3
4
5
6
7
8
246
247
300
301
331
368
409
423
457
454
465
466
523
491
449
587
2Step Drums 1
2Step Drums 2
2Step Bass 1
2Step Bass 2
Kick Fill 10
Hi-hat Fill 14
Perc. Fill 17
Human Fill 3
Organ 1
1
2
3
4
5
6
7
8
262
263
316
317
373
416
417
351
497
458
642
643
644
645
482
483
HipHop Drums 7
HipHop Drums 8
HipHop Bass 7
HipHop Bass 8
Hi-hat Fill 19
Perc. Fill 24
Perc. Fill 25
Snare Fill 17
Balaphone 2
Organ 2
FX 35
FX 36
FX 37
FX 38
Vox 4
Vox 5
1
2
3
4
5
6
7
8
349
337
335
341
339
354
347
342
348
353
340
345
344
350
352
336
Snare Fill 15
Snare Fill 3
Snare Fill 1
Snare Fill 7
Snare Fill 5
Snare Fill 20
Snare Fill 13
Snare Fill 8
Snare Fill 14
Snare Fill 19
Snare Fill 6
Snare Fill 11
Snare Fill 10
Snare Fill 16
Snare Fill 18
Snare Fill 2
*
All data is that
programmed at the
factory. For instructions
on carrying out Factory
Reset, refer to p. 20.
9
9
9
10
11
12
13
14
15
16
E.Piano 4
10
11
12
13
14
15
16
10
11
12
13
14
15
16
Guitar Riff 6
Guitar Riff 7
Synth Pad 15
Flute 1
Piano 6
Hit 4
20. R&B
24. Electro
28. FX Set
1
2
3
4
5
6
7
8
256
257
310
311
369
410
411
382
476
450
455
580
524
429
638
639
HipHop Drums 1
HipHop Drums 2
HipHop Bass 1
HipHop Bass 2
Hi-hat Fill 15
Perc. Fill 18
Perc. Fill 19
Cymbal 4
Strings 5
Piano 7
E.Piano 5
Synth Seq 19
Synth Pad 16
Scratch 3
FX 31
FX 32
1
2
3
4
5
6
7
8
264
265
318
319
352
390
418
420
508
469
581
582
525
484
646
647
HipHop Drums 9
HipHop Drums 10
HipHop Bass 9
HipHop Bass 10
Snare Fill 18
Clap Fill 8
1
2
3
4
5
6
7
8
632
625
628
610
636
616
620
623
648
653
619
627
615
629
612
639
FX 25
FX 18
FX 21
FX 3
FX 29
FX 9
FX 13
FX 16
FX 41
FX 46
FX 12
FX 20
FX 8
Perc. Fill 26
Cowbell 1
9
9
Synth Lead 9
Guitar Riff 10
Synth Seq 20
Synth Seq 21
Synth Pad 17
Vox 6
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
FX 22
FX 5
FX 32
FX 39
FX 40
163
Download from Www.Somanuals.com. All Manuals Search And Download.
Pattern Set List
Pad No. Pattern Name
Pad No. Pattern Name
Pad No. Pattern Name
Pad No. Pattern Name
01. Techno 1
04. Break Beats
07. House 1
10. Hip Hop
1
2
3
4
5
6
7
8
6
7
8
9
Techno 1
Techno 2
Techno 3
Techno 4
1
2
3
4
5
6
7
8
64 Break Beats 1
65 Break Beats 2
66 Break Beats 3
67 Break Beats 4
68 Break Beats 5
69 Break Beats 6
70 Break Beats 7
71 Break Beats 8
72 Break Beats 9
73 Break Beats 10
74 Break Beats 11
75 Break Beats 12
76 Break Beats 13
77 Break Beats 14
26 Techno 21
1
2
3
4
5
6
7
8
104 UK HardHouse 1
105 UK HardHouse 2
106 UK HardHouse 3
107 UK HardHouse 4
108 UK HardHouse 5
109 UK HardHouse 6
110 UK HardHouse 7
111 US HardHouse 1
112 US HardHouse 2
113 US HardHouse 3
114 US HardHouse 4
115 US HardHouse 5
116 US HardHouse 6
117 US HardHouse 7
120 Progressive 3
1
2
3
4
5
6
7
8
160 Hip Hop 1
161 Hip Hop 2
162 Hip Hop 3
163 Hip Hop 4
164 Hip Hop 5
165 Hip Hop 6
166 Hip Hop 7
167 Hip Hop 8
168 Hip Hop 9
169 Hip Hop 10
170 Hip Hop 11
171 Hip Hop 12
172 Hip Hop 13
173 G-Funk 2
174 G-Funk 3
175 G-Funk 4
10 Techno 5
11 Techno 6
12 Techno 7
13 Techno 8
14 Techno 9
15 Techno 10
16 Techno 11
17 Techno 12
18 Techno 13
19 Techno 14
20 Techno 15
21 Techno 16
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
27 Techno 22
121 Progressive 4
02. Techno 2
05. Trance 1
08. House 2
11. Abstract
1
2
3
4
5
6
7
8
28 Minimal 2
29 Minimal 3
30 Minimal 4
31 Minimal 5
32 Minimal 6
33 Minimal 7
34 Minimal 8
35 Minimal 9
36 Minimal 10
37 Minimal 11
38 Minimal 12
39 Minimal 13
22 Techno 17
23 Techno 18
24 Techno 19
25 Techno 20
1
2
3
4
5
6
7
8
78 Euro Trance 2
1
2
3
4
5
6
7
8
125 Garage 2
126 Garage 3
127 Garage 4
128 Garage 5
129 Garage 6
130 Garage 7
131 Garage 8
132 Garage 9
133 Garage 10
134 Disco 1
135 Disco 2
136 Disco 3
137 House 1
138 House 2
139 House 3
141 House 5
1
2
3
4
5
6
7
8
183 Abstract 1
184 Abstract 2
185 Abstract 3
186 Abstract 4
45 Ambient 1
46 Ambient 2
47 Ambient 3
48 Ambient 4
49 Ambient 5
195 Electronica 1
196 Electronica 2
197 Electronica 3
198 Electronica 4
199 Electronica 5
200 Electronica 6
201 Electronica 7
79 Euro Trance 3
80 Euro Trance 4
81 Euro Trance 5
82 Euro Trance 6
83 Euro Trance 7
84 Euro Trance 8
85 Euro Trance 9
86 Hard Trance 1
87 Hard Trance 2
88 Hard Trance 3
89 Hard Trance 4
90 Hard Trance 5
91 Hard Trance 6
92 Hard Trance 7
93 Hard Trance 8
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
03. Drum'n'Bass
06. Trance 2
09. R&B
12. Reggae
1
2
3
4
5
6
7
8
51 Drum'n'Bass 1
52 Drum'n'Bass 2
53 Drum'n'Bass 3
54 Drum'n'Bass 4
55 Drum'n'Bass 5
56 Drum'n'Bass 6
57 Drum'n'Bass 7
58 Drum'n'Bass 8
59 Drum'n'Bass 9
60 Drum'n'Bass 10
61 Drum'n'Bass 11
62 Drum'n'Bass 12
63 Drum'n'Bass 13
51 Drum'n'Bass 1
52 Drum'n'Bass 2
53 Drum'n'Bass 3
1
2
3
4
5
6
7
8
94 Hard Trance 9
1
2
3
4
5
6
7
8
143 R&B 2
1
2
3
4
5
6
7
8
204 Reggae 1(Dance Hall)
95 Hard Trance 10
96 Hard Trance 11
97 Psy. Trance 1
98 Psy. Trance 2
99 Psy. Trance 3
100 Psy. Trance 4
101 Psy. Trance 5
102 Psy. Trance 6
103 Psy. Trance 7
118 Progressive 1
119 Progressive 2
43 Hardcore 4
144 R&B 3
145 R&B 4
146 R&B 5
147 R&B 6
148 R&B 7
149 R&B 8
150 R&B 9
151 R&B 10
152 R&B 11
153 R&B 12
154 R&B 13
155 R&B 14
156 R&B 15
157 R&B 16
158 R&B 17
205 Reggae 2(Dance Hall)
206 Reggae 3(Dance Hall)
207 Reggae 4(Dance Hall)
208 Reggae 5(Dance Hall)
209 Reggae 6(Lovers)
210 Reggae 7(Lovers)
211 Reggae 8(Lovers)
212 Reggae 9(Lovers)
213 Reggae 10(Roots)
214 Reggae 11(Roots)
215 Reggae 12(Dub)
9
9
9
9
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
10
11
12
13
14
15
16
209 Reggae 6(Lovers)
210 Reggae 7(Lovers)
211 Reggae 8(Lovers)
212 Reggae 9(Lovers)
44 Hardcore 5
42 Hardcore 3
41 Hardcore 2
No.: Pattern Number
*
All data is that
programmed at the
factory. For instructions
on carrying out Factory
Reset, refer to p. 20.
*
When the unit shipped
from the factory, pattern
sets 13–24, 25–36, and
37–48 contained the
same sets as pattern sets
1–12, and 49 and 50
contained the same sets
as 1 and 2.
164
Download from Www.Somanuals.com. All Manuals Search And Download.
Song List
Song No.
Song Name
No.
Pattern Name
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Techno 1
10
14
Techno 5
Techno 2
Techno 9
Minimal
37
Minimal 11
Hardcore
40
Hardcore 1
Ambient 1
Ambient
45
Drum'n'Bass 1
Drum'n'Bass 2
Break Beats 1
Break Beats 2
Euro Trance
Hard Trance
Psy. Trance
UK HardHouse
US HardHouse
Progressive
Garage 1
51
Drum'n'Bass 1
Drum'n'Bass 12
Break Beats 1
Break Beats 5
Euro Trance 2
Hard Trance 6
Psy. Trance 6
UK HardHouse 1
US HardHouse 1
Progressive 3
Garage 3
62
64
68
78
91
102
104
111
120
126
129
136
143
160
174
183
189
195
213
Garage 2
Garage 6
Disco
Disco 3
R&B
R&B 2
Hip Hop
Hip Hop 1
G-Funk
G-Funk 3
Abstract
Abstract 1
Electro
Electro 1
Electronica
Reggae
Electronica 1
Reggae 10(Roots)
No.: Pattern Number
*
All data is that programmed at the factory. For instructions on carrying out Factory Reset, refer to p. 20.
165
Download from Www.Somanuals.com. All Manuals Search And Download.
Arpeggio Style List
No. Number Number of Effective Chord
No. Number Number of Effective Chord
ofNotes Steps Forms
ofNotes Steps
Forms
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
2
3
4
2
3
4
4
3
3
4
5
12
3
3
3
3
4
4
6
4
4
5
3
1
2
3
3
3
3
3
3
3
3
4
4
4
3
2
4
4
3
2
2
2
3
4
4
3
4
4
4
4
3
7
9
9
6
7
9
12
5
8
7
5
2
3
4
2
3
4
6
8
6
4
8
16
4
6
8
4
4
8
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
5
5
5
6
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
2
2
2
4
4
4
4
16
16
16
8
8
8
8
8
8
8
16
8
8
16
8
8
16
16
16
8
8
16
8
38
39
40
41
41
42
41
43
44
45
46
47
6
8
8
8
48
16
16
16
16
16
16
16
16
16
32
16
16
16
16
8
8
8
8
4
16
16
16
16
16
32
16
16
8
16
32
8
16
16
16
8
5
10
10
10
4
10
10
10
4
4
5
5
5
6
5
6
6
6
7
5
7
16
16
16
8
8
8
29
30
4
4
16
12
4
16
16
16
16
16
16
16
16
8
16
16
32
16
16
32
16
16
24
16
31
16
23
32
32
32
16
16
32
32
32
32
16
16
16
16
16
32
16
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
32
33
4
6
9
6
7
9
8
7
34
35
36
37
10
6
166
Download from Www.Somanuals.com. All Manuals Search And Download.
Chord Form List
No.
1
Chord Name
C Maj
Constituent Notes of Chord Form (when C4 is pressed)
C4, E4, G4
2
C Maj7
C4, E4, G4, B4
3
C 7
C4, E4, G4, Bb4
4
C min
C4, Eb4, G4
5
6
C min7
C dim
C4, Eb4, G4, Bb4
C4, Eb4, Gb4, A4
7
8
C min7 b5
C Aug
C4, Eb4, Gb4, Ab4
C4, E4, G#4
9
C sus4
C4, F4, G4
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
C 7sus4
C add9
C #11
C min7 b9
C min add9
C 6
C 6 9
C Maj9
C min6
C min9
C min Maj7
C 7 b5
C4, F4, G4, Bb4
C4, E4, G4, D5
C4, E4, F#4
C4, Eb4, G4, Bb4, Db5
C4, Eb4, G4, D5
C4, E4, G4, A4
C4, E4, G4, A4, D5
C4, E4, G4, B4, D5
C4, Eb4, G4, A4
C4, Eb4, G4, Bb4, D5
C4, Eb4, G4, B4
C4, E4, Gb4, Bb4
C 7 b9
C 9
C 7 #9
C4, E4, G4, Bb4, Db5
C4, E4, G4, Bb4, D5
C4, E4, G4, Bb4, D#5
C4, E4, G4, Bb4, F#5
C4, E4, G#4, Bb4
C4, G4, Bb4, E5, Ab5
C4, G4, Bb4, E5, A5
E4, A4, B4, C5
A3, C4, D4, E4
A3, G4, A4, B4
A3, B3, C4, D4
A3, G4, A4, Bb4
G3, A3, C4, D4, E4, G4, A4, C5, D5
A1, C2, D2, E2, D4, E4, F#4, G4, A4, B4, C5, D5
A4, B4, C5, D5, E5, F5, G#5, B5
Bb1, C2, Eb2, F2, Gb2, G2, Bb2
G1, G4, A4, B4, D5
B2, F#3, A#3, D#4
D2, D3, A3, G4
A2, A3, C4, E4
F2, F3, C4, G4
A2, E3, A3, C4
C 7 #11
C Aug7
C 7 b13
C 7 13
A min add9
A min add11
G Maj add9
A min9 11
A 7 b9
A min7 11
C Maj9 #11 13
A min6 9 11
C min7 11
G Maj add9
B Maj7
D sus4
A min
C sus4
A min
G sus4
A
F Maj
A
C3, G3, D4, G4
A2, A3, E4, A4
F2, F3, A3, C4
A2, E3, A3, E4
G Maj
C2, C3, E3, G3
C min9 11
A min9 11
A min9 11
E 7 #11 13
A min9
A min9
A min9
A min9 11
F Maj9 #11
A min9 11
A min9 11
G min9
C Maj9
G3, C4, D4, Eb4, F4
E5, G5, A5, B5, C6, D6
E3, A3, B3, C4, D4, E4
G#2, A#2, B3, C#4, D4, E4
A2, C3, A3, B3, C4, E4, G4
A3, G4, A4, B4, C5
A3, C4, E4, G4, A4, B4, C5
A4, B4, C5, D5
A3, F4, G4, A4, B4, C5
A2, A3, B3, C4, D4, A4, B4, C5, D5
C2, G3, G4, A4, B4, D5
G2, A2, Bb2, A4, Bb4, E5, F5
G2, B2, C3, D3, G3, B3, C4, D4, E4
C1, C2, C3, G3, A3, C4, E4, F4
E1, F2, G3, A3, C4, D4, E4
E1, G2, B2, F4, G4, A4, B4, C5, E5, F5
F Maj9
F Maj9 13
F Maj9 #11
*
*
1–28 are basic chords
29–64 are chords effective for arpeggio styles
167
Download from Www.Somanuals.com. All Manuals Search And Download.
SRX-05 Special Patch List
SRX-05 Special Patches are patches that can be used only if the SRX-05 “Supreme Dance” wave expansion board is installed in the
MC-909.
No.
Name
No.
Name
No.
Name
No.
Name
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
SRX05 SupSaw
Oct SuperSaw
Rave Saws
KrasheadSaws
Saw Stack
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
MG Tri Solo
SynVox Ld
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
Twilight
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
080:BladeBt
093:R&Bees
096:RugBurn
120:Clubbin
135:X Racer
LoFi Tre EP
BPF Clavi
TranceWarmer
5th PianoPad
FM HouseBs /
SH Rubber Bs
SynBs Slide
SqrResoSwpBs
LFO Bass
Vib Sine 2
Pulsing Saws
PulsingSaws2
SyncroSaws
LFO Dance
Saws&Pulses
Super 5th
Reso Saw 5th
Drain-O
Crawl Pulse
FilSweep Pls
JunoUnisnSEQ
Oct Sqr SEQ
JU2 Saw SEQ
Seq 909
JUNO-D Bell
Square Bell3
High Dist Ld
ShredFuzzGtr
Dance Str 2
DanceStrings
StrChd Min11
StrChd Min 9
Saw Brass
FingerE.Bs /
Piano Hit
Brow Out
Andes 909
Organ Hit 5
Aah Hit
PnoStack 909
Northern EP
Unison Lead
FM Lead
Sand Hit
BPF Sweep 2
SawStrings
OldBrass Hit
Ring FX 1
Noise Lead
Belly Lead
Panning Saws
UndrWater909
FilSweep Pad
Ring FX 2
Tri Alarm
BPF Sax
Whistle Ld
Noise Kick
ShmiSynth
168
Download from Www.Somanuals.com. All Manuals Search And Download.
SRX-05 Special Rhythm Set List
SRX-05 Special Rhythm Sets are rhythm sets that can be used only if the SRX-05 “Supreme Dance” wave expansion
board is installed in the MC-909.
035: SRX05 TR-909
909 DryKick3
909 DryKick2
909 DryKick1
909 Dry SD5
909 Dry SD2
909 SD&CLP
909 Dry RSht
909 Dry Clap
909 Dry LTom
909 Dry MTom
909 Dry HTom
909 Dry CHH1
909 Dry CHH3
909 Dry OHH2
909 Dry CR 2
909 Dry RD2
038: SRX05 Techno
PlasticKick2
AnalogKick10
PlasticKick1
TR909 SD 3
Grim SD
041: SRX05 R&B
R&B Kick 1
R&B Kick 2
Dinky Kick 2
Dinky SD 2
044: SRX05 FX
Bobs Slide
Cave Hit
Note No.
59
60
61
62
63
64
C4
Thru Hit 2
Ripper L
Retro SD3
Tramp Hit
Layer SD5 mb
Deviant RM3
Claptail
R&B SD 2
Cartn Fall
Deviant RM1
Real Clap
Nz Pass
65
66
Thumpkin
MG S Zap 1
Electric Saw
US SweepD L3
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
909 Dry CR 2
Pop ChinaCym
WindChime Up
Long Triangl
Long Triangl
Miami CHH
Mosaic CHH 1
Miami OHH
Pop Crash2
PopRideCym 3
Dist Slide
67
68
69
Cartn Boing1
Electronica
Electric Saw
Howl Sync
PercolateHit
Metal Atk Hi
Metal Atk Lo
70
71
C5 72
74
73
036: SRX05 TR-808
808 DryKick5
808 DryKick4
808 DryKick3
808 Dry SD1
808 Dry SD2
808 Dry SD3
808 Dry RSht
808 Dry Clap
808 Dry Clvs
808 Dry Mrcs
808 Dry Cwbl
808 Dry CHH
808 Cl&OpHH
808 Dry OHH3
808 Dry Cym1
808 Dry Cym3
039: SRX05 House
909 DryKick3
TR909 Kick 7
909 DryKick1
TR909 SD 1
909 Dry SD4
TR909 SD 3
Basis Rim
042: SRX05 Elctro
LoBit Kick 1
Livn Kick
59
C4 60
62
SH2 U Zap 6
Sim Snare
61
63
707 Dry SD1
106 SD2
64
Lo-Bit CStk
Old Clap
65
Club Clap
66
68
70
HiConga Opn
LoConga Opn
Tmbl Hi
Sim5 Tom4S
Sim5 Tom2S
Sim5 Tom1S
Urban CHH
Pedal Hat 1
Pop Hat Open
MG Nz Cym
US Nz Cym
67
69
909 Dry CHH1
909 Dry CHH3
909 Dry OHH1
909 Dry CR 2
909 Dry RD2
71
C5 72
74
73
037: SRX05 TR-707
707 DryKick1
707 DryKick2
707 DryKick2
707 Dry SD1
707 Dry SD2
707 Dry SD1
707 Dry RSht
707 Dry Clap
707 Dry LTom
707 Dry MTom
707 Dry HTom
707 Dry CHH
707 Dry CHH
707 Dry OHH
707 Dry CR
040: SRX05 HipHop
Old Kick 2
043: SRX05 Perc
HiBongo Opn
LoBongo Opn
HiConga Opn
LoConga Opn
Tmbl Hi
59
C4 60
62
Vinyl Kick
Boys Kick
61
63
HipHop SD 1
Filter SD3
RegularSnrMF
Deviant RM2
Hip Clap
Tmbl Hi Flm
Real Shaker1
Real Cabasa3
Short Guiro2
Long Guiro2
St. FgSnap
64
65
66
68
70
TablaBayam 1
Scratch 6
67
Warp Hit 3
69
Hipping CHH
Hip PHH
GospelClap
Cwbl Hi
71
HipHop OHH
Pop Crash1
PopRideCym 2
Cwbl Lo
C5 72
74
WindChime Up
WindChime Dn
73
707 Dry RD
169
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation Chart
sampling groovebox (Sound Generator Section)
Model MC-909
Date : Sep. 20, 2002
Version : 1.00
MIDI Implementation Chart
Function...
Default
Transmitted
Recognized
Remarks
Basic
X
X
1–16
1–16
Channel Changed
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
X
O
O
O
* 1
* 1
Pitch Bend
O
O
* 1
*1
O
*1
Bank select
0, 32
1
O
O
X
O
Modulation
5
O
Portamento time
Data entry
6, 38
7
X
O
O
O
X
O
O
O
O
X
X
X
O
O
O
O
O
O
O
O
O
X
O
Volume
10
11
16
18
19
64
65
66
68
71
72
73
74
75
80
81
82
83
84
91
O
Panpot
O
Expression
O
General Purpose Controller 1
General Purpose Controller 3
General Purpose Controller 4
Hold 1
O
O
Control
Change
O
O
Portamento
Sostenuto
O
O
Legato Foot Switch
Resonance
O
O
Release Time
O
Attack Time
O
Cutoff
O
Decay Time
O
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General Purpose Effect 1
O
O
O
O
O
O
X
O (Reverb)
1–3, 33–95 *3
98, 99
O
X
O
NRPN LSB, MSB
RPN LSB, MSB
100, 101
X
*1
O
0–127
*1
*1
Program
Change
O
**************
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
O
X
X
O
X
O
O
X
O
: All Sound Off
*4
O
: Reset All Controllers
: Local On/Off
Aux
X
*4
*1
O (123–127)
Messages : All Notes Off
O
X
: Active Sensing
: System Reset
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 The settings are changeable.
Notes
* 4 Transmitted only when V-LINK is ON.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
170
Download from Www.Somanuals.com. All Manuals Search And Download.
sampling groovebox (Sequencer Section)
Model MC-909
Date : Sep. 20, 2002
Version : 1.00
MIDI Implementation Chart
Function...
Default
Transmitted
Recognized
Remarks
Basic
1–16
X
1–16
X
There is no basic
channel.
Channel Changed
Default
Messages
Altered
X
X
X
X
Mode
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
O
O
O
O
Pitch Bend
O
O
O
O
0–119
Control
Change
Program
Change
O
O
0–127
**************
: True Number
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
O
X
X
*1
O
X
X
*2
System
Common
System
Real Time : Commands
: Clock
O
O
*1
*1
O
O
*3
*2
O
O
X
O
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O
O
X
*4
O (123–127)
*4
O
X
*1 Transmitted only when Sync Out is ON.
*2 Recognized only when Sync Mode is SLAVE or REMOTE.
*3 Recognized only when Sync Mode is SLAVE.
Notes
*4 Mode messages (123–127) are stored/transmitted after All Note Off processing is performed.
The All Note Off message itself is not stored/transmitted.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
171
Download from Www.Somanuals.com. All Manuals Search And Download.
A
Amp Env ................................................................... 63, 75
Arpeggiator .................................................................... 30
Arpeggio Sync Mode .................................................. 127
sample ..................................................................... 114
amp ...................................................................... 63, 75
filter ...................................................................... 61, 74
pitch ..................................................................... 59, 72
B
Back Ground Picture ................................................... 127
Bend Range .................................................................... 67
FAT .................................................................................. 56
File Utility ..................................................................... 134
C
Change Duration ........................................................... 45
Clear
Copy
patch tone ................................................................. 78
pattern ................................................................. 44, 49
rhythm tone .............................................................. 78
Cutoff Frequency ..................................................... 59, 73
I
Initialize
D
D Beam ID .................................................................... 127
Data Thin ........................................................................ 46
Delete
Amp Envelope Time ............................................... 63
Cutoff ......................................................................... 60
Filter Envelope Time ............................................... 61
LFO Delay ................................................................. 64
Pitch Envelope Time ............................................... 58
Tone Pan ................................................................... 62
Wave Pitch ................................................................ 58
file ............................................................................ 134
sample ..................................................................... 124
step ............................................................................. 84
Delete Measure .............................................................. 45
DIMM ...................................................................... 19, 146
172
Download from Www.Somanuals.com. All Manuals Search And Download.
TREMOLO CHORUS .............................................. 96
L
LCD CONTRAST .......................................................... 18
Legato .............................................................................. 65
M
MFX
SPECTRUM .............................................................. 92
STEP FILTER ............................................................ 94
STEP FLANGER ...................................................... 98
STEP PHASER ......................................................... 95
STEREO CHORUS ................................................... 97
STEREO DELAY .................................................... 104
STEREO EQ .............................................................. 92
STEREO FLANGER ................................................ 97
Patch Coarse Tune ......................................................... 57
Pattern Mode .................................................................. 21
Pitch Env ................................................................... 59, 72
Random Pan Depth ....................................................... 62
Random Pitch Depth ..................................................... 57
Random pitch depth ..................................................... 72
Realtime Erase ............................................................... 39
Realtime erase ................................................................ 39
Realtime Modify ............................................................ 33
Realtime recording ........................................................ 37
Reclock ............................................................................ 47
173
Download from Www.Somanuals.com. All Manuals Search And Download.
Index
Recording
Trimming Switch ................................................. 112, 129
Rhythm Tone Fine Tune ............................................... 72
Rhythm Tone Level ....................................................... 75
Rhythm Tone Output Assign ...................................... 76
RPS Trigger Quantize ........................................... 29, 128
S
Save
User Area ........................................................................ 19
User Restore ................................................................. 132
song ............................................................................ 85
SMF
Song Play Mode ........................................................... 128
Song Step Switch ......................................................... 128
Step recording ................................................................ 41
Sync Output ................................................................. 127
System ........................................................................... 126
Wave Group ............................................................. 57, 71
Wave Level ..................................................................... 75
Wave Mix Table ............................................................. 76
Wave Pan ........................................................................ 75
Waveform Morphing .................................................... 56
WG ............................................................................. 54, 70
WMT ................................................................................ 76
T
Z
TAP .................................................................................. 25
Tap Resolution ............................................................. 127
Tempo/mute recording ............................................... 42
Zoom In/Out ............................................................... 114
174
Download from Www.Somanuals.com. All Manuals Search And Download.
Specifications
Sequencer Section
MC-909: Sampling groovebox
Parts
16 + Tempo/Mute Control
480 ticks per quarter note
5–300
Resolution
Tempo
Sound Generator Section
Maximum Note Storage
Patterns
Preset
approx. 1,300,000 notes
Maximum Poliphony
64 voices
(shared with sampling section)
215
Sampling Frequency
Parts
44.1 kHz
RPS
440
16 (Main) + 16 (RPS)
693
User
200
Waves
Card
999
Patches
Preset
Recording Mode
Songs
Realtime, TR-REC, Step
50
800
256
256
User
Arpeggio Style
Preset
Card
128
128
Rhythm Set
Preset
User
72
Chord Memory
Preset
User
128
128
64
Card
User
128
50
Sampling Section
RPS Set
Pattern Set
50
Data Format
16-bit linear
(File Type: WAV/AIFF)
shared with sound generator section
44.1 kHz (fixed)
Effects Section
Maximum Poliphony
Sampling Frequency
Reverb
1 (4 types)
1 (1 type)
Compressor
Multi-effects (MFX)
Maximum Sampling Time
2
•
Internal memory (16 MB) only
(MFX1: 38 types)
(MFX2: 47 types)
mono: 180 sec. approx. (stereo: 90 sec. approx.)
with DIMM (256 MB)
•
Pitch Shifter
mono: 51 min. approx. (stereo: 25.5 min. approx.)
(for external input)
1 (1 type)
1 (1 type)
Samples
User
2,000
Mastering Section
Card
7,000 (128 MB SmartMedia)
3-bands Compressor
175
Download from Www.Somanuals.com. All Manuals Search And Download.
Specifications
Expansion Slot
Power Supply
Wave Expansion Board SRX Series: 1 slot
DIMM: 1 slot
AC 117 V, AC 230 V, AC 240 V
Power Consumption
Number of pins:
Speed:
168-pin
20 W
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
Dimensions
Voltage:
491 (W) x 386 (D) x 123 (H) mm
Capacity:
128 MB
19-3/8 (W) x 15-1/4 (D) x 4-7/8 (H) inches
256 MB
Board height:
38 mm or less
Weight
6.0 kg
External Memory
13 lbs 4 oz
SmartMedia card: 1 slot
8MB/16MB/32MB/64MB/128MB (3.3V)
Accessories
Quick Start
Controllers, Display
Owner’s Manual
Sample Data (Audio) CD
Power Cord
Display
QVGA LCD
BPM Diplay: 7 segment 4 character (LED)
Control Knob
Card Protecter
Pitch: 1 (FINE TUNE/COARSE TUNE)
Filter: 2 (CUTOFF, RESONANCE)
LFO 1: 2 (DEPTH/RATE, WAVEFORM)
Sound Others: 3 (FAT, RANDOM MODIFY, MATRIX
CONTROL 1)
Options
Wave Expansion Board: SRX Series
984
*
A separate publication titled “MIDI Implementation” is also available.
It provides complete details concerning the way MIDI has been
implemented on this unit. If you should require this publication (such
as when you intend to carry out byte-level programming), please
contact the nearest Roland Service Center or authorized Roland
distributor.
Effects: 3 (TYPE, C1, C2)
Mastering: 2 (Attack, Release)
OUTPUT Volume: 1
INPUT Volume: 1
Control Slider
Envelope: 13 (Pitch/Filter/Amp)
Part Mixer: 8
962a
Turntable Emulation (100 mm): 1
Other Controllers
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
Twin D Beam Controller
Velocity Pads
Connectors
MIX OUTPUT Jack (L (MONO), R)
DIRECT 1 OUTPUT Jack (L (MONO), R)
DIRECT 2 OUTPUT Jack (L (MONO), R)
IPUT Jack (L (MONO), R)
Headphones Jack
MIDI Connectors (IN, OUT)
USB Connector
Digital Audio Interface
IN/OUT (OPTICAL, COAXIAL)
AC Inlet
176
Download from Www.Somanuals.com. All Manuals Search And Download.
Error Message List
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the
explanation for the error message that appears, and take the appropriate action.
Message
Meaning
Cause/Action
Beat Differs!
While using the Pattern Edit operation Copy, the copy
could not be executed since the copy-source and copy-
destination patterns have differing time signatures.
The imported SMF has a time signature that cannot be
played by the MC-909, or has a changing time signature.
Since there are two or more unmuted parts, the phrase
cannot be registered in an RPS set.
You must copy between patterns that have the same time
signature.
Import SMF data with a time signature that can be played
by the MC-909, and whose time signature does not change.
Choose one part of the phrase that you want to register,
and mute all of the remaining parts (p. 28).
—
Cannot Assign
Phrase!
Cannot Edit Preset
Sample!
This is a preset sample, and therefore cannot be edited.
Cannot Extract!
When executing the Pattern Edit command Extract a
Rhythm Instrument, the move-source part contained no
data of the note number you specified by Extract Note.
A memory card is not inserted in the slot.
The write-protect sticker is affixed to the card.
The pattern cannot be played since it contains no perfor-
mance data.
Specify a note number for which data exists in the move-
source part.
Card Not Ready!
Card Protected!
Empty Pattern!
Insert a memory card into the slot.
—
Select a pattern that contains data.
Empty Sample!
Empty Song!
The sample contains no data.
The song has not been recorded, and therefore cannot be
played.
Select a sample that contains data.
Select a song that contains data.
Illegal File!
The MC-909 cannot use this file.
The MC-909 can use only audio files (WAV/AIFF format),
SMF, and bitmap files.
Memory Damaged!
The contents of memory may have been damaged.
Please perform the Factory Reset operation (p. 20). If this
does not resolve the problem, please contact your dealer or
the nearest Roland Service Center.
Memory Full!
(USER/CARD
Area Full!)
Saving is not possible because there is insufficient space in
the user area or memory card.
Delete unneeded data.
MIDI Offline!
There is a problem with the MIDI cable connection.
Check that the MIDI cable has not been disconnected or
broken.
No More Sample
Numbers!
The sample cannot be divided any further.
Since fewer than 256 consecutive sample numbers are va-
cant, no further sampling is possible.
Delete unneeded samples (p. 124) in order to allocate 256 or
more consecutive sample numbers.
Now Playing!
Pattern Full!
Since the MC-909 is playing, this operation cannot be exe-
cuted.
Since the maximum number of notes that can be recorded
in one pattern has been exceeded, no further pattern re-
cording is possible.
Stop playback before you execute the operation.
Erase unneeded data from the pattern you are recording
(p. 49).
Permission Denied!
Sample Length Too
Short!
The file is protected.
The sample is too short, and cannot be edited correctly.
—
If the sample is extremely short, editing may not produce
the desired result.
Sample Memory
Full!
Since there is insufficient sample memory, no further sam-
pling or sample editing is possible.
Erase unneeded samples (p. 124).
Song Recording
Full!
Since the maximum number of patterns that can be re-
corded in one song has been exceeded, no further song re-
cording is possible.
A maximum of 50 patterns can be recorded in one song. No
further patterns can be recorded.
Unformatted!
Wrong Setting!
The memory card is in an unsupported format.
The pattern edit setting is incorrect.
Format the memory card (p. 134).
Make the correct setting.
177
Download from Www.Somanuals.com. All Manuals Search And Download.
MEMO
Download from Www.Somanuals.com. All Manuals Search And Download.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Download from Www.Somanuals.com. All Manuals Search And Download.
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
COSTA RICA
TRINIDAD
NORWAY
JORDAN
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
JUAN Bansbach Instrumentos
AMR Ltd
Roland Scandinavia Avd.
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
Ground Floor
Musicales
Kontor Norge
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: (02) 899 9801
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
OMAN
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
FAX: (011) 403 1234
EUROPE
TEL:(593-4)2302364
TEL: (02) 2561 3339
TEL: (266) 364 609
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
THAILAND
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (021) 674 4030
Austrian Office
TEL: 4423-554
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
TEL: 262-0788
SPAIN
ASIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
GUATEMALA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
TEL:(502) 599-2888
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
AUSTRALIA/
NEW ZEALAND
TEL: (014) 575811
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
AUSTRALIA/
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
TEL: (2) 666 10529
TEL: (010) 6426-5050
TEL: (011) 223-5384
DENMARK
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
CENTRAL/LATIN
AMERICA
UNITED KINGDOM
MEXICO
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
TEL: 2415 0911
TEL: (04) 3360715
UNITED KINGDOM
TEL: (01792) 702701
TEL: (55) 5668-6699
Parsons Music Ltd.
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
NORTH AMERICA
MIDDLE EAST
BARBADOS
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: (505)277-2557
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
PANAMA
TEL: (604) 270 6626
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 17 211 005
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
TEL: 315-0101
TEL: (23) 511011
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
TEL: (022) 66-9426
TEL: (905) 362 9707
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
U. S. A.
KOREA
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: (021) 285-4169
TEL: (323) 890 3700
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
TEL: (574)3812529
Lima - Peru
TEL: (511) 4461388
As of January 15, 2005 (ROLAND)
03348834
’05-3-2N
Download from Www.Somanuals.com. All Manuals Search And Download.
|
