Roland | MC-4 | Owner`s manual | Roland MC-4 Owner`s manual

Roland MC-4 Owner`s manual
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Information
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
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
FAX: (011) 403 1234
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
TEL: (021) 674 4030
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
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
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
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
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
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
SINGAPORE
CURACAO
URUGUAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
THAILAND
EL SALVADOR
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
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
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
NICARAGUA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
BRAZIL
PANAMA
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
CHILE
PARAGUAY
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
COLOMBIA
PERU
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
BARBADOS
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
TEL: (2) 666 10529
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
LEBANON
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
ROMANIA
OMAN
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
Owner’s Manual
QATAR
RUSSIA
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.
201b
SAUDI ARABIA
SPAIN
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.
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
U.A.E.
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
NORTH AMERICA
MIDDLE EAST
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 17 211 005
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (022) 66-9426
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
ISRAEL
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
TEL: (604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
• 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
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
*
As of January 15, 2005 (ROLAND)
03348834
Convention Used in This Manual
’05-7-3N
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.
To resize thickness, move all items on the front cover
and center registration marks to left or right.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified
by the manufacturer.
12. Unplug this apparatus during lightning storms or when
unused for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
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.
2
MC-909_Ref_e.book 3 ページ 2005年6月28日 火曜日 午後2時53分
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
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.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001
008e
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• Use only the attached power-supply cord.
..........................................................................................................
002b
• Do not open or perform any internal modifications on the unit. (The only exception would be
where this manual provides specific instructions
which should be followed in order to put in place
user-installable options; see p. 142, p. 144, p. 146,
and p. 148.)
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
008a (Modified)
• The unit should be connected to a power source
only of the type described in the operating instructions, or as marked on the bottom of the unit.
..........................................................................................................
..........................................................................................................
009
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
012a
• Immediately turn the power off, remove the
power cord from the outlet, and request servicing
by your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page when:
• The power-supply cord, or the plug has been
damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
3
MC-909_Ref_e.book 4 ページ 2005年6月28日 火曜日 午後2時53分
013
101a
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
• The unit should be located so that its location or
position does not interfere with its proper ventilation.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
015
• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
022a
• Always turn the unit off and unplug the power
cord before attempting installation of the circuit
board (SRX series/DIMM; p. 16).
..........................................................................................................
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.
..........................................................................................................
102b
• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103a:
• At regular intervals, you should unplug the power
plug and clean it by using a dry cloth to wipe all
dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
..........................................................................................................
104
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107b
• Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
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
MC-909_Ref_e.book 5 ページ 2005年6月28日 火曜日 午後2時53分
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
device that will generate line noise (such as an electric
motor or variable lighting system).
• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory on a memory card,
or in another MIDI device (e.g., a sequencer).
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
308
• Although the LCD and LEDs are switched off when the
POWER switch is switched off, this does not mean that the
unit has been completely disconnected from the source of
power. If you need to turn off the power completely, first
turn off the POWER switch, then unplug the power cord
from the power outlet. For this reason, the outlet into
which you choose to connect the power cord’s plug
should be one that is within easy reach and readily accessible.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory, a memory
card, or another MIDI device (e.g., a sequencer) once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
Placement
351
• Never strike or apply strong pressure to the display.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of interference.
• A small amount of heat will radiate from the unit during
normal operation.
352a
558a
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
352b
• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
355
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
557
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
5
MC-909_Ref_e.book 6 ページ 2005年6月28日 火曜日 午後2時53分
IMPORTANT NOTES
Before Using Memory Cards
Using Memory Cards
704
• Carefully insert the Memory card all the way in—until it is
firmly in place.
Copyright
851
• Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part,
of a work (musical composition, video, broadcast, public
performance, or the like) whose copyright is held by a
third party is prohibited by law.
852b
705
• Never touch the terminals of the Memory card. Also,
avoid getting the terminals dirty.
Installing the card protector
The MC-909 provides a card protector to prevent theft of the
memory card. To install the card protector, use the following
procedure.
• When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subjected to some of the
restrictions of the Serial Copy Management System
(SCMS). This is because the unit is intended solely for
musical production, and is designed not to be subject to
restrictions as long as it is used to record works (such as
your own compositions) that do not infringe on the
copyrights of others. (SCMS is a feature that prohibits
second-generation and later copying through a digital
connection. It is built into MD recorders and other
consumer digital-audio equipment as a copyrightprotection feature.)
853
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of
third-party copyrights arising through your use of this
unit.
1. Use a screwdriver to remove both screws that are at
either side of the memory card slot.
204
2. Insert the memory card into the memory card slot.
*
3. Use the screws to fasten the card protector as shown
below.
206j
*
Microsoft and Windows are registered trademarks of
Microsoft Corporation.
Windows® is known officially as: “Microsoft®
Windows® operating system.”
207
Card protector
*
Apple and Macintosh are registered trademarks of Apple
Computer, Inc.
209
*
Mac OS is a trademark of Apple Computer, Inc.
230
*
Side view
6
SmartMedia is a trademark of Toshiba Corp.
MC-909_Ref_e.book 7 ページ 2005年6月28日 火曜日 午後2時53分
Contents
USING THE UNIT SAFELY......................................................................3
IMPORTANT NOTES ...............................................................................5
Features of the MC-909 ........................................................................13
Panel Descriptions................................................................................14
Top Panel ................................................................................................................................................... 14
Rear Panel .................................................................................................................................................. 15
Getting Ready........................................................................................16
Making Connections ................................................................................................................................ 16
Turning On/Off the Power..................................................................................................................... 16
An Overview of the MC-909..................................................................17
Basic structure of the MC-909................................................................................................................. 17
The sound generator section ....................................................................................................... 17
The sequencer section................................................................................................................... 17
The controller section ................................................................................................................... 18
The sampler section ...................................................................................................................... 18
Adjusting the display contrast................................................................................................................ 18
Editing a value .......................................................................................................................................... 18
Quickly changing a value ............................................................................................................ 18
Saving your data....................................................................................................................................... 18
Regarding the locations where samples are stored ............................................................................. 19
Restoring the factory settings (Factory Reset)...................................................................................... 20
Pattern Mode ............................... 21
How Things Work (in Pattern mode) ...................................................22
Playing a pattern ...................................................................................24
Basics of pattern play ............................................................................................................................... 24
Basic playback operation ............................................................................................................. 24
Selecting a pattern to play back .................................................................................................. 24
Changing the BPM (Tempo)........................................................................................................ 25
Turning the metronome (click) on/off....................................................................................... 25
Muting (silencing) a part.............................................................................................................. 26
Velocity pads............................................................................................................................................. 27
Pattern Call..................................................................................................................................... 27
RPS .................................................................................................................................................. 28
Arpeggiator .................................................................................................................................... 30
Chord Memory .............................................................................................................................. 32
Realtime Modify section.......................................................................................................................... 33
Selecting the part whose sound you want to modify .............................................................. 33
Part Mixer .................................................................................................................................................. 33
Mix In ......................................................................................................................................................... 34
Directly outputting the sound of an external device ............................................................... 34
Playing various pitches using the sound of an external device ............................................. 34
Selecting the input source device................................................................................................ 34
D Beam Controller.................................................................................................................................... 35
SOLO SYNTH ................................................................................................................................ 35
CUT + RESO (Cutoff + Resonance) ............................................................................................ 35
TURNTABLE ................................................................................................................................. 35
ASSIGNABLE (Other applications)............................................................................................ 35
7
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Contents
Turntable emulation................................................................................................................................. 36
Auto Sync................................................................................................................................................... 36
Effects ......................................................................................................................................................... 36
Mastering ................................................................................................................................................... 36
Recording a pattern ..............................................................................37
Realtime recording ................................................................................................................................... 37
Recording procedure .................................................................................................................... 38
Rehearsal ........................................................................................................................................ 38
Realtime Erase ............................................................................................................................... 39
Recording Cancel .......................................................................................................................... 39
TR-REC....................................................................................................................................................... 39
Recording procedure .................................................................................................................... 40
About the timing scale.................................................................................................................. 40
Step recording ........................................................................................................................................... 41
Recording procedure .................................................................................................................... 41
Tempo/mute recording........................................................................................................................... 42
Pattern editing.......................................................................................43
Basic procedure for pattern editing ....................................................................................................... 43
Extract a Rhythm Instrument ...................................................................................................... 44
Pattern Copy .................................................................................................................................. 44
Erase ................................................................................................................................................ 45
Delete Measure .............................................................................................................................. 45
Insert Measure ............................................................................................................................... 45
Transpose ....................................................................................................................................... 45
Change Velocity/Change Duration ........................................................................................... 45
Shift Clock ...................................................................................................................................... 45
Data Thin ........................................................................................................................................ 46
Edit Quantize ................................................................................................................................. 46
Reclock ............................................................................................................................................ 47
Microscope ................................................................................................................................................ 48
Basic procedure in the Microscope............................................................................................. 48
Performance data that can be edited in the Microscope ......................................................... 48
Inserting performance data (Create) .......................................................................................... 49
Erasing performance data (Erase)............................................................................................... 49
Moving performance data (Move).............................................................................................. 49
Copying performance data (Copy)............................................................................................. 49
Editing a system exclusive message........................................................................................... 49
Saving a pattern ....................................................................................50
Patch/Sample Mode ..................... 51
How Things Work (in Pattern mode) ...................................................52
Patch Edit ..............................................................................................54
How a Patch Is Organized ...................................................................................................................... 54
How a Tone Is Organized ............................................................................................................ 54
Tips for Creating a Patch ......................................................................................................................... 54
Selecting a patch/rhythm set.................................................................................................................. 55
Selecting from a list....................................................................................................................... 55
Selecting directly ........................................................................................................................... 55
Selecting the Tone(s) That Will Sound .................................................................................................. 56
8
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Contents
Patch editing procedure .......................................................................................................................... 56
Editing from the Panel Knobs ..................................................................................................... 56
Detailed Editing............................................................................................................................. 56
Selecting a Tone to Edit ................................................................................................................ 56
Rhythm Edit...........................................................................................70
How Percussion Instruments Are Organized ...................................................................................... 70
Selecting the Wave(s) That Will Sound ................................................................................................. 70
Rhythm editing procedure...................................................................................................................... 70
Selecting the rhythm tone to edit................................................................................................ 70
Selecting the wave that you want to edit................................................................................... 70
Saving a Patch/Rhythm Set .................................................................77
Copying and Initializing a Patch/Rhythm Set.....................................78
Copying a Patch Tone.............................................................................................................................. 78
Initializing a Patch.................................................................................................................................... 78
Copying a Rhythm Tone (Key)............................................................................................................... 78
Initializing a Rhythm Set ......................................................................................................................... 78
Song Mode................................... 79
How Things Work (in Song mode) ......................................................80
Playing songs........................................................................................82
Basic playback operation ............................................................................................................. 82
Song Reset ...................................................................................................................................... 82
Selecting a song to play ................................................................................................................ 82
Changing the BPM or mute status.............................................................................................. 82
Recording a song..................................................................................83
Editing the setup parameters ...................................................................................................... 83
Song editing ..........................................................................................84
Clear All Steps ............................................................................................................................... 84
Delete Step...................................................................................................................................... 84
Insert Step....................................................................................................................................... 84
Song Copy ...................................................................................................................................... 84
Saving a song........................................................................................85
Effects .......................................... 87
Effects ....................................................................................................88
Effect on/off .............................................................................................................................................. 88
Effect settings ............................................................................................................................................ 88
Effect connection (Effect Routing) .............................................................................................. 88
Compressor .................................................................................................................................... 89
Multi-effects ................................................................................................................................... 90
Reverb ............................................................................................................................................. 90
Realtime control of effects ....................................................................................................................... 91
Selecting the effect that you want to control............................................................................. 91
9
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Contents
Multi-Effects List ...................................................................................92
Multi-Effects Types .................................................................................................................................. 92
Multi-Effects Parameters ......................................................................................................................... 92
Mastering effect ..................................................................................108
Sampling.................................... 109
How Things Work (in Sampling mode) .............................................110
Sampling procedure ...........................................................................112
Sampling .................................................................................................................................................. 112
Resampling.............................................................................................................................................. 112
Mix Sampling .......................................................................................................................................... 112
Auto Divide Sampling ........................................................................................................................... 112
Solo Sampling ......................................................................................................................................... 112
Dividing a sample during sampling ........................................................................................ 113
Sample Edit .........................................................................................114
Basic sample editing procedure ........................................................................................................... 114
Zoom In/Out ............................................................................................................................... 114
Setting the start/end points of the sample ......................................................................................... 115
Sample List .............................................................................................................................................. 115
Sample Parameters ................................................................................................................................. 116
Truncate ................................................................................................................................................... 117
Create Patch............................................................................................................................................. 117
Chop ......................................................................................................................................................... 118
Procedure for dividing a sample .............................................................................................. 118
Automatically dividing a sample (Auto Chop) ...................................................................... 118
Auditioning the divided samples ............................................................................................. 119
Create Rhythm ........................................................................................................................................ 119
Emphasis.................................................................................................................................................. 120
Combine................................................................................................................................................... 120
Edit Time Stretch .................................................................................................................................... 121
Normalize ................................................................................................................................................ 121
Amp .......................................................................................................................................................... 122
Saving a sample..................................................................................123
Menu (in Sample Edit) ........................................................................124
Using the menu....................................................................................................................................... 124
Loading a sample ........................................................................................................................ 124
Loading all samples .................................................................................................................... 124
Importing WAV/AIFF data ...................................................................................................... 124
Deleting a sample........................................................................................................................ 124
Erasing a sample ......................................................................................................................... 124
10
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Contents
Menu ......................................... 125
System .................................................................................................126
Panel/Controller .................................................................................................................................... 127
Sequencer/MIDI..................................................................................................................................... 127
Sound ....................................................................................................................................................... 129
Sampling .................................................................................................................................................. 129
D Beam ..................................................................................................................................................... 130
System Information ................................................................................................................................ 130
Utility ....................................................................................................131
Import SMF ............................................................................................................................................. 131
Save As SMF............................................................................................................................................ 132
Import WAV/AIFF ................................................................................................................................ 132
Factory Reset ........................................................................................................................................... 132
User Backup ............................................................................................................................................ 132
User Restore ............................................................................................................................................ 132
MIDI ......................................................................................................133
File Utility.............................................................................................134
Initializing a memory card (Format) ................................................................................................... 134
Deleting a file (Delete) ........................................................................................................................... 134
Moving a file (Move).............................................................................................................................. 134
Copying a file .......................................................................................................................................... 134
USB ......................................................................................................135
USB communication procedure ........................................................................................................... 135
Canceling USB communication................................................................................................. 135
Cautions Regarding Folders and Files ................................................................................................ 135
Undo/Redo...........................................................................................136
V-LINK ....................................... 137
About V-LINK.......................................................................................138
What is V-LINK? .................................................................................................................................... 138
Connection examples ............................................................................................................................. 138
Using V-LINK ......................................................................................................................................... 138
Turning V-LINK on .................................................................................................................... 138
Turning V-LINK off .................................................................................................................... 138
V-LINK settings ...................................................................................................................................... 139
Resetting the image..................................................................................................................... 139
11
MC-909_Ref_e.book 12 ページ 2005年6月28日 火曜日 午後2時53分
Contents
Appendices ................................ 141
Installing the Wave Expansion Board...............................................142
Cautions When Installing a Wave Expansion Board ........................................................................ 142
How to Install a Wave Expansion Board ............................................................................................ 142
Checking that a wave expansion board is installed correctly.......................................................... 143
Installation de la carte d’extension Wave
(French language for Canadian Safety Standard) ...........................144
Précautions à prendre lors de l’installation d’une carte d’expansion Wave ................................. 144
Installation d’une carte d’expansion Wave ........................................................................................ 144
Vérifier que la carte d’expansion Wave est installée correctement................................................. 145
Expanding the Memory ......................................................................146
Precautions for Expanding Memory ................................................................................................... 146
How to Expand the Memory ................................................................................................................ 146
Removing the Memory............................................................................................................... 147
Checking that memory is installed correctly...................................................................................... 147
Ajouter de la mémoire
(French language for Canadian Safety Standard) ...........................148
Précautions à prendre lors de l’ajout de mémoire............................................................................. 148
Installation du module de mémoire .................................................................................................... 148
Retrait du module de mémoire ................................................................................................. 149
Vérifier que la mémoire est installée correctement ........................................................................... 149
Waveform List .....................................................................................150
Preset Patch List.................................................................................151
Preset Rhythm Set List.......................................................................154
Preset Pattern List ..............................................................................158
RPS Pattern List..................................................................................160
RPS Set List.........................................................................................162
Song List..............................................................................................165
Arpeggio Style List .............................................................................166
Chord Form List ..................................................................................167
SRX-05 Special Patch List..................................................................168
SRX-05 Special Rhythm Set List .......................................................169
MIDI Implementation Chart ................................................................170
Index.....................................................................................................172
Specifications......................................................................................175
Error Message List..............................................................................177
12
MC-909_Ref_e.book 13 ページ 2005年6月28日 火曜日 午後2時53分
Cutting-edge groovebox that unifies
MIDI and sampling
In a single unit, the MC-909 delivers the power of a
conventional groovebox (an all-in-one synthesizer and
sequencer) plus a full-fledged sampler. It’s a new generation of
workstation that gives you everything you need to perfect your
music.
Built-in mastering functionality
A three-band compressor is built-in, letting you apply the
mastering operations that are the indispensable final step in
music production. The output of the MC-909 can be recorded
directly to CD or MD.
Sample synthesis
Waveforms sampled by the MC-909 or loaded from an external
source can be freely manipulated using the filter, LFO, and
effects in the same way as the internal preset waveforms.
Full-fledged sampler
The high-performance 44.1 kHz sampler provides five sampling
modes for various situations. You can sample external analog or
digital input sources, or resample the internal sounds. The full
range of editing functions includes Time Stretch and Chop.
Memory can be expanded to a maximum of 256 MB by adding
DIMM modules. When added to the internal 16 MB of RAM
(approximately 3 minutes of monaural sampling), this gives
you up to 272 MB (approximately 51 minutes of monaural
sampling).
High-performance synthesizer sound
generator
Features Roland's latest high-performance synthesizer sound
generator, with 800 patches and 64 rhythm sets that are based
on new waveforms created especially for the MC-909.
You can also install one wave expansion board (SRX series) to
increase the waveforms available to you when the need arises.
In particular, installing the SRX-05 “Supreme Dance” board will
let you use special patches and rhythm sets created specifically
for the MC-909.
The latest patterns for creative use
and immediate performance
For immediate playing or for use in your own compositions, the
MC-909 provides 215 preset patterns and 440 different RPS
patterns, covering a broad range of current dance styles,
including techno, trance, house, hiphop, and R&B.
Plenty of external interfaces
The MC-909 provides a USB connector for file transfer with
your computer. Waveform data files in .WAV or .AIFF formats
and SMF-format sequence data can be imported or exported
between the MC-909 and your computer with the click of a
mouse, as easily as if you were using an external drive.
Highly evolved turntable emulation,
and dual D Beam controllers
By automatically time-stretching a sample according to the
sequencer playback tempo, you can maintain playback
synchronization between the sequencer and samples. This lets
you use the turntable emulation slider to control the sequencer
and sample BPM in real time. You can also specify the variable
range of the slider.
In addition, the MC-909 features dual D Beam controllers,
located at the left and right of the panel. This gives you the
capability for special effects that have never been possible until
now.
Easy creation of original patterns
With a large LCD, knobs and a mixer section that can be
operated at any time to modify the sound directly, and newly
developed velocity pads, the MC-909 is an ideal recording
environment. You can use realtime, TR-REC, and step recording
methods, and manipulate your music with editing functionality
that goes well beyond previous grooveboxes.
The sequencer has also been upgraded, letting you create 16part patterns that are up to 998 measures long. SMF Convert
Load/Save functions ensure easy data exchange with other
sequencers.
Two multi-effects, a compressor, and
reverb
The two independent MFX units (multi-effects: MFX1 provides
38 types, MFX2 provides 47 types) provide a complete array of
effects that are ready to go whenever you need them. In
particular, MFX2 can produce long delays of up to four seconds.
The two-band compressor is a great way to power-up rhythm
instruments such kick drum. The acclaimed reverb from the XV
series is also provided.
V-LINK function
V-LINK (
) is a function that provides for the
play of music and visual material. By using V-LINK-compatible
video equipment, visual effects can be easily linked to, and
made part of the expressive elements of a performance. By
connecting the MC-909 to the Edirol DV-7PR, you can switch
images in synchronization with music, or use the MC-909’s
knobs to control the brightness, color, or playback speed of the
images.
13
An Overview of the
MC-909
Features of the MC-909
MC-909_Ref_e.book 14 ページ 2005年6月28日 火曜日 午後2時53分
Panel Descriptions
Top Panel
fig.0-01
1
8
2
16
9
6
3
10
11
7
13
12
4
15
14
5
1. D Beam Controllers
9. Effect Section
You can modify the patterns or sounds by passing your hand over
these (p. 35).
Applies special effects to the sound (p. 88).
2. Volume Section
Selects Song mode (p. 79), Pattern mode (p. 21), or Patch/Sample
mode (p. 51).
Adjusts the output volume of the entire MC-909, and the input
volume to the MC-909.
10. Mode Section
The button of the currently selected mode will light.
3. Realtime Modify Section
11. Cursor/Value 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).
Used to play/record patterns or songs (p. 24, p. 82).
5. Velocity Pads
13. Turntable Emulation
Used as a keyboard to play sounds or trigger phrases (p. 27).
Simulates the effect of changing the rotational speed of a turntable
(p. 36).
6. Function Buttons
Access the screens for the functions shown in the bottom line of the
screen.
7. Part Mixer Section
Adjusts the volume and pan for each part in the pattern (p. 33).
8. Sampling Section
Records external sounds into the MC-909 as waveforms, and
processes them (p. 109).
14
14. TAP Button
Adjusts the BPM (tempo) according to the timing at which you tap
this button (p. 25).
15. V-LINK Button
Switches V-LINK (p. 137) on/off.
16. SmartMedia card slot
Insert a SmartMedia card (3.3V, maximum 128 MB) here.
MC-909_Ref_e.book 15 ページ 2005年6月28日 火曜日 午後2時53分
Panel Descriptions
An Overview of the
MC-909
Rear Panel
fig.0-02
11
1
2
3
4
5
6
9
8
7
10
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
Connect the included power cable here (p. 16).
The unit should be connected to a power source only of
the type marked on the bottom of the unit.
3. USB Connector
This connector lets you use a USB cable to connect your computer to
the MC-909 (p. 135).
4. MIDI Connectors (IN, OUT)
These connectors connect the MC-909 with other MIDI devices,
enabling the sending and receiving of MIDI messages (p. 16).
8. DIRECT 1 OUTPUT Jacks
The sound of the part/patch/rhythm set/tone/rhythm tone whose
Output Assign (p. 88, p. 89, and p. 90) you set to “DIR1” is output in
stereo (L/R) from these jacks to your amp or mixer. If you want to
use mono output, connect to the L jack.
9. DIRECT 2 OUTPUT Jacks
The sound of the part/patch/rhythm set/tone/rhythm tone whose
Output Assign (p. 88, p. 89, and p. 90) you set to “DIR2” is output in
stereo (L/R) from these jacks to your amp or mixer. If you want to
use mono output, connect to the L jack.
• IN: This connector receives messages from another MIDI device.
10. PHONES Jack
• OUT: This connector transmits messages to another MIDI
device.
Headphones are plugged in here (p. 16).
5. Digital Audio Interface
These are optical-type and coaxial-type S/P DIF format digital in/
out connectors.
S/P DIF: A digital interface format used in consumer digital audio
devices.
The digital output connectors output the same audio signal as is
output from the MIX OUTPUT jacks.
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.
When recording from a mic, connect it to the L jack, and set Input
Select (p. 34) to “MICROPHONE.”
11. Ground Terminal
927
Depending on the circumstances of a particular setup, you may
experience a discomforting sensation, or perceive that the surface
feels gritty to the touch when you touch this device, microphones
connected to it, or the metal portions of other objects, such as guitars.
This is due to an infinitesimal electrical charge, which is absolutely
harmless. However, if you are concerned about this, connect the
ground terminal (see figure) with an external ground. When the unit
is grounded, a slight hum may occur, depending on the particulars
of your installation. If you are unsure of the connection method,
contact the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
Unsuitable places for connection
• Water pipes (may result in shock or electrocution)
• Gas pipes (may result in fire or explosion)
• Telephone-line ground or lightning rod (may be dangerous in
the event of lightning)
15
MC-909_Ref_e.book 16 ページ 2005年6月28日 火曜日 午後2時53分
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.
1. Before making any connections, confirm that power to all
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.
Speaker
(with built-in Amp)
Stereo set, etc.
3. Connect audio and MIDI cables as shown in the diagram.
If connecting headphones, plug the headphones into the
PHONES jack.
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
connected devices are set to “0.”
Turning Off the Power
2. Turn on the device connected to the INPUT Jacks.
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.
3. Turn on the MC-909’s POWER switch.
4. Turn on the devices connected to the OUTPUT Jacks.
16
*
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).
MC-909_Ref_e.book 17 ページ 2005年6月28日 火曜日 午後2時53分
Basic structure of the MC909
This section provides an overview of the sequencer section, sound
generator section, controller section, and sampler section, which
make up the main parts of the MC-909.
fig.0-03.e
Rhythm set
A rhythm set assigns a separate instrumental sound to each
note of the keyboard. These instrumental sounds are not played
as a scale. The MC-909 provides 64 preset rhythm sets.
(Example)
fig.0-04
SNARE
B3
CLAP
HI-HAT
Sampling
Sampler
Section
KICK
RIM
TOM
CYMBAL
Tones
Sequencer
Section
Recording
PLAY
Sound Generator
Section
Velocity Pad Play
Controller (Velocity Pad, Knob, etc.)
Tones are the raw materials of sound that are combined to
create a patch. The MC-909 provides 693 different waveforms,
and two waveforms can be assigned to each tone. (Waveforms
can be assigned in stereo; one for L and one for R.)
You can install separately sold wave expansion boards (SRX
series) to add more waveforms, and sounds that you sample
can also be used as waveforms.
Effects
The sound generator section
This is the section that actually generates the sound. It produces
sounds in response to data received from the MC-909’s Controller or
Sequencer sections. You can also play the sound generator by
sending it performance data from an external MIDI device.
Since the sound generator section of the MC-909 is able to play up to
64 notes simultaneously, it can easily handle multiple parts.
Song
Two or more patterns connected in the order of playback are
called a song.
In one song, you can register up to 50 patterns in the desired
order of playback.
Pattern
A pattern is 1–998 measures of performance data consisting of
sounds (patches or rhythm sets) for up to 16 parts.
The MC-909 provides 215 different preset patterns.
Part
A part corresponds to a single musician in a band or orchestra.
Since the MC-909 has sixteen parts, you can use sixteen
different patches or rhythm sets to play as many as sixteen
performances simultaneously.
Patch
A patch corresponds to a single instrument such as a piano or
guitar. A patch consists of up to four “tones.” The MC-909
provides 800 different patches, and you can enjoy an enormous
variety of sounds simply by choosing from these patches.
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 sequencer section
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.
Recording/playing a performance
The MC-909 comes with 215 previously prepared patterns
(preset patterns). These preset patterns can be played back
easily.
You can also create your own original patterns, either by
modifying preset patterns or by creating a pattern from scratch.
Simultaneous playback of multiple parts
The MC-909 is able to play multiple sounds (patches)
simultaneously. For example, with the following part
configuration, you can simultaneously play drums, bass, piano
and guitar; and the resulting performance will sound like a
band.
Part 1
Part 2
Part 3
Part 10
Guitar
Bass
Piano
Rhythm (Drum) Set
17
An Overview of the
MC-909
An Overview of the MC-909
MC-909_Ref_e.book 18 ページ 2005年6月28日 火曜日 午後2時53分
An Overview of the MC-909
Editing performance data
Unlike a cassette tape or MD, a sequencer records a
performance as musical data (not as sound). It’s easy to edit the
performance data to create your own original patterns.
The controller section
The “controllers” of the MC-909 are its velocity pads, D Beam
controllers, and the panel knobs and sliders. By operating these
controllers you can modify the performance and sound in various
ways.
Velocity pads
These pads function just like a music keyboard. They are also
used to trigger RPS (p. 28) and the arpeggiator (p. 30).
Normally, pad number 2 will be C4. The force with which you
strike a pad will control the velocity (dynamics) of the note.
Adjusting the display
contrast
Use the [LCD CONTRAST] knob located at the right of the display to
adjust the contrast.
Turn the knob toward the right to darken the screen, or toward the
left to lighten it.
Editing a value
Use the [VALUE] dial to make large changes in a value, or use the
[INC]/[DEC] buttons to change a value in steps of one. Your
changes will affect the value that is displayed in white characters
within a black frame in the screen. This location is called the
“cursor.” If a screen contains more than one value that can be edited,
use the [CURSOR] buttons to move the cursor to the value you want
to edit.
D Beam controllers
By passing your hand over these controllers you can play or
modify sounds (p. 35).
Turntable emulation
These buttons and slider allow realtime synchronized
performance with sound sources such as a turntable, assisting
you with DJ performance (p. 36).
Realtime modify knobs
These knobs and sliders give you realtime control over sound
parameters such as filter cutoff frequency and resonance or LFO
speed.
The sampler section
A sampler is a device that captures sounds from a wave file or an
external source such as a CD.
On the MC-909, a sampled sound can be handled just like an internal
waveform of the sound generation section; you can change the pitch
of the sampled sound, apply a filter to it, or modify its envelope.
Quickly changing a value
• If you hold down [SHIFT] while you turn the [VALUE] dial, the
value will change more rapidly.
Key Repeat function
• The value will continue changing if you press and hold [INC] or
[DEC].
• The cursor will continue moving if you press and hold a
[CURSOR] key.
Turbo Repeat function
• The value will increase rapidly if you hold down [INC], then
press and hold [DEC].
• The value will decrease rapidly if you hold down [DEC], then
press and hold [INC].
• The cursor will move rapidly if you hold down a [CURSOR]
button and then press the opposite [CURSOR] button.
Saving your data
After editing settings or recording a performance, you must save
your data if you want to keep the results. If you turn off the power
without saving, your settings or recorded performance will be lost.
For details on saving your data, refer to the following pages.
• Saving a pattern (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
MC-909_Ref_e.book 19 ページ 2005年6月28日 火曜日 午後2時53分
An Overview of the MC-909
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
memory
Sample memory
16MB
User area
16MB
USB
Expandable
memory
DIMM
128 or 256MB
Memory
card
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
MC-909_Ref_e.book 20 ページ 2005年6月28日 火曜日 午後2時53分
An Overview of the MC-909
Restoring the factory settings
(Factory Reset)
3. Press [ENTER] to access the Utility menu.
fig.0-06
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
Pattern Mode
MC-909_Ref_e.book 21 ページ 2005年6月28日 火曜日 午後2時53分
Pattern Mode
In this mode you can play, record, and edit patterns.
21
MC-909_Ref_e.book 22 ページ 2005年6月28日 火曜日 午後2時53分
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.
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
[BEAM 1 ON]
[BEAM 2 ON]
[TWIN D BEAM ASSIGN]
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.
2. Volume section
[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
4. Mastering section
[ON]
[BAND]
[ATTACK]
[RELEASE]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Specify the time from when the volume goes up
the threshold level until the compressor effect applies.
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
27).
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
MC-909_Ref_e.book 23 ページ 2005年6月28日 火曜日 午後2時53分
How Things Work (in Pattern mode)
7. Part Mixer section
12. Sequencer section
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
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).
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 indicator is not lighted, or parts 9–16 if the indicator is lit.
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Plays a pattern (p. 24).
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
8. Sampling section
[EDIT]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Displays the Sample Edit
screen (p. 114).
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the INPUT jack into the output (p.
34).
Synchronizes a sample to the
pattern (p. 36).
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
[TYPE]
[C1], [C2]
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.
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
Pattern Mode
Here you can adjust the volume, pan, etc., of each part (p. 33).
MC-909_Ref_e.book 24 ページ 2005年6月28日 火曜日 午後2時53分
Playing a pattern
Basics of pattern play
The top screen of Pattern mode
Basic playback operation
Use the following buttons to control the playback.
fig.1-02.e
Return to the previous measure
fig.1-01
Move to the beginning
of the pattern
Advance to the
next measure
1
2
Stop playback
1. Current pattern
The pattern that is now playing
2. Next pattern
The pattern that will play next
*
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.
Selecting a pattern to play back
There are two ways to select a pattern for playback; directly, or from
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)]
[F5 (Mastering)]
[F6 (BPM/Click)]
[SHIFT] + [F1 (Arp)]
(Arpeggiator)
[SHIFT] + [F2 (Chord Memory)]
[SHIFT] + [F3 (Pattern Call)]
[SHIFT] + [F4 (RPS)]
[SHIFT] + [F5 (System)]
(System Edit)
[SHIFT] + [F6 (Utility)]
(Utility Menu)
24
Select a pattern from a list (p. 25).
Edit the settings of a pattern (p.
43).
Specify the volume, pan, etc., of
each part (p. 33).
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).
Make arpeggiator settings (p. 30).
While the pattern is stopped, use [VALUE] or [INC/DEC] to select a
pattern.
Selecting the next pattern
While the pattern is playing, use [VALUE] or [INC/DEC] to select a
pattern.
When the current pattern finishes playing, the selected pattern
will start playing.
*
Register chords (p. 32).
Select a pattern set (p. 27).
Make RPS settings (p. 29).
Make settings that apply to the entire MC-909 (p. 126).
Open the Utility menu (p. 131).
fig.1-03
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.
MC-909_Ref_e.book 25 ページ 2005年6月28日 火曜日 午後2時53分
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
Pattern Mode
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.
3. Use [VALUE], [INC/DEC] or [CURSOR (up/down)] to
select a pattern.
If you hold down [SHIFT] while using the above controls, the
pattern number will change in steps of ten.
4. Press [F6 (Select Pattern)] to finalize your selection.
[F1 (Preset)]
[F2 (User)]
[F3 (Card)]
[F6 (Select Pattern)]
Choose preset patterns.
Choose user patterns.
Choose patterns stored on a memory card.
Finalize the selected pattern.
BPM (tempo) when playing patterns
successively
Each pattern has its own specified tempo (BPM). If you play back
patterns successively, the tempo will also change when the pattern
changes.
If desired, you can maintain the tempo of the first-played pattern
even while switching patterns (BPM Lock ->p. 128).
You can access the BPM window during TR-REC by pressing
[SHIFT]+[F6], or during sampling by pressing [F4].
Using the TAP button
Press [TAP] three or more times at quarter-note intervals of the
desired BPM.
*
If desired, you can set the BPM by pressing [TAP] at eighth-note/
sixteenth-note intervals (Tap Resolution ->p. 127).
Turning the metronome (click)
on/off
1. Press [F6 (BPM/Click)] to access the BPM window.
2. Press [F5 (Click)] to select on or off.
When on, the “✔” will be displayed.
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
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
MC-909_Ref_e.book 26 ページ 2005年6月28日 火曜日 午後2時53分
Playing a pattern
Muting (silencing) a part
All Parts Mute
A pattern contains sixteen parts. You can mute (silence) each part in
real time.
This function mutes all parts at once.
1. Hold down [SHIFT] and press [PART ASSIGN].
fig.1-06
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].
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is lighted.
Part buttons [1]–[16] now control part muting.
2. Press the button of the part that you want to mute,
making it blink.
Muting will be cancelled for all parts, so they are all allowed to
play.
Mute Reverse
This function inverts the currently muted and currently playing
parts.
That part will be muted.
3. To cancel muting, press the button of the muted part
once again, making it light.
The indicators of the part buttons show the muted state of the
parts as follows:
• Lit: The part can be played.
• Blinking: The part is muted.
• Not lit: No performance has been recorded in the part. (The
indicator will light when you record data.)
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.
1. During pattern playback, press [PLAY].
The screen will indicate “MUTE REMAIN.”
1. Hold down [SHIFT] and press [TEMPO/MUTE
CONTROL].
The status of parts that are currently muted changes, so they are
allowed to play, while the parts that are currently playing will
be muted.
Default Mute
This function restores the part mute settings to the state stored in the
pattern.
1. Hold down [SHIFT] and press [PART] (SELECT/
MUTE).
The part mute settings will return to the state stored in the
pattern.
About the setup parameters
On the MC-909, the following parameters allow their settings to
be individually stored for each pattern. These parameters are
collectively called the “setup parameters.”
2. Select the next pattern.
*
After a time, the selected pattern will play, with the mute
settings of each part remaining as they were.
• BPM (Tempo) (p. 25)
When the pattern changes, the Mute Remain function will
automatically be cancelled.
• Part Level * (p. 33)
Mute Remain will be cancelled if you press [PLAY] once again before
the pattern changes.
• Part Key Shift * (p. 33)
• Patch/Rhythm set * (p. 55)
• Part Pan * (p. 33)
• Part Reverb Level * (p. 33)
• Part Output Assign * (p. 55)
Solo
This function assigns play-ready status to one specified part, muting
the others.
1. Hold down [SHIFT] and press the part button [1]–[16]
of the part you want to play.
• Sequencer Output Assign * (p. 55)
• Reverb settings (p. 90)
• Compressor settings (p. 89)
• Multi-effect settings (p. 90, p. 92)
• Part mute status * (p. 26)
• Auto Sync on/off * (p. 36)
All parts other than the selected part will be muted.
*
26
The asterisk indicates parameters that can be set for each part.
MC-909_Ref_e.book 27 ページ 2005年6月28日 火曜日 午後2時53分
Playing a pattern
Registering a pattern in a Pattern Set
1. Select the pattern you want to register, so it is the
current pattern.
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.
2. Select the pattern set into which you want to register
that pattern.
You can also set velocity to a fixed value (Pad Velocity ->p. 127).
3. Hold down [PATTERN CALL], and press the velocity
pad to which you want to register the pattern.
[HOLD]
[OCT -]/[OCT +]
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
pads in steps of one octave (maximum +/-4
octaves).
If you press both buttons simultaneously,
the octave shift will be reset to 0.
That pattern will be registered to the pad you pressed.
Saving a Pattern Set
Pattern Set settings that you have edited will be lost when you turn
off the power. If you want to keep your changes, you must save
them as follows.
1. Hold down [PATTERN CALL] and press [F6 (PtnCall
Setting)].
Alternatively, hold down [SHIFT] and press [F3 (Pattern Call)].
Various ways to use the velocity pads
[PATTERN CALL]
[RPS]
[ARPEGGIO]
[CHORD MEMORY]
The pads will recall patterns (Pattern
Call, p. 27).
The pads will trigger phrases (RPS, p.
28).
The pads will play arpeggios (Arpeggiator, p. 30).
Produce chords by pressing a single pad
(Chord Memory, p. 32).
Pattern Call
The Pattern Call editing screen will appear.
2. Use [VALUE] or [INC/DEC] to select the pattern set
that you want to save.
3. Press [WRITE].
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.
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.
Using Pattern Call
1. Press [PATTERN CALL] so its indicator is lighted.
Patterns that are registered in a pattern set allow you to specify setup
parameters that are different than in conventional pattern mode.
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
Pattern Mode
Velocity pads
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Playing a pattern
RPS
Registering a phrase in an RPS set
Any phrase that’s been assigned to one of the sixteen velocity pads
will continue playing as long as you hold down its pad.
1. Select the pattern that contains the phrase you want
to register, so it is the current pattern.
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.
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.
2. Press one of the velocity pads [1]–[16].
The phrase that is registered to the pad you pressed will
continue playing.
*
[OCT +/-] will have no effect.
*
RPS cannot be used simultaneously with pattern call, arpeggiator, or
chord memory.
RPS Hold
You can make a phrase continue playing even after you release your
finger from the velocity pad.
You may find it convenient to use the Solo function (p. 26).
3. Select the RPS set in which you want to register that
phrase.
4. Hold down [RPS], and press the velocity pad to
which you want to register the phrase.
That phrase will be registered to the pad you pressed.
<Note when assigning RPS>
*
It is not possible for multi-part phrases to be assigned to each of
the velocity pads. You must mute all parts other than the part
that contains the phrase you wish to assign. If you attempt to
assign a phrase in which two or more parts are un-muted, the
display will indicate “Cannot Assign Phrase!”.
*
If you have assigned a phrase from a user pattern to RPS, and
modify the performance data of the pattern that contains that
phrase after it has been assigned, be aware that the phrase played
by RPS will be affected by these modifications. For example if you
delete the performance data of a pattern that contains an assigned
phrase, no sound will be heard when you use RPS to play that
phrase.
*
If you assign a phrase from a part that uses MFX, the MFX
settings during RPS playback will be determined by the MFX
settings of the currently selected pattern. This means that the
RPS playback may sound different than the original phrase.
• To hold all phrases
1. Press [HOLD] so the indicator is lit.
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.
[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
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
Patterns that are registered in an RPS set allow you to specify setup
parameters that are different than in conventional pattern mode.
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Playing a pattern
RPS Settings
Adjusting the settings of the RPS parts
1. Hold down [RPS] and press [F6 (RPS Setting)].
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.
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.
3. Use [VALUE] or [INC/DEC] to edit the parameter.
Parameter
RPS Set
RPS Part
RPS Part Patch
Bank
RPS Part Patch
Number
RPS Part Output
Select
Range
01–50
Part 1–16
—
Remote Keyboard Switch
OFF, ON
Explanation
RPS set to edit
RPS part to edit
Patch assigned to RPS part
1. Hold down [RPS] and press [F6 (RPS Setting)].
Pattern Mode
2. Use [CURSOR (up/down)] to select a parameter.
Alternatively, hold down [SHIFT] and press [F4 (RPS)].
The RPS setting screen will appear.
2. Press [F3 (RPS Mixer)].
The RPS Mixer screen will appear.
—
DRY, MFX1,
MFX2,
COMP,
DIR1, DIR2,
RHY
How the original sound of
each part will be output
DRY: Output to MIX OUTPUT jacks without passing
through effects
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through
the compressor
DIR1 (2): Output to the DIRECT 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,
etc. of RPS parts 1–16.
[PART ASSIGN]
<RPS Trigger Quantize>
When using RPS during pattern playback, patterns and phrases may
not play back in precise alignment, depending on the timing at
which you press the velocity pads. On the MC-909 you can specify
the playback timing of the phrase, so it will play back in precise
synchronization with the pattern. (RPS Trigger Quantize ->p. 128)
• REAL:
The phrase will play back immediately, at the timing at which
you pressed velocity pads.
• 16TH, 8TH, QUARTER:
The pattern will be divided into selected note units, and when
you press the velocity pads, the phrase will begin playing at the
beginning of the next note unit.
• MEASURE:
The pattern will be divided into one-measure units, and when
you press the velocity pads, the phrase will begin playing at the
beginning of the next measure.
*
Except when this parameter is set to “REAL,” pressing on the velocity
pads slightly before the actual desired timing will help you
synchronize the phrase to the pattern.
*
If the pattern is stopped, the phrase will play back immediately,
regardless of the setting that is selected in the above procedure.
Selects the RPS parts that will be controlled
by the sliders.
If this indicator is not lighted, parts 1–8
will be controlled. If lit, parts 9–16 will be
controlled.
Sliders
Adjust the volume, pan, key, and reverb level of parts 1–8 or parts 9–16.
Use [F1]--[F4] to select a parameter, and use the sliders to adjust
the values.
Function button
[F1 (Level)]
[F2 (Pan)]
[F3 (Key Shift)]
Parameter adjusted by the sliders
Volume of the RPS part
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.
[F4 (Reverb Level)]
Reverb level of the RPS part
* You can also use [CURSOR] to select a part and parameter, and then
use [VALUE] or [DEC/INC] to adjust the value.
4. Press [F6 (Close)] to close the RPS Mixer screen.
29
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Playing a pattern
RPS realtime modify
Arpeggiator
You can use the panel knobs and sliders to modify the sound of the
phrase being played by RPS.
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.
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.
PITCH:
FILTER:
AMP:
LFO1:
FINE/COARSE TUNE, ENV DEPTH/A/D
CUTOFF, RESONANCE, ENV DEPTH/A/D/S/R
LEVEL, ENV DEPTH/A/D/S/R
PITCH DEPTH, FILTER DEPTH, AMP DEPTH,
PAN DEPTH, RATE, WAVEFORM
*
Your changes will affect the sound of the phrase assigned to the pad
you pressed last.
*
If you take your finger off the pads, the changes you make will apply to
the sound of the current part. The same is true even if you are playing
back a phrase with [HOLD] turned on.
*
Operating MATRIX CONTROL 1, RANDOM MODIFY, or FAT
will always affect the sound of the current part.
Not only can you use the factory-set arpeggio styles, which
determine the way the arpeggio is played, but you can also freely
rewrite styles.
Using the arpeggiator
1. Press [ARPEGGIO] so its indicator is lighted.
2. Press a chord using the velocity pads.
An arpeggio will play according to the specified arpeggio style.
*
Arpeggiator cannot be used simultaneously with Pattern Call or RPS.
Selecting an arpeggio style
1. Hold down [ARPEGGIO] and use [VALUE] or [INC/
DEC] to select a style.
Making arpeggiator settings
Saving an RPS set
Here's how to change the way that the arpeggio is sounded.
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)].
1. Hold down [RPS] and press [F6 (RPS Setting)].
2. Use [CURSOR (up/down)] to select a parameter.
Alternatively, hold down [SHIFT] and press [F4 (RPS)]. The RPS
setting screen will appear.
2. Use [VALUE] or [INC/DEC] to select the RPS set that
you want to save.
3. Press [WRITE].
The Write menu screen will appear.
Make sure that “RPS Set” is highlighted.
4. Press [ENTER] or [F3 (RPS)].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
3. Use [VALUE] or [INC/DEC] to edit the parameter.
Using in Combination with the Chord
Memory Function
When performing with the Arpeggiator, you can also use it
along with the Chord Memory (p. 32). After first storing
complex Chord Forms in memory, you can then call them up
when Arpeggiator is on, and you can easily create complex
arpeggio sounds just by pressing a single pad.
5. Assign a name to the RPS set.
For details on how to assign a name, refer to “Saving a pattern”
(p. 50).
6. When you finish inputting the name, press [F6
(Write)].
A message will ask you for confirmation.
7. To save, press [F6 (Execute)].
*
30
To cancel without saving, press [F5 (Cancel)].
Parameter
Arpeggio
Grid (Grid
Type)
Explanation
Sets the particular note division and resolution in a
“single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to it.
1/4: Quarter note
1/8: Eighth note
1/8L: Eighth note shuffle Light
1/8H: Eighth note shuffle Heavy
1/12: Eighth note triplet
1/16: Sixteenth note
1/16L: Sixteenth note shuffle Light
1/16H: Sixteenth note shuffle Heavy
1/24: Sixteenth note triplet
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Parameter
Arpeggio
Motif
Arpeggio
Duration
Arpeggio
Octave
Range
Remote
Keyboard
Switch
Explanation
Selects the method used to play sounds when you
have a greater number of notes than programmed for
the Arpeggio Style.
UP(L ): Only the lowest of the pads pressed is
sounded each time, and the notes play in order
from the lowest of the pressed pads.
UP(L&H): 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 highest 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 order.
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 order.
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 arpeggio 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
grids is connected with ties, the final grid) is 30% 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 upwards or downwards (up to three octaves up or
down).
Refer to p. 128.
Pattern Mode
Playing a pattern
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.
[F1 (Tie)]
[F2 (Grid)]
[F3 (End Step)]
[F4 (Note Number)]
[F5 (Velocity)]
[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.
2. Press [F4 (Arp Edit)].
The arpeggio style input screen will appear.
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.
[SHIFT] +
[F1 (V-Zoom In)]
[SHIFT] +
[F2 (V-Zoom Out)]
[SHIFT] +
[F3 (Tie)]
[SHIFT] +
[F4 (Rest (Clear))]
[SHIFT] +
[F5 (Step Rec)]
By holding down [F1 (Tie)] and pressing a pad,
you can extend the length of the previously input 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 “shuffle” syncopation is to be to applied (none/
weak/strong) to it.
1/4: Quarter note
1/8: Eighth note
1/8L: Eighth note shuffle Light
1/8H: Eighth note shuffle Heavy
1/12: Eighth note triplet
1/16: Sixteenth note
1/16L: Sixteenth note shuffle Light
1/16H: Sixteenth note shuffle Heavy
1/24: Sixteenth note triplet
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 messages you will input.
Range: REAL, 1–127
* 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.
Zoom-out the arpeggio style input screen.
Input a tie at the cursor location, and advance to
the next step.
Delete all data at the step where the cursor is located.
If you press this to add a check mark, you will
be able to input data for individual notes (p. 32).
5. When you finish inputting the arpeggio style, press
[EXIT].
31
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Playing a pattern
Step-recording an arpeggio style
Chord Memory
You can create an arpeggio style by inputting and editing individual
notes.
You can play a previously registered chord form simply by pressing
a single pad. You can use the factory-set chord forms, and are also
free to rewrite them as desired.
Using chord memory
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).
*
1. In the arpeggio style input screen, hold down [SHIFT]
and press [F5 (Step Rec)] to apply a check mark.
[SHIFT] will be locked.
2. Use [CURSOR (up/down)] to select the note number,
and [CURSOR (left/right)] to select the step.
3. Use [VALUE] or [INC/DEC] to edit the data at the
cursor (velocity: OFF, 1–127, Tie).
*
You can also strike a velocity pad to input a note for the corresponding
note number.
[F1 (V-Zoom In)]
Zoom-in the arpeggio style input screen.
[F2 (V-Zoom Out)] Zoom-out the arpeggio style input screen.
[F3 (Tie)]
Input a tie at the cursor location, and advance
to the next step.
[F4 (Rest (Clear))] Delete all data at the step where the cursor is located.
[F6 (Preview)]
Audition arpeggio currently being input. (The
operation is the same when [SHIFT] is held.)
* If you press [F5 (Step Rec)] and clear the check mark, you are returned
to the normal input screen.
Saving an arpeggio style
A arpeggio style you create will be lost when you turn off the power.
If you want to keep your settings, save them as follows.
1. Hold down [ARPEGGIO] and press [F6 (Arp Setting)].
Chord Memory cannot be used simultaneously with Pattern Call or
RPS.
Selecting a chord form
1. Hold down [CHORD MEMORY] and use [VALUE] or
[INC/DEC] to select a chord form.
Inputting a chord form
1. Hold down [CHORD MEMORY] and press [F6 (Chord
Setting)].
Alternatively, hold down [SHIFT] and press [F2 (Chord
Memory)].
The chord memory setting screen will appear.
2. Press [F4 (Chord Edit)].
The chord form input screen will appear.
3. Use the velocity pads to input the chord you want to
sound.
Input the notes that you want to sound when velocity pad [2]
(C4) is pressed.
The pads will light to indicate the notes that will sound.
If you press a pad once again, it will go dark and will not sound.
4. When you finish inputting the chord form, press
[EXIT].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
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)].
*
32
To cancel, press [F5 (Cancel)].
While inputting the chord form, you can press [F6 (Preview)] to play
the chord that you have input.
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Saving a chord form
Part Mixer
A chord form you create will be lost when you turn off the power. If
you want to keep your settings, save them as follows.
Here you can adjust the volume, pan, etc., of each part.
1. Hold down [CHORD MEMORY] and press [F6 (Chord
Setting)].
Alternatively, hold down [SHIFT] and press [F2 (Chord
Memory)].
The chord memory setting screen will appear.
2. Press [F6 (Chord Write)].
A screen will appear in which you can select the user chord
form to which your settings are to be written.
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
3. Use [VALUE] or [INC/DEC] to select the chord form
that you want to save.
4. Press [F6 (Write)].
Sliders
A message will ask you for confirmation.
5. To write the data, press [F6 (Execute)].
*
Selects the function of part buttons [1]–[16].
If this indicator is not lighted, the part
buttons will select parts. If lit, the part
buttons will mute parts.
Switches the Tempo/Mute part (a part that
records tempo changes and mute operations, p. 42) on/off.
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.
If this indicator is not lighted, parts 1–8
will be controlled. If lit, parts 9–16 will be
controlled.
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).
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.
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
2. Press the button for the part whose sound you want
to modify. The button will light.
That part is now selected.
If you select a part to which a rhythm set is assigned, the FILTER
section “TYPE” indicator will go out.
This is because a rhythm set lets you select a different filter type for
each rhythm tone (percussion instrument).
Function button
[F1 (Level)]
[F2 (Pan)]
[F3 (Key Shift)]
[F4 (Reverb Level)]
[F6 (Close)]
*
Parameter adjusted by the sliders
Volume of the part
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
Returns to the previous screen.
You can also use [CURSOR] to select a part and parameter, and then
use [VALUE] or [DEC/INC] to adjust the value.
The letter displayed below the part number at the top of the
Mixer screen indicates the status of each part, as follows:
• P: playable
• M: muted
• Blank: No performance has been recorded
33
Pattern Mode
Playing a pattern
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Playing a pattern
Mix In
The sound of a device connected to the INPUT jacks or the digital in
connector can be mixed into the output.
You can also use the velocity pads to play different pitches using the
input sound.
Directly outputting the sound of
an external device
1. In the sampling section, press [MIX IN] so its
indicator is lighted.
The sound of the external device will be mixed into the output.
Selecting the input source device
1. Press and hold [MIX IN].
The Mix In select sub window will appear.
2. Press [F5 (Input Setting)].
The input setting screen will appear.
3. Press [CURSOR (up/down)] to move the cursor to the
item that you want to set.
4. Use [VALUE] or [INC/DEC] to make the desired
setting.
Parameter
Input Select
Range
LINE IN L/R,
LINE IN L,
DIGITAL(OPT),
DIGITAL(CO-AX),
MICROPHONE
Mix-In
OFF, ON,
VELOCITY PADS
Ext Output
Asgn
(External
Output
Assign)
DRY, MFX1,
MFX2, COMP
2. Continuing to hold down [MIX IN], press [F6 (Velo
Pads)] or turn [VALUE] to select “VELOCITY PADS.”
Ext Level L
0–127
The indicator will blink, and now you can use the velocity pads
to change the pitch of the input sound.
Ext Level R
0–127
Ext Reverb
Send Level
0–127
2. To cancel the Mix In function, press [MIX IN] once
again so its indicator goes out.
Playing various pitches using the
sound of an external device
1. Press and hold [MIX IN].
The Mix In select sub window will appear.
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.
You can play the input sound in a range of 14 semitones higher
(pad [16]) through 25 semitones lower (pad [1] with [OCT -]
pressed twice) than the original pitch.
*
You cannot play chords.
4. To cancel the Mix In function, press [MIX IN] once
again so its indicator goes out.
34
Explanation
Input source of the external
input sound
LINE IN L/R: INPUT jacks
L/R (stereo)
LINE IN L: INPUT jack L
(mono)
DIGITAL(OPT): Digital Input (Optical)
DIGITAL(CO-AX): Digital
Input (Coaxial)
MICROPHONE: INPUT
jack (mono, mic level)
Switches Mix In on/off
OFF: External input sound
will not be used.
ON: External input sound
will be mixed into the output.
VELOCITY PADS: The velocity pads can be used to
play scales using the external input sound.
Output destination of the external input sound that is
mixed in
DRY: Output to MIX OUTPUT jacks without passing
through effects
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.
Adjusting the volume of the external
device
You can use the volume section’s [INPUT] knob to adjust the volume
of the external device.
*
[INPUT] cannot adjust the volume of a device connected to the digital
in connector. You will need to adjust the volume on the connected
external device.
MC-909_Ref_e.book 35 ページ 2005年6月28日 火曜日 午後2時53分
Playing a pattern
The D Beam controllers let you perform control operations simply by
passing your hand over the controller. Three different uses (such as
solo synth and turntable) for this controller are offered as presets,
but by editing the settings you can use these controllers to apply a
wide range of other effects.
[BEAM 1 ON]
[BEAM 2 ON]
[TWIN D BEAM
ASSIGN]
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 choices, which are: SOLO SYNTH, CUT+RESO,
TURNTABLE, and ASSIGNABLE.
The effective range of the D Beam controller
The following diagram shows the effective range of the D Beam
controller. Movements of your hand that occur outside of this
range will not produce any effect.
*
The effective range of the D Beam controller will be greatly
reduced when it is used in strong, direct sunlight. Please be
aware of this when using the D Beam controllers outdoors.
fig.DBeam
CUT + RESO (Cutoff + Resonance)
Your left hand (beam 1) controls the cutoff frequency of the filter (p.
59), and your right hand (beam 2) controls the resonance.
1. Press [D BEAM ASSIGN] so the “CUT+RESO”
indicator is lighted.
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
indicators are lighted.
Pattern Mode
D Beam Controller
3. In the FILTER block, press [TYPE] to select Filter
Type (p. 59).
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.
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.
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.
SOLO SYNTH
This is a monophonic synthesizer for which your left hand (beam 1)
controls volume, and your right hand (beam 2) controls the pitch.
1. Press [D BEAM ASSIGN] so the “SOLO SYNTH”
indicator is lighted.
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
indicators are lighted.
3. When you move your hand near beam 1, sound will
be heard.
• After the sound begins, moving your hand closer to beam 1 will
make the volume softer, and moving your hand away will make
the volume louder.
• Moving your hand closer to beam 2 will raise the pitch, and
moving your hand away will lower the pitch.
*
If the hand that is near beam 1 leaves the effective range of the D Beam
controller, the volume will gradually diminish and finally the sound
will disappear. This prevents the sound from remaining “stuck on.”
*
You can change the pitch range (p. 130).
1. Press [D BEAM ASSIGN] so the “TURNTABLE”
indicator is lighted.
2. Press [BEAM 1 ON] and [BEAM 2 ON] so both
indicators are lighted.
3. Pass your hands over beams 1/2 to control the BPM
and pitch of all parts.
• Moving your hand closer to beam 1 will slow down the tempo.
• Moving your hand closer to beam 2 will lower the pitch.
*
If your hand leaves the effective range of the D Beam controller, the
sound will return to the original BPM and pitch.
You can also set it so moving your hand closer to the D Beam
controller will increase the tempo and raise the pitch (p. 130).
ASSIGNABLE (Other applications)
Refer to the D Beam controller-related parameters (p. 130) in the
System settings.
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Playing a pattern
Turntable emulation
You can use this slider and the [PUSH]/[HOLD] buttons to
synchronize your performance with a turntable or other audio
source.
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.
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.
Slider
[PITCH],
[BPM]
The BPM will slow down as you move the slider upward (toward “-”), and speed up as you move it
downward (toward “+”).
The BPM will be the original value when the slider is
at the detent in the center of its range.
* You can also adjust the variable range of the slider
(p. 127).
These buttons select whether the slider and [HOLD]/
[PUSH] buttons will control the pitch or the BPM.
The pitch and BPM will both
change.
This produces the same result
Both lit
as a turntable.
Only the pitch will change.
Only [PITCH] lit
Only the BPM will change.
Only [BPM] lit
[HOLD]
[PUSH]
Operating the slider or
[HOLD]/[PUSH] buttons will
not change the pitch or BPM.
Both not lighted
Use this setting if you want to
prevent the pitch and BPM
from changing when the slider is touched accidentally.
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 performance with the turntable.
You can also assign other functions to the slider, such as pitch bend
(p. 127).
36
The playback tempo of the sample will automatically
synchronize to the BPM of the pattern.
Auto Sync can be turned on/off independently for each part.
Auto Sync requires double the usual polyphony. This means that if
you turn Auto Sync on, the polyphony of the entire MC-909 will
decrease.
Effects
See p. 88.
Mastering
See p. 108.
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Recording a pattern
1. Use [VALUE] or [INC/DEC] to select the number of
the pattern you want to record.
Realtime recording
2. Press [REC].
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.
fig.1-20
Pattern Mode
Standby screen
fig.1-21
3. Press [F1]–[F4] to select a recording method.
Function button
[F1 (Realtime)]
[F2 (TR-Rec)]
[F3 (Step)]
[F4 (Tempo/Mute)]
Recording method
Realtime Recording (p. 37)
Data from the velocity pads,
knobs, and external MIDI
devices will be recorded in
real time.
TR-REC (p. 39)
The sixteen velocity pads
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)
Record tempo changes or
mute on/off events in real
time.
Parameter
Rec Beat
Rec Measure
Length
Range
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
Rec Mode
MIX,
REPLACE
Rec Count In
OFF, 1 MEAS,
2 MEAS,
WAIT NOTE
Rec Loop Rest
OFF, ON
The corresponding recording standby screen will appear.
4. Specify the time signature and length of the pattern,
and then record.
For details, refer to the section on each recording method.
The maximum number of notes per pattern is
approximately 30,000 notes.
Explanation
Pattern time signature
* Can be specified only for an
empty pattern.
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 existing data
MIX: Newly recorded data
will be added to the previously-recorded data.
REPLACE: Previously-recorded data will be replaced
by the newly-recorded data.
Length of the count before recording begins
If this is set to Wait Note, recording will start when you
press a velocity pad or the
[PLAY] button.
Insert a blank measure before
you return to the beginning of
the pattern
If this is ON, one blank measure will be inserted before
you turn to the first measure of
the pattern.
* This provides a convenient
way to keep the end of the last
measure from being recorded
into the first measure.
37
MC-909_Ref_e.book 38 ページ 2005年6月28日 火曜日 午後2時53分
Recording a pattern
Parameter
Quantize Resolution
Range
OFF,
32nd note–
quarter note
Quantize Timing
0–100%
Rec Velocity
REAL, 1–127
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.
If this is set to REAL, your
playing strength on the pads
will determine the velocity
that is input.
Function buttons
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
[F6 (BPM/Click)]
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
Set the tempo, and turn the metronome on/
off (p. 25).
Recording procedure
1. Select realtime recording (p. 37).
2. Press [PLAY], and start recording.
Controllers that can be recorded
• Velocity pads
• D Beam controllers
• Realtime modify knobs
• Turntable Emulation Slider *
*: Can be recorded only if assigned as pitch bender or
modulation.
Selecting the part to record
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
2. Press the button for the part that you want to record.
You can select the part for recording even while you are recording.
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.
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
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Recording a pattern
During realtime recording, you can use the velocity pads or the
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).
2. During recording, press [F2 (Erase)].
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.
*
The realtime erase window will appear.
fig.1-**
This method cannot be used to record data other than note messages
(e.g., control changes produced by operating the realtime modify
knobs).
Standby screen
fig.1-30
3. In the Erase Type field, choose the type of data that
you want to erase.
ALL
All data
NOTE
Note messages
P-AFT
Polyphonic aftertouch
C-AFT
Channel aftertouch
CC
Control change
PC
Program change
BEND
Bend data
SYSEX
System exclusive data
BPM
Tempo change data
MUTE
Mute on/off
EXCEPT NOTE
All data other than note messages
* If you want to erase knob data, operate the corresponding knob of the
panel to specify that data.
Parameter
Rec Beat
4. Erase the data.
• When “NOTE” has been selected, hold down two notes on the
velocity pads or on an external MIDI keyboard, and all note
messages within the region defined by those two notes will be
erased while you continue holding down the notes.
Rec Measure
Length
Range
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
• 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
return to the recording-standby state.
1. During recording, press [F5 (Rec Cancel)].
A message will ask for confirmation.
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.
*
Explanation
Pattern time signature
* Can be specified only for
an empty pattern.
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.
Volume (velocity) of the
notes that you input from the
velocity pads.
If this is set to REAL, your
playing strength on the
pads will determine the velocity that is input.
Function buttons
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
[F6 (BPM/Click)]
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
Set the tempo, and turn the metronome on/
off (p. 25).
To cancel, press [F5 (Cancel)].
39
Pattern Mode
Realtime Erase
MC-909_Ref_e.book 40 ページ 2005年6月28日 火曜日 午後2時53分
Recording a pattern
Recording procedure
1. Select TR-REC (p. 37).
4. Use [CURSOR (left/right)] or [BWD/FWD] to move the
note message input region
2. Press [PLAY] to begin recording.
You will enter recording mode, and will hear the notes you
enter played as a loop.
fig.1-31
The bottom of the screen will always show two bars to indicate the
input region shown in the screen and the current playback position
of the pattern.
If you press [TOP], the pattern playback location will return to the
beginning of the input region shown in the screen.
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]
to specify the note messages to enter.
You can also use [CURSOR (up/down)] to select the note
number.
[F1 (Patch List)]
[F2 (Scale)]
[F3 (Note Number)]
[F4 (Note Type)]
[F5 (Gate Time)]
[F6 (Velocity)]
[SHIFT] +
[F1 (V-Zoom In)]
[SHIFT] +
[F2 (V-Zoom Out)]
[SHIFT] +
[F6 (BPM/Click)]
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 input, 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.
Range: REAL, 1–127
* If you set this to REAL, the force with
which you strike the pad will be input as
the velocity value.
Narrow the region of keys shown in the
display.
You can use this when you want to view
an expanded display for specific notes.
Broaden the region of keys shown in the
display.
You can use this when you want to see
which notes have been input.
Set the tempo, and turn the metronome
on/off (p. 25).
By holding down [SHIFT] and pressing [TOP] [BWD] [FWD], you
can move the pattern playback location in the same way as during
playback.
40
6. Press [STOP] to stop recording.
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.
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
Each time you press [F2 (Scale)], the scale will alternate in the
following order.
• 16th notes
Velocity pads [1]–[16] will correspond to a recording input
region of one measure, and you will be able to input notes
at 16th note intervals.
• 32nd notes
Velocity pads [1]–[16] will correspond to a recording input
region of two beats, and you will be able to input notes at
32nd note intervals.
• 8th note triplets
Velocity pads [1]–[12] will correspond to a recording input
region of one measure, and you will be able to input notes
at 8th note triplet intervals.
• 16th note triplets
Velocity pads [1]–[12] will correspond to a recording input
region of two beats, and you will be able to input notes at
16th note triplet intervals.
MC-909_Ref_e.book 41 ページ 2005年6月28日 火曜日 午後2時53分
Recording a pattern
Step recording
Recording procedure
*
This method cannot be used to record data other than note messages
(e.g., control changes produced by operating the realtime modify
knobs).
1. Select step recording (p. 37).
2. Press [PLAY] to begin recording.
You are now ready to record.
fig.1-31
Pattern Mode
This is a recording method in which you input note messages one by
one.
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)]
Parameter
Rec Beat
Rec Measure
Length
Rec Velocity
Range
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
REAL, 1–127
Explanation
Pattern time signature
* Can be specified only for
an empty pattern.
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.
Volume (velocity) of the
notes that you input from the
velocity pads.
If this is set to REAL, your
playing strength on the
pads will determine the velocity that is input.
[F2 (Step Back)]
[F3 (Tie)]
[F4 (Note Type)]
[F5 (Gate Time)]
[F6 (Velocity)]
[SHIFT] + [F1 (VZoom In)]
Function buttons
[F1 (Patch List)]
[F3 (Mixer)]
(Part Mixer)
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
[SHIFT] + [F2 (VZoom Out)]
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.
Range: 1/32–1/1
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.
Range: 5–200%
Specify the velocity (volume) of the
note messages you will input.
Range: REAL, 1–127
* If this is set to REAL, your playing
strength on the pads will vary the
dynamics.
Narrow the range of keys shown in
the display.
Use this when you want to view
certain notes at greater magnification.
Expand the range of notes shown in
the display.
Use this when you want to see
which notes have been input.
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].
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MC-909_Ref_e.book 42 ページ 2005年6月28日 火曜日 午後2時53分
Recording a pattern
Selecting the part to record
Tempo/mute recording
1. In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
fig.1-49
Part buttons [1]–[16] will select parts.
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.
You cannot move back to a position at which notes have already
been input.
Moving the display region
Tempo changes and mute operations can be recorded on the
dedicated tempo/mute part.
The recording procedure is essentially the same as for realtime
recording.
Parameter
Rec Beat
• Pressing [CURSOR (up/down)] will move the displayed region
of notes upward or downward.
• Holding down [SHIFT] and pressing [FWD] will move the
displayed region one measure forward.
• Holding down [SHIFT] and pressing [BWD] will move the
displayed region one measure backward.
Rec Measure
Length
Rec Count In
Rec Loop Rest
Range
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
Explanation
Pattern time signature
* Can be specified only for
an empty pattern.
OFF, 1 MEAS,
2 MEAS
OFF, ON
Length of the count before recording begins
Insert a blank measure before
you return to the beginning
of the pattern
If this is ON, one blank
measure will be inserted
before you turn to the first
measure of the pattern.
* This provides a convenient
way to keep the end of the
last measure from being recorded into the first measure.
Pattern length
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
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Here’s how you can edit the performance data of a pattern in units of
measures. You can create completely new patterns by editing the
performance data of a pattern, or by combining various patterns.
*
You must stop the pattern before you can edit it.
Basic procedure for pattern
editing
1. Select the pattern that you want to edit.
2. Press [F2 (Edit)] to access the Pattern Edit Menu
screen.
fig.1-60
[F1 (Micro Scope)]
[F2 (Copy)]
[F3 (Erase)]
[F4 (Delete Measure)]
[F5 (Insert Measure)]
[F6 (Transpose)]
[SHIFT] +
[F1 (Extract Rhythm)]
[SHIFT] +
[F2 (Velocity Duration)]
(Change Velocity/
Change Duration)
[SHIFT] + [F3 (Shift Clock)]
[SHIFT] + [F4 (Data Thin)]
[SHIFT] +
[F5 (Edit Quantize)]
[SHIFT] + [F6 (Reclock)]
Edit individual items of performance data within a pattern. (p.
48)
Copy a pattern. (p. 44)
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)
Modify the strength/length of the
notes. (p. 45)
Slightly shift the timing. (p. 45)
Thin out unnecessary data. (p. 46)
Apply quantization. (p. 46)
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.
• 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
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.
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
Pattern Mode
Pattern editing
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Pattern editing
Extract a Rhythm Instrument
Pattern Copy
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.
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] to select the move-source part; the button
will light.
2. Select the note number that you want to move.
3. Press [F6 (Select)].
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.
2. Select the data that you want to copy.
3. Press [F6 (Select)].
4. Press a part button [1]–[16] to select the movedestination part; the button will light.
4. Press a part button [1]–[16] or [TEMPO/MUTE
CONTROL] to select the move-source part; the
button will light.
5. Press [F6 (Execute)].
5. Press [F6 (Execute)].
*
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
*
If the move-source part does not contain any data of the note number
specified by Extract Note, a message of “Cannot Extract!” will appear.
*
If the move-destination part contains no performance data, the setup
parameters (p. 26) of the move-source part will be copied.
*
If the move-destination part does contain performance data, only the
note data will be moved. This means that the note data will be played
using the sound of the patch selected for the move-destination part.
*
To cancel the procedure, press [F5 (Cancel)].
Parameter
Event
Note Minimum
Note Maximum
Range
ALL, NOTE,
PROG, CC, BEND,
PAFT, CAFT, SYSEX, BPM, MUTE
0 (C-1)–127 (G9)
Min
Max
CC#0–CC#127
Dest Pattern
Preset, User, Card
Dest Meas
1–650 (Preset)
1–200 (User)
1–999 (Card)
1–(last measure + 1)
Explanation
Data to be copied
Note region to be copied
* This can be specified
only if Event is set to
“NOTE.”
Control change message to be copied
Messages in the
specified range will
be copied
* This can be specified
only if Event is set to
“CC.”
Bank of the copy-destination pattern
Copy-destination pattern number
First measure of the
copy-destination
Dest Part
1–16
Copy-destination part
Copy Mode
REPLACE, MIX
How the copy will occur
REPLACE: The
copy-destination
data will be replaced
by the copy-source
data.
MIX: The copy-destination data will be
combined with the
copy-source data.
Copy Times
1–998 (Max)
Number of times the
data is to be copied
* 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.
*
44
When copying data from one part to another part within the same
pattern, you can select only one part at a time.
MC-909_Ref_e.book 45 ページ 2005年6月28日 火曜日 午後2時53分
Erase
Transpose
This operation erases all or part of the data from a pattern.
This operation shifts the note numbers (pitch) of one or more parts in
the pattern. You can transpose the notes in a range of +/-2 octaves.
Parameter
Event
Note Minimum
Note Maximum
Min
Max
Range
ALL, NOTE,
PROG, CC,
BEND, PAFT,
CAFT, SYS-EX,
BPM, MUTE
0 (C-1)–127 (G9)
CC#0–CC#127
Explanation
Data to be erased
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 specified range will be
erased
* This can be specified
only if Event is set to
“CC.”
Parameter
Value
Note Minimum
Note Maximum
Range
-24– +24
0 (C-1)–127 (G9)
Change Velocity/
Change Duration
This operation modifies the velocity (strength) or duration (the
length that the note is held) of the notes recorded in the pattern.
You can use Change Duration to give the overall performance a
staccato feel or tenuto feel.
Parameter
Type
Range
VELOCITY,
DURATION
Delete Measure
This operation deletes unwanted measures from a pattern, and joins
the remaining measures together.
If a part contains data following the deleted region, the performance
data of that part will be shortened by the corresponding length. If
you specify all parts as the object of the delete operation, the pattern
itself will be shortened.
fig.Delete
1
2
3
4
5
6
When Type is “VELOCITY”
Value
-99– +99
Note Minimum
0 (C-1)–127 (G9)
Note Maximum
When Type is “DURATION”
Value
-960– +960
Note Minimum
Note Maximum
1
2
3
4
Explanation
Amount of transposition
Range of notes to be transposed
0 (C-1)–127 (G9)
Explanation
Data to be modified
VELOCITY:
Strength of the notes
DURATION:
Length of the notes
Amount by which the velocity is to be changed
Range of notes whose velocity is to be changed
Amount by which the duration is to be changed
Range of notes whose duration is to be changed
5
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
time signature as the time signature preceding the insert location.
fig.Insert
1
2
3
4
5
1
2
3
2
4
5
Parameter
Insert Meas
Range
1–998 (Max)
Shift Clock
This operation shifts the timing of the performance data recorded in
the pattern backward or forward in units of one clock (1/96th of a
beat). Use this when you want to slightly shift the overall
performance.
Parameter
Value
Event
6
Explanation
Number of measures to insert
* You cannot specify a number
that would cause the pattern to
exceed 998 measures.
Note Minimum
Note Maximum
Range
-960– +960
ALL, NOTE,
PROG, CC,
BEND, PAFT,
CAFT, SYS-EX,
BPM, MUTE
0 (C-1)–127 (G9)
Explanation
Amount of clock shift
Type of data whose timing
is to be adjusted
Range of notes for which
the timing is to be adjusted
45
Pattern Mode
Pattern editing
MC-909_Ref_e.book 46 ページ 2005年6月28日 火曜日 午後2時53分
Pattern editing
Data Thin
Groove Template List
Since data such as pitch bend or control change varies the value
continuously, it can occupy an unexpectedly large amount of
memory. The Data Thin operation thins out such data to reduce the
amount of memory it occupies without audibly affecting the
resulting playback. This lets you use the internal memory more
efficiently.
Parameter
Value
Range
0–99
Thin Event
ALL, CC, BEND,
PAFT, CAFT
Explanation
Amount by which data is
to be thinned
Type of data to be thinned
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.
Range
GRID,
SHUFFLE,
GROOVE
When Type is “GRID”
QTZ
1/32, 1/24,
Template
1/16, 1/12,
1/8, 1/6,
1/4
QTZ Timing
0–100
When Type is “SHUFFLE”
QTZ
1/16, 1/8
Template
QTZ Timing
0–100
When Type is “GROOVE”
QTZ
Refer to
Template
“Groove
Template
List” (p. 46)
QTZ Timing
0–100
QTZ
Velocity
46
0–100
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
16 Beat Fusion type
Edit Quantize
Parameter
QTZ Type
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
Explanation
Type of quantization
Note value toward which notes
are to be moved
Strength of quantization
Higher settings of this parameter will cause the note timings
to be moved closer toward
their exact value.
Note value toward which notes
are to be moved
Amount of “shuffle” for backbeats
A setting of “50” will produce a
“straight” rhythm with no
shuffle. Settings in a range of
60–66 will usually produce a
pleasant shuffle feel.
Template to use
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
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
16 Beat Reggae type
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
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
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
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
8 Beat Rhumba type
Strength of timing adjustment
Higher settings of this parameter will cause the note timings
to be moved closer toward the
timings of the template.
Strength of velocity adjustment
Higher settings of this parameter will cause the velocities to
be adjusted closer toward the
velocities of the template.
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
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
MC-909_Ref_e.book 47 ページ 2005年6月28日 火曜日 午後2時53分
Pattern editing
Samba 1
Samba 2
Axe 1
Axe 2
Salsa 1
Salsa 2
Triplets
Quituplets
Sextuplets
7 Against 2
Lagging Tri
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
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.
HALF
*
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
Pattern Mode
Reclock
Others
MC-909_Ref_e.book 48 ページ 2005年6月28日 火曜日 午後2時53分
Pattern editing
Microscope
This lets you edit individual events of performance data within a
completed pattern.
*
You must stop the pattern before you can edit it.
Basic procedure in the
Microscope
1. Select the pattern that you want to edit.
2. Press [F2 (Edit)] to access the Pattern Edit Menu
screen.
3. Press [F1 (Micro Scope)] to access the Microscope
screen.
fig.1-50
Location of the sequencer data (measure-beat-clock)
MIDI channel (Part)
Sequencer data
Performance data that can be
edited in the Microscope
The Microscope editor lets you edit the following nine types of data
(MIDI message).
MIDI message
Note
Explanation
Note data for playing sounds
From the left, the parameters are Note Number, which indicates the name of the note; On
Velocity, which specifies the force with which
the key is pressed; Duration (Beat-Tick),
which specifies the duration of the note; and
Off Velocity, which determines the speed
with which the key is released.
Program Change Messages that switch sounds (patches)
The program number (PC#) selects the sound.
Control Change Messages that can apply effects such as modulation or portamento, depending on the controller
number of the message
The controller number (CC#) selects the function, and Value specifies the depth of the effect (function).
Pitch Bend
Messages that change the pitch while you play
The value specifies the amount of pitch
change.
Poly Aftertouch Messages that apply aftertouch to individual
keys
From the left, the parameters are Note Number which specifies the key, and Value which
specifies the depth of the aftertouch.
Channel AfterMessages that apply aftertouch to an entire
touch
MIDI channel
Value specifies the depth of the aftertouch.
System Exclusive MIDI messages specific to the MC-909
Tempo Change
Messages that change the tempo
Mute Control
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
select the part that you want to edit.
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
you want to edit.
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].
48
Function buttons
[F1 (Create)]
[F2 (Erase)]
[F3 (Move)]
[F4 (Copy)]
[F5 (Place)]
[F6 (View Switch)]
Inserts new performance data.
Erases performance data.
Moves performance data.
Copies performance data.
Places performance data.
Displays only specific data.
Data marked by “✔” will be displayed.
[SHIFT] +
Narrow the range of keys shown in the display.
[F1 (V-Zoom In)]
Use this when you want to view certain
notes at greater magnification.
[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.
MC-909_Ref_e.book 49 ページ 2005年6月28日 火曜日 午後2時53分
Inserting performance data
(Create)
Copying performance data
(Copy)
Here’s how to insert new performance data at a desired location in a
pattern.
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.
2. Use [VALUE] or [INC/DEC] to select the performance
data that you want to insert.
3. Press [F6 (OK)].
The Create Position 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.
5. Press [F6 (OK)] to insert the performance data.
1. Use [CURSOR (up/down)] to move the cursor to the
performance data that you want to copy.
2. Press [F4 (Copy)] to copy the event.
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 to
which the data will be pasted.
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.
Erasing performance data (Erase)
Editing a system exclusive
message
Here's how to erase only a single specific event of performance data.
1. Use [CURSOR (up/down)] to move the cursor to the
performance data that you want to erase.
2. Press [F2 (Erase)] to erase that performance data.
Moving performance data
(Move)
Here's how to move a performance data event to a different location.
1. 1. Use [CURSOR (up/down)] to move the cursor to
the performance data that you want to move.
2. Press [F3 (Move)].
1. Press [TEMPO/MUTE CONTROL] to select the tempo/
mute part.
2. Use [CURSOR (up/down)] to move the cursor to the
location of the system exclusive message that you
want to edit.
3. Press [CURSOR (right)].
The System Exclusive Edit window will appear.
4. Use [CURSOR] to move the cursor to the location of
the data that you want to edit.
5. Use [VALUE] or [INC/DEC] to edit the value.
6. Press [F6 (OK)] to finalize the data.
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)]
4. Press [F6 (OK)] to move the performance data.
[F2 (Delete)]
[F3 (Insert)]
[F4 (Test)]
[F5 (Cancel)]
[F6 (OK)]
If the message is a Roland type IV system exclusive message, you can calculate the checksum automatically when the values are
finalized. If this displays a “✔” mark, the
check sum will be calculated automatically
when the data values are finalized.
Deletes the data at the cursor location.
Inserts data at the cursor location.
Transmits the data being edited from the
MIDI OUT connector.
Cancels the change in the data.
Finalizes the data.
49
Pattern Mode
Pattern editing
MC-909_Ref_e.book 50 ページ 2005年6月28日 火曜日 午後2時53分
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.
1. Select the pattern that you want to save.
2. Press [WRITE].
The write menu screen will appear.
Make sure that “Pattern” is highlighted.
4. Assign a name to the pattern you created.
[CURSOR (left/right)]
Moves the cursor (the location at which
to enter/edit a character).
[CURSOR (up/down)]
Switches letters between uppercase
and lowercase.
[VALUE] [INC/DEC]
Selects characters.
[F1 (Change Type)]
Selects the type of character.
Each time you press this, you will alternately select the first character of
the uppercase alphabet (A), lowercase alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
[F3 (Insert)]
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)].
*
50
To cancel, press [F5 (Cancel)].
MC-909_Ref_e.book 51 ページ 2005年6月28日 火曜日 午後2時53分
Patch/Sample Mode
Patch/Sample
Mode
51
MC-909_Ref_e.book 52 ページ 2005年6月28日 火曜日 午後2時53分
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]
1. D Beam controllers
[TUNE]
Pass your hand over these to modify the pattern (p. 35).
[DEPTH]
[A]
[D]
Parameter
Displays the Wave List.
PITCH block
[BEAM 1 ON]
[BEAM 2 ON]
[TWIN D BEAM ASSIGN]
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.
2. Volume section
[OUTPUT]
[INPUT]
Adjusts the output volume of the MIX OUT jacks
and the headphone.
Adjusts the input volume from the INPUT jacks.
button is not lit: Patch Fine Tune (p. 57)
button is lit: Patch Coarse Tune (p. 57)
Pitch Envelope Depth (p. 59)
Pitch Envelope Time1 (p. 59)
Pitch Envelope Time3 (p. 59)
FILTER block
[TYPE]
[CUTOFF]
[RESONANCE]
[DEPTH]
[A]
[D]
[S]
[R]
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)
AMP block
[LEVEL]
[A]
[D]
[S]
[R]
Patch Level (p. 62)
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]
[WAVEFORM]
52
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)
MC-909_Ref_e.book 53 ページ 2005年6月28日 火曜日 午後2時53分
How Things Work (in Pattern mode)
[AUTO SYNC]
Parameter
Parameters set to CTRL1 Destination (p. 68)
Randomly modifies the sound generator parameters for the current part (p. 56).
Unison Fat Level (p. 66)
Unison Switch (p. 66)
Portamento Switch (p. 65)
Mono/Poly (p. 65)
Turns the tone on/off (p. 56).
[RELEASE]
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
[TYPE]
[C1], [C2]
Selects a tone to edit (p. 56).
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.
10. Mode section
4. Mastering section
[ON]
[BAND]
[ATTACK]
Synchronizes a sample to the
pattern (p. 36).
Patch/Sample Mode
Knob/Button
Others
[MATRIX
CONTROL 1]
[RANDOM
MODIFY]
[FAT]
[UNISON]
[PORTAMENTO]
[SOLO]
TONE SWITCH
[1]–[4]
TONE SELECT
[1]–[4]
Press the [PATTERN] button to enter Pattern mode.
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Specify the time from when the volume goes up
the threshold level until the compressor effect applies.
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
27).
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
Pressing one of the other two buttons will switch you to the
corresponding mode.
11. Cursor/Value section
Use these buttons and dial to select patterns or input values (p. 18).
You can press [ENTER] to see a list of the values that can be specified
for the currently selected parameter.
12. Sequencer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Plays a pattern (p. 24).
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
7. Part Mixer section
13. Turntable emulation
Here you can adjust the volume, pan, etc., of each part (p. 33).
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
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).
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 indicator is not lighted, or parts 9–16 if the indicator 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]
[SAMPLING/RESAMPLING]
[MIX IN]
Displays the Sample Edit
screen (p. 114).
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the INPUT jack into the output (p.
34).
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Patch Edit
How a Patch Is Organized
TVA (Time Variant Amplifier)
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
Patch. Each Patch can contain up to four Tones.
fig.2-01.e
Tone
1
Tone
2
Tone
3
Envelope
An envelope applies changes to the Tone over time. There are
separate envelopes for pitch, TVF (filter) and TVA (volume). For
example, you would use the TVA Envelope to modify the way in
which the Tone attacks and decays.
Tone
4
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)
How a Tone Is Organized
Tones are the smallest programmable unit of sound on the MC-909,
and are the basic building blocks that make up a Patch. You can’t
play a Tone by itself-it can only be played as part of a Patch or
Rhythm Set. A Tone consists of the following five components.
fig.2-02.e
Tone
LFO 1
LFO 2
Tips for Creating a Patch
• Choose a Patch that’s similar to the sound you wish to create.
When you want to create a new sound, it’s a good idea to begin
with a Patch that’s close to the sound that you have in mind.
Starting with a Patch that bears no resemblance to the one you
want to create is likely to result in much more programming
work for you.
• Decide which Tones will sound
When creating a Patch, it’s important to decide which Tones
you want to use. It’s also important to turn off unused Tones to
avoid wasting voices, unnecessarily reducing the number of
simultaneous notes you can play.
• Check the way in which the Tones are combined
Structure Type 1&2 and 3&4 are important parameters that
determine how the four Tones are combined. Before you select
new Tones, make sure you understand how the currently
selected Tones are affecting each other.
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
audio signal
control signal
WG (Wave Generator)
This selects the PCM waveform material that provides the basis of
the Tone. Two waveforms can be assigned to each Tone.
The MC-909 has 693 different waveforms. (See Waveform List p.
150.)
All Patches built into the MC-909 consist of combinations of Tones
based on these waveforms.
TVF (Time Variant Filter)
This specifies how the frequency components of the Tone change.
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Patch Edit
Top screen of Patch/Sample mode
Selecting a patch/rhythm set
fig.2-03
Selecting from a list
1. Press [F1 (List)] to display the Patch List screen.
Bank
Num (Number)
Patch/Rhythm
(Patch Name/Rhythm Set
Name)
Lev (Part Level)
Pan (Part Pan)
Key (Part Key Shift)
Rev (Par Reverb Send Level)
Out (Part Output Assign)
Seq
(Sequencer Output Assign)
Bank/Number/Name of the
patch (rhythm set) used by each
part (1–16)
Refer to p. 33
How the original sound of each
part will be output
DRY: Output to MIX OUTPUT
jacks without passing through
effects
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through the
compressor
DIR1 (2): Output to the DIRECT 1 (or DIRECT 2) jacks
without passing through effects
RHY: Output according to the
settings of the rhythm set assigned to the part
* “RHY” can be set only when a
rhythm set is assigned to the
part.
Output distination from the sequencer
INT: Internal soundgenerator
EXT: MIDI OUT connector
BOTH: Both of the above simultaneously
Function buttons
[F1 (List)]
(Patch List)
[F2 (Edit)]
(Patch Edit)
[F3 (Mixer)]
(Part Mixer)
[F4 (Effects)]
[F5 (Mastering)]
[F6 (BPM/Click)]
Patch/Sample Mode
The currently selected patch/rhythm set (the current patch/
rhythm set) will be highlighted.
Select a patch/rhythm set from a list (p. 55).
Edit the settings of a patch/rhythm set (p. 56,
p. 70).
Specify the volume/pan of each part (p. 33).
2. To select a patch, press [F3 (Patch)]. To select a
rhythm set, press [F4 (Rhythm)].
3. Use [F1] [F2] or [CURSOR (left/right)] to select a
bank.
4. Press [F6 (Select)] to finalize your selection.
Selecting a patch by category
1. In the Patch Select screen, press [F5 (Categ)].
The patches will be displayed by category.
2. Use [F1] [F2] or [CURSOR (left/right)] to select a
category.
3. Press [F6 (Select)] to finalize your selection.
Rhythm sets do not have categories.
Selecting directly
1. In the top screen of Patch/Sample mode, use
[CURSOR] to move the cursor to the patch/rhythm
set name or bank.
2. Use [VALUE] or [INC/DEC] to make your selection.
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).
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Patch Edit
Selecting the Tone(s) That Will Sound
Turn “on” the tone(s) that you want to sound. If you want to hear just a specific tone, turn the other tones “off.”
Press TONE SWITCH [1]–[4] to switch a tone on (button’s indicator lit) or off (indicator extinguished).
Patch editing procedure
Editing from the Panel Knobs
Several of the sound generator parameters can be edited directly from the panel knobs.
Parameters that can be edited are marked by “#” in the detailed editing list.
Special editing
[RANDOM MODIFY]
[FAT]
This controls the sound generator parameters of the current part. It is a convenient
way to use randomness to create sounds you like. Once you turn this toward the
right, the parameters will be modified randomly. If you turn it all the way to the left
and then toward the right once again, the parameters will be newly re-selected and
modified randomly.
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.
*
56
By simultaneously pressing two or more [TONE SELECT] buttons, you can simultaneously select two or more tones.
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Patch Edit
Wave
Parameter
Wave Group
Range
INT, SRX, PRES,
USER, CARD
Wave No. L/MONO
Wave No. R
0 (OFF)–693
Wave Gain
-6, 0, +6, +12 dB
Explanation
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.
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
Waveform gain (amplitude)
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 creating extreme sounds or sound effects.
FXM SW
OFF, ON
Selects whether FMX will be used (ON) or not (OFF)
(Wave FXM Switch)
FXM Color
1–4
Selects how FXM will apply frequency modulation.
(Wave FXM Color)
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
Patch Coarse Tune #
Value
-48– +48
Patch Fine Tune #
-50– +50
Tone Coarse Tune
-48– +48
Tone Fine Tune
-50– +50
Rnd Pitch Depth
(Tone Random Pitch
Depth)
0–1200
Description
Pitch of the entire patch
Specifies the pitch in semitone steps over a range of +/-4 octaves.
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.
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.
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
Patch/Sample Mode
These parameters select the PCM waveform that is to form the basis of the tone, and apply effects to the waveform.
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Patch Edit
Parameter
Pitch Keyfollow
(Wave Pitch Keyfollow)
Value
-200– +200
Description
Amount of pitch change that occurs when you play upward one octave (12 notes)
Set this to +100 if you want the pitch to rise one octave as you play 12 notes upward (as on a conventional keyboard). Set this to +200 if you want the pitch to rise two octaves as you play 12 notes upward. Conversely, set this to a negative value if you want the pitch to fall as you play upward on the
keyboard. Set this to 0 if you want the same pitch to be sounded regardless of the note you play.
Pitch
+200
+100
+50
0
-50
C1
P-Env V-Sens
(Pitch Envelope Velocity Sensitivity)
P-Env T1 V-Sens
(Pitch Envelope
Time 1
Velocity Sensitivity)
-63– +63
P-Env T4 V-Sens
(Pitch Envelope
Time 4
Velocity Sensitivity)
-63– +63
P-Env Time KF
(Pitch Envelope
Time Keyfollow)
-100– +100
-63– +63
C2
C3
C4
C5
-200
C6
-100
C7
Key
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.
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.
Amount by which the pitch envelope times (T2--T4) will change in response to the key you play
Relative to middle C (C4), higher settings for this parameter will produce greater change. Positive (+)
values will cause the times to become shorter as you play toward the right on the velocity pad. Conversely, negative (-) values will cause the times to become longer.
Time
+100
+50
0
-50
C1
58
C2
C3
C4
C5
C6
-100
C7
Key
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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
released
L2
Parameter
P-Env Depth #
Value
-12– +12
P-Env Time1–4 #
0–127
P-Env Level0–4
-63– +63
L4
Description
Pitch envelope depth
Increasing this value will produce greater change. Negative (-) values will invert the change produced by the envelope.
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)
These parameters specify the amount by which the pitch will change from the basic pitch (specified
by Coarse Tune and Fine Tune) at each point of the envelope. Positive (+) values will raise the pitch
above the basic pitch, and negative (-) values will lower it.
Filter
These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and
fatness of the sound.
Parameter
Filter Type #
Value
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
Cutoff Frequency #
0–127
Description
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 percussion 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.
Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the waveform
If the Filter Type is LPF/LPF2/LPF3, reducing the cutoff frequency will diminish the higher overtones, 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, emphasizing 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
Patch/Sample Mode
key is
pressed
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Patch Edit
Parameter
Cutoff Keyfollow
Value
-200– +200
Description
Specifies how the pad position will affect the cutoff frequency
Relative to the cutoff frequency of the C4 key, positive (+) values will raise the cutoff frequency as
you play above C4, and negative (-) values will lower the cutoff frequency as you play above C4. Increasing this value will produce a correspondingly greater change.
Cutoff frequency
(Octave)
+200
+100
+2
+50
+1
0
o
-1
-50
-2
C1
C2
C3
C4
C5
-200
C6
-100
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.
Cutoff Velo Sens
(Cutoff Frequency
Velocity Sensitivity)
Resonance #
-63– +63
Amount by which your pad playing dynamics will affect the cutoff frequency
Increasing this value will cause a correspondingly greater difference between softly played and
strongly played notes. Negative (-) values will invert the change.
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.
1
0–127
2
3
LPF
4
BPF
5
6
HPF
7
PKG
Level
High
parameter value
Frequency
Cutoff frequency
Low
Reso Velo Sens
(Resonance Velocity
Sensitivity)
F-Env V-Curve
(Filter envelope
velocity curve)
-63– +63
F-Env V-Sens
(Filter envelope
velocity sensitivity)
F-Env T1 V-Sens
(Filter Envelope
Time 1 Velocity
Sensitivity)
-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
60
-63– +63
2
3
4
5
6
7
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.
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Patch Edit
Parameter
F-Env T4 V-Sens
(Filter Envelope
Time 4 Velocity
Sensitivity)
Value
-63– +63
Description
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
L0
L2
Patch/Sample Mode
L1
L3
Cutoff
Frequency
L4
key is
pressed
Parameter
F-Env Depth
(Filter envelope
depth)
F-Env Time KF
(Filter Envelope
Time Keyfollow)
key is
released
Time
Value
-63– +63
Description
Depth of the filter envelope
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
-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 become 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
C1
F-Env Time1–4 #
(Filter Envelope
Time 1–4)
0–127
F-Env Level0–4 #
(Filter Envelope
Level 0–4)
0–127
C2
C3
C4
C5
C6
-100
C7
Key
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.
* Realtime modify knob [S] adjusts Level 3.
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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
+
Level
UPPER
Level
0
0
0
—
—
C-1
LOWER&UPPER
+
Level
+
Key
Bias Point
G9
Bias Level
-100– +100
Bias Position
Bias Direction
0–127
LWR, UPR,
L&U, ALL
Tone Pan
L64–63R
Pan Keyfollow
(Tone Pan Keyfollow)
-100– +100
G9
Bias Point
—
+
0
0
+
—
Key
Bias Point
C-1
ALL
Level
0
—
Key
C-1
+
G9
C-1
—
Bias Point
Key
G9
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.
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
L64 is far left, 0 is center, and 63R is far right.
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
R
+50
0
o
-50
L
C1
Random Pan Depth
(Tone Random Pan
Depth)
Alter Pan Depth
(Tone Alternate Pan
Depth)
62
C2
C3
C4
C5
C6
-100
C7
Key
0–63
Amount by which the pan will be varied randomly each time you play a note
Increasing this value will produce a greater amount of random change.
L63–63R
Amount by which the pan will be moved alternately between left and right each time you play a note
Increasing this value will produce a greater amount of change. This value can be adjusted in the L or
R direction, and these will invert the order in which the tone is panned to left and right. If you want
two tones to alternate between left and right, set each tone to opposite L and R values.
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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
Parameter
A-Env V-Curve
(Amp Envelope
Velocity Curve)
Value
FIX, 1–7
Description
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.
A-Env V-Sens
(Amp Envelope
Velocity Sensitivity)
A-Env T1 V-Sens
(Amp Envelope
Time 1 Velocity
Sensitivity)
A-Env T4 V-Sens
(Amp Envelope
Time 4 Velocity
Sensitivity)
-63– +63
A-Env Time KF
(Amp Envelope
Time Keyfollow)
-100– +100
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.
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.
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.
1
-63– +63
-63– +63
2
3
4
5
6
7
Time
+100
+50
0
-50
C1
A-Env Time1–4 #
(Amp Envelope
Time 1–4)
0–127
A-Env Level1–3 #
(Amp Envelope
Level 1–3)
0–127
C2
C3
C4
C5
C6
-100
C7
Key
Amp envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next volume level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Amp envelope levels (L1–L3)
Specifies the change in volume at each point, relative to the reference level.
* Realtime modify knob [S] adjusts Level 3.
63
Patch/Sample Mode
Time
key is released
key is pressed
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Patch Edit
LFO1/LFO2
LFO (Low Frequency Oscillator) creates cyclic changes. Each tone has two LFOs, and these can be used to apply change to pitch, filter cutoff
frequency, amp level, and pan.
Using the LFOs
An LFO applied to pitch creates vibrato, applied to filter cutoff frequency creates a wah effect, and applied to amp level creates tremolo. When
LFO is applied to pan, a distinctive auto-pan effect is produced.
LFO settings can also be used to do things such as cyclically exchanging two tones. For example, to cyclically exchange tones 1 and 2, specify the
same LFO effect for each, and set the LFO depth to opposite polarities (+/-) for the amp level.
*
The parameters of LFO 1 and 2 are the same.
Parameter
LFO1(2) Waveform
#
Value
SIN, TRI,
SAWU,
SAWD,
SQR, RND,
BD-U,
BD-D, TRP,
S&H, CHS,
XSIN,
TWM, STRS,
VSIN,
M001–M113
LFO1(2) Rate #
0–127, note
Offset
(LFO Offset)
Rate Detune
(LFO Rate Detune)
Delay Time
(LFO Delay Time)
Delay Time KF
(LFO Delay Keyfollow)
-100– +100
0–127
Description
LFO waveform
SIN: sine wave TRI: triangle wave SAWU: sawtooth wave SAW-D: sawtooth wave (inverted)
SQR: square wave RND: random wave
BD-U: a waveform that lets the LFO output waveform rise to the reference level and holds it there
BD-D: a waveform that lets the LFO output waveform fall to the reference level and holds it there
TRP: trapezoidal wave 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
* 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
* 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.
Amount by which the LFO rate will be changed
0–127
Time from when you press (or release) a pad until the LFO amplitude begins to change
-100– +100
Amount by which the Delay Time will be affected by the note you play
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
C1
Fade Mode
(LFO Fade Mode)
On<, On>,
Off<, Off>
Fade Time
(LFO Fade Time)
Key Trigger
(LFO Key Trigger)
Pitch Depth #
(LFO Pitch Depth)
0–127
64
OFF, ON
-63– +63
C2
C3
C4
C5
C6
-100
C7
Key
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.
Rise (or decay) time for the LFO effect
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
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Patch Edit
Parameter
Filter Depth #
(LFO Filter Depth)
Amp Depth #
(LFO Amp Depth)
Pan Depth #
(LFO Pan Depth)
Value
-63– +63
Description
Depth to which the LFO will affect the filter cutoff frequency
-63– +63
Depth to which the LFO will affect the amp level
-63– +63
Depth to which the LFO will affect the amp pan
* If the Waveform is “XSIN,” it may be difficult to notice the effect.
note:
fig.
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Dotted quarter note),
(Half note),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Whole-note triplet),
(Thirty-second note),
(Eighth note),
(Dotted half note),
(Sixteenth-note triplet),
(Quarter-note triplet),
(Whole note),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
Solo/Porta (Portamento)
Parameter
Mono/Poly #
Value
MONO,
POLY
Legato Switch
OFF, ON
Legato Retrigger
OFF, ON
Description
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.
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 simulate the hammering-on/pulling-off performance techniques used by a guitarist.
Selects whether the note will be retriggered when using Legato.
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 #
OFF, ON
Portamento on/off
Porta Mode
NORMAL,
Method of play for which the portamento effect will be applied
NORMAL: Portamento will always be applied.
(Portamento Mode)
LEGATO
LEGATO: Portamento will be applied only when you play legato (i.e., press the next note before releasing the previous note).
Portamento Type
RATE,
How the difference in pitch between the notes you play will affect the time over which the pitch change
TIME
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
Patch/Sample Mode
(Sixty-fourth-note triplet),
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Patch Edit
Parameter
Porta Start
(Portamento Start)
Value
PITCH,
NOTE
Description
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
Unison Fat Level #
0–127
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.
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.
Depth of the booster effect when “Type” is set to 3 or 4
Booster 1&2 (3&4)
0, +6, +12, +18 dB
(Booster Gain)
TMT (Tone Mix Table)
On the MC-909, you can specify how each tone will sound in response to pad playing dynamics (velocity). These parameters are collectively
referred to as the TMT (Tone Mix Table) settings.
Level
1
Lower
L.Fade value
Velocity Control
(TMT Velocity
Control)
66
Upper
Velocity
U.Fade value
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.
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Patch Edit
Value
0–127
Velo Fade Upper
(TMT Velocity Fade
Width Upper)
TMT Control Switch
0–127
Bend Range Down
-48–0
Bend Range Up
0–48
1–Upper
Lower–127
OFF, ON
Description
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 tones.
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.
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.
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 convenient when checking the sound.
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
Patch/Sample Mode
Parameter
Velo Fade Lower
(TMT Velocity Fade
Width Lower)
Velo Range Lower
(TMT Velocity
Range Lower)
Velo Range Upper
(TMT Velocity
Range Upper)
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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
OFF, PCH, CUT, RES, LEV, PAN,
Parameter to be controlled
(Matrix Control 1
DRY, CHO, REV, PIT-LFO1(2),
Destination 1–4)
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
CTRL1 Sens 1–4
-63– +63
Range of change obtained through operating the controller
(Matrix Control 1 Sens
Negative (-) values will invert the change. If you set LFO depth to a nega1–4)
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 cycle.
CTRL1 Switch 1–4
OFF, ON, REVS
Tones to which the preceding two parameter settings will apply
(Matrix Control 1 Tone
The settings will apply to tones for which this is turned “ON.” The effect
Control Switch 1–4)
will be inverted for tones that are set to “REVS.”
General
Various other parameters are provided here.
Parameter
Patch Priority
Value
LAST,
LOUDEST
Tone Env Mode
(Tone Envelope
Mode)
NSUS, SUST
68
Description
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.
* If you have selected a one-shot waveform, the sound will not be sustained even if you select “SUST.”
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Patch Edit
Parameter
Value
Description
Tone Delay
This produces a time delay between the moment a key is pressed (or released) and the moment the Tone actually begins to sound. Since you can
adjust the timing of each Tone in a Patch, you can create effects in which pressing a single key produces two or more sounds occurring at different times. If you don’t wish to use Tone Delay, set Tone Dly to NORMAL and Tone Delay Time to 0.
Tone Delay Mode
NORM,
Specifies how the tone will be sounded
HOLD,
* If you have selected a decay-type waveform (in which the sound disappears naturally even if you do
OFFN,
not release the key), the sound may not be heard if you set this parameter to OFFN or OFFD.
OFFD
NORM (NORMAL): The Tone sounds after the specified Delay Time.
release key
press 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
release key press key
press key
Tone does
not sound
release key
OFFN (KEY-OFF-NORMAL): The Tone doesn’t sound while the key is being pressed, but sounds after 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-NORthe TVA envelope of the Tone begins when the key is first pressed. As a result, in most cases, only the
decay portion of the sound is heard.
Delay
Time
press key
Tone Delay Time
0–127, note
release key
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),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Dotted quarter note),
(Half note),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Whole-note triplet),
(Thirty-second note),
(Eighth note),
(Dotted half note),
(Sixteenth-note triplet),
(Quarter-note triplet),
(Whole note),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
69
Patch/Sample Mode
Delay Time
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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)
5. Use [VALUE] or [INC/DEC] to edit the parameter.
Note Number 73 (C#5)
*
Note Number 60 (C4)
Note Number 59 (B3)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
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 the rhythm tone to edit
Press a velocity pad 1–16 to select the rhythm tone that you want to
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.
The MC-909 has 693 different waveforms. (See Waveform List p.
150.)
All Rhythm Sets built into the MC-909 consist of Rhythm Tones
based on these waveforms.
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
Selecting the wave that you
want to edit
Press TONE SELECT [1]–[4] to illuminate the button for the wave
that you want to edit.
*
By simultaneously pressing two or more [TONE SELECT] buttons,
you can simultaneously select two or more waves.
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Rhythm Edit
Wave
Parameter
Wave Group
Value
INT, SRX, PRES,
USER, CARD
Wave No. L/MONO
Wave No. R
0 (OFF)–693
Wave Gain
-6, 0, +6, +12 dB
Description
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.
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
Waveform gain (amplitude)
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 creating 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
1–4
Selects how FXM will apply frequency modulation.
(Wave FXM Color)
Increasing this value will produce a rougher sound. Decreasing this value will produce a more
metallic sound.
Wave FXM Depth
0–16
Depth of frequency modulation applied by FXM
(Wave FXM Depth)
71
Patch/Sample Mode
These parameters select the PCM waveform that is to form the basis of the rhythm tone, and apply effects to the waveform.
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Rhythm Edit
Pitch
These parameters specify the pitch of the waveform.
Parameter
Coarse Tune
(Rhythm Tone
Coarse Tune)
Fine Tune
(Rhythm Tone Fine
Tune)
Random Pitch
(Random pitch
depth)
Wave Coarse Tune
Value
0 (C-1)–127
(G9)
Description
Basic pitch at which the Rhythm tone will play
-50– +50
Wave Fine Tune
-50– +50
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).
Pitch of the Wave
Adjusts the pitch in semitone steps over a range of +/-4 octaves.
Pitch of the Wave
Adjusts the pitch in one-cent steps (1/100th of a semitone) over a range of 1/2 semitone upward or
downward.
0–1200
-48– +48
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
pressed
key is
released
L2
Parameter
P-Env Depth
Value
-12– +12
P-Env V-Sens
(Pitch Envelope Velocity Sensitivity)
P-Env T1 V-Sens
(Pitch Envelope
Time 1
Velocity Sensitivity)
-63– +63
P-Env T4 V-Sens
(Pitch Envelope
Time 4
Velocity Sensitivity)
-63– +63
P-Env Time1–4
0–127
P-Env Level0–4
-63– +63
72
-63– +63
L4
Description
Pitch envelope depth
Increasing this value will produce greater change. Negative (-) values will invert the change produced 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.
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.
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)
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.
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Rhythm Edit
Filter
Parameter
Filter Type
Value
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
Cutoff Frequency
0–127
Cutoff Velo Curve
(Cutoff Frequency
Velocity Curve)
FIX, 1–7
Cutoff Velo Sens
(Cutoff Frequency
Velocity Sensitivity)
Resonance
-63– +63
Description
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 percussion 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.
Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the waveform
If the Filter Type is LPF/LPF2/LPF3, reducing the cutoff frequency will diminish the higher overtones, 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, emphasizing 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.
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
0–127
2
3
4
5
6
7
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
parameter value
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
Patch/Sample Mode
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.
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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
L2
L3
Cutoff
Frequency
L4
key is
pressed
Time
key is
released
Parameter
F-Env Depth
(Filter envelope
depth)
F-Env V-Curve
(Filter envelope
velocity curve)
Value
-63– +63
Description
Depth of the filter envelope
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
FIX, 1–7
Curve by which keyboard playing dynamics will affect the filter envelope
If you select “FIX,” the filter envelope will remain constant regardless of your playing dynamics.
F-Env V-Sens
(Filter envelope
velocity sensitivity)
F-Env T1 V-Sens
(Filter Envelope
Time 1 Velocity
Sensitivity)
F-Env T4 V-Sens
(Filter Envelope
Time 4 Velocity
Sensitivity)
-63– +63
F-Env Time1–4
(Filter Envelope
Time 1–4)
0–127
F-Env Level0–4
(Filter Envelope
Level 0–4)
0–127
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.
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 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.
* Realtime modify knob [S] adjusts Level 3.
1
74
-63– +63
-63– +63
2
3
4
5
6
7
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Rhythm Edit
Amp
Parameter
Tone Level
(Rhythm Tone Level)
Wave Level
Value
0–127
Tone Pan
(Rhythm Tone Pan)
Random Pan Depth
L64–63R
Alternate Pan Depth
L63–63R
Wave Pan
L64–63R
Wave Rnd Pan Sw
(Wave Random Pan
Switch)
Wave Alt Pan Sw
(Wave Alternate Pan
Switch)
OFF, ON
0–127
0–63
OFF, ON,
REVS
Description
Volume of each Rhythm Tone
This parameter is used mainly to adjust the volume balance between Rhythm Tones.
Volume of each wave
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.
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 released
key is pressed
Parameter
A-Env V-Curve
(Amp Envelope
Velocity Curve)
Value
FIX, 1–7
Description
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.
A-Env V-Sens
(Amp Envelope
Velocity Sensitivity)
A-Env T1 V-Sens
(Amp Envelope
Time 1 Velocity
Sensitivity)
A-Env T4 V-Sens
(Amp Envelope
Time 4 Velocity
Sensitivity)
-63– +63
A-Env Time1–4
(Amp Envelope
Time 1–4)
0–127
A-Env Level1–3
(Amp Envelope
Level 1–3)
0–127
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.
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.
Amp envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next volume level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Amp envelope levels (L1–L3)
Specifies the change in volume at each point, relative to the reference level.
* Realtime modify knob [S] adjusts Level 3.
1
-63– +63
-63– +63
2
3
4
5
6
7
75
Patch/Sample Mode
These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.
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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
1
L.Fade value
Parameter
Velocity Control
(WMT Velocity Control)
Velo Fade Lower
(WMT Velocity Fade
Width Lower)
Velo Range Lower
(WMT Velocity
Range Lower)
Velo Range Upper
(WMT Velocity
Range Upper)
Velo Fade Upper
(WMT Velocity Fade
Width Upper)
Upper
Velocity
U.Fade value
Value
OFF, ON,
RANDOM
Description
Specifies whether velocity data will be used (ON) or ignored (OFF)
If you specify RANDOM, the waves will sound randomly, regardless of velocity data.
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
0–127
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.
Genaral
Various other parameters are provided here.
Parameter
Rhythm Level
(Rhythm Set Level)
Assign Type
Mute Group
Tone Env Mode
(Rhythm Tone
Envelope Mode)
Tone Pitch Bend
Range
(Rhythm Tone Pitch
Bend Range)
Tone Reverb Send
Level
(Rhythm Tone Reverb Send Level)
Tone Output Asgn
(Rhythm Tone
Output Assign)
76
Value
0–127
Description
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 hihat sound will never occur simultaneously, since they’re produced by the same instrument. To simulate
this behavior on the MC-909, you can set the open and closed hi-hat Rhythm Tones to the same Mute
Group. You can have up to 31 Mute Groups per Rhythm Set. If you do not want a Rhythm Tone to use
a Mute Group, turn the feature off.
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.
NSUS, SUST
0–48
0–127
Specifies the depth of reverb applied to each Rhythm Tone
Set this to 0 if you don’t want to apply reverb.
DRY, MFX1,
MFX2,
COMP,
DIR1, DIR2
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)
COMP: Output through the compressor
DIR1 (2): Output to the DIRECT 1 (or DIRECT 2) jacks without passing through effects
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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].
The Write menu screen will appear.
fig.2-52
Make sure that “Patch/Rhythm” is highlighted.
Patch/Sample Mode
fig.2-50
5. Use [VALUE] or [INC/DEC] to select the writedestination 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)]
Moves the cursor (the location at which
to enter/edit a character).
[CURSOR (up/down)]
Switches letters between uppercase
and lowercase.
[VALUE] [INC/DEC]
Selects characters.
[F1 (Change Type)]
Selects the type of character.
Each time you press this, you will alternately select the first character of
the uppercase alphabet (A), lowercase alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
[F3 (Insert)]
Inserts a space at the cursor location.
* If you decide not to enter the name, press [F5 (Cancel)].
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Copying and Initializing a Patch/Rhythm Set
Copying a Patch Tone
Copying a Rhythm Tone (Key)
Here’s how the tone settings of a patch can be copied to the specified
tone of the currently selected patch.
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.
1. In the top screen of patch / sample mode, move the
cursor to the copy-destination patch.
2. Press [F2 (Edit)] to access the edit screen.
3. Press [F5 (Tone Copy)].
The Patch Tone Copy window will appear.
4. Use [CURSOR] and [VALUE] to select the copysource patch and tone, and the copy-destination
tone.
Parameter
Source
Patch Bank
Value
Description
Current,
Preset A–G,
User, Card
No.
1–128
Source
Patch Tone
Destination
Temporary
Patch Tone
1–4
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.
Copy-source tone at the copysource patch
1–4
Copy-destination tone at the currently selected patch
5. Press [F6 (Execute)].
1. In the top screen of patch / sample mode, move the
cursor to the copy-destination rhythm set.
2. Press [F2 (Edit)] to access the edit screen.
3. Press [F5 (R.Tone Copy)].
The Rhythm Tone Copy window will appear.
4. Use [CURSOR] and [VALUE] to select the copysource rhythm set and rhythm tone, and the copydestination rhythm tone.
Parameter
Source
Rhythm
Bank
Value
Description
Current,
Preset A,
User, Card
No.
1–128
Source
Rhythm Key
Destination
Temporary
Rhythm Key
B3–D5
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 copysource
If Rhythm Bank is set to “Current,” this cannot be selected.
Copy-source rhythm tone (key) at
the copy-source rhythm set
B3–D5
A message will ask you for confirmation.
6. Press [F6 (Execute)] to execute.
*
Copy-destination rhythm tone
(key) at the currently selected
rhythm set
5. Press [F6 (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.
Initializing a Patch
Here’s how the settings of the currently selected patch 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
initialize.
3. Press [F2 (Edit)] to access the edit screen.
4. Press [F4 (Patch Init)].
A message will ask you for confirmation.
5. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
If you press [F4 (Compare)] in step 4 so a “✔” appears in the check
box, you can use the velocity pads to play the copy source rhythm
set.
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 rhythm set.
2. Turn [VALUE] to select the rhythm set that you want
to initialize.
3. Press [F2 (Edit)] to access the edit screen.
4. Press [F4 (Rhythm Init)].
A message will ask you for confirmation.
5. Press [F6 (Execute)] to execute.
*
78
To cancel, press [F5 (Cancel)].
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Song Mode
Song Mode
In this mode you can play, record, and edit songs.
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How Things Work (in Song mode)
fig.0-01
1
8
2
9
6
3
10
11
7
13
12
4
5
14
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.
1. D Beam controllers
Pass your hand over these to modify the pattern (p. 35).
[BEAM 1 ON]
[BEAM 2 ON]
[TWIN D BEAM ASSIGN]
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.
2. Volume section
[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
4. Mastering section
[ON]
[BAND]
[ATTACK]
[RELEASE]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Specify the time from when the volume goes up
the threshold level until the compressor effect applies.
Specify the time from when the volume falls below
the threshold level until the compressor effect no
longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
27).
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
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How Things Work (in Song mode)
7. Part Mixer section
12. Sequencer section
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
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).
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 indicator is not lighted, or parts 9–16 if the indicator is lit.
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Plays a song (p. 82).
Stops playback/recording.
Advances to the next step.
Returns to the previous step.
Moves to the beginning of the song.
Used when recording (p. 83).
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
[EDIT]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Song Mode
8. Sampling section
When you press this button,
the Sample edit screen will appear (p. 114).
When you press this button,
the Sampling menu screen will
appear (p. 112).
Mix the sound from the INPUT
jacks into the output (p. 34).
Synchronize a sample with the
pattern (p. 36).
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
[TYPE]
[C1], [C2]
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.
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).
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Playing songs
Two or more patterns connected in the order of playback are called a
“song.”
Song Reset
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.
You can have playback resume from step 1 when the currently
playing pattern finishes playing.
The number describing the order in which the patterns are arranged
is called the “step.”
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
The screen will indicate “SONG RESET.”
fig.3-01
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
[F1 (Next Step)]
[F2 (Song Edit)]
[F3 (Mixer)]
[F4 (Effects)]
[F5 (Mastering)]
[F6 (BPM Click)]
When Song Step Sw (p. 128) is set to “MANUAL,“ playback will automatically advance to
the next step if you press this button to display the “✔” mark.
Edit the settings of the song (p. 84).
Specify the volume, pan, etc., of each part (p.
33).
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).
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
Stop playback
*
82
Advance to the
next step
Play back
Used for recording
The [FWD], [BWD], and [TOP] buttons can also be used during
playback.
2. Use [VALUE], [INC/DEC], or [CURSOR (up/down)] to
select a song.
If you hold down [SHIFT] while using these controls, the song
number will change in steps of ten.
3. Press [F6 (Select)] or [ENTER] to confirm your
selection.
*
If you decide not to execute, press [F5 (Cancel)].
Changing the BPM or mute status
In Song mode as well, you can change the BPM or part muting status
in the same way as in Pattern mode. For details on how to change
these, refer to the section “Playing a pattern” (p. 24).
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Recording a song
You can input patterns one by one to specify the order in which the
patterns will be played back.
Recording procedure
1. Use [VALUE] or [INC/DEC] to select the song number
that you want to record.
2. Press [REC].
fig.3-03
Editing the setup parameters
During song recording, you can edit setup parameters (p. 26) such as
part mute and effect settings and then press [ENTER] to register the
state of those parameters. This will simply store the setup
parameters of each pattern as song data, and does not affect the
original pattern in any way.
By using this to change the mute status of a pattern or to change the
MFX type, you can have a single pattern play in a variety of ways as
the song progresses.
• Tempo (BPM) can be input/edited only at the first step.
Song Mode
• 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
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Song editing
“Song editing” is the process of editing individual steps of
performance data for a song.
*
You must stop the song playback before you can edit the song.
1. Select the song that you want to edit.
Delete Step
This operation deletes an unwanted step from the song, and joins the
two sections.
fig.1-54
2. In Song mode, press [F2 (Song Edit)] to access the
Song Edit screen.
1
2
3
4
5
1
2
3
4
5
6
fig.3-04
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
Type of song editing
[F1 (Clear All)]
(Clear All Steps)
[F2 (Delete Step)]
[F3 (Insert Step)]
[F4 (Copy)]
(Song Copy)
[F6 (Close)]
1
2
3
4
5
1
2
3
2
4
5
Erase all steps.
Delete an unwanted step.
Insert a step.
Copies a song to a different song.
Returns to the previous screen.
6
1. Use [VALUE] or [INC/DEC] to select the step at which
you want to insert a pattern.
In the example shown above, select step 2.
Clear All Steps
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.
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.
1. Press [F1 (Clear All)].
A message will ask you for confirmation.
2. If you are sure that you want to clear all steps, press
[F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Song Copy
This operation copies song data to a different song.
1. Press [F4 (Copy)].
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
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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.
1. Select the song that you want to save.
2. Press [WRITE].
The write menu screen will appear.
Make sure that “Song” is highlighted.
4. Assign a name to the song you created.
[CURSOR (left/right)]
Moves the cursor (the location at which
to enter/edit a character).
[CURSOR (up/down)]
Switches letters between uppercase
and lowercase.
[VALUE] [INC/DEC]
Selects characters.
[F1 (Change Type)]
Selects the type of character.
Each time you press this, you will alternately select the first character of
the uppercase alphabet (A), lowercase alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
[F3 (Insert)]
Inserts a space at the cursor location.
* If you decide not to enter the name, press [F5 (Cancel)].
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
Song Mode
5. When you finish inputting the name, press [F6
(Write)].
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MEMO
86
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Effects
Effects
Compressor/Multi-effect/Reverb/Mastering Effect settings
87
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Effects
Here you can apply special effects to the sound.
Effect connection (Effect Routing)
You can specify the connections independently for each pattern.
Effect on/off
Use the ON/OFF buttons of the Effects section to switch each effect
on/off.
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
1
fig.4-01
6
2
4
7
8
10
9
5
3
[COMP]:
Compressor
[MFX 1]:
Multi-effects 1
[MFX 2]:
Multi-effects 2
[REVERB]:
Reverb
Effect settings
1. In the top screen of each mode, press [F4 (Effects)].
2. Press [F1]–[F5] to select an effect to adjust.
[F1 (Routing)]
[F2 (Comp/EQ)]
[F3 (MFX 1)]
[F4 (MFX 2)]
[F5 (Reverb)]
11
Parameter
1.
Part Number
Range
1–16, EXT
2.
Part Output
Assign
DRY, MFX1,
MFX2,
COMP, DIR1,
DIR2, RHY
3.
Part Reverb
Send Level
0–127
4.
Comp Output
Assign
(see explanation)
5.
Comp Reverb
Send Level
0–127
6.
(MFX Type)
See “Multi-Effects List” (p.
92)
Specify the connections (routing) between
parts, effects, and output destinations.
Compressor settings.
Multi-effects 1 settings.
Multi-effects 2 settings.
Reverb settings.
3. Use [CURSOR] to select a parameter.
4. Use [VALUE] or [INC/DEC] to make settings.
88
Explanation
The part for which you are
making effect settings.
EXT: External input
How the original sound of
each part will be output
DRY: Output to MIX OUTPUT jacks without passing
through effects
MFX1 (2): Output through
multi-effects 1 (or 2)
COMP: Output through the
compressor
DIR1 (2): Output to the DIRECT 1 (or DIRECT 2) jacks
without passing through effects
RHY: Output according to
the settings of the rhythm
set assigned to the part
* “RHY” can be set only
when a rhythm set is assigned to the part.
Depth of reverb applied to
each part
Set this to 0 if you don’t
want to apply reverb.
Output destination of the
sound processed through the
compressor.
DRY: MIX OUTPUT jacks
MFX1 (2): Multi-effects 1
(or 2 )
Depth of reverb applied to the
sound processed through the
compressor
Set this to 0 if you don’t
want to apply reverb.
The effect used by multi-effects 1
* For details on each effect,
refer to “Multi-Effects List”
(p. 92).
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Effects
Range
0–127
8.
MFX1 Output
Assign
DRY, MFX2
9.
(MFX Type)
See “Multi-Effects List” (p.
92)
10.
MFX2 Reverb
Send Level
0–127
11.
(Reverb Type)
See “Reverb”
(p. 90)
Explanation
Depth of reverb applied to the
sound processed through
multi-effects 1
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)
The effect used by multi-effects 2
* For details on each effect,
refer to “Multi-Effects List”
(p. 92).
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
* For details on reverb, refer
to “Reverb” (p. 90).
Compressor
The compressor is an effect that limits the level of loud sounds and
boosts the level of soft sounds, making the overall level more
consistent.
fig.4-03
Parameter
Comp Reverb
Send Level
Range
0–127
Comp Output
Assign
DRY, MFX1,
MFX2
Attack Time
0.05–50 ms
Release Time
0.05–2000 ms
Threshold
0–127
Ratio
1:1–inf:1
Output Gain
Low Freq
0– +24 dB
200, 400 Hz
Low Gain
-15– +15
High Freq
2k, 4k, 8kHz
High Gain
-15– +15
Level
0–127
If you change the “Output Assign” setting, the routing connections
in the screen will also change.
Parameters 4–11 in the above table are linked with the identically
named parameters in the setting screens of each effect.
Explanation
Depth of reverb applied to the
sound processed through the
compressor
Set this to 0 if you don’t
want to apply reverb.
Output destination of the
sound processed through the
compressor
DRY: MIX OUTPUT jacks
MFX1 (2): Multi-effects 1
(or 2)
Time from when the volume
goes up the threshold level
until the compressor effect applies
Time from when the volume
falls below the threshold level
until the compressor effect no
longer applies
Volume level at which compression begins
Compression ratio (inf: infinity)
Level of the output sound
Reference frequency of the
low range
Amount of low-range boost/
cut
Reference frequency of the
high range
Amount of high-range boost/
cut
Output volume of the compressor
89
Effects
Parameter
7.
MFX1 Reverb
Send Level
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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
described earlier.
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
fig.4-04
Parameter
(Reverb Type)
Parameter
(MFX Type)
Range
0–38 (MFX1)
0–47 (MFX2)
MFX1 (2) Reverb Send
Level
0–127
MFX1 Output
Assign
DRY, MFX2
90
Explanation
The effect used by multi-effects 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)
* This parameter exists only
for MFX 1.
1 (REVERB)
Type
Range
OFF, 1–4
Explanation
Type of reverb
OFF: Reverb not used
1 (REVERB): Basic reverb
2 (SRV ROOM): A more detailed simulation of room
reverberation
3 (SRV HALL): A more detailed simulation of hall reverberation
4 (SRV PLATE): A simulation of a plate echo (a reverb
device using a metal plate)
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2,
DELAY,
PAN-DELAY
Type of reverb/delay
ROOM1: Short, high-density reverberation
ROOM2: Short, low-density
reverberation
STAGE1: A greater amount
of late reverberation
STAGE2: Emphasis on early reflections
HALL1: Clear reverberation
HALL2: Rich reverberation
DELAY: A conventional delay
PAN-DELAY: A delay in
which the reflected sound
moves between left and
right
Length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
Frequency at which the highfrequency portion of the reverberation will be cut (BYPASS: no cut)
Number of delay repetitions
(valid only if Type is DELAY
or PAN-DELAY)
Volume of the reverb sound/
delay sound
Time
0–127
HF Damp
200–8000 Hz,
BYPASS
Delay Feedback
0–127
Level
0–127
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Effects
Realtime control of effects
The Effects section lets you control effect parameters in real time.
fig.4-01
Selecting the effect that you want
to control
1. Press and hold [KNOB ASSIGN].
The ON/OFF button of the currently selected effect will blink.
2. Still holding down [KNOB ASSIGN], press one of the
[COMP]–[REVERB] buttons to select the effect you
want to control.
Knob
Parameter
When “COMP” is selected
[TYPE]
Attack Time
[C1]
Release time
[C2]
Threshold
When “MFX1/2” is selected
Select the type of effect (p. 92).
[TYPE]
[C1], [C2]
Control the assigned function in real
time.
When “REVERB” is selected
[TYPE]
Reverb Type
[C1]
Time
[C2]
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
Effects
Parameter
Range
Explanation
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
Time
0–127
Length of reverb
Size
1–8
Size of room/hall
High Cut
160–12500 Hz,
Frequency at which the highBYPASS
frequency portion of the final
output sound will be cut (BYPASS: no cut)
Density
0–127
Density of reverb
Diffusion
0–127
Change in reverb density over
time
Higher settings will cause
density to increase as time
passes. (This is more noticeable with longer Time settings.)
LF Damp Freq
50–4000 Hz
Frequency at which the lowfrequency portion of the reverb will be cut
LF Damp
-36–0 dB
Amount of attenuation for LF
Gain
Damp (0: no attenuation)
HF Damp
4000–12500
Frequency at which the highFreq
Hz
frequency portion of the reverb will be cut
HF Damp
-36–0 dB
Amount of attenuation for HF
Gain
Damp (0: no attenuation)
Level
0–127
Volume of the reverb sound
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Multi-Effects List
Multi-Effects Types
Multi-Effects Parameters
There are 47 types of multi-effect. MFX1 lets you use 38 types (delaytype effects are unavailable), and MFX2 lets you use all 47 types.
Parameters with the designators “#1” and “#2” can be controlled
using the [C1] and [C2] knobs of the effect section.
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
MODULATION (7 types)
10
11
12
13
14
15
16
PHASER
STEREO PHASER
STEP PHASER
RING MODULATOR
TREMOLO
AUTO PAN
ROTARY
p. 94
p. 95
p. 95
p. 95
p. 95
p. 96
p. 96
CHORUS (6 types)
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
DYNAMICS (7 types)
23
24
25
26
27
28
29
OVERDRIVE
DISTORTION
GUITAR AMP SIMULATOR
STEREO COMPRESSOR
STEREO LIMITER
SLICER
GATE
p. 98
p. 98
p. 99
p. 100
p. 100
p. 100
p. 101
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)
36
37
FBK PITCH SHIFTER
2Vo PITCH SHIFTER
GATED REVERB
92
fig.MFX01
L in
4-Band EQ
L out
R in
4-Band EQ
R out
Parameter
Low Freq
Low Gain
#1
High Freq
High Gain
#2
Mid1 Freq
Mid1 Q
Value
200, 400 Hz
-15– +15 dB
2000, 4000,
8000 Hz
-15– +15 dB
200–8000 Hz
0.5, 1.0, 2.0, 4.0, 8.0
Mid1 Gain
Mid2 Freq
Mid2 Q
-15– +15 dB
200–8000 Hz
0.5, 1.0, 2.0, 4.0, 8.0
Mid2 Gain
Level
-15– +15 dB
0–127
Description
Frequency of the low range
Gain of the low frequency
range
Frequency of the high range
Gain of the high frequency
range
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
02: SPECTRUM
This is a type of filter that modifies the timbre by boosting or cutting
the level of specific frequencies. It is similar to an equalizer, but has
eight frequency points fixed at locations most useful for adding
character to the sound.
fig.MFX02
L in
L out
Pan L
Spectrum
Pan R
p. 104
DELAY (9 types)
* These cannot be selected for MFX1.
39
STEREO DELAY
40
MODULATION DELAY
41
TRIPLE TAP DELAY
42
QUADRUPLE TAP DELAY
43
MULTI TAP DELAY
44
REVERSE DELAY
45
SHUFFLE DELAY
46
TIME CONTROL DELAY
47
TIME SKIP DELAY
This is a four-band stereo equalizer (low, mid x 2, high).
p. 103
p. 103
REVERB (1 type)
38
01: STEREO EQ (Stereo Equalizer)
p. 104
p. 105
p. 105
p. 105
p. 106
p. 106
p. 106
p. 107
p. 107
R in
R out
Parameter
Q
Value
0.5, 1.0, 2.0,
4.0, 8.0
Pan #1
L64–63R
Level #2
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)
0–127
-15– +15 dB
Description
Simultaneously adjusts the
width of the adjusted ranges
for all of the frequency bands.
Stereo location of the SPECTRUM output
Output level
Gain of each frequency band
* This can be set using the
sliders of the part mixer.
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Multi-Effects List
03: ENHANCER
05: LOW BOOST
Controls the overtone structure of the high frequencies, adding
sparkle and brightness to the sound.
Boosts the volume of the lower range, creating powerful lows.
fig.MFX03
L in
2-Band
EQ
L out
Mix
2-Band
EQ
R out
Mix
Enhancer
R in
Enhancer
Parameter
Sens #1
Mixl #2
Value
0–127
0–127
Low Gain
-15– +15 dB
High Gain
-15– +15 dB
Level
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by
the enhancer
Gain of the low frequency range of
frequencies
Gain of the high frequency range of
frequencies
Output level
fig.MFX05
L in
Low Boost
2-Band EQ
L out
R in
Low Boost
2-Band EQ
R out
Parameter
Boost Frequency #1
Boost Gain #2
Value
50–125 Hz
Boost Width
WIDE,
MID, NARROW
-15– +15 dB
-15– +15 dB
0–127
Low Gain
High Gain
Level
0–12 dB
Description
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
Gain of the low frequency range
Gain of the high frequency range
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
frequencies, allowing you to create special effects cutting the volume
in various ranges.
L in
Super Filter
L out
R in
Super Filter
R out
L in
Isolator
Low Boost
L out
R in
Isolator
Low Boost
R out
Parameter
Boost/Cut
High
Boost/Cut
Middle #1
Boost/Cut
Low #2
AntiPhase
Middle Sw
AntiPhase
Middle
Level
Anti Phase
Low Sw
Anti Phase
Low Level
Low Boost
Sw
Value
-60– +4 dB
OFF, ON
0–127
OFF, ON
0–127
OFF, ON
Low Boost
Level
0–127
Level
0–127
Description
These boost and cut each of the
High, Middle, and Low frequency
ranges.
At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the
input level of the sound.
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.
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 frequencies to create a heavy bass
sound.
Increasing this value gives you a
heavier low end.
* Depending on the Isolator and
filter settings, this effect may be
hard to hear.
Output level
Parameter
Filter Type
Value
LPF, BPF,
HPF,
NOTCH
Filter Slope
-12, -24,
-36 dB
Filter Cutoff #1
0–127
Filter Resonance #2
0–127
Filter Gain
Modulation Sw
Modulation Wave
0–+12 dB
OFF,ON
Rate
Depth
Attack
0.05–10.0
Hz, note
0–127
0–127
Level
0–127
TRI, SQU,
SIN,
SAW1,
SAW2
Description
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
-36 dB: extremely steep
-24 dB: steep -12 dB: gentle
Cutoff frequency of the filter
Increasing this value will raise the
cutoff frequency.
Filter resonance level
Increasing this value will emphasize the region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
How the cutoff frequency will be
modulated
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Rate of modulation
Depth of modulation
Speed at which the cutoff frequency
will change
This is effective if Modulation
Wave is SQR, SAW1, or SAW2.
Output level
93
Effects
fig.MFX04
MC-909_Ref_e.book 94 ページ 2005年6月28日 火曜日 午後2時53分
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
change.
Adds a vowel character to the sound, making it similar to a human
voice.
fig.MFX07
L in
Step Filter
L out
R in
Step Filter
R out
fig.MFX09
L in
L out
Overdrive
Parameter
Rate
Attack #1
Filter Type
Filter Slope
Value
0.05–10.00
Hz, note
0–127
LPF, BPF,
HPF,
NOTCH
-12, -24,
-36 dB
Filter Resonance #2
0–127
Filter Gain
Level
Beat
1-1–4-4
0– +12 dB
0– 127
0–127
Description
Rate of modulation
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 emphasize the region near the cutoff frequency.
Amount of boost for the filter output
Output level
Cutoff frequency for each 16th note of
a 4/4 measure
* This can be set using the sliders of
the part mixer.
08: AUTO WAH
A filter that turns on and off to create a cyclical change in timbre.
fig.MFX08
L out
R in
R out
Parameter
Drive Sw
Drive
Value
OFF, ON
0–127
Vowel1 #1
Vowel2 #2
Rate
a, e, i, o, u
a, e, i, o, u
0.05–10.00
Hz, note
0–127
OFF, ON
Depth
Input Sync
Sw
Input Sync
Threshold
Manual
0–127
Low Gain
High Gain
Pan
Level
-15– +15 dB
-15– +15 dB
L64–63R
0–127
0–100
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Frequency at which the two vowels
switch
Effect depth
Determines whether the LFO for
switching the vowels is reset by the
input signal (ON) or not (OFF).
Volume level at which reset is applied
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.
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
10: PHASER
Adds a phase-shifted sound to the original sound, producing a
swirling modulation that creates spaciousness and depth.
L in
L out
Pan L
Phaser
R out
Value
LPF, BPF
Depth
Sens
0.05–
10.00 Hz,
note
0–127
0–127
Manual #1
0–127
Peak
0–127
Level
0–127
94
Pan R
R in
Auto Wah
Rate #2
Formant
Pan L
fig.MFX10
L in
Parameter
Filter Type
2-Band
EQ
Description
Type of filter
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
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 effect that occurs in the range of the
center frequency.
Set a higher value for Q to narrow
the range to be affected.
Output level
Mix
R in
Resonance
Parameter
Manual #1
Value
0–127
Rate #2
Depth
Resonance
Mix
Pan
0.05–10.00
Hz
0–127
0–127
0–127
L64–63R
Level
0–127
Pan R
R out
Description
Adjusts the basic frequency at
which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the PHASER output
Output Level
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Multi-Effects List
Parameter
Rate
This is a stereo phaser.
fig.MFX11
L in
Depth
Manual #1
Phaser
Mix
Mix
R in
Parameter
Mode
Polarity
Rate #2
Depth
Manual #1
Phaser
Value
4, 8 stage
INVERSE,
SYNCHRO
0.05–10.00
Hz, note
0–127
0–127
2-Band
EQ
L out
2-Band
EQ
R out
Description
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.
SYNCHRO: The left and right
phase are the same. Select this
when working with a stereo source.
Frequency of modulation
Depth of modulation
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
Value
0.05–10.00
Hz, note
0–127
0–127
Description
Frequency of modulation
Resonance
Cross
Feedback
0–127
-98– +98 %
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
This is an effect that applies amplitude modulation (AM) to the input signal,
producing bell-like sounds. You can also change the modulation frequency
in response to changes in the volume of the sound sent into the effect.
fig.MFX13
L in
Ring Mod
2-Band EQ
L out
R in
Ring Mod
2-Band EQ
R out
Value
0–127
Polarity
UP,
DOWN
12:STEP PHASER
Low Gain
High Gain
Balance #2
With the Step effects, you can also make stepped changes in the pitch
of sounds to which the Phaser effect is applied.
Level
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
0–127
-98– +98 %
Mix
Low Gain
High Gain
Level
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
13: RING MODULATOR
Parameter
Frequency
#1
Sens
Resonance
Cross
Feedback
Depth of modulation
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
0–127
Description
Adjusts the frequency at which
modulation is applied.
Adjusts the amount of frequency
modulation applied.
Determines whether the frequency
modulation moves towards higher
frequencies (UP) or lower frequencies (DOWN).
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
fig.MFX12
L in
Step Phaser
Mix
Mix
R in
Parameter
Mode
Polarity
Step Phaser
Value
4, 8 stage
INVERSE,
SYNCHRO
2-Band
EQ
14: TREMOLO
L out
Cyclically modulates the volume to add tremolo to the sound.
fig.MFX14
2-Band
EQ
L in
Tremolo
2-Band EQ
L out
R in
Tremolo
2-Band EQ
R out
R out
Description
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.
SYNCHRO: The left and right
phase are the same. Select this
when working with a stereo source.
Parameter
Modulation Wave
Value
TRI, SQR,
SIN,
SAW1,
SAW2
Rate #1
0.05–10.00
Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Depth #2
Low Gain
High Gain
Level
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Frequency of the change
Depth to which the effect is applied
Gain of the low frequency range
Gain of the high frequency range
Output level
95
Effects
11:STEREO PHASER
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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
richness and spaciousness to the sound.
fig.MFX15
L in
2-Band EQ
Auto Pan
L out
fig.MFX17
L in
R in
Auto Pan
2-Band EQ
L out
Balance D
R out
Balance W
Hexa Chorus
Balance W
Parameter
Modulation Wave
Rate #1
Depth #
Low Gain
High Gain
Level
Value
TRI, SQR,
SIN,
SAW1,
SAW2
0.05–10.00
Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Frequency of the change
Depth to which the effect is applied
Gain of the low frequency range
Gain of the high frequency range
Output level
16: ROTARY
The Rotary effect simulates the sound of the rotary speakers often
used with the classic electric organs. Since the movement of the highrange and low-range rotors can be set independently, the unique
characteristics of these speakers can be simulated quite accurately.
This effect is most suitable for electric organ Patches.
R in
Parameter
Pre Delay
Value
0.0–100.0 ms
Rate #1
0.05–10.00
Hz
0–127
0–20
Depth
Pre Delay
Deviation
Depth
Deviation
L out
-20– +20
Pan
Deviation
0–20
Balance #2
D100:0W–
D0:100W
Level
0–127
fig.MFX16
L in
R out
Balance D
Description
Adjusts the time until chorusing is
heard.
Frequency of modulation
Depth of modulation
Adjusts the differences in Pre Delay between each chorus layer.
Adjusts the difference in modulation depth between each chorus
layer.
Adjusts the difference in stereo location 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 direct sound (D) and the chorus
sound (W)
Output level
Rotary
R in
Parameter
Tweeter
Slow Rate
Woofer
Slow Rate
Tweeter
Fast Rate
Woofer
Fast Rate
Speed #1
Tweeter
Acceleration
Woofer
Acceleration
Tweeter
Level
Woofer
Level
Separation
Level #2
96
R out
0–127
Description
Slow speed (SLOW) of the high-frequency rotor
Slow speed (SLOW) of the low-frequency rotor
Fast speed (FAST) of the high-frequency rotor
Fast speed (FAST) of the low-frequency
rotor
Simultaneously switches the rotational
speed of the low frequency rotor and
high frequency rotor.
SLOW: 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
0–127
Volume of the low frequency rotor
0–127
0–127
Stereo width of the sound
Output level
Value
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
SLOW,
FAST
0–15
0–15
18: TREMOLO CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
fig.MFX18
L in
L out
Balance D
Balance W
Tremolo Chorus
Balance W
R in
R out
Balance D
Parameter
Pre Delay
Value
0.0–100.0 ms
0.05–10.00
Hz
0–127
Description
Adjusts the time until the chorus
sound is heard.
Modulation frequency of the chorus effect
Modulation depth of the chorus
effect
Modulation frequency of the
tremolo effect
Spread of the tremolo effect
Chorus
Rate
Chorus
Depth
Tremolo
Rate #1
Tremolo
Separation
Tremolo
Phase
Balance #2
0.05–10.00
Hz
0–127
0–180 deg
Depth of the tremolo effect
D100:0W–
D0:100W
Volume balance between the direct sound (D) and the tremolo
chorus sound (W)
Output level
Level
0–127
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Multi-Effects List
19: SPACE-D
21: STEREO FLANGER
This is a multiple chorus that applies two-phase modulation in
stereo. It creates no audible modulation, yet produces a transparent
chorus effect.
This is a stereo flanger. It produces a metallic resonance that rises
and falls somewhat like a jet airplane taking off or landing. A filter is
provided so that you can adjust the timbre of the flanged sound.
fig.MFX19
fig.MFX21
2-Band
EQ
L in
Balance D
L out
L in
Space D
Balance W
Flanger
Space D
Balance W
Feedback
Feedback
2-Band
EQ
R in
Balance D
Rate #1
Depth
Phase
Low Gain
High Gain
Balance #2
Level
Value
0.0–100.0
ms
0.05–10.00
Hz
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
R out
Flanger
Description
Adjusts the time until the chorus
sound is heard.
Frequency of modulation
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)
Output level
Balance W
Balance D
Parameter
Filter Type
Value
OFF, LPF,
HPF
Cutoff Freq
200–8000
Hz
0.0–100.0
ms
0.05-10.00
Hz, note
0–127
0–180 deg
-98– +98 %
Pre Delay
Rate #1
20: STEREO CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorused sound.
fig.MFX20
Balance D
L in
Chorus
Balance W
Chorus
Balance W
R in
Balance D
Parameter
Filter Type
Value
OFF, LPF,
HPF
Cutoff Freq
200–8000
Hz
0.0–100.0
ms
0.05–10.00
Hz
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Pre Delay
Rate #1
Depth
Phase
Low Gain
High Gain
Balance #2
Level
2-Band
EQ
0–127
2-Band
EQ
L out
Balance W
R in
Parameter
Pre Delay
2-Band
EQ
Depth
Phase
Feedback
#2
L out
R out
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Level
0–127
2-Band
EQ
R out
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
Adjusts the time until the flanger
sound is heard.
Frequency of modulation
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)
Output level
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
Adjusts the time until the chorus
sound is heard.
Frequency of modulation
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)
Output level
97
Effects
Balance D
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Multi-Effects List
22: STEP FLANGER
23: OVERDRIVE
This is a flanger in which the flanger pitch changes in steps. The
speed at which the pitch changes can also be specified in terms of a
note value based on a specified tempo.
Creates a soft distortion similar to that produced by vacuum tube
amplifiers.
fig.MFX22
L in
Balance D
L in
Step Flanger
2-Band
EQ
Balance W
Balance D
Parameter
Pre Delay
Rate
Depth
Feedback
#2
Step Rate
#1
Phase
Low Gain
High Gain
Balance
Level
98
Value
0.0–100.0
ms
0.05–10.00
Hz, note
0–127
-98– +98 %
0.10–20.00
Hz, note
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
2-Band
EQ
Amp
Simulator
2-Band
EQ
R in
Feedback
Feedback
R in
L out
Over
drive
L out
Balance W
Step Flanger
fig.MFX23
R out
Description
Adjusts the time until the flanger
sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the amount of the flanger
sound that’s fed back into the effect.
Negative (-) settings invert the
phase.
Rate (period) of pitch change
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)
Output level
Pan L
Pan R
R out
Parameter
Drive #1
Value
0–127
Tone #2
Pan
0–127
L64–63R
Amp Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Description
Amount of distortion
Also changes the volume.
Sound Quality
Stereo location of the OVERDRIVE
output
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
24: DISTORTION
Produces a more intense distortion than Overdrive. The parameters
are the same as for “23: OVERDRIVE.”
fig.MFX24
L in
L out
Distortion
R in
Amp
Simulator
2-Band
EQ
Pan L
Pan R
R out
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Multi-Effects List
25: GUITAR AMP SIM
(Guitar Amp Simulator)
Specifications for each Speaker Type
This is an effect that simulates the sound of a guitar amplifier.
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
fig.MFX25
L in
L out
Pan L
Speaker
Pan R
R in
Parameter
Pre Amp
Sw
Pre Amp
Type
Pre Amp
Volume #1
Pre Amp
Master #2
Pre Amp
Gain
Pre Amp
Bass
Pre Amp
Middle
Pre Amp
Treble
Pre Amp
Presence
Pre Amp
Bright
R out
Value
OFF, ON
JC-120,
Clean Twin,
Match Drive,
BG Lead,
MS1959I,
MS1959II,
MS1959I+II, SLDN
Lead, Metal 5150,
Metal Lead,
OD-1, OD-2 TURBO,
Distortion, Fuzz
0–127
0–127
Low, Mid, High
0–127
0–127
(MATCH DRIVE:
-127 - 0)
OFF, ON
Speaker Sw
OFF, ON
Speaker
Type
Mic Setting
(See the table below.)
1, 2, 3
Mic Level
Direct Level
Pan
0–127
0–127
Level
0–127
L64–63R
Description
Turns the amp switch on/
off.
Type of guitar amp
Cabinet
Small1
Small2
Middle
JC-120
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
3 Stack
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
Spea
ker
10
10
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
Microphone
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
Volume and amount of distortion of the amp
Volume of the entire preamp
Amount of pre-amp distortion
Tone of the bass/mid/treble frequency range
* Middle cannot be set if
“Match Drive” is selected
as the Pre Amp Type.
Effects
Pre Amp
Type
Tone for the ultra-high frequency range
Turning this “On” produces a sharper and brighter
sound.
* This parameter applies to
the “JC-120,” “Clean
Twin,” and “BG Lead”
Pre Amp Types.
Determines whether the
signal passes through the
speaker (ON), or not (OFF).
Type of speaker
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.
Volume of the microphone
Volume of the direct sound
Stereo location of the output
Output level
99
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Multi-Effects List
26: COMPRESSOR
28: SLICER
Flattens out high levels and boosts low levels, smoothing out
fluctuations in volume.
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustaintype sounds.
fig.MFX26
L in
Compressor
2-Band EQ
L out
fig.MFX28
R in
Compressor
Parameter
Attack #1
Value
0–127
Threshold
#2
Post Gain
0–127
Low Gain
High Gain
Level
2-Band EQ
0, +6, +12,
+18 dB
-15– +15 dB
-15– +15 dB
0–127
L in
Slicer
L out
R in
Slicer
R out
R out
Description
Sets the speed at which compression starts
Adjusts the volume at which compression begins
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
27: LIMITER
Compresses signals that exceed a specified volume level, preventing
distortion from occurring.
Parameter
Rate #1
Attack #2
Value
0.05–
10.00 Hz,
note
0–127
Input Sync
Sw
OFF, ON
Input Sync
Threshold
Mode
0–127
Shuffle
0–127
Level
Beat
1-1–4-4
0–127
0–127
LEGATO,
SLASH
fig.MFX27
L in
Limiter
2-Band EQ
L out
R in
Limiter
2-Band EQ
R out
Parameter
Release #1
Value
0–127
Threshold
#2
Ratio
0–127
Post Gain
Low Gain
High Gain
Level
100
1.5:1, 2:1,
4:1,
100:1
0, +6, +12,
+18 dB
-15– +15 dB
-15– +15 dB
0–127
Description
Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer
applied.
Adjusts the volume at which compression begins
Compression ratio
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Description
Cycle for one measure
Speed at which the volume changes
between beats
Determines whether the LFO for
switching the vowels is reset by the
input signal (ON) or not (OFF).
Volume level at which the reset begins
Sets the manner in which the volume changes as one beat progresses
to the next.
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.
SLASH: The level is momentarily 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.
* This can be set using the sliders of
the part mixer.
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Multi-Effects List
29: GATE
30: LOFI NOISE (Lo-Fi Noise)
Cuts the reverb’s delay according to the volume of the sound sent
into the effect. Use this when you want to create an artificialsounding decrease in the reverb’s decay.
In addition to a lo-fi effect, this adds various types of noise such as
white noise and disc noise.
fig.MFX29
L in
L in
Gate
L out
R in
Gate
R out
fig.MFX30
L out
Lo-Fi
Noise Gen.
Lo-Fi
Balance #2
Attack
Time
Hold Time
Release
Time
Level
Value
0–127
GATE,
DUCK
D100:0W–
D0:100W
0–127
0–127
0–127
0–127
Description
Volume level at which the gate begins to close
Type of gate
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
R in
R out
Parameter
LoFi Type
Value
1–9
Post Flter
Type
OFF, LPF,
HPF
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
200–8000
Hz
WHITE,
PINK
200–8000
Hz, BYPASS
0–127
W/P Noise
Level
Disc Noise
Type
Switch between white noise and
pink noise.
Center frequency of the low pass filter applied to the white/pink noise
(BYPASS: no cut)
Volume of the white/pink noise
Disc Noise
LPF
200–8000
Hz, BYPASS
Disc Noise
Level
Hum Noise
Type
Hum Noise
LPF
0–127
Type of record noise
The frequency at which the noise
is heard depends on the selected
type.
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 parameter to BYPASS.
Volume of the record noise
50Hz, 60Hz
Frequency of the hum noise
200–8000
Hz, BYPASS
0–127
Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)
Volume of the hum noise
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Hum Noise
Level
Balance #1
Level #2
LP, EP, SP,
RND
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
Center frequency of the filter
101
Effects
Parameter
Threshold
#1
Mode
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Multi-Effects List
31: LOFI COMPRESS
(Lo-Fi Compress)
33: TELEPHONE
This is an effect that intentionally degrades the sound quality for
creative purposes.
L in
Telephone
L out
R in
Telephone
R out
fig.MFX33
fig.MFX31
L in
R in
Compressor
Compressor
Parameter
Pre Filter
Type
Value
1–6
LoFi Type
1–9
Post Filter
Type
OFF, LPF,
HPF
Post Filter
Cutoff
Balance #1
Level #2
200–
8000 Hz
D100:0W–
D0:100W
0–127
Lo-Fi
Lo-Fi
L out
R out
Description
Selects the type of filter applied to
the sound before it passes through
the Lo-Fi effect.
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
Basic frequency of the Post Filter
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Parameter
Voice
Quality #1
Treble
Balance #2
Level
Value
0–15
-15– +15 dB
D100:0–
D0:100W
0–127
Description
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
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
an old turntable.
fig.MFX34
Balance D
L in
L out
Phonograph
Balance W
Phonograph
Balance W
R in
R out
Balance D
32: LOFI RADIO (Lo-Fi Radio)
In addition to a Lo-Fi effect, this effect also generates various types
of noise, such as radio noise or disk noise.
fig.MFX32
L in
L out
Parameter
Signal
Distortion
Frequency
Range
Value
0–127
Description
Depth of distortion
0–127
Disc Type
LP, EP, SP
Scratch
Noise Level
Dust Noise
Level
Hiss Noise
Level
Total Noise
Level #1
Wow
0–127
0–127
Frequency response of the playback
system
Decreasing this value will produce the impression of an old
system with a poor frequency response.
Rotational speed of the turntable
This will affect the frequency of
the scratch noise.
Amount of noise due to scratches
on the record
Volume of noise due to dust on the
record
Volume of continuous “hiss”
0–127
Volume of overall noise
0–127
Flutter
0–127
Random
0–127
Total Wow/
Flutter #2
Balance
0–127
Depth of long-cycle rotational irregularity
Depth of short-cycle rotational irregularity
Depth of indefinite-cycle rotational
irregularity
Depth of overall rotational irregularity
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Lo-Fi
Radio
Lo-Fi
R in
R out
Parameter
LoFi Type
Value
1–9
Post Flter
Type
OFF, LPF,
HPF
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
Basic frequency of the Post Filter
Post Filter
Cutoff
Radio
Detune #1
200–8000
Hz
0–127
Radio Noise
Level
Balance #2
0–127
Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.
Volume of the radio noise
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level
102
Level
0–127
D100:0W–
D0:100W
0–127
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Multi-Effects List
Parameter
Pre Delay
Value
0.0–500 ms
Feedback
#2
-98– +98 %
Echo Level
Pan
L64–63R
Echo Level
Low Gain
High Gain
Balance
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Level
0–127
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
L in
L out
Direct Level
Tape Echo
R in
R out
Direct Level
Parameter
Mode
Value
S, M, L,
S+M, S+L,
M+L,
S+M+L
Repeat Rate
#1
0–127
Intensity #2
Bass
0–127
-15– +15
Treble
-15– +15
Head S Pan
Head M Pan
Head L Pan
Tape Distortion
L64–63R
Description
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
Boost/cut for the upper range of the
echo sound
Independent panning for the short,
middle, and long playback heads
0–5
Wow/Flutter Rate
0–127
Wow/Flutter Depth
Echo Level
Direct Level
0–127
Amount of tape-dependent distortion to be added
This simulates the slight tonal
changes that can be detected by
signal-analysis equipment. Increasing 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
0–127
0–127
Volume of the echo sound
Volume of the original sound
36: FBK PITCH SHIFTER
(Feedback Pitch Shifter)
This allows the pitch-shifted sound to be fed back into the effect.
37: 2Vo PITCH SHIFTER
(2-Voice Pitch Shifter)
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
Balance D
L in
Balance D
2-Band
EQ
L out
L out
Level Balance A
2Voice Pitch Shifter
Level Balance B
PanA L
Balance W
PanA R
PanB L
PanB R
R in
Balance W
R out
Balance D
Parameter
Mode
Value
1, 2, 3, 4, 5
Coarse A #1
Coarse B #2
Fine A
Fine B
Pre Delay A
Pre Delay B
Pan A
Pan B
Level
Balance
Balance
-24– +12
semi
-100–
+100 cent
0.0–500
ms
L64–63R
Level
0–127
fig.MFX36
L in
Description
Adjusts the time until the pitch
shifted sound is heard.
Adjusts the amount of the pitchshifted sound that’s fed back into
the effect. Negative (-) settings invert the phase.
Stereo location of the pitch-shifted
sound
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)
Output level
A100:0B–
A0:100B
D100:0W–
D0:100W
Description
Setting a higher value for this parameter results in a slower response, 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.
Stereo location of Pitch Shift A/B
Volume balance between Pitch Shift
A and Pitch Shift B
Volume balance between the direct
sound (D) and the pitch shifted
sound (W)
Output level
Balance W
Pitch Shifter
Balance W
Feedback
R in
Balance D
Parameter
Mode
Value
1, 2, 3, 4, 5
Coarse #1
-24– +12
semi
-100– +100
cent
Fine
2-Band
EQ
R out
Description
Setting a higher value for this parameter results in a slower response, but steadier pitch.
Adjusts the pitch of the pitch-shifted sound in semitone steps.
Adjusts the pitch of the pitch-shifted sound in 2-cent steps.
103
Effects
35: TAPE ECHO
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Multi-Effects List
38: GATED REVERB
39: STEREO DELAY
This is a special type of reverb in which the reverb is cut off without
being allowed to decay naturally.
This is a stereo delay.
fig.MFX38
fig.MFX39a
L in
Balance D
2-Band
EQ
L out
When Feedback Mode is NORMAL:
Balance D
L in
Balance W
Delay
Gated Reverb
Balance W
R in
Balance D
2-Band
EQ
(MFX2 only)
Pre Delay
Time
Pan #1
Low Gain
High Gain
Balance #2
Level
Value
NORMAL,
REVERSE
Feedback
Feedback
R out
0.0–100.0
ms
5–500 ms
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
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 reverb is first heard until it disappears.
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
Balance W
R in
Balance D
2-Band
EQ
R out
2-Band
EQ
L out
When Feedback Mode is CROSS:
fig.MFX39b
Balance D
L in
Delay
Balance W
Feedback
Feedback
Balance W
Delay
R in
Balance D
Parameter
Feedback
Mode
Value
NORMAL,
CROSS
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
#1
0–2000 ms,
note
NORMAL,
INVERT
-98– +98 %
HF Damp
200–8000
Hz, BYPASS
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level
104
L out
Balance W
Delay
Parameter
Type
2-Band
EQ
2-Band
EQ
R out
Description
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.
Phase of the delay sound
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 filtered out. If you don’t want to filter
out any 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 delay sound (W)
Output level
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Multi-Effects List
40: MODULATION DELAY
(MFX2 only)
Adds modulation to the delayed sound.
41: TRIPLE TAP DELAY
Produces three delay sounds; center, left and right.
fig.MFX41
Balance D
fig.MFX40a
L in
Delay
Modulation
2-Band
EQ
L out
Balance W
Triple Tap Delay
Feedback
Modulation
R in
Balance D
2-Band
EQ
R out
2-Band
EQ
L out
fig.MFX40b
Balance D
Delay
Modulation
Balance W
Modulation
Balance W
R in
Balance D
Parameter
Feedback
Mode
Value
NORMAL,
CROSS
Delay Left
Delay Right
Feedback
0–2000 ms,
note
-98– +98 %
HF Damp
Rate
Depth
Phase
Low Gain
High Gain
Balance #
Level
200–8000
Hz, BYPASS
0.05–10.00
Hz
0–127
0-180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
2-Band
EQ
R out
Description
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 filtered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.
Frequency of modulation
2-Band
EQ
Value
0–4000 ms,
note
-98– +98 %
HF Damp
200–8000
Hz, BYPASS
Left/Right/
Center Level
Low Gain
High Gain
Balance #2
0–127
Description
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 filtered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
Volume of each delay
-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
42: QUADRUPLE TAP DELAY
(MFX2 only)
This effect has four delays.
fig.MFX42a
Balance D
L in
L out
Delay 1
Balance W
Feedback
Delay 2
Quadruple Tap Delay
Delay 3
Balance W
Delay 4
R in
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 delay sound (W)
Output level
R out
Parameter
Delay Left/
Right/Center
Feedback
#1
Feedback
Feedback
Delay
Balance W
Right Tap
Balance D
When Feedback Mode is CROSS:
L in
Center Tap
R in
Balance W
L out
Balance W
Left Tap
Feedback
Feedback
Delay
2-Band
EQ
L in
R out
Balance D
fig.MFX42b
2
1
L
Parameter
Delay 1–4
Level 1–4
Feedback
#1
Stereo location of each delay
3
4
R
Value
0–4000 ms,
note
0–127
-98– +98 %
HF Damp
200–8000
Hz, BYPASS
Balance #2
D100:0W–
D0:100W
0–127
Level
Description
Adjusts the time until the delay
sound is heard.
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 filtered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
105
Effects
When Feedback Mode is NORMAL:
Balance D
(MFX2 only)
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Multi-Effects List
43: MULTI TAP DELAY
45: SHUFFLE DELAY
(MFX2 only)
This effect provides four delays. Each of the Delay Time parameters
can be set to a note length based on the selected tempo. You can also
set the panning and level of each delay sound.
fig.MFX43
Adds a shuffle to the delay sound, giving the sound a bouncy delay
effect with a swing feel.
fig.MFX45
L in
Balance D
L in
Feed
back
Delay 1
2-Band
EQ
Feedback
L out
Delay 2
Balance D
HF Damp
200–8000
Hz, BYPASS
Low Gain
High Gain
Balance #2
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level
2-Band
EQ
R out
Description
Adjusts the time until Delays 1–4
are heard.
Stereo location of Delays 1–4
Output level of Delays 1–4
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 filtered 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
44: REVERSE DELAY
(MFX2 only)
Adds the reverse of the input sound as a delay.
fig.MFX44
L in
1
D1
D2
Rev. Delay
R in
Feedback 1
Delay
D4
Feedback 4
Parameter
Threshold
Value
0–127
Delay 1–4
0-2000 ms,
note
-98– +98 %
Feedback 1
#1
Feedback 4
HF Damp 1
HF Damp 4
Pan 1–3
Level 1–3
Balance #2
Low Gain
High Gain
Level
200–8000
Hz, BYPASS
L64–63R
0–127
D100:0W–
D0:100W
-15– +15 dB
-15– +15 dB
0–127
B
Balance W
R in
Pan 1–4
Level 1–4
Feedback
#1
Delay B
R in
Delay 4
Value
0–4000 ms,
note
L64–63R
0–127
-98– +98 %
A
L out
2-Band
EQ
R out
Delay
Multi Tap Delay
Parameter
Delay 1–4
Delay A
2-Band
EQ
Balance W
Delay 3
106
(MFX2 only)
2-Band
EQ
L out
2-Band
EQ
R out
2
D3
3
Description
Volume level at which the reverse
delay begins
Adjusts the time until Delays 1–4
are 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 filtered out. If you do not want to filter
out any high frequencies, set this
parameter to BYPASS.
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
Parameter
Delay #1
Shuffle
Rate
Value
0–4000 ms,
note
0–100 %
Pan A/B
Level
Balance
Feedback
#2
L64–63R
A100:0B–
A0:100B
-98– +98 %
Acceleration
0–15
HF Damp
200–8000
Hz, BYPASS
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level
Description
Adjusts the time until the delay
sound is heard.
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. Negative (-) settings invert the phase.
Adjusts the time over which the Delay Time changes from the current
setting to its specified new setting.
Adjusts the frequency above which
sound fed back to the effect is filtered out. If you don’t want to filter
out any 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
MC-909_Ref_e.book 107 ページ 2005年6月28日 火曜日 午後2時53分
Multi-Effects List
(MFX2 only)
This lets you smoothly vary the delay time. As the delay time is
varied, the pitch will change correspondingly; lengthening the delay
time will lower the pitch, and shortening it will raise the pitch.
47: TIME SKIP DELAY
A delay that changes the delay time in stair-step fashion.
fig.MFX47
L in
Balance D
2-Band
EQ
Time Skip Delay
Balance W
Balance W
Feedback
Balance D
Parameter
Delay #1
Feedback
#2
Acceleration
HF Damp
Pan
Low Gain
High Gain
Balance
Level
Value
0–4000 ms,
note
-98– +98 %
0–15
200–8000
Hz, BYPASS
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
2-Band
EQ
R in
Balance D
Balance W
Feedback
2-Band
EQ
L out
Balance W
L out
Time Control Delay
R in
2-Band
EQ
Balance D
fig.MFX46
L in
(MFX2 only)
R out
R out
Description
Adjusts the time until the delay is
heard.
Adjusts the amount of the delay
that’s fed back into the effect. Negative (-) settings invert the phase.
Adjusts the time over which the Delay 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 filtered 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
Parameter
Delay #1
Skip Rate
Feedback
#2
Value
0–4000 ms,
note
0.05–10.0
Hz, note
-98– +98 %
Acceleration
0–15
HF Damp
200–8000
Hz, BYPASS
Pan
Low Gain
High Gain
Balance
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level
Description
Adjusts the time until the delay is
heard.
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 Delay Time changes from the current
setting to its specified new setting.
Adjusts the frequency above which
sound fed back to the effect is filtered 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
note:
fig.notelist2.e
(Sixty-fourth-note triplet),
(Thirty-second note),
(Sixty-fourth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Sixteenth note),
(Eighth note),
(Quarter-note triplet),
(Quarter note),
(Half-note triplet),
(Whole-note triplet),
(Double-note triplet),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Dotted eighth note),
(Dotted quarter note),
(Dotted half note),
(Dotted whole note),
(Half note),
(Whole note),
(Double note)
107
Effects
46: TIME CONTROL DELAY
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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
be used to prevent the sound from distorting.
fig.4-07
About THRESHOLD and RATIO
As shown in the diagram below, these parameters determine how
the volume is to be compressed.
fig.Comp.e
1:1
Output Level
RATIO
Explanation
Time from when the volume
goes up the threshold level until the compressor effect applies
RELEASE
50–5000 ms
Time from when the volume
falls below the threshold level
until the compressor effect no
longer applies
THRESHOLD
-36–0 dB
Volume level at which compression begins
RATIO
1.00:1–
Compression ratio (INF: infiniINF:1
ty)
LEVEL
0–24 dB
Output volume
Split Frequency
2000–8000
Frequency at which the highHigh
Hz
frequency (HI) and mid-frequency (MID) bands are split
Split Frequency
200–800 Hz
Frequency at which the lowLow
frequency (LO) and mid-frequency (MID) bands are split
You can use the controls of the Mastering section (ATTACK and
RELEASE) to adjust the mastering effect parametersin real time.
Parameter
ATTACK
Range
0–100 ms
fig.4-08
[ON]
[BAND]
Switches the mastering effect on/off
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 corresponding style.
Recalls the user settings that you saved.
Returns to the previous screen.
Saves the current settings as the user settings.
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
2:1
4:1
INF:1
THRESHOLD
Input Level
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Sampling
Sampling
109
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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.
During sampling, the panel controls have the following functions.
1. D Beam controllers
4. Mastering section
[ON]
[BAND]
[ATTACK]
[RELEASE]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
Adjusts the attack time of the input sound.
Adjusts the time from when the volume falls below
the threshold level until the effect disappears.
Pass your hand over these to modify the pattern (p. 35).
[BEAM 1 ON]
[BEAM 2 ON]
[D BEAM ASSIGN]
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.
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
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
27).
6. Function buttons
These buttons access the function screens indicated in the bottom
line of the display.
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How Things Work (in Sampling mode)
7. Part Mixer section
12. Sequencer section
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
[MIXER ASSIGN]
[PART ASSIGN]
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).
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 indicator is not lighted, or parts 9–16 if the indicator is lit.
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Plays a pattern (p. 24).
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
Used when recording (p. 37).
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
speed of a turntable (p. 36).
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
timing (p. 25).
8. Sampling section
[CHOP]
[EMPHASIS]
[COMBINE]
[TIME STRETCH]
[NORMALIZE/AMP]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Displays the Sample Edit
screen (p. 114).
Divides a sample (p. 118).
Emphasize the sample’s upper
range (p. 120).
Combines multiple samples
into a single sample (p. 120).
Stretches or shrinks 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).
Displays the Sampling menu
screen (p. 112).
Mixes the sound from the INPUT jack into the output (p.
34).
Synchronizes the sample to the
pattern (p. 36).
Sampling
[EDIT]
9. Effect section
Applies special effects to the sound (p. 88).
[COMP]–[REVERB]
[KNOB ASSIGN]
[TYPE]
[C1], [C2]
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.
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
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Sampling procedure
1. Press [SAMPLING/RESAMPLING] to access the
Sampling Menu screen.
3. Make the settings for things such as the input source
of the sound to be sampled, and triggering.
fig.5-01
Function buttons
[F1 (Input Setting)]
[F2 (Auto Trig)]
(Auto Trigger)
[F3 (Trim Sw)]
[F4 (BPM/Click)]
Make settings for the external input (p. 34).
If this is on, sampling will begin automatically 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).
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
Stereo
Switch
MONO, STEREO
Pre Sample
Time
0–1000 ms
Stop Trigger
MANUAL, BEAT,
TIME
2. Press [F1 (Sampling)]–[F5 (Solo)] to select the
sampling mode. The sampling-standby screen will
appear.
Sample a sound from an external input source.
* Operating the velocity pads or D Beam controllers will not play the internal sound generator.
[F2 (Re-Sampling)] Resample the sound of the internal sound generator.
* The sound of the external input will not be
heard.
[F3 (Mix)]
Sample the combined sounds of the internal
(Mix sampling)
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 controllers will not play the internal sound generator.
[F5 (Solo)]
While playing the internal sound generator as
(Solo sampling)
usual, sample only the sound from the external
input.
* Effects cannot be applied to the external input sound.
[F6 (Cancel)]
Return to the previous screen.
[F1 (Sampling)]
(Example) Standby screen for Sampling
fig.5-02
112
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): Digital input (coaxial)
MICROPHONE: INPUT
jack L (mono, mic level)
* 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.
* Mono sampling uses
half as much memory
space.
The length of sound preceding the moment at
which sampling was manually or automatically initiated that will be captured
in the sample
This lets you prevent the
attack portion of the
sound from being omitted from the sample.
How sampling will end
MANUAL: Continue
sampling until you press
[F5 (STOP)].
BEAT: Sample the specified number of beats at
the current tempo
(BPM).
TIME: Sample the specified length of time.
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Sampling procedure
Auto Trigger Level
Gap Time
Range
Explanation
When Stop Trigger is BEAT
1–20000
Number of beats to continue sampling
When Stop Trigger is TIME
00’00”010–
length of time to continue
50’00”000
sampling
The maximum value will depend on the amount
of memory.
* This parameter cannot be specified if Stop Trigger is set to MANUAL.
0–7
Volume level at which
sampling will begin when
Auto Trig is ON
A setting of 0 is the minimum.
500, 1000, 1500,
Length of silence at which
2000 ms
the sample will be divided
Whenever there is a silent 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.
* This parameter is valid
only when you are using
Auto Divide Sampling.
4. In the Volume section of the panel, use [INPUT] to
adjust the input level of the external source.
*
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.)
6. Press [F5 (Stop)] to stop sampling.
The Sample Edit (p. 114) screen will appear.
fig.5-04
7. Press [EXIT] to go back to where you were before
you entered the Sampling screen.
About the sample numbers chosen during
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.
*
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.
Cautions when using a microphone
Howling could be produced depending on the location of
microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from
speakers.
3. Lowering volume levels.
*
*
When sampling in mono, you can divide the material into a maximum
of 256 samples. When sampling in stereo, you can divide the material
into a maximum of 128 samples (L/R total 256 samples).
Samples that you load can be used in patches or rhythm sets
in the same way as waves.
If you use a microphone, connect the ground terminal to an
electrical ground (p. 15).
5. Press [F6 (Start)] to begin sampling.
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).
*
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.
Sampling
Parameter
Sampling
Length
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).
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.
Even if you expand the memory (DIMM), you cannot save a sample
that is larger than 128 MB. (However, you can play it.)
113
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Sample Edit
Use sample edit to modify a waveform (sample) that you sampled/
loaded/imported.
Basic sample editing
procedure
1. When you press [EDIT] in the sampling section, the
Sample Edit screen will appear.
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.
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.
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)]
[F5 (Create Patch)]
[F6 (Zoom In/Out)]
From a list, select the sample to edit (p.
115).
Make various settings for the sample (p.
116).
Cut unwanted portions from the beginning/end of the sample (p. 117).
Create a new patch that uses the sample
(p. 117).
Change the magnification of the sample
display (p. 114).
• Horizontal axis (time axis): 1/1--1/65536
Panel buttons
[CHOP]
[EMPHASIS]
[COMBINE]
[TIME STRETCH]
[NORMALIZE/AMP]
Press [CURSOR (left)] to increase the display magnification.
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 access the Chop–Amp screens by holding down [SHIFT]
and pressing [F1]–[F6]. Alternatively, you can select these screens by
pressing [MENU].
114
2. Use [CURSOR] to change the magnification of the
display.
Press [CURSOR (right)] to decrease the display magnification.
*
You can also use [VALUE] or [INC/DEC] to adjust this setting.
• Vertical axis (waveform amplitude axis): x1--x128
Press [CURSOR (left)] to increase the display magnification.
Press [CURSOR (right)] to decrease the display magnification.
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.
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Sample Edit
Setting the start/end points
of the sample
Sample List
You can specify the portion of the sample that will actually sound.
You can also specify the region that is to be looped.
1. In the Sample Edit screen, press [F1 (Sample List)].
Here’s how to select a sample from a list.
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:
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.
2. Use [F1 (Preset)]–[F3 (Card)] to specify the bank from
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)].
Function buttons
[F1 (Preset)]
[F2 (User)]
[F3 (Card)]
[F4 (Mark Clear)]
[F5 (Mark Set)]
[F6 (Select)]
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).
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.
Select from preset samples.
Select from user samples.
Select from memory card samples.
Remove the check mark from the sample.
Add a check mark to the sample.
Display the edit screen for the selected
sample.
[SHIFT] +
Delete all checked samples with their files.
[F1 (Delete Sample)]
(p. 124) (*1)
[SHIFT] +
Erase all checked samples from memory
[F2 (Erase)]
(p. 124). (The files will not be deleted.) (*1)
[SHIFT] +
Load the checked samples into memory.
[F3 (Load)]
(p. 124) (*1)
[SHIFT] +
Clear the check marks from all samples in
[F4 (Mark Clear All)]
the folder.
[SHIFT] +
Add a check mark to all samples in the
[F5 (Mark Set All)]
folder.
[SHIFT] +
Execute “Create Rhythm” (p. 119) on all
[F6 (Create Rhythm)]
checked samples.
*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
NEW
EDIT
UNLOAD
None
Sample status
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
Sampling
The edit screen for the selected sample will appear.
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Sample Edit
Sample Parameters
About the Loop Mode
FWD (Forward)
Here you can make various settings for the sample.
1. In the Sample Edit screen, press [F2 (Sample
Param)].
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.
Start
Loop
Start P.
End P.
ONE-SHOT
The sample will be played back only once, from the Start
point to the End point.
Start
Loop
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.
Parameter
Loop Mode
Loop Tune
Values
FWD,
ONE-SHOT,
REV,
REV-ONE
-50– +50
Original Key
24 (C1)–
127 (G9)
BPM
5–300
Time Stretch
Type
TYPE01–
TYPE10
Start Fine
0–255
Loop Start
Fine
Loop End
Fine
0–255
116
0–255
Explanation
How the sample will be played
Refer to “About the Loop
Mode” (p. 116)
Pitch of the loop region
Make fine adjustments in
one-cent (1/100 semitone) increments.
Note number that will play the
sample at the pitch at which it
was sampled
Original BPM of the sample
* You will need to edit this value when using Auto Sync.
Auto sync method
Decreasing this value will optimize the sound for more
rapid phrases, and increasing
this value will optimize the
sound for slower phrases.
Fine adjustment of the Start
point.
Fine adjustment of the Loop
Start point.
Fine adjustment of the End
point.
REV (Reverse)
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.
Start
Loop
Start P.
End P.
REV-ONE (Reverse One-shot)
The sample will be played back only once from the End point to the
Start point in the reverse direction.
Start
Loop
Start P.
End P.
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Sample Edit
Truncate
Create Patch
This operation cuts the portions of the sample that are earlier than
the Start Point and later than the Loop End Point.
This operation creates a patch that uses the current sample as the
wave for Tone 1.
1. In the Sample Edit screen, press [F4 (Truncate)].
If desired, the created patch can also be assigned to the current part.
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)].
A message will ask you for confirmation.
*
If you decide to cancel the Create Patch operation, press [F5 (Cancel)]
to return to the previous screen.
*
If you want to cancel without executing, press [F5 (Cancel)].
When you execute Create Patch, a sample will be created at the same
time.
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
Sampling
4. To execute the Truncate operation, press [F6
(Execute)].
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Sample Edit
Chop
This operation divides the sample into two or more samples (a
maximum of 16 samples).
1. In the Sample Edit screen, press [CHOP].
Alternatively, hold down [SHIFT] and press [F1 (Chop)].
2. Press [F1 (Sample List)] and select a sample.
Automatically dividing a sample
(Auto Chop)
Here’s how you can automatically specify the points at which
the sample is to be divided, and then divide the sample.
1. Press [F4 (Auto Chop)].
The Auto Chop sub-window will appear.
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
Chop Type
Procedure for dividing a sample
You can freely specify the point(s) at which the sample is to be
divided.
1. Press [CURSOR (up)] to move the cursor to “Current
Address.”
2. Use [VALUE] or [INC/DEC] to move the point.
3. At the location where you want to divide the sample,
press [F2 (Add Point)].
The current location will be the dividing point.
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
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
If Chop Type is Divide x
Times
Number of samples into which the sample is to be divided
Range: 2–16
6. Press [F6 (Auto Chop)].
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.
The sample will be divided into a maximum of 16 samples.
5. Press [F6 (Execute)].
*
The Chop operation will be executed, and the divided samples
will be saved. (Normally, they will be saved in consecutive
sample numbers.)
*
To cancel, press [F5 (Cancel)].
When you execute the Chop operation, a message will ask
whether you want to execute Create Rhythm.
7. If you want to execute Create Rhythm, press [F6
(Execute)].
• Create Rhythm -> p. 119
8. If you don’t want to execute Create Rhythm, press
[F5 (Cancel)].
You will return to the Sample Edit screen.
118
To cancel Auto Chop, press [F5 (Close)].
7. Press [F6 (Execute)].
A message will ask you for confirmation.
A message will ask you for confirmation.
6. To execute, press [F6 (Execute)].
Explanation
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.
8. To execute, press [F6 (Execute)].
The Chop operation will be executed, and the divided samples
will be saved. (Normally, they will be saved in consecutive
sample numbers.)
*
To cancel, press [F5 (Cancel)].
When you execute the Auto Chop, a message will ask whether
you want to execute Create Rhythm.
9. If you want to execute Create Rhythm, press [F6
(Execute)].
• Create Rhythm -> p. 119
10. If you don't want to execute Create Rhythm, press
[F5 (Cancel)].
You will return to the Sample Edit screen.
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Sample Edit
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], ...
Moving a dividing point
1. Use [CURSOR (up/down)] to move the cursor to
“Point No.”
2. Turn [VALUE] to select the point that you want to
move.
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.
Each of the divided samples will become a separate rhythm tone.
Create a Rhythm Set using the samples
selected from the Sample List
1. In the sample list, add a check mark to the samples
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.
Deleting a dividing point
1. Use [CURSOR (up/down)] to move the cursor to
“Point No.”
2. Turn [VALUE] to select the point that you want to
delete.
3. Press [F3 (Clear Point)].
The dividing point will be deleted, and the waveforms before
and after that point will be connected.
A message will ask whether you want to execute Create
Rhythm.
3. To execute, press [F6 (Execute)].
The Rhythm Set Name input screen will appear.
4. Assign a name to the rhythm set, and save it.
For details, refer to “Saving a Patch/Rhythm Set” (p. 77).
*
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.
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.
For details, refer to “Saving a Patch/Rhythm Set” (p. 77).
*
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
Sampling
Auditioning the divided samples
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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 highfrequency 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 highfrequency 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 [EMPHASIS].
2. Press [F1 (Sample List)] and select a sample.
1. Press [COMBINE].
Alternatively, hold down [SHIFT] and press [F3 (Combine)].
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.
PreEmphasis: Emphasizes the high-frequency range.
Parameter
1–16
TYPE
DeEmphasis: Attenuates the high-frequency range.
4. If you want to replace the current sample with the
emphasized sample, press [F4 (Over Write)] to
display the “✔” symbol.
BANK
5. Press [F6 (Execute)].
A message will ask you for confirmation.
PRM
6. To execute, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Range
Explanation
The sample or silence to be combined
Sample: sample
Sample,
Time: silent region (specified as
Time, Beat
time)
Beat: silent region (specified as a
note value)
U, C
Bank that contains the sample
U: user
C: card
* This will be displayed only if
TYPE is set to Sample.
1–10000 ms
Sample number, or the duration/
note value of the silent region
note value:
The note value is based on the
1/32, 1/16T,
BPM of the sample immediately
1/16, 1/8T,
before the silent region.
1/8, 1/4T,
* If there is no sample immediate1/4, 1/2,
ly before the silent region, the
1/1, 2/1
current BPM will be used.
5. Press [F6 (Execute)]
A message will ask you for confirmation.
6. To execute, press [F6 (Execute)].
*
120
To cancel, press [F5 (Cancel)].
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Sample Edit
Edit Time Stretch
Normalize
This operation stretches or shrinks the sample to modify the length
or tempo.
This operation raises the level of the entire sample as much as
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].
Alternatively, hold down [SHIFT] and press [F4 (Time Stretch)].
2. Press [F1 (Sample List)] and select a sample.
2. Press [F1 (Sample List)] and select a sample.
Edit
Time
Stretch
Type
Quality
Adjust
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:
Specify the length relative to the current length of
the sample.
Range: 50.0–200.0%
TYPE01–
Lower settings of this value will make
TYPE10
the sound more suitable for faster phrases, and higher settings will make the
sound more suitable for slower phrases.
1–10
Make fine adjustments to the tonal quality of the Time Stretch.
4. Press [F6 (Execute)].
A message will ask you for confirmation.
5. To execute, press [F6 (Execute)].
*
Sampling
3. Press [CURSOR (up/down)] to select how you want
to specify the tempo/length.
3. If you want to replace the current sample with the
normalized sample, press [F4 (Over Write)] to display
the “✔” symbol.
To cancel, press [F5 (Cancel)].
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
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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
Point 1–4
Rate 1–4
Currently selected point
Beginning near the start point, the points
will be numbered 1, 2, 3, or 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)].
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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.
1. Press [SAMPLING/RESAMPLING] to access the
Sample Edit screen.
2. Select the sample that you want to save.
5. Assign a name to the sample.
[CURSOR (left/right)]
Moves the cursor (the location at which
to enter/edit a character).
[CURSOR (up/down)]
Switches letters between uppercase
and lowercase.
[VALUE] [INC/DEC]
Selects characters.
[F1 (Change Type)]
Selects the type of character.
Each time you press this, you will alternately select the first character of
the uppercase alphabet (A), lowercase alphabet (a), or numerals and
symbols (0).
[F2 (Delete)]
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
[F3 (Insert)]
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].
Sampling
The Sample Name input screen will appear.
7. Use [VALUE] or [INC/DEC] to select the writedestination 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.
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Menu (in Sample Edit)
Using the menu
1. In the Sample Edit screen, press [MENU].
2. Use [CURSOR (up/down)] or turn [VALUE] to select
the function that you want to execute.
A message will ask you for confirmation.
4. To execute, press [F6 (Execute)].
To cancel, press [F5 (Cancel)].
Sample List
Sample Parameter
Load Sample
Load All Sample
Import WAV/AIFF
Create Patch
Delete Sample File
Erase Sample
View a list of samples (p. 115).
Make various settings for a sample
(p. 116).
Load a sample.
Load all samples from the user bank
and card bank.
Import WAV/AIFF files from an external device.
Create a patch using a sample (p.
117).
Completely delete a sample.
Erase a sample from memory.
Loading a sample
Here’s how a sample that you specify in the sample list (p. 115) can
be loaded into memory.
1. From the menu, choose “Load Sample.”
2. Press [ENTER].
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
*
Here’s how to import an audio file (WAV/AIFF) as a sample.
1. From the menu, choose “Import WAV/AIFF.”
2. Press [ENTER].
3. Select the sample that you want to import.
3. Press [ENTER].
*
Importing WAV/AIFF data
To cancel, press [F5 (Cancel)].
[CURSOR (right)]
Display the contents of a folder.
[CURSOR (left)]
Return to the folder above.
[VALUE] [INC/DEC]
Move the cursor upward or downward.
[CURSOR (up/down)]
[F1 (User)]
Display the contents of the user area.
[F2 (Card)]
Display the contents of the memory card.
[F3 (Mark Clear)]
Remove the check mark from the file.
[F4 (Mark Set)]
Add a check mark to the file.
[F5 (Cancel)]
Return to the previous screen.
[F6 (Import)]
Import the checked files. (*1)
[SHIFT] +
Clear the check marks from all files in the
[F3 (Mark Clear All)]
folder.
[SHIFT] +
Add a check mark to all files in the folder.
[F4 (Mark Set All)]
*1: If not even check mark is assigned, the operation will be
executed on the file selected by the cursor.
4. Press [F6 (Import Sample)].
A message will ask you for confirmation.
5. To import, press [F6 (Execute)].
The file will be loaded as a sample.
*
To cancel, press [F5 (Cancel)].
Deleting a sample
Here’s how to completely delete a sample file.
1. From the menu, choose “Delete Sample File.”
2. Press [ENTER].
Loading all samples
Here’s how all samples in the user bank and card bank can be
loaded.
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
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.
1. From the menu, choose “Load All Sample.”
2. Press [ENTER].
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
2. Press [ENTER].
A message will ask you for confirmation.
3. Press [F6 (Execute)] to execute.
*
To cancel, press [F5 (Cancel)].
124
In the case of stereo samples, L and R will be loaded/deleted/erased
simultaneously.
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Menu
Menu
This section explains the system settings and the utility menu.
125
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System
Here you can make settings that affect the entire system, such as
those for tuning and synchronization.
1. Press [MENU].
6. Use [CURSOR (up/down)] to select a parameter.
7. Use [VALUE] or [INC/DEC] to edit the value.
*
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)].
fig.6-01
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)].
8. When you are finished making settings, press [EXIT].
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)]
[F4 (Sampling)]
[F5 (D Beam)]
[F6 (System Info)]
(System Information)
Make settings for the panel controllers 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.
View the state of the MC-909.
5. Press a function button to make further selections.
126
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System
Panel/Controller
Here you can make settings for the panel controllers and the screen.
Parameter
[F1 (Pad Velocity)]
Pad Velocity
[F2 (TTE/Tap/DB)]
TTE Slider Type
Range
Explanation
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.
TTE, PITCH BEND,
MODULATION
Function of the turntable emulation slider
TTE: Standard turntable emulation
PITCH BEND: Pitch bender
MODULATION: Modulation
Variable range of the turntable emulation slider
Tap button on/off
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
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 appropriate for the brightness of your location. Increasing this value will raise the sensitivity.
TTE Magnify
Tap Switch
Tap Resolution
-1– +1 – -200– +200
OFF, ON
QUARTER, 8TH,
16TH
D Beam ID
0–3
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
Parameter
[F1 (Seq Sync)]
Sync Mode
Range
Explanation
MASTER,
REMOTE,
SLAVE
Sync Output
OFF, ON
Arpeggio Sync
Mode
OFF,
MODE1,
MODE2
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 messages 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 device. If no MIDI Clock messages are being received, pattern/song playback will not occur even if you
press the [PLAY] button.
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
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 measure 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
Menu
Here you can specify how the sequencer will operate, and make MIDI-related settings.
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System
Parameter
RPS Trigger
Quantize
Range
REAL,
16TH, 8TH,
QUARTER,
MEASURE
BPM Lock
OFF, ON
[F2 (Song/Pattern)]
Song Loop Mode
OFF,
LOOP1,
LOOP2
Song Play Mode
MODE1,
MODE2
Song Step Switch
AUTO,
MANUAL
Startup Ptn
Mode
LAST
WRITTEN,
USER DEFINABLE
Preset, User,
Card
001–***
* Depends
on the
bank.
Startup Ptn Bank
Startup Ptn
Number
[F3 (MIDI Tx)]
Transmit Program Change
Transmit Bank
Select
Transmit Active
Sensing
Transmit Patch
Edit Type
Transmit Edit
Data
Soft Through
[F4 (MIDI Rx)]
Remote Keyboard Switch
128
OFF, ON
OFF, ON
OFF, ON
TYPEQUICK,
TYPE-CC
OFF, ON
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 velocity pads, the phrase will begin playing at the beginning of the next note unit.
MEASURE: The pattern will be divided into one-measure units, and when you press the velocity pads,
the phrase will begin playing at the beginning of the next measure.
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.
Specifies how songs will be played back.
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.
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.
The pattern that will be selected at power-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: Knob/slider data will be transmitted and received as control changes and as system exclusive 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.
Specifies whether the modified settings will be transmitted as System Exclusive data (ON), or not (OFF).
OFF, ON
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 retransmitted.
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 MC909 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.
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System
Parameter
Device ID
Range
17–32
Receive Program
Change
Receive Bank Select
Receive Exclusive
OFF, ON
OFF, ON
OFF, ON
Explanation
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 System 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 messages will not be received.
Specifies whether or not each part will receive system exclusive messages. When this setting is “OFF,” system exclusive messages will not be received.
Sound
Here you can specify the tuning and how the sound is to be produced.
Parameter
[F1 (Sound/Tune)]
Master Tune
Range
Explanation
415.3–466.2 Hz
Master Level
Output Gain
Metronome Level
Master Key Shift
Patch Remain
0–127
-12– +12 dB
0–10
-24– +24
OFF, ON
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.
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).
[F2 (Sound Control)]
OFF, ON
Rhythm Octave
Switch
Resonance Limiter
50–127
LFO Morphing
Switch
OFF, ON
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).
Sampling
Parameter
[F1 (Sampling)]
Default File Type
Preset Default Load
Range
Explanation
WAV, AIFF
OFF, ON
Sample Default Load
OFF, ON
Pre Sample Time
0–1000 ms
Trigger Level
0–7
Gap Time
500, 1000, 1500, 2000 ms
External Source Select
LINE-L-R, LINE-L,
DIGI-OPT,
DIGI-COAX, MIC
Trimming Switch
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).
Specifies whether the samples of the user area and memory card will be loaded into memory at power-on (ON) or not (OFF).
The length of sound preceding the moment at which sampling was manually or automatically initiated that will be captured in the sample
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.
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 divided 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 after sampling is performed, so any silent portions at the beginning or end of the sampled
sound are excluded.
129
Menu
Here you can make sampling-related settings.
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System
D Beam
Here you can make settings for the D Beam controller.
Parameter
[F1 (Solo Synth)]
Solo Synth Patch Bank
Solo Synth Patch No.
Solo Synth Note
Solo Synth Scale
Range
Explanation
Refer to Patch List (p. 151)
Patch played by the solo synth
0 (C-1)–127 (G9)
FREE, CHROMATIC
Solo Synth Range
[F2 (Cut+Reso)]
Cutoff Range Lower
Cutoff Range Upper
Resonance Range
Lower
Resonance Range Upper
[F3 (Turntable)]
Turntable BPM Type
2OCTAVE, 4OCTAVE
Reference note for the solo synth
Scale on/off
FREE: Continuous (no steps)
CHROMATIC: Semitone steps
Range of the solo synth
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
0–127
Filter resonance when you move your hand near the D Beam
DOWN, UP
Turntable Pitch Type
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.
UP: The pitch will rise as you move your hand nearer.
[F4 (User Assign)]
Type
Number
Control Change, Bend Up, Bend
Down, Bend Up/Down, Ch Aftertouch, 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
CC#1–CC#31, CC#33–CC#95
Range Lower
Range Upper
0–127
0–127
Parameter that will be controlled by the D Beam
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
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
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Utility
Here you can manage various types of data.
Import SMF
1. Press [MENU].
2. Use [CURSOR (up/down)] to select “Utility.”
fig.0-05
Here’s how to load SMF pattern data, and write it to a user pattern
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)]
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
3. Press [ENTER].
The Utility menu screen will appear.
Display the contents of the user area.
Display the contents of the memory card.
Return to the previous screen.
Import the selected file.
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
3. Press [F6 (Import)].
A screen in which you can specify the write destination will
appear.
fig.0-06
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)].
4. Press [F1]–[F6] to select the operation that you want
to execute.
[F1 (Import SMF)]
[F2 (Save As SMF)]
[F3 (Import WAV/AIFF)]
[F4 (Factory Reset)]
[F5 (User Backup)]
[F6 (User Restore)]
Load SMF data into a user pattern
or memory card (p. 131).
Save the data of the current pattern 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).
• Files with settings not supported by the MC-909’s sequencer
cannot be imported.
• 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.
<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
Menu
Cautions when importing SMF
MC-909_Ref_e.book 132 ページ 2005年6月28日 火曜日 午後2時53分
Utility
Save As SMF
User Backup
Here’s how to write the data of the current pattern to user memory
or memory card as SMF data.
Here’s how all user data in the user area can be saved on a memory
card.
Format 1 SMF data will be created.
The following user data will be saved.
1. In Pattern mode, select the pattern that you want to
save as SMF data.
2. In the Utility menu screen, press [F2 (Save As SMF)].
3. Select the destination in which the SMF data is to be
saved.
For details on the selection procedure, refer to “Import SMF” (p.
131).
4. Press [F6 (Save As SMF)].
• User Patterns
• User Patches
• User Rhythm sets
• Songs
• Samples
• Pattern sets
• RPS sets
• Arpeggio styles
• Chord forms
• System settings
A message will ask you for confirmation.
5. To save the data, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
Import WAV/AIFF
You need to have a sufficient amount of free space available on the
memory card in order to perform a User Backup; up to 64 MB may
be required.
1. Insert a memory card into the slot.
2. In the Utility screen, press [F5 (User Backup)].
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.
[CURSOR (right)]
Display the contents of a folder.
[CURSOR (left)]
Return to the folder above.
[VALUE] [INC/DEC]
Move the cursor upward or downward.
[CURSOR (up/down)]
[F1 (User)]
Display the contents of the user area.
[F2 (Card)]
Display the contents of the memory card.
[F3 (Mark Clear)]
Remove the check mark from the file.
[F4 (Mark Set)]
Add a check mark to the file.
[F5 (Cancel)]
Return to the previous screen.
[F6 (Import)]
Import the checked files. (*1)
[SHIFT] +
Clear the check marks from all files in the
[F3 (Mark Clear All)]
folder.
[SHIFT] +
Add a check mark to all files in the folder.
[F4 (Mark Set All)]
*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. To execute the backup, press [F6 (Execute)].
*
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.
When you execute User Restore, the current contents of the user area
will be completely erased.
1. Into the slot, insert the memory card on which user
data has been saved.
2. In the Utility screen, press [F6 (User Restore)].
3. Press [F6 (Import)].
A message will ask you for confirmation.
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
To cancel, press [F5 (Cancel)].
A message will ask you for confirmation.
3. To proceed with the restoration, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
MC-909_Ref_e.book 133 ページ 2005年6月28日 火曜日 午後2時53分
MIDI
Here you can make MIDI-related settings.
1. Press [MENU].
2. Use [CURSOR (up/down)] to select “MIDI.”
fig.6-03
3. Press [ENTER].
The MIDI Tx screen will appear.
For details on the settings, refer to p. 128.
Menu
fig.6-04
133
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File Utility
Here you can perform file-handling operations.
* About the folder structure, refer to p. 135
1. Press [MENU].
2. Use [CURSOR (up/down)] to select “File Utility.”
fig.6-05
Initializing a memory card
(Format)
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)
3. Press [ENTER].
The File Utility screen will appear.
fig.6-06
Here’s how you can delete an unwanted file from a folder.
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.
4. Use [F3]–[F6] to select the operation you want to
carry out.
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
[F1 (User)]
[F2 (Card)]
[F3 (Card Format)]
[F4 (Mark Clear)]
[F5 (Mark Set)]
[F6 (Move)]
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
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)
Delete the checked files. (*1)
[SHIFT] +
[F3 (Delete)]
[SHIFT] +
Clear the check marks from all files in the
[F4 (Mark Clear All)]
folder.
[SHIFT] +
Add a check mark to all files in the folder.
[F5 (Mark Set All)]
[SHIFT] +
Copy the checked files to another folder.
[F6 (Copy)]
(*1)
*1: If not even check mark is assigned, the operation will be
executed on the file selected by the cursor.
134
2. Press [F5 (Move)].
A screen will appear, allowing you to select the folder to which
the file is to be moved.
3. View the contents of the move-destination folder.
4. To move the file, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
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)].
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.
4. To copy the file, press [F6 (Execute)].
*
To cancel, press [F5 (Cancel)].
MC-909_Ref_e.book 135 ページ 2005年6月28日 火曜日 午後2時53分
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
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).
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.
2. Then press [F6 (Exit)] on the MC-909.
Macintosh users
1. Drag the MC-909 drive icon into the trash.
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.
USB communication
procedure
*
Before you continue, you must use a USB cable to connect the MC909 with your computer.
1. Press [MENU].
2. Then press [F6 (Exit)] on the MC-909.
IMPORTANT!
Cautions Regarding Folders
and Files
The folder structure of the user area and memory card is as
follows.
fig.Directory
(User, Card)
2. Press [CURSOR (up/down)] to select “USB.”
ROLAND
PNL
SEQ
3. Press [ENTER].
The USB screen will appear.
fig.6-07
SMPL
SND
PCL
PTN
RPS
SMF
SNG
TMP
Menu
BMP
SMF
WAV_AIFF
Do not modify the folder structure from a computer that is
connected to the MC-909 via USB.
4. Press [F3 (Internal)] or [F4 (Memory Card)] to
establish the connection with your computer.
• [F3 (Internal)]: Connect to the user memory.
• [F4 (Memory Card)]: Connect to the memory card.
*
To cancel the connection, press [F6 (Cancel)].
Windows Me/2000/XP users
A drive named “Removable disk” will be displayed within My
Computer.
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.
*
The MC-909 can only handle filenames that consist of singlebyte, alphanumeric characters.
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.
• Bitmaps
BMP folder
• SMFs
SMF folder
• Audio files
WAV_AIFF folder
This drive will contain a folder named “ROLAND.”
Macintosh users
A drive icon named “MC-909 USER” will appear on the desktop.
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.
This will contain a folder named “ROLAND.”
135
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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
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V-LINK
V-LINK
137
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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.
• Use the MC-909’s turntable emulation to control the video
playback speed along with the music playback speed.
• 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 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
Use a UM-1 to connect the MC-909’s MIDI OUT connector to the DV7PR’s remote jack.
Connection to Edirol V-4
Use a commercially-available MIDI cable to connect the MC-909’s
MIDI OUT connector to the Edirol V-4’s MIDI IN connector.
fig.V-LINK-Connect.e
Edirol UM-1
REMOTE
Edirol DV-7PR
MIDI OUT
MIDI IN
Projector
MC-909
Edirol V-4
Display
Using V-LINK
Turning V-LINK on
Turning V-LINK off
1. In the lower left of the panel, press [V-LINK] so the
indicator is lighted.
1. Press [V-LINK] to access the V-LINK SETUP screen.
The V-LINK SETUP screen will appear.
2. Press [F6 (Close)] or [EXIT].
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.
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
2. Press [V-LINK] again.
The [V-LINK] indicator goes out, and you’re returned to the
previous screen.
You cannot turn V-LINK off from a screen other than the V-LINK
SETUP screen.
MC-909_Ref_e.book 139 ページ 2005年6月28日 火曜日 午後2時53分
About V-LINK
V-LINK settings
Range
1–16
0(C-1)–127(G9)
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
1–16
Dissolve Time
Ctrl Tx Ch
Color Cb Ctrl
Color Cr Ctrl
Brightness Ctrl
VFX1–4 Ctrl
OFF, CC1, CC5, CC7, CC10,
CC11, CC71–74, CC91–93,
Channel Aftertouch
Fade Ctrl
PAD MODE
CLIP, PALETTE
Local Sw
OFF, ON
Clip filter
(check boxes 1–32)
(OFF), ✔ (ON)
Explanation
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.
Control change number that controls the dissolve time (time over which the image switches)
MIDI channel that will control the Edirol DV-7PR color Cb/Cr, brightness, and video effect
switching
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
Press [F2 (Palette)]: switch palettes
Specifies whether the internal sound generator is disconnected (OFF) from the velocity
pads, or not (OFF).
Enable/disable switching for each clip
Clips that are checked can be switched (see explanatory box below)
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.
Resetting the image
[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.
V-LINK
Parameter
Note Tx Ch
Clip 1 Note No.
139
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MEMO
140
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Appendices
Appendices
141
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Installing the Wave Expansion Board
An optional Wave Expansion Board (SRX series) can be installed in
the MC-909.
Waveform data, patches and rhythm sets are stored on the Wave
Expansion Board, so you can increase the number of available
sounds by installing the board in the MC-909.
Cautions When Installing a
Wave Expansion Board
How to Install a Wave
Expansion Board
Install the Wave Expansion Board after removing the bottom panel
cover.
1.
Before installing the Wave Expansion Board, turn off the power
of the MC-909 and all connected devices, and disconnect all
cables, including the Power cable, from the MC-909.
2.
Turn the MC-909 over, remove the screws indicated in the
following diagram, and remove the cover.
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.
fig.Exp-01.e_90
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.
Screws to be removed
2
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
5
• 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.
• Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
3.
Plug the connector of the Wave Expansion Board into the
connector on the unit, and at the same time insert the board
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
terminals.
Board holder
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.
Position it as shown
before you install
the board.
913
• When circuit board installation is complete, double-check your
work.
4.
914
• Always turn the unit off and unplug the power cord before
attempting installation of the circuit board (SRX series; Quick
Start p. 2).
Connector
Use the Installation Tool supplied with the Wave Expansion
Board to turn the holder in the LOCK direction, so the board
will be fastened in place.
fig.Exp-03
915
• Install only the specified circuit board (SRX series). Remove only
the specified screws (p. 142).
928
LOCK
• 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
Wave Expansion Board is complete, be sure to replace the cover.
142
5.
Use the screws that you removed in step 2 to fasten the cover
back in place.
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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.
Appendices
• If SRX-01 “Dynamic Drum Kits” or SRX-02 “Concert Piano” is
installed, only the waves can be used. The patches/rhythm sets
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
MC-909_Ref_e.book 144 ページ 2005年6月28日 火曜日 午後2時53分
Installation de la carte d’extension Wave
(French Language for Canadian Safety Standard)
Une carte d’expansion Wave (modèle SRX) optionnelle peut être
installée dans le MC-909.
Les données Waveform, les retouches et les groupes de rythme sont
stockés sur la carte d’expansion Wave; vous pouvez donc augmenter
le nombre de sons disponibles en installant la carte dans le MC-909.
Précautions à prendre lors
de l’installation d’une carte
d’expansion Wave
Installation d’une carte
d’expansion Wave
Avant d’installer la carte d’expansion Wave, retirez le panneau
inférieur.
1.
Avant d’installer la carte d’expansion Wave, coupez
l’alimentation du MC-909 et de tous les appareils branchés, et
débranchez tous les câbles du MC-909, y compris le cable
d’alimentation.
2.
Tournez le MC-909 sens dessous dessus, retirez les vis indiquées
dans le diagramme ci-dessous et retirez le couvercle.
901 (F)
• Veuillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique.
fig.Exp-01.f_90
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
• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez
de toucher aux composants ou aux connecteurs.
5
• 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
• Assurez-vous que les vis que vous retirez ne tombent pas à
l'intérieur du MC-909.
3.
Enfichez le connecteur de la carte d’expansion Wave dans le
connecteur de l’unité et, en même temps, insérez le support de
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)
• 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.
913(F)
• Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
Placez le tout comme
le montre l'illustration
avant d'installer la carte.
4.
914(F)
• Toujours éteindre et débrancher l’appareil avant de commencer
l’installation de la carte. (modèle SRX; Quick Start p. 2).
Connecteur
Utilisez l’outil d’installation fourni avec la carte d’expansion
Wave pour tourner les supports en position LOCK (verrouillé)
afin de retenir la carte en place.
fig.Exp-03
915(F)
• N’installez que les cartes de circuits imprimes spécifiées (modèle
SRX). Enlevez seulement les vis indiquées (p. 144).
LOCK
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.
• Ne pas laisser le panneau de protection avant detache. S’assurer
de l’avoir rattacher apres avoir installe le disque dur.
144
5.
Remettez le couvercle en place à l’aide des vis retirées à l’étape
2.
MC-909_Ref_e.book 145 ページ 2005年6月28日 火曜日 午後2時53分
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.
• Si SRX-01 «Dynamic Drum Kits» ou SRX-02 «Concert Piano» est
Appendices
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
MC-909_Ref_e.book 146 ページ 2005年6月28日 火曜日 午後2時53分
Expanding the Memory
The MC-909 comes with 16 MB of memory into which audio samples
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.
How to Expand the Memory
Install the memory module after removing the bottom panel cover.
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.
2.
Turn the MC-909 over, remove the screws indicated in the
following diagram, and remove the cover.
Before expanding the memory, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland distributor.
Precautions for Expanding
Memory
fig.Exp-01.e_90
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
• When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
5
• 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.
3.
fig.Screw.e
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 (Modified)
• Always turn the unit off and unplug the power cord before
attempting installation of the memory DIMM board.
915 (Modified)
• Install only 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
Press outward the white clips at either end of the socket should
be in the downward position.
fig.DIMM-01
MC-909_Ref_e.book 147 ページ 2005年6月28日 火曜日 午後2時53分
Expanding the Memory
4.
Paying attention to the location of the notch on the memory
module and the orientation, insert it vertically within the guides
at either side of the socket.
Checking that memory is
installed correctly
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.
Use the screws that you removed in step 2 to fasten the cover
back in place.
Removing the Memory
To remove the memory module, reverse the installation procedure.
1.
Simultaneously press outward the white clips located at either
end of the socket.
fig.DIMM-04
Press [F6 (Close)] to return to the System Menu screen.
8.
Press [EXIT] to exit the System Menu screen.
* 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.
Specifications of the expansion memory
(DIMM) that can be used
Number of pins:
Speed:
Voltage:
Capacity:
Board height:
2.
Remove the memory module from the socket.
168-pin
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
128 MB
256 MB
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.
147
Appendices
6.
7.
MC-909_Ref_e.book 148 ページ 2005年6月28日 火曜日 午後2時53分
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 (F)
• Veuillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique.
Installez le module de mémoire après avoir retiré le couvercle
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.
2.
Tournez le MC-909 sens dessous dessus, retirez les vis indiquées
dans le diagramme ci-dessous et retirez le couvercle.
• 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
• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez
de toucher aux composants ou aux connecteurs.
fig.Exp-01.e_90
5
• 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)
• 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.
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
3.
Appuyez sur les clips blancs à l’extrémité de la prise qui
devraient être orientés vers le bas.
fig.DIMM-01
MC-909_Ref_e.book 149 ページ 2005年6月28日 火曜日 午後2時53分
Ajouter de la mémoire
4.
Prenez bien note de l’emplacement et de l’orientation de
l’encoche du module de mémoire et insérez-le verticalement à
l’intérieur des guides qui se trouvent de chaque côté de la prise.
Vérifier que la mémoire est
installée correctement
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
*
5.
Si vous éprouvez de la difficulté à insérer le module de mémoire,
inclinez-le légèrement et insérez une extrémité à la fois.
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.
À l’aide des vis retirées à l’étape 2, remettez le couvercle en
place.
Retrait du module de mémoire
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
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 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.
Spécifications de la mémoire d’expansion
(DIMM) qui peuvent être utilisées
Nombre de broches :
Vitesse :
Tension :
Capacité :
Hauteur de la carte :
2.
Retirez le module de mémoire de la prise.
168 broches
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
128 Mo
256 Mo
38 mm ou moins
Appendices
6.
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
MC-909_Ref_e.book 150 ページ 2005年6月28日 火曜日 午後2時53分
Waveform List
No.
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
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
Name
MC SuperSawA
MC SuperSawB
MC SuperSawC
SuperSawSlwA
SuperSawSlwB
SuperSawSlwC
Trance Saw A
Trance Saw B
Trance Saw C
Alpha Rave
MG Big Lead
JUNO Rave
Blaster
Sync Sweep
TB Natural
TB303Saw HD
106 Saw HD
CustomSawAHD
JP8000 Saw
MG Reso Saw
MGSaw HD
Synth Saw
JP-8 Saw
P5Saw HD
P5 Saw
OB2Saw HD
OB Saw
Digital Saw
OSC Saw
OSC Reso Saw
Air Wave
DistTB Sqr
DistTBSqr Lp
TB Dst Sqr
TB303Sqr HD
TB Square 1
TB Square 2
JP-6 Square
MGSqr HD
MG Square
P5Sqr HD
P5 Square
OB2Sqr HD
CustomSquAHD
PureSqr1kHz
PureSqr440Hz
106 SubOscHD
JP8PLS05 HD
JP8PLS25 HD
JP8PLS40 HD
JP8PLS45 HD
JP-8 Pulse
MG Pulse
260 Pulse
Frog Wave
FM Pulse
JP8000 PWM
JP8000 FBK
260 Sub OSC
MGTri HD
MG Triangle
ARPSin HD
Sine
PureSine1kHz
PureSin440Hz
700SynthBass
Mini Bs 1A
Mini Bs 1B
Mini Bs 1C
Syn Bass 1
Syn Bass 2
Syn Bass 3
Mini Bs 2
Mini Bs 2 Lp
MG Big Bass
Garage Bass
Delta Bass
Jungle Bass
SH-101 Bass
MC-202 Bass
Poly Bass
Organ Bass
Voco Bass
Reso Bass 1A
Reso Bass 1B
Reso Bass 2A
Reso Bass 2B
FM Bass f
Solid Bass
Fingered Bs
Stick Bass
P.Bass
Slap Bass
Bass Slide
FretlessSoft
Fretless Bs
UprightBs
Ac Bass
Piano EQ
150
No.
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
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
Name
EP MkI mf
Stage p A
Stage f A
Lo-Fi Wurly
FM EP mf
D-50 EP
Clavi
E.Organ 1
E.Organ 2
Full Stop
FM Club Org
Old Organ
Church Org
Tubular
Glockenspiel
Vibraphone
FantabellSub
DIGI Bell
Steel Dr
FM Mallet mf
Marimba
Balaphone
Kalimba
Soft NylonGt
Steel Guitar
Clean TC
Funk Gt
Funk Gt Mute
Overdrive
D.MuteGt mp
DistGtrChord
CleanGtrCut
Gtr Trill
Gtr Cut
DistGtrRiff1
DistGtrRiff2
Wah Gtr Riff
GtrShtSlide
FullStr mf A
FullStr mf B
FullStr mf C
JV Strings
Tron Strings
JP Strings
Tremolo sfz
STR Attack
StrChord Maj
StrChord Min
VlnPizzicato
Pizzy Techno
FemChoirOosA
FemChoirOosB
FemChoirOosC
Brass Sect A
Brass Sect B
Brass Sect C
BrsShortFall
Solo Trumpet
Mute Trumpet
Soft AltoSax
Blow Tnr Sax
Wild Tnr Sax
Afro Flute
Pure Flute
Tron Flute
Pan Flute
Flute Gliss
Shamisen
Sitar
Hit Menu 1
Hit Menu 2
Hit Menu 3
OrangeHit 1
OrangeHit 2
OrangeHit 3
OrangeHit 4
OrangeHit 5
OrangeHit 6
OrangeHit 7
OrangeHit 8
Ambience
7th Hit
Minor Hit
Drive Hit
Brassy Hit
6th Hit
Filtered Hit
Mild Hit
Bright Hit
5th StackHit
Euro Hit
Dist Hit
Tekno Hit
Back Hit
Techno Chord
Thin Beef
Tao Hit
Philly Hit
ClassicHseHt
No.
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
Name
Smear Hit 1
Smear Hit 2
LoFi MinorHt
OrchPrc Hit
Sitar Gliss
Scratch Menu
Scratch 16
Scratch 17
Scratch 18
Scratch 19
Scratch 20
Scratch 21
Scratch 22
Scratch 23
Scratch 24
Scratch 25
Scratch 26
Tape Rewind
Vox Menu 1
Vox Menu 2
One M
Two M
Three M
Four M
Aah! M
Hou! M
Ha! M
Hi! M
Hi2 M
Wow M
Yeah2 M
You Know M
Get It Up M
Come On M
Ah Hah M
Ah M
Ah2 M
Uuh Yeah! M
ComeOn F
Ha F
Woow F
MetalVoiceW1
MetalVoiceW2
MetalVoiceW3
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
MetalVoiceL1
MetalVoiceL2
MetalVoiceL3
VoxPerc Menu
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!
Chiki!
Punch
AahVoice Maj
AahVoice Min
Auh Voice
Breath
Feedbackwave
Atmosphere
MG White Nz
MG Pink Nz
DigiAtkNoise
P5 Noise
106 Noise
Noise AGG
Noise TMBR
Noise GIS
ThroatWind
Metal Wind
FX Menu 1
FX Menu 2
FX Menu 3
FX Menu 4
Euro Fx
LoFi Beep 1
LoFi Beep 2
LoFi Beep 3
Hardhock
Orbit
Density
LoFi Beep 4
LoFi Beep 5
LoFi Beep 6
Metal Bar 1
Metal Press
Sand Hit
Metal Bar 2
No.
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
Name
BPF Fx
Artful Perc1
Artful Perc2
MG Noise Fx
Beep
DarkSteam
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
Beam HiQ
MG Attack
MG Sweep 1
MG Sweep 2
MG Sweep 3
MG Sweep 4
MG Sweep 5
MG Sweep 6
Space FX Swp
SFX Menu 1
SFX Menu 2
Dial
Door Knob
Vinyl burst
Water Cock 1
Water Cock 2
Bomb Noise
Sea
Brush Noise
Space Noise
Scream
Jet Plane
Toy Gun 1
Toy Gun 2
Emergency
Buzzer
Insect
Tonality
Ring OSC
Reso FX
Vinyl Noise
Vinyl Stop
Construct.
Jack Hammer
Turbine
Sawing
Firebomb
Applause
Thunderbolt
Dolphin Hi 1
Dolphin Hi 2
Dolphin Md
Dolphin Lo
MetallicShot
Siren
Drill Hit
Clap Menu 1
Clap Menu 2
Disc Clap
Dist Clap
PD Clap
Old Clap
R8 Clap
TR909 Clap 1
TR909 Clap 2
TR808 Clap
TR707 Clap
Cheap Clap
Real Clap 2
Hip Clap
Group Clap
Claptail
Planet Clap
Royal Clap
Happy Clap
Club Clap
Funk Clap
Perc Menu 1
Perc Menu 2
Perc Menu 3
Perc Menu 4
R8 Cowbell
TR808Cowbell
CR78 Cowbell
R8 Hi Agogo
R8 LowAgogo
R8 HiCongaMt
No.
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
Name
R8 HiCongaOp
R8 LoCongaOp
Reg HiCng Mt
Reg HiCng Op
Reg LoCng Op
Reg HiBng Mt
Reg HiBng Op
Reg LoBng Op
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
TablaBayam 7
Udo
Udu Pot1 Hi
Udu Pot1 Slp
Cajon 1
Cajon 2
Cajon 3
AfroDrum Rat
Chenchen
Op Pandeiro
Mt Pandeiro
Timpani
Tambourine1
Tambourine2
Tambourine3
Tambourine4
CR78 Tamb
CR78 Beat
Timbale Hi
Timbale Lo
808 Maracas
Maracas
R8 Shaker A
R8 Shaker B
R8 Cabasa
Triangle 1
Triangle 2
CR78 Guiro
Reg Guiro A
Reg Guiro B
Reg Guiro C
Whistle Shrt
Whistle
TR727Quijada
TR808 Claves
R8 ClavesCmp
Club FinSnap
Single Snap
Snap
Kick Menu 1
Kick Menu 2
Kick Menu 3
Kick Menu 4
Click Kick 1
Pick Kick
Mild Kick
Back Kick
Vinyl Kick 1
Low Kick 1
Click Kick 2
Boys Kick
Hippie Kick
Frenzy Kick
PlasticKick1
Artful Kick
Swallow Kick
Neck Kick
Skool Kick
Dance Kick 1
HipHop Kick1
HipHop Kick2
Rap Kick
Low Kick 2
Pin Kick
Low Kick 3
Low Kick 4
AnalogKick 3
PlasticKick2
TR909 Kick 1
TR909 Kick 2
TR909 Kick 3
AnalogKick 4
TR909 Kick 4
Gabba Kick 1
AnalogKick 5
AnalogKick 6
AnalogKick 7
AnalogKick 8
AnalogKick 9
AnalogKick10
PlasticKick3
TR606 Dst BD
AnalogKick11
Sweep Kick
TR808 Kick
No.
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
Name
TR606 Kick
Jive Kick
TR909 Kick 5
TR909 Kick 6
Lo-Fi Kick 2
Wet Kick
Tight Kick
TR707 Kick 1
TR909 Kick 7
Regular Kick
Lite Kick 1
Roll Kick
Snare Menu 1
Snare Menu 2
Snare Menu 3
Snare Menu 4
Snare Menu 5
Snare Menu 6
Snare Menu 7
Sizzle Snr 1
LowDownSnr 1
Jngl Tiny SD
Tiny Snr 1
DJ Snare
R8 Brush Tap
Phat Snare
Lo-Hard Snr
ElectroSnr 1
RaggaTightSD
Flange Snr
Slap Snr 1
Analog Snr 1
Analog Snr 2
Analog Snr 3
Modern Snr 1
Swallow Snr
Jam Snr
Back Snr
Keen Snr 1
Boys Snr 1
Slap Snr 2
Neck Snr
Artful Snr
Pin Snr
Chemical Snr
Sizzle Snr 2
Antigua Snr
Tiny Snr 2
Real Snare
R&B Snr 1
R&B Snr 2
Cross Snr
Grave Snr
Boys Snr 2
Boys Snr 3
LowDownSnr 2
TR909 SD 1
TR909 SD 2
TR909 SD 3
TR909 SD 4
TR909 SD 5
TR909 SD 6
TR909 DstSD
TR808 SD 1
TR808 SD 2
TR808 SD 3
TR808 SD 4
Lite Snare
TR808 SD 5
TR808 SD 6
TR808 SD 7
DanceHall SD
TR606 SD 1
TR606 SD 2
CR78 Snare
Sim Snare
Rap Snr 2
Frenzy Snr 1
Frenzy Snr 2
Frenzy Snr 3
Jngl Rim 1
Jngl Rim 2
R8 Snr 1
R8 Snr 1cmp
R8 Snr 2
Slap Snr 3
Keen Snr 2
Reagae Snr
DR660 Snr
RegularSnrMP
RegularSnrMF
RegularSnr F
RegularSnrR1
RegularSnrR2
RegularSnrG1
RegularSnrG2
RegularSnrG3
R&B RegSnr 1
R&B RegSnr 2
No.
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
Name
R&B RegSnr 3
R&B RegSnr 4
R&B RegSnrG1
Funk Snr 1
Picc. Hrd Sn
Picc. Rol Sn
SnareWithCym
R8 BrshSwill
R8 BrushRoll
Urban RollSD
Roll Snare
RimShot Menu
TR909 Rim
TR808 Rim
R&B Rim 1
R&B Rim 2
R&B Rim 3
Neck Rim
Swag Rim
Step Rim
R&B Rim 4
Street Rim
Regular Rim
R8 Comp Rim
Tom Menu
R8 Comp Tom1
R8 Comp Tom2
R8 Comp Tom3
R8 Comp Tom4
Natural Tom
TR909 Tom
TR909 DstTom
TR808 Tom
TR606 Tom
Deep Tom
CHH Menu 1
CHH Menu 2
Modern CHH
Hipping CHH
Urban CHH
Regular CHH1
Regular CHH2
Regular CHH3
Bristol CHH
R8 Brush CHH
Bang CHH
LowDownCHH
Disc CHH
Club CHH 1
HipHop CHH
TR909 CHH 1
TR909 CHH 2
Shaky CHH
Club CHH 2
Swallow CHH
TR808 CHH 1
TR808 CHH 2
TR606 CHH 1
TR606 CHH 2
TR606 DstCHH
Lite CHH
CR78 CHH
DR55 CHH 1
Neck CHH
Jungle Hat
PHH Menu
Hip PHH
Pedal Hat 1
Street PHH
Swallow PHH
TR909 PHH 1
TR909 PHH 2
TR808 PHH 1
TR606 PHH 1
TR606 PHH 2
OHH Menu
Neck OHH
Regular OHH
Pop Hat Open
HipHop OHH
Bang OHH
TR909 OHH 1
TR909 OHH 2
TR808 OHH 1
TR808 OHH 2
TR606 OHH
Lite OHH
CR78 OHH
Cymbal Menu
TR909 Crash
NaturalCrash
Jungle Crash
Asian Gong
RAMA Cymbal
Analog Cym
TR606 Cym
Regular Ride
TR909 Ride
TR707 Ride
MC-909_Ref_e.book 151 ページ 2005年6月28日 火曜日 午後2時53分
Preset Patch List
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
BreathingPad
Lonely Heart
STR Attack
DistGtrChord
Detune Saw
Pressyn
BooSoloBoo
JUNO Rave 2
SuperSawSlow
Trance Wave
SuperSawFast
Powerline
Detune Saws
Bustranza
Cyber Lead
Noisey
RAVtune
Blaster
Detuned Pad
Clean?
DelayStrings
DOC Stack
Syn Stack
Saw Stack
Trancy Synth
ScreaminLead
World Anthem
Houze Clav
PlayLow Dark
Digitaless
You know?
Moon Synth
Innercross
MultiDance02
Brand X
Sweep Lead
SweepPad w/D
Remix Stack
Def Filter
Freedom
Fast Detune
DenMrk Lead
Squeepy
Xtatic
SaturnHolida
Anna Harp
Hyperactiver
Syn Lead
RetroRave 2
RAVE w/me
HouseParty02
Rave Party
Rave It Up
BPF Sweeper
Alpha Time
Alphat
Electricity
Bend Rave
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
Polychords
Atmorave
MG Big Lead
Tech Lead
NRG Synthe 1
High Five
Noise Punch
OB M6 Saw
Organ Stack
SftFatPolyOB
SftPolyPfive
Poly Key
Pulse Komp
NRG Synthe 2
OB Shinethru
KeyRand Saw
RndClaviator
Deowah Saw
PKG Key
forSequence1
Shrtpin
PsycoActive
SMILE :-)
OB Raindrops
5th Saw
PlasmaFields
HeavenlySine
FM Harp
Syn Harp
Glow Bugs
Dust Rave
Klangosaurus
Grandiosity
12th Planet
NoisePeaker
Cave Tone
106 Saw
Kiss My Grts
Lone Prpht
W-Side Saw
Basic Mg
Legato Saw
QuackyPfive
LPassRzSawMg
The Prpht OB
The Prpht TB
Q DualSaws
Dual Profs
DualP
BandSawMg
BandSawMg2
Slow Mg
Freaky Fry
The Brothers
Mosquito
Digital BPF
HPF Sweep
Pulse Line
ArtifFrog
Metal Frog
Waspy Lead
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
HiPass Mg
LateFlapSqr
DualRateSqr
QuackyPSqr
Some Squares
Zooba Dooba
Pure Square
Voyage Mg
PortaSynLead
Jupiter6Sqr2
BandSqrMg
My OneOSix
DCOs4ever
Dist Lead 2
Griggley
Buzz Sucker
SonicVampire
Electrovox
Beep Mod
MosquitoLead
Destroyed Ld
HC Solo Lead
Synkronizor
Sync Dink
Da Sync
Sync Sweep
Elect Shock
Qube Sync
See a Chance
Splatter
Nasty Blade
Criminal
Syncing Sand
Uranus
Play with ME
IRobot
3rd Pulse Mg
GumbyBot
Vibrato Saw
Arpness TB
Dist TB
headHit Lead
Too Pure
Old Synth
Basic 1
ResoLFO LD
Similar Lead
Air Wave
Mew Lead
Cue Tip
Basic 2
PeakArpSine
PekingTriMg
TubbyTriangl
Square Lead
Sine Mallet
SQR Diamond
Classy Pulse
Eat Skip
NRG Synthe 3
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
Yellow
Strobe 909
Comptron
JPpulsingPWM
Dot16LFO Mg
Ray
Galaxy
Mars
Blurp
Bottle Clown
909 Waltz
Slice Choir
Fashion
Sync'ed Pass
909 Racer
MetroPoly 2
Sands of LFO
PanningFrmnt
Bells of Q
TempoLFO OB
SlicedBread2
Bass Engine
GuitarGroove
Twang Woo
Flow
ClassicRaver
Mission time
Small_Groove
OB M6 x2
Dub Tales
Plus3 4 Bob
Venus
Timed Hit
.16 Orch
EchoResoPizz
TB Trancer
Doink
Seq.Synth 1
Saw SEQ
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
Loco Voco
Vel-o-TB
Gate Me Buzz
eRobot Bass
Metalic Bass
Goldon 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
SynBs 4 Seq
StabSaw Bass
Now Bass
Poly Bass
D9 Trcker
TB + Sine
Low Downer
Basstrap
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
MG Bass
MC-TB Bass
ArpeggioBass
HipHop Bs 1
Voco Bass 1
Voco Bass 2
Alter Bass
Farmer Joe
MG Big Bass
SH-101 Bs 2
Big Bass
Mini Bs
MiniMoe Bass
Chordpatch
Kickin'Bass
Phat bass
Super-G DX
Syn Bass 1
Pong
R&B Bass 3
R&B Bass 4
Syn Bass 2
OctSaw Bass
R&B Bass 5
Monster TB
TB Clone
NU-NRG Bass
Inside Bass
Rezo Bass
R&B Bass 6
FuzzBlockHed
Tracore Bass
Bau Bass
Acdg Bass
RingerBass
SQ Pan
LFO Bass
AcidMoon
Jungle Bass
Sine Bass
R&B Bass 7
LFO SqrBs 2
SQR+Sub Bs
Square Bass
151
Appendices
Preset A
(CC#0 = 81,
CC#32 = 64)
MC-909_Ref_e.book 152 ページ 2005年6月28日 火曜日 午後2時53分
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
Bass it
Basic SynBs
R&B Bass 8
808 Bass 2
Organ Bass 2
Org Atk Bs
Sqr Atk Bs
FM Bass
Front 909
FM Super Bs2
Univ Studies
Buum Bass
Solid Bass
T Nite Bass
Solid Goa
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
Tabla Bass
Pizz Bass
Destroyed Bs
FXM Bass
Dendo Bass
XL Too
NY83 Bass
Velo fingers
P.Bass
All Round
Nice P /
Stick Bass
NiceStick /
Heavy Bass
Upright Bs
Acousta Bass
LoFiAtk Bass
Downright
E.Ac.Bass
Acid Jazz Bs
Fretless Bs1
FretlessBs P
Fretless Bs2
Warm LeadG
Slap Bass
Bass Slide
V-BassHarm
MeanNoHarmBs
Tempest
Sweep Pad 1
Sweep Pad 2
Size Rizer
Juno Sweep
BPF Syn Pad
SmoothChange
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
DCO Stack
Rise Pad
Penta Pad
Juno Waves
Mod Pad
Slow Gear
DeepForest2
HPF Ensemble
Steamed Sawz
AiRye BreadAnalogscape
The Pad
JP Str Pad
Saw Pad
Palm Pad
909 Sweep
Undulate Pad
Sweet Vocode
Double Morph
Floating Pad
Juno Waves 2
Cosmosis
Metal Pad
Warm Pad
Soft Pad
Phaedra
Sine Pad
Heavenly Pad
HauntedStars
Female Oos
Floor Choir
Windy Vox
Digi Voices
SmoothGroove
Auh Luv Rave
JungleFever
Cheesy Stab
AahVoiceMaj
Sample Age
Sun Shower
CalifnSunset
AahVoiceMin
Right&Left
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
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
1 Get Up^_^)
Puwa
Dance Grand
64voicePiano
Hard Piano
Epic House
Honktonkhous
Piano Trance
NY Piano+Str
Sine EP+
Soul Vibe
Talkin EP
Psychic EP
Wah EP
Noir
StageEP w/Tr
Back2the60s
Creep
Analog EP
Old EP X
Str8Up Wurly
Wirle EeePee
Gentle Wurly
Dist Wurly
Trem EP Mod
Cool EP
FM E.Piano
EppEEppE
SuperLushMod
Clavi
Funky D
Pulse Clav
Analog Clavi
Harpsichord
Pulse Key 2
Digi Key
Cold Key
E.Organ 1
E.Organ 2
Organic
Percs Organ
Fake Organ
Vade Retro 2
Club Organ
Continential
Hippy Organ
Bright Organ
Clubless Org
Happy Organ
Plastic
Remix Organ
Cheese Organ
Church Org
Rave Organ
Vibraphone
Vibrarimba
CTA Bell
Marimba
FM Mallet
Balaphone
Ethno Keys 1
Seq Fodder
Mu Island
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
Synth Bell
Kalimbells
DIGI Bell
TribellDance
NitrousDragn
Tubular-Bell
Gigoloid
Ring Sine
Steel Guitar
Steel-Str.Gt
HipHop Gtr
Twin Aco Gtr
PureAcoustic
Bright Nylon
Fake Guitar
Clean TC
CleanEG w/Tr
Clean&String
Lo-Fi Gtr
BPF Guitar
Funk Gtr
FnkDittyMute
JAMIn' 01
Jazzin
CleanGtrCut
VeloWahDMute
ReTrigDsMute
RockinMuteGt
AutoWahMute
Wah Gtr Riff
Tripled8 Wah
GtrShtSlide
MuteFall /
Gtr Cut
DistGtrRiff1
DistGtrRiff2
Gtr Trill
909 Strings
Hybrid Str 1
Hybrid Str 2
JV Strings
Lo-FiStrings
Vinyl Strngs
Odd Strings
Melo Tapes
Mellody
Swim Strings
GloryOfCaesr
BunVox&Str
Tremolo SFZ
Finale
NostalgicOrc
ScaryStringz
DrkTrem Orch
IfIKingDaFst
Radio 30's
Ping
Queasy
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
StrChord Maj
StrChord Min
SynStrings
OB Slow Str
Super SynStr
Contrabass
VlnPizzicato
Pizz Orch
Wet
Piezzo
E-piz
Pizzicato
Pizz It
Techno Pitz
AfricanFlute
Jazzy Flute
McFlute Atk
FluteSoloist
Faked Flute
TronM Flute
TronFlute5th
Lonely Ghost
Strangefruit
Casals dream
Flute Pipe
Pan Flute
ACIDJdynaflt
Flute Gliss
Dr. Bellows
Whistle
Wide SynBrs
Special Saw
Silk Pad
Silky JP
Detuned DCOs
Cheap SynBrs
Synth Brass
Brass Stack
St Sfz Brass
30's Tpt
Stereo Brass
ThunderBrass
Solo Tpt
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
Real Sitar
Sitar LFO
FarOutSGliss
Tripn'Bombay
Cheep Lead
Maharagna
152
MC-909_Ref_e.book 153 ページ 2005年6月28日 火曜日 午後2時53分
Preset Patch List
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)
User: 129–256
(CC#0 = 81,
CC#32 = 1)
Card: 129–256
(CC#0 = 81,
CC#32 = 33)
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
Tsugaru Road
TribalRitual
It Began in
Duel Ethno
Ethno Keys 2
FX Menu 1
FX Menu 2
FX Menu 3
FX Menu 4
Hi?
Weird Snare
BreathingArp
Chiki /
Underground
Ambitech
ModtheGong
Breath Hit
Smooth Jet
Lazer Points
Mod Hit 1
Stopper
We'r d'ROBOZ
Orbit Mod
Affects
LogicalSweep
BullsEye
DownThePitch
DnB Fall
Let it beep
Mousey Kick
Strange
Fear
Touch EF
NoFXrequired
Feedbackwave
Noise Voice
In The Mist
MagneticStrm
Take Effect
Random LFO
S&H Voc
RubbrBandSaw
Nasty Filt
Lipple Ring
2Matt Colors
Flag Flash
Metalythm
Sync Tone
Down The Hit
MetallicShot
Kick Da Lion
Boost Tom
Perk Breath
WaitnOutside
GogSign
DingDong
Transport
GK Ready
to the stars
Dusted
Destructo
RockNSleestk
3D Flanger
Pacifica
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
Liquid Air
Rev Cord
Trancer
Autovox
Randooom
Mod Hit 2
Mod Hit 3
Mad Mod
Q Jet FX 01
Abduction
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
Sweet Garage
Orch Hit 1
Orch Hit 2
Rave Hit
Chunky
Tekno ChdHit
Happy Hit
Dly Rls Stab
Classic Hit
RevHouse Hit
Smear Hit 1
Smear Hit 2
Dark Hit
Vinyl Brass
Funk Chank
Cheezy Movie
Mojo Man
Philly Hit
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
Udu/Udo
Asian Gong
Timpani
VoxPerc Menu
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
Snare Menu 1
Snare Menu 2
Snare Menu 3
Snare Menu 4
Snare Menu 5
Snare Menu 6
Snare Menu 7
NY83 SD
TR909 Snare
Blip SD
RimShot Menu
Tom Menu
CHH Menu 1
CHH Menu 2
PHH Menu
OHH Menu
Cymbal Menu
AirWave Solo
TronFlt Solo
TronStr Solo
JP8 Saw Solo
SuperSawSolo
Trumpet Solo
E.Organ Solo
RealStr Solo
MTLVoiceSolo
E.Voice Solo
Appendices
Preset F
(CC#0 = 81,
CC#32 = 69)
153
MC-909_Ref_e.book 154 ページ 2005年6月28日 火曜日 午後2時53分
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)
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
154
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
PlasticKick1
TR909 Kick 1
TR909 Kick 7
TR909 SD 1
TR909 SD 2
TR909 SD 3
TR909 Rim
TR909 Clap 1
TR909 Tom
TR909 Tom
TR909 Tom
TR909 CHH 1
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
TR909 Kick 1
TR909 Kick 2
TR909 Kick 3
TR909 SD 1
TR909 SD 2
TR909 SD 3
TR909 Rim
TR909 Clap 2
TR909 Tom
TR909 Tom
TR909 DstTom
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
TR909 Crash
TR909 Ride
TR808 Kick
TR606 Dst BD
TR808 Kick
TR808 SD 1
TR808 SD 2
TR808 SD 3
TR808 Rim
TR808 Clap
TR606 Tom
TR606 Tom
TR808 Claves
TR606 CHH 1
TR606 PHH 1
TR606 OHH
TR606 Cym
TR909 Ride
TR909 Kick 6
Pick Kick
AnalogKick 9
Tiny Snr 1
Jngl Tiny SD
Slap Snr 1
Aah Formant
R8 ClavesCmp
MG Attack
Beam HiQ
MG Blip
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 OHH
NaturalCrash
AnalogKick 9
AnalogKick 5
PlasticKick3
TR909 SD 3
Boys Snr 2
Analog Snr 1
R&B Rim 4
Claptail
Deep Tom
Deep Tom
Deep Tom
Urban CHH
TR808 PHH 1
Regular OHH
TR909 Crash
TR707 Ride
Neck Kick
Back Kick
Tight Kick
Tiny Snr 1
Rap Snr 2
Tiny Snr 2
R&B Rim 4
Old Clap
GtrShtSlide
Tambourine4
AahVoice Maj
LowDownCHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
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
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
TR909 Clap 2
TR909 Tom
TR909 Tom
TR909 DstSD
TR909 CHH 2
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
Back Kick
PlasticKick1
PlasticKick1
Real Snare
Lo-Hard Snr
Swallow Snr
R&B Rim 3
R8 Clap
TablaBayam 1
TablaBayam 2
TablaBayam 3
Regular CHH1
Street PHH
Regular OHH
NaturalCrash
TR707 Ride
AnalogKick 8
AnalogKick 6
AnalogKick 7
Analog Snr 2
Analog Snr 3
Analog Snr 1
Picc. Rol Sn
Dist Clap
R8 Shaker A
BPF Fx
Density
TR909 CHH 2
TR909 PHH 2
TR909 OHH 2
TR909 Crash
TR909 Ride
TR808 Kick
TR909 Kick 1
AnalogKick10
TR909 SD 1
TR808 SD 4
TR909 SD 3
Snap
TR909 Clap 1
Disc Clap
Claptail
CR78 Tamb
TR909 OHH 2
Neck OHH
TR909 OHH 2
TR909 Crash
TR909 Ride
TR909 Kick 5
Pick Kick
PlasticKick3
LowDownSnr 1
Jngl Tiny SD
Tiny Snr 1
TR808 Rim
Club FinSnap
MG Attack
MG Blip
Beam HiQ
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
NaturalCrash
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
AnalogKick 6
AnalogKick 7
AnalogKick 8
Analog Snr 1
Analog Snr 2
Analog Snr 3
TR909 Rim
TR909 Clap 2
TR909 Tom
TR909 Tom
TR909 DstTom
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
TR909 Crash
TR909 Ride
TR808 Kick
TR808 Kick
TR808 Kick
TR808 SD 1
TR808 SD 2
TR808 SD 3
TR808 Rim
TR808 Clap
TR808 Tom
TR808 Tom
TR808Cowbell
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
TR808 OHH 2
AnalogKick 9
AnalogKick11
TR909 Kick 1
TR909 SD 4
Pin Snr
Flange Snr
Street Rim
Old Clap
Deep Tom
TR808 Tom
Deep Tom
Shaky CHH
Hip PHH
Pop Hat Open
TR909 Crash
TR606 Cym
Wet Kick
AnalogKick10
Frenzy Kick
TR909 SD 1
Frenzy Snr 1
TR808 SD 4
Swag Rim
TR707 Clap
Deep Tom
Deep Tom
Deep Tom
TR606 CHH 1
TR606 PHH 1
TR909 OHH 2
Analog Cym
TR808 OHH 1
Wet Kick
Low Kick 1
Skool Kick
TR909 SD 3
LowDownSnr 1
Tiny Snr 2
R&B Rim 4
R8 Clap
Reg HiBng Mt
Reg LoBng Op
Reg HiBng Op
Regular CHH1
TR606 PHH 1
Regular OHH
NaturalCrash
TR707 Ride
Density
MG Zap 4
Pick Kick
Analog Snr 1
Swallow Snr
Tiny Snr 2
R&B Rim 2
TR909 Clap 2
TR909 DstTom
TR909 DstTom
TR909 DstTom
Hipping CHH
Street PHH
Bang OHH
TR909 Crash
TR707 Ride
MC-909_Ref_e.book 155 ページ 2005年6月28日 火曜日 午後2時53分
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
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
Vinyl Kick 1
Skool Kick
Click Kick 1
R8 Brush Tap
Real Snare
Chemical Snr
R8 Comp Rim
TR909 Clap 1
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Hipping CHH
Hip PHH
Neck OHH
TR909 OHH 2
NaturalCrash
Jive Kick
Pick Kick
AnalogKick10
Jngl Tiny SD
Jngl Tiny SD
DJ Snare
TR808 Rim
Funk Clap
MG Attack
MG Blip
Beam HiQ
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
TR606 Cym
Analog Cym
TR808 Kick
Jive Kick
Wet Kick
Cross Snr
R&B Snr 1
R&B RegSnr 1
Swag Rim
Snap
Ah M
Triangle 1
Uuh Yeah! M
Bristol CHH
Hip PHH
Pop Hat Open
Analog Cym
TR606 Cym
Mild Kick
HipHop Kick1
Low Kick 4
Tiny Snr 1
Analog Snr 3
TR909 SD 6
R&B Rim 1
Group Clap
Scratch 17
Scratch 20
Sand Hit
Hipping CHH
Hip PHH
Pop Hat Open
NaturalCrash
Regular Ride
TR606 Kick
Low Kick 3
Low Kick 4
Back Snr
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
Mild Kick
HipHop Kick1
Low Kick 4
Jngl Tiny SD
LowDownSnr 1
DanceHall SD
R&B Rim 2
Royal Clap
Scratch 17
LoFi MinorHt
Scratch 17
Urban CHH
Hip PHH
Pop Hat Open
NaturalCrash
Regular Ride
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
Pick Kick
HipHop Kick2
AnalogKick 3
Flange Snr
Tiny Snr 1
RegularSnrMF
R&B Rim 4
Group Clap
Euro Fx
Scratch 23
LoFi Beep 6
Urban CHH
Hip PHH
Pop Hat Open
NaturalCrash
Regular Ride
TR909 Kick 5
Pick Kick
AnalogKick10
Tiny Snr 1
Jngl Tiny SD
R8 Brush Tap
R&B Rim 1
Hip Clap
MG Attack
MG Blip
Beam HiQ
TR808 CHH 1
TR808 PHH 1
TR808 OHH 1
NaturalCrash
TR606 Cym
Pick Kick
Jive Kick
AnalogKick10
Tiny Snr 1
Boys Snr 3
R8 Snr 1cmp
R8 Comp Rim
TR909 Clap 2
R8 Comp Tom4
R8 Comp Tom2
R8 Comp Tom1
Neck CHH
Pedal Hat 1
Regular OHH
TR909 Crash
Analog Cym
Mild Kick
Skool Kick
Low Kick 3
LowDownSnr 1
Jngl Tiny SD
DanceHall SD
R&B Rim 2
Claptail
Scratch 19
Ha! M
Dial
TR909 CHH 1
Hip PHH
TR808 OHH 1
TR909 Crash
Regular Ride
Low Kick 3
Low Kick 1
Skool Kick
Back Snr
Slap Snr 1
Boys Snr 2
Swag Rim
Planet Clap
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Bang CHH
TR808 CHH 1
Regular OHH
TR909 Crash
Regular Ride
Low Kick 3
Low Kick 1
Skool Kick
Back Snr
Slap Snr 1
Grave Snr
Swag Rim
Planet Clap
Snap
R8 Hi Agogo
Snap
Hipping CHH
TR808 CHH 1
HipHop OHH
NaturalCrash
TR707 Ride
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
Artful Kick
TR707 Kick 1
TR909 Kick 7
Real Snare
DanceHall SD
TR808 SD 7
R&B Rim 4
TR808 Clap
TablaBayam 7
TR909 DstTom
Maracas
Bristol CHH
TR606 PHH 1
TR606 OHH
NaturalCrash
TR707 Ride
Jive Kick
Mild Kick
PlasticKick3
Jngl Tiny SD
LowDownSnr 1
RegularSnr F
R&B Rim 1
Disc Clap
MG Sweep 5
MG Sweep 1
MG Sweep 3
Swallow CHH
TR606 PHH 2
HipHop OHH
NaturalCrash
Jungle Crash
Mild Kick
HipHop Kick1
Low Kick 4
Jngl Tiny SD
LowDownSnr 1
DanceHall SD
R&B Rim 2
Claptail
Scratch 16
Scratch 19
Metal Press
Hipping CHH
Hip PHH
Pop Hat Open
NaturalCrash
Regular Ride
Mild Kick
HipHop Kick1
TR909 Kick 1
RaggaTightSD
RaggaTightSD
DanceHall SD
Swag Rim
Cheap Clap
Scratch 25
Scratch 21
ThroatWind
Modern CHH
Street PHH
HipHop OHH
TR909 Crash
Regular Ride
Pin Kick
Skool Kick
Click Kick 1
Keen Snr 1
Boys Snr 1
Slap Snr 1
Regular Rim
Hip Clap
CR78 Tamb
R8 Shaker B
R8 Cabasa
Bang CHH
Street PHH
Bang OHH
TR606 Cym
Analog Cym
Swallow Kick
Back Kick
Tight Kick
Tiny Snr 1
Rap Snr 2
Tiny Snr 2
Street Rim
Old Clap
Tape Rewind
Tambourine4
Vox Cymbal
LowDownCHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
155
Appendices
Preset Rhythm Set List
MC-909_Ref_e.book 156 ページ 2005年6月28日 火曜日 午後2時53分
Preset Rhythm Set List
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
156
037: 909 Human 1
040: 909 80's 2
043: 909 Elctrnca
046: 909 Regge 2
049: 909 Real 2
052: 909 World
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Vox Snare 1
Chiki!
Pa!
Chiki!
Ah M
Ah2 M
Vox Hihat 2
Vox Hihat 1
Vox Hihat 3
Vox Cymbal
Vox Hihat 3
PlasticKick1
Artful Kick
AnalogKick 5
Artful Snr
Analog Snr 3
Analog Snr 1
R&B Rim 2
Disc Clap
TR808 Tom
TR606 Tom
Deep Tom
TR606 CHH 1
TR606 PHH 1
TR808 OHH 2
TR606 Cym
TR707 Ride
AnalogKick 9
TR808 Kick
TR808 Kick
R&B RegSnr 1
R8 Snr 2
TR606 SD 1
Scratch 20
Happy Clap
Snap
TablaBayam 3
Udu Pot1 Hi
CR78 CHH
CR78 OHH
CR78 OHH
Analog Cym
Regular Ride
Vinyl Kick 1
Low Kick 3
Back Kick
Analog Snr 1
Real Snare
Antigua Snr
R&B Rim 2
Real Clap 2
Deep Tom
Deep Tom
Deep Tom
Hipping CHH
Hip PHH
Neck OHH
TR909 OHH 2
NaturalCrash
Low Kick 4
Mild Kick
Dance Kick 1
Back Snr
Slap Snr 1
Cross Snr
Swag Rim
Hip Clap
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Hipping CHH
TR808 CHH 1
TR606 PHH 1
NaturalCrash
Regular Ride
Cajon 3
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
Club Clap
Udo
Udu Pot1 Hi
Udu Pot1 Slp
Chenchen
Op Pandeiro
Mt Pandeiro
Asian Gong
RAMA Cymbal
038: 909 Human 2
041: 909 80's 3
044: 909 Cheap
047: 909 Regge 3
050: 909 Jazz
053: 909 Perc 1
Vox Kick 1
Vox Kick 2
VoxKickSweep
Vox Snare 1
Vox Snare 2
Ah M
Woow F
Funk Clap
Scratch 20
Pa!
Chiki!
Vox Hihat 2
Vox Hihat 1
Vox Cymbal
Asian Gong
Scratch 24
PlasticKick2
AnalogKick10
PlasticKick3
TR808 SD 5
TR808 SD 3
TR808 SD 7
TR808 Rim
TR808 Clap
TR808Cowbell
MG Zap 9
Beam HiQ
TR808 CHH 1
CR78 CHH
TR606 OHH
TR606 OHH
TR909 Ride
Lite Kick 1
Artful Kick
TR606 Kick
Lite Snare
CR78 Snare
TR808 SD 1
TR808 Rim
PD Clap
CR78 Tamb
CR78 Beat
CR78 Guiro
Lite CHH
Lite OHH
Lite OHH
TR606 Cym
Analog Cym
TR909 Kick 7
Skool Kick
Jive Kick
DanceHall SD
TR909 SD 5
TR808 SD 3
TR808 Claves
Hip Clap
Udo
Udu Pot1 Hi
Udu Pot1 Slp
TR606 CHH 2
Hip PHH
TR909 OHH 2
NaturalCrash
TR707 Ride
Pick Kick
Low Kick 1
TR707 Kick 1
Real Snare
Cross Snr
R&B RegSnr 4
Neck Rim
R8 Clap
R8 Comp Tom3
R8 Comp Tom2
R8 Comp Tom1
Regular CHH1
Pedal Hat 1
Regular OHH
NaturalCrash
Regular Ride
R8 Cowbell
TR808Cowbell
CR78 Cowbell
R8 Hi Agogo
R8 LowAgogo
Noise AGG
Triangle 1
Triangle 1
Triangle 2
Triangle 2
Tambourine1
Tambourine2
Tambourine3
Tambourine4
CR78 Tamb
CR78 Beat
039: 909 80's 1
042: 909 Electro
045: 909 Regge 1
048: 909 Real 1
051: 909 Brash
054: 909 Perc 2
HipHop Kick2
PlasticKick3
TR909 Kick 1
TR909 SD 5
Tiny Snr 1
Analog Snr 1
R&B Rim 3
TR909 Clap 1
Deep Tom
Deep Tom
Deep Tom
Modern CHH
Swallow PHH
Regular OHH
NaturalCrash
Regular Ride
Low Kick 3
PlasticKick2
AnalogKick10
DanceHall SD
Lite Snare
RegularSnr F
TR808 Rim
Dist Clap
TR606 Tom
TR606 Tom
TR606 Tom
TR909 CHH 2
TR606 CHH 1
TR606 OHH
TR909 Crash
TR707 Ride
Rap Kick
Neck Kick
Vinyl Kick 1
Frenzy Snr 2
Reagae Snr
Urban RollSD
Modern CHH
R8 Clap
TR909 DstTom
TR909 Tom
TR808 Tom
Swallow CHH
Street PHH
Neck OHH
Jungle Crash
Dist Clap
Boys Kick
Low Kick 1
Regular Kick
RegularSnrMP
RegularSnr F
RegularSnrMF
Regular Rim
R&B RegSnrG1
R8 Comp Tom4
R8 Comp Tom2
R8 Comp Tom1
Urban CHH
Pedal Hat 1
Regular OHH
NaturalCrash
Regular Ride
Jive Kick
TR707 Kick 1
Regular Kick
R8 BrushRoll
R8 BrshSwill
R&B RegSnr 4
R&B Rim 3
Real Clap 2
Natural Tom
Natural Tom
Natural Tom
Regular CHH2
Street PHH
Regular OHH
NaturalCrash
Regular Ride
808 Maracas
Maracas
R8 Shaker A
R8 Cabasa
CR78 Guiro
Reg Guiro A
Reg Guiro B
Reg Guiro C
Whistle Shrt
Whistle
TR727Quijada
R8 ClavesCmp
TR808 Claves
Single Snap
Snap
Club FinSnap
MC-909_Ref_e.book 157 ページ 2005年6月28日 火曜日 午後2時53分
Preset Rhythm Set List
* Numbers 065–072 are sets to which the sample data used by patterns 1–5 have been assigned.
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
055: 909 Perc 3
058: 909 Scratch
061: 909 Vox Perc
064: 909 Sound FX
067: G-Funk Voice
070: House Guitar
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
Timbale Lo
Cajon 1
Cajon 2
Cajon 3
Op Pandeiro
Mt Pandeiro
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!
Chiki!
Punch
Vox Cymbal
Pa!
Chiki!
Punch
Dial
Door Knob
Water Cock 2
Sea
Dolphin Md
Dolphin Lo
Applause
Thunderbolt
Vinyl burst
Bomb Noise
Firebomb
Jack Hammer
Turbine
Sawing
Siren
Drill Hit
Break It On
Check It Out
I Like That
Thats Tight
House Gtr1
House Gtr2
056: 909 Perc 4
059: 909 Voice 1
062: 909 Zap
065: R&B Vocal
068: Trance Vocal
071: Breath
TablaBayam 1
TablaBayam 2
TablaBayam 3
TablaBayam 4
TablaBayam 5
TablaBayam 6
TablaBayam 7
Udo
Udu Pot1 Hi
Udu Pot1 Slp
AfroDrum Rat
Sitar Gliss
Sitar Gliss
Chenchen
RAMA Cymbal
Asian Gong
One M
Two M
Three M
Four M
Aah! M
Hou! M
Ha! M
Hi! M
Hi2 M
Wow M
Yeah2 M
You Know M
Get It Up M
Come On M
Ah Hah M
Ah 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
057: 909 Hit&Stab
060: 909 Voice 2
063: 909 Synth FX
066: R&B Guitar
069: House Vocal
072: Techno Voice
OrangeHit 1
OrangeHit 3
OrangeHit 4
OrangeHit 7
7th Hit
Minor Hit
Dist Hit
Tekno Hit
Back Hit
Thin Beef
Tao Hit
Philly Hit
ClassicHseHt
Smear Hit 1
Smear Hit 2
LoFi MinorHt
Ah2 M
Uuh Yeah! M
ComeOn F
Ha F
Woow F
Aah Formant
Eeh Formant
Iih Formant
Ooh Formant
Uuh Formant
MetalVoiceW1
MetalVoiceW2
MetalVoiceW3
AahVoice Maj
AahVoice Min
Auh Voice
LoFi Beep 1
LoFi Beep 2
LoFi Beep 3
LoFi Beep 4
LoFi Beep 5
LoFi Beep 6
Hardhock
Euro Fx
Orbit
Density
Metal Bar 1
Metal Bar 2
Metal Press
Sand Hit
DarkSteam
Ambience
R&B Guitar1
R&B Guitar2
Set Me Free
Uhh
Yah
What I Want
Appendices
Note No.
59
157
MC-909_Ref_e.book 158 ページ 2005年6月28日 火曜日 午後2時53分
Preset Pattern List
No.
Pattern 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
R&B 1
G-Funk 1
Euro Trance 1
Garage 1
Minimal 1
Techno 1
Techno 2
Techno 3
Techno 4
Techno 5
Techno 6
Techno 7
Techno 8
Techno 9
Techno 10
Techno 11
Techno 12
Techno 13
Techno 14
Techno 15
Techno 16
Techno 17
Techno 18
Techno 19
Techno 20
Techno 21
Techno 22
Minimal 2
Minimal 3
Minimal 4
Minimal 5
Minimal 6
Minimal 7
Minimal 8
Minimal 9
Minimal 10
Minimal 11
Minimal 12
Minimal 13
Hardcore 1
Hardcore 2
Hardcore 3
Hardcore 4
Hardcore 5
Ambient 1
Ambient 2
Ambient 3
Ambient 4
Ambient 5
Ambient 6
Drum'n'Bass 1
Drum'n'Bass 2
Drum'n'Bass 3
Drum'n'Bass 4
Drum'n'Bass 5
Drum'n'Bass 6
Drum'n'Bass 7
Drum'n'Bass 8
Drum'n'Bass 9
Drum'n'Bass 10
158
BPM Mes. Programmer
65
77
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
89
82
100
120
130
180
180
175
166
180
170
175
170
180
180
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
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
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
Cappadocia Productions
Cappadocia Productions
Roland Corporation U.S.
Roland Corporation
MASA
Q'HEY
Kunihiro Ueno
Kunihiro Ueno
Heigo Tani
Nick Tidy
Nick Tidy
Roland Corporation
Roland Corporation
Heigo Tani
Kunihiro Ueno
Kunihiro Ueno
No.
Pattern Name
061
062
063
064
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
Drum'n'Bass 11
Drum'n'Bass 12
Drum'n'Bass 13
Break Beats 1
Break Beats 2
Break Beats 3
Break Beats 4
Break Beats 5
Break Beats 6
Break Beats 7
Break Beats 8
Break Beats 9
Break Beats 10
Break Beats 11
Break Beats 12
Break Beats 13
Break Beats 14
Euro Trance 2
Euro Trance 3
Euro Trance 4
Euro Trance 5
Euro Trance 6
Euro Trance 7
Euro Trance 8
Euro Trance 9
Hard Trance 1
Hard Trance 2
Hard Trance 3
Hard Trance 4
Hard Trance 5
Hard Trance 6
Hard Trance 7
Hard Trance 8
Hard Trance 9
Hard Trance 10
Hard Trance 11
Psy. Trance 1
Psy. Trance 2
Psy. Trance 3
Psy. Trance 4
Psy. Trance 5
Psy. Trance 6
Psy. Trance 7
UK HardHouse 1
UK HardHouse 2
UK HardHouse 3
UK HardHouse 4
UK HardHouse 5
UK HardHouse 6
UK HardHouse 7
US HardHouse 1
US HardHouse 2
US HardHouse 3
US HardHouse 4
US HardHouse 5
US HardHouse 6
US HardHouse 7
Progressive 1
Progressive 2
Progressive 3
BPM Mes. Programmer
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
Roland Corporation U.S.
NEURON
Hans-Joerg Scheffler
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.
MC-909_Ref_e.book 159 ページ 2005年6月28日 火曜日 午後2時53分
Preset Pattern List
Pattern Name
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
Progressive 4
Progressive 5
Progressive 6
Progressive 7
Garage 2
Garage 3
Garage 4
Garage 5
Garage 6
Garage 7
Garage 8
Garage 9
Garage 10
Disco 1
Disco 2
Disco 3
House 1
House 2
House 3
House 4
House 5
House 6
R&B 2
R&B 3
R&B 4
R&B 5
R&B 6
R&B 7
R&B 8
R&B 9
R&B 10
R&B 11
R&B 12
R&B 13
R&B 14
R&B 15
R&B 16
R&B 17
R&B 18
Hip Hop 1
Hip Hop 2
Hip Hop 3
Hip Hop 4
Hip Hop 5
Hip Hop 6
Hip Hop 7
Hip Hop 8
Hip Hop 9
Hip Hop 10
Hip Hop 11
Hip Hop 12
Hip Hop 13
G-Funk 2
G-Funk 3
G-Funk 4
G-Funk 5
G-Funk 6
G-Funk 7
G-Funk 8
G-Funk 9
BPM Mes. Programmer
136
136
138
137
128
132
130
125
129
134
142
134
138
132
132
135
135
124
134
127
128
126
104
99
89
66
70
80
92
96
97
100
90
90
105
100
98
100
102
84
93
113
108
116
71
98
95
89
89
87
91
89
97
96
97
94
91
97
91
91
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
Kazuhiko Maeda
Shinichiro Murayama
Kazuhiko Maeda
Kazuhiko Maeda
Kazuhiko Maeda
Shinichiro Murayama
Kazuhiko Maeda
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Shinichiro Murayama
Kazuhiko Maeda
Kazuhiko Maeda
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
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.
No.
Pattern Name
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
G-Funk 10
95
G-Funk 11
90
Abstract 1
95
Abstract 2
80
Abstract 3
60
Abstract 4
95
Abstract 5
92
Abstract 6
96
Electro 1
124
Electro 2
135
Electro 3
127
Electro 4
100
Electro 5
133
Electro 6
113
Electronica 1
120
Electronica 2
120
Electronica 3
110
Electronica 4
110
Electronica 5
120
Electronica 6
120
Electronica 7
130
Electronica 8
128
Electronica 9
130
Reggae 1 (Dance Hall) 90
Reggae 2 (Dance Hall) 90
Reggae 3 (Dance Hall) 85
Reggae 4 (Dance Hall) 85
Reggae 5 (Dance Hall) 93
Reggae 6 (Lovers)
90
Reggae 7 (Lovers)
89
Reggae 8 (Lovers)
78
Reggae 9 (Lovers)
68
Reggae 10 (Roots)
80
Reggae 11 (Roots)
65
Reggae 12 (Dub)
71
BPM Mes. Programmer
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
Q'HEY
Roland Corporation
Roland Corporation
Naoki Matsuura
Naoki Matsuura
Roland Corporation
Roland Corporation
Kazuhiko Maeda
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
Naoki Matsuura
* Depending on the country in which you purchased your
MC-909, the first five preset patterns may be in a different
order.
001
002
003
004
005
Euro Trance 1
Garage 1
Minimal 1
R&B 1
G-Funk 1
138
130
137
65
77
8
4
4
4
4
B.U.S
B.U.S
grogman
Shinichiro Murayama
Kazuhiko Maeda
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.
159
Appendices
No.
MC-909_Ref_e.book 160 ページ 2005年6月28日 火曜日 午後2時53分
RPS Pattern List
No.
Pattern Name
No.
Pattern Name
No.
Pattern Name
No.
Pattern Name
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
Techno Drums 1
Techno Drums 2
Techno Drums 3
Techno Drums 4
Techno Drums 5
Techno Drums 6
Techno Drums 7
Techno Drums 8
Techno Drums 9
Techno Drums 10
Techno Drums 11
Techno Drums 12
Techno Drums 13
Techno Drums 14
Trance Drums 1
Trance Drums 2
Trance Drums 3
Trance Drums 4
Trance Drums 5
Trance Drums 6
Trance Drums 7
Trance Drums 8
House Drums 1
House Drums 2
House Drums 3
House Drums 4
House Drums 5
House Drums 6
House Drums 7
House Drums 8
2Step Drums 1
2Step Drums 2
Dnb Drums 1
Dnb Drums 2
Dnb Drums 3
Dnb Drums 4
B.Beats Drums 1
B.Beats Drums 2
B.Beats Drums 3
B.Beats Drums 4
HipHop Drums 1
HipHop Drums 2
HipHop Drums 3
HipHop Drums 4
HipHop Drums 5
HipHop Drums 6
HipHop Drums 7
HipHop Drums 8
HipHop Drums 9
HipHop Drums 10
Reggae Drums 1
Reggae Drums 2
Human Beat 1
Human Beat 2
Techno Bass 1
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
Techno Bass 2
Techno Bass 3
Techno Bass 4
Techno Bass 5
Techno Bass 6
Techno Bass 7
Techno Bass 8
Techno Bass 9
Techno Bass 10
Techno Bass 11
Techno Bass 12
Techno Bass 13
Techno Bass 14
Trance Bass 1
Trance Bass 2
Trance Bass 3
Trance Bass 4
Trance Bass 5
Trance Bass 6
Trance Bass 7
Trance Bass 8
House Bass 1
House Bass 2
House Bass 3
House Bass 4
House Bass 5
House Bass 6
House Bass 7
House Bass 8
2Step Bass 1
2Step Bass 2
Dnb Bass 1
Dnb Bass 2
Dnb Bass 3
Dnb Bass 4
B.Beats Bass 1
B.Beats Bass 2
B.Beats Bass 3
B.Beats Bass 4
HipHop Bass 1
HipHop Bass 2
HipHop Bass 3
HipHop Bass 4
HipHop Bass 5
HipHop Bass 6
HipHop Bass 7
HipHop Bass 8
HipHop Bass 9
HipHop Bass 10
Reggae Bass 1
Reggae Bass 2
Kick Fill 1
Kick Fill 2
Kick Fill 3
Kick Fill 4
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
Kick Fill 5
Kick Fill 6
Kick Fill 7
Kick Fill 8
Kick Fill 9
Kick Fill 10
Kick Fill 11
Kick Fill 12
Kick Fill 13
Snare Fill 1
Snare Fill 2
Snare Fill 3
Snare Fill 4
Snare Fill 5
Snare Fill 6
Snare Fill 7
Snare Fill 8
Snare Fill 9
Snare Fill 10
Snare Fill 11
Snare Fill 12
Snare Fill 13
Snare Fill 14
Snare Fill 15
Snare Fill 16
Snare Fill 17
Snare Fill 18
Snare Fill 19
Snare Fill 20
Hi-hat Fill 1
Hi-hat Fill 2
Hi-hat Fill 3
Hi-hat Fill 4
Hi-hat Fill 5
Hi-hat Fill 6
Hi-hat Fill 7
Hi-hat Fill 8
Hi-hat Fill 9
Hi-hat Fill 10
Hi-hat Fill 11
Hi-hat Fill 12
Hi-hat Fill 13
Hi-hat Fill 14
Hi-hat Fill 15
Hi-hat Fill 16
Hi-hat Fill 17
Hi-hat Fill 18
Hi-hat Fill 19
Hi-hat Fill 20
Hi-hat Fill 21
Cymbal Fill 1
Cymbal Fill 2
Cymbal Fill 3
Cymbal 1
Cymbal 2
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
Cymbal 3
Cymbal 4
Clap Fill 1
Clap Fill 2
Clap Fill 3
Clap Fill 4
Clap Fill 5
Clap Fill 6
Clap Fill 7
Clap Fill 8
Tom Fill 1
Tom Fill 2
Perc. Fill 1
Perc. Fill 2
Perc. Fill 3
Perc. Fill 4
Perc. Fill 5
Perc. Fill 6
Perc. Fill 7
Perc. Fill 8
Perc. Fill 9
Perc. Fill 10
Perc. Fill 11
Perc. Fill 12
Perc. Fill 13
Perc. Fill 14
Perc. Fill 15
Perc. Fill 16
Perc. Fill 17
Perc. Fill 18
Perc. Fill 19
Perc. Fill 20
Perc. Fill 21
Perc. Fill 22
Perc. Fill 23
Perc. Fill 24
Perc. Fill 25
Perc. Fill 26
Perc. Fill 27
Cowbell 1
Human Fill 1
Human Fill 2
Human Fill 3
Human Fill 4
Human Fill 5
Human Fill 6
Scratch 1
Scratch 2
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
Scratch 8
Scratch 9
160
MC-909_Ref_e.book 161 ページ 2005年6月28日 火曜日 午後2時53分
No.
Pattern Name
No.
Pattern Name
No.
Pattern Name
No.
Pattern Name
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
Scratch 10
Scratch 11
Scratch 12
Scratch 13
Scratch 14
Scratch 15
Scratch 16
Scratch 17
Piano 1
Piano 2
Piano 3
Piano 4
Piano 5
Piano 6
Piano 7
E.Piano 1
E.Piano 2
E.Piano 3
E.Piano 4
E.Piano 5
E.Piano 6
Organ 1
Organ 2
Organ 3
Guitar Riff 1
Guitar Riff 2
Guitar Riff 3
Guitar Riff 4
Guitar Riff 5
Guitar Riff 6
Guitar Riff 7
Guitar Riff 8
Guitar Riff 9
Guitar Riff 10
Guitar Riff 11
Guitar Riff 12
Strings 1
Strings 2
Strings 3
Strings 4
Strings 5
Strings 6
Strings 7
Vox 1
Vox 2
Vox 3
Vox 4
Vox 5
Vox 6
Vox 7
Brass 1
Brass 2
Brass 3
Brass 4
Brass 5
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
Flute 1
Flute 2
Flute 3
Ethnic Riff 1
Ethnic Riff 2
Balaphone 1
Balaphone 2
Bass Riff 1
Bass Riff 2
Synth Lead 1
Synth Lead 2
Synth Lead 3
Synth Lead 4
Synth Lead 5
Synth Lead 6
Synth Lead 7
Synth Lead 8
Synth Lead 9
Synth Pad 1
Synth Pad 2
Synth Pad 3
Synth Pad 4
Synth Pad 5
Synth Pad 6
Synth Pad 7
Synth Pad 8
Synth Pad 9
Synth Pad 10
Synth Pad 11
Synth Pad 12
Synth Pad 13
Synth Pad 14
Synth Pad 15
Synth Pad 16
Synth Pad 17
Synth Riff 1
Synth Riff 2
Synth Riff 3
Synth Riff 4
Synth Riff 5
Synth Riff 6
Synth Riff 7
Synth Riff 8
Synth Riff 9
Synth Riff 10
Synth Riff 11
Synth Riff 12
Synth Riff 13
Synth Riff 14
Synth Riff 15
Synth Riff 16
Synth Riff 17
Synth Riff 18
Synth Riff 19
Synth Riff 20
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
Synth Riff 21
Synth Riff 22
Synth Riff 23
Synth Riff 24
Synth Riff 25
Synth Riff 26
Synth Riff 27
Synth Riff 28
Synth Riff 29
Synth Riff 30
Synth Riff 31
Synth Riff 32
Synth Riff 33
Synth Riff 34
Synth Riff 35
Synth Riff 36
Synth Seq 1
Synth Seq 2
Synth Seq 3
Synth Seq 4
Synth Seq 5
Synth Seq 6
Synth Seq 7
Synth Seq 8
Synth Seq 9
Synth Seq 10
Synth Seq 11
Synth Seq 12
Synth Seq 13
Synth Seq 14
Synth Seq 15
Synth Seq 16
Synth Seq 17
Synth Seq 18
Synth Seq 19
Synth Seq 20
Synth Seq 21
Synth Seq 22
Hit 1
Hit 2
Hit 3
Hit 4
Hit 5
Voice 1
Voice 2
Voice 3
Voice 4
Voice 5
Voice 6
Voice 7
Voice 8
Voice 9
Voice 10
Voice 11
Voice 12
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
Voice 13
Voice 14
Voice 15
Voice 16
Voice 17
Voice 18
Voice 19
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
FX 7
FX 8
FX 9
FX 10
FX 11
FX 12
FX 13
FX 14
FX 15
FX 16
FX 17
FX 18
FX 19
FX 20
FX 21
FX 22
FX 23
FX 24
FX 25
FX 26
FX 27
FX 28
FX 29
FX 30
FX 31
FX 32
FX 33
FX 34
FX 35
FX 36
FX 37
FX 38
FX 39
FX 40
FX 41
FX 42
FX 43
FX 44
FX 45
FX 46
FX 47
FX 48
Appendices
RPS Pattern List
161
MC-909_Ref_e.book 162 ページ 2005年6月28日 火曜日 午後2時53分
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
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Snare Fill 1
Clap Fill 1
Synth Riff 1
Synth Seq 1
Synth Riff 2
Synth Seq 2
Synth Pad 1
FX 1
FX 2
Voice 1
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
Cymbal 1
Synth Seq 5
Synth Seq 6
Piano 1
Synth Riff 10
Synth Riff 11
Synth Riff 12
FX 8
Voice 3
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
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
02. Techno 2
06. Ambient
10. Break Beats 2
14. Psy. Trance
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Kick Fill 2
Perc. Fill 1
Synth Lead 1
Synth Lead 2
Synth Seq 3
Synth Riff 3
Synth Pad 2
FX 3
FX 4
FX 5
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
Kick Fill 4
Synth Seq 7
Synth Seq 8
Synth Seq 9
Synth Pad 3
Synth Pad 4
FX 9
FX 10
Strings 1
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
Scratch 2
Synth Riff 14
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
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
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Voice 2
Hit 1
FX 6
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
Kick Fill 5
Kick Fill 6
Synth Lead 3
Synth Lead 4
Synth Lead 5
Strings 2
Synth Seq 10
FX 11
FX 12
FX 13
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
Clap Fill 3
Synth Lead 6
Synth Riff 15
Synth Seq 12
Synth Seq 13
Synth Pad 8
Synth Seq 14
FX 19
FX 20
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
Cymbal 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
04. Minimal
08. Drum'n'Bass 2
12. Euro Trance 2
16. US HardHouse
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
222
223
276
277
324
336
396
496
494
480
533
565
534
481
585
614
162
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
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
E.Piano 1
Synth Pad 5
Synth Pad 6
Synth Pad 7
FX 14
FX 15
Synth Seq 11
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
FX 22
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
MC-909_Ref_e.book 163 ページ 2005年6月28日 火曜日 午後2時53分
RPS Set List
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
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Synth Pad 14
Voice 8
FX 28
FX 29
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
Voice 9
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
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
18. Garage 1
22. G-Funk
26. Reggae
30. Scratch Set
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Hit 3
FX 30
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
Scratch 6
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
FX 48
Voice 10
Brass 5
19. Garage 2
23. Abstract
27. Snare Fill Set
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
E.Piano 4
Guitar Riff 6
Guitar Riff 7
Synth Pad 15
Flute 1
Piano 6
Hit 4
20. R&B
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
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
349
337
335
341
339
354
347
342
348
353
340
345
344
350
352
336
24. Electro
28. FX Set
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
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
Perc. Fill 26
Cowbell 1
Synth Lead 9
Guitar Riff 10
Synth Seq 20
Synth Seq 21
Synth Pad 17
Vox 6
FX 39
FX 40
632
625
628
610
636
616
620
623
648
653
619
627
615
629
612
639
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
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
No.: RPS Pattern Number
* All data is that
programmed at the
factory. For instructions
on carrying out Factory
Reset, refer to p. 20.
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
FX 22
FX 5
FX 32
Appendices
Pad
163
MC-909_Ref_e.book 164 ページ 2005年6月28日 火曜日 午後2時53分
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
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
Techno 1
Techno 2
Techno 3
Techno 4
Techno 5
Techno 6
Techno 7
Techno 8
Techno 9
Techno 10
Techno 11
Techno 12
Techno 13
Techno 14
Techno 15
Techno 16
64
65
66
67
68
69
70
71
72
73
74
75
76
77
26
27
Break Beats 1
Break Beats 2
Break Beats 3
Break Beats 4
Break Beats 5
Break Beats 6
Break Beats 7
Break Beats 8
Break Beats 9
Break Beats 10
Break Beats 11
Break Beats 12
Break Beats 13
Break Beats 14
Techno 21
Techno 22
104
105
106
107
108
109
110
111
112
113
114
115
116
117
120
121
UK HardHouse 1
UK HardHouse 2
UK HardHouse 3
UK HardHouse 4
UK HardHouse 5
UK HardHouse 6
UK HardHouse 7
US HardHouse 1
US HardHouse 2
US HardHouse 3
US HardHouse 4
US HardHouse 5
US HardHouse 6
US HardHouse 7
Progressive 3
Progressive 4
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
Hip Hop 1
Hip Hop 2
Hip Hop 3
Hip Hop 4
Hip Hop 5
Hip Hop 6
Hip Hop 7
Hip Hop 8
Hip Hop 9
Hip Hop 10
Hip Hop 11
Hip Hop 12
Hip Hop 13
G-Funk 2
G-Funk 3
G-Funk 4
02. Techno 2
05. Trance 1
08. House 2
11. Abstract
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
28
29
30
31
32
33
34
35
36
37
38
39
22
23
24
25
Minimal 2
Minimal 3
Minimal 4
Minimal 5
Minimal 6
Minimal 7
Minimal 8
Minimal 9
Minimal 10
Minimal 11
Minimal 12
Minimal 13
Techno 17
Techno 18
Techno 19
Techno 20
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
Euro Trance 2
Euro Trance 3
Euro Trance 4
Euro Trance 5
Euro Trance 6
Euro Trance 7
Euro Trance 8
Euro Trance 9
Hard Trance 1
Hard Trance 2
Hard Trance 3
Hard Trance 4
Hard Trance 5
Hard Trance 6
Hard Trance 7
Hard Trance 8
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
141
Garage 2
Garage 3
Garage 4
Garage 5
Garage 6
Garage 7
Garage 8
Garage 9
Garage 10
Disco 1
Disco 2
Disco 3
House 1
House 2
House 3
House 5
183
184
185
186
45
46
47
48
49
195
196
197
198
199
200
201
Abstract 1
Abstract 2
Abstract 3
Abstract 4
Ambient 1
Ambient 2
Ambient 3
Ambient 4
Ambient 5
Electronica 1
Electronica 2
Electronica 3
Electronica 4
Electronica 5
Electronica 6
Electronica 7
03. Drum'n'Bass
06. Trance 2
09. R&B
12. Reggae
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
51
52
53
54
55
56
57
58
59
60
61
62
63
51
52
53
Drum'n'Bass 1
Drum'n'Bass 2
Drum'n'Bass 3
Drum'n'Bass 4
Drum'n'Bass 5
Drum'n'Bass 6
Drum'n'Bass 7
Drum'n'Bass 8
Drum'n'Bass 9
Drum'n'Bass 10
Drum'n'Bass 11
Drum'n'Bass 12
Drum'n'Bass 13
Drum'n'Bass 1
Drum'n'Bass 2
Drum'n'Bass 3
94
95
96
97
98
99
100
101
102
103
118
119
43
44
42
41
Hard Trance 9
Hard Trance 10
Hard Trance 11
Psy. Trance 1
Psy. Trance 2
Psy. Trance 3
Psy. Trance 4
Psy. Trance 5
Psy. Trance 6
Psy. Trance 7
Progressive 1
Progressive 2
Hardcore 4
Hardcore 5
Hardcore 3
Hardcore 2
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
R&B 2
R&B 3
R&B 4
R&B 5
R&B 6
R&B 7
R&B 8
R&B 9
R&B 10
R&B 11
R&B 12
R&B 13
R&B 14
R&B 15
R&B 16
R&B 17
204
205
206
207
208
209
210
211
212
213
214
215
209
210
211
212
Reggae 1(Dance Hall)
Reggae 2(Dance Hall)
Reggae 3(Dance Hall)
Reggae 4(Dance Hall)
Reggae 5(Dance Hall)
Reggae 6(Lovers)
Reggae 7(Lovers)
Reggae 8(Lovers)
Reggae 9(Lovers)
Reggae 10(Roots)
Reggae 11(Roots)
Reggae 12(Dub)
Reggae 6(Lovers)
Reggae 7(Lovers)
Reggae 8(Lovers)
Reggae 9(Lovers)
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
MC-909_Ref_e.book 165 ページ 2005年6月28日 火曜日 午後2時53分
Song List
Song No.
Song Name
No.
Pattern Name
01
Techno 1
10
Techno 5
02
Techno 2
14
Techno 9
03
Minimal
37
Minimal 11
04
Hardcore
40
Hardcore 1
05
Ambient
45
Ambient 1
06
Drum'n'Bass 1
51
Drum'n'Bass 1
07
Drum'n'Bass 2
62
Drum'n'Bass 12
08
Break Beats 1
64
Break Beats 1
09
Break Beats 2
68
Break Beats 5
10
Euro Trance
78
Euro Trance 2
11
Hard Trance
91
Hard Trance 6
12
Psy. Trance
102
Psy. Trance 6
13
UK HardHouse
104
UK HardHouse 1
14
US HardHouse
111
US HardHouse 1
15
Progressive
120
Progressive 3
16
Garage 1
126
Garage 3
17
Garage 2
129
Garage 6
18
Disco
136
Disco 3
19
R&B
143
R&B 2
20
Hip Hop
160
Hip Hop 1
21
G-Funk
174
G-Funk 3
22
Abstract
183
Abstract 1
23
Electro
189
Electro 1
24
Electronica
195
Electronica 1
25
Reggae
213
Reggae 10(Roots)
No.: Pattern Number
Appendices
* All data is that programmed at the factory. For instructions on carrying out Factory Reset, refer to p. 20.
165
MC-909_Ref_e.book 166 ページ 2005年6月28日 火曜日 午後2時53分
Arpeggio Style List
No.
Number
of Notes
Number of
Steps
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
6
8
8
8
16
16
16
16
16
16
16
16
16
32
16
16
16
16
8
16
16
16
8
8
8
4
4
16
16
16
16
16
16
16
16
8
16
16
32
16
16
32
16
16
24
16
166
Effective Chord
Forms
29
30
31
32
33
34
35
36
37
No.
Number
of Notes
Number of
Steps
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
5
10
10
10
4
10
10
10
4
4
5
5
5
6
5
6
6
6
7
5
7
4
6
9
6
7
9
8
7
10
6
16
16
16
8
8
8
8
8
8
8
16
8
8
16
8
8
16
16
16
8
8
16
8
8
8
8
4
16
16
16
16
16
32
16
16
8
16
32
8
16
16
16
8
16
12
4
16
23
32
32
32
16
16
32
32
32
32
16
16
16
16
16
32
16
Effective Chord
Forms
38
39
40
41
41
42
41
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
MC-909_Ref_e.book 167 ページ 2005年6月28日 火曜日 午後2時53分
Chord Form List
1
2
3
4
5
6
7
8
9
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
Chord Name
C Maj
C Maj7
C7
C min
C min7
C dim
C min7 b5
C Aug
C sus4
C 7sus4
C add9
C #11
C min7 b9
C min add9
C6
C69
C Maj9
C min6
C min9
C min Maj7
C 7 b5
C 7 b9
C9
C 7 #9
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
G Maj
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
F Maj9
F Maj9 13
F Maj9 #11
Constituent Notes of Chord Form (when C4 is pressed)
C4, E4, G4
C4, E4, G4, B4
C4, E4, G4, Bb4
C4, Eb4, G4
C4, Eb4, G4, Bb4
C4, Eb4, Gb4, A4
C4, Eb4, Gb4, Ab4
C4, E4, G#4
C4, F4, G4
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
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
C3, G3, D4, G4
A2, A3, E4, A4
F2, F3, A3, C4
A2, E3, A3, E4
C2, C3, E3, G3
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
Appendices
No.
* 1–28 are basic chords
* 29–64 are chords effective for arpeggio styles
167
MC-909_Ref_e.book 168 ページ 2005年6月28日 火曜日 午後2時53分
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
Saws&Pulses
Super 5th
Reso Saw 5th
Drain-O
Brow Out
Andes 909
PnoStack 909
Northern EP
Unison Lead
FM Lead
Noise Lead
Belly Lead
Whistle Ld
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
MG Tri Solo
SynVox Ld
Vib Sine 2
Pulsing Saws
PulsingSaws2
SyncroSaws
LFO Dance
Crawl Pulse
FilSweep Pls
JunoUnisnSEQ
Oct Sqr SEQ
JU2 Saw SEQ
Seq 909
BPF Sweep 2
SawStrings
Panning Saws
UndrWater909
FilSweep Pad
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
Twilight
TranceWarmer
5th PianoPad
FM HouseBs /
SH Rubber Bs
SynBs Slide
SqrResoSwpBs
LFO Bass
FingerE.Bs /
Piano Hit
Organ Hit 5
Aah Hit
Sand Hit
OldBrass Hit
Ring FX 1
Ring FX 2
Tri Alarm
Noise Kick
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
JUNO-D Bell
Square Bell3
High Dist Ld
ShredFuzzGtr
Dance Str 2
DanceStrings
StrChd Min11
StrChd Min 9
Saw Brass
BPF Sax
ShmiSynth
168
MC-909_Ref_e.book 169 ページ 2005年6月28日 火曜日 午後2時53分
SRX-05 Special Rhythm Set List
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
035: SRX05 TR-909
038: SRX05 Techno
041: SRX05 R&B
044: SRX05 FX
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
PlasticKick2
AnalogKick10
PlasticKick1
TR909 SD 3
Grim SD
Layer SD5 mb
Deviant RM3
Claptail
MG S Zap 1
Electric Saw
US SweepD L3
TR909 CHH 1
TR909 PHH 1
TR909 OHH 1
909 Dry CR 2
Pop ChinaCym
R&B Kick 1
R&B Kick 2
Dinky Kick 2
Dinky SD 2
Retro SD3
R&B SD 2
Deviant RM1
Real Clap
WindChime Up
Long Triangl
Long Triangl
Miami CHH
Mosaic CHH 1
Miami OHH
Pop Crash2
PopRideCym 3
Bobs Slide
Cave Hit
Thru Hit 2
Ripper L
Tramp Hit
Cartn Fall
Nz Pass
Thumpkin
Dist Slide
Cartn Boing1
Electronica
Electric Saw
Howl Sync
PercolateHit
Metal Atk Hi
Metal Atk Lo
036: SRX05 TR-808
039: SRX05 House
042: SRX05 Elctro
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
909 DryKick3
TR909 Kick 7
909 DryKick1
TR909 SD 1
909 Dry SD4
TR909 SD 3
Basis Rim
Club Clap
HiConga Opn
LoConga Opn
Tmbl Hi
909 Dry CHH1
909 Dry CHH3
909 Dry OHH1
909 Dry CR 2
909 Dry RD2
LoBit Kick 1
Livn Kick
SH2 U Zap 6
Sim Snare
707 Dry SD1
106 SD2
Lo-Bit CStk
Old Clap
Sim5 Tom4S
Sim5 Tom2S
Sim5 Tom1S
Urban CHH
Pedal Hat 1
Pop Hat Open
MG Nz Cym
US Nz Cym
037: SRX05 TR-707
040: SRX05 HipHop
043: SRX05 Perc
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
707 Dry RD
Old Kick 2
Vinyl Kick
Boys Kick
HipHop SD 1
Filter SD3
RegularSnrMF
Deviant RM2
Hip Clap
TablaBayam 1
Scratch 6
Warp Hit 3
Hipping CHH
Hip PHH
HipHop OHH
Pop Crash1
PopRideCym 2
HiBongo Opn
LoBongo Opn
HiConga Opn
LoConga Opn
Tmbl Hi
Tmbl Hi Flm
Real Shaker1
Real Cabasa3
Short Guiro2
Long Guiro2
St. FgSnap
GospelClap
Cwbl Hi
Cwbl Lo
WindChime Up
WindChime Dn
Appendices
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.
169
MC-909_Ref_e.book 170 ページ 2005年6月28日 火曜日 午後2時53分
MIDI Implementation Chart
sampling groovebox (Sound Generator Section)
Model MC-909
Date : Sep. 20, 2002
Version : 1.00
MIDI Implementation Chart
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
X
X
1–16
1–16
Mode
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
Remarks
*2
**************
Note
Number : True Voice
0–127
**************
0–127
0–127
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
O
O
*1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O (Reverb)
O
X
O
*1
O
0–127
*1
**************
System Exclusive
O
O
*1
: Song Position
System
: Song Select
Common
: Tune Request
System
: Clock
Real Time : Commands
X
X
X
X
X
X
X
X
O
X
: All Sound Off
: Reset All Controllers
Aux
: Local On/Off
Messages : All Notes Off
: Active Sensing
: System Reset
X
O
X
O
O
X
Pitch Bend
0, 32
1
5
6, 38
7
10
11
16
18
19
64
65
66
68
71
72
73
74
75
80
81
82
83
84
91
1–3, 33–95 *3
98, 99
100, 101
Control
Change
Program
Change
: True Number
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
170
O
O
X
X
O
O
X
O
O
O
O
X
X
X
O
O
O
O
O
O
O
O
O
X
O
O
X
X
*1
O
*1
*1
*2
*3
*4
*4
*4
*1
Bank select
Modulation
Portamento time
Data entry
Volume
Panpot
Expression
General Purpose Controller 1
General Purpose Controller 3
General Purpose Controller 4
Hold 1
Portamento
Sostenuto
Legato Foot Switch
Resonance
Release Time
Attack Time
Cutoff
Decay Time
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General Purpose Effect 1
NRPN LSB, MSB
RPN LSB, MSB
Program No. 1–128
O
O
X
O (123–127)
O
X
O X is selectable.
Recognized as M=1 even if M≠1.
The settings are changeable.
Transmitted only when V-LINK is ON.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
MC-909_Ref_e.book 171 ページ 2005年6月28日 火曜日 午後2時53分
sampling groovebox (Sequencer Section)
Model MC-909
MIDI Implementation Chart
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
1–16
X
1–16
X
Mode
Default
Messages
Altered
X
X
X
X
0–127
**************
0–127
0–127
Note
Number : True Voice
Remarks
There is no basic
channel.
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key's
Channel's
O
O
O
O
O
O
O
O
O
**************
O
0–127
System Exclusive
O
O
: Song Position
System
: Song Select
Common
: Tune Request
O
X
X
*1
O
X
X
*2
: Clock
System
Real Time : Commands
O
O
*1
*1
O
O
*3
*2
: All Sound Off
: Reset All Controllers
Aux
: Local On/Off
Messages : All Notes Off
: Active Sensing
: System Reset
O
O
X
O
O
X
*4
O
O
X
O (123–127)
O
X
*4
Pitch Bend
0–119
Date : Sep. 20, 2002
Version : 1.00
Control
Change
: True Number
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
*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.
*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 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
Appendices
Program
Change
O : Yes
X : No
171
MC-909_Ref_e.book 172 ページ 2005年6月28日 火曜日 午後2時53分
Index
A
E
Alter Pan Depth ............................................................. 62
AMP .............................................................................. 122
Amp ........................................................................... 62, 75
Amp Env ................................................................... 63, 75
Arpeggiator .................................................................... 30
Arpeggio Sync Mode .................................................. 127
Assign Type ................................................................... 76
Auto Chop .................................................................... 118
Auto Sync ....................................................................... 36
Auto Trigger ................................................................ 112
Auto Trigger Level ...................................................... 113
Edit
patch .......................................................................... 54
pattern ....................................................................... 43
rhythm ....................................................................... 70
sample ..................................................................... 114
song ............................................................................ 84
Edit Quantize ................................................................. 46
EMPHASIS ................................................................... 120
Envelope
amp ...................................................................... 63, 75
filter ...................................................................... 61, 74
pitch ..................................................................... 59, 72
Erase
pattern ....................................................................... 45
sample ..................................................................... 124
External Source Select ................................................. 129
Extract Rhythm .............................................................. 44
B
Back Ground Picture ................................................... 127
Bend Range .................................................................... 67
Bias .................................................................................. 62
Booster ............................................................................ 67
Booster Gain ................................................................... 66
BPM ................................................................................. 25
BPM Lock ..................................................................... 128
C
Card ............................................................................. 6, 19
Change Duration ........................................................... 45
Change Velocity ............................................................ 45
CHOP ............................................................................ 118
Chord Memory .............................................................. 32
Clear
step ............................................................................. 84
COMBINE .................................................................... 120
Compressor .................................................................... 89
Copy
file ............................................................................ 134
patch tone ................................................................. 78
pattern ................................................................. 44, 49
rhythm tone .............................................................. 78
song ............................................................................ 84
Create Patch ................................................................. 117
Create Rhythm ............................................................. 119
CUT + RESO .................................................................. 35
Cutoff Frequency ..................................................... 59, 73
F
Factory Reset .................................................................. 20
FAT .................................................................................. 56
File Utility ..................................................................... 134
Filter .......................................................................... 59, 73
Filter Env .................................................................. 61, 74
Filter Type ...................................................................... 73
Format ........................................................................... 134
Frequency Cross Modulation ................................ 57, 71
FXM ........................................................................... 57, 71
G
Gap Time .............................................................. 113, 129
Groove Template ........................................................... 46
I
Initialize
memory card .......................................................... 134
patch .......................................................................... 78
rhythm set ................................................................. 78
Input Select ............................................................. 34, 112
Insert Measure ............................................................... 45
Insert Step ....................................................................... 84
D
D Beam .......................................................................... 130
D Beam Controller ........................................................ 35
D Beam ID .................................................................... 127
Data Thin ........................................................................ 46
Delete
file ............................................................................ 134
sample ..................................................................... 124
step ............................................................................. 84
Delete Measure .............................................................. 45
DIMM ...................................................................... 19, 146
172
K
Keyfollow
Amp Envelope Time ............................................... 63
Cutoff ......................................................................... 60
Filter Envelope Time ............................................... 61
LFO Delay ................................................................. 64
Pitch Envelope Time ............................................... 58
Tone Pan ................................................................... 62
Wave Pitch ................................................................ 58
MC-909_Ref_e.book 173 ページ 2005年6月28日 火曜日 午後2時53分
Index
M
Mastering ...................................................................... 108
MATRIX CTRL1 ............................................................ 68
Memory .................................................................. 19, 146
Memory Card ............................................................. 6, 19
Menu ............................................................................. 125
Sample Edit ............................................................ 124
metronome ..................................................................... 25
MFX
2Vo PITCH SHIFTER ............................................ 103
AUTO PAN .............................................................. 96
AUTO WAH ............................................................. 94
COMPRESSOR ....................................................... 100
DISTORTION ........................................................... 98
ENHANCER ............................................................ 93
FBK PITCH SHIFTER ........................................... 103
GATE ....................................................................... 101
GATED REVERB ................................................... 104
GUITAR AMP SIM .................................................. 99
HEXA-CHORUS ...................................................... 96
HUMANIZER .......................................................... 94
ISOLATOR ................................................................ 93
LIMITER ................................................................. 100
LOFI COMPRESS .................................................. 102
LOFI NOISE ........................................................... 101
LOFI RADIO .......................................................... 102
LOW BOOST ............................................................ 93
MODULATION DELAY ...................................... 105
MULTI TAP DELAY ............................................. 106
OVERDRIVE ............................................................ 98
PHASER .................................................................... 94
PHONOGRAPH .................................................... 102
QUADRUPLE TAP DELAY ................................. 105
REVERSE DELAY .................................................. 106
RING MODULATOR .............................................. 95
ROTARY ................................................................... 96
SHUFFLE DELAY ................................................. 106
SLICER .................................................................... 100
SPACE-D ................................................................... 97
SPECTRUM .............................................................. 92
STEP FILTER ............................................................ 94
STEP FLANGER ...................................................... 98
STEP PHASER ......................................................... 95
STEREO CHORUS ................................................... 97
STEREO DELAY .................................................... 104
STEREO EQ .............................................................. 92
STEREO FLANGER ................................................ 97
STEREO PHASER .................................................... 95
SUPER FILTER ......................................................... 93
TAPE ECHO ........................................................... 103
TELEPHONE .......................................................... 102
TIME CONTROL DELAY .................................... 107
TIME SKIP DELAY ................................................ 107
TREMOLO ................................................................ 95
TREMOLO CHORUS .............................................. 96
TRIPLE TAP DELAY ............................................. 105
Microscope ..................................................................... 48
MIDI .............................................................................. 127
Sync Mode .............................................................. 127
Sync Output ............................................................ 127
Mix In .............................................................................. 34
Mono/Poly ..................................................................... 65
Move
file ............................................................................. 134
Multi-Effects ................................................................... 92
Multi-effects ................................................................... 90
Mute ................................................................................ 26
Mute Group .................................................................... 76
N
NORMALIZE ............................................................... 121
P
Pad Velocity ................................................................. 127
Part Mixer ....................................................................... 33
Patch .............................................................................. 151
Patch Coarse Tune ......................................................... 57
Patch Fine Tune ............................................................. 57
Patch Level ..................................................................... 62
Patch Priority ................................................................. 68
Pattern Call ..................................................................... 27
Pattern Mode .................................................................. 21
Pitch ........................................................................... 57, 72
Pitch Env ................................................................... 59, 72
play
pattern ....................................................................... 24
song ............................................................................ 82
Portamento ..................................................................... 65
Pre Sample Time .................................................. 112, 129
R
RANDOM MODIFY ..................................................... 56
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
Appendices
L
LCD CONTRAST .......................................................... 18
Legato .............................................................................. 65
LFO ............................................................................ 54, 64
LFO Rate ......................................................................... 64
LFO Waveform .............................................................. 64
Loop Mode ................................................................... 116
Low Frequency Oscillator ............................................ 54
MC-909_Ref_e.book 174 ページ 2005年6月28日 火曜日 午後2時53分
Index
Recording
pattern ....................................................................... 37
song ............................................................................ 83
Recording Cancel .......................................................... 39
Rehearsal ........................................................................ 38
Resonance ................................................................. 60, 73
Reverb ............................................................................. 90
Rhythm Set Level .......................................................... 76
Rhythm Tone Coarse Tune .......................................... 72
Rhythm Tone Fine Tune ............................................... 72
Rhythm Tone Level ....................................................... 75
Rhythm Tone Output Assign ...................................... 76
Rhythm Tone Pan .......................................................... 75
Rhythm Tone Reverb Send Level ............................... 76
Ring Modulator ............................................................. 67
RPS .................................................................. 28, 160, 162
RPS Trigger Quantize ........................................... 29, 128
S
Sample List ................................................................... 115
Sample Memory ............................................................ 19
Sampling ............................................................... 109, 129
Sampling Length ......................................................... 113
Save
patch .......................................................................... 77
pattern ....................................................................... 50
rhythm set ................................................................. 77
sample ..................................................................... 123
song ............................................................................ 85
Saving .............................................................................. 50
Screen Saver ................................................................. 127
Sequencer ..................................................................... 127
Sequencer Output Assign ............................................ 55
setup parameter ............................................................. 26
Shift Clock ...................................................................... 45
SmartMedia ................................................................ 6, 19
SMF
import ...................................................................... 131
save .......................................................................... 132
SOLO SYNTH ................................................................ 35
Song Loop Mode ......................................................... 128
Song Mode ..................................................................... 79
Song Play Mode ........................................................... 128
Song Step Switch ......................................................... 128
Step recording ................................................................ 41
Stop Trigger .................................................................. 112
Structure Type ............................................................... 66
Sync Mode .................................................................... 127
Sync Output ................................................................. 127
System ........................................................................... 126
T
TAP .................................................................................. 25
Tap Resolution ............................................................. 127
Tempo/mute recording ............................................... 42
174
TIME STRETCH .......................................................... 121
Time Variant Amplifier .......................................... 54, 70
Time Variant Filter .................................................. 54, 70
TMT ................................................................................. 66
Tone Coarse Tune .......................................................... 57
Tone Delay ...................................................................... 69
Tone Envelope Mode .................................................... 68
Tone Fine Tune .............................................................. 57
Tone Level ...................................................................... 62
Tone Mix Table .............................................................. 66
Tone Pan ......................................................................... 62
Transpose ........................................................................ 45
Trigger Level ................................................................ 129
Trimming Switch ................................................. 112, 129
TR-REC ........................................................................... 39
Truncate ........................................................................ 117
TTE Slider Type ........................................................... 127
TURNTABLE ................................................................. 35
Turntable emulation ..................................................... 36
TVA ........................................................................... 54, 70
TVF ............................................................................ 54, 70
U
Undo .............................................................................. 136
Unison ............................................................................. 66
USB ................................................................................ 135
User Area ........................................................................ 19
User Backup ................................................................. 132
User Restore ................................................................. 132
V
Velocity pads .................................................................. 27
V-LINK .......................................................................... 137
W
Wave .......................................................................... 57, 71
Wave Coarse Tune ........................................................ 72
Wave Fine Tune ............................................................. 72
Wave Gain ...................................................................... 57
Wave Generator ....................................................... 54, 70
Wave Group ............................................................. 57, 71
Wave Level ..................................................................... 75
Wave Mix Table ............................................................. 76
Wave No. .................................................................. 57, 71
Wave Pan ........................................................................ 75
Waveform Morphing .................................................... 56
WG ............................................................................. 54, 70
WMT ................................................................................ 76
Z
Zoom In/Out ............................................................... 114
MC-909_Ref_e.book 175 ページ 2005年6月28日 火曜日 午後2時53分
Specifications
MC-909: Sampling groovebox
Sound Generator Section
Maximum Poliphony
64 voices
(shared with sampling section)
Sampling Frequency
44.1 kHz
Waves
16 (Main) + 16 (RPS)
693
Preset
800
User
256
256
Rhythm Set
Preset
16 + Tempo/Mute Control
Resolution
480 ticks per quarter note
Tempo
5–300
Maximum Note Storage
approx. 1,300,000 notes
Patterns
Preset
215
RPS
440
User
200
Card
Patches
Card
Parts
72
User
128
Card
128
Realtime, TR-REC, Step
Songs
50
Arpeggio Style
Preset
128
User
128
Chord Memory
Preset
User
Sampling Section
Data Format
16-bit linear
(File Type: WAV/AIFF)
Maximum Poliphony
shared with sound generator section
Sampling Frequency
44.1 kHz (fixed)
Maximum Sampling Time
• Internal memory (16 MB) only
999
Recording Mode
64
128
RPS Set
50
Pattern Set
50
Effects Section
Reverb
1 (4 types)
Compressor
1 (1 type)
Multi-effects (MFX)
2
(MFX1: 38 types)
mono: 180 sec. approx. (stereo: 90 sec. approx.)
(MFX2: 47 types)
• with DIMM (256 MB)
mono: 51 min. approx. (stereo: 25.5 min. approx.)
Samples
User
2,000
Card
7,000 (128 MB SmartMedia)
Pitch Shifter
(for external input)
1 (1 type)
Mastering Section
3-bands Compressor
1 (1 type)
Appendices
Parts
Sequencer Section
175
MC-909_Ref_e.book 176 ページ 2005年6月28日 火曜日 午後2時53分
Specifications
Expansion Slot
Power Supply
Wave Expansion Board SRX Series: 1 slot
AC 117 V, AC 230 V, AC 240 V
DIMM: 1 slot
Power Consumption
Number of pins:
168-pin
Speed:
100 MHz (PC100 CL=2)
20 W
133 MHz (PC133 CL=3)
Voltage:
3.3 V
Dimensions
Capacity:
128 MB
491 (W) x 386 (D) x 123 (H) mm
256 MB
19-3/8 (W) x 15-1/4 (D) x 4-7/8 (H) inches
38 mm or less
Weight
Board height:
External Memory
6.0 kg
SmartMedia card: 1 slot
13 lbs 4 oz
8MB/16MB/32MB/64MB/128MB (3.3V)
Accessories
Controllers, Display
Display
QVGA LCD
BPM Diplay: 7 segment 4 character (LED)
Control Knob
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)
Quick Start
Owner’s Manual
Sample Data (Audio) CD
Power Cord
Card Protecter
Options
Wave Expansion Board: SRX Series
984
*
Effects: 3 (TYPE, C1, C2)
Mastering: 2 (Attack, Release)
OUTPUT Volume: 1
INPUT Volume: 1
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.
Control Slider
Envelope: 13 (Pitch/Filter/Amp)
Part Mixer: 8
Turntable Emulation (100 mm): 1
Other Controllers
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
962a
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
MC-909_Ref_e.book 177 ページ 2005年6月28日 火曜日 午後2時53分
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
Beat Differs!
Meaning
While using the Pattern Edit operation Copy, the copy
could not be executed since the copy-source and copydestination 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.
This is a preset sample, and therefore cannot be edited.
Cause/Action
You must copy between patterns that have the same time
signature.
Specify a note number for which data exists in the movesource part.
Illegal File!
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 performance data.
The sample contains no data.
The song has not been recorded, and therefore cannot be
played.
The MC-909 cannot use this file.
Memory Damaged!
The contents of memory may have been damaged.
Memory Full!
(USER/CARD
Area Full!)
MIDI Offline!
Saving is not possible because there is insufficient space in
the user area or memory card.
No More Sample
Numbers!
The sample cannot be divided any further.
Since fewer than 256 consecutive sample numbers are vacant, no further sampling is possible.
Since the MC-909 is playing, this operation cannot be executed.
Since the maximum number of notes that can be recorded
in one pattern has been exceeded, no further pattern recording is possible.
The file is protected.
The sample is too short, and cannot be edited correctly.
Card Not Ready!
Card Protected!
Empty Pattern!
Empty Sample!
Empty Song!
Now Playing!
Pattern Full!
Permission Denied!
Sample Length Too
Short!
Sample Memory
Full!
Song Recording
Full!
Unformatted!
Wrong Setting!
There is a problem with the MIDI cable connection.
Since there is insufficient sample memory, no further sampling or sample editing is possible.
Since the maximum number of patterns that can be recorded in one song has been exceeded, no further song recording is possible.
The memory card is in an unsupported format.
The pattern edit setting is incorrect.
Insert a memory card into the slot.
—
Select a pattern that contains data.
Select a sample that contains data.
Select a song that contains data.
The MC-909 can use only audio files (WAV/AIFF format),
SMF, and bitmap files.
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.
Delete unneeded data.
Check that the MIDI cable has not been disconnected or
broken.
Delete unneeded samples (p. 124) in order to allocate 256 or
more consecutive sample numbers.
Stop playback before you execute the operation.
Erase unneeded data from the pattern you are recording
(p. 49).
—
If the sample is extremely short, editing may not produce
the desired result.
Erase unneeded samples (p. 124).
A maximum of 50 patterns can be recorded in one song. No
further patterns can be recorded.
Format the memory card (p. 134).
Make the correct setting.
Appendices
Cannot Assign
Phrase!
Cannot Edit Preset
Sample!
Cannot Extract!
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).
—
177
MC-909_Ref_e.book 178 ページ 2005年6月28日 火曜日 午後2時53分
MEMO
To resize thickness, move all items on the front cover
and center registration marks to left or right.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified
by the manufacturer.
12. Unplug this apparatus during lightning storms or when
unused for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
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.
2
To resize thickness, move all items on the front cover
and center registration marks to left or right
Information
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
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
FAX: (011) 403 1234
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
TEL: (021) 674 4030
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
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
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
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
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
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
SINGAPORE
CURACAO
URUGUAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
THAILAND
EL SALVADOR
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
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
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
NICARAGUA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
BRAZIL
PANAMA
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
CHILE
PARAGUAY
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
COLOMBIA
PERU
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
BARBADOS
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
TEL: (2) 666 10529
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
LEBANON
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
ROMANIA
OMAN
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
Owner’s Manual
QATAR
RUSSIA
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.
201b
SAUDI ARABIA
SPAIN
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.
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
U.A.E.
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
NORTH AMERICA
MIDDLE EAST
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 17 211 005
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (022) 66-9426
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
ISRAEL
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
TEL: (604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
• 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
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
*
As of January 15, 2005 (ROLAND)
03348834
Convention Used in This Manual
’05-7-3N
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.
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