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Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
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
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
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
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
THAILAND
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
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
BARBADOS
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
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
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
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
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
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
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
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
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
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
MIDDLE EAST
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
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
NORTH AMERICA
CANADA
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
JORDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
OMAN
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
SAUDI ARABIA aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
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
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
As of January 15, 2005 (ROLAND)
03348834 ’05-7-3N
To resize thickness, move all items on the front cover and center registration marks to left or right
Owner’s Manual
Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.
201b
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS”
(Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual pp. 3–4), and “IMPORTANT
NOTES” (Owner’s Manual p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start and Owner’s Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
Convention Used in This Manual
• Words enclosed in square brackets indicate buttons or a dial or a knob or a slider on the panel.
• (p. **) indicates a reference page.
985
* The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
202
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
To resize thickness, move all items on the front cover and center registration marks to left or right.
2
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.
Read these instructions.
2.
Keep these instructions.
3.
Heed all warnings.
4.
Follow all instructions.
5.
Do not use this apparatus near water.
6.
Clean only with a dry cloth.
7.
Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.
8.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9.
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 the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
NEUTRAL
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.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
●
symbol alerts the user to things that must be The 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
• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.
..........................................................................................................
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,
..........................................................................................................
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.
..........................................................................................................
008e
• Use only the attached power-supply cord.
..........................................................................................................
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
• 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.
..........................................................................................................
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.
..........................................................................................................
101a
• The unit should be located so that its location or position does not interfere with its proper ventilation.
..........................................................................................................
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,
..........................................................................................................
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
301
• 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).
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.
Placement
351
• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.
352a
• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.
352b
• Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.
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.
402
• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
Additional Precautions
551
• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a memory card, or in another MIDI device (e.g., a sequencer).
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
• 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.
557
• A small amount of heat will radiate from the unit during normal operation.
558a
• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
562
• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.
• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.
5
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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.
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.
1.
Use a screwdriver to remove both screws that are at either side of the memory card slot.
2.
Insert the memory card into the memory card slot.
3.
Use the screws to fasten the card protector as shown below.
Card protector
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
• 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.
204
* Microsoft and Windows are registered trademarks of
Microsoft Corporation.
206j
* Windows® is known officially as: “Microsoft®
Windows® operating system.”
207
* Apple and Macintosh are registered trademarks of Apple
Computer, Inc.
209
* Mac OS is a trademark of Apple Computer, Inc.
230
* SmartMedia is a trademark of Toshiba Corp.
Side view
6
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Contents
USING THE UNIT SAFELY......................................................................3
IMPORTANT NOTES ...............................................................................5
Features of the MC-909 ........................................................................13
Panel Descriptions................................................................................14
An Overview of the MC-909..................................................................17
Pattern Mode ............................... 21
How Things Work (in Pattern mode) ...................................................22
7
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8
Contents
Recording a pattern ..............................................................................37
Patch/Sample Mode ..................... 51
How Things Work (in Pattern mode) ...................................................52
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Contents
Saving a Patch/Rhythm Set .................................................................77
Copying and Initializing a Patch/Rhythm Set.....................................78
Song Mode................................... 79
How Things Work (in Song mode) ......................................................80
Recording a song..................................................................................83
Effects .......................................... 87
9
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Contents
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
Saving a sample..................................................................................123
Menu (in Sample Edit) ........................................................................124
10
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Contents
Menu ......................................... 125
V-LINK ....................................... 137
11
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Contents
12
Appendices ................................ 141
Installing the Wave Expansion Board...............................................142
Installation de la carte d’extension Wave
(French language for Canadian Safety Standard) ...........................144
Expanding the Memory ......................................................................146
(French language for Canadian Safety Standard) ...........................148
Preset Rhythm Set List.......................................................................154
Arpeggio Style List .............................................................................166
SRX-05 Special Patch List..................................................................168
SRX-05 Special Rhythm Set List .......................................................169
MIDI Implementation Chart ................................................................170
Error Message List..............................................................................177
MC-909_Ref_e.book 13 ページ ２００５年６月２８日 火曜日 午後２時５３分
Features of the MC-909
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
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Panel Descriptions
Top Panel
fig.0-01
1
2
8
16
9
6
3
10
11
7
13
4
12
15
5
1. D Beam Controllers
You can modify the patterns or sounds by passing your hand over
2. Volume Section
Adjusts the output volume of the entire MC-909, and the input volume to the MC-909.
3. Realtime Modify Section
4. Mastering Section
Applies a mastering effect (compressor) (p. 108).
5. Velocity Pads
Used as a keyboard to play sounds or trigger phrases (p. 27).
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
14
14
9. Effect Section
Applies special effects to the sound (p. 88).
10. Mode Section
Selects Song mode (p. 79), Pattern mode (p. 21), or Patch/Sample
The button of the currently selected mode will light.
11. Cursor/Value Section
Used to select patterns or patches, and to input values (p. 18).
12. Sequencer Section
Used to play/record patterns or songs (p. 24, p. 82).
13. Turntable Emulation
Simulates the effect of changing the rotational speed of a turntable
14. TAP Button
Adjusts the BPM (tempo) according to the timing at which you tap
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.
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Rear Panel
fig.0-02
Panel Descriptions
11 1 2 3 4
1. POWER Switch
Turns the MC-909’s power on and off (p. 16).
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
4. MIDI Connectors (IN, OUT)
These connectors connect the MC-909 with other MIDI devices,
enabling the sending and receiving of MIDI messages (p. 16).
•
•
IN: This connector receives messages from another MIDI device.
OUT: This connector transmits messages to another MIDI device.
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.
5
When recording from a mic, connect it to the L jack, and set Input
Select (p. 34) to “MICROPHONE.”
6 9 8 7 10
7. MIX OUTPUT Jacks
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.
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.
10. PHONES Jack
Headphones are plugged in here (p. 16).
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
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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
MIDI IN
Make connections to the MIX OUTPUT jacks to Power outlet
Stereo headphones
MIDI OUT
External MIDI device
(MIDI Keyboard, Sequencer, etc.)
Power amp
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.
Mixer, etc.
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.
1.
Make sure that all volume controls on the MC-909 and connected devices are set to “0.”
2.
Turn on the device connected to the INPUT Jacks.
3.
Turn on the MC-909’s POWER switch.
4.
Turn on the devices connected to the OUTPUT Jacks.
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.
Turning Off the Power
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.
* 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
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An Overview of the MC-909
Basic structure of the MC-
909
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
Sampling
Sampler
Section
Sequencer
Section
Recording
PLAY
Sound Generator
Section
Velocity Pad Play
Controller (Velocity Pad, Knob, etc.)
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.
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.
fig.0-04
(Example)
SNARE CLAP HI-HAT
B3
KICK RIM TOM CYMBAL
Tones
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
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
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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.
D Beam controllers
By passing your hand over these controllers you can play or
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.
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.
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 an arpeggio style (p. 32)
Saving takes several seconds. Do not turn off the power until saving is completed. Doing so may cause the MC-909 to malfunction.
18
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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.
fig.SampleMem-e
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.
Factory-installed memory
Sample memory
16MB
MC-909
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
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An Overview of the MC-909
Restoring the factory settings
(Factory Reset)
Here’s how to restore the settings of the MC-909 to their factory-set state.
3.
fig.0-06
Press [ENTER] to access the Utility menu.
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)].
fig.0-07
A warning message will appear.
Never turn off the power while Factory Reset is being executed. Doing so may destroy the contents of memory.
1.
Press [MENU].
2.
fig.0-05
Use [CURSOR] to select “Utility.”
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
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Pattern Mode
In this mode you can play, record, and edit patterns.
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How Things Work (in Pattern mode)
fig.0-01
1
2
8
9
6
3
10
11
7
13
4
5
12
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).
14
4. Mastering section
[ON]
[BAND]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
[ATTACK] Specify the time from when the volume goes up the threshold level until the compressor effect applies.
[RELEASE] Specify the time from when the volume falls below the threshold level until the compressor effect no longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
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 Pattern mode)
7. Part Mixer section
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
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
[MIXER ASSIGN] When you press this button so its indicator lights, the Mixer screen will appear.
[PART ASSIGN] 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.
8. Sampling section
[EDIT]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Displays the Sample Edit
Displays the Sampling menu
Mixes the sound from the IN-
Synchronizes a sample to the
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
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).
12. Sequencer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
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Playing a pattern
Basics of pattern play
The top screen of Pattern mode
fig.1-01
Basic playback operation
Use the following buttons to control the playback.
fig.1-02.e
Return to the previous measure
Move to the beginning of the pattern
Advance to the next measure
1
2
1.
Current pattern
The pattern that is now playing
2.
Next pattern
The pattern that will play next
* “Len” is the number of measures (Length) of the pattern.
Function buttons
[F1 (List)]
(Pattern List)
[F2 (Edit)]
(Pattern Edit)
[F3 (Mixer)]
(Part Mixer)
[F4 (Effects)]
[F5 (Mastering)]
Select a pattern from a list (p. 25).
Edit the settings of a pattern (p.
Specify the volume, pan, etc., of
Apply special effects to the sound
Make settings for the Mastering ef-
[F6 (BPM/Click)] Set the tempo, and turn the metro-
Make arpeggiator settings (p. 30).
[SHIFT] + [F1 (Arp)]
(Arpeggiator)
[SHIFT] + [F2 (Chord Memory)]
[SHIFT] + [F3 (Pattern Call)]
[SHIFT] + [F4 (RPS)]
[SHIFT] + [F5 (System)]
(System Edit)
Make settings that apply to the en-
[SHIFT] + [F6 (Utility)]
(Utility Menu)
Open the Utility menu (p. 131).
Stop playback Play back Used for recording
* The [FWD], [BWD], and [TOP] buttons can also be used during playback.
* * Press [STOP] twice to return to the beginning of the pattern.
Selecting a pattern to play back
There are two ways to select a pattern for playback; directly , or from a list .
Selecting a pattern directly
Selecting the current pattern
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.
* 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.
fig.1-03
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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.
Selecting a pattern from the list
1.
fig.1-04
Press [F1 (List)].
Playing a pattern
Changing the BPM (Tempo)
Using the [VALUE] dial
1.
fig.1-05
Press [F6 (BPM/Click)] to access 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)]
Choose preset patterns.
Choose user patterns.
[F3 (Card)] Choose patterns stored on a memory card.
[F6 (Select Pattern)] 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 ->
2.
Use [VALUE] or [INC/DEC] to set the BPM.
3.
Press [F6 (Close)] to close the BPM window.
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.
2.
Press [F6 (BPM/Click)] to access the BPM window.
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.
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Playing a pattern
Muting (silencing) a part
A pattern contains sixteen parts. You can mute (silence) each part in real time.
fig.1-06
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.
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.”
2.
Select the next pattern.
After a time, the selected pattern will play, with the mute settings of each part remaining as they were.
When the pattern changes, the Mute Remain function will automatically be cancelled.
* Mute Remain will be cancelled if you press [PLAY] once again before the pattern changes.
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.
All parts other than the selected part will be muted.
All Parts Mute
This function mutes all parts at once.
1.
Hold down [SHIFT] and press [PART ASSIGN].
The sound of all parts will be muted.
All Parts On
This function un-mutes all parts at once.
1.
Hold down [SHIFT] and press [MIXER ASSIGN].
Muting will be cancelled for all parts, so they are all allowed to play.
Mute Reverse
This function inverts the currently muted and currently playing parts.
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.”
• Part Output Assign * (p. 55)
• Sequencer Output Assign * (p. 55)
• Multi-effect settings (p. 90, p. 92)
* The asterisk indicates parameters that can be set for each part.
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Playing a pattern
Velocity pads
These pads work just like a keyboard. They can also be used to play
RPS and the arpeggiator. Normally, pad number 2 will be C4. The force with which you strike the pads will vary the dynamics
(velocity) of the sound.
You can also set velocity to a fixed value (Pad Velocity ->p. 127).
[HOLD] If you press this button so its indicator lights, the sound will still be heard even after you take your finger off the velocity pad. The sound will stop when you press [HOLD] once again, extinguishing the indicator.
[OCT -]/[OCT +] 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.
Various ways to use the velocity pads
[PATTERN CALL]
[RPS]
The pads will recall patterns (Pattern
The pads will trigger phrases (RPS, p.
[ARPEGGIO] The pads will play arpeggios (Arpeggia-
[CHORD MEMORY] Produce chords by pressing a single pad
Pattern Call
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.
You can use this method to select either the current pattern or the next pattern.
* Pattern Call cannot be used in Song mode.
Using Pattern Call
1.
Press [PATTERN CALL] so its indicator is lighted.
2.
Press one of the velocity pads [1]–[16].
The pattern that is registered to the pad you pressed will be selected.
* [HOLD] and [OCT +/-] will have no effect.
* Pattern Call cannot be used simultaneously with RPS, arpeggiator, or chord memory.
Selecting a pattern set
1.
Hold down [PATTERN CALL] and use [VALUE] or
[INC/DEC] to select a set.
Registering a pattern in a Pattern Set
1.
Select the pattern you want to register, so it is the current pattern.
2.
Select the pattern set into which you want to register that pattern.
3.
Hold down [PATTERN CALL], and press the velocity pad to which you want to register the pattern.
That pattern will be registered to the pad you pressed.
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)].
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).
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)].
* To cancel without saving, press [F5 (Cancel)].
Patterns that are registered in a pattern set allow you to specify setup parameters that are different than in conventional pattern mode.
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Playing a pattern
RPS
Any phrase that’s been assigned to one of the sixteen velocity pads will continue playing as long as you hold down its pad.
The phrases that are registered to the sixteen velocity pads are handled as one “RPS set.” You are free to edit the contents of an RPS set, and can store 50 different sets. You can also switch between RPS sets during pattern playback.
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.
• 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.
Registering a phrase in an RPS set
1.
Select the pattern that contains the phrase you want to register, so it is the current pattern.
2.
Mute all parts other than the single part you want to register in RPS.
Refer to p. 26 for details on muting.
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.
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
1.
Hold down [RPS] and press [F6 (RPS Setting)].
Alternatively, hold down [SHIFT] and press [F4 (RPS)].
The RPS setting screen will appear.
2.
Use [CURSOR (up/down)] to select a parameter.
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
—
—
DRY, MFX1,
MFX2,
COMP,
DIR1, DIR2,
RHY
Remote Keyboard Switch
OFF, ON
Explanation
RPS set to edit
RPS part to edit
Patch assigned to RPS part
How the original sound of each part will be output
DRY: Output to MIX OUT-
PUT jacks without passing through effects
MFX1 (2): Output through multi-effects 1 (or 2)
COMP: Output through the compressor
DIR1 (2): Output to the DI-
RECT 1 (or DIRECT 2) jacks without passing through effects
RHY: Output according to the settings of the rhythm set assigned to the part
<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.
Adjusting the settings of the RPS parts
RPS playback uses dedicated RPS parts that are separate from conventional pattern playback. The patterns that are assigned to velocity pads [1]–[16] will play RPS parts 1–16.
Here's how to adjust the settings of these RPS parts.
1.
Hold down [RPS] and press [F6 (RPS Setting)].
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.
3.
Use the part mixer section to adjust the volume, pan, etc. of RPS parts 1–16.
[PART ASSIGN]
Sliders
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.
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 Parameter adjusted by the sliders
[F1 (Level)]
[F2 (Pan)]
[F3 (Key Shift)]
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.
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Playing a pattern
RPS realtime modify
You can use the panel knobs and sliders to modify the sound of the phrase being played by RPS.
1.
Press [RPS] to make the indicator light.
2.
Press a velocity pad to play back a phrase.
3.
While holding down a pad, you can operate the following knobs and sliders to modify the sound of the phrase.
PITCH: FINE/COARSE TUNE, ENV DEPTH/A/D
FILTER: CUTOFF, RESONANCE, ENV DEPTH/A/D/S/R
AMP:
LFO1:
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.
Saving an RPS set
The edited settings of an RPS set will be lost when you turn off the power. If you want to keep the settings you edited, save the RPS set as follows.
1.
Hold down [RPS] and press [F6 (RPS Setting)].
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)].
5.
Assign a name to the RPS set.
For details on how to assign a name, refer to “Saving a pattern”
6.
When you finish inputting the name, press [F6
(Write)].
A message will ask you for confirmation.
7.
To save, press [F6 (Execute)].
* To cancel without saving, press [F5 (Cancel)].
Arpeggiator
The MC-909’s Arpeggiator function lets you perform arpeggios
(chords in which notes are played in succession, one note at a time) just by playing the chords, using the notes in the chords you play.
Not only can you use the factory-set arpeggio styles, which determine the way the arpeggio is played, but you can also freely rewrite styles.
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
Here's how to change the way that the arpeggio is sounded.
1.
Hold down [ARPEGGIO] and press [F6 (Arp Setting)].
Alternatively, hold down [SHIFT] and press [F1 (Arp)].
The arpeggiator setting screen will appear.
2.
Use [CURSOR (up/down)] to select a parameter.
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.
Parameter Explanation
Arpeggio
Grid (Grid
Type)
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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Playing a pattern
Parameter Explanation
Arpeggio
Motif
Arpeggio
Duration
Arpeggio
Octave
Range
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).
Remote
Keyboard
Switch
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.
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)]
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.
[SHIFT] +
[F1 (V-Zoom In)]
[SHIFT] +
[F2 (V-Zoom Out)]
[SHIFT] +
[F3 (Tie)]
[SHIFT] +
[F4 (Rest (Clear))]
[SHIFT] +
[F5 (Step Rec)]
5.
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).
When you finish inputting the arpeggio style, press
[EXIT].
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Playing a pattern
Step-recording an arpeggio style
You can create an arpeggio style by inputting and editing individual notes.
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)].
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)].
* To cancel, press [F5 (Cancel)].
32
Chord Memory
You can play a previously registered chord form simply by pressing a single pad. You can use the factory-set chord forms, and are also free to rewrite them as desired.
Using chord memory
1.
Press [CHORD MEMORY] so its indicator is lighted.
2.
Press one of the velocity pads.
The pre-specified chord form will sound.
When you press velocity pad [2] (C4), the chord form will sound at the pitch that was specified. Other pads will sound parallel chords at pitches relative to pad [2] (C4).
* Chord Memory cannot be used simultaneously with Pattern Call or
RPS.
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].
While inputting the chord form, you can press [F6 (Preview)] to play the chord that you have input.
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Playing a pattern
Saving a chord form
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.
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.
3.
Use [VALUE] or [INC/DEC] to select the chord form that you want to save.
4.
Press [F6 (Write)].
A message will ask you for confirmation.
5.
To write the data, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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
Selecting the part whose sound you want to modify fig.1-06
Part Mixer
Here you can adjust the volume, pan, etc., of each part.
[PART]
(SELECT/MUTE)
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.
[TEMPO/MUTE
CONTROL]
Switches the Tempo/Mute part (a part that records tempo changes and mute opera-
[MIXER ASSIGN] The Mixer screen will appear when you
[PART ASSIGN]
Sliders 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).
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).
Use [F1]–[F4] to select a parameter, and use the sliders to adjust the values.
Function button Parameter adjusted by the sliders
[F1 (Level)]
[F2 (Pan)]
[F3 (Key Shift)]
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.
[F4 (Reverb Level)] Reverb level of the part
[F6 (Close)] 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
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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.
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.
2.
Continuing to hold down [MIX IN], press [F6 (Velo
Pads)] or turn [VALUE] to select “VELOCITY PADS.”
The indicator will blink, and now you can use the velocity pads to change the pitch of the input sound.
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.
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 Range
Input Select LINE IN L/R,
LINE IN L,
DIGITAL(OPT),
DIGITAL(CO-AX),
MICROPHONE
Mix-In
Ext Output
Asgn
(External
Output
Assign)
Ext Level L
Ext Level R
Ext Reverb
Send Level
OFF, ON,
VELOCITY PADS
DRY, MFX1,
MFX2, COMP
0–127
0–127
0–127
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 OUT-
PUT 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.
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Playing a pattern
D Beam Controller
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.
3.
In the FILTER block, press [TYPE] to select Filter
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.
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).
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.
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.
fig.1-07
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.
Auto Sync
The playback tempo of a sample (waveform) you sampled or loaded from your computer can be automatically synchronized to the playback tempo of the pattern.
In order to use Auto Sync, you must first set the BPM (p. 116) sample
parameter.
1.
As the current part, select the part to which is assigned the patch that uses the sample that you want to auto-sync.
2.
Press [AUTO SYNC] so its indicator is lighted.
The playback tempo of the sample will automatically synchronize to the BPM of the pattern.
Auto Sync can be turned on/off independently for each part.
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
These buttons select whether the slider and [HOLD]/
[PUSH] buttons will control the pitch or the BPM.
Both lit
The pitch and BPM will both change.
This produces the same result as a turntable.
Only the pitch will change.
Only [PITCH] lit
Only the BPM will change.
[HOLD]
[PUSH]
Only [BPM] lit
Both not lighted
Operating the slider or
[HOLD]/[PUSH] buttons will not change the pitch or BPM.
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
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
Mastering
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Recording a pattern
1.
Use [VALUE] or [INC/DEC] to select the number of the pattern you want to record.
2.
fig.1-20
Press [REC].
Realtime recording
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.
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
Data from the velocity pads, knobs, and external MIDI devices will be recorded in real time.
TR-REC
The sixteen velocity pads represent notes, allowing you to input note data by switching each pad on or off.
Step Recording
Successively record each note one after the other in a non-realtime fashion.
Tempo/Mute Recording
Record tempo changes or mute on/off events in real time.
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
.
Parameter
Rec Beat
Rec Measure
Length
Rec Mode
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
MIX,
REPLACE
OFF, 1 MEAS,
2 MEAS,
WAIT NOTE
OFF, ON
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
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.
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Recording a pattern
Parameter
Quantize Resolution
Quantize Timing
Range
OFF,
32nd note– quarter note
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)]
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
(Part Mixer)
[F6 (BPM/Click)] Set the tempo, and turn the metronome on/
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.
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Recording a pattern
Realtime Erase
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
2.
During recording, press [F2 (Erase)].
fig.1-**
The realtime erase window will appear.
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.
* 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
NOTE
P-AFT
C-AFT
CC
PC
BEND
SYSEX
BPM
MUTE
EXCEPT NOTE
All data
Note messages
Polyphonic aftertouch
Channel aftertouch
Control change
Program change
Bend data
System exclusive data
Tempo change data
Mute on/off
All data other than note messages
* If you want to erase knob data, operate the corresponding knob of the panel to specify that data.
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.
• For other types of data, the data selected by Erase Type will be erased while you continue holding down [F5 (Erase)].
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.
* To cancel, press [F5 (Cancel)].
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 De-
lete one or more measures.
Volume (velocity) of the notes that you input from the velocity pads.
If this is set to REAL, your playing strength on the pads will determine the velocity that is input.
Function buttons
[F1 (Patch List)]
[F3 (Mixer)]
Choose a patch/rhythm set from a list (p. 55).
Display the Mixer screen (p. 33).
(Part Mixer)
[F6 (BPM/Click)] Set the tempo, and turn the metronome on/
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Recording a pattern
Recording procedure
1.
2.
Press [PLAY] to begin recording.
fig.1-31
You will enter recording mode, and will hear the notes you enter played as a loop.
4.
Use [CURSOR (left/right)] or [BWD/FWD] to move the note message input region
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.
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)]
[F4 (Note Type)]
Choose the patch/rhythm set from a list
The timing scale (see the explanatory box on this page) of the velocity pads will change each time you press this.
[F3 (Note Number)] 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.
[F5 (Gate Time)]
[F6 (Velocity)]
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
[SHIFT] +
[F1 (V-Zoom In)]
[SHIFT] +
[F2 (V-Zoom Out)]
[SHIFT] +
[F6 (BPM/Click)]
* 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
By holding down [SHIFT] and pressing [TOP] [BWD] [FWD], you can move the pattern playback location in the same way as during playback.
40
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.
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.
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Recording a pattern
Step recording
This is a recording method in which you input note messages one by one.
* 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.1-40
Recording procedure
1.
Select step recording (p. 37).
2.
Press [PLAY] to begin recording.
fig.1-31
You are now ready to record.
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 De-
lete one or more measures.
Volume (velocity) of the notes that you input from the velocity pads.
If this is set to REAL, your playing strength on the pads will determine the velocity that is input.
Function buttons
[F1 (Patch List)]
Choose a patch/rhythm set from a list (p. 55).
[F3 (Mixer)]
Display the Mixer screen (p. 33).
(Part Mixer)
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)]
[F2 (Step Back)]
[F3 (Tie)]
[F4 (Note Type)]
[F5 (Gate Time)]
[F6 (Velocity)]
[SHIFT] + [F1 (V-
Zoom In)]
[SHIFT] + [F2 (V-
Zoom Out)]
4.
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.
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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Recording a pattern
Selecting the part to record
1.
In the Part Mixer section, press [PART] (SELECT/
MUTE) so the indicator is not lighted.
Part buttons [1]–[16] will select parts.
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
• 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.
Tempo/mute recording
fig.1-49
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 Range
Rec Beat 2/4–7/4, 5/8–
7/8, 9/8, 12/8,
9/16, 11/16,
13/16, 15/16,
Rec Measure
Length
Rec Count In
17/16, 19/16
1–998
OFF, 1 MEAS,
2 MEAS
Rec Loop Rest OFF, ON
1.
Explanation
Pattern time signature
* Can be specified only for an empty pattern.
Pattern length
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.
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.
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Pattern editing
Here’s how you can edit the performance data of a pattern in units of measures. You can create completely new patterns by editing the performance data of a pattern, or by combining various patterns.
* 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.
fig.1-60
Press [F2 (Edit)] to access the Pattern Edit Menu screen.
[F1 (Micro Scope)] Edit individual items of perfor-
mance data within a pattern. (p.
[F2 (Copy)]
[F3 (Erase)]
[F4 (Delete Measure)]
[F5 (Insert Measure)]
[F6 (Transpose)]
[SHIFT] +
[F1 (Extract Rhythm)]
[SHIFT] +
Delete unwanted measures. (p. 45)
Insert blank measures. (p. 45)
[F2 (Velocity Duration)]
(Change Velocity/
Modify the strength/length of the
Change Duration)
[SHIFT] + [F3 (Shift Clock)]
Slightly shift the timing. (p. 45)
[SHIFT] + [F4 (Data Thin)]
[SHIFT] +
[F5 (Edit Quantize)]
[SHIFT] + [F6 (Reclock)]
Thin out unnecessary data. (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
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.
fig.1-61
The corresponding editing sub-window will appear.
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.
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Pattern editing
Extract a Rhythm Instrument
This operation extracts data of a specific note number from the specified part, and moves it to a different part. You can use this to divide a rhythm set into separate parts for each instrument.
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)].
4.
Press a part button [1]–[16] to select the movedestination part; the button will light.
5.
Press [F6 (Execute)].
* To cancel the procedure, press [F5 (Cancel)].
Parameter
Src Part
Extract Note
Dest Part
Range
1–16
Explanation
Move-source part
0 (C-1)–127 (G9) Note number to be moved
1–16 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.
Pattern Copy
This operation copies data from the current pattern to another pattern.
1.
In step 5 on the preceding page, press a part button
[1]–[16] or [TEMPO/MUTE CONTROL] to select the move-source part; the button will light.
2.
Select the data that you want to copy.
3.
Press [F6 (Select)].
4.
Press a part button [1]–[16] or [TEMPO/MUTE
CONTROL] to select the move-source part; the button will light.
5.
Press [F6 (Execute)].
* To cancel the procedure, press [F5 (Cancel)].
Parameter Range
Event ALL, NOTE,
PROG, CC, BEND,
PAFT, CAFT, SYS-
EX, BPM, MUTE
Note Minimum 0 (C-1)–127 (G9)
Note Maximum
Explanation
Data to be copied
Min
Max
CC#0–CC#127
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
Dest Pattern
Dest Meas
Dest Part
Copy Mode
Copy Times
Preset, User, Card
* This can be specified only if Event is set to
“CC.”
Bank of the copy-desti-
1–650 (Preset)
1–200 (User) nation pattern
Copy-destination pattern number
1–999 (Card)
1–(last measure + 1) First measure of the
1–16
REPLACE, MIX
1–998 (Max) copy-destination
Copy-destination part
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.
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.
* When copying data from one part to another part within the same pattern, you can select only one part at a time.
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Pattern editing
Erase
This operation erases all or part of the data from a pattern.
Parameter Range Explanation
Event ALL, NOTE,
PROG, CC,
BEND, PAFT,
CAFT, SYS-EX,
Data to be erased
BPM, MUTE
Note Minimum 0 (C-1)–127 (G9) Note region to be erased
Note Maximum
* This can be specified only if Event is set to
Min
Max
CC#0–CC#127
“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.”
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
1 2 3 4 5
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 4 5 6
Parameter
Insert Meas
Range Explanation
1–998 (Max) Number of measures to insert
* You cannot specify a number that would cause the pattern to exceed 998 measures.
Transpose
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 Range Explanation
Value -24– +24 Amount of transposition
Note Minimum 0 (C-1)–127 (G9) Range of notes to be trans-
Note Maximum posed
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
Explanation
Data to be modified
VELOCITY:
Strength of the notes
DURATION:
Length of the notes
When Type is “VELOCITY”
Value -99– +99 Amount by which the velocity is to be changed
Note Minimum 0 (C-1)–127 (G9) Range of notes whose ve-
Note Maximum locity is to be changed
When Type is “DURATION”
Value -960– +960 Amount by which the duration is to be changed
Note Minimum 0 (C-1)–127 (G9) Range of notes whose du-
Note Maximum ration is to be changed
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).
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 Range Explanation
Value
Event
-960– +960
ALL, NOTE,
PROG, CC,
BEND, PAFT,
Amount of clock shift
Type of data whose timing is to be adjusted
CAFT, SYS-EX,
BPM, MUTE
Note Minimum 0 (C-1)–127 (G9) Range of notes for which
Note Maximum the timing is to be adjusted
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Pattern editing
Data Thin
Since data such as pitch bend or control change varies the value continuously, it can occupy an unexpectedly large amount of memory. The Data Thin operation thins out such data to reduce the amount of memory it occupies without audibly affecting the resulting playback. This lets you use the internal memory more efficiently.
Parameter Range
Value 0–99
Thin Event ALL, CC, BEND,
PAFT, CAFT
Explanation
Amount by which data is to be thinned
Type of data to be thinned
Edit Quantize
This operation corrects the timing of performance data recorded in the pattern, according to the timing criteria you specify.
Conventional quantization adjusts only the timing of the notes in the pattern as they are played back, without affecting the actual content of the data. However, the Edit Quantize operation lets you quantize the actual data itself.
Parameter
QTZ Type
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
Explanation
Type of quantization
Note value toward which notes are to be moved
When Type is “SHUFFLE”
QTZ
Template
1/16, 1/8
QTZ Timing 0–100
When Type is “GROOVE”
QTZ
Template
Refer to
“Groove
Template
QTZ Timing 0–100
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
QTZ
Velocity
0–100
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.
Groove Template List
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
16 Beat Fusion type
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
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
16 Beat Reggae type
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
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
8 Beat Pops type
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
Pops-Nm-L.Ac
Pops-Nm-H.Ac
Pops-Nm-L.Sw
Pops-Nm-H.Sw
Pops-Hv-L.Ac
Pops-Hv-H.Ac
Pops-Hv-L.Sw
Pops-Hv-H.Sw
Pops-Ps-L.Ac
Pops-Ps-H.Ac
Pops-Ps-L.Sw
Pops-Ps-H.Sw
8 Beat Rhumba type
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
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
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Pattern editing
Others
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
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.
Reclock
This operation doubles or halves the note values of performance data recorded in the pattern. For example, a four-measure pattern recorded at tempo = 120 can be converted to a two-measure pattern with halved note values, and played at tempo = 60 to produce the identical playback. If you want to connect patterns whose tempo differs drastically, you can use the Reclock operation to match the note values of the two patterns.
fig.Reclock
DOUBLE
HALF
* Using the Reclock operation will not change the original tempo of the pattern.
Parameter Range
Reclock Size 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.
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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
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].
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 Explanation
Note 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 Aftertouch
Messages that apply aftertouch to an entire
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
Function buttons
[F1 (Create)]
[F2 (Erase)]
[F3 (Move)]
[F4 (Copy)]
Inserts new performance data.
Erases performance data.
Moves performance data.
Copies performance data.
[F5 (Place)]
[F1 (V-Zoom In)]
Places performance data.
[F6 (View Switch)] Displays only specific data.
[SHIFT] +
Data marked by “ ✔ ” will be displayed.
Narrow the range of keys shown in the display.
Use this when you want to view certain notes at greater magnification.
[SHIFT] +
[F2 (V-Zoom Out)]
Expand the range of notes shown in the display.
Use this when you want to see which notes have been input.
* In the Microscope, you can press [ENTER] to transmit the currently selected performance data from the MIDI OUT connector.
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Pattern editing
Inserting performance data
(Create)
Here’s how to insert new performance data at a desired location in a pattern.
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.
6.
Press [F6 (OK)] to insert the performance data.
The parameters of the inserted performance data will have the default values, so edit the values as necessary.
Erasing performance data (Erase)
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)].
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.
4.
Press [F6 (OK)] to move the performance data.
Copying performance data
(Copy)
Here's how to copy a performance data event to the specified location. This is convenient when you want to use the same performance data two or more times.
1.
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.
5.
Press [F6 (OK)] to paste the performance data.
Editing a system exclusive message
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.
Function buttons
[F1 (Auto Sum)] 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
[F2 (Delete)]
[F3 (Insert)]
[F4 (Test)] 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
[F5 (Cancel)]
[F6 (OK)]
MIDI OUT connector.
Cancels the change in the data.
Finalizes the data.
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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]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will alternately select the first character of
[F2 (Delete)]
[F3 (Insert)] the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
Inserts a space at the cursor location.
* If you decide not to enter the name, press [F5 (Cancel)].
5.
When you finish inputting the name, press [F6
(Write)].
A screen will appear in which you can select the pattern to which the data will be written.
3.
Press [ENTER] or [F1 (PTN)].
The pattern name input screen will appear.
6.
Use [VALUE] or [INC/DEC] to select the pattern to which the data will be written.
Use [CURSOR (left/right)] to select the bank (user or card).
7.
Press [F6 (Write)].
A message will ask you to confirm that you want to write the data.
8.
To write the data, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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Patch/Sample
Mode
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How Things Work (in Pattern mode)
fig.0-01
1
2
8
9
6
3
10
11
7
13
4
5
12
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.
In Patch/Sample 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.
14
3. Realtime Modify section
These controls modify the sound in real time (p. 33).
Knob/Button
[WAVE SELECT]
PITCH block
[TUNE]
[DEPTH]
[A]
[D]
FILTER block
[TYPE]
[CUTOFF]
[RESONANCE]
[DEPTH]
[A]
[D]
[S]
[R]
AMP block
[LEVEL]
[A]
[D]
[S]
[R]
LFO 1 block
[DEPTH/RATE]
[WAVEFORM]
Parameter
Displays the Wave List.
button is not lit:
button is lit:
Filter Envelope Level3 (p. 61)
button is not lit: LFO1 Pitch/Filter/Amp/
* Selectable button is lit:
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How Things Work (in Pattern mode)
Knob/Button
Others
Parameter
[MATRIX
CONTROL 1]
[RANDOM
MODIFY]
[FAT]
[UNISON]
Parameters set to CTRL1 Destination (p. 68)
Randomly modifies the sound generator pa-
rameters for the current part (p. 56).
[PORTAMENTO]
[SOLO]
TONE SWITCH
Turns the tone on/off (p. 56).
[1]–[4]
TONE SELECT
[1]–[4]
Selects a tone to edit (p. 56).
4. Mastering section
[ON]
[BAND]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
[ATTACK] Specify the time from when the volume goes up the threshold level until the compressor effect applies.
[RELEASE] Specify the time from when the volume falls below the threshold level until the compressor effect no longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
6. Function buttons
These buttons access the function screens indicated in the bottom line of the display.
7. Part Mixer section
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
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
[MIXER ASSIGN] When you press this button so its indicator lights, the Mixer screen will appear.
[PART ASSIGN] 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.
8. Sampling section
[EDIT]
[SAMPLING/RESAMPLING]
[MIX IN]
Displays the Sample Edit
Displays the Sampling menu
Mixes the sound from the IN-
[AUTO SYNC] Synchronizes a sample to the
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
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).
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]
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
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Patch Edit
How a Patch Is Organized
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
Tone
4
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
TVA (Time Variant Amplifier)
This determines how the volume and panning of the Tone change.
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.
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.
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.
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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Top screen of Patch/Sample mode
fig.2-03
Patch Edit
Selecting a patch/rhythm set
Selecting from a list
1.
Press [F1 (List)] to display the Patch List screen.
The currently selected patch/rhythm set (the current patch/ rhythm set) will be highlighted.
Bank
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)
Bank/Number/Name of the patch (rhythm set) used by each part (1–16)
Seq
(Sequencer Output Assign)
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 DI-
RECT 1 (or DIRECT 2) jacks without passing through effects
RHY: Output according to the settings of the rhythm set assigned to the part
* “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)
Select a patch/rhythm set from a list (p. 55).
Edit the settings of a patch/rhythm set (p. 56,
Specify the volume/pan of each part (p. 33).
[F3 (Mixer)]
(Part Mixer)
[F4 (Effects)]
[F5 (Mastering)]
Apply special effects to the sound (p. 88).
Make settings for the mastering effect (p.
[F6 (BPM/Click)] Set the tempo, and turn the metronome on/
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.
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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] 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
[FAT] 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.
* By simultaneously pressing two or more [TONE SELECT] buttons, you can simultaneously select two or more tones.
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Patch Edit
Wave
These parameters select the PCM waveform that is to form the basis of the tone, and apply effects to the waveform.
Parameter
Wave Group
Range
INT, SRX, PRES,
USER, CARD
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.
Wave No. L/MONO 0 (OFF)–693
Wave No. R
Wave Gain
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
-6, 0, +6, +12 dB 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
(Wave FXM Color)
FXM Depth
(Wave FXM Depth)
1–4
0–16
Selects how FXM will apply frequency modulation.
Increasing this value will produce a rougher sound. Decreasing this value will produce a more metallic sound.
Depth of frequency modulation applied by FXM
Pitch
These parameters specify the pitch of the waveform, and how your keyboard playing dynamics will affect the pitch envelope (change in pitch over time).
Parameter Value
Patch Coarse Tune # -48– +48
Patch Fine Tune # -50– +50
Tone Coarse Tune
Tone Fine Tune
-48– +48
-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).
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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
C1
-50
C2 C3 C4 C5
-200
C6
-100
C7
Key
P-Env V-Sens
(Pitch Envelope Velocity Sensitivity)
P-Env T1 V-Sens
(Pitch Envelope
Time 1
Velocity Sensitivity)
P-Env T4 V-Sens
(Pitch Envelope
Time 4
Velocity Sensitivity)
P-Env Time KF
(Pitch Envelope
Time Keyfollow)
-63– +63
-63– +63
-63– +63
-100– +100
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
C1
-50
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.
T3 T4 T1
L1
T2
L0
Pitch
L3
Time key is pressed
L2 key is released L4
Parameter
P-Env Depth #
P-Env Time1–4 #
P-Env Level0–4
Value
-12– +12
0–127
-63– +63
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 #
Cutoff Frequency #
Value
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
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.
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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
-2
-50
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
0–127
1 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.
High
Level
LPF BPF HPF PKG
Frequency
Cutoff frequency
Reso Velo Sens
(Resonance Velocity
Sensitivity)
F-Env V-Curve
(Filter envelope velocity curve)
-63– +63
FIX, 1–7
Low
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.
F-Env V-Sens
(Filter envelope velocity sensitivity)
F-Env T1 V-Sens
(Filter Envelope
Time 1 Velocity
Sensitivity)
-63– +63
-63– +63
1 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.
T4
L0
Cutoff
Frequency
T1
L1
T2
L2
T3
L3
L4
Time key is pressed key is released
Parameter
F-Env Depth
(Filter envelope depth)
F-Env Time KF
(Filter Envelope
Time Keyfollow)
Value
-63– +63
-100– +100
Description
Depth of the filter envelope
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
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
C1
-50
C2 C3 C4 C5 C6
-100
C7
Key
F-Env Time1–4 #
(Filter Envelope
Time 1–4)
F-Env Level0–4 #
(Filter Envelope
Level 0–4)
0–127
0–127
Filter envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next cutoff frequency level of the envelope is reached. (For example, T2 is the time over which the level changes from L1 to L2.)
* Realtime modify knob [A] adjusts Time 1, knob [D] adjusts Time 3, and knob [R] adjusts Time 4.
Filter envelope levels (L1–L3)
Specifies the change in cutoff frequency at each point, relative to the reference level.
* 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 +
0
C-1
—
Bias Point G9
UPPER
Level
Key
C-1 Bias Point
—
0
+
LOWER&UPPER
Level +
0
G9
Key
C-1
—
Bias Point
—
0
+
ALL
Level
G9
Key
C-1
—
0
+
Bias Point
+
0
—
G9
Key
Bias Level
Bias Position
Bias Direction
Tone Pan
Pan Keyfollow
(Tone Pan Keyfollow)
-100– +100
0–127
LWR, UPR,
L&U, ALL
L64–63R
-100– +100
Angle at which the volume will change relative to the bias direction
Increasing this value will produce a greater change. Negative (-) values will invert the direction of the change.
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
R +100
+50
0 o
L
C1
-50
C2 C3 C4 C5 C6
-100
C7
Key
Random Pan Depth
(Tone Random Pan
Depth)
Alter Pan Depth
(Tone Alternate Pan
Depth)
0–63
L63–63R
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.
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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
L1
T2
L2
T3
L3
T4 key is pressed
Parameter
A-Env V-Curve
(Amp Envelope
Velocity Curve)
Value
FIX, 1–7 key is released
Time
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)
A-Env Time KF
(Amp Envelope
Time Keyfollow)
-63– +63
-63– +63
-63– +63
-100– +100
1 2 3 4 5 6 7
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.
Time
+100
+50
0
C1
-50
C2 C3 C4 C5 C6
-100
C7
Key
A-Env Time1–4 #
(Amp Envelope
Time 1–4)
A-Env Level1–3 #
(Amp Envelope
Level 1–3)
0–127
0–127
Amp envelope times (T1–T4)
Higher settings of these values will lengthen the time over which the next volume level of the 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.
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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
#
LFO1(2) Rate #
Offset
(LFO Offset)
Rate Detune
(LFO Rate Detune)
Delay Time
(LFO Delay Time)
Delay Time KF
(LFO Delay Keyfollow)
Value
SIN, TRI,
SAWU,
SAWD,
SQR, RND,
BD-U,
BD-D, TRP,
S&H, CHS,
XSIN,
TWM, STRS,
VSIN,
M001–M113
0–127, note
-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 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
Time from when you press (or release) a pad until the LFO amplitude begins to change 0–127
-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
C1
-50
C2 C3 C4 C5 C6
-100
C7
Key
Fade Mode
(LFO Fade Mode)
Fade Time
(LFO Fade Time)
Key Trigger
(LFO Key Trigger)
Pitch Depth #
(LFO Pitch Depth)
On<, On>,
Off<, Off>
0–127
OFF, ON
-63– +63
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
-63– +63
Description
Depth to which the LFO will affect the filter cutoff frequency
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.
(Sixty-fourth-note triplet),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Thirty-second note),
(Eighth note), (Quarter-note triplet),
(Dotted quarter note), (Half note), (Whole-note triplet), (Dotted half note), (Whole note),
(Sixteenth-note triplet),
(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 #
Legato Switch
Legato Retrigger
Value
MONO,
POLY
OFF, ON
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
Porta Mode NORMAL,
(Portamento Mode) LEGATO
Portamento on/off
Method of play for which the portamento effect will be applied
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato (i.e., press the next note before re-
Portamento Type RATE,
TIME leasing the previous note).
How the difference in pitch between the notes you play will affect the time over which the pitch change occurs
RATE: The time over which the pitch changes will be proportionate to the difference in pitch between the two notes.
TIME: The pitch change will occur over a fixed time, regardless of the difference in pitch between the two notes.
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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
Portamento Time
Unison Switch #
Unison Fat Level #
0–127
OFF, ON
0–127
Time press D4 key press C5 key press C4 key
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)
(Booster Gain)
TMT (Tone Mix Table)
0, +6, +12, +18 dB
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
U.Fade value
OFF, ON,
RANDOM
Velocity
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
Parameter
Velo Fade Lower
(TMT Velocity Fade
Width Lower)
Velo Range Lower
(TMT Velocity
Range Lower)
Velo Range Upper
(TMT Velocity
Range Upper)
Velo Fade Upper
(TMT Velocity Fade
Width Upper)
TMT Control Switch OFF, ON
Bend Range Down
Bend Range Up
Value
0–127
1–Upper
Lower–127
0–127
-48–0
0–48
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.
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Patch Edit
CTRL1
These parameters let you specify the operation and result of various controllers.
Parameter
MATRIX CTRL #
Value Description
This selects the parameters to be controlled by Matrix Control Source 1–4 and the Sens settings, as well as the specific Tones whose parameters you wish to control. Up to four destination parameters can be selected for each controller and controlled simultaneously.
CTRL1 Destination 1–4
(Matrix Control 1
OFF, PCH, CUT, RES, LEV, PAN,
DRY, CHO, REV, PIT-LFO1(2),
Parameter to be controlled
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
-63– +63 CTRL1 Sens 1–4
(Matrix Control 1 Sens
1–4)
CTRL1 Switch 1–4
(Matrix Control 1 Tone
Control Switch 1–4)
OFF, ON, REVS
Range of change obtained through operating the controller
Negative (-) values will invert the change. If you set LFO depth to a negative 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.
Tones to which the preceding two parameter settings will apply
The settings will apply to tones for which this is turned “ON.” The effect will be inverted for tones that are set to “REVS.”
General
Various other parameters are provided here.
Parameter
Patch Priority
Tone Env Mode
(Tone Envelope
Mode)
Value
LAST,
LOUDEST
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.
NSUS, SUST 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
Tone Delay
Value Description
This produces a time delay between the moment a key is pressed (or released) and the moment the Tone actually begins to sound. Since you can adjust the timing of each Tone in a Patch, you can create effects in which pressing a single key produces two or more sounds occurring at 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,
OFFN,
OFFD
* If you have selected a decay-type waveform (in which the sound disappears naturally even if you do not release the key), the sound may not be heard if you set this parameter to OFFN or OFFD.
NORM (NORMAL): The Tone sounds after the specified Delay Time.
Delay Time press key release key
HOLD: The Tone will only sound if the key is held for longer than the specified Delay Time. If the key is released before the Delay Time has elapsed, the Tone will not sound.
Delay Time
Delay
Time release key press key
Tone does not sound release key press 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 release key
Tone Delay Time 0–127, note Time by which each tone will be delayed when using tone delay
If you've selected a Structure Type of 2–10, the output of tone 1 (3) and 2 (4) will be combined into tone 2 (4). Thus, the setting of tone 1 (3) will have no effect.
note:
fig.
(Sixty-fourth-note triplet),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Thirty-second note),
(Eighth note), (Quarter-note triplet),
(Dotted quarter note), (Half note), (Whole-note triplet), (Dotted half note), (Whole note),
(Sixteenth-note triplet),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
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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 Set
Note Number 74 (D5)
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
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.
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).
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.
4.
Use [CURSOR (up/down)] to select a parameter.
5.
Use [VALUE] or [INC/DEC] to edit the parameter.
*
You can also use the panel knobs and sliders to edit the sound (p. 52).
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.
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
These parameters select the PCM waveform that is to form the basis of the rhythm tone, and apply effects to the waveform.
Parameter
Wave Group
Value
INT, SRX, PRES,
USER, CARD
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.
Wave No. L/MONO 0 (OFF)–693
Wave No. R
Wave Gain
* If you want to use the same waveform for the L and R channels, set the R channel to 0 (OFF).
-6, 0, +6, +12 dB 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
(Wave FXM Color)
Wave FXM Depth
(Wave FXM Depth)
1–4
0–16
Selects how FXM will apply frequency modulation.
Increasing this value will produce a rougher sound. Decreasing this value will produce a more metallic sound.
Depth of frequency modulation applied by FXM
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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
Wave Fine Tune
Value
0 (C-1)–127
(G9)
-50– +50
Description
Basic pitch at which the Rhythm tone will play
0–1200
-48– +48
-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.
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
L1
T2 T3 T4
L0
Pitch
L3 key is pressed
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)
P-Env T4 V-Sens
(Pitch Envelope
Time 4
Velocity Sensitivity)
P-Env Time1–4
-63– +63
-63– +63
-63– +63
0–127
P-Env Level0–4 -63– +63
Time key is released 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
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
Cutoff Frequency
Cutoff Velo Curve
(Cutoff Frequency
Velocity Curve)
Value
OFF, LPF,
BPF, HPF,
PKG, LPF2,
LPF3
0–127
FIX, 1–7
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.
Cutoff Velo Sens
(Cutoff Frequency
Velocity Sensitivity)
Resonance
-63– +63
0–127
1 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.
High
Level
LPF BPF HPF PKG
Frequency
Cutoff frequency
Reso Velo Sens
(Resonance Velocity
Sensitivity)
-63– +63
Low
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.
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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.
T4
L0
Cutoff
Frequency
T1
L1
T2
L2
T3
L3
L4
Time key is pressed key is released
Parameter
F-Env Depth
(Filter envelope depth)
F-Env V-Curve
(Filter envelope velocity curve)
Value
-63– +63
FIX, 1–7
Description
Depth of the filter envelope
Increasing this value will produce a greater effect. Negative (-) values will invert the envelope.
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)
F-Env Time1–4
(Filter Envelope
Time 1–4)
F-Env Level0–4
(Filter Envelope
Level 0–4)
-63– +63
-63– +63
-63– +63
0–127
0–127
1 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.
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.
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Rhythm Edit
Amp
These TVA (Time Variant Amplifier) parameters specify how the volume and pan of the sound will change.
Parameter
Tone Level
(Rhythm Tone Level)
Wave Level
Value
0–127
0–127
L64–63R Tone Pan
(Rhythm Tone Pan)
Random Pan Depth 0–63
Alternate Pan Depth L63–63R
Wave Pan
Wave Rnd Pan Sw
(Wave Random Pan
Switch)
Wave Alt Pan Sw
(Wave Alternate Pan
Switch)
L64–63R
OFF, ON
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
L1
T2
L2
T3
L3
T4 key is pressed
Parameter
A-Env V-Curve
(Amp Envelope
Velocity Curve)
Value
FIX, 1–7 key is released
Time
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)
A-Env Time1–4
(Amp Envelope
Time 1–4)
A-Env Level1–3
(Amp Envelope
Level 1–3)
-63– +63
-63– +63
-63– +63
0–127
0–127
1 2 3 4 5 6 7
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.
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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
1
Lower
L.Fade value
Upper
U.Fade value
Velocity
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)
Value
OFF, ON,
RANDOM
0–127
1–Upper
Lower–127
0–127
Genaral
Various other parameters are provided here.
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.
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.
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.
Parameter
Rhythm Level
(Rhythm Set Level)
Assign Type
Mute Group
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.
NSUS, SUST 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.”
0–48
* 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.
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)
0–127
DRY, MFX1,
MFX2,
COMP,
DIR1, DIR2
Specifies the depth of reverb applied to each Rhythm Tone
Set this to 0 if you don’t want to apply reverb.
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.
1.
Press [WRITE].
The Write menu screen will appear.
fig.2-50
Make sure that “Patch/Rhythm” is highlighted.
4.
When you have finished entering the name, press [F6
(Write)].
fig.2-52
A screen in which you can select the write-destination patch/ rhythm set will appear.
2.
Press [ENTER] or [F2 (Patch)].
fig.2-51
The patch name/rhythm set name entry screen will appear.
5.
Use [VALUE] or [INC/DEC] to select the writedestination patch/rhythm set.
Use [CURSOR (left/right)] to select the bank (user, card).
6.
Press [F6 (Write)].
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]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will alternately select the first character of
[F2 (Delete)]
[F3 (Insert)] the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
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
Here’s how the tone settings of a patch can be copied to the specified tone of the currently selected patch.
1.
In the top screen of patch / sample mode, move the cursor to the copy-destination patch.
2.
3.
Press [F2 (Edit)] to access the edit screen.
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 Value
Source
Patch Bank Current,
Preset A–G,
User, Card
No.
1–128
Description
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
Source
Patch Tone
Destination
Temporary
Patch Tone
5.
1–4
1–4
Press [F6 (Execute)].
Copy-destination tone at the currently selected patch
A message will ask you for confirmation.
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.
4.
Press [F2 (Edit)] to access the edit screen.
Press [F4 (Patch Init)].
A message will ask you for confirmation.
5.
Press [F6 (Execute)] to execute.
* To cancel, press [F5 (Cancel)].
Copying a Rhythm Tone (Key)
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 rhythm set.
2.
3.
Press [F2 (Edit)] to access the edit screen.
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
No.
Value
Current,
Preset A,
User, Card
1–128
Description
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
Source
Rhythm Key
Destination
Temporary
Rhythm Key
5.
B3–D5
B3–D5 Copy-destination rhythm tone
(key) at the currently selected rhythm set
Press [F6 (Execute)].
A message will ask you for confirmation.
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 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.
4.
Press [F2 (Edit)] to access the edit screen.
Press [F4 (Rhythm Init)].
A message will ask you for confirmation.
5.
Press [F6 (Execute)] to execute.
* To cancel, press [F5 (Cancel)].
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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
2
8
9
6
3
10
11
7
13
4
5
12
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).
14
4. Mastering section
[ON]
[BAND]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
[ATTACK] Specify the time from when the volume goes up the threshold level until the compressor effect applies.
[RELEASE] Specify the time from when the volume falls below the threshold level until the compressor effect no longer applies.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
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
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
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
[MIXER ASSIGN] When you press this button so its indicator lights, the Mixer screen will appear.
[PART ASSIGN] 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.
8. Sampling section
[EDIT]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
When you press this button, the Sample edit screen will ap-
When you press this button, the Sampling menu screen will
Mix the sound from the INPUT
jacks into the output (p. 34).
Synchronize a sample with the
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
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).
12. Sequencer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Stops playback/recording.
Advances to the next step.
Returns to the previous step.
Moves to the beginning of the song.
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
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Playing songs
Two or more patterns connected in the order of playback are called a
“song.”
When you play back a song, the patterns will switch automatically— you don’t need to select each pattern yourself. In one song, you can register up to 50 patterns in the desired order of playback.
The number describing the order in which the patterns are arranged is called the “step.”
Top screen of Song mode
fig.3-01
Function buttons
[F1 (Next Step)]
When Song Step Sw (p. 128) is set to “MANU-
AL,“ playback will automatically advance to
[F2 (Song Edit)]
[F3 (Mixer)] 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.
[F4 (Effects)]
Apply special effects to the sound (p. 88).
[F5 (Mastering)]
Make settings for the mastering effect (p. 108).
[F6 (BPM Click)] Set the tempo, and turn the metronome on/
Basic playback operation
Use the following buttons to control the playback.
fig.1-02.e
Return to the previous step
Move to the beginning of the song
Advance to the next step
Song Reset
You can have playback resume from step 1 when the currently playing pattern finishes playing.
This is convenient when you want to play back a few measures while you adjust the BPM to match a turntable, and then when the
BPM is correct, play back from step 1.
1.
While the song is playing, press [PLAY].
The screen will indicate “SONG RESET.”
When the currently playing pattern finishes, the playback will return to the beginning of the song.
Selecting a song to play
There are two ways to select a song: directly, or from a list.
Selecting a song directly
While the song is stopped, use [VALUE] or [INC/DEC] to select another song.
Selecting a song from a list
1.
Press [ENTER].
The song list will appear.
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).
Stop playback Play back Used for recording
* The [FWD], [BWD], and [TOP] buttons can also be used during playback.
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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.
fig.3-03
Press [REC].
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.
• 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.
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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.
2.
fig.3-04
In Song mode, press [F2 (Song Edit)] to access the
Song Edit screen.
Delete Step
This operation deletes an unwanted step from the song, and joins the two sections.
fig.1-54
1 2 3 4 5 6
1 2 3 4 5
1.
Use [VALUE] or [INC/DEC] to select the step that you want to delete.
2.
Press [F2 (Delete)].
The selected step will be deleted.
Insert Step
This operation inserts a step into the song, and moves subsequent steps backward by one.
fig.1-56
1 2 3 4 5
Type of song editing
[F1 (Clear All)]
(Clear All Steps)
[F2 (Delete Step)]
[F3 (Insert Step)]
[F4 (Copy)]
(Song Copy)
[F6 (Close)]
Erase all steps.
Delete an unwanted step.
Insert a step.
Copies a song to a different song.
Returns to the previous screen.
Clear All Steps
This operation clears all of the steps that you input, returning them to the blank condition. Use this when you want to create a song from scratch.
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)].
1 2 4 5 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.
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.
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.
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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]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will alternately select the first character of
[F2 (Delete)]
[F3 (Insert)] the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
Inserts a space at the cursor location.
* If you decide not to enter the name, press [F5 (Cancel)].
5.
When you finish inputting the name, press [F6
(Write)].
A message will ask you to confirm that you want to write the data.
3.
Press [ENTER] or [F5 (Song)].
The song name input screen will appear.
6.
To write the data, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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MEMO
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Effects
Compressor/Multi-effect/Reverb/Mastering Effect settings
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Effects
Here you can apply special effects to the sound.
Effect on/off
Use the ON/OFF buttons of the Effects section to switch each effect on/off.
fig.4-01
Effect connection (Effect Routing)
You can specify the connections independently for each pattern.
The way in which the direct sound is output ( 2 ) and the depth of reverb ( 3 ) can be set independently for each part.
fig.4-02
1
6
2 4
9
7
8
10
5
3
11
[COMP]:
[MFX 1]:
[MFX 2]:
[REVERB]:
Compressor
Multi-effects 1
Multi-effects 2
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)]
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.
Parameter
1.
Part Number
2.
Part Output
Assign
3.
Part Reverb
Send Level
4.
Comp Output
Assign
5.
Comp Reverb
Send Level
6.
(MFX Type)
Range
1–16, EXT
DRY, MFX1,
MFX2,
COMP, DIR1,
DIR2, RHY
0–127
(see explanation)
0–127
See “Multi-Ef-
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 OUT-
PUT jacks without passing through effects
MFX1 (2): Output through multi-effects 1 (or 2)
COMP: Output through the compressor
DIR1 (2): Output to the DI-
RECT 1 (or DIRECT 2) jacks without passing through effects
RHY: Output according to the settings of the rhythm set assigned to the part
* “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”
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Effects
Parameter
7.
MFX1 Reverb
Send Level
8.
MFX1 Output
Assign
9.
(MFX Type)
10.
MFX2 Reverb
Send Level
11.
(Reverb Type)
Range
0–127
DRY, MFX2
See “Multi-Ef-
0–127
See “Reverb”
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”
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
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.
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
Comp Output
Assign
Attack Time
Release Time
Threshold
Ratio
Output Gain
Low Freq
Low Gain
High Freq
High Gain
Level
Range
0–127
DRY, MFX1,
MFX2
0.05–50 ms
0.05–2000 ms
0–127
1:1–inf:1
0– +24 dB
200, 400 Hz
-15– +15
2k, 4k, 8kHz
-15– +15
0–127
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
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Effects
Multi-effects
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.
fig.4-04
Reverb
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
Parameter
(MFX Type)
MFX1 (2) Reverb Send
Level
MFX1 Output
Assign
Range
0–38 (MFX1)
0–47 (MFX2)
0–127
DRY, MFX2
Explanation
The effect used by multi-effects 1 (or 2)
* For details on each effect, refer to “Multi-Effects List”
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.
Parameter
(Reverb Type)
1 (REVERB)
Type
Time
HF Damp
Delay Feedback
Level
Range
OFF, 1–4
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1,
HALL2,
DELAY,
PAN-DELAY
0–127
200–8000 Hz,
BYPASS
0–127
0–127
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)
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 (BY-
PASS: no cut)
Number of delay repetitions
(valid only if Type is DELAY or PAN-DELAY)
Volume of the reverb sound/ delay sound
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Effects
Parameter Range Explanation
2 (SRV ROOM) / 3 (SRV HALL) / 4 (SRV PLATE)
Pre Delay
Time
Size
High Cut
Density
Diffusion
LF Damp Freq
LF Damp
Gain
HF Damp
Freq
HF Damp
Gain
Level
0.0–100.0 ms
0–127
1–8
160–12500 Hz,
BYPASS
0–127
0–127
50–4000 Hz
-36–0 dB
4000–12500
Hz
-36–0 dB
0–127
Delay time from original sound until reverb is heard
Length of reverb
Size of room/hall
Frequency at which the highfrequency portion of the final output sound will be cut (BY-
PASS: no cut)
Density of reverb
Change in reverb density over time
Higher settings will cause density to increase as time passes. (This is more noticeable with longer Time settings.)
Frequency at which the lowfrequency portion of the reverb will be cut
Amount of attenuation for LF
Damp (0: no attenuation)
Frequency at which the highfrequency portion of the reverb will be cut
Amount of attenuation for HF
Damp (0: no attenuation)
Volume of the reverb sound
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]
[C1]
Attack Time
Release time
[C2] Threshold
When “MFX1/2” is selected
[TYPE]
[C1], [C2]
Select the type of effect (p. 92).
Control the assigned function in real time.
When “REVERB” is selected
[TYPE]
[C1]
[C2]
Reverb Type
Time
Level
If you are controlling a multi-effect parameter that is set in terms of a note value, it will not be possible to use the knob to select the note.
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Multi-Effects List
Multi-Effects Types
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.
FILTER (9 types)
05
06
07
08
09
01
02
03
04
STEREO EQ
SPECTRUM
ENHANCER
ISOLATOR
LOW BOOST
SUPER FILTER
STEP FILTER
AUTO WAH
HUMANIZER
MODULATION (7 types)
14
15
16
10
11
12
13
PHASER
STEREO PHASER
STEP PHASER
RING MODULATOR
TREMOLO
AUTO PAN
ROTARY
CHORUS (6 types)
17
18
19
20
21
22
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
DYNAMICS (7 types)
27
28
29
23
24
25
26
OVERDRIVE
DISTORTION
GUITAR AMP SIMULATOR
STEREO COMPRESSOR
STEREO LIMITER
SLICER
GATE
LOFI (6 types)
30
31
32
33
34
35
LOFI NOISE
LOFI COMPRESS
LOFI RADIO
TELEPHONE
PHONOGRAPH
TAPE ECHO
PITCH (2 types)
36
37
FBK PITCH SHIFTER
2Vo PITCH SHIFTER
REVERB (1 type)
38 GATED REVERB
DELAY (9 types)
42
43
44
45
* These cannot be selected for MFX1.
39 STEREO DELAY
40
41
MODULATION DELAY
TRIPLE TAP DELAY
46
47
QUADRUPLE TAP DELAY
MULTI TAP DELAY
REVERSE DELAY
SHUFFLE DELAY
TIME CONTROL DELAY
TIME SKIP DELAY
Multi-Effects Parameters
Parameters with the designators “#1” and “#2” can be controlled using the [C1] and [C2] knobs of the effect section.
01: STEREO EQ (Stereo Equalizer)
This is a four-band stereo equalizer (low, mid x 2, high).
fig.MFX01
L in 4-Band EQ L out
R in 4-Band EQ R out
Parameter Value Description
Low Freq
Low Gain
#1
High Freq
High Gain
#2
Mid1 Freq
Mid1 Q
200, 400 Hz
-15– +15 dB
Frequency of the low range
Gain of the low frequency range
Frequency of the high range 2000, 4000,
8000 Hz
-15– +15 dB Gain of the high frequency range
200–8000 Hz Frequency of Middle Range 1
0.5, 1.0, 2.0, 4.0, 8.0
Width of Middle Range 1
Select a higher Q value to narrow Middle Range 1.
Mid1 Gain -15– +15 dB
Mid2 Freq 200–8000 Hz
Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0
Gain of Middle Range 1
Frequency of Middle Range 2
Width of Middle Range 2
Select a higher Q value to
Mid2 Gain
Level
-15– +15 dB
0–127 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
Pan L
L out
Spectrum
R in
Pan R
R out
Parameter
Q
Pan #1
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)
Value Description
0.5, 1.0, 2.0,
4.0, 8.0
Simultaneously adjusts the width of the adjusted ranges for all of the frequency bands.
Stereo location of the SPECL64–63R
0–127
TRUM output
Output level
-15– +15 dB 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
Controls the overtone structure of the high frequencies, adding sparkle and brightness to the sound.
fig.MFX03
L in Enhancer
Mix
2-Band
EQ
L out
R in Enhancer
Mix
2-Band
EQ
R out
Parameter Value
Sens #1
Mixl #2
Low Gain
High Gain
Level
0–127
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
-15– +15 dB Gain of the low frequency range of frequencies
-15– +15 dB Gain of the high frequency range of frequencies
0–127 Output level
04: ISOLATOR
This is an equalizer that radically cuts the volume of selected frequencies, allowing you to create special effects cutting the volume in various ranges.
fig.MFX04
L in Isolator Low Boost L out
R in Isolator Low Boost R out
Parameter Value
Boost/Cut
High
Boost/Cut
Middle #1
Boost/Cut
Low #2
AntiPhase
Middle Sw
-60– +4 dB
OFF, ON
AntiPhase
Middle
Level
Anti Phase
Low Sw
Anti Phase
Low Level
Low Boost
Sw
Low Boost
Level
Level
0–127
OFF, ON
0–127
OFF, ON
0–127
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
05: LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
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
Boost Width
Low Gain
High Gain
Level
Value Description
50–125 Hz
0–12 dB
Center frequency at which the lower range will be boosted
Amount by which the lower range will be boosted
WIDE,
MID, NAR-
Width of the lower range that will be boosted
ROW
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
06: SUPER FILTER
This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.
fig.MFX06
L in Super Filter L out
R in Super Filter R out
Parameter Value
Filter Type LPF, BPF,
HPF,
NOTCH
Filter Slope -12, -24,
Filter Cutoff #1
Filter Resonance #2
Filter Gain
Modulation Sw
Modulation Wave
-36 dB
0–127
0–127
0–+12 dB
OFF,ON
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
Rate
Depth
Attack
Level
0.05–10.0
Hz, note
0–127
0–127
0–127
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
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Multi-Effects List
07: STEP FILTER
This is a filter whose cutoff frequency can be modulated in steps.
You can specify the pattern by which the cutoff frequency will change.
fig.MFX07
L in Step Filter L out
R in Step Filter R out
Parameter Value Description
Rate
Attack #1
Filter Type
0.05–10.00
Hz, note
0–127
LPF, BPF,
HPF,
NOTCH
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
Filter Slope -12, -24,
-36 dB
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
Filter Resonance #2
0–127
-36 dB: extremely steep
Filter resonance level
Increasing this value will emphasize the region near the cutoff frequency.
Filter Gain 0– +12 dB Amount of boost for the filter output
Level 0– 127 Output level
Beat
1-1–4-4
0–127 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 in
L out
Auto Wah
R in
R out
Parameter Value
Filter Type LPF, BPF
Rate #2
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
Sens
0.05–
10.00 Hz, note
0–127
0–127
Manual #1
Peak
Level
0–127
0–127
0–127
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
94
09: HUMANIZER
Adds a vowel character to the sound, making it similar to a human voice.
fig.MFX09
L in
Pan L
L out
Overdrive Formant
2-Band
EQ
R in
Pan R
R out
Parameter Value
Drive Sw
Drive
Vowel1 #1
Vowel2 #2
Rate
Depth
Input Sync
Sw
Input Sync
Threshold
Manual
Low Gain
High Gain
Pan
Level
OFF, ON
0–127
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
a, e, i, o, u a, e, i, o, u
0.05–10.00
Hz, note
0–127
OFF, ON
0–127
0–100
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.
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
L64–63R Stereo location of the output
0–127 Output level
10: PHASER
Adds a phase-shifted sound to the original sound, producing a swirling modulation that creates spaciousness and depth.
fig.MFX10
L in
Pan L
L out
Phaser
R in
Resonance
Mix Pan R
R out
Parameter Value
Manual #1 0–127
Rate #2
Depth
Resonance
Mix
Pan
Level
0.05–10.00
Hz
0–127
0–127
0–127
L64–63R
0–127
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
11:STEREO PHASER
This is a stereo phaser.
fig.MFX11
L in
R in
Phaser
Phaser
Mix
Mix
2-Band
EQ
L out
2-Band
EQ
R out
Parameter Value
Mode
Polarity
Rate #2
Depth
Manual #1
Resonance
Cross
Feedback
Mix
Low Gain
High Gain
Level
4, 8 stage
INVERSE,
SYNCHRO
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 0.05–10.00
Hz, note
0–127
0–127
Depth of modulation
Adjusts the basic frequency from which the sound is modulated.
Amount of feedback 0–127
-98– +98 % Adjusts the amount of the phaser sound that’s fed back into the effect.
0–127
Negative (-) settings invert the phase.
Level of the phase-shifted sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
12:STEP PHASER
With the Step effects, you can also make stepped changes in the pitch of sounds to which the Phaser effect is applied.
fig.MFX12
L in
2-Band
EQ
L out
R in
Step Phaser
Mix
Step Phaser
Mix
2-Band
EQ
R out
Parameter Value
Mode
Polarity
4, 8 stage
INVERSE,
SYNCHRO
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 Value
Rate
Depth
Manual #1
Resonance
Cross
Feedback
Step Rate
#2
Mix
Low Gain
High Gain
Level
0.05–10.00
Hz, note
0–127
0–127
Description
Frequency of modulation
Depth of modulation
Adjusts the basic frequency from
0–127 which the sound is modulated.
Amount of feedback
-98– +98 % Adjusts the amount of the phaser sound that’s fed back into the effect.
Negative (-) settings invert the phase.
Rate of pitch change 0.1–20.0
Hz, note
0–127 Level of the phase-shifted sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
13: RING MODULATOR
This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.
fig.MFX13
L in Ring Mod 2-Band EQ L out
R in Ring Mod 2-Band EQ R out
Parameter Value
Frequency
#1
Sens
Polarity
Low Gain
High Gain
Balance #2
Level
0–127
0–127
UP,
DOWN
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 ).
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
0–127
Volume balance between the direct sound (D) and the effect sound (W)
Output level
14: TREMOLO
Cyclically modulates the volume to add tremolo to the sound.
fig.MFX14
L in Tremolo 2-Band EQ L out
R in Tremolo 2-Band EQ R out
Parameter Value
Modulation Wave
Rate #1
Depth #2
Low Gain
High Gain
Level
TRI, SQR,
SIN,
SAW1,
SAW2
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (down-
0.05–10.00
Hz, note ward)
Frequency of the change
0–127 Depth to which the effect is applied
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
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Multi-Effects List
15: AUTO PAN
Cyclically modulates the stereo location of the sound.
fig.MFX15
L in Auto Pan 2-Band EQ L out
R in Auto Pan 2-Band EQ R out
Parameter Value
ModulaTRI, SQR, tion Wave SIN,
SAW1,
SAW2
Rate #1
Depth #
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 0.05–10.00
Hz, note
0–127 Depth to which the effect is applied
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 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.
fig.MFX16
L in L out
Rotary
R in
R out
Parameter
Tweeter
Slow Rate
Woofer
Slow Rate
Tweeter
Fast Rate
Woofer
Fast Rate
Speed #1
Value
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
0.05–
10.00 Hz
SLOW,
FAST
Tweeter
Acceleration
Woofer
Acceleration
Tweeter
Level
Woofer
Level
Separation
Level #2
0–15
0–15
0–127
0–127
0–127
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
Volume of the low frequency rotor
Stereo width of the sound
Output level
96
17: HEXA-CHORUS
Uses a six-phase chorus (six layers of chorused sound) to give richness and spaciousness to the sound.
fig.MFX17
L in L out
Balance D
Balance W
Hexa Chorus
Balance W
R in R out
Balance D
Parameter Value
Pre Delay
Rate #1
Depth
Pre Delay
Deviation
Depth
Deviation
Pan
Deviation
Balance #2
Level
0.0–100.0 ms
0.05–10.00
Hz
0–127
0–20
-20– +20
0–20
D100:0W–
D0:100W
0–127
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
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 Value
Pre Delay
Chorus
Rate
Chorus
Depth
Tremolo
Rate #1
Tremolo
Separation
Tremolo
Phase
Balance #2
Level
0.0–100.0 ms
0.05–10.00
Hz
0–127
0.05–10.00
Hz
0–127
0–180 deg
D100:0W–
D0:100W
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
Depth of the tremolo effect
Volume balance between the direct sound (D) and the tremolo chorus sound (W)
Output level
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Multi-Effects List
19: SPACE-D
This is a multiple chorus that applies two-phase modulation in stereo. It creates no audible modulation, yet produces a transparent chorus effect.
fig.MFX19
Balance D
L in
Space D
2-Band
EQ
Balance W
L out
R in
Space D Balance W
2-Band
EQ
R out
Balance D
Parameter Value
Pre Delay 0.0–100.0
Rate #1 ms
0.05–10.00
Depth
Phase
Low Gain
High Gain
Balance #2
Level
Description
Adjusts the time until the chorus sound is heard.
Frequency of modulation
Hz
0–127
0–180 deg
Depth of modulation
Spatial spread of the sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W sound (D) and the chorus sound
(W)
0–127 Output level
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
2-Band
EQ
Balance W
L out
R in
Chorus
Balance D
Balance W
2-Band
EQ
R out
Parameter Value Description
Filter Type OFF, LPF,
HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
Cutoff Freq 200–8000
Hz
Pre Delay
Rate #1
Depth
Phase
Low Gain
High Gain
Balance #2
0.0–100.0 ms
0.05–10.00
Hz
0–127
0–180 deg
Depth of modulation
Spatial spread of the sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
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
Volume balance between the direct sound (D) and the chorus sound
Level 0–127
(W)
Output level
21: STEREO FLANGER
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.MFX21
Balance D
L in
Flanger
2-Band
EQ
Balance W
L out
Feedback
Feedback
Flanger
R in
Balance W
2-Band
EQ
R out
Balance D
Parameter
Filter Type
Value
OFF, LPF,
HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
Depth
Phase
Feedback
#2
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter Cutoff Freq 200–8000
Hz
Pre Delay
Rate #1
0.0–100.0 ms
Adjusts the time until the flanger sound is heard.
Frequency of modulation 0.05-10.00
Hz, note
0–127
0–180 deg
Depth of modulation
Spatial spread of the sound
-98– +98 % Adjusts the amount of the flanger sound that’s fed back into the effect.
Low Gain
High Gain
Balance
Level
Negative (-) settings invert the phase.
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
0–127
Volume balance between the direct sound (D) and the flanger sound
(W)
Output level
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Multi-Effects List
22: STEP FLANGER
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.
fig.MFX22
Balance D
L in
Step Flanger
2-Band
EQ
Balance W
L out
Feedback
Feedback
Step Flanger
R in
Balance W
2-Band
EQ
R out
Balance D
Parameter Value
Pre Delay
Rate
Depth
Feedback
#2
Step Rate
#1
Phase
Low Gain
High Gain
Balance
Level
0.0–100.0 ms
0.05–10.00
Hz, note
0–127
-98– +98 %
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
0.10–20.00
Hz, note phase.
Rate (period) of pitch change
0–180 deg Spatial spread of the sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W sound (D) and the flanger sound
(W)
0–127 Output level
23: OVERDRIVE
Creates a soft distortion similar to that produced by vacuum tube amplifiers.
fig.MFX23
L in
Pan L
L out
Over drive
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
Parameter Value
Drive #1
Tone #2
Pan
Amp Sw
Amp Type
Low Gain
High Gain
Level
0–127
0–127
L64–63R
Description
Amount of distortion
Also changes the volume.
Sound Quality
Stereo location of the OVERDRIVE
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK 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
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
24: DISTORTION
Produces a more intense distortion than Overdrive. The parameters are the same as for “23: OVERDRIVE.” fig.MFX24
L in
Pan L
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
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Multi-Effects List
25: GUITAR AMP SIM
(Guitar Amp Simulator)
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX25
L in
Pan L
L out
Pre Amp Speaker
R in
Pan R
R out
Pre Amp
Volume #1
Pre Amp
Master #2
Pre Amp
Gain
Pre Amp
Bass
Pre Amp
Middle
Pre Amp
Treble
Pre Amp
Presence
Parameter Value
Pre Amp
Sw
Pre Amp
Type
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
Pre Amp
Bright
0–127
Low, Mid, High
0–127
0–127
(MATCH DRIVE:
-127 - 0)
OFF, ON
Speaker Sw OFF, ON
Description
Turns the amp switch on/ off.
Type of guitar amp
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.
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 Speaker
Type
(See the table below.)
Mic Setting 1, 2, 3
Mic Level
Direct Level
Pan
Level
0–127
0–127
L64–63R
0–127
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
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type Cabinet Spea Micro-
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 small open-back enclosure ker
10 small open-back enclosure 10 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
Metal Stack large double stack
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 phone dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser
2 Stack
3 Stack large double stack large triple stack
12 x 4
12 x 4 condenser condenser
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Multi-Effects List
26: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.
fig.MFX26
L in Compressor 2-Band EQ L out
R in Compressor 2-Band EQ R out
Parameter Value
Attack #1
Threshold
#2
Post Gain
Low Gain
High Gain
Level
0–127
0–127
Description
Sets the speed at which compression starts
Adjusts the volume at which compression begins
Adjusts the output gain.
0, +6, +12,
+18 dB
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
27: LIMITER
Compresses signals that exceed a specified volume level, preventing distortion from occurring.
fig.MFX27
L in Limiter 2-Band EQ L out
R in Limiter 2-Band EQ R out
Parameter Value
Release #1
Threshold
#2
Ratio
Post Gain
Low Gain
High Gain
Level
0–127
Description
Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.
0–127 Adjusts the volume at which compression begins
Compression ratio 1.5:1, 2:1,
4:1,
100:1
0, +6, +12, Adjusts the output gain.
+18 dB
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
28: SLICER
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.MFX28
L in Slicer L out
R in Slicer R out
Parameter Value
Rate #1
Attack #2
0.05–
10.00 Hz, note
0–127
OFF, ON Input Sync
Sw
Input Sync
Threshold
Mode
0–127
LEGATO,
SLASH
Shuffle
Level
Beat
1-1–4-4
0–127
0–127
0–127
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
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.
fig.MFX29
L in Gate L out
R in Gate R out
Parameter
Threshold
#1
Mode
Release
Time
Level
Value
0–127
GATE,
DUCK
Balance #2 D100:0W–
D0:100W
0–127 Attack
Time
Hold Time 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
30: LOFI NOISE (Lo-Fi Noise)
In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise.
fig.MFX30
L in L out
Lo-Fi
Noise Gen.
Lo-Fi
R in R out
Parameter
LoFi Type
Post Flter
Type
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
W/P Noise
Level
Disc Noise
Type
Disc Noise
LPF
Disc Noise
Level
Hum Noise
Type
Hum Noise
LPF
Hum Noise
Level
Balance #1
Level #2
Value
1–9
OFF, LPF,
HPF
200–8000
Hz
WHITE,
PINK
200–8000
Hz, BY-
PASS
0–127
LP, EP, SP,
RND
200–8000
Hz, BY-
PASS
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 0–127
50Hz, 60Hz Frequency of the hum noise
200–8000
Hz, BY-
PASS
0–127
D100:0W–
D0:100W
0–127
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
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
Center frequency of the low pass filter applied to the hum noise (BY-
PASS: no cut)
Volume of the hum noise
Volume balance between the direct sound (D) and the effect sound (W)
Output level
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Multi-Effects List
31: LOFI COMPRESS
(Lo-Fi Compress)
This is an effect that intentionally degrades the sound quality for creative purposes.
fig.MFX31
L in Compressor Lo-Fi L out
R in Compressor Lo-Fi R out
Parameter
Pre Filter
Type
LoFi Type
Post Filter
Type
OFF, LPF,
HPF
Post Filter
Cutoff
Balance #1
Level #2
Value
1–6
1–9
200–
8000 Hz
D100:0W–
D0:100W
0–127
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
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
Lo-Fi
Radio
Lo-Fi
R in R out
Parameter
LoFi Type
Post Flter
Type
Post Filter
Cutoff
Radio
Detune #1
Radio Noise
Level
Balance #2
Level
Value
1–9
OFF, LPF,
HPF
200–8000
Hz
0–127
0–127
D100:0W–
D0:100W
0–127
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
Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.
Volume of the radio noise
Volume balance between the direct sound (D) and the effect sound (W)
Output level
102
33: TELEPHONE
fig.MFX33
L in Telephone
R in Telephone
L out
R out
Parameter Value
Voice
Quality #1
Treble
Balance #2
Level
0–15
Description
-15– +15 dB Bandwidth of the telephone voice
D100:0– Volume balance between the direct
D0:100W
0–127
Audio quality of the telephone voice 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
Phonograph
Balance W
Balance W
R in R out
Balance D
Parameter
Signal
Distortion
Frequency
Range
Disc Type
Value
0–127
0–127
LP, EP, SP
Scratch
Noise Level
Dust Noise
Level
Hiss Noise
Level
Total Noise
Level #1
Wow
0–127
0–127
0–127
0–127
0–127
0–127 Flutter
Random
Total Wow/
Flutter #2
Balance
Level
0–127
0–127
D100:0W–
D0:100W
0–127
Description
Depth of distortion
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”
Volume of overall noise
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
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Multi-Effects List
35: TAPE ECHO
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.
fig.MFX35
L in L out
Direct Level
Echo Level
Tape Echo
Echo Level
R in R out
Direct Level
Parameter
Mode
Repeat Rate
#1
Intensity #2
Bass
Treble
Head S Pan
Head M Pan
Head L Pan
Tape Distortion
Wow/Flutter Rate
Wow/Flutter Depth
Echo Level
Direct Level
Value
S, M, L,
S+M, S+L,
M+L,
S+M+L
0–127
0–127
-15– +15
-15– +15
L64–63R
0–5
0–127
0–127
0–127
0–127
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
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
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.
fig.MFX36
L in
Balance D
2-Band
EQ
Balance W
L out
Pitch Shifter
R in
Feedback
Balance D
Balance W
2-Band
EQ
R out
Parameter Value
Mode 1, 2, 3, 4, 5
Coarse #1
Fine
-24– +12 semi
-100– +100 cent
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.
Parameter Value
Pre Delay
Feedback
#2
Pan
Low Gain
High Gain
Balance
Level
0.0–500 ms
Description
Adjusts the time until the pitch shifted sound is heard.
-98– +98 % Adjusts the amount of the pitchshifted sound that’s fed back into
L64–63R the effect. Negative (-) settings invert the phase.
Stereo location of the pitch-shifted sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
Volume balance between the direct sound (D) and the pitch-shifted
0–127 sound (W)
Output level
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 L out
Level Balance A
PanA L Balance W
R in
2Voice Pitch Shifter
PanA R
PanB L
PanB R
Level Balance B
Balance W
R out
Balance D
Parameter Value
Mode 1, 2, 3, 4, 5
Coarse A #1 -24– +12
Coarse B #2 semi
Fine A
Fine B
-100–
+100 cent
Pre Delay A 0.0–500
Pre Delay B ms
Pan A
Pan B
L64–63R
Level
Balance
Balance
A100:0B–
A0:100B
D100:0W–
D0:100W
Level 0–127
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
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Multi-Effects List
38: GATED REVERB
This is a special type of reverb in which the reverb is cut off without being allowed to decay naturally.
fig.MFX38
L in
Balance D
2-Band
EQ
Balance W
L out
Gated Reverb
R in
Balance D
Balance W
2-Band
EQ
R out
Parameter
Type
Pre Delay
Time
Pan #1
Low Gain
High Gain
Balance #2
Level
Value
NORMAL,
REVERSE
Description
Type of reverb
NORMAL: conventional gated reverb
0.0–100.0 ms
5–500 ms
REVERSE: backwards reverb
Adjusts the time until the reverb sound is heard.
Adjusts the time from when the reverb is first heard until it disap-
L64–63R pears.
Stereo location of Pitch Shift
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W
0–127 sound (D) and the reverb sound (W)
Output level
39: STEREO DELAY
(MFX2 only)
This is a stereo delay.
When Feedback Mode is NORMAL: fig.MFX39a
Balance D
L in
Delay
2-Band
EQ
Balance W
Feedback
Feedback
Balance W
2-Band
EQ
Delay
R in
Balance D
When Feedback Mode is CROSS: fig.MFX39b
Balance D
L in
Delay
Feedback
Feedback
2-Band
EQ
Balance W
R in
Delay
Balance D
Balance W
2-Band
EQ
L out
R out
L out
R out
Parameter Value
Feedback
Mode
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
#1
NORMAL,
CROSS
0–2000 ms, note
NORMAL,
INVERT
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
-98– +98 % Adjusts the amount of the delay sound that’s fed back into the effect.
Negative (-) settings invert the phase.
HF Damp
Low Gain
High Gain
Balance #2
Level
200–8000
Hz, BY-
PASS
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.
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W
0–127 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.
When Feedback Mode is NORMAL: fig.MFX40a
Balance D
L in
Delay Modulation
2-Band
EQ
Balance W
L out
Feedback
Feedback
Delay Modulation
R in
Balance D
When Feedback Mode is CROSS: fig.MFX40b
Balance D
L in
Delay Modulation
Balance W
2-Band
EQ
2-Band
EQ
Balance W
R out
L out
Feedback
Feedback
Delay Modulation
R in
Balance W
2-Band
EQ
R out
Balance D
Parameter Value
Feedback
Mode
Delay Left
Delay Right
Feedback
HF Damp
Rate
Depth
Phase
Low Gain
High Gain
Balance #
Level
NORMAL,
CROSS
0–2000 ms, note
-98– +98 %
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.
200–8000
Hz, BY-
PASS
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 0.05–10.00
Hz
0–127
0-180 deg
Depth of modulation
Spatial spread of the sound
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
0–127
Volume balance between the direct sound (D) and the delay sound (W)
Output level
41: TRIPLE TAP DELAY
(MFX2 only)
Produces three delay sounds; center, left and right.
fig.MFX41
Balance D
L in
Left Tap
2-Band
EQ
Balance W
L out
Triple Tap Delay Center Tap
R in
Feedback
Right Tap
Balance D
Balance W
2-Band
EQ
R out
Parameter Value
Delay Left/ 0–4000 ms,
Right/Center
Feedback
#1 note
Description
Adjusts the time until the delay sound is heard.
-98– +98 % Adjusts the amount of the delay sound that’s fed back into the effect.
Negative (-) settings invert the phase.
HF Damp 200–8000
Hz, BY-
PASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this
0–127 parameter to BYPASS.
Volume of each delay Left/Right/
Center Level
Low Gain
High Gain
Balance #2
Level
-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
42: QUADRUPLE TAP DELAY
(MFX2 only)
This effect has four delays.
fig.MFX42a
Balance D
L in L out
Feedback
Delay 1
Delay 2
Quadruple Tap Delay
Delay 3
Delay 4
Balance W
Balance W
R in R out
2 3
Balance D fig.MFX42b
Stereo location of each delay
1 4
L R
Parameter Value
Delay 1–4
Level 1–4
Feedback
#1
HF Damp
Balance #2
Level
0–4000 ms, note
Description
0–127 Volume of each delay
-98– +98 % Adjusts the amount of the delay
200–8000
Hz, BY-
PASS
D100:0W–
D0:100W
0–127
Adjusts the time until the delay sound is heard.
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
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Multi-Effects List
43: MULTI TAP 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
Balance D
L in
Feed back
Delay 1
Delay 3
2-Band
EQ
Balance W
L out
Multi Tap Delay
Delay 4
Balance W
Delay 2
R in
Balance D
2-Band
EQ
R out
Parameter Value
Delay 1–4
Pan 1–4
Level 1–4
Feedback
#1
HF Damp
Low Gain
High Gain
Balance #2
Level
0–4000 ms, note
L64–63R
0–127
-98– +98 %
Description
Adjusts the time until Delays 1–4 are heard.
Stereo location of Delays 1–4
Output level of Delays 1–4
Adjusts the amount of the delay sound that’s fed back into the effect.
Negative (-) settings invert the phase.
200–8000
Hz, BY-
PASS
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.
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W
0–127 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
Feedback 1
D1
D2
Delay
D3
D4
Feedback 4
R in
Rev. Delay 2
3
2-Band
EQ
2-Band
EQ
L out
R out
Parameter
Threshold
Delay 1–4
Feedback 1
#1
Feedback 4
Value
0–127
0-2000 ms, note
-98– +98 %
HF Damp 1 200–8000
HF Damp 4
Pan 1–3
Level 1–3
Balance #2
Low Gain
High Gain
Level
Hz, BY-
PASS
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
L64–63R
0–127
D100:0W–
D0:100W 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)
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
0–127 Output level
106
45: SHUFFLE DELAY
(MFX2 only)
Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel.
fig.MFX45
L in
Feedback
2-Band
EQ
L out
Delay A A
Delay
Delay B B
R in
2-Band
EQ
R out
Parameter Value
Delay #1
Shuffle
Rate
Pan A/B
Level
Balance
Feedback
#2
Acceleration
HF Damp
Low Gain
High Gain
Balance #
Level
0–4000 ms, note
0–100 %
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.
L64–63R
A100:0B–
Stereo location of Delay A/B
Volume balance between Delay A
A0:100B and Delay B
-98– +98 % Adjusts the amount of the delay
0–15 that’s fed back into the effect. Negative (-) settings invert the phase.
Adjusts the time over which the Delay Time changes from the current
200–8000
Hz, BY-
PASS 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.
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W–
D0:100W
0–127
Volume balance between the direct sound (D) and the effect sound (W)
Output level
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Multi-Effects List
46: TIME CONTROL DELAY
(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.
fig.MFX46
L in
Balance D
2-Band
EQ
Balance W
L out
Time Control Delay
R in
Feedback
Balance D
Balance W
2-Band
EQ
R out
Parameter Value
Delay #1
Feedback
#2
Acceleration
HF Damp
Pan
Low Gain
High Gain
Balance
Level
0–4000 ms, note
-98– +98 %
0–15
200–8000
Hz, BY-
PASS
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.
L64–63R Stereo location of the delay
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W
0–127 sound (D) and the delay sound (W)
Output level
47: TIME SKIP DELAY
(MFX2 only)
A delay that changes the delay time in stair-step fashion.
fig.MFX47
L in
Balance D
2-Band
EQ
Balance W
Time Skip Delay
R in
Feedback
Balance D
Balance W
2-Band
EQ
L out
R out
Parameter Value
Delay #1
Skip Rate
Feedback
#2
Acceleration
HF Damp
Pan
Low Gain
High Gain
Balance
Level
0–4000 ms, note
0.05–10.0
Hz, note
Description
Adjusts the time until the delay is heard.
Frequency at which the delay time will change
-98– +98 % Adjusts the amount of the delay sound that’s fed back into the effect.
Negative (-) settings invert the phase.
0–15
200–8000
Hz, BY-
PASS
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.
L64–63R Stereo location of the delay
-15– +15 dB Gain of the low frequency range
-15– +15 dB Gain of the high frequency range
D100:0W– Volume balance between the direct
D0:100W
0–127 sound (D) and the delay sound (W)
Output level
note:
fig.notelist2.e
(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),
(Thirty-second note), (Sixteenth-note triplet), (Dotted thirty-second note),
(Sixteenth note),
(Eighth note),
(Eighth-note triplet),
(Quarter-note triplet),
(Dotted sixteenth note),
(Dotted eighth note),
(Quarter note), (Half-note triplet),
(Whole-note triplet),
(Double-note triplet),
(Dotted quarter note),
(Dotted half note),
(Dotted whole note),
(Whole note),
(Double note)
(Half note),
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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
RATIO
2:1
4:1
INF:1
THRESHOLD
Input Level
Parameter
ATTACK
RELEASE
THRESHOLD
RATIO
LEVEL
Split Frequency
High
Split Frequency
Low
Range Explanation
0–100 ms
50–5000 ms Time from when the volume falls below the threshold level until the compressor effect no longer applies
-36–0 dB
Time from when the volume goes up the threshold level until the compressor effect applies
1.00:1–
INF:1
0–24 dB
2000–8000
Hz
Volume level at which compression begins
Compression ratio (INF: infinity)
Output volume
Frequency at which the highfrequency (HI) and mid-frequency (MID) bands are split
200–800 Hz Frequency at which the lowfrequency (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.
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)]
Recall settings suitable for the corresponding style.
[F3 (Break Beats)]
[F4 (User)]
[F5 (Close)]
Recalls the user settings that you saved.
Returns to the previous screen.
[F6 (System Write)] 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.
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Sampling
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How Things Work (in Sampling mode)
1
2
8
9
6
3
10
11
7
13
12
4
5
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
Pass your hand over these to modify the pattern (p. 35).
[BEAM 1 ON]
[BEAM 2 ON]
[D BEAM ASSIGN]
2. Volume section
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.
[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).
14
4. Mastering section
[ON]
[BAND]
Switches the mastering effect (compressor) on/off.
Selects the frequency band to adjust.
[ATTACK] Adjusts the attack time of the input sound.
[RELEASE] Adjusts the time from when the volume falls below the threshold level until the effect disappears.
5. Velocity pads
Use these pads as a keyboard to play sounds or trigger phrases (p.
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
Here you can adjust the volume, pan, etc., of each part (p. 33).
[PART]
(SELECT/MUTE)
[TEMPO/MUTE
CONTROL]
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
[MIXER ASSIGN] When you press this button so its indicator lights, the Mixer screen will appear.
[PART ASSIGN] 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.
8. Sampling section
[EDIT]
[CHOP]
[EMPHASIS]
[COMBINE]
[TIME STRETCH]
[NORMALIZE/AMP]
[SAMPLING/RESAMPLING]
[MIX IN]
[AUTO SYNC]
Displays the Sample Edit
Emphasize the sample’s upper
Combines multiple samples
into a single sample (p. 120).
Stretches or shrinks the sample to change the length or tempo
Boosts the level of the sample as high as possible (Normalize,
p. 121), or boosts/cuts the level
Displays the Sampling menu
Mixes the sound from the IN-
Synchronizes the sample to the
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
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).
12. Sequencer section
[PLAY]
[STOP]
[FWD]
[BWD]
[TOP]
[REC]
Stops playback/recording.
Advances to the next measure.
Returns to the previous measure.
Moves to the beginning of the pattern.
13. Turntable emulation
Applies an effect that simulates increasing/decreasing the rotational
14. TAP button
Lets you set the BPM (tempo) by pressing the button at the desired
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Sampling procedure
1.
fig.5-01
Press [SAMPLING/RESAMPLING] to access the
Sampling Menu screen.
2.
The upper part of the screen will show the amount of free memory. If the free memory reaches 0%, no further sampling is possible.
Press [F1 (Sampling)]–[F5 (Solo)] to select the sampling mode. The sampling-standby screen will appear.
[F1 (Sampling)] Sample a sound from an external input source.
* Operating the velocity pads or D Beam controllers will not play the internal sound generator.
[F2 (Re-Sampling)] Resample the sound of the internal sound generator.
[F3 (Mix)]
(Mix sampling)
[F4 (Auto Divide)]
(Auto divide sampling)
[F5 (Solo)]
(Solo sampling)
[F6 (Cancel)]
* The sound of the external input will not be heard.
Sample the combined sounds of the internal sound generator and an external input source.
Sample an extended source, and automatically divide it into several samples at silent regions.
* Operating the velocity pads or D Beam controllers will not play the internal sound generator.
While playing the internal sound generator as usual, sample only the sound from the external input.
* Effects cannot be applied to the external input sound.
Return to the previous screen.
(Example) Standby screen for Sampling fig.5-02
3.
Make the settings for things such as the input source of the sound to be sampled, and triggering.
Function buttons
[F1 (Input Setting)]
Make settings for the external input (p. 34).
[F2 (Auto Trig)] If this is on, sampling will begin automati-
(Auto Trigger)
[F3 (Trim Sw)] cally when the input sound is detected.
If this is turned on, the Start point and End
[F4 (BPM/Click)]
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/
Parameters
Parameter Range
Input Select LINE IN L/R,
LINE IN L,
DIGITAL(OPT),
DIGITAL(CO-AX),
MICROPHONE
Stereo
Switch
Pre Sample
Time
Stop Trigger
MONO, STEREO
0–1000 ms
MANUAL, BEAT,
TIME
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
Parameter
Sampling
Length
Auto Trigger Level
Gap Time
4.
Range Explanation
When Stop Trigger is BEAT
1–20000 Number of beats to continue sampling
When Stop Trigger is TIME
00’00”010–
50’00”000 length of time to continue sampling
The maximum value will depend on the amount of memory.
* This parameter cannot be specified if Stop Trigger is set to MANUAL.
0–7 Volume level at which sampling will begin when
500, 1000, 1500,
2000 ms
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.
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.)
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.
* If you use a microphone, connect the ground terminal to an
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).
* Even if you expand the memory (DIMM), you cannot save a sample that is larger than 128 MB. (However, you can play it.)
6.
Press [F5 (Stop)] to stop sampling.
fig.5-04
The Sample Edit (p. 114) screen will appear.
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.
* 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.
Dividing a sample during sampling
1.
During sampling, press [F6 (Divide)].
The sample will be divided at the point where you pressed the button, and the subsequent material will be sampled as a sample of the next number.
* When sampling in mono, you can divide the material into a maximum 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.
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.
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Sample Edit
Use sample edit to modify a waveform (sample) that you sampled/ loaded/imported.
Basic sample editing procedure
1.
fig.5-04
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.
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)]
From a list, select the sample to edit (p.
[F2 (Sample Param)]
Make various settings for the sample (p.
[F4 (Truncate)] Cut unwanted portions from the begin-
ning/end of the sample (p. 117).
[F5 (Create Patch)]
[F6 (Zoom In/Out)]
Create a new patch that uses the sample
Change the magnification of the sample
Panel buttons
[CHOP]
[EMPHASIS]
[COMBINE]
Emphasize the sample’s upper range
Combine multiple samples into a single
[TIME STRETCH]
Stretch or shrink the sample to change
[NORMALIZE/AMP] 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].
2.
Use [CURSOR] to change the magnification of the display.
• Horizontal axis (time axis): 1/1--1/65536
Press [CURSOR (left)] to increase the display magnification.
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
You can specify the portion of the sample that will actually sound.
You can also specify the region that is to be looped.
1.
Select the sample that you want to edit.
For details on how to select a sample, refer to Sample List (p.
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.
Sample List
Here’s how to select a sample from a list.
1.
In the Sample Edit screen, press [F1 (Sample List)].
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.
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.
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)].
The edit screen for the selected sample will appear.
Function buttons
[F1 (Preset)]
[F2 (User)]
[F3 (Card)]
[F4 (Mark Clear)]
[F5 (Mark Set)]
[F6 (Select)]
[SHIFT] +
[F1 (Delete Sample)]
[SHIFT] +
[F2 (Erase)]
[SHIFT] +
[F3 (Load)]
[SHIFT] +
[F4 (Mark Clear All)]
[SHIFT] +
[F5 (Mark Set All)]
[SHIFT] +
[F6 (Create Rhythm)]
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.
Delete all checked samples with their files.
Erase all checked samples from memory
(p. 124). (The files will not be deleted.) (*1)
Load the checked samples into memory.
Clear the check marks from all samples in the folder.
Add a check mark to all samples in the folder.
Execute “Create Rhythm” (p. 119) on all
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
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Sample Edit
Sample Parameters
Here you can make various settings for the sample.
1.
In the Sample Edit screen, press [F2 (Sample
Param)].
About the Loop Mode
FWD (Forward)
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
Original Key
BPM
Time Stretch
Type
Start Fine
Loop Start
Fine
Loop End
Fine
Values
FWD,
ONE-SHOT,
REV,
REV-ONE
-50– +50
Explanation
How the sample will be played
Refer to “About the Loop
24 (C1)–
127 (G9)
5–300
TYPE01–
TYPE10
0–255
0–255
0–255
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
This operation cuts the portions of the sample that are earlier than the Start Point and later than the Loop End Point.
1.
In the Sample Edit screen, press [F4 (Truncate)].
Create Patch
This operation creates a patch that uses the current sample as the wave for Tone 1.
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.
3.
Press [F6 (Execute)].
A message will ask you for confirmation.
4.
To execute the Truncate operation, press [F6
(Execute)].
* If you want to cancel without executing, press [F5 (Cancel)].
2.
Assign a name to the patch, and save it.
Refer to “Saving a Patch/Rhythm Set” (p. 77).
* If you decide to cancel the Create Patch operation, press [F5 (Cancel)] to return to the previous screen.
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.
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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.
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.
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)].
A message will ask you for confirmation.
6.
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 Chop operation, a message will ask whether you want to execute Create Rhythm.
7.
If you want to execute Create Rhythm, press [F6
(Execute)].
8.
If you don’t want to execute Create Rhythm, press
[F5 (Cancel)].
You will return to the Sample Edit screen.
118
Automatically dividing a sample
(Auto Chop)
1.
Here’s how you can automatically specify the points at which the sample is to be divided, and then divide the sample.
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
Explanation
How the sample is to be divided
Level: Divide according to volume.
Beat: Divide at beats based on the BPM
Divide x: Divide into ‘x’ number of equal lengths.
If Chop Type is Level
Level Level at which the sample is to be divided
Lower settings of this value will cause the sample to be divided more finely.
Range: 1–10
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.
* To cancel Auto Chop, press [F5 (Close)].
7.
Press [F6 (Execute)].
A message will ask you for confirmation.
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)].
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
Auditioning the divided samples
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.
In order from the start point, the points are numbered 1, 2, ...15.
3.
Press [CURSOR (down)].
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.
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.
2.
Hold down [SHIFT] and press [F6 (Create Rhythm)].
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.
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Sample Edit
Emphasis
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.
1.
Press [EMPHASIS].
Alternatively, hold down [SHIFT] and press [F2 (Emphasis)].
2.
Press [F1 (Sample List)] and select a sample.
Combine
This operation combines multiple samples into a single sample. You can combine as many as sixteen samples. You can also place silent spaces between the samples.
1.
Press [COMBINE].
Alternatively, hold down [SHIFT] and press [F3 (Combine)].
2.
Press [F1 (Sample List)] and select a sample.
3.
Use [VALUE] or [INC/DEC] to select the emphasis type.
PreEmphasis: Emphasizes the high-frequency range.
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.
5.
Press [F6 (Execute)].
A message will ask you for confirmation.
6.
To execute, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
3.
Use [CURSOR] to select a parameter.
4.
Use [VALUE] or [INC/DEC] to set the value.
Parameter Range
1–16
TYPE
BANK
Explanation
The sample or silence to be combined
Sample,
Time, Beat
U, C
Sample:
Time: time)
silent region (specified as
Beat: silent region (specified as a note value)
Bank that contains the sample
U: user
C: card
sample
PRM 1–10000 ms note value:
1/32, 1/16T,
1/16, 1/8T,
1/8, 1/4T,
1/4, 1/2,
1/1, 2/1
* This will be displayed only if
TYPE is set to Sample.
Sample number, or the duration/ note value of the silent region
The note value is based on the
BPM of the sample immediately before the silent region.
* If there is no sample immediately before the silent region, the current BPM will be used.
5.
Press [F6 (Execute)]
A message will ask you for confirmation.
6.
To execute, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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Sample Edit
Edit Time Stretch
This operation stretches or shrinks the sample to modify the length or tempo.
You can stretch or shrink the sample by a factor of one half to double the original length.
1.
Press [TIME STRETCH].
Alternatively, hold down [SHIFT] and press [F4 (Time Stretch)].
2.
Press [F1 (Sample List)] and select a sample.
Normalize
This operation raises the level of the entire sample as much as possible without exceeding the maximum level.
1.
Press [NORMALIZE/AMP].
2.
Press [F1 (Sample List)] and select a sample.
3.
Press [CURSOR (up/down)] to select how you want to specify the tempo/length.
Edit
Time
Stretch
Type
Quality
Adjust
4.
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–
TYPE10
Lower settings of this value will make 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.
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)].
3.
If you want to replace the current sample with the normalized sample, press [F4 (Over Write)] to display the “
✔
” symbol.
4.
Press [F6 (Execute)].
A message will ask you for confirmation.
5.
To execute, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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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
5.
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%
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]
[F1 (Change Type)]
Selects characters.
Selects the type of character.
Each time you press this, you will alternately select the first character of
[F2 (Delete)]
[F3 (Insert)] the uppercase alphabet (A), lowercase alphabet (a), or numerals and symbols (0).
Deletes the character at the cursor location, while shifting the following characters to the left, closing the gap.
Inserts a space at the cursor location.
* If you decide to discard your changes, press [F1 (Cancel)].
6.
When you have finished inputting the name, press
[F6 (Write)].
3.
Press [WRITE].
The Write Menu screen will appear.
Make sure that “Sample” is highlighted.
4.
Press [ENTER].
The Sample Name input screen will appear.
7.
Use [VALUE] or [INC/DEC] to select the 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.
3.
Press [ENTER].
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
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.
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.
* To cancel, press [F5 (Cancel)].
Loading all samples
Here’s how all samples in the user bank and card bank can be loaded.
When you execute Load All Samples, all unsaved samples will be erased.
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)].
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Importing WAV/AIFF data
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.
[CURSOR (right)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
[F1 (User)]
[F2 (Card)]
[F3 (Mark Clear)]
[F4 (Mark Set)]
[F5 (Cancel)]
[F6 (Import)]
[SHIFT] +
[F3 (Mark Clear All)]
[SHIFT] +
[F4 (Mark Set All)]
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.
Remove the check mark from the file.
Add a check mark to the file.
Return to the previous screen.
Import the checked files. (*1)
Clear the check marks from all files in the folder.
Add a check mark to all files in the folder.
*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].
A message will ask you for confirmation.
3.
Press [F6 (Execute)] to execute.
* To cancel, press [F5 (Cancel)].
Erasing a sample
Here’s how to erase a sample from memory. The file will not be erased.
1.
From the menu, choose “Erase Sample.”
2.
Press [ENTER].
A message will ask you for confirmation.
3.
Press [F6 (Execute)] to execute.
* To cancel, press [F5 (Cancel)].
In the case of stereo samples, L and R will be loaded/deleted/erased simultaneously.
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Menu
This section explains the system settings and the utility menu.
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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].
2.
Press [CURSOR (up/down)] to select “System.” fig.6-01
In Pattern mode/Song mode, you can also access this by holding down [SHIFT] and pressing [F5 (System)].
6.
Use [CURSOR (up/down)] to select a parameter.
7.
Use [VALUE] or [INC/DEC] to edit the value.
* 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].
fig.6-02
The System menu will appear.
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.
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System
Panel/Controller
Here you can make settings for the panel controllers and the screen.
Range Explanation Parameter
[F1 (Pad Velocity)]
Pad Velocity REAL, 1–127 Strength of the note when you press a velocity pad
If you set this to REAL, you can vary the dynamics of the sound by varying the strength with which you press the pad.
[F2 (TTE/Tap/DB)]
TTE Slider Type TTE, PITCH BEND,
MODULATION
TTE Magnify
Tap Switch
Tap Resolution
D Beam ID
D Beam Sens L
D Beam Sens R
-1– +1 – -200– +200
OFF, ON
QUARTER, 8TH,
16TH
0–3
0–127
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.
[F3 (Screen Saver)]
Screen Saver Type
Screen Saver Time
1–10
OFF, 5–60 min
Type of screen saver
Time (minutes) until the screen saver begins working
If this is OFF, the screen saver will not appear.
[F4 (Back Ground)]
Back Ground Picture 1–10 File that is to be displayed as the screen background
Press [F5 (Import BMP)], and load a bitmap file from the TMP/BMP folder within USER/
CARD.
Sequencer/MIDI
Here you can specify how the sequencer will operate, and make MIDI-related settings.
Range Explanation Parameter
[F1 (Seq Sync)]
Sync Mode
Sync Output
Arpeggio Sync
Mode
MASTER,
REMOTE,
SLAVE
OFF, ON
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.
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System
Parameter
RPS Trigger
Quantize
BPM Lock
[F4 (MIDI Rx)]
Remote Keyboard Switch
Range
REAL,
16TH, 8TH,
QUARTER,
MEASURE
OFF, ON
[F2 (Song/Pattern)]
Song Loop Mode
Song Play Mode
Song Step Switch AUTO,
MANUAL
Startup Ptn
Mode
LAST
WRITTEN,
USER DE-
FINABLE
Startup Ptn Bank Preset, User,
Card
Startup Ptn
Number
001–***
* Depends on the bank.
[F3 (MIDI Tx)]
Transmit Program Change
Transmit Bank
Select
Transmit Active
Sensing
Transmit Patch
Edit Type
OFF, ON
OFF, ON
OFF, ON
TYPE-
QUICK,
TYPE-CC
Transmit Edit
Data
Soft Through
OFF,
LOOP1,
LOOP2
MODE1,
MODE2
OFF, ON
OFF, ON
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: clusive data.
Knob/slider data will be transmitted and received as control changes and as system ex-
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).
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
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.
Set this parameter “ON” when you want to use an external MIDI keyboard instead of the MC-909’s velocity pads.
* This parameter is set to “ON’ with the factory settings, enabling patches in the part selected on the MC-
909 to be played back regardless of the transmission channels of the external MIDI keyboard.
* Set it to “OFF” to control the MC-909 from an external sequencer, as a multi-timbre sound generator with sixteen parts. Patches can be played back by part, according to the channel used for sending MIDI data from the external sequencer.
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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
Master Level
Output Gain
Metronome Level
Master Key Shift
Patch Remain
Range
415.3–466.2 Hz
0–127
-12– +12 dB
0–10
-24– +24
OFF, ON
[F2 (Sound Control)]
Rhythm Octave
Switch
Resonance Limiter
OFF, ON
50–127
LFO Morphing
Switch
OFF, ON
Explanation
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).
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
Here you can make sampling-related settings.
Parameter
[F1 (Sampling)]
Range Explanation
Default File Type
Preset Default Load
Sample Default Load
Pre Sample Time
Trigger Level
Gap Time
WAV, AIFF
OFF, ON
OFF, ON
0–1000 ms
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.
0–7 Volume level at which sampling will begin when Auto Trig is ON
A setting of 0 is the minimum.
500, 1000, 1500, 2000 ms Length of silence at which the sample will be divided
Whenever there is a silent region longer than the specified time, the sample will be divided at that point, and the next sample number will be assigned to the sound that follows.
External Source Select
Trimming Switch
LINE-L-R, LINE-L,
DIGI-OPT,
DIGI-COAX, MIC
OFF, ON
* 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.
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System
D Beam
Here you can make settings for the D Beam controller.
Parameter
[F1 (Solo Synth)]
Range
Solo Synth Patch Bank
Solo Synth Patch No.
Solo Synth Note
Solo Synth Scale
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
0–127
0–127
0–127
0–127
Turntable Pitch Type
[F4 (User Assign)]
Type
Number
Range Lower
Range Upper
Explanation
Patch played by the solo synth
Reference note for the solo synth
Scale on/off
FREE: Continuous (no steps)
CHROMATIC: Semitone steps
Range of the solo synth
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
Filter resonance when you move your hand near the D Beam
DOWN, UP
DOWN, UP
How the tempo will change when you move your hand near the D Beam
DOWN: The tempo will slow down as you move your hand nearer.
UP: The tempo will speed up as you move your hand nearer.
How the pitch will change when you move your hand near the D Beam
DOWN: The pitch will fall as you move your hand nearer.
UP: The pitch will rise as you move your hand nearer.
Parameter that will be controlled by the D Beam 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
0–127
0–127
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.
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Utility
Here you can manage various types of data.
1.
Press [MENU].
2.
fig.0-05
Use [CURSOR (up/down)] to select “Utility.”
Import SMF
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.
3.
Press [ENTER].
fig.0-06
The Utility menu screen will appear.
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
Save the data of the current pat-
Import sample data from a
Restore the factory settings (p.
Save user data to a memory card
Load user data from a memory
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 [F6 (Import)].
Display the contents of the user area.
Display the contents of the memory card.
Return to the previous screen.
Import the selected file.
Display the contents of a folder.
Return to the folder above.
Move the cursor upward or downward.
A screen in which you can specify the write destination will appear.
4.
Use [CURSOR (left/right)] to specify the type of destination—either a user pattern or a memory card.
5.
Use the [VALUE] dial, [INC/DEC], or [CURSOR (up/ down)] to select the write-destination pattern.
6.
Press [F6 (Write)].
A message will ask you for confirmation.
7.
To write the data, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
Cautions when importing SMF
• 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)
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Utility
Save As SMF
Here’s how to write the data of the current pattern to user memory or memory card as SMF data.
Format 1 SMF data will be created.
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.
4.
Press [F6 (Save As SMF)].
A message will ask you for confirmation.
5.
To save the data, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
Import WAV/AIFF
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)]
[CURSOR (left)]
[VALUE] [INC/DEC]
[CURSOR (up/down)]
[F1 (User)]
[F2 (Card)]
[F3 (Mark Clear)]
[F4 (Mark Set)]
[F5 (Cancel)]
[F6 (Import)]
[SHIFT] +
[F3 (Mark Clear All)]
[SHIFT] +
[F4 (Mark Set All)]
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.
Remove the check mark from the file.
Add a check mark to the file.
Return to the previous screen.
Import the checked files. (*1)
Clear the check marks from all files in the folder.
Add a check mark to all files in the folder.
*1: If not even check mark is assigned, the operation will be executed on the file selected by the cursor.
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.
User Backup
Here’s how all user data in the user area can be saved on a memory card.
The following user data will be saved.
• User Patterns
• User Patches
• User Rhythm sets
• Songs
• Samples
• Pattern sets
• RPS sets
• Arpeggio styles
• Chord forms
• System settings
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)].
A message will ask you for confirmation.
3.
To execute the backup, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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)].
A message will ask you for confirmation.
3.
To proceed with the restoration, press [F6 (Execute)].
* To cancel, press [F5 (Cancel)].
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MIDI
Here you can make MIDI-related settings.
1.
Press [MENU].
2.
fig.6-03
Use [CURSOR (up/down)] to select “MIDI.”
3.
Press [ENTER].
fig.6-04
The MIDI Tx screen will appear.
For details on the settings, refer to p. 128.
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File Utility
Here you can perform file-handling operations.
1.
Press [MENU].
2.
fig.6-05
Use [CURSOR (up/down)] to select “File Utility.”
3.
Press [ENTER].
fig.6-06
The File Utility screen will appear.
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] +
[F4 (Mark Clear All)]
[SHIFT] +
[F5 (Mark Set All)]
[SHIFT] +
[F6 (Copy)]
Clear the check marks from all files in the folder.
Add a check mark to all files in the folder.
Copy the checked files to another folder.
(*1)
*1: If not even check mark is assigned, the operation will be executed on the file selected by the cursor.
134
* About the folder structure, refer to p. 135
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)
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.
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)].
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USB
Here’s how USB communication with your computer can be switched on/off.
USB communication allows files in the user area or memory card of the MC-909 to be handled by your computer.
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).
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 MC-
909 with your computer.
1.
Press [MENU].
2.
Press [CURSOR (up/down)] to select “USB.”
3.
Press [ENTER].
fig.6-07
The USB screen will appear.
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.
This drive will contain a folder named “ROLAND.”
Macintosh users
A drive icon named “MC-909 USER” will appear on the desktop.
This will contain a folder named “ROLAND.”
Canceling USB communication
Windows Me/2000/XP users
1.
Use the device eject button shown in the taskbar at the lower right of the screen to cancel the connection with the MC-909.
2.
Then press [F6 (Exit)] on the MC-909.
Macintosh users
1.
2.
Drag the MC-909 drive icon into the trash.
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)
ROLAND
PNL
SEQ
PCL
PTN
RPS
SMF
SNG
SMPL
SND
TMP
BMP
SMF
WAV_AIFF
Do not modify the folder structure from a computer that is connected to the MC-909 via USB.
The only files that can be transferred between the MC-909 and your computer are audio files (WAV/AIFF formats), Standard
MIDI Files (SMF format 1), and bitmaps (320 x 240 pixels). Do not place any other format of file in the user area or memory card.
* 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
• Audio files
SMF folder
WAV_AIFF folder
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.
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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.
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V-LINK
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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:
• 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.
By using the MC-909 and Edirol V-4 together, you can:
• 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 DV-
7PR’s remote jack.
fig.V-LINK-Connect.e
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.
MIDI OUT
Edirol UM-1
REMOTE
MIDI IN
Edirol DV-7PR
Projector
MC-909
Using V-LINK
Turning V-LINK on
1.
In the lower left of the panel, press [V-LINK] so the indicator is lighted.
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.
Edirol V-4 Display
Turning V-LINK off
1.
Press [V-LINK] to access the V-LINK SETUP screen.
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.
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
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About V-LINK
V-LINK settings
Parameter
Note Tx Ch
Clip 1 Note No.
Play Speed Ctrl
Dissolve Time
Ctrl Tx Ch
Color Cb Ctrl
Color Cr Ctrl
Brightness Ctrl
VFX1–4 Ctrl
Fade Ctrl
PAD MODE
Local Sw
Clip filter
(check boxes 1–32)
Range
1–16
0(C-1)–127(G9)
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
OFF, CC1, CC5, CC7, CC10,
CC11, CC71–74, CC91–93,
Channel Aftertouch
CLIP, PALETTE
OFF, ON
(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)
Resetting the image
Using the Clip Filter
For example, suppose that of the rhythm set you input in the part used for V-LINK (i.e., the part of the same number as the
Note Tx Channel), you want only the kick and snare to switch clips. In this case, check only the clips that correspond to the note numbers of the kick and snare. The clips will switch when the kick or snare plays.
[F3 (Clip Reset)]
[F4 (All Reset)]
Turn off the image (solid black).
The effect applied to the image will be reset, and brightness, color difference, etc. will all return to the default value.
* For details on clips/palettes, dissolve time, color difference signals (Cb/
Cr), refer to the Edirol DV-7PR manual.
The MC-909 does not support the Edirol DV-7PR’s dual stream mode.
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MEMO
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Appendices
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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
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.
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
• Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SRX series; Quick
Start p. 2).
915
• Install only the specified circuit board (SRX series). Remove only
the specified screws (p. 142).
928
• When turning the unit upside-down, get a bunch of newspapers 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.
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.
fig.Exp-01.e_90
Screws to be removed
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
Board holder
Position it as shown before you install the board.
Connector
4.
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
LOCK
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”
Press [MENU].
2.
3.
Use [CURSOR] to select [System].
4.
fig.6-02
Press [ENTER] to access the System Menu screen.
5.
6.
7.
8.
Press [F6 (System Info)].
Press [F3 (SRX Exp Info)].
Verify that the screen shows the model number of the wave expansion board you installed.
Press [F6 (Close)] to return to the System Menu screen.
Press [EXIT] to exit the System Menu screen.
If the model number of the board does not appear, it is possible that the wave expansion board is not being recognized properly. Turn off the power as described in
“Turning On/Off the Power” (p. 16), and re-install the wave
expansion board correctly.
• If SRX-01 “Dynamic Drum Kits” or SRX-02 “Concert Piano” is 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.
143
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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
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.
1
• 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
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.
fig.Exp-01.f_90
Vis à enlever
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
Support à carte
• 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)
• Toujours éteindre et débrancher l’appareil avant de commencer l’installation de la carte. (modèle SRX; Quick Start p. 2).
915(F)
• N’installez que les cartes de circuits imprimes spécifiées (modèle
SRX). Enlevez seulement les vis indiquées (p. 144).
928(F)
• 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.
Placez le tout comme le montre l'illustration avant d'installer la carte.
Connecteur
4.
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
LOCK
5.
Remettez le couvercle en place à l’aide des vis retirées à l’étape
2 .
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Installation de la carte d’extension Wave
Vérifier que la carte d’expansion Wave est installée correctement
2.
3.
4.
1.
Mettre en marche tel que décrit sous « Turning On/Off the
Appuyer sur [MENU].
Utiliser [CURSOR] pour choisir [System].
Appuyer sur [ENTER] pour atteindre la fenêtre du menu du système.
5.
6.
7.
Appuyer sur [F6 (System Info)].
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.
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 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
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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.
Before expanding the memory, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland distributor.
Precautions for Expanding
Memory
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.
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
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
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.
fig.Exp-01.e_90
Screws to be removed
3.
Press outward the white clips at either end of the socket should be in the downward position.
fig.DIMM-01
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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.
fig.DIMM-02
Checking that memory is installed correctly
1.
Turn on the power as described in “Turning On/Off the Power”
Press [MENU].
2.
3.
Use [CURSOR] to select [System].
4.
fig.6-02
Press [ENTER] to access the System Menu screen.
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
6.
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
2.
Remove the memory module from the socket.
5.
6.
Press [F6 (System Info)].
Press [F2 (Memory Info)].
Verify that the screen correctly shows the amount of memory you installed.
Press [F6 (Close)] to return to the System Menu screen.
7.
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:
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.
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Ajouter de la mémoire
(French Language for Canadian Safety Standard)
Précautions à prendre lors de l’ajout 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.
1
• 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
Installation du module de mémoire
Installez le module de mémoire après avoir retiré le couvercle inférieur.
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.
fig.Exp-01.e_90
Vis à enlever
• 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.
3.
Appuyez sur les clips blancs à l’extrémité de la prise qui devraient être orientés vers le bas.
fig.DIMM-01
148
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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.
fig.DIMM-02
Vérifier que la mémoire est installée correctement
1.
Mettre en marche tel que décrit sous « Turning On/Off the
Appuyer sur [MENU].
2.
3.
Utiliser [CURSOR] pour choisir [System].
4.
fig.6-02
Appuyer sur [ENTER] pour atteindre la fenêtre du menu du système.
* Si vous éprouvez de la difficulté à insérer le module de mémoire, inclinez-le légèrement et insérez une extrémité à la fois.
5.
Ramenez les clips blancs vers le haut et appuyez dessus jusqu’à ce que le module de mémoire soit verrouillé en place.
fig.DIMM-03
6.
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
2.
Retirez le module de mémoire de la prise.
5.
6.
7.
Appuyer sur [F6 (System Info)].
Appuyer sur [F2 (Memory Info)].
S’assurer de lire dans la fenêtre la taille de la mémoire que vous avez installée.
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 : 168 broches
Vitesse : 100 MHz (PC100 CL=2)
Tension :
Capacité :
133 MHz (PC133 CL=3)
3.3 V
128 Mo
256 Mo
Hauteur de la carte : 38 mm ou moins
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
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Waveform List
No.
Name
132 Gtr Trill
133 Gtr Cut
134 DistGtrRiff1
135 DistGtrRiff2
136 Wah Gtr Riff
137 GtrShtSlide
138 FullStr mf A
139 FullStr mf B
140 FullStr mf C
141 JV Strings
142 Tron Strings
143 JP Strings
144 Tremolo sfz
145 STR Attack
146 StrChord Maj
147 StrChord Min
148 VlnPizzicato
149 Pizzy Techno
150 FemChoirOosA
151 FemChoirOosB
152 FemChoirOosC
153 Brass Sect A
154 Brass Sect B
155 Brass Sect C
156 BrsShortFall
157 Solo Trumpet
158 Mute Trumpet
159 Soft AltoSax
160 Blow Tnr Sax
161 Wild Tnr Sax
162 Afro Flute
163 Pure Flute
100
101
102
103
104
105
106
107
EP MkI mf
Stage p A
Stage f A
Lo-Fi Wurly
FM EP mf
D-50 EP
Clavi
E.Organ 1
108 E.Organ 2
109 Full Stop
110 FM Club Org
111 Old Organ
112 Church Org
113 Tubular
114 Glockenspiel
115 Vibraphone
116 FantabellSub
117 DIGI Bell
118 Steel Dr
119 FM Mallet mf
120 Marimba
121 Balaphone
122 Kalimba
123 Soft NylonGt
124 Steel Guitar
125 Clean TC
126 Funk Gt
127 Funk Gt Mute
128 Overdrive
129 D.MuteGt mp
130 DistGtrChord
131 CleanGtrCut
164 Tron Flute
165 Pan Flute
166 Flute Gliss
167 Shamisen
168 Sitar
169 Hit Menu 1
170 Hit Menu 2
171 Hit Menu 3
172 OrangeHit 1
173 OrangeHit 2
174 OrangeHit 3
175 OrangeHit 4
176 OrangeHit 5
177 OrangeHit 6
178 OrangeHit 7
179 OrangeHit 8
180 Ambience
181 7th Hit
182 Minor Hit
183 Drive Hit
184 Brassy Hit
185 6th Hit
186 Filtered Hit
187 Mild Hit
188 Bright Hit
189 5th StackHit
190 Euro Hit
191 Dist Hit
192 Tekno Hit
193 Back Hit
194 Techno Chord
195 Thin Beef
196 Tao Hit
197 Philly Hit
198 ClassicHseHt
No.
Name
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
097
098
099
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
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
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
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.
Name
231 Get It Up M
232 Come On M
233 Ah Hah M
234 Ah M
235 Ah2 M
236 Uuh Yeah! M
237 ComeOn F
238 Ha F
239 Woow F
240 MetalVoiceW1
241 MetalVoiceW2
242 MetalVoiceW3
243 Aah Formant
244 Eeh Formant
245 Iih Formant
246 Ooh Formant
247 Uuh Formant
248 MetalVoiceL1
249 MetalVoiceL2
250 MetalVoiceL3
251 VoxPerc Menu
252 Vox Kick 1
253 Vox Kick 2
254 VoxKickSweep
255 Vox Snare 1
256 Vox Snare 2
257 Vox Hihat 1
258 Vox Hihat 2
259 Vox Hihat 3
260 Vox Cymbal
261 Pa!
262 Chiki!
199 Smear Hit 1
200 Smear Hit 2
201 LoFi MinorHt
202 OrchPrc Hit
203 Sitar Gliss
204 Scratch Menu
205 Scratch 16
206 Scratch 17
207 Scratch 18
208 Scratch 19
209 Scratch 20
210 Scratch 21
211 Scratch 22
212 Scratch 23
213 Scratch 24
214 Scratch 25
215 Scratch 26
216 Tape Rewind
217 Vox Menu 1
218 Vox Menu 2
219 One M
220 Two M
221 Three M
222 Four M
223 Aah! M
224 Hou! M
225 Ha! M
226 Hi! M
227 Hi2 M
228 Wow M
229 Yeah2 M
230 You Know M
263 Punch
264 AahVoice Maj
265 AahVoice Min
266 Auh Voice
267 Breath
268 Feedbackwave
269 Atmosphere
270 MG White Nz
271 MG Pink Nz
272 DigiAtkNoise
273 P5 Noise
274 106 Noise
275 Noise AGG
276 Noise TMBR
277 Noise GIS
278 ThroatWind
279 Metal Wind
280 FX Menu 1
281 FX Menu 2
282 FX Menu 3
283 FX Menu 4
284 Euro Fx
285 LoFi Beep 1
286 LoFi Beep 2
287 LoFi Beep 3
288 Hardhock
289 Orbit
290 Density
291 LoFi Beep 4
292 LoFi Beep 5
293 LoFi Beep 6
294 Metal Bar 1
295 Metal Press
296 Sand Hit
297 Metal Bar 2
No.
Name
330 SFX Menu 2
331 Dial
332 Door Knob
333 Vinyl burst
334 Water Cock 1
335 Water Cock 2
336 Bomb Noise
337 Sea
338 Brush Noise
339 Space Noise
340 Scream
341 Jet Plane
342 Toy Gun 1
343 Toy Gun 2
344 Emergency
345 Buzzer
346 Insect
347 Tonality
348 Ring OSC
349 Reso FX
350 Vinyl Noise
351 Vinyl Stop
352 Construct.
353 Jack Hammer
354 Turbine
355 Sawing
356 Firebomb
357 Applause
358 Thunderbolt
359 Dolphin Hi 1
360 Dolphin Hi 2
361 Dolphin Md
298 BPF Fx
299 Artful Perc1
300 Artful Perc2
301 MG Noise Fx
302 Beep
303 DarkSteam
304 MG Zap 1
305 MG Zap 2
306 MG Zap 3
307 MG Zap 4
308 MG Zap 5
309 MG Zap 6
310 MG Zap 7
311 MG Zap 8
312 MG Zap 9
313 MG Zap 10
314 MG Zap 11
315 MG Zap 12
316 MG Zap 13
317 MG Zap 14
318 MG Zap 15
319 MG Blip
320 Beam HiQ
321 MG Attack
322 MG Sweep 1
323 MG Sweep 2
324 MG Sweep 3
325 MG Sweep 4
326 MG Sweep 5
327 MG Sweep 6
328 Space FX Swp
329 SFX Menu 1
362 Dolphin Lo
363 MetallicShot
364 Siren
365 Drill Hit
366 Clap Menu 1
367 Clap Menu 2
368 Disc Clap
369 Dist Clap
370 PD Clap
371 Old Clap
372 R8 Clap
373 TR909 Clap 1
374 TR909 Clap 2
375 TR808 Clap
376 TR707 Clap
377 Cheap Clap
378 Real Clap 2
379 Hip Clap
380 Group Clap
381 Claptail
382 Planet Clap
383 Royal Clap
384 Happy Clap
385 Club Clap
386 Funk Clap
387 Perc Menu 1
388 Perc Menu 2
389 Perc Menu 3
390 Perc Menu 4
391 R8 Cowbell
392 TR808Cowbell
393 CR78 Cowbell
394 R8 Hi Agogo
395 R8 LowAgogo
396 R8 HiCongaMt
No.
Name
528 Analog Snr 2
529 Analog Snr 3
530 Modern Snr 1
531 Swallow Snr
532 Jam Snr
533 Back Snr
534 Keen Snr 1
535 Boys Snr 1
536 Slap Snr 2
537 Neck Snr
538 Artful Snr
539 Pin Snr
540 Chemical Snr
541 Sizzle Snr 2
542 Antigua Snr
543 Tiny Snr 2
544 Real Snare
545 R&B Snr 1
546 R&B Snr 2
547 Cross Snr
548 Grave Snr
549 Boys Snr 2
550 Boys Snr 3
551 LowDownSnr 2
552 TR909 SD 1
553 TR909 SD 2
554 TR909 SD 3
555 TR909 SD 4
556 TR909 SD 5
557 TR909 SD 6
558 TR909 DstSD
559 TR808 SD 1
496 TR606 Kick
497 Jive Kick
498 TR909 Kick 5
499 TR909 Kick 6
500 Lo-Fi Kick 2
501 Wet Kick
502 Tight Kick
503 TR707 Kick 1
504 TR909 Kick 7
505 Regular Kick
506 Lite Kick 1
507 Roll Kick
508 Snare Menu 1
509 Snare Menu 2
510 Snare Menu 3
511 Snare Menu 4
512 Snare Menu 5
513 Snare Menu 6
514 Snare Menu 7
515 Sizzle Snr 1
516 LowDownSnr 1
517 Jngl Tiny SD
518 Tiny Snr 1
519 DJ Snare
520 R8 Brush Tap
521 Phat Snare
522 Lo-Hard Snr
523 ElectroSnr 1
524 RaggaTightSD
525 Flange Snr
526 Slap Snr 1
527 Analog Snr 1
560 TR808 SD 2
561 TR808 SD 3
562 TR808 SD 4
563 Lite Snare
564 TR808 SD 5
565 TR808 SD 6
566 TR808 SD 7
567 DanceHall SD
568 TR606 SD 1
569 TR606 SD 2
570 CR78 Snare
571 Sim Snare
572 Rap Snr 2
573 Frenzy Snr 1
574 Frenzy Snr 2
575 Frenzy Snr 3
576 Jngl Rim 1
577 Jngl Rim 2
578 R8 Snr 1
579 R8 Snr 1cmp
580 R8 Snr 2
581 Slap Snr 3
582 Keen Snr 2
583 Reagae Snr
584 DR660 Snr
585 RegularSnrMP
586 RegularSnrMF
587 RegularSnr F
588 RegularSnrR1
589 RegularSnrR2
590 RegularSnrG1
591 RegularSnrG2
592 RegularSnrG3
593 R&B RegSnr 1
594 R&B RegSnr 2
No.
Name
429 Timbale Hi
430 Timbale Lo
431 808 Maracas
432 Maracas
433 R8 Shaker A
434 R8 Shaker B
435 R8 Cabasa
436 Triangle 1
437 Triangle 2
438 CR78 Guiro
439 Reg Guiro A
440 Reg Guiro B
441 Reg Guiro C
442 Whistle Shrt
443 Whistle
444 TR727Quijada
445 TR808 Claves
446 R8 ClavesCmp
447 Club FinSnap
448 Single Snap
449 Snap
450 Kick Menu 1
451 Kick Menu 2
452 Kick Menu 3
453 Kick Menu 4
454 Click Kick 1
455 Pick Kick
456 Mild Kick
457 Back Kick
458 Vinyl Kick 1
459 Low Kick 1
460 Click Kick 2
397 R8 HiCongaOp
398 R8 LoCongaOp
399 Reg HiCng Mt
400 Reg HiCng Op
401 Reg LoCng Op
402 Reg HiBng Mt
403 Reg HiBng Op
404 Reg LoBng Op
405 TablaBayam 1
406 TablaBayam 2
407 TablaBayam 3
408 TablaBayam 4
409 TablaBayam 5
410 TablaBayam 6
411 TablaBayam 7
412 Udo
413 Udu Pot1 Hi
414 Udu Pot1 Slp
415 Cajon 1
416 Cajon 2
417 Cajon 3
418 AfroDrum Rat
419 Chenchen
420 Op Pandeiro
421 Mt Pandeiro
422 Timpani
423 Tambourine1
424 Tambourine2
425 Tambourine3
426 Tambourine4
427 CR78 Tamb
428 CR78 Beat
461 Boys Kick
462 Hippie Kick
463 Frenzy Kick
464 PlasticKick1
465 Artful Kick
466 Swallow Kick
467 Neck Kick
468 Skool Kick
469 Dance Kick 1
470 HipHop Kick1
471 HipHop Kick2
472 Rap Kick
473 Low Kick 2
474 Pin Kick
475 Low Kick 3
476 Low Kick 4
477 AnalogKick 3
478 PlasticKick2
479 TR909 Kick 1
480 TR909 Kick 2
481 TR909 Kick 3
482 AnalogKick 4
483 TR909 Kick 4
484 Gabba Kick 1
485 AnalogKick 5
486 AnalogKick 6
487 AnalogKick 7
488 AnalogKick 8
489 AnalogKick 9
490 AnalogKick10
491 PlasticKick3
492 TR606 Dst BD
493 AnalogKick11
494 Sweep Kick
495 TR808 Kick
No.
Name
627 TR808 Tom
628 TR606 Tom
629 Deep Tom
630 CHH Menu 1
631 CHH Menu 2
632 Modern CHH
633 Hipping CHH
634 Urban CHH
635 Regular CHH1
636 Regular CHH2
637 Regular CHH3
638 Bristol CHH
639 R8 Brush CHH
640 Bang CHH
641 LowDownCHH
642 Disc CHH
643 Club CHH 1
644 HipHop CHH
645 TR909 CHH 1
646 TR909 CHH 2
647 Shaky CHH
648 Club CHH 2
649 Swallow CHH
650 TR808 CHH 1
651 TR808 CHH 2
652 TR606 CHH 1
653 TR606 CHH 2
654 TR606 DstCHH
655 Lite CHH
656 CR78 CHH
657 DR55 CHH 1
658 Neck CHH
595 R&B RegSnr 3
596 R&B RegSnr 4
597 R&B RegSnrG1
598 Funk Snr 1
599 Picc. Hrd Sn
600 Picc. Rol Sn
601 SnareWithCym
602 R8 BrshSwill
603 R8 BrushRoll
604 Urban RollSD
605 Roll Snare
606 RimShot Menu
607 TR909 Rim
608 TR808 Rim
609 R&B Rim 1
610 R&B Rim 2
611 R&B Rim 3
612 Neck Rim
613 Swag Rim
614 Step Rim
615 R&B Rim 4
616 Street Rim
617 Regular Rim
618 R8 Comp Rim
619 Tom Menu
620 R8 Comp Tom1
621 R8 Comp Tom2
622 R8 Comp Tom3
623 R8 Comp Tom4
624 Natural Tom
625 TR909 Tom
626 TR909 DstTom
659 Jungle Hat
660 PHH Menu
661 Hip PHH
662 Pedal Hat 1
663 Street PHH
664 Swallow PHH
665 TR909 PHH 1
666 TR909 PHH 2
667 TR808 PHH 1
668 TR606 PHH 1
669 TR606 PHH 2
670 OHH Menu
671 Neck OHH
672 Regular OHH
673 Pop Hat Open
674 HipHop OHH
675 Bang OHH
676 TR909 OHH 1
677 TR909 OHH 2
678 TR808 OHH 1
679 TR808 OHH 2
680 TR606 OHH
681 Lite OHH
682 CR78 OHH
683 Cymbal Menu
684 TR909 Crash
685 NaturalCrash
686 Jungle Crash
687 Asian Gong
688 RAMA Cymbal
689 Analog Cym
690 TR606 Cym
691 Regular Ride
692 TR909 Ride
693 TR707 Ride
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 A
(CC#0 = 81,
CC#32 = 64)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
SuperSawFast
Powerline
Detune Saws
Bustranza
Cyber Lead
Noisey
RAVtune
Blaster
Detuned Pad
Clean?
DelayStrings
DOC Stack
Syn Stack
Saw Stack
Trancy Synth
ScreaminLead
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
Name
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
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
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
Preset B
(CC#0 = 81,
CC#32 = 65)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
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
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
Name
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
Preset C
(CC#0 = 81,
CC#32 = 66)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
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
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
151
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
Name
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
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
152
Preset D
(CC#0 = 81,
CC#32 = 67)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
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
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 Bread-
Analogscape
Name
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
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
Name
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
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
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
Preset E
(CC#0 = 81,
CC#32 = 68)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
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
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Preset Patch List
Name
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
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
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
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
No.
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
Preset F
(CC#0 = 81,
CC#32 = 69)
No.
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
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
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
Preset G
(CC#0 = 81,
CC#32 = 70)
No.
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
Name
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
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
User: 001–128
(CC#0 = 81,
CC#32 = 0)
User: 129–256
(CC#0 = 81,
CC#32 = 1)
Card: 001–128
(CC#0 = 81,
CC#32 = 32)
Card: 129–256
(CC#0 = 81,
CC#32 = 33)
153
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Preset Rhythm Set List
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
(Preset: FCC#0 = 82, CC#32 = 64 User: CC#0 = 82, CC#32 = 0 Card: CC#0 = 82, CC#32 = 32)
001: 909 TR-909 1
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
004: 909 TR-909 3
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
007: 909 Techno 1
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
010: 909 Techno 4
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
013: 909 Trance 3
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
016: 909 House 2
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
59
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
002: 909 TR-808 1
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
005: 909 TR-909 4
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
008: 909 Techno 2
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
011: 909 Trance 1
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
014: 909 Minimal
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
017: 909 House 3
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
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
74
73
003: 909 TR-909 2
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
006: 909 TR-808 2
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
009: 909 Techno 3
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
012: 909 Trance 2
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
015: 909 House 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
018: 909 BrkBts 1
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
154
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Preset Rhythm Set List
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
019: 909 BrkBts 2
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
022: 909 DnB 1
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
025: 909 2Step 1
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
028: 909 HipHop 2
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
031: 909 G-Funk 1
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
034: 909 R&B 1
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
59
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
020: 909 BrkBts 3
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
023: 909 DnB 2
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
026: 909 2Step 2
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
029: 909 HipHop 3
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
032: 909 G-Funk 2
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
035: 909 R&B 2
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
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
74
73
021: 909 BrkBts 4
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
024: 909 DnB 3
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
027: 909 HipHop 1
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
030: 909 HipHop 4
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
033: 909 G-Funk 3
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
036: 909 R&B 3
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
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
037: 909 Human 1
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
040: 909 80's 2
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
043: 909 Elctrnca
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
046: 909 Regge 2
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
049: 909 Real 2
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
052: 909 World
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
59
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
038: 909 Human 2
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
041: 909 80's 3
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
044: 909 Cheap
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
047: 909 Regge 3
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
050: 909 Jazz
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
053: 909 Perc 1
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
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
74
73
039: 909 80's 1
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
156
042: 909 Electro
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
045: 909 Regge 1
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
048: 909 Real 1
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
051: 909 Brash
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
054: 909 Perc 2
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.
Note No.
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
055: 909 Perc 3
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
058: 909 Scratch
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
061: 909 Vox Perc
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
064: 909 Sound FX
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
067: G-Funk Voice
Break It On
Check It Out
I Like That
Thats Tight
070: House Guitar
House Gtr1
House Gtr2
59
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
056: 909 Perc 4
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
059: 909 Voice 1
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
062: 909 Zap
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
065: R&B Vocal
R&B Vocal1
R&B Vocal2
068: Trance Vocal
All Right1
All Right2
071: Breath
Breath1
Breath2
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
74
73
057: 909 Hit&Stab
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
060: 909 Voice 2
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
063: 909 Synth FX
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
066: R&B Guitar
R&B Guitar1
R&B Guitar2
069: House Vocal
Set Me Free
Uhh
072: Techno Voice
Yah
What I Want
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Preset Pattern List
No.
Pattern Name
032 Minimal 6
033 Minimal 7
034 Minimal 8
035 Minimal 9
036 Minimal 10
037 Minimal 11
038 Minimal 12
039 Minimal 13
040 Hardcore 1
041 Hardcore 2
042 Hardcore 3
043 Hardcore 4
044 Hardcore 5
045 Ambient 1
046 Ambient 2
047 Ambient 3
048 Ambient 4
049 Ambient 5
050 Ambient 6
051 Drum'n'Bass 1
052 Drum'n'Bass 2
053 Drum'n'Bass 3
054 Drum'n'Bass 4
055 Drum'n'Bass 5
056 Drum'n'Bass 6
057 Drum'n'Bass 7
058 Drum'n'Bass 8
059 Drum'n'Bass 9
060 Drum'n'Bass 10
001 R&B 1
002 G-Funk 1
003 Euro Trance 1
004 Garage 1
005 Minimal 1
006 Techno 1
007 Techno 2
008 Techno 3
009 Techno 4
010 Techno 5
011 Techno 6
012 Techno 7
013 Techno 8
014 Techno 9
015 Techno 10
016 Techno 11
017 Techno 12
018 Techno 13
019 Techno 14
020 Techno 15
021 Techno 16
022 Techno 17
023 Techno 18
024 Techno 19
025 Techno 20
026 Techno 21
027 Techno 22
028 Minimal 2
029 Minimal 3
030 Minimal 4
031 Minimal 5
BPM Mes. Programmer
65 4 Shinichiro Murayama
77 4 Kazuhiko Maeda
138 8 B.U.S
130 4 B.U.S
137 4 grogman
132 8 Q'HEY
130 4 Heigo Tani
128 4 Heigo Tani
132 4 Heigo Tani
137 4 grogman
135 8 Roland Corporation
133 8 Nick Tidy
130 4 Takatoshi Nishibu
130 8 Heigo Tani
130 4 Heigo Tani
128 4 Q'HEY
130 8 Kunihiro Ueno
130 8 Kunihiro Ueno
128 4 Kunihiro Ueno
127 8 Cappadocia Productions
125 4 Heigo Tani
132 4 Q'HEY
140 8 Nick Tidy
132 4 Q'HEY
135 8 Q'HEY
127 8 Nick Tidy
138 8 Nick Tidy
140 4 Heigo Tani
140 4 Heigo Tani
141 4 Daishiro Minami
138 4 Roland Corporation
137 4 grogman
135 8 Q'HEY
135 8 Q'HEY
135 4 Q'HEY
135 8 Q'HEY
135 8 Q'HEY
135 8 Q'HEY
135 8 Q'HEY
180 8 NEURON
180 8 NEURON
180 8 NEURON
150 8 NEURON
150 8 NEURON
89 8 Cappadocia Productions
89 8 Cappadocia Productions
82 8 Roland Corporation U.S.
100 4 Roland Corporation
120 4 MASA
130 4 Q'HEY
180 8 Kunihiro Ueno
180 8 Kunihiro Ueno
175 4 Heigo Tani
166 8 Nick Tidy
180 8 Nick Tidy
170 4 Roland Corporation
175 8 Roland Corporation
170 8 Heigo Tani
180 8 Kunihiro Ueno
180 8 Kunihiro Ueno
No.
Pattern Name
092 Hard Trance 7
093 Hard Trance 8
094 Hard Trance 9
095 Hard Trance 10
096 Hard Trance 11
097 Psy. Trance 1
098 Psy. Trance 2
099 Psy. Trance 3
100 Psy. Trance 4
101 Psy. Trance 5
102 Psy. Trance 6
103 Psy. Trance 7
104 UK HardHouse 1
105 UK HardHouse 2
106 UK HardHouse 3
107 UK HardHouse 4
108 UK HardHouse 5
109 UK HardHouse 6
110 UK HardHouse 7
111 US HardHouse 1
112 US HardHouse 2
113 US HardHouse 3
114 US HardHouse 4
115 US HardHouse 5
116 US HardHouse 6
117 US HardHouse 7
118 Progressive 1
119 Progressive 2
120 Progressive 3
061 Drum'n'Bass 11
062 Drum'n'Bass 12
063 Drum'n'Bass 13
064 Break Beats 1
065 Break Beats 2
066 Break Beats 3
067 Break Beats 4
068 Break Beats 5
069 Break Beats 6
070 Break Beats 7
071 Break Beats 8
072 Break Beats 9
073 Break Beats 10
074 Break Beats 11
075 Break Beats 12
076 Break Beats 13
077 Break Beats 14
078 Euro Trance 2
079 Euro Trance 3
080 Euro Trance 4
081 Euro Trance 5
082 Euro Trance 6
083 Euro Trance 7
084 Euro Trance 8
085 Euro Trance 9
086 Hard Trance 1
087 Hard Trance 2
088 Hard Trance 3
089 Hard Trance 4
090 Hard Trance 5
091 Hard Trance 6
BPM Mes. Programmer
170 8 Kunihiro Ueno
180 8 Kunihiro Ueno
180 4 Kunihiro Ueno
140 4 Heigo Tani
140 4 Heigo Tani
136 8 Kunihiro Ueno
126 8 Nick Tidy
110 4 Kunihiro Ueno
128 8 Nick Tidy
120 8 Kunihiro Ueno
120 8 Nick Tidy
154 8 Kunihiro Ueno
170 8 Heigo Tani
175 4 Heigo Tani
138 4 Heigo Tani
127 4 B.U.S
144 8 Nick Tidy
140 8 Roland Corporation
135 8 Roland Corporation
140 8 Hans-Joerg Scheffler
140 8 B.U.S
138 4 B.U.S
136 4 B.U.S
138 8 Roland Corporation U.S.
145 8 NEURON
140 8 Hans-Joerg Scheffler
150 8 NEURON
150 8 NEURON
140 8 Hans-Joerg Scheffler
145 8 Roland Corporation
136 4 Takatoshi Nishibu
140 8 Hans-Joerg Scheffler
134 4 Roland Corporation U.S.
140 4 MASA
138 4 MASA
140 4 MASA
140 4 MASA
140 4 MASA
138 4 MASA
138 4 MASA
138 8 MASA
143 8 NEURON
140 8 NEURON
150 8 Roland Corporation
145 8 Roland Corporation
142 4 B.U.S
142 8 Roland Corporation U.S.
142 8 Roland Corporation U.S.
140 4 Roland Corporation U.S.
140 8 B.U.S
133 4 Roland Corporation U.S.
125 4 Roland Corporation
125 4 Roland Corporation
129 4 Roland Corporation U.S.
130 4 Kazuhiko Maeda
130 4 Kazuhiko Maeda
130 4 Kazuhiko Maeda
133 8 Roland Corporation
130 8 Roland Corporation
132 8 Roland Corporation U.S.
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Preset Pattern List
No.
Pattern Name
152 R&B 11
153 R&B 12
154 R&B 13
155 R&B 14
156 R&B 15
157 R&B 16
158 R&B 17
159 R&B 18
160 Hip Hop 1
161 Hip Hop 2
162 Hip Hop 3
163 Hip Hop 4
164 Hip Hop 5
165 Hip Hop 6
166 Hip Hop 7
167 Hip Hop 8
168 Hip Hop 9
169 Hip Hop 10
170 Hip Hop 11
171 Hip Hop 12
172 Hip Hop 13
173 G-Funk 2
174 G-Funk 3
175 G-Funk 4
176 G-Funk 5
177 G-Funk 6
178 G-Funk 7
179 G-Funk 8
180 G-Funk 9
121 Progressive 4
122 Progressive 5
123 Progressive 6
124 Progressive 7
125 Garage 2
126 Garage 3
127 Garage 4
128 Garage 5
129 Garage 6
130 Garage 7
131 Garage 8
132 Garage 9
133 Garage 10
134 Disco 1
135 Disco 2
136 Disco 3
137 House 1
138 House 2
139 House 3
140 House 4
141 House 5
142 House 6
143 R&B 2
144 R&B 3
145 R&B 4
146 R&B 5
147 R&B 6
148 R&B 7
149 R&B 8
150 R&B 9
151 R&B 10
BPM Mes. Programmer
136 4 B.U.S
136 4 B.U.S
138 4 B.U.S
137 8 Nick Tidy
128 4 Roland Corporation U.S.
132 4 B.U.S
130 4 B.U.S
125 8 Hans-Joerg Scheffler
129 8 Hans-Joerg Scheffler
134 8 Hans-Joerg Scheffler
142 8 Naoki Matsuura
134 8 Naoki Matsuura
138 8 Naoki Matsuura
132 8 B.U.S
132 8 B.U.S
135 4 Roland Corporation U.S.
135 4 MASA
124 4 Hans-Joerg Scheffler
134 4 Hans-Joerg Scheffler
127 8 Nick Tidy
128 8 Hans-Joerg Scheffler
126 8 Hans-Joerg Scheffler
104 4 Shinichiro Murayama
99 4 Kazuhiko Maeda
89 4 Kazuhiko Maeda
66 8 Shinichiro Murayama
70 4 Kazuhiko Maeda
80 4 Kazuhiko Maeda
92 4 Kazuhiko Maeda
96 8 Shinichiro Murayama
97 4 Kazuhiko Maeda
100 8 Shinichiro Murayama
90 8 Shinichiro Murayama
90 8 Shinichiro Murayama
105 8 Shinichiro Murayama
100 8 Shinichiro Murayama
98 8 Shinichiro Murayama
100 8 Shinichiro Murayama
102 8 Shinichiro Murayama
84 8 Kazuhiko Maeda
93 4 Kazuhiko Maeda
113 8 Roland Corporation U.S.
108 8 Roland Corporation U.S.
116 8 Roland Corporation U.S.
71 4 Roland Corporation
98 8 Roland Corporation
95 4 Roland Corporation
89 4 Cappadocia Productions
89 4 Cappadocia Productions
87 8 Roland Corporation U.S.
91 8 Roland Corporation U.S.
89 4 Cappadocia Productions
97 4 Kazuhiko Maeda
96 4 Kazuhiko Maeda
97 8 Roland Corporation U.S.
94 8 Roland Corporation U.S.
91 8 Roland Corporation U.S.
97 8 Roland Corporation U.S.
91 8 Roland Corporation U.S.
91 8 Roland Corporation U.S.
No.
Pattern Name BPM Mes. Programmer
181 G-Funk 10
182 G-Funk 11
183 Abstract 1
184 Abstract 2
185 Abstract 3
186 Abstract 4
187 Abstract 5
188 Abstract 6
189 Electro 1
190 Electro 2
191 Electro 3
192 Electro 4
193 Electro 5
194 Electro 6
195 Electronica 1
95 4 Roland Corporation
90 4 Roland Corporation
95 4 Roland Corporation
80 4 Roland Corporation
60 4 Roland Corporation
95 4 Roland Corporation
92 8 Roland Corporation U.S.
96 8 Roland Corporation U.S.
124 4 Cappadocia Productions
135 8 Cappadocia Productions
127 8 Cappadocia Productions
100 4 Cappadocia Productions
133 8 Nick Tidy
113 8 Roland Corporation U.S.
120 4 Roland Corporation
196 Electronica 2
197 Electronica 3
198 Electronica 4
199 Electronica 5
200 Electronica 6
201 Electronica 7
202 Electronica 8
203 Electronica 9
120 4 Roland Corporation
110 4 Roland Corporation
110 4 Roland Corporation
120 4 Roland Corporation
120 4 Roland Corporation
130 8 Roland Corporation
128 8 Q'HEY
130 4 Q'HEY
204 Reggae 1 (Dance Hall) 90 4 Roland Corporation
205 Reggae 2 (Dance Hall) 90 4 Roland Corporation
206 Reggae 3 (Dance Hall) 85 4 Naoki Matsuura
207 Reggae 4 (Dance Hall) 85 4 Naoki Matsuura
208 Reggae 5 (Dance Hall) 93 4 Roland Corporation
209 Reggae 6 (Lovers) 90 4 Roland Corporation
210 Reggae 7 (Lovers)
211 Reggae 8 (Lovers)
89
78
4
8
Kazuhiko Maeda
Naoki Matsuura
212 Reggae 9 (Lovers)
213 Reggae 10 (Roots)
214 Reggae 11 (Roots)
215 Reggae 12 (Dub)
68 8 Naoki Matsuura
80 4 Naoki Matsuura
65 4 Naoki Matsuura
71 8 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 Euro Trance 1
002 Garage 1
003 Minimal 1
004 R&B 1
005 G-Funk 1
138 8 B.U.S
130 4 B.U.S
137 4 grogman
65 4 Shinichiro Murayama
77 4 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
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RPS Pattern List
No.
Pattern Name
253
254
255
256
257
258
259
260
245
246
247
248
249
250
251
252
261
262
263
264
265
266
267
268
269
270
237
238
239
240
241
242
243
244
229
230
231
232
233
234
235
236
221
222
223
224
225
226
227
228
216
217
218
219
220
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
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
No.
Pattern Name
300 2Step Bass 1
301 2Step Bass 2
302 Dnb Bass 1
303 Dnb Bass 2
304 Dnb Bass 3
305 Dnb Bass 4
306 B.Beats Bass 1
307 B.Beats Bass 2
308 B.Beats Bass 3
309 B.Beats Bass 4
310 HipHop Bass 1
311 HipHop Bass 2
312 HipHop Bass 3
313 HipHop Bass 4
314 HipHop Bass 5
315 HipHop Bass 6
316 HipHop Bass 7
317 HipHop Bass 8
318 HipHop Bass 9
319 HipHop Bass 10
320 Reggae Bass 1
321 Reggae Bass 2
322 Kick Fill 1
323 Kick Fill 2
324 Kick Fill 3
325 Kick Fill 4
276
277
278
279
280
281
282
283
271
272
273
274
275
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
284
285
286
287
288
289
290
291
Trance Bass 1
Trance Bass 2
Trance Bass 3
Trance Bass 4
Trance Bass 5
Trance Bass 6
Trance Bass 7
Trance Bass 8
292
293
294
295
House Bass 1
House Bass 2
House Bass 3
House Bass 4
296 House Bass 5
297 House Bass 6
298 House Bass 7
299 House Bass 8
No.
Pattern Name
355 Hi-hat Fill 1
356 Hi-hat Fill 2
357 Hi-hat Fill 3
358 Hi-hat Fill 4
359 Hi-hat Fill 5
360 Hi-hat Fill 6
361 Hi-hat Fill 7
362 Hi-hat Fill 8
363 Hi-hat Fill 9
364 Hi-hat Fill 10
365 Hi-hat Fill 11
366 Hi-hat Fill 12
367 Hi-hat Fill 13
368 Hi-hat Fill 14
369 Hi-hat Fill 15
370 Hi-hat Fill 16
371 Hi-hat Fill 17
372 Hi-hat Fill 18
373 Hi-hat Fill 19
374 Hi-hat Fill 20
375 Hi-hat Fill 21
376 Cymbal Fill 1
377 Cymbal Fill 2
378 Cymbal Fill 3
379 Cymbal 1
380 Cymbal 2
326 Kick Fill 5
327 Kick Fill 6
328 Kick Fill 7
329 Kick Fill 8
330 Kick Fill 9
331 Kick Fill 10
332 Kick Fill 11
333 Kick Fill 12
334 Kick Fill 13
335 Snare Fill 1
336 Snare Fill 2
337 Snare Fill 3
338 Snare Fill 4
339 Snare Fill 5
340 Snare Fill 6
341 Snare Fill 7
342 Snare Fill 8
343 Snare Fill 9
344 Snare Fill 10
345 Snare Fill 11
346 Snare Fill 12
347 Snare Fill 13
348 Snare Fill 14
349 Snare Fill 15
350 Snare Fill 16
351 Snare Fill 17
352 Snare Fill 18
353 Snare Fill 19
354 Snare Fill 20
No.
Pattern Name
410 Perc. Fill 18
411 Perc. Fill 19
412 Perc. Fill 20
413 Perc. Fill 21
414 Perc. Fill 22
415 Perc. Fill 23
416 Perc. Fill 24
417 Perc. Fill 25
418 Perc. Fill 26
419 Perc. Fill 27
420 Cowbell 1
421 Human Fill 1
422 Human Fill 2
423 Human Fill 3
424 Human Fill 4
425 Human Fill 5
426 Human Fill 6
427 Scratch 1
428 Scratch 2
429 Scratch 3
430 Scratch 4
431 Scratch 5
432 Scratch 6
433 Scratch 7
434 Scratch 8
435 Scratch 9
381 Cymbal 3
382 Cymbal 4
383 Clap Fill 1
384 Clap Fill 2
385 Clap Fill 3
386 Clap Fill 4
387 Clap Fill 5
388 Clap Fill 6
389 Clap Fill 7
390 Clap Fill 8
391 Tom Fill 1
392 Tom Fill 2
393 Perc. Fill 1
394 Perc. Fill 2
395 Perc. Fill 3
396 Perc. Fill 4
397 Perc. Fill 5
398 Perc. Fill 6
399 Perc. Fill 7
400 Perc. Fill 8
401 Perc. Fill 9
402 Perc. Fill 10
403 Perc. Fill 11
404 Perc. Fill 12
405 Perc. Fill 13
406 Perc. Fill 14
407 Perc. Fill 15
408 Perc. Fill 16
409 Perc. Fill 17
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No.
Pattern Name
473
474
475
476
477
478
479
480
465
466
467
468
469
470
471
472
481
482
483
484
485
486
487
488
489
490
457
458
459
460
461
462
463
464
449
450
451
452
453
454
455
456
441
442
443
444
445
446
447
448
436
437
438
439
440
Vox 3
Vox 4
Vox 5
Vox 6
Vox 7
Brass 1
Brass 2
Brass 3
Brass 4
Brass 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
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
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
No.
Pattern Name
520 Synth Pad 12
521 Synth Pad 13
522 Synth Pad 14
523 Synth Pad 15
524 Synth Pad 16
525 Synth Pad 17
526 Synth Riff 1
527 Synth Riff 2
528 Synth Riff 3
529 Synth Riff 4
530 Synth Riff 5
531 Synth Riff 6
532 Synth Riff 7
533 Synth Riff 8
534 Synth Riff 9
535 Synth Riff 10
536 Synth Riff 11
537 Synth Riff 12
538 Synth Riff 13
539 Synth Riff 14
540 Synth Riff 15
541 Synth Riff 16
542 Synth Riff 17
543 Synth Riff 18
544 Synth Riff 19
545 Synth Riff 20
496
497
498
499
500
501
502
503
491
492
493
494
495
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
504
505
506
507
508
509
510
511
Synth Lead 5
Synth Lead 6
Synth Lead 7
Synth Lead 8
Synth Lead 9
Synth Pad 1
Synth Pad 2
Synth Pad 3
512
513
514
515
Synth Pad 4
Synth Pad 5
Synth Pad 6
Synth Pad 7
516 Synth Pad 8
517 Synth Pad 9
518 Synth Pad 10
519 Synth Pad 11
No.
Pattern Name
575 Synth Seq 14
576 Synth Seq 15
577 Synth Seq 16
578 Synth Seq 17
579 Synth Seq 18
580 Synth Seq 19
581 Synth Seq 20
582 Synth Seq 21
583 Synth Seq 22
584 Hit 1
585 Hit 2
586 Hit 3
587 Hit 4
588 Hit 5
589 Voice 1
590 Voice 2
591 Voice 3
592 Voice 4
593 Voice 5
594 Voice 6
595 Voice 7
596 Voice 8
597 Voice 9
598 Voice 10
599 Voice 11
600 Voice 12
546 Synth Riff 21
547 Synth Riff 22
548 Synth Riff 23
549 Synth Riff 24
550 Synth Riff 25
551 Synth Riff 26
552 Synth Riff 27
553 Synth Riff 28
554 Synth Riff 29
555 Synth Riff 30
556 Synth Riff 31
557 Synth Riff 32
558 Synth Riff 33
559 Synth Riff 34
560 Synth Riff 35
561 Synth Riff 36
562 Synth Seq 1
563 Synth Seq 2
564 Synth Seq 3
565 Synth Seq 4
566 Synth Seq 5
567 Synth Seq 6
568 Synth Seq 7
569 Synth Seq 8
570 Synth Seq 9
571 Synth Seq 10
572 Synth Seq 11
573 Synth Seq 12
574 Synth Seq 13
RPS Pattern List
No.
Pattern Name
630 FX 23
631 FX 24
632 FX 25
633 FX 26
634 FX 27
635 FX 28
636 FX 29
637 FX 30
638 FX 31
639 FX 32
640 FX 33
641 FX 34
642 FX 35
643 FX 36
644 FX 37
645 FX 38
646 FX 39
647 FX 40
648 FX 41
649 FX 42
650 FX 43
651 FX 44
652 FX 45
653 FX 46
654 FX 47
655 FX 48
601 Voice 13
602 Voice 14
603 Voice 15
604 Voice 16
605 Voice 17
606 Voice 18
607 Voice 19
608 FX 1
609 FX 2
610 FX 3
611 FX 4
612 FX 5
613 FX 6
614 FX 7
615 FX 8
616 FX 9
617 FX 10
618 FX 11
619 FX 12
620 FX 13
621 FX 14
622 FX 15
623 FX 16
624 FX 17
625 FX 18
626 FX 19
627 FX 20
628 FX 21
629 FX 22
161
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RPS Set List
Pad No.
Pattern Name
01. Techno 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
383
526
562
527
563
509
608
609
589
216
217
270
271
376
322
335
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
02. Techno 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
500
501
564
528
510
610
611
612
218
219
272
273
355
391
323
393
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
03. Techno 3
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
356
529
530
531
532
479
590
584
613
220
221
274
275
394
395
384
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
04. Minimal
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
494
480
533
565
534
481
585
614
222
223
276
277
324
336
396
496
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
Pad No.
Pattern Name
327
502
503
504
473
571
618
619
620
248
249
302
303
358
380
326
07. Drum'n'Bass 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
445
451
513
514
515
621
622
572
250
251
304
305
328
359
360
399
08. Drum'n'Bass 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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
05. Hardcore
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
379
566
567
444
535
536
537
615
591
224
225
278
279
337
338
397
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
06. Ambient
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
568
569
570
511
512
616
617
472
226
227
280
281
357
377
398
325
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
Pad No.
Pattern Name
421
538
460
623
624
461
427
625
592
252
253
306
307
329
339
361
09. Break Beats 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
446
462
463
486
487
593
428
539
254
255
308
309
340
400
401
422
10. Break Beats 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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
385
505
540
573
574
516
575
626
627
230
231
284
285
341
362
379
11. Euro Trance 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
506
541
542
543
517
576
628
629
232
233
286
287
342
363
378
402
12. Euro Trance 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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
Pad No.
Pattern Name
403
544
577
498
578
518
545
546
547
234
235
288
289
343
344
364
13. Hard Trance
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
548
549
550
579
519
630
631
464
236
237
290
291
345
346
386
365
14. Psy. Trance
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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
404
551
552
553
554
499
520
594
632
238
239
292
293
347
387
381
15. UK HardHouse
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
555
556
474
488
521
595
633
634
240
241
294
295
330
366
388
405
16. US HardHouse
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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
162
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RPS Set List
Pad No.
Pattern Name
406
557
558
559
452
522
596
635
636
242
243
296
297
348
367
389
17. Progressive
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
18. Garage 1
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
447
448
475
453
560
489
586
637
244
245
298
299
349
407
408
392
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
20. R&B
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
476
450
455
580
524
429
638
639
256
257
310
311
369
410
411
382
19. Garage 2
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
423
457
454
465
466
523
491
449
587
246
247
300
301
331
368
409
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
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
Pad No.
Pattern Name
21. Hip Hop
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
414
495
477
492
467
588
430
431
597
258
259
312
313
370
412
413
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
22. G-Funk
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
507
493
468
478
456
640
641
432
260
261
314
315
350
371
372
415
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
23. Abstract
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
351
497
458
642
643
644
645
482
483
262
263
316
317
373
416
417
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
24. Electro
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
508
469
581
582
525
484
646
647
264
265
318
319
352
390
418
420
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
Pad No.
Pattern Name
342
348
353
340
345
344
350
352
336
349
337
335
341
339
354
347
27. Snare Fill Set
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
28. FX Set
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
648
653
619
627
615
629
612
639
632
625
628
610
636
616
620
623
FX 41
FX 46
FX 12
FX 20
FX 8
FX 22
FX 5
FX 32
FX 25
FX 18
FX 21
FX 3
FX 29
FX 9
FX 13
FX 16
424
583
648
649
650
651
652
653
654
228
229
282
283
332
333
374
25. Electronica
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
26. Reggae
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
459
470
471
561
485
655
598
490
266
267
320
321
334
353
375
419
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
Pad No.
Pattern Name
601
602
603
595
604
590
605
606
607
268
269
425
426
599
592
600
29. Human Set
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
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
432
438
430
439
440
441
442
443
427
433
434
435
436
437
428
431
30. Scratch Set
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
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.
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
01. Techno 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
6
7
8
Techno 1
Techno 2
Techno 3
9 Techno 4
10 Techno 5
11 Techno 6
12 Techno 7
13 Techno 8
14 Techno 9
15 Techno 10
16 Techno 11
17 Techno 12
18 Techno 13
19 Techno 14
20 Techno 15
21 Techno 16
02. Techno 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
28 Minimal 2
29 Minimal 3
30 Minimal 4
31 Minimal 5
32 Minimal 6
33 Minimal 7
34 Minimal 8
35 Minimal 9
36 Minimal 10
37 Minimal 11
38 Minimal 12
39 Minimal 13
22 Techno 17
23 Techno 18
24 Techno 19
25 Techno 20
03. Drum'n'Bass
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
51 Drum'n'Bass 1
52 Drum'n'Bass 2
53 Drum'n'Bass 3
54 Drum'n'Bass 4
55 Drum'n'Bass 5
56 Drum'n'Bass 6
57 Drum'n'Bass 7
58 Drum'n'Bass 8
59 Drum'n'Bass 9
60 Drum'n'Bass 10
61 Drum'n'Bass 11
62 Drum'n'Bass 12
63 Drum'n'Bass 13
51 Drum'n'Bass 1
52 Drum'n'Bass 2
53 Drum'n'Bass 3
Pad No. Pattern Name
04. Break Beats
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
64 Break Beats 1
65 Break Beats 2
66 Break Beats 3
67 Break Beats 4
68 Break Beats 5
69 Break Beats 6
70 Break Beats 7
71 Break Beats 8
72 Break Beats 9
73 Break Beats 10
74 Break Beats 11
75 Break Beats 12
76 Break Beats 13
77 Break Beats 14
26 Techno 21
27 Techno 22
05. Trance 1
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
78 Euro Trance 2
79 Euro Trance 3
80 Euro Trance 4
81 Euro Trance 5
82 Euro Trance 6
83 Euro Trance 7
84 Euro Trance 8
85 Euro Trance 9
86 Hard Trance 1
87 Hard Trance 2
88 Hard Trance 3
89 Hard Trance 4
90 Hard Trance 5
91 Hard Trance 6
92 Hard Trance 7
93 Hard Trance 8
06. Trance 2
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
94 Hard Trance 9
95 Hard Trance 10
96 Hard Trance 11
97 Psy. Trance 1
98 Psy. Trance 2
99 Psy. Trance 3
100 Psy. Trance 4
101 Psy. Trance 5
102 Psy. Trance 6
103 Psy. Trance 7
118 Progressive 1
119 Progressive 2
43 Hardcore 4
44 Hardcore 5
42 Hardcore 3
41 Hardcore 2
Pad No. Pattern Name
07. House 1
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
104 UK HardHouse 1
105 UK HardHouse 2
106 UK HardHouse 3
107 UK HardHouse 4
108 UK HardHouse 5
109 UK HardHouse 6
110 UK HardHouse 7
111 US HardHouse 1
112 US HardHouse 2
113 US HardHouse 3
114 US HardHouse 4
115 US HardHouse 5
116 US HardHouse 6
117 US HardHouse 7
120 Progressive 3
121 Progressive 4
08. House 2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
125 Garage 2
126 Garage 3
127 Garage 4
128 Garage 5
129 Garage 6
130 Garage 7
131 Garage 8
132 Garage 9
133 Garage 10
134 Disco 1
135 Disco 2
136 Disco 3
137 House 1
138 House 2
139 House 3
141 House 5
09. R&B
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
143 R&B 2
144 R&B 3
145 R&B 4
146 R&B 5
147 R&B 6
148 R&B 7
149 R&B 8
150 R&B 9
151 R&B 10
152 R&B 11
153 R&B 12
154 R&B 13
155 R&B 14
156 R&B 15
157 R&B 16
158 R&B 17
Pad No. Pattern Name
10. Hip Hop
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
160 Hip Hop 1
161 Hip Hop 2
162 Hip Hop 3
163 Hip Hop 4
164 Hip Hop 5
165 Hip Hop 6
166 Hip Hop 7
167 Hip Hop 8
168 Hip Hop 9
169 Hip Hop 10
170 Hip Hop 11
171 Hip Hop 12
172 Hip Hop 13
173 G-Funk 2
174 G-Funk 3
175 G-Funk 4
11. Abstract
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
183 Abstract 1
184 Abstract 2
185 Abstract 3
186 Abstract 4
45 Ambient 1
46 Ambient 2
47 Ambient 3
48 Ambient 4
49 Ambient 5
195 Electronica 1
196 Electronica 2
197 Electronica 3
198 Electronica 4
199 Electronica 5
200 Electronica 6
201 Electronica 7
12. Reggae
12
13
14
15
16
8
9
10
11
6
7
4
5
1
2
3
204 Reggae 1(Dance Hall)
205 Reggae 2(Dance Hall)
206 Reggae 3(Dance Hall)
207 Reggae 4(Dance Hall)
208 Reggae 5(Dance Hall)
209 Reggae 6(Lovers)
210 Reggae 7(Lovers)
211 Reggae 8(Lovers)
212 Reggae 9(Lovers)
213 Reggae 10(Roots)
214 Reggae 11(Roots)
215 Reggae 12(Dub)
209 Reggae 6(Lovers)
210 Reggae 7(Lovers)
211 Reggae 8(Lovers)
212 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.
12
13
14
15
08
09
10
11
04
05
06
07
01
02
03
20
21
22
23
16
17
18
19
24
25
Song Name
Techno 1
Techno 2
Minimal
Hardcore
Ambient
Drum'n'Bass 1
Drum'n'Bass 2
Break Beats 1
Break Beats 2
Euro Trance
Hard Trance
Psy. Trance
UK HardHouse
US HardHouse
Progressive
Garage 1
Garage 2
Disco
R&B
Hip Hop
G-Funk
Abstract
Electro
Electronica
Reggae
No.
102
104
111
120
64
68
78
91
40
45
51
62
10
14
37
160
174
183
189
126
129
136
143
195
213
Pattern Name
Techno 5
Techno 9
Minimal 11
Hardcore 1
Ambient 1
Drum'n'Bass 1
Drum'n'Bass 12
Break Beats 1
Break Beats 5
Euro Trance 2
Hard Trance 6
Psy. Trance 6
UK HardHouse 1
US HardHouse 1
Progressive 3
Garage 3
Garage 6
Disco 3
R&B 2
Hip Hop 1
G-Funk 3
Abstract 1
Electro 1
Electronica 1
Reggae 10(Roots)
No.: Pattern Number
* All data is that programmed at the factory. For instructions on carrying out Factory Reset, refer to p. 20.
165
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
Number of
Steps
16
16
24
16
32
16
16
32
16
8
16
16
16
16
16
16
4
16
16
16
8
4
8
8
8
16
16
16
16
16
16
16
16
16
16
32
16
16
16
16
8
8
16
16
6
8
4
8
8
4
4
6
6
4
8
16
6
8
3
4
4
2
2
3
No.
Number of Notes
057
058
059
060
061
062
063
064
049
050
051
052
053
054
055
056
041
042
043
044
045
046
047
048
033
034
035
036
037
038
039
040
025
026
027
028
029
030
031
032
017
018
019
020
021
022
023
024
009
010
011
012
013
014
015
016
001
002
003
004
005
006
007
008
7
5
5
8
6
7
9
12
9
9
3
7
4
4
4
4
4
3
3
4
2
2
3
2
4
4
3
2
4
4
3
4
3
3
3
3
3
3
2
3
3
1
4
5
6
4
4
4
3
3
3
3
3
4
5
12
4
3
3
4
4
2
2
3
Effective Chord
Forms
29
30
31
32
33
34
35
36
37
166
Number of
Steps
16
16
32
16
32
16
16
16
16
32
32
32
32
32
32
16
12
4
16
23
16
16
8
16
16
32
8
16
32
16
16
8
16
16
16
16
8
8
4
16
8
16
8
8
16
16
16
8
8
16
8
8
8
8
16
8
8
8
8
8
16
16
16
8
No.
Number of Notes
121
122
123
124
125
126
127
128
113
114
115
116
117
118
119
120
105
106
107
108
109
110
111
112
097
098
099
100
101
102
103
104
089
090
091
092
093
094
095
096
081
082
083
084
085
086
087
088
073
074
075
076
077
078
079
080
065
066
067
068
069
070
071
072
8
7
10
6
7
9
9
6
4
6
5
7
6
7
6
6
6
5
5
5
10
4
4
5
10
4
10
10
4
5
10
10
4
4
2
4
2
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
5
4
5
6
5
5
Effective Chord
Forms
38
44
45
46
47
41
42
41
43
39
40
41
48
61
62
63
64
57
58
59
60
53
54
55
56
49
50
51
52
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
No.
Chord Name Constituent Notes of Chord Form (when C4 is pressed)
33 A 7 b9
34 A min7 11
35 C Maj9 #11 13
36 A min6 9 11
37 C min7 11
38 G Maj add9
39 B Maj7
40 D sus4
41 A min
42 C sus4
43 A min
44 G sus4
45 A
46 F Maj
47 A
48 G Maj
49 C min9 11
50 A min9 11
51 A min9 11
52 E 7 #11 13
53 A min9
54 A min9
55 A min9
56 A min9 11
57 F Maj9 #11
58 A min9 11
59 A min9 11
60 G min9
61 C Maj9
62 F Maj9
63 F Maj9 13
64 F Maj9 #11
7
8
5
6
3
4
1
2
C Maj
C Maj7
C 7
C min
C min7
C dim
C min7 b5
C Aug
9 C sus4
10 C 7sus4
11 C add9
12 C #11
13 C min7 b9
14 C min add9
15 C 6
16 C 6 9
17 C Maj9
18 C min6
19 C min9
20 C min Maj7
21 C 7 b5
22 C 7 b9
23 C 9
24 C 7 #9
25 C 7 #11
26 C Aug7
27 C 7 b13
28 C 7 13
29 A min add9
30 A min add11
31 G Maj add9
32 A min9 11
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
* 1–28 are basic chords
* 29–64 are chords effective for arpeggio styles
167
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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.
321
322
323
324
325
326
327
328
329
330
313
314
315
316
317
318
319
320
Name
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
No.
339
340
341
342
343
344
345
346
347
348
331
332
333
334
335
336
337
338
Name
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
No.
357
358
359
360
361
362
363
364
365
366
349
350
351
352
353
354
355
356
Name
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
No.
375
376
377
378
379
380
381
382
383
384
367
368
369
370
371
372
373
374
Name
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
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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
SRX-05 Special Rhythm Sets are rhythm sets that can be used only if the SRX-05 “Supreme Dance” wave expansion board is installed in the MC-909.
035: SRX05 TR-909
909 DryKick3
909 DryKick2
909 DryKick1
909 Dry SD5
909 Dry SD2
909 SD&CLP
909 Dry RSht
909 Dry Clap
909 Dry LTom
909 Dry MTom
909 Dry HTom
909 Dry CHH1
909 Dry CHH3
909 Dry OHH2
909 Dry CR 2
909 Dry RD2
038: SRX05 Techno
PlasticKick2
AnalogKick10
PlasticKick1
TR909 SD 3
Grim SD
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
041: SRX05 R&B
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
044: SRX05 FX
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
59
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
036: SRX05 TR-808
808 DryKick5
808 DryKick4
808 DryKick3
808 Dry SD1
808 Dry SD2
808 Dry SD3
808 Dry RSht
808 Dry Clap
808 Dry Clvs
808 Dry Mrcs
808 Dry Cwbl
808 Dry CHH
808 Cl&OpHH
808 Dry OHH3
808 Dry Cym1
808 Dry Cym3
039: SRX05 House
909 DryKick3
TR909 Kick 7
909 DryKick1
TR909 SD 1
909 Dry SD4
TR909 SD 3
Basis Rim
Club Clap
HiConga Opn
LoConga Opn
Tmbl Hi
909 Dry CHH1
909 Dry CHH3
909 Dry OHH1
909 Dry CR 2
909 Dry RD2
042: SRX05 Elctro
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
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
74
73
037: SRX05 TR-707
707 DryKick1
707 DryKick2
707 DryKick2
707 Dry SD1
707 Dry SD2
707 Dry SD1
707 Dry RSht
707 Dry Clap
707 Dry LTom
707 Dry MTom
707 Dry HTom
707 Dry CHH
707 Dry CHH
707 Dry OHH
707 Dry CR
707 Dry RD
040: SRX05 HipHop
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
043: SRX05 Perc
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
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 MIDI Implementation Chart
Function...
Transmitted Recognized
Basic
Channel
Default
Changed
X
X
1–16
1–16
Mode
Default
Messages
Altered
Note
Number : True Voice
Velocity
Note On
Note Off
X
X
**************
0–127
**************
O
O
Mode 3
Mode 3, 4 (M = 1)
0–127
0–127
O
O
* 2
Date : Sep. 20, 2002
Version : 1.00
Remarks
After
Touch
Key's
Channel's
X
O
O
O
* 1
* 1
Pitch Bend
Control
Change
84
91
1–3, 33–95 *3
98, 99
100, 101
80
81
82
83
72
73
74
75
0, 32
1
5
6, 38
7
10
11
65
66
68
71
16
18
19
64
Program
Change : True Number
System Exclusive
System
Common
: Song Position
: Song Select
: Tune Request
System
Real Time
: Clock
: Commands
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
O
X
X
X
O
X
O
O
X
X
X
X
O
O
O
O
O
O
O
O
X
O
O
X
X
X
X
X
O
O
O
O
O
X
O
O
X
O
O
X
O
**************
O
*1
*1
*4
*4
*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
O (Reverb)
O
X
O
O
0–127
O
X
X
X
O
X
O
O
X
O (123–127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M
≠1.
* 3 The settings are changeable.
* 4 Transmitted only when V-LINK is ON.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
* 1
*1
*1
*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 : Yes
X : No
170
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
Function...
Transmitted Recognized
Basic
Channel
Default
Changed
1–16
X
1–16
X
Date : Sep. 20, 2002
Version : 1.00
Remarks
There is no basic channel.
Mode
Default
Messages
Altered
X
X
X
X
Note
Number : True Voice
Velocity
Note On
Note Off
After
Touch
Key's
Channel's
0–127
**************
O
O
O
O
0–127
0–127
O
O
O
O
Pitch Bend
0–119
O
O
O
O
Control
Change
Program
Change : True Number
O
**************
O
0–127
System Exclusive
System
Common
: Song Position
: Song Select
: Tune Request
O
O *1
X
X
O
O *2
X
X
System
Real Time
: Clock
: Commands
O *1
O *1
O *3
O *2
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Notes
O
O
X
O *4
O
X
O
O
X
O (123–127) *4
O
X
*1 Transmitted only when Sync Out is ON.
*2 Recognized only when Sync Mode is SLAVE or REMOTE.
*3 Recognized only when Sync Mode is SLAVE.
*4 Mode messages (123–127) are stored/transmitted after All Note Off processing is performed.
The All Note Off message itself is not stored/transmitted.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
171
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Index
A
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
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
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
E
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
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
Input Select ............................................................. 34, 112
Insert Measure ............................................................... 45
Insert Step ....................................................................... 84
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
L
LCD CONTRAST .......................................................... 18
Legato .............................................................................. 65
LFO ............................................................................ 54, 64
LFO Rate ......................................................................... 64
LFO Waveform .............................................................. 64
Loop Mode ................................................................... 116
Low Frequency Oscillator ............................................ 54
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
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
Sampling Frequency
Parts
Waves
Patches
Preset
User
Card
Rhythm Set
Preset
User
Card
64 voices
(shared with sampling section)
44.1 kHz
16 (Main) + 16 (RPS)
693
800
256
256
72
128
128
Sampling Section
Data Format
Maximum Poliphony
Sampling Frequency
Maximum Sampling Time
16-bit linear
(File Type: WAV/AIFF) shared with sound generator section
44.1 kHz (fixed)
• Internal memory (16 MB) only mono: 180 sec. approx. (stereo: 90 sec. approx.)
• with DIMM (256 MB) mono: 51 min. approx. (stereo: 25.5 min. approx.)
Samples
User
Card
2,000
7,000 (128 MB SmartMedia)
Sequencer Section
Parts
Resolution
Tempo
Maximum Note Storage
Patterns
Preset
RPS
User
Card
Recording Mode
Songs
Arpeggio Style
Preset
User
Chord Memory
Preset
User
RPS Set
Pattern Set
Effects Section
Reverb
Compressor
Multi-effects (MFX)
Pitch Shifter
(for external input)
Mastering Section
3-bands Compressor
1 (4 types)
1 (1 type)
2
(MFX1: 38 types)
(MFX2: 47 types)
1 (1 type)
1 (1 type)
128
128
64
128
50
50
16 + Tempo/Mute Control
480 ticks per quarter note
5–300 approx. 1,300,000 notes
215
440
200
999
Realtime, TR-REC, Step
50
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
Wave Expansion Board SRX Series: 1 slot
DIMM: 1 slot
Number of pins:
Speed:
168-pin
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
Voltage:
Capacity:
Board height:
3.3 V
128 MB
256 MB
38 mm or less
External Memory
SmartMedia card: 1 slot
8MB/16MB/32MB/64MB/128MB (3.3V)
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)
Effects: 3 (TYPE, C1, C2)
Mastering: 2 (Attack, Release)
OUTPUT Volume: 1
INPUT Volume: 1
Control Slider
Envelope: 13 (Pitch/Filter/Amp)
Part Mixer: 8
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
Power Supply
AC 117 V, AC 230 V, AC 240 V
Power Consumption
20 W
Dimensions
491 (W) x 386 (D) x 123 (H) mm
19-3/8 (W) x 15-1/4 (D) x 4-7/8 (H) inches
Weight
6.0 kg
13 lbs 4 oz
Accessories
Quick Start
Owner’s Manual
Sample Data (Audio) CD
Power Cord
Card Protecter
Options
Wave Expansion Board: SRX Series
984
* A separate publication titled “MIDI Implementation” is also available.
It provides complete details concerning the way MIDI has been implemented on this unit. If you should require this publication (such as when you intend to carry out byte-level programming), please contact the nearest Roland Service Center or authorized Roland distributor.
962a
* In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
176
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!
Cannot Assign
Phrase!
Cannot Edit Preset
Sample!
Cannot Extract!
Card Not Ready!
Card Protected!
Empty Pattern!
Empty Sample!
Empty Song!
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.
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.
Illegal File!
Memory Damaged!
The contents of memory may have been damaged.
Cause/Action
You must copy between patterns that have the same time signature.
Import SMF data with a time signature that can be played by the MC-909, and whose time signature does not change.
Choose one part of the phrase that you want to register,
and mute all of the remaining parts (p. 28).
—
Specify a note number for which data exists in the movesource part.
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.
Memory Full!
(USER/CARD
Area Full!)
MIDI Offline!
Saving is not possible because there is insufficient space in the user area or memory card.
There is a problem with the MIDI cable connection.
No More Sample
Numbers!
Now Playing!
Pattern Full!
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.
Permission Denied!
The file is protected.
Sample Length Too The sample is too short, and cannot be edited correctly.
Short!
Sample Memory
Full!
Song Recording
Full!
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 re-
Unformatted!
Wrong Setting!
cording is possible.
The memory card is in an unsupported format.
The pattern edit setting is incorrect.
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
—
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.
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.
2
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.
Read these instructions.
2.
Keep these instructions.
3.
Heed all warnings.
4.
Follow all instructions.
5.
Do not use this apparatus near water.
6.
Clean only with a dry cloth.
7.
Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.
8.
Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9.
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 the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
NEUTRAL
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.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
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
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
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
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
THAILAND
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
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
BARBADOS
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
COSTA RICA
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
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
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
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
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
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
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
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
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
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
MIDDLE EAST
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
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
NORTH AMERICA
CANADA
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
JORDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
OMAN
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
SAUDI ARABIA aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
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
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
As of January 15, 2005 (ROLAND)
03348834 ’05-7-3N
To resize thickness, move all items on the front cover and center registration marks to left or right
Owner’s Manual
Thank you, and congratulations on your choice of the Roland MC-909 Sampling Groovebox.
201b
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS”
(Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual pp. 3–4), and “IMPORTANT
NOTES” (Owner’s Manual p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start and Owner’s Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
Convention Used in This Manual
• Words enclosed in square brackets indicate buttons or a dial or a knob or a slider on the panel.
• (p. **) indicates a reference page.
985
* The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
202
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
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