Page 3 Software version 2.0 Operator's Manual By Roger Linn Copyright 1987, 1988, 1989 Akai Electric Co., LTD. Document revision date: April 20, 1989...
Page 4 READ THIS BEFORE YOU START! Power requirements Power requirements for electrical equipment differ from area to area. The operating voltage of this machine is preset at the factory according to its intended destination. However, some models are equipped with a voltage selector.
Page 5 • Avoid using spray type insecticide near the Akai MPC60. It can damage the finish and might ignite suddenly. • To avoid damaging the finish, never use denaturated alcohol, paint thinner or other similar chemicals to clean the Akai MPC60. •...
Page 6: Table Of Contents
SECTION 1: INTRODUCTION 1.1 Welcome! 1.2 How to use this manual SECTION 2: THE BASICS 2.1 Overview 2.2 Hooking up your system and turning the MPC60 on 2.3 The CURSOR keys 2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys 2.5 The SOFT KEYS (1-4) 2.6 The HELP key 2.7 The Dynamic drum pads...
Page 7 3.14 The recording metronome 3.15 The two FOOT SWITCH inputs 3.16 The "Free sequence memory" display 3.17 Recording Midi system exclusive data 3.18 Transferring sequences to and from other sequencers 3.19 The "Analyzing sequence. Please wait..." message SECTION 4: EDITING SEQUENCES 4.1 Overview 4.2 The ERASE key 4.2.1 Erasing notes while overdubbing ("Live erase"...
Page 8 SECTION 7: SAVING TO AND LOADING FROM DISK 7.1 Overview 7.2 Saving a sequence 7.3 Saving all sequences and songs 7.4 Saving a drum sound 7.5 Saving all drum sounds 7.6 Saving a parameter file 7.7 Loading, erasing or renaming files 7.7.1 Files which automatically load on power-up 7.8 Formatting a disk 7.9 Copying an entire disk...
Page 9: Section 1: Introduction
Section 1: Introduction...
Page 10: Welcome
1.1 Welcome! Thank you for purchasing the Akai MPC60. The Akai engineering team, my engineering team and myself have all worked very hard to bring to you a product which we truly believe answers the needs of today's professional musician. I am sure you will find that the combination of innovative features, high sound quality, ease of use and attention to detail will be very useful in the process of composition, recording and performing.
Page 11: How To Use This Manual
1.2 How to use this manual The MPC60 and this manual were designed for people who don't like reading manuals and want to start working immediately. The manual teaches the MPC60's operation in a logical, step-by-step manner. The sections are presented in the order that most people want to learn them.
Page 13: Section 2: The Basics
Section 2: The Basics...
Page 14: Overview
2.1 Overview This section is a simple introduction to operating the MPC60. In this section you will learn to: • Hook up the MPC60 to your system. • Enter and change data and parameters using the CURSOR keys, the NUMERIC KEYPAD, the DATA CONTROL, and the +/- keys •...
Page 15 2.2 Hooking up your system and turning it on: To get started using the drum machine section: 1. Connect the power cord to an AC outlet. 2. Connect the STEREO OUT LEFT and STEREO OUT RIGHT jacks to the inputs of an amplifier or mixer.
Page 16 Turning the MPC60 on 1. Of the disks which are included with the MPC60, find the disk "STUDIO SET and SYSTEM ALL" and place it into the disk drive. This disk contains a general purpose set of drum sounds and a collection of demonstration sequences.
Page 17 ROCK SET and SYSTEM ALL, DRY SET and SYSTEM ALL, and SYNTH SET and SYSTEM ALL. These disks contain 3 additional sets of drum sounds, but contain the same demonstration sequences. To hear the sounds on these disks, follow the above instructions again, but use one of these disks instead.
Page 18: The Cursor Keys
2.3 The CURSOR keys While the PLAY/R,ECORD screen is showing, notice that a small rectangular block is blinking near the upper left corner. This is called the CURSOR. It is possible to move the cursor around the screen using the four grey direction keys in the CURSOR section of the panel.
Page 19: The Numeric Keypad, Data Control And +/- Keys
2.4 The NUMERIC KEYPAD, DATA CONTROL and +/- keys The NUMERIC KEYPAD To change the data in a field, move the cursor to it and type in the new number using the numeric keypad, followed by ENTER. For example, to change to sequence number 2: Notice that the sequence name (located immediately to the right of the sequence number) now automatically changes, because it must now display...
Page 20 selections, but only one may be active at a time. In this case, the DATA CONTROL is used to select from the available options. For example, press the OTHER key and move the cursor to the RATE field, which is a "choice"...
Page 21: The Soft Keys
2.5 The SOFT KEYS (1 - 4) In the upper right corner of the front panel are four buttons labeled SOFT KEY 1, SOFT KEY 2, SOFT KEY 3 and SOFT KEY 4. The functions of these buttons change from one screen to another and are always displayed on the lowest line of the screen.
Page 22: The Help Key
2.6 The HELP key Whenever this key is pressed and held down, the contents of the screen will be temporarily replaced with a paragraph of further explanation about the function you are currently working with. To return to the previous screen, release the HELP key.
Page 23: The Dynamic Drum Pads
2.7 The DYNAMIC DRUM PADS The 16 drum pads are dynamic- the harder you strike them, the louder the drum will sound. 2.7.1 The FULL LEVEL and 16 LEVELS keys • The FULL LEVEL key: The FULL LEVEL key defeats the variable dynamics of the drum pads, causing all drums to play at full dynamic level, regardless of how hard or soft the pad is struck.
Page 24: The Bank 2 Key
2.7.2 The BANK 2 key 2. "16 TUNINGS": If this option is selected, the 16 LEVELS key will cause a single sound to play from all 16 pads, but at 16 fixed chromatic tunings, with the lowest tuning (-12 semitones) on the lower leftmost pad, and the highest tuning (+3 semitones) on the upper rightmost pad.
Page 25: The Hihat Decay Slider And The After Key
2.7.3 The HIHAT DECAY slider & the AFTER key The slider controls the decay time of any notes played on the hihat pad, similar to how the foot pedal on a real hihat controls its decay time. Also, to add realism, one of three samples is played, depending on the position of the slider: 1.
Page 26: The Drum Mix Key - Adjusting The Stereo Drum Mixer
2.8 The DRUM MIX key - adjusting the stereo drum To adjust the individual volume and pan settings for the stereo mix outputs, press the DRUM MIX key and this screen will appear: This is a graphic simulation of a 16 channel stereo mixer. For each channel, there is a four letter abbreviation of a drum, a graphic representation of a volume slider, and a graphic representation of a rotary pan control.
Page 27: Playing The Preset Sequences
2.9 Playing the preset sequences To play some of the preset sequences included with the MPC60, perform the following steps: 1. If you have not already done so, load the preset sounds and sequences from disk as described in the section "Turning on the MPC60" or Section 7 - "Saving to and loading from disk".
Page 28 This indicates that the MPC60 is NOT enabled for recording. This process will NOT operate if the MPC60 is enabled for recording, indicated by the following top line of the PLAY/RECORD screen: If these words are displayed, you must first disable recording by doing the following: 1.
Page 29: Adjusting The Playing Tempo
2.10 Adjusting the playing tempo To adjust the playing tempo: 1. From the PLAY/RECORD screen, move the cursor to the TMPO field - this is the tempo setting; 2. Change the tempo either by typing in a new tempo number and pressing ENTER, or by turning the DATA CONTROL;...
Page 30: The Main Screen Key- How To Exit Any Function
2.11 The MAIN SCREEN key- how to exit any function Pressing the MAIN SCREEN key at almost any time will return you back to the main PLAY/R,ECORD screen of the MPC60 without damaging any data. Use this key as a "panic" button - if you find yourself in some function you don't understand and want to get out.
Page 31: The Reset To Defaults Function
2.12 The RESET TO DEFAULTS function The contents of most of the data fields in each of the screens in the MPC60 are retained after the power is turned off and on again. Even though all sounds and sequences are lost when power is removed, these settings are retained by a special battery powered memory.
Page 33: Section 3: Recording Sequences
Section 3: Recording Sequences...
Page 34: Overview
3.1 Overview This section describes functions which are used in the process of recording sequences. In this section you will learn: • How sequences, tracks and channels are organized • How to use the PLAY/R.ECORD screen • How to create both "drums" and "non-drums" tracks •...
Page 35: How Sequences, Tracks And Channels Are Organized
3.2 How sequences, tracks and channels are organized Sequences: The MPC60 holds 99 sequences in memory at one time. A sequence can be thought of as a segment of mufti-track tape of variable length. Depending on the sequence contents, it could be a 2 bar repeating drum pattern, an eight bar verse, or a 200 bar song with time signature and tempo changes.
Page 36: The Play/Record Screen - The Main Operating Mode Of The Mpc60
3.3 The PLAY/RECORD screen - the main operating mode of the MPC60 When the MPC60 is first powered on (with the STUDIO SET and SYSTEM ALL disk in the drive), the following screen appears after the disk has loaded: Note: It is also possible to turn on the MPC60 without any disk in the drive.
Page 37 The "sequence name" field: This is the 16 character name for the current sequence. This field has no on-screen title, but is located directly to the right of the SQNC field. To change the sequence name, move the cursor to this field and turn the DATA CONTROL one step in either direction.
Page 38 • The LOOP field: This is a choice field and has two options: 1. OFF: If this option is selected, the sequence stops playing when it reaches its end. However, if in RECORD mode, recording continues past the end, adding one measure (at the time signature of the previous bar) onto the end of the sequence as each new bar is entered, until the sequence is stopped.
Page 39 active track to play through midi channel 5 on output jack 3, select 5C in these fields. If you want the active track to be a "drums" track, this should be set to 16, which is the midi channel the internal drums sound generator normally receives its notes from (in this case the port selection - A, B, C, or D - is only used for additionally triggering an external drum sound generator).
Page 40 section 4.3.10 "Changing the velocity or duration of a group of notes after recording". • The PROG field: This field permits a midi program number (1-128) to be assigned to the active track. Each track may have a unique program number assigned to it. To assign a program number for the active track, enter the desired number into the PROG field.
Page 41 • The NOW field This field displays the current position within the sequence simultaneously both in musical terms and as a SMPTE number. The left side of this field shows the current position in musical terms - as a 3 part number separated by decimal points.
Page 42 This function operates by removing one track and inserting it before another, which causes all tracks between to be re-numbered. Many of these operations may be required to put the tracks in the desired order. To perform this function, enter the track number to be removed in the MOVE TRACK field;...
Page 43: How To Assign "Drums" And "Non-Drums" Tracks
3.4 How to assign "drums" and "non-drums" tracks Each of the 99 tracks within a given sequence may individually be assigned to act as either a "drums" track or a "non-drums" track, but not both simultaneously. To assign a track as either a "drums" or "non-drums" track, follow these simple rules: •...
Page 44 form. This method has the advantage of being able to change the assignments of keyboard note numbers to drums at any time without affecting the sequence data. (These two assignment functions are accessed by pressing the MIDI key and selecting option 2.) THE ONLY FACTOR WHICH DETERMINES WHETHER A TRACK IS A "DRUMS"...
Page 45: The Play/Record Keys
3.5 The PLAY/RECORD keys These ten keys operate similarly to the transport keys on a tape recorder, with some very useful additions: • The PLAY START key: This key causes the sequence to begin playing from the beginning. • The PLAY key: This key causes the sequence to begin playing from the current position within the sequence, displayed in the NOW field in the PLAY/RECORD screen.
Page 46 erased, just like a tape recorder. While RECORD mode is active, the light above the RECORD key goes on. It is also possible to "punch in" into record mode while playing. To do this: 1. The top line of the PLAY/RECORD screen must display the words "Play/Record (Record ready)".
Page 47 The ">" key This key normally causes the current position within the sequence to fast forward to the next 1/16 note. However, the amount of movement is set by the NOTE VALUE field in the TIMING CORRECT screen, which is usually set to "1/16 NOTE".
Page 48: An Example Of Recording A Drum Sequence
3.6 An example of recording a drum sequence The MPC60 is both a "linear" type sequences and a "pattern oriented" sequences. The following examples use short sequences with the loop function turned on, and are therefore examples of "pattern-oriented" recording. To record linearly, simply set the LOOP field (in the PLAY/RECORD screen) to "OFF".
Page 49 the nearest 1/16 note. (This may be defeated- it is explained further in the section "The TIMING CORRECT key"). 8. Press STOP. Note: To learn how to select a different time signature or number of bars when creating the sequence, read section 4.3.2, "Creating a new sequence". To turn the loop off or change the loop setting, change the LOOP field.
Page 50 3.7 An example of recording a sequence containing both drums and keyboard instruments The following is a step-by-step example of recording a multi-track sequence with a format of 4 bars of 4/4 time, containing the following tracks: Track 1: Drums Track 2: Percussion Track 3: Bass Track 4: Piano chords...
Page 51 MIDI SOFT THRU field may be set incorrectly. If so, please read section 9.2 to learn more about this field. Next, create the new sequence format of 4 bars of 4/4 time: 1. Move the cursor to the SQNC field and select 80 (ENTER) or any other sequence which is currently empty.
Page 52 Now, record the drums on track 1: 1. Move the cursor to the TRAK field and select 1 (Enter) to make track number 1 active. We are going to record the drums on track 1. 2. Move the cursor to the upper CH field (5th line) and select "16" (ENTER), then select "A"...
Page 53 3. Enter OVERDUB mode again by holding OVERDUB and pressing PLAY START. 4. Record the percussion part by playing the PERC1 through PERC4 pads in time to the drums already recorded on track 1. Keep adding drums until your percussion part is complete. 5.
Page 54 quickly play the correct note. You may now either "punchout" by pressing RECORD again or continue recording from that point. Don't worry- when the sequence loops back to bar 1, it will automatically switch from RECORD to OVERDUB modes so that those notes in the earlier part of the sequence won't be erased.
Page 55: The Timing Correct Key
3.8 The TIMING CORRECT key The TIMING CORRECT function has many uses: • It can correct timing errors made while recording. • It can add a shuffle or swing timing to your performance. • It can shift notes earlier or later in the sequence to compensate for synthesizer delays, etc.
Page 56 This screen presents various parameters relevant to the timing correct function. A description of each of the fields follows: • The NOTE VALUE field: Timing correction works by moving your recorded notes to a preset note value. This field is used to select that note value.
Page 57: The Shuffle Feature
The FROM and TO fields: These 2 fields are used to specify the region of the sequence which will be altered when the <Move existing> soft key is pressed. These are BAR.BEAT.CLOCK fields - the region starts at the location entered in the FROM field and ends one clock before the location entered in the TO field.
Page 58: The Shift Timing Feature
3.8.3 The SHIFT TIMING feature • NOTE VALUE = 1/16, SHUFFLE = 54% to 58%, Tempo = 100 BPM: This removes the "stiffness" from 1/16 notes and is especially useful on drum sequences using 1/16 note hihats. • NOTE VALUE = 1/8, SHUFFLE = 60%, Tempo = 100BPM: This creates an 1/8 note shuffle which could be described as more relaxed than a perfect shuffle (66%).
Page 59: The Note Repeat Feature
performed, because there is no space before the start of the sequence for them to be moved to. To avoid this problem, insert a blank bar before bar 1 of the sequence before performing the shift operation, then be sure to include this extra bar within the range of bars to be shifted.
Page 60 6. Press STOP to stop playing. 7. Press TIMING CORRECT and select "1/32 TRPLT" in the NOTE field. 8. Press MAIN SCREEN to return to the PLAY/RECORD screen. 9. Enter OVERDUB mode again. 10. While holding TIMING CORRECT, also hold the SNAREI pad, varying the pressure as you hold it.
Page 61: Tempo
3.9 Tempo There are many functions in the MPC60 associated with tempo. First, there is the TMPO field in the PLAY/R,ECORD screen: To change the tempo at any time while playing or recording, move the cursor to the TMPO field and change it. Another way to quickly change the tempo is using the <Tmpo=MAS>...
Page 62 • The TEMPO SOURCE SELECT field: There are two tempo settings, SEQUENCE and MASTER, only one of which may be active at a time. This field is used to select which one is active: SEQUENCE: The SEQUENCE tempo is the tempo setting which is stored within each sequence.
Page 63 • The FRAMES/SEC field: This field selects one of four FRAMES PER SECOND standards, used to calculate the current FPB (frames per beat) setting. The four options are: "30" (30 frames per second, non-drop): This is the standard for black and white television in the United States. Using this mode, the tempo range of the MPC60 is from 60.0 to 6.0 FPB.
Page 64: Mid-Sequence Tempo Changes
3.9.2 Mid-sequence tempo changes 4 taps: Initially, the tempo is recalculated after the first two taps. If you tap a third time, the tempo will be recalculated using an average of the three taps. If you continue to tap successive 1/4 notes, the tempo is continuously recalculated on each successive tap by averaging the last four successive tap intervals.
Page 65 The following is a description of each of these 4 fields: • CHANGE#: This field displays the number of the tempo change currently displayed. There may be many tempo changes within the sequence, but only one may be viewed at a time. By changing this number, each of the existing tempo changes may be viewed.
Page 66: The Tap Tempo Key
3.9.3 The TAP TEMPO key 3.9.4 Sequencer speed limitations at fast tempos tempo change with a value of 50% at bar 5 (120 BPM X 50% = 60 BPM). To delete the currently displayed tempo change, press the <Delete> soft key. The field at the top of the screen, TEMPO CHANGES, is a choice field with 2 options: ON and OFF.
Page 67 sequence to slip out of sync when syncing to an external sync source. If you have one of these complex sequences and notice these occassional timing irregularities when playing at a fast tempo, the problem may be caused by having too many unused "channel pressure" events (sometimes called "after touch") in your sequence.
Page 68: The Wait For Key Key
3.10 The WAIT FOIL KEY key This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC60 console. If PLAY, RECORD or OVERDUB mode is entered while the WATT FOR KEY function is on, the sequence will not begin to play until a key - any key - is played on the midi keyboard.
Page 69: The Auto Punch Key
3.11 The AUTO PUNCH key The auto punch function, when set to ON, enables OVERDUB or RECORD modes to be automatically entered and exited at preset times while playing. This can be very useful when it is desired to execute a very tight punch-in and there isn't enough time to get from the console keys to the keyboard to play the new notes after the punch-in.
Page 70 To perform the AUTO PUNCH: Once you have entered the punch-in and punch-out locations, and you have turned AUTO PUNCH mode on, locate to a position within the sequence which is a few bars before the punch-in point. Then enter RECORD mode as usual by pressing PLAY and RECORD simultaneously.
Page 71: The 2Nd Sequence Key
Section 3: Recording sequences 3.12 The 2ND SEQUENCE key This function allows the MPC60 to play an additional sequence while simultaneously playing or recording the active sequence. For example, you could use the active sequence to linearly record all of your keyboard tracks while simultaneously using the 2ND SEQUENCE to play a looped drum sequence.
Page 72: The Count In Key
3.13 The COUNT IN key This function causes a single bar of metronome clicks to play before the sequence starts playing or recording, acting as a count in or count down before the sequence starts playing, to help you to adjust to the sequence tempo.
Page 73: The Recording Metronome
3.14 The recording metronome Whenever RECORD or OVERDUB mode is entered, a click sound is heard through the stereo mix outputs on every U4 note, with a louder click at the start of each bar. This is the recording metronome. There are two metronome adjustments, both of which are accessed by pressing the OTHER key, which displays the following screen: The three metronome adjustments are:...
Page 74: The Two Foot Switch Inputs
3.15 The two Foot switch inputs There are two foot switch inputs on the rear of the MPC60. Each of the two foot switch inputs may be independently assigned to one of a number of different purposes. To assign the foot switches, press the OTHER key, and the following screen will appear: The FOOT1 and FOOT2 fields are used to assign the functions of the two foot switches.
Page 75 function of punching out of RECORD mode back into PLAY mode. • OVRDUB IN/OUT (Overdub in/out): Press once to duplicate the function of punching in to OVERDUB mode while playing; press again to duplicate the function of punching out of OVERDUB mode back into PLAY mode. •...
Page 76: The "Free Sequence Memory" Display
3.16 The "Free sequence memory" display To see how much memory is currently available for sequence recording, press the OTHER key: The FREE SEQUENCE MEMORY field displays the percentage of total sequence memory which is available for new recording.
Page 77: Recording Midi System Exclusive Data
3.17 Recording Midi System Exclusive data The MPC60 has the capability to record patch library data or any other Midi System Exclusive messages directly into tracks. To do this, simply send the System Exclusive message to the MPC60 while in RECORD or OVERDUB modes, or while in STEP EDIT mode, and it will be recorded into the active track, just like any other midi data.
Page 78: Transferring Sequences To And From Other Sequencers
3.18 Transferring sequences to and from other sequencers Transferring sequences from the MPC60 to an external sequences: Some sequencers are able to record data from all independently and simultaneously onto one track. To transfer a sequence from the to a sequences of this type: MPC60 1.
Page 79 2. Go to the SYNC screen and set the MPC60 to sync to "MIDI CLOCK W/SONG POSITION POINTER". Also, set the MIDI field to "1" (if the external sequences was connected to midi input 1). 3. Press the OTHER key, then select SOFT KEY 2, <Record 16 chs>, which causes the following screen to be displayed: This screen allows you to select the sequence to be recorded into, and the time signature of the new sequence which will be created.
Page 80 LOOP is set to "OFF" in the PLAY/RECORD screen, additional bars are added to the end of the sequence as it is recorded past the last bar. This way, the sequence will continue to add bars as you record, even though the display initially shows "Bars: 1".
Page 81: The "Analyzing Sequence. Please Wait
3.19 The "Analyzing sequence. Please wait..." message Occasionally, and very infrequently, you will see the "Analyzing sequence. Please wait..." message on the lowest line of the screen, requiring you to wait briefly while the MPC60 does some "thinking". This occurs only under the following conditions: This waiting time is normal and is necessary in order for the MPC60 to create what programmers call an "index table"...
Page 83: Section 4: Editing Sequences
Section 4: Editing Sequences...
Page 84: Overview
4.1 Overview This section of the manual describes the functions which relate to the editing of sequence data. In this section, you will learn to: • Erase drums or notes in real time while in overdub mode. • Erase selected drums, notes, or other midi events while stopped. •...
Page 85: The Erase Key
4.2 The ERASE key There are two main areas of the erase function: • Erasing notes while in overdub mode ("Live erase" mode) • Erasing specific events while stopped Each is described in detail in the following sections. 4.2.1 Erasing notes while overdubbing ("Live erase" mode) One of the ways to erase notes is called "live erase"...
Page 86 These two screens allow a specified selection of either drums or keyboard notes to be erased from a single track while the MPC60 is not playing. To erase the notes, enter the appropriate data in each of the data fields, then press SOFT KEY1: <Erase it>.
Page 87 individually named as listed in the "Midi 1.0 Detailed Specification, Document Revision 4.0". 3. ALL EXCEPT: If this option is selected, all midi event type EXCEPT one will be erased, and the type of event which will NOT be erased appears in a "choice" field appearing directly to the right on the same line.
Page 88: The Edit Key
4.3 The EDIT key 4.3.1 Viewing time signature changes The EDIT key encompasses the following functions related to editing of the active sequence: • Viewing all time signature changes • Creating a new sequence • Inserting blank bars into a sequence •...
Page 89: Creating A New Sequence
This screen displays all time signature changes within the active sequence, and the number of bars for each change. If no time signature changes exist, the existing single time signature and the total number of bars in the sequence will be displayed. Space is given for 10 time signature changes with 2 changes per line.
Page 90 4.3.3 Inserting blank bars within a sequence onto the end). If set to TO BAR 1, the newly created sequence will loop back to bar 1 when it plays to the end; or if you want the sequence to loop to a bar other than 1, move the cursor to the number 1 and change it to the number of the bar you want the sequence to loop to.
Page 91: Deleting Bars From Within A Sequence
The on-screen fields are: • The NUMBER OF BARS field: This is the number of blank bars to be inserted. • The TIME SIGN field (time signature): This is the time signature of the bars to be inserted. This is actually two fields- one for each part of the time signature.
Page 92: Copying A Section, Including All Tracks, And Inserting It Elsewhere
4.3.5 Copying a section, including al! tracks, and inserting it elsewhere The on-screen fields are: • The FROM BAR, field: This is the 1st bar to be deleted. • The TO BAR field: This field specifies the end of the region to be deleted (the bar number following the last bar to be deleted).
Page 93: Copying A Single Track To Another Area Or Merging It With Other Data
The on-screen fields are described below: • The SEQUENCE field (in the COPY ALL TRACKS FROM section): This field is used to specify the sequence number to be copied from. • The FROM BAR and TO BAR fields: These fields set the range of bars to be copied from. FROM BAR sets the 1st bar which is to be copied, and TO BAR sets the end of the region to be copied (the bar number following the last bar to be copied).
Page 94 track. In this function, only the events from the source track are copied- no time signature or tempo data is copied. Unlike the COPY ALL TRACKS function which inserts the copied data into the sequence, increasing the overall length, this form of the copy function either replaces the existing events or merges with the existing events, without adding any additional bars.
Page 95 • The COPIES field: This field specifies the number of copies, end onto end, which are to be added into the new sequence. This is normally "1". • The START COPY AT field: The copied data may be added into the destination sequence and track starting at any location.
Page 96: Copying An Entire Sequence To Another Sequence
4.3.7 Copying an entire sequence to another sequence NOTE 3: If the copied data is longer than the sequence to be copied into, the portion of the copied data which extends past the end will not be copied. If an attempt is made to copy past the end of the destination sequence, the following warning screen will appear when <Execute>...
Page 97: Converting A Song Into A Single Long Sequence
• The INTO SEQUENCE field: This is the sequence whose contents will be replaced by the contents of the above specified sequence number. The lowest numbered empty sequence is automatically inserted here when this screen is entered. • SOFT KEY 1- <Execute>: Pressing this soft key performs the above specified copy.
Page 98: Shortening Or Lengthening A Single Bar
4.3.9 Shortening/lengthening a single bar • SOFT KEY 1- <Execute>: Pressing this soft key performs the copy as specified. This may take as much as 30 seconds or more. NOTE: ALWAYS BE SURE THAT EACH OF THE SEQUENCES IN THE SONG HAVE IDENTICAL MIDI CHANNEL ASSIGNMENTS FOR THEIR TRACKS.
Page 99: Changing The Velocity Or Duration Of A Group Of Notes After Recording
remove one 1/8 note from the end of a 4/4 bar, you would change its time signature to 7/8. To use this function, press the EDIT key and select option 9 from the menu, and the following screen will appear: First, select the bar number to be changed in the BAR field in the top line.
Page 100 This is a choice field with 2 options: VELOCITY and DURATION. It is used to select which of these 2 parameters the function will affect. • The VALUE field: This field works in conjunction with the ACTION field and sets the number which will be used to change the velocities or durations.
Page 101: The Step Edit Key
4.4 The STEP EDIT key The STEP EDIT function allows the contents of the active track to be edited in precise detail. When the STEP EDIT key is pressed, any notes or events which exist in the active track at the current sequence position are displayed on the screen as a series of data fields, which may then be edited.
Page 102 LOCATE keys. As this value changes, the event display area is constantly updated to display the events contained at this displayed location. As in the PLAY/RECORD screen, the distance moved by pressing the "<" or ">" keys is set in the NOTE VALUE field in the TIMING CORRECT screen. •...
Page 103 next 1/16 after playing each key. If this field is set to NO, this effect is defeated. • The DURATION OF RECORDED NOTES field: This field is used to determine the method by which durations are assigned to notes recorded from the midi keyboard while in STEP EDIT mode.
Page 104: Using Step Edit
4.4.2 Using STEP EDIT Using STEP EDIT is simple: 1. Use the FAST FORWARD, REWIND, or LOCATE functions to find the desired approximate location (or just play the sequence until you hear the desired location, then press STOP); 2. Press STEP EDIT. The NOW field will change to the nearest timing correct location (usually the nearest 1J16 note), and any notes existing in the active track at that location will be displayed on the screen.
Page 105 locations, and you are currently viewing notes falling on nonshifted locations. Here's more details about STEP EDIT: The step edit screen may display up to five events, one on each line, which exist at the current sequence position, or "step". The format of the event line is different for each type of event, but the first two fields of each event type are the same: At the left edge of the screen is the event number within the current step.
Page 106 settings in the TUNE DRUMS screen and the EDIT A SOUND screen. The range is from -120 to +60, in increments of 1/10 of 1 semitone. 4. DUR (duration): This field shows the duration from the "note on" to the "note off", measured in clocks (1J384 notes).
Page 107 used (described in section 6.9), many of these events are recorded into the active track to simulate a smooth and continuous mixer volume change. There are two fields: DRUM (which of the 32 drums this event applies to) and VAL (the new mixer setting, 0 - 127).
Page 108: Step Recording
4.4.3 Step recording current step will be played (output through midi), just as though the sequence had been played at that step only. If you don't want to hear a particular track, turn that track OFF from the PLAY/RECORD screen. As you step through the sequence step by step, the screen is updated by placing the first event within that step at the "active event"...
Page 109 while stopped, and automatically play them back as perfect 1/16 notes. To do this: 1. Set up your sequence and track for recording from your midi keyboard as you would to record in real time; 2. Rewind to the start of the sequence; 3.
Page 110: The Edit Loop Key
4.5 The EDIT LOOP key This function allows a specified number of bars within a sequence to repeat in a loop while playing or overdubbing. This allows for quick recording or editing of the looped section. Pressing EDIT LOOP displays the following screen: The screen fields and soft keys are: •...
Page 111: Using Edit Loop As An "Undo" Function
4.5.1 Using EDIT LOOP as an "UNDO" function Because the EDIT LOOP function allows you the option to ignore all recording and editing which was done while the EDIT LOOP was on, it serves very well as an UNDO function. For example, if you want to record a drum fill on bar 4 of a 4 bar sequence, but you aren't sure if you want to keep it, simply following these steps will allow you to try it first, then restore the sequence back to...
Page 112: The Transpose Key
4.6 The TRANSPOSE key This function allows you to transpose a track up or down by a specified amount in real time. This function is only a temporary change - the sequence data is not altered, unless SOFT KEY1, <Transpose Permanent, is pressed.
Page 113: Transposing In Real Time While Playing
Transposing in real time while playing To transpose a sequence in real time while playing, follow these steps: 1. Play the sequence; 2. Press the TRANSPOSE key; 3. Locate middle "C" on the midi keyboard. Pressing any key above middle "C"...
Page 115: Section 5: Song Mode
Section 5: Song Mode...
Page 116: Overview
5.1 Overview One way to create a song in the MPC60 is to record all the parts in one long sequence, using the copy functions to duplicate repeating sections. Another way is use SONG MODE. In song mode, a number of sequences are entered into a list, each representing a different section of the whole song.
Page 117: The Song Mode Screen
5.2 The Song Mode screen To enter song mode, press the SONG MODE key. The following screen will appear: While this screen is showing, the MPC60 is in SONG mode, meaning that if play is entered, the active song will play instead of the active sequence. All of the PLAY/RECORD keys operate on the active song: PLAY START plays the active song from the start;...
Page 118 SMPTE number which, when syncing to SMPTE, is assigned to the exact beginning of the song. Normally, this is set to all zeroes. • The CONTENTS OF STEP field: This is the current step number (1 - 256) within the current song. The data displayed below this field is the data contained within this step number.
Page 119: An Example Of Creating And Playing A Song
5.3 An example of creating and playing a song The following is an example of creating a song in song mode on the MPC60: 1. Load the preset sequences into the MPC60 (the SYSTEM.ALL file). 2. Enter SONG MODE by pressing the SONG MODE key. 3.
Page 120 next, it will play 1 repetitions of sequence 7; next, it will play 2 repetitions of sequence 12; after that, it will repeat steps 2 and 3 indefinitely. Notice that the NOW field always indicates the position within the song, not the position within each sequence. 15.
Page 121: Converting A Song Into A Long Sequence
Converting a song into a long sequence: While song mode is very useful for quickly creating a song format, it can be very cumbersome for detailed editing, because of the constant switching back to sequence mode, the necessity of copying sequences, and the necessity of remembering which sequence plays at which step.
Page 123: Section 6: Sampling And Editing Drum Sounds - The Sounds Key
Section 6: Sampling and Editing Drum Sounds - The SOUNDS key...
Page 124: Overview
6.1 Overview The MPC60 may hold up to 34 drum sounds in memory at one time, and each may be up to 5.3 seconds in length, as long as the total combined length does not exceed the total sampling time of 13.1 seconds, or 26.2 seconds if your machine has the sound memory expansion option.
Page 125 The SOUNDS key provides access to all functions associated with the creation, editing and tuning of drum sounds. When the SOUNDS key is pressed, this screen appears: Press a single number to select one of the displayed options. The screens which follow are described in the following sections. This section of the manual does not describe the process of loading or saving sounds to disk.
Page 126: Sampling A New Sound
6.2 Sampling a new sound This function is used to sample new sounds into your MPC60. The SAMPLE NEW SOUND screen: To access the screen used for sampling new sounds, press the SOUNDS key, then press `f to select the SAMPLE NEW SOUND option. This will cause the following preliminary screen to appear: At this point, you must decide which drum you want to sample into, because once <proceed>...
Page 127 Section 6: Sampling and editing sounds the new sound should be named in this field. To name it, use the same method of naming as used in naming a sequence: 1. Move the cursor to this field. 2. Turn the DATA CONTROL one step in either direction to change the keys to their alphabetic functions.
Page 128 • The METER field: This is a simulation of an analog record level meter. While this screen is present, the meter is constantly displaying the level of the signal at the input. The threshold setting is represented by a "T". If the range is exceeded, "!!"...
Page 129 Section 6: Sampling and editing sounds 3. You must now decide which of the 34 drums you want to sample the new sound into (31 normal drums plus 3 for the hihat). Use the DATA CONTROL to select one of the 34 drums. As you rotate the knob, the NAME field will display the current sound (if any) which is assigned to the displayed drum.
Page 130 more than you need, because you can always remove the unused portion later by using the EDIT A SOUND function. A good length for snare drums and toms is 1.0 to 1.5 seconds. A good starting length for cymbals is 1.5 to 3.0 seconds. To learn more about common sampling times for various drums, load one of the preset sounds disks, then inspect the various sampling times using the EDIT A SOUND function.
Page 131 meter, displayed to the right of the METER field. Set the record level so that the meter goes as far to the right as possible when the sound plays, but not into the clipping region (indicated by "!!" to the right of the meter, if full level is exceeded).
Page 132 always one higher than the last sample taken, even if the last sample was taken before the power was last turned off. This is done so that if you don't name your samples before saving them to disk, they will still always have unique names.
Page 133: Editing An Existing Sound
6.3 Editing an existing sound This function is used to edit a drum sound in your MPC60. The available features are: • Edit the sound name. • Change the start or end address. • Adjust the attack time or fadeout time. •...
Page 134 • The ALSO PLAYS field: This is a choice field and any of the 32 drums may be selected here, or "NONE" may be selected. Whatever drum is selected here will automatically play whenever the drum in the DRUM field is played.
Page 135 Section 6: Sampling and editing sounds won't load it again, but will instead use the existing sound in memory for both drum pads. C) Using Double play mode, assign RIDE2 to play whenever RIDE1 is played. D) Using the TUNING field, tune RIDE1 to "+ 0" and tune RIDE2 to "+ 1".
Page 136 As the screen warns, pressing <Execute> will permanently delete the unused ends of the sound. To cancel the deletion, press <Cancel>. NOTE: If a sound is currently loaded into more than one drum (for example, a tom-tom is loaded into both TOM3 and TOM4 at two different tunings) and you press the <Cutoff Ends>...
Page 137 drums because all four drums used that same sound, which is now reversed. • SOFT KEY 3- <Delete>: This soft key allows you to delete the currently displayed sound from memory. Pressing this soft key causes the following screen to appear: Press <Execute>...
Page 138 • The field: FADEOUT(MSECS) This field sets the amount of time over which the sound fades down to silence at its end, measured in milliseconds. This is different than common "initial decay" or "release" envelope parameters since the decay will always end exactly at the end of the sample, this setting actually sets the position within the sound at which the decay will begin.
Page 139: Tuning The Drums
6.4 Tuning the drums Each of the 32 drums may be independently tuned over a 1 1/2 octave range, in .1 semitone increments. In addition to being very useful in adjusting the tone of a drum, some spectacular special effects can be created by tuning a sound by a large amount.
Page 140 2. MASTER: In addition to the sequence tunings described above, there is also a single set of "master" tunings, which are not stored within any one sequence, and apply to all sequences. If MASTER is selected here, this single master set of tunings is used. It is better to use MASTER mode if you'd prefer the tunings to always stay where you last set them, even after changing sequences.
Page 141: The Echo Mixer
6.5 The Echo Mixer This function provides an additional 32 input mono mixer specifically intended as a send signal to a reverberation device. However, it may be used as an auxiliary mono mix for any purpose, or as a 9th individual mix output. To adjust the echo mixer settings, press the SOUNDS key, then type 4 to select the ECHO MIXER option, and the following screen will be displayed: Changing the echo mixer setting is done in the same way as with the main...
Page 142: Assigning The 8 Assignable Mix Outputs
6.6 Assigning the 8 assignable mix outputs There are 8 assignable mix outputs on the rear panel. Each may be assigned to output a single drum or any combination of the 32 drums. For those users who may at first consider eight individual outputs to be not enough for certain purposes, the following comments should help in getting the most usefulness from these outputs: •...
Page 143: Transferring Sounds Over Midi: The Midi Sample Dump
6.7 Transferring sounds over midi: Midi Sample Dump The Midi Sample Dump standard is a format which manufacturers agree upon for transferring samples between sampling devices over midi. To use this feature, you must first connect the MPC60 to the external sampler using 2 midi cables ("closed loop"...
Page 144 • The MIDI OUTPUT field: This is the Midi output jack number (1 - 4) through which the sound data will be sent. Set this field to the number of the midi output jack you used to connect to the external sampler. •...
Page 145 Section 6: Sampling and editing sounds to send. The range is 0 to 9999, although most samplers contain only up to 128 samples. • SOFT KEY 1 - <Receive> soft key: Pressing this soft key starts the process of receiving an incoming sample dump.
Page 146 Sending a Midi sample dump to an external sampler To send a Midi sample dump to an external sampler, press the SOUNDS key, then type 6, then press SOFT KEY 2, <Send/recv>, and the following screen will appear: This is the "Send sample dump" screen. The screen fields and soft keys are described below: •...
Page 147 The transfer may take as long as a few minutes. When finished, the previous screen status will be re-displayed. If a transmission error occurs, or if the sample dump is cancelled by the other sampler, the dump will be cancelled and the previous screen will be re-displayed. If you wish to cancel the sample dump, press the <Cancel send>...
Page 148 6.8 Triggering a sound from an external signal-the Audio trigger This feature of the MPC60 allows one of the internal drums to be triggered by an external audio signal. The triggering is nondynamic. If dynamic triggering, or triggering of more than one drum is needed, you must use a trigger to midi converter, available from many manufacturers, and trigger the drums over midi.
Page 149: Mixer Modes, Hihat Decay Thresholds, Mufti-Pitch Mode
6.9 Mixer modes, What decay thresholds, muitipitch mode Option 8 from the SOUNDS screen, "Mixer/hihat/other", displays a single screen which provides access to the following functions related to drum sounds: • Setting the stereo mixer mode (SEQUENCE or MASTER). • Setting the echo mixer mode (SEQUENCE or MASTER). •...
Page 150 3. MASTER: There is a single set of stereo mix settings which is not stored in any sequence. If the stereo mix mode is set to MASTER, this single set of mix settings is used instead of the sequence settings. In this mode, mix settings and changes are not stored to disk with the sequence, and if the sequence number is changed, the mix settings remain unchanged.
Page 151 NOTE 2: A large number of these mix change events can cause minor slowing of playback due to the large processing requirement. To reduce the number of these events, increase the MINIMUM CHANGE field's setting for these event types (in the MIDI INPUT FILTER screen) to as high a number as acceptable before recording mix changes.
Page 152 to 1; to control the decay from a midi keyboard's foot controller, set it to 4. Normally, this field is set to 20. • The FUNCTION OF `16 LEVELS' field: This field is used to determine the function of the front panel 16 LEVELS key.
Page 153 Section 7: Saving to and loading from disk...
Page 154 7.1 Overview The MPC60 has a built-in 3 1/2" disk drive for storage of sequences and drum sounds. This section describes the procedure for saving and loading all of the various types of files. Since the MPC60 loses all sequence and sound data when the power is removed, it is important to always save any changes to disk before turning the power off.
Page 155 Section 7: Saving to l loading from Disk This screen displays a list of disk options. To select one, type the number of the desired option. Each of the options are described in detail in the following sections.
Page 156: Saving A Sequence
7.2 Saving a sequence This function saves a single sequence to a disk file, called a "sequence" file (the 3 letter file extension is "SEW). From the disk menu screen, type 1 to select SAVE SEQUENCE and the following screen will appear: To save a sequence file: 1.
Page 157: Saving All Sequences And Songs
7.3 Saving all sequences and songs This function saves all 99 sequences and all 20 "songs" to disk in one file, called an "All" file (the 3 letter file extension is ".ALL"). From the disk menu screen, type 2 to select "SAVE ALL SEAS/SONGS" and the following screen will appear: To save an "All"...
Page 158: Saving A Drum Sound
7.4 Saving a drum sound This function saves a single drum sound to a disk file, called a "sound" file (the 3 letter file extension is "SND"). From the disk menu screen, type 3 to select SAVE A SOUND and the following screen will appear: To save a drum sound: 1.
Page 159: Saving All Drum Sounds
7.5 Saving all drum sounds This function saves all 34 drum sounds to disk in one file, called a "SET" file (the 3 letter file extension is "SET"). NOTE: If your MPC60 has the standard amount of sound memory (13.1 seconds), saving a SET file when the sound memory is 100% full will require nearly all of one disk! For this reason, it is a good idea to use empty disks when saving very large SET files.
Page 160 If you press SOFT KEY 1, <Yes>, the existing disk file will be overwritten by the file you are saving. If you press SOFT KEY 2, <No>, the save operation is cancelled and the previous screen is redisplayed. If your MPC60 has the sound memory expansion option: Normally, your MPC60 may contain up to 13.1 seconds of sampling time at full bandwidth.
Page 161: Saving A Parameter File
7.6 Saving a Parameter file The settings of most of the MPC60's data fields which are not normally saved to disk are retained after power is removed, so that you don't have to set them again every time you turn the power on. This function allows you to save a special file called a "Parameter file"...
Page 162 (Step edit options screen) • Event to be inserted • Auto step increment on key release on/off • Duration of recorded notes • Display filter settings for all midi events and all 128 midi controllers (Midi key, screen 1) • Midi input filter: "Pass event" and "Min change" settings for all midi events and controllers •...
Page 163 Section 7: Saving to l loading from Disk (Timing correction screen) • Note value • Shuffle • Shift timing (later/earlier) • Shift amount (Drum mix screen) • Master stereo mix settings (32) (Sample new sound screen) • Default drum to sample into or edit •...
Page 164 To save a parameter file: 1. Assign the 16 character name for the parameter file to be saved. To name the file, use the same method as used to name sequences: A) Rotate the DATA CONTROL one step in either direction to change the alphabetic keys to their letter functions.
Page 165: Loading Files
7.7 Loading, erasing or renaming files This function is used to either load, erase or rename any files on the currently inserted disk. In the case of a load, depending on the file extension, subsequent screens will guide you to load the file into the proper place.
Page 166 • If an ALL file is selected and <Load it> is pressed, the following screen will be displayed, warning you that all sequences and songs currently in memory will be erased: Press <Load file> to load it. Once finished, the previous screen will be re-displayed.
Page 167 Section 7: Saving to / loading from Disk If 1 is selected, the entire file is loaded, and the bottom line changes to "Loading files...". However, if 2 is selected, the following screen appears: Use the DATA CONTROL in the SELECT DRUM TO LOAD FROM FILE field to select the drum (within the SET file) containing the sound you wish to load.
Page 168: Renaming Files
As the screen warns, loading this file will replace all existing system parameters with the newly loaded file's settings. To load the file, press <Load it>. After loading, the previous screen will be redisplayed. Erasing files • If <Erase it> is pressed, the following warning screen is presented, asking you to verify that you want to erase the selected file: If you are sure, press <Erase it>, and the file will be erased permanently from the disk.
Page 169: Files Which Automatically Load On Power-Up
Once the new name has been entered, press <Rename it>. The file name on the disk will be changed to the newly entered name. Once complete, the previous screen is re-displayed. NOTE: If you rename a "SEQ" file, then load it into one of the 99 sequences, the original sequence name (in the sequence name field) will NOT have changed.
Page 170: Formatting A Disk
7.8 Formatting a disk This function is used to format a new disk or to completely erase an existing disk. ALL DISKS MUST BE FORMATTED BEFORE THEY CAN BE USED IN THE MPC60! To use this function, from the disk screen, type a 7 to select the FORMAT DISK option, and the following screen will appear: To format the disk currently in the drive, press <Format it>.
Page 171: Copying An Entire Disk
7.9 Copying an entire disk This feature permits an entire MPC60 disk to be copied. This provides an easy way to backup your data disks. To copy a disk, have both your original disk and a blank formatted disk available and select option 8 from the disk menu.
Page 172 7.10 "Attention" messages encountered during disk operations: There are a number of special "Attention" screens which will appear during disk operations if either the operator is doing something incorrect, or an error is detected on the disk. Here is an example: When an "Attention"...
Page 173 7.11 The "Save warning" light (above the DISK key) Whenever you sample a new sound, or record a new sequence or song, or edit any of the above, the light above the DISK key will go on to warn you that if you don't save these changes to disk before turning the power off, you will lose them.
Page 175 Section 8: Syncing to tape and other devices...
Page 176 8.1 Overview This section encompasses all functions in the MPC60 which are related to syncing to tape or other devices. In this section, you will learn to: • Use the SYNC screen. • Write and sync to SMPTE time code. •...
Page 177: The Sync Screen
8.2 The SYNC screen To access the SYNC screen, press the TEMPO/SYNC key, then press the <SyncScreen> soft key. The following screen will be displayed: This screen presents all parameters related to syncing to tape or external devices. However, additional data fields will appear in the SYNC INPUT SETTINGS section depending on the selected sync input mode (the MODE field in the second line of the screen).
Page 178 If MIDI CLOCK is selected in the MODE field, the following screen is displayed: If MIDI CLOCK W/SONG POINTER is selected in the MODE field, the following screen is displayed: If FSK24 is selected in the MODE field, the following screen is displayed: If PULSE96 is selected in the MODE field, the following screen is displayed: Finally, if 1/4 NOTE CLICKS is selected in the MODE field, the following...
Page 179 Section 8: Syncing to tape and other devices All of the data fields in each of the screens are described below: • The MODE field (in the SYNC INPUT SETTINGS section of the screen): This field is used to select the type of sync signal for the MPC60 to receive sync from an external device or tape.
Page 180 them to play in sync. Because of this, the MPC60 always plays from bar 1 when sync is first received, if this sync setting is selected. This code does contain tempo information, so the MPC60's tempo settings are not used when syncing to PULSE96.
Page 181: Midi Clock
Section 8: Syncing to tape and other devices 6. MIDI CLOCK: This is the same as "MIDI CLOCK W/SONG PNTR° above, except that the "Song position pointer" signals are ignored. This setting would be rarely used. 7. 1/4 NOTE CLICKS: In the event that no sync signal exists on tape, this feature allows the MPC60 to sync to standard 1/4 note metronome clicks.
Page 182 field. This setting is stored with the active sequence when it is saved to disk. • The SHIFT SYNC EARLY(MSECS) field (appears in all modes except SMPTE and MIDI TIME CODE): This field is used to compensate for any sync delays or delays produced by slow synthesizer attacks. It accomplishes this by shifting the MPC60's playback earlier by a specified number of milliseconds.
Page 183 Section 8: Syncing to tape and other devices 40 milliseconds after 5 minutes. This caused no problem when using only the MPC60 for all sequenced overdubs to a recording. However, when using the MPC60 for some overdubs to SMPTE, and a different SMPTE to MIDI CLOCK converter for other overdubs to SMPTE on the same recording in (all at the same tempo), an inaccuracy would exist between the 2 units, causing them to gradually slip out of sync.
Page 184 stands for "Frequency Shift Keying at 24 2400 Hz/1200 Hz transitions per 1/4 note". This code contains only timing clocks. It does not contain positioning information, so when syncing back from tape, you must start the MPC60 from the beginning of the song in order for it to play in sync.
Page 185 Section 8: Syncing to tape and other devices output through the SYNC OUT jack. The fields and soft keys are described hereunder: • The "START=" field: This is the SMPTE time code number at which the generated time code will start.
Page 186: Syncing To Smpte
8.3 Syncing to SMPTE Of the seven types of signals which the MPC60 can sync to, only three are used to sync to tape: SMPTE, FSK24 and 1/4 NOTE CLICKS. Of these, SMPTE has the greatest advantages and should therefore be used as the standard method of tape sync for all new recordings using the MPC60.
Page 187 Section 8: Syncing to tape and other devices To play back a sequence in sync to SMPTE: 1. Connect the output of the tape recorder track you have just recorded to the SYNC INPUT of the MPC60. 2. From the PLAY/R,ECORD screen, select the sequence which you intend to record to tape.
Page 188 played for 10 seconds (if the SEQUENCE STARTS AT SMFTE# field has been set to 10 seconds), the MPC60 will automatically start playing from the beginning and will not stop until the sequence has completed. To stop it early, press the STOP key on the MPC60. 12. Now, to overdub further parts onto the tape in sync, just play the tape recorder at any point within the sequence and the MPC60 will automatically start playing from the correct location within the sequence in perfect sync.
Page 189: Syncing To Fsk
8.4 Syncing to FSK24 The ability to sync to FSK24 is provided to allow the MPC60 to sync to recordings using sync signals created by machines using the FSK method, such as drum machines and simple sequencers. It is not recommended to use this method for new recordings because of its inferiority to SMPTE time code.
Page 190 2. Set the SYNC INPUT LEVEL control on the rear panel to about halfway. 3. Press the TEMPO/SYNC key, then press the <Sync Screen> soft key, and the sync screen will appear: 4. Set the MODE field (Sync input section) to FSK24. 5. Press the MAIN SCREEN key.
Page 191: Syncing To 1/4 Note Clicks
8.5 Syncing to 1/4 note clicks This method of syncing uses 1/4 note metronome clicks or any cleanly recorded percussive audio signal as a sync source. Using this method of sync, the playing tempo is provided from the external 1/4 note clicks. To play the ASQ10 in sync to 1/4 note clicks: 1.
Page 192: Syncing To Midi Clock And Song Position Pointer
8.6 Syncing to Midi Clock and Song Position Pointer Midi Clock is a standard sync signal which is transmitted over Midi. It is not used for tape sync, but rather for syncing drum machines, sequencers and other devices together. Midi Clock only contains tempo information, but no song position information.
Page 193 Section 8: Syncing to tape and other devices 3.Set the MODE field (Sync input section) to MIDI CLOCK W/SONG POINTER if you want to receive midi clock and song pointer messages. If you want to ignore any incoming song pointer messages, set it to MIDI CLOCK 4.Set the MIDI INPUT field to 2.
Page 194: Syncing To Midi Time Code
8.7 Syncing to Midi Time Code Midi Time Code is basically SMPTE time code encoded over Midi. Since it is a Midi signal, it cannot be recorded on tape, but it is used rather to sync to devices such as drum machines and sequencers. The MPC60 does not generate Midi Time Code, but does sync to it when generated from an external source.
Page 195 Section 8: Syncing to tape and other devices 7.Move the cursor to the upper left field, MODE and select the option MIDI TIME CODE. Move the cursor to the SEQUENCE STARTS AT SMPTE# field and enter the number of the incoming Midi Time Code location you want your sequence to start at.
Page 197 Section 9: Midi Functions...
Page 198 9.1 Overview The MIDI key provides access to a number of parameters related to Midi. In this section you will learn to: • Remove or "thin out" selected event types from the Midi input data • Remove velocity data from the incoming Midi input data •...
Page 199: The Midi Input Filter, Midi Soft Through, Sustain Pedal Processing
9.2 The midi input filter, midi soft through, sustain pedal processing If option 1 is selected from the MIDI screen, the following screen appears: This screen has two main sections: MIDI INPUT FILTER and OTHER MIDI. Each is described in the following sections: The MIDI INPUT FILTER section: This portion of the screen allows you to selectively remove parts of the incoming MIDI data, so as not to take up excess memory recording them,...
Page 200 While one of these event types is selected, the PASS EVENT? field displays either a YES indicating that event will be recorded into sequences or a NO indicating that event type will be removed from the midi input data stream when encountered. This status may be changed using the DATA CONTROL.
Page 201 value received. The range of this field is 0 - 127, with 127 being the full range of the controller. (Pitch bend is an exception- even though the pitch bend messages actually have a range of ± 8191, 0 to 127 represents the full range here.
Page 202 • The DEFAULT CHAN field: Each track within a sequence must be assigned to one of the 64 midi channels. If none is selected, a default channel is automatically inserted by the MPC60. This field determines which channel is automatically inserted when a new track is selected. This is actually two fields: the channel number (1 - 16), and the output jack selection (A, B, C, or D).
Page 203 all available voices are used, because the synthesizer "thinks" the keys are still held. 2. Some synthesizers have the ability to use midi controller 64 for other purposes than sustain, so it is desirable to record it into the sequence. For these reasons, the MPC60's special sustain processing may be defeated.
Page 204: External Drum Triggering, The Midi "Drums" Channel
9.3 External drum triggering, the midi "drums" channel If option 2 is selected from the MIDI screen, the following screen appears: This screen has three main sections: The ASSIGN INCOMING NOTES TO DRUMS section: In the MPC60, it is possible to play the internal drums from an external Midi keyboard.
Page 205 1. To set the MPC60 to play its drums in response to incoming notes on the "drums" channel only (normally channel 16), select a "non-drums" track in the PLAY/RECORD screen (or set both CH fields to any channel other than 16). This works because the internal drum generator always responds to incoming notes on the drums channel, even if the active track is routing all incoming channels to the active track's assigned channel.
Page 206 NOTE: Because "NONE" is the default setting (for highest timing efficiency), it is normal that no "note on" messages will be sent out over midi when drum tracks play. If you are using an external drum generator in addition to the MPC60's internal sounds and therefore want these messages to be sent out while drum tracks play, you must select "DRUM NOTES"...
Page 207 9.4 The ME-35T interface screen This screen is specifically used to remotely control the Akai ME35T Audio/Midi Trigger unit. This product accepts 8 inputs from electronic drum trigger pads or other input devices and converts them to midi "note on" messages to remotely trigger drum sound generators. The fast response and wide range of controls on this device make it particularly well suited to the needs of the professional drummer.
Page 208 of this field. If only one ME-35T is being used, this should be set to "1". • UNIT CH: This field selects the midi channel over which the selected ME-35T (unit 1 or 2) receives its data. This should be set to the same midi channel as the selected ME35T unit is set to receive on.
Page 209 velocity coding and curves 5 through 8 work best with synthesizers using linear velocity coding. The MPC60 uses linear coding, so curves 5 through 8 should work best. • MIDI CHANNEL: This parameter is used to set the midi channel over which the selected input will send its notes. Since the MPC60's internal drums may be externally triggered from only a single midi channel (the "Drums"...
Page 210: The Midi Implementation Charts
9. 5 The Midi implementation charts Model: MPC60 (Drums sampler section) Function Basic Default Channel Channel Default Mode Messages Altered Note Number True Voice Velocity Note ON Note OFF After Key's Touch Ch's Pitch Bender Control Change Prog Change True# System Exclusive System :Song Pos...
Page 211 Model: MPC60 (Sequencer section) Midi Implementation Chart Function Basic Default Channel Channel Default Mode Messages Altered Note Number True Voice Velocity Note ON Note OFF After Key's Touch Ch's Pitch Bender Control 0-127 Change Prog Change True# System Exclusive System :Song Pos :Song Sel Common...
Page 212 01000111 0000 xxxx 01000100 01000xxx 00000001 000xxxxx 0xxxxxxx Drum mixer pan change: 11110000 01000111 0000xxxx 01000100 01000xxx 00000010 000xxxxx 0000xxxx Echo mixer volume change: 11110000 01000111 0000xxxx 01000100 01000xxx 00000011 000xxxxx 0xxxxxxx Drum tuning change: 11110000 01000111 0000xxxx 01000100 01000xxx 00000100 000xxxxx 0xxxxxxx...
Page 213 SECTION 10: APPENDEX...
Page 214 10.1 Features Here is a list of some of the advanced features of the MPC60: General: • Small, portable design - fits easily under your arm. • Large 320 character LCD display (8 lines by 40 characters) with graphics. • Built-in 3 1/2" disk drive stores both sequence and sound data. •...
Page 215 • Sequences may be looped, and recording is possible with real-time timing correction while loop is on. Also, a sequence may be set to loop back to any bar once the end is reached, not just the beginning of the sequence. •...
Page 216 Sampler section: • 32 drums may be held in memory at one time. • 16 velocity and pressure sensitive front panel drum pads. • Very high sound quality - 40 khz sampling rate for 18 khz frequency response on all drum sounds. 16 bit A/D and D/A converters are used and samples are compressed into exclusive non-linear 12 bit format, providing much lower noise than standard 12 bit linear systems.
Page 217: Technical Specifications
10.2 Technical specifications General: • 320 character LCD display with graphics • Disk drive: 3.5 inch 2DD (793K bytes formatted capacity) • Computer: 80186 (10 MHz) • Dimensions: 495(VV) X 127(H) X 471(D) mm • Weight: 10.5 kg • Power consumed: 30 W at AC 100V (50/60 Hz); 32 W at AC 120V (60 Hz), AC220V (50 Hz), or AC240V (50 Hz) Sampler section: •...
Page 218 • Assignable mix outputs: 8 • Assignable mix output level: 0 dBv (standard), Imp. 600 • Stereo outputs: 2 (left and right) • Stereo outputs level: -3 dBv (standard), Imp. 600 • Echo send mixer output: 1 • Echo send mixer output level control: 1 •...
Page 219: What To Do If Your Mpc60 Isn't Working Properly
10.3 What to do if your MPC60 isn't working properly If you discover a problem in your MPC60, please follow these steps: 1. Unless the problem is major and obvious, please read the section of the manual related to that function THOROUGHLY AND SLOWLY. The MPC60 is a very complex product, and sometimes it's possible to think that something is not working correctly if you don't fully understand how it is supposed to operate.
Page 221 SECTION 11: INDEX...
Page 222 + and - keys, 2.4 2ND SEQUENCE key, 3.12 16 LEVELS key, 2.7.1 AFTER key, 2.7.3 Analyzing sequence. Please wait..., 3.19 ASSIGNABLE MIX OUTPUT jacks, 6.6 Audio trigger, 6.8 AUTO PUNCH key, 3.11 BANK 2 key, 2.7.2 BPM, 3.9.1 Changing sequences while playing, 2.9.1 Choice fields, 2.4 Converting a song into a single long sequence, 4.3.8 Copying a section, including all tracks, and inserting it elsewhere, 4.3.5...
Page 223 Section 11: Index Fadeout time (sounds), 6.2, 6.3 FAST FORWARD keys (>>, >), 3.5 Features list, 10.1 FOOT SWITCH inputs, 3.15. FPB, 3.9.1 Frames/sec, 3.9.1 Free sequence memory display, 3.16 Free sound memory, 6.2, 7.7 FULL LEVEL key, 2.7.1 GAIN switch, 6.2 Hear input (sampling), 6.2 HELP key, 2.6 HIHAT DECAY slider, 2.7.3...
Page 224 Playing the preset sequences, 2.9 Pre-record, 6.2 Program number, assigning a track's, 3.3 REC IN jack, 6.2 RECORD key, 3.5 Record all 16 channels, 3.18 Record level meter, 6.2 Record level, 6.2 Record threshold, 6.2 Recording a drum sequence, 3.6 Recording a sequence with drum and keyboard parts, 3.7 Reset to defaults, 2.12 REWIND keys (<<, <), 3.5...
Page 225 Section 11: Index Syncing to Midi Clock and Song Position Pointer, 8.6 Syncing to Midi Time Code, 8.7 Syncing to SMPTE, 8.3 Syncing to tape and other devices, 8.X System exclusive data, editing, 4.4.2 System exclusive data, recording, 3.17 TAP TEMPO key, 3.9.3 Tap averaging, 3.9.1 Technical specifications, 10.2 Tempo screen, 3.9.1...

Akai MPC 60 Operator's Manual

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