Analog Filter Module

WARNING!!
To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. 1-En

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
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 SYMBOLS ARE RULED BY UL STANDARDS (U.S.A.) 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 products enclosure; that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intented to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. 5B-En

9/25/2001 Rev. 4

WARNING
WARNING: WHEN USING ELECTRIC PRODUCTS, BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED, INCLUDING THE FOLLOWING: WARNING The MFC42 is designed to be used in a standard household environment. Power requirements for electrical equipment differ from area to area. The operating voltage of this MFC42 is preset at the factory according to its intended destination. However, before connecting, check to see that the VOLTAGE SELECTOR on the rear panel is set to the correct voltage for your area. If not, please set it correctly before plugging in the power cord. If in doubt, consult a qualified electrician or AKAI professional dealer. 120 VAC 230 VAC @ 60 Hz for USA and Canada @ 50 Hz for Europe
If the VOLTAGE SELECTOR is not set correctly for your area: Confirm that the power cord is disconnected. Remove the VOLTAGE SELECTOR with a screw driver and replace it so that the correct voltage for your area is lined with the marker. Also, change the fuse according to the chart indicated on the rear panel as necessary. PROTECTING YOURSELF AND THE MFC42 Never touch the AC plug with wet hands. Always disconnect the MFC42 from the power supply by pulling on the plug, not the cord. Allow only an AKAI professional dealer or qualified professional engineer to repair or reassemble the MFC42. Apart from voiding the warranty, unauthorized engineers might touch live internal parts and receive a serious electrical shock. There are no serviceable parts inside. Do not put, or allow anyone to put any object, especially metal objects, into the MFC42. Use only a household AC power supply. Never use a DC power supply. If water or any other liquid is spilled into or onto the MFC42, disconnect the power, and call your dealer. Make sure that the unit is well-ventilated, and away from direct sunlight. To avoid damage to internal circuitry, as well as the external finish, keep the MFC42 away from sources of direct heat (stoves, radiators, etc.). Avoid using aerosol insecticides, etc. near the MFC42. They may damage the surface, and may ignite. Do not use denatured alcohol, thinner or similar chemicals to clean the MFC42. They will damage the finish. Modification of this equipment is dangerous, and can result in the functions of the MFC42 being impaired. Never attempt to modify the equipment in any way. Make sure that the MFC42 is always well-supported when in use (either in a specially-designed equipment rack, or on a firm level surface). When installing the MFC42 in a 19 rack system, always allow 1U of ventilated free space above it to allow for cooling. Make sure that the back of the rack is unobstructed to allow a clear airflow. In order to assure optimum performance of your MFC42, select the setup location carefully, and make sure the equipment is used properly. Avoid setting up the MFC42 in the following locations: 1. In a humid or dusty environment 2. In a room with poor ventilation 3. On a surface which is not horizontal 4. Inside a vehicle such as a car, where it will be subject to vibration 5. In an extremely hot or cold environment

For U.K. Customers Only

WARNING THIS APPARATUS MUST BE EARTHED IMPORTANT
This equipment is fitted with an approved non-rewireable UK mains plug. To change the fuse in this type of plug proceed as follows: 1) Remove the fuse cover and old fuse. 2) Fit a new fuse which should be a BSAmp A.S.T.A or BSI approved type. 3) Refit the fuse cover. If the AC mains plug fitted to the lead supplied with this equipment is not suitable for your type of AC outlet sockets, it should be changed to an AC mains lead, complete with moulded plug, to the appropriate type. If this is not possible, the plug should be cut off and a correct one fitted to suit the AC outlet. This should be fused at 5 Amps. If a plug without a fuse is used, the fuse at the distribution board should NOT BE GREATER than 5 Amp. PLEASE NOTE: THE SEVERED PLUG MUST BE DESTROYED TO AVOID A POSSIBLE SHOCK HAZARD SHOULD IT BE INSERTED INTO A 13 AMP SOCKET ELSEWHERE.
The wires in this mains lead are coloured in accordance with the following code: GREEN and YELLOW BLUE BROWN Earth 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, please proceed as follows: The wire which is coloured GREEN and YELLOW must be connected to the terminal which is marked with the letter E or with the safety earth symbol or coloured GREEN or coloured GREEN and YELLOW. 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 etter L or coloured RED.
THIS APPARATUS MUST BE EARTHED
Ensure that all the terminals are securely tightened and no loose strands of wire exist. Before replacing the plug cover, make certain the cord grip is clamped over the outer sheath of the lead and not simply over the wires.

FCC WARNING

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. 21B-En

AVIS POUR LES ACHETEURS CANADIENS DU MFC42
Le prsent appareil numrique nment pas de bruits radiolectriques dpassant les limites applicables aux appareils numriques de la Class B prescrites dans le Rglement sur le brouillage radiolectrique dict par le ministre des Communications du Canada. 27-F
This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications. 27-En

VENTILATION

Do not prevent the units ventilation, especially by placing the unit on the soft carpet, in a narrow space, or by placing objects on the units chassistop, side, or rear panels. Always keep the units chassis at least 10 centimeters from any other objects. 31C-En
CHANGES OR MODIFICATIONS NOT EXPRESSLY APPROVED BY THE MANUFACTURER FOR COMPLIANCE COULD VOID THE USERS AUTHORITY TO OPERATE THE EQUIPMENT. 32-En

COPYRIGHT NOTICE

The AKAI MFC42 contains and uses software in ROMs. This software, and all related documentation, including this OperatorOs Manual, contain proprietary information which is protected by copyright laws. All rights are reserved. No part of the software or its documentation may be copied, transferred or modified. You may not modify, adapt, translate, lease, distribute, resell for profit or create derivative works based on the software and its related documentation or any part thereof without prior written consent from AKAI professional M.I. Corp., Yokohama, Japan.

WARRANTY

AKAI professional M.I. Corp. warrants its products, when purchased from an authorized AKAI professional dealer, to be free from defects in materials and workmanship for a period of 12 (twelve) months from the date of purchase. Warranty service is effective and available to the original purchase only, and only on completion and return of the AKAI professional Warranty Registration Card within 14 days of purchase. Warranty coverage is valid for factory-authorized updates to AKAI professional instruments and their software, when their installation is performed by an authorized AKAI professional Service Center, and a properly completed Warranty Registration has been returned to your AKAI professional dealer. To obtain service under this warranty, the product must, on discovery of the detect, be properly packed and shipped to the nearest AKAI professional Service Center. The party requesting warranty service must provide proof of original ownership and date of purchase of the product. If the warranty is valid, AKAI professional will, without charge for parts or labor, either repair or replace the defective part(s). Without a valid warranty, the entire cost of the repair (parts and labor) is the responsibility of the products owner. AKAI professional warrants that it will make all necessary adjustments, repairs and replacements at no cost to the original owner within 12 (twelve) months of the purchase date if: 1) 2) 3) The product fails to perform its specified functions due to failure of one or more of its components. The product fails to perform its specified functions due to defects in workmanship. The product has been maintained and operated by the owner in strict accordance with the written instructions for proper maintenance and use as specified in this Operators Manual.

Chapter 3 Advanced Operations.... 10 Keywords in advanced operation... 10 Groove Modulator.... 11 Control the cut-off cyclically with Groove Modulator (TAP TEMPO).. 12 Control the cut-off cyclically with Groove Modulator (RATE).. 14 Control the cut-off cyclically with Groove Modulator (MIDI CLOCK SYNC).. 14 Shifting LFO waveform with L-R PHASE... 15 Control on Mono channel with Groove Modulator.. 15 MANUAL TRIGGER.... 16 Controlling Cut-off on Mono and Stereo channels simultaneously. 16 Chapter 4 MIDI Function.... MIDI Receive channel setting... Recording the knob operation to sequencer... Sending the settings via MIDI... Chapter 5 Connections to Others... Connecting to Keyboard as external Filter Module.. Connecting the Turntable... Connecting MPC2000/MPC2000XL... Connecting MPC3000... 23

Specifications.... 24

Chapter 1 Introduction
Thank you very much for your purchase of the MFC42. Here, you see its unique features and functions explained.

Features

Four 2-pole Analog Filters By the combination of four 2-pole filters, the MFC42 can be configured as 8-pole filter unit maximum. The sharp cut-off curve and powerful resonance setting allow wide range of sound making possible. Stereo and Mono Input Equipped with the Stereo Input and Mono Input independently and can be controlled separately. For instance, swing the rhythm section from Stereo Input with LFO while the bass from Mono Input being radically changed by manual filter settings works as two conventional filter units. Four Filter types The four filter settings of High pass, Low pass, Band pass and Notch. The filter type can be switched directly by the combination of toggle switch settings. Groove Modulator The Groove Modulator function offers the control of filter cut-off or resonance synced to the rhythm. By the combination of Tap Tempo or MIDI Clock Sync functions with LFO/Envelope, the filter cut-off/resonance can be controlled. It also has the Manual Trigger function to trigger the envelope manually at any point. MIDI function Almost all keys and knobs are assigned with the MIDI Control Change number. With the use of external sequencer, e.g. MPC2000/MPC2000XL, the movement of each key and knob can be recorded and played back later. The Send Scene function can send all the key and knob settings at once via MIDI. By recording this data at the beginning of each sequence, the settings can later be recalled when played back. Analog Phaser/Distortion The Phase Shifter and Distortion effects are built-in. The addition of these effects to the filter control makes the sound control more flexible. 2-Band EQ on Output With the High and Low EQ at the output stage, the tone of output sound can be controlled. Phono Input With the Phono Input provided at Stereo Input with LINE/PHONO selector, the turntable can be connected directly. 2U Rack mountable The enclosure is shaped so that it can either be rack mounted or placed on desktop to suit your playing style. With the optional mounting kit, i.e. KIT-MFC, the MFC42 can be mounted on the MPC2000/ MPC2000XL.

Names and functions

Front Panel
POWER switch button Switches the MFC42 on/off. MIDI CH. key Sets the MIDI channel of the MFC42. Off, 01~16, L01~L16 (L: Local Off) The value is indicated on 7-seg LED (key flickers while setting). CC NUMBER key To confirm the CC (Control Change) numbers assigned to the keys and knobs. The value is indicated on 7-seg LED (key flickers while confirming).
+/ keys Adjust the value of various parameters. Pressing the + and keys together sends out all parameter settings via MIDI Send Scene function. 7-seg LED Shows the various parameter values, i.e. Tempo, MIDI channel, Control Change number. When the RATE knob is moved, the flickering speed of upper and lower halves of LED changes
accordingly. MIDI CLOCK SYNC key Set to ON to sync to the external sequencer or rhythm machine via MIDI Clock. The speed of MIDI Clock and the note length selected by BEAT key control the speed of LFO or the trigger timing of
envelope (key is lit while ON). BEAT key Used with the MIDI CLOCK SYNC or TAP TEMPO key, it selects the note length that controls the speed of LFO or the trigger timing of envelope. One of the six LEDs on their side is always selected (ON) and the key press toggles the selection. The (two whole notes). mark designates the note length of breve
- 3 - key Changes the selected note by BEAT key to triplet notes (key is lit while ON). TAP TEMPO key Tempo is detected by the timing of key presses. The tempo entered and the note selected by BEAT key set the speed of LFO or the trigger timing of envelope. The tempo entered is indicated on 7-seg LED (default tempo setting is 120BPM).
10. RATE knob Sets the speed of LFO or the trigger timing of envelope. The flickering speed of upper and lower halves of 7-seg LED changes accordingly. 11. TRIGGER key Manually triggers the envelope for cut-off or resonance at desired point. The trigger is turned on
when the key is pressed and turned off as released. The envelope is set with A/D/S/R knobs.
12. A knob Sets the attack time of envelope. 13. D knob Sets the decay time of envelope. 14. S knob Sets the sustain level of envelope. 15. R knob Sets the release time of envelope. 16. ENVELOPE key The BEAT Module triggers the envelope for cut-off/resonance cyclically when its ON (key is lit while ON). 17. LFO key The BEAT Module applies the LFO of constant speed to cut-off/resonance when its ON (key is lit while ON). 18. WAVE key Selects the waveform for LFO from 4 waveforms of Triangle, Square, Sawtooth and Random. The key press toggles the waveform selected. The LED of selected waveform is lit. 19. CUTOFF key The cut-off is controlled by the Groove Modulator or Manual Trigger when ON (LED is lit while ON). It can be used with RESO key. 20. RESO key The resonance is controlled by the Groove Modulator or Manual Trigger when ON (LED is lit while ON). It can be used with the CUTOFF key. 21. DEPTH knob Sets the depth of LFO waveform/amount of envelope change that controls cut-off/resonance. The larger the LFO waveform/Envelope, the more the changes. 22. DESTINATION switch Selects the destination of Groove Modulator/Manual Trigger to either Mono or Stereo channel to control its cut-off/resonance. 23. L-R PHASE knob Adjusts the phase difference of LFO waveform between Left and Right channels (Stereo channel only). 24. INPUT knobs (Mono/Stereo channels) Adjusts the input level. This adjusts the signal level introduced to the filter module. 25. 2 POLE keys (Mono/Stereo channels) Turns 2-pole filter on/off (key is lit while ON). 26. 4 POLE keys (Mono/Stereo channels) Turns 4-pole filter on/off (key is lit while ON). 27. 8 POLE key (Mono channel only) Turns 8-pole filter on/off (key is lit while ON). 28. FILTER TYPE switches (Mono/Stereo channels) Selects the filter type from High pass, Low pass, Band pass and Notch type ( and designates down position).

designates up

29. CUTOFF knobs (Mono/Stereo channels) Adjusts the cut-off frequency of filter. The sound changes with the rotation of knob. 30. RESONANCE knobs (Mono/Stereo channels) Adjusts the resonance of filter. Gives sound the distinguishable character. It even oscillates when the knob is turned up too high.
31. LEVEL knobs (Mono/Stereo channels) Adjusts the output level of filter module. These are used to balance the Mono/Stereo outputs. 32. LINK key Enables to control the cut-off for both Mono and Stereo channels simultaneously. The CUTOFF knob on Mono channel controls both channels. The CUTOFF knob on Stereo channel is disabled when LINK is ON (LED is lit while ON). 33. INVERT key Inverts the movement of cut-off control for Mono and Stereo channels only while LINK is ena bled (LED is lit while ON). 34. PAN knob (Mono channel only) Adjusts the panning of output signal from the Mono channel filter module. 35. PHASE SHIFTER key Turns the phase shifter effect on/off. It gives sound the swirl effect/rolling effect (LED is lit while ON). The effect is applied to both Mono and Stereo channels. 36. SPEED knob (Phase Shifter) Adjusts the speed of phase shifter (swirling/rolling) effect. 37. DEPTH knob (Phase Shifter) Adjusts the depth/amount of phase shifter (swirling/rolling) effect. 38. DISTORTION key Turns the distortion effect on/off. It distorts the sound (LED is lit while ON). The effect is applied to both Mono and Stereo channels. The amount of distortion is adjusted by the INPUT and/or LEVEL knobs on Mono/Stereo channels. The output level is adjusted by the OUTPUT knob. 39. OUTPUT knob (Distortion) Adjusts the OUTPUT level of distortion effect. 40. HIGH knob (EQ) Adjusts the level of high frequency component in OUTPUT L/R and headphones. 41. LOW knob (EQ) Adjusts the level of low frequency component in OUTPUT L/R and headphones. 42. MAIN VOLUME knob Adjusts the level of OUTPUT L/R. 43. PHONES LEVEL knob Adjusts the level of headphones.

Rear Panel

h ~ A L r l b g J B X C B
MONO IN Input phone jack for the Mono channel. STEREO IN Two types of input connectors for the Stereo channels, 2 phone jacks and 2 RCA connectors. Both types of connectors can be used simultaneously (but without their balance control). When

3. 4. 5.

Mono signal is used, connect it to L/MONO phone jack. LINE/PHONO switch Set the slide switch to PHONO side when the turntable is used. SIGNAL GND terminal Used for the signal grounding of the turntable. OUTPUT L/R Two types of output connectors for the output L/R, 2 phone jacks and 2 RCA connectors. Both types of connectors can be used simultaneously. The same signal is available on both.

6. 7. 8. 9.

MIDI IN Receives the MIDI signal. MIDI OUT Sends out the MIDI signal. MIDI THRU Returns the MIDI signal received at MIDI IN terminal. AC Inlet Connects the power cord supplied. Note: This unit is equipped with the voltage selector. Be sure to check the setting, before connection.
Chapter 2 Basic Operation

Connections

Be sure to turn all equipment off before making connections.

SIGNAL GND

MIDI OUT MONO OUT

MIDI IN

Synthesizer

Sequencer Sequencer

Turntable

STEREO(L/R)

Monitor

Rhythm machine

Signal flow
INPUT LEVEL FILTER PAN LEVEL PHASER OUTPUT L/R

PHONES

STEREO

INPUT LEVEL FILTER LEVEL

Keywords in basic operation

[Filter]

As the coffee filter, it separates one to pass through and the other to block. In sound application, the separation is determined by their signal frequencies. This particular criterion frequency is called as cut-off frequency. There are several filter types of different characteristics.
Low Frequency High Frequency response in original passes through filter Level

Cutoff frequency

Frequency

HIGH PASS

LOW PASS
<HIGH PASS> Passes the frequency components higher than the cut-off frequency and cuts out the lower frequency components.
<LOW PASS> Passes the frequency components lower than the cut-off frequency and cuts out the higher frequency components.

BAND PASS

<BAND PASS> Passes the frequency components adjacent to the cut-off frequency and cuts out the higher and lower frequency components.
<NOTCH> Cuts out the frequency components adjacent to the cut-off frequency and passes through the higher and lower frequency components. Note: The CUTOFF knob may not change the sound character as the depth of filter notch is lessened when RESONANCE knob is turned up.

[Cut-off]

The point specified in frequency that determines where the filter effect takes place. The filter separates the signal, to pass or cut-out, referenced to the cut-off frequency. Changing the cut-off frequency changes the sound character.

[Resonance]

It accentuates the frequency components near the cut-off frequency to give sound the distinguish character. It oscillates when its overdone.
RESONANCE knob fully counter-clockwised position Level Cutoff frequency Level
As the knob is turned up.

[Pole]

Determines the shape of cut-off curve. The larger the number, the sharper the curve. The sound character is different with different curves. (1 pole = -6dB/Octave) Note: Up to 8-pole is available on Mono channel.
Frequency Cutoff frequency
2POLE ( -12dB/oct ) 4POLE ( -24dB/oct ) 8POLE ( -48dB/oct )

Filter operation

( -3dB)
Lets master the operation of MFC42, confirming how the sound changes when the signal goes through the filter, in the actual application. The following is based on the connection of rhythm machine (stereo connection), but the operation of the MFC42 is the same with other devices.
<Preparation> (Connection to rhythm machine)
Connect the stereo output of the rhythm machine to the STEREO IN connectors of the MFC42. Connect the OUTPUT L/R to your sound monitor system (or connect your headphones to the headphone jack, instead). While the MAIN VOLUME is turned down, turn on the rhythm machine, the MFC42 and then your monitor system in that order.

(Level adjust)

Adjust the level of MFC42 while playing the rhythm machine. Turn the INPUT and LEVEL knobs on Stereo channel fully clockwise. Next, turn the MAIN VOLUME (or PHONES LEVEL for headphone) up to the appropriate level.

(Panel settings)

Turn the RESONANCE fully counterclockwise and the CUTOFF knob to 2 Oclock position, and set the FILTER TYPE switches to LOW PASS (both switches down) position. Now, were all set to experiment.

(Auto-tuning)

As the characteristic of analog circuitry, the heat makes the filter cut-off operation unstable. With the built-in Auto-tuning function, it self-adjusts the internal filter circuit optimal. Press the MIDI CH. and CC NUMBER keys simultaneously to start it (bars on LED flash while autotuning). Perform this auto-tuning when the unit is warmed up.

Changing the sound

1. Passing the filter First, pass the input signal through the filter on the Stereo channel. Press 2 POLE key on the Stereo channel. This makes the sound of rhythm machine go through the filter. You now hear the change in sound already. 2. CUTOFF change The CUTOFF knob changes the character of sound fed through the filter. Try rotating the CUTOFF knob, paying attention to the character of sound. Now press 4 POLE and 2 POLE keys alternatively while rotating the CUTOFF knob to hear the difference by the number of poles. 3. FILTER TYPE selection FILTER TYPE, as the name implies, the type of filters is selected here by the combination of toggle switch position. Depending on the filter type selected by the combination of these switches, the way the sound change differs when the CUTOFF knob is rotated. Try selecting the different filter types while rotating the CUTOFF knob. Also, try them out with different pole selections. (Refer to Keywords in basic operation.) 4. RESONANCE change The resonance effect gives the distinguish character of metallic sound. Try rotating the RESONANCE knob. It should sound metallic as you rotate the knob. As the effect of RESONANCE changes largely on the position of CUTOFF knob, try changing the CUTOFF position when the effect of resonance is not so significant. 5. Using the effects The MFC42 has the Phase Shifter and Distortion effects unit built-in. The phase shifter gives the sound the swirl or roll effect. The distortion effect distorts the sound. Turn the PHASE SHIFTER on and adjust the SPEED and DEPTH knobs. Hear how the sound changes with the various CUTOFF and FILTER TYPE settings. Turn the DISTORTION on and check its effect, also. The output level of distortion is adjusted by the OUTPUT knob. The amount of distortion is adjusted by the INPUT and/or LEVEL knobs on Mono/Stereo channele. These two effects can be used simultaneously. 6. Adjusting the EQ The MFC42 is equipped with the 2-band EQ. Adjust the tone of sound to your taste with the HIGH/ LOW knobs. The operation on Stereo channel has been explained above. The operation on Mono channel is basically the same with the following few exceptions. The PAN knob is available for panning adjustment. The selection of up to 8 POLE is available.

Chapter 3 Advanced Operations
Keywords in advanced operation
The LFO stands for the Low Frequency Oscillator. The LFO waveform is used to control the pitch, level and character of sound cyclically. In the MFC42, the LFO is applied to the cut-off/resonance to change the character of sound cyclically. Also, the waveform of LFO changes the way it changes the sound character.
Applying LFO to Cutoff/Resonance. Slow In Cutoff L F O s p e e d Fast

LFO ON

LFO waveform apply this to cutoff. 1 cycle Frequency

LFO OFF

1 cycle
Cutoff frequency 1 cycle Time The LFO speed means the length of waveform.
The cutoff frequency changes along the LFO waveform.

[Envelope]

Its the parameter that changes the pitch, level and character of sound in time span. In the MFC42, it is applied to the cut-off/resonance to change the sound in time. The A/D/S/R knobs adjust the shape of envelope.
Slow Trigger timing of Envelope Adjusting trigger timing of Envelope.
Applying Envelope to Cutoff/Resonance. In Cutoff When Envelope of this ADSR setting is triggered.

Trigger timing

Fast Frequency Note OFF In Envelope, it adjusts the duration between Envelopes, not like the cycle length in LFO. The ADSR knobs adjust the shape of Envelope. When Envelopes overlap as the duration is set too short, the following envelope resets the previous one. When Envelope is triggered by the Groove Modulator described later, the shape of Envelope becomes as shown above since the sustain time is zero. Refer also to [ADSR] on next page.
Cutoff frequency Time Note ON
[ADSR] The ADSR stands for the Attack time, Decay time, Sustain level and Release time of the envelope. In the example of keyboard instrument, the Attack time is the time between the key press and the time it takes to reach the maximum sound level. The Decay time is the time it takes to reach reach to the sustain level from the maximum level. The Sustain level is the level while the

Changes

Note OFF
Sustain level (S) Attack time Decay time (A) (D) Note ON Release time (R) Time
key is held pressed. The Release time is the time between the key is released and the sound diminished. As in the above example, the envelope is often used change the sound level in time span. In the MFC42, the ADSR envelope is applied to the cut-off/resonance to change the sound character in time span. Note: When the envelope is triggered by the Groove Modulator, described later, the envelope becomes as the waveform shown at Adjusting the trigger timing of envelope on the previous page since the sustain time (the time the key is held) is not programmable. Similarly, in the Manual Trigger operation, the sustain time is the time the TRIGGER key being held.

Chapter 4 MIDI Function

By connecting the external MIDI device (sequencer) via MIDI, the operation of keys/knobs and/or the settings of MFC42 can be controlled/recorded, other than the MIDI Clock Sync function described in Chapter 2. Refer to the Chapter 5 for the use of MPC2000/MPC2000XL. Most of keys and knobs on the MFC42 have the MIDI Control Change numbers assigned and their operations can be sent out as MIDI information. The operation of keys/knobs and settings are recorded onto the sequencer tracks. The MIDI send and receive channels cannot be set independently, however.
MIDI Receive channel setting

Set the MIDI Channel

1. Press the MIDI CH. Key 2. The LED shows the current MIDI channel setting. 3. Change the MIDI channel with +/ keys. The options are OFF, 01 ~ 16, and L01 ~ L16 (L designates Local Off). 4. Press the MIDI CH. Key again to finish setting.

Local Off

Normally, when the keys and knobs are operated, that information is delivered to the filter and/or effect modules as well as sending out the MIDI Control Change messages via MIDI. While Local Off is selected, the MIDI Control Change messages are sent out via MIDI, but not to the filter/ effect modules, when the keys/knobs are operated.
Confirmation of MIDI Control Change number
The MIDI Control Change number assigned to the keys and knobs can be confirmed. 1. Press the CC NUMBER key (LED shows CCn). 2. The assigned number will be displayed when you rotate the knob (quickly) or press the key you want to confirm. 3. Press the CC NUMBER key again to resume normal operation.
Recording the knob operation to sequencer

Recording

First, connect the MIDI OUT of the MFC42 to the MIDI IN of the external sequencer and connect the MIDI IN of the MFC42 to the MIDI OUT of the sequencer via MIDI cables. Set the MIDI channel of the recording track and that of the MFC42 to the same channel. Next, start recording the sequencer. The operation of keys and knobs will be recorded as the sequence of MIDI Control Change messages onto the recording track. Playback the recorded sequence. The MFC42 replays the operation of keys and knobs as it receives the MIDI Control Change messages (knobs wont move, however). Refer to the Operators Manual of the sequencer for its operation.

Sync Out (Out:A).. Mode:MIDI CLOCK MIDI

Send MMC:OFF

MFC42 operation
Refer to Control the cut-off cyclically with Groove Modulator (MIDI CLOCK SYNC) section in Chapter 3. Recording the settings and operation of keys and knobs on the MPC2000/XL The data is recorded onto the sequence track of the MPC2000/XL. Note: Select the empty track for this purpose. If the data is recorded on the track with other data, the sequence data of the MFC42 will be mixed and become difficult to edit later on.
Recording the keys and knobs
As an example, well change the Bass part sound on the Mono channel with the CUTOFF knob and record its knob movement. First, confirm the MIDI Receive channel of the MPC2000/XL is set to ALL in the MIDI Input window. The ALL is the default setting. Set it to ALL, when necessary. The following illustration shows the MIDI Input window of the MPC2000XL.

.... MIDI Input

Receive channel: channel:ALL Prog change>seq:OFF Sustain pedal to Duration: ON... MIDI filter:OFF Type:NOTES Pass?:YES MONITR CLOSE....
1. Select the track to record Since the tracks 1 and 10 are already in use for Bass and Drum part, select the track other than 1 and 10. Lets use the track16, here. 2. Set the MIDI channel on MPC2000/XL and MFC42 The MIDI channel for the MFC42 and that of the MPC2000/XL for recording/playback track (track16) must be the same. Set the MIDI channel to 16 for both MFC42 and MPC2000/XL. The track and MIDI channels are set as Bass (Trk1, Ch1), Drum (Trk10, Ch10) and MFC42 (Trk16, Ch16).
3. Record the data on track Select the track16 to record and start playing back the MPC2000/XL. Move the CUTOFF knob (Mono channel) as the playback of Bass and Drum parts begin. The movement of CUTOFF knob will be recorded on the track16. 4. Playback the recorded data Press the [PLAY] key to playback the recorded data. When the Bass sound changes as it did in recording, the MFC42s data is properly recorded on the track16 (You may also check the recorded data in Step Edit mode). In the above example, only the operation of CUTOFF knob has been recorded, but operation of other keys and knobs can also be recorded as well. Recording the settings When the settings of MFC42 have been recorded (Send Scene function) at the beginning of sequence, it can be recalled when its played back from the beginning of the song, even if the keys and knobs are operated in the middle of the song. 1. Select the track to record data Since the tracks 1, 10 and 16 are already in use, select the track other than 1, 10 and 16. Lets use the track15. 2. Set the MIDI channel on MPC2000/XL and MFC42 The recording track has been selected as track15, but the MIDI channel is set as MIDI channel 16. Since the MFC42 can have only one MIDI channel, the previous control data recorded on track16 cannot be played back when the MIDI channel is set as channel 15. For example, if the MIDI channels are assigned as follows, the MIDI channel data on track16 can be received, but not the data on track15 as its MIDI channel is different. MFC42. MIDI channel 16 Track16. MIDI channel 16 Track15. MIDI channel 15 3. Record the setting on track The settings data is recorded at the beginning of sequence in Step Edit mode. On Track15, be sure that the now time is at the beginning of sequence. Press the STEP (F1) key to open the Step Edit screen. Pressing the + and - keys of MFC42 simultaneously records the setting data on the Track15 of the MPC2000/XL. The movement of CUTOFF knob should be recorded on the track 16. 4. Playback the setting data First, make the MFC42 settings different by moving the keys and knobs from those of recorded data. Now, playback the sequence data from the beginning to confirm the recorded settings on the MFC42 has been recalled (recorded data can be viewed in Step Edit mode).

Effects: Control:

OUTPUT L/R
MIDI Headphone Display: Power Supply: Dimensions: Weight: Accessories: Option:
The specifications are subject to change without prior notice.

88.1 97.2

482.6 28.7

Printed in China

the 8mile in Warszawa 110324
midi and signal routing commands and settings sidenotes

8mile 2010 MIDI

MIDI-Routing WamiRack24 In1 In2 In3 In4 Out1 Out2 Out3 Out4 RME HDSP 9652 In1 In2 Out1 Out2 Ray DAT In1 In2 Out1 Out2 O O Virus (12) Soft Thru > Micro Korg (6) > JX-3P (2) (hat kein Thru) Funktion prfen! Akai MFC42 (14) VM-7200 Akai MFC42 (14) > Sony V77 (7) VM-7200 MC-909 (omni) XP80 (10) VP9000 (12) YMM2 Thru 1 ADX1 (11) > MC-909 (omni) Kawai MAV-8, In B Kawai MAV-8, In C YMM2 In2 Kawai MAV-8 In In In In A B C D Front CCCCBBBB not used Wami Rack 24 Out2 Wami Rack 24 Out3 not used Pulse (9) > Microwave (10) FS1R (15) MKS-70 (7) SpecSynth (13) > SpecBass (15) XP80 (10) WSA1 In1 (11) A3000 (12) VP9000 (12) MIDI Clock In2 Nord Stage (5/4) WamiRack24 Out 4 falconi thru Wami Rack 24 In 4 NordLead3 (8/9/10/11) >Nord Stage (5/4)
Out1 C Out2 C Out3 C Out4 C Out5 B Out6 B Out7 B Out8 Front B YMM2 In1 In2 Out Thru1 Thru2 falconi thru In Out Out Out Out
YMM2 Orchestra (14) Vintage (6) Dance (13) Bass&Drum (2)
micro express In1 In2 In3 In4 Out1 Out2 Out3 Out4 Out5 Out6
Seq 25 PC1600 (13) JX-3P (2), optional Virus >dann bei Virus MIDI Out (SoftThru) abziehen Nord Lead, optional FS1R Pulse, optional MKS70 fr Dump
Wavestation (3) Doepfer MCV1 > Monopoly (15) DPV-77 (7) DP/4 (4)
Synthax Program Changes und Bank Select Nord Lead 3

M-VS1 Vintage

Pause vor der Sendung weiterer Controller! Wavestation EX BANK PC 1-49 50-99 1-49 50-99 CC 0: 0 CC 32: 0 PC: 1-128 Bank 1 1-0 Bank2 129-256

RAM1 RAM2 ROM CARD

Roland JV/XP Expansion ausser M-VS1 Vintage
CC 0: 80 CC 32: 0 PC: 1-128

Bank 1 1-128

Bank2 129-256
ADAT und SP/DIF- Routing VM-7200 Unit 1 RMDB2 1-8 RMDB2 9-16 RMDB2 17-24 AES/EBU In AES/EBU Out DIF-AT 1 Links > ADA8000 RMDB2 1-8 (Bespeco: Wavestation, Mono/Poly) DIF-AT 2 Mitte DIF-AT 3 Rechts > HDSP 9652 ADAT2 PLAYBACK Digitech Studio 400 AES/EBU Out Digitech Studio 400 AES/EBU In

Ray DAT Main Board

VM-7200 Unit 2 RMDB2 1-8 RMDB2 9-16 RMDB2 17-24 AES/EBU In AES/EBU Out DIF-AT 1 Links > ADI8 ( MicPres+ Allen&Heath X:one 62 ) DIF-AT 2 Mitte DIF-AT 3 Rechts > 27-34 Ray DAT 1-8(1) VOCALS SP/DIF 61/62 Out (ROT)

RME HDSP 9652 Main Board

RAY ADAT1 RAY ADAT2 SP/DIF 61/62 In (WEISS) SP/DIF 61/62 Out (ROT) Daughter Board
VM 7200 2, DIF-AT Rechts, RMDB2 17-24 VOCALS ADA8000 RAY2 (TL Audio, Dim D, Fullmost(!)) SPDIF Out HDSP9652 VM 7200 2, AES/EBU in

35-42 RayDAT 9-16 (2)*

HDSP ADAT1 HDSP ADAT2 SP/DIF 25/26 In (WEISS) SP/DIF 25/26 Out (ROT) Daughter Board
ADA8000 HDSP1 (TL Audio, Dim D, Fullmost(!)) 1-8 HDSP9652 ADAT 1-8 (1) VM 7200 1, DIF-AT Rechts, RMDB2 17-24 PLAYBACK Lexicon L300 Lexicon L300 +SPDIF In RayDAT

RAY ADAT3 RAYADAT4

ADA8000 HDSP1 (TL Audio, Dimension D, Fullmost) ADA8000 HDSP3 (PIK-Rack) ADA8000 RAY2 (DPS-V77, DP/4, Lex 300, PR99)
1-8 HDSP9652 ADAT 1-8 (1 ) 17-24 HDSP9652 ADAT 17-24 (1) 35-42 RayDAT 9-16 (2)*

HDSP ADAT3

ADA8000 HDSP3 (PIK-Rack)
17-24 HDSP9652 ADAT 17-24 (1)
*Ray DAT startet bei 27, ADAT 2 der Ray DAT bei 35!

In and Out

Externe Effekte

Monitoring

Belegung Analog Roland VM7200 Master
Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog Analog In In In In In In In In In In In In In In In In In In In In In In In In 23 24.
Belegung Analog Roland VM7200 Slave
MAIN Monitor Digital In Digital Out Assignable 1 Assignable 2 Assignable 3 Assignable 4 Assignable 5 Assignable 6 Assignable 7 Assignable 8 Rec out 1 Rec out 2
Eingangsbelegung Yamaha CX1000 Accessory Send Accessory Receive VCR1 In VCR 1 Out VCR2 In VCR2 Out CDV2 In CDV1 In analog Tape 3 In Tape 3 Out Tape 2/DAT2 In digital coax Tape 2/DAT2 Out digital coax Tape 2/DAT2 Out analog Tape 1/DAT1 In digital optical Tape 1/DAT1 In analog Tape 1/DAT1 Out digital Tuner CD In Phono In Out1 Out2 SCSI-ID ext. CD-R Plextor HD IBM 1GB DPES, A3000 IBM HD 2GB DCAS 32140, PC VP9000 int. CD-ROM Teac, PC A3000 ZIP-Drive VP9000 Adaptec 2940 Wami Rack 24 coax out (>48kHz kein Monitoring) Wami Rack 24 coax in WamiRack24 In 1-2 (3-4 sind defekt) Tascam DA30 optical Aiwa XK-S7000 analog Tascam, DA30 optical / XK-S7000 coax F-91 CD960 coax TD125 MkII Bryston 4B SST / Bryston 3B T+A Pulsar A2000 Studer A810 Studer A810 Allen&Heath Xone: 62

VM-C7200 Digital Out 1 DVD-A10
The Electro-Harmonix NY-2A has three selectable opto-couplers, which present the user with a range of options.
The Electro-luminescent panel optocoupler has an interesting frequency dependent characteristic. EL lamps change color with frequency. Photocells have a range of sensitivity but most chemistries peak in either the red/yellow range or in the blue/ultraviolet. Most EL lamps go from yellow green at low frequencies (Hz) to blue (Hz) to purple (2 to 20 KHz). Additionally, EL lamps produce less light at low frequencies, more in the middle, and most at the top until the capacitance of the lamp lowers the impedance to a short circuit somewhere around 80KHZ. The right choice of lamp, together with a spectrum sensitive photocell, will create a natural de-essing circuit that compresses high frequencies more than low. This is excellent for vocals and for loud blaring electric guitar. The EL opto-coupler in the NY-2A has 2 settings: normal, which is generally flat except for a small bump in the bass, and squash, which compresses the top more. The LED opto-coupler has the fastest attack time (about 10mS) and a flat frequency response. It can be saturated so that some bite can be added if desired. The Incandescent lamp opto-coupler has the slowest attack time and also has a little kink in the response. By switching in the attack selector, this can be slowed down a bit more. It responds slower to higher frequency signals than the LED, thus adding some brightness to the result. It is difficult to saturate and very clean, unless intentionally overdriven.