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============ Select Program ===========A Active program: 1-PROGRAM_NAME ========== Assign Note:41/A08 ========== Sound:BIG_BAD_DRUM Mode:NORMAL General MIDI name for note:LO FLOR TOM ======================================== <Play>
2. Move the cursor to the Active Program field. It should display 1. Select program 2 using the data entry knob. 3. Play the sounds in program 2: Select Pad Bank A and play the sounds, then select Pad Bank B and play the sounds, then play bank C, then bank D. 4. Repeat step 3, except select program 3 and play the sounds. Repeat this procedure to hear the other programs. 5. To return to the Play/Record screen, press MAIN SCREEN.
The Note Variation Slider (the new name for the Hihat Decay Slider) andAFTER key
In Version 3 software, the MPC60s Hihat Decay Slider is called the Note Variation Slider because its function is expanded beyond merely altering the decay of the hihat sound as in Version 2 software. The Note Variation slider can now be used in real time to change the tuning, attack, or decay of a sound played from a single pad. Once the slider is assigned to single pad and parameter, moving the slider while playing the pad will cause the sounds tuning, attack, or decay to be determined by the current slider position. Here are some examples of uses of Note Variation: 1. The slider can control decay for a hi-hat sound. This would simulate the action of a drummers hi-hat pedal, allowing a unique hi-hat decay time each time the pad is played. 2. The slider can be assigned to tuning for a tom tom sound. By moving the slider while playing the tom pad, a wide range of tom tunings is possible. 3. The slider can control a sounds attack time (the amount of time it takes to fade in). This is useful for adding subtle variations to a sound or producing special effects.
How to Assign the Note Variation Slider To assign the Note Variation Slider to a pad and parameter, press the SOUNDS key, then 3. The following screen will appear:

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=== Assign Note Var Slider (Pgm: 1) ===A Note:64/A01-Sound_name Param:TUNING Low range:-120 High range: 60 ========================================
To assign the slider to a pad and parameter: 1. Press the desired pad (the note number, pad number and sound name of the pad you pressed will appear in the Note field). 2. Move the cursor to the Param field and select the desired parameter (TUNING, ATTACK, or DECAY). 3. Press MAIN SCREEN to return to the Play/Record screen. 4. Play the selected pad while moving the Note Variation slider. Each time the pad is played, the selected parameter (tuning, attack, or decay) will change according to the slider position.
Here is additional information about the five fields: The Pgm field: This is the active program number (18). The data in the Param field applies only to the program number selected here. The Note field: This field contains the note number to which the slider is assigned (35 98). To change the assignment, press a pad. The note number to which the pad is assigned will instantly appear in the Note field, along with the pad number of the pad you pressed and the name of the sound currently assigned to the note number. Alternately, you can enter the desired note number by typing it then pressing ENTER. The Param (parameter) field: This field determines which of the three possible parameters the slider will control. The three choices are: 1. TUNING: If selected, the slider alters tuning. Slider values are added to the tuning settings used in the program and sound. 2. DECAY: If selected, the slider alters envelope decay time. Slider values override the programs envelope decay setting. 3. ATTACK: If selected, the slider alters envelope attack time. Slider values override the programs envelope attack setting. The contents of this field are unique for each of the 64 note numbers selected in the Note field above.

The Tempo Display Mode field (BPM:120.0 (SEQ) in the example screen): This is a choice field with two options: 1. BPM: The tempo is displayed in Beats Per Minute with one digit to the right of the decimal point. 2. FPB: The tempo is displayed in Frames Per Beat with one digit to the right of the decimal point indicating 1/8s of a frame. If this option is selected, the Frames field (in the Tempo/Sync screen) should be set to the desired frame rate.

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The Active Tempo field (BPM:120.0 (SEQ) in the above example): This is the active playing tempo. If the sequence contains tempo changes, this shows the active tempo at the current sequence position displayed in the Now field. The Tempo Source field (BPM:120.0 (SEQ) in the above example): This is a choice field with two options: 1. SEQ (sequence): Within each sequence is a unique tempo setting. If this option is selected, the sequences unique tempo is used in the Active Tempo field. In this case, whenever the active sequence number is changed, the newly selected sequences tempo immediately appears in the Active Tempo field. When playing sequences, this is useful if you want each newly selected sequence to play at its own preset tempo. The sequences tempo is saved to disk when a sequence is saved. 2. MAS (master): The master tempo is a single tempo setting that applies to all sequences and songs. When playing sequences this is useful if you always want each newly selected sequence to play at the same tempo. This tempo setting is not saved in the sequence file. The Time Signature field (Sig: 4/ 4 in the above example): This field shows the time signature of the current bar (displayed in the Now field) of the active sequence. It is for display only and cannot be changed. For information on how to change the time signature of a bar or to insert time signature changes, see the Editing Sequences chapter of this manual. The Bars field: This shows the total number of bars in the active sequence. It is for display only and cannot be changed.
The Loop field: This is a choice field with 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 (with the time signature of the last bar) onto the end of the sequence as each new bar is entered, until the sequence is stopped. 2. TO BAR 1: If this option is selected, when the sequence plays to the end, it immediately loops back to the bar number displayed to the right of the word BAR. To set the number of the bar to which the sequence loops back, move the cursor to the field to the right of the word BAR and enter the new number. COMMENT: If the bar to loop to is bar number 1 and the sequence is in Record mode, the MPC60 will automatically

====== Timing Correct / Step Size =====A Note value:1/16 NOTE Swing%:50 Shift timing:LATER Shift amount: 0 ========= Move Existing Notes ========== Track: 1-(unused) Ticks:001.01.00-001.01.00 Notes:ALL (Hit pads) <Move existing>
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 timing value. This field is used to select that note value. The options are: 1.1/8 NOTE: All notes are moved to the nearest 1/8-note 2.1/8 TRPLT: All notes are moved to the nearest 1/8-note triplet 3.1/16 NOTE: All notes are moved to the nearest 1/16-note 4.1/16 TRPLT: All notes are moved to the nearest 1/16-note triplet 5.1/32 NOTE: All notes are moved to the nearest 1/32-note 6. 1/32 TRPLT: All notes are moved to the nearest 1/32-note triplet 7. OFF(1/384): No timing correctionin this setting, the highest resolution of the MPC60 is used96 divisions per 1/4-note. This value also affects two other functions in the MPC60: 1. It sets the Note Repeat timing value, described later in this chapter. 2. It sets the amount by which the current sequence position will change when either the REWIND [<] or FAST FORWARD [>] key is pressed.

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The Swing% field: This field only appears if the Note Value field is set to either 1/16- or 1/8notes. The swing feature is a variation of timing correction. Whereas normal timing correction moves your notes to perfect 1/16- or 1/8-note intervals, the swing feature moves your notes to swing-timing intervals. The amount of swing is measured as a percentage of time given to the first note in each pair of 1/16- or 1/8-notes. The range of values is from 50% to 75%. For example: A swing setting of 50% gives perfectly even timing with no swing effect; the first and second notes of each pair of 1/16- or 1/8-notes have equal (50%) timing. A swing setting of 66% indicates a technically perfect swing; the first note of each pair of 1/8 or 1/16 notes has a timing value of twice that of the second note, giving the effect of 1/16- or 1/8note triplets where the middle note of each triplet is silent. A swing setting of 75% is the highest swing setting; the first note of each pair of 1/8 or 1/16 notes has a timing value of three times that of the second note. This creates a very exaggerated swing timing. A very important use of the swing feature is to add a human rhythm feel to the timing of your music. Here are a couple of useful settings to experiment with: Note Value = 1/16, Swing = 54%, Tempo = 100 BPM: While not enough swing for a true swing feel, this small amount of swing timing removes the stiffness from perfect 1/16-note timing and is especially useful on drum sequences using 1/16note hi-hats. Note Value = 1/16, Swing = 62%, Tempo = 100 BPM: This creates an 1/16-note swing feel that could be described as more relaxed than a perfect triplet swing (66%). As with timing correction, swing moves your notes in real time as they are recorded into the sequence, so your notes are instantly played back with the specified shift. Also, as with timing correction, this effect can be used on existing sequence data by using SOFT KEY 1 (<Move existing>). The Shift timing and Shift amount fields: These two fields work in conjunction with the Note value and Swing% fields to move your notes to shifted timing locations. The Shift timing field sets the direction of shift (EARLIER or LATER) and the Shift amount field sets the amount of timing shift in ticks (1/96 of a 1/4-note). For example, in order to compensate for the slow attack time of a particular synthesizer, you might set these two fields to EARLY, 1 tick. This would cause all new notes to be recorded onto 1/16-notes but at 1 tick earlier than normal. COMMENT: It is not possible for this function to shift the timing of notes without also correcting their timing. This also means that the range of shift depends on the current Note value fields setting. For example, if the Note value field is set to 1/16-notes, the maximum shift amount is 11 ticks, or slightly less than 1/2 of one 1/16-note; if the Note value field is set to 1/32 notes, the

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the main tempo setting (either SEQUENCE or MASTER) is changed. The Tempo field: This field displays the new tempo at which the sequence will play once the tempo change is active. This number is automatically computed from the displayed percentage of change multiplied by the main playing tempo (either MASTER or SEQUENCE). To view the entire list of tempo changes, simply modify the Change# field and notice the different settings of the other three fields as you change it. Even if no changes have been entered, every sequence has one changeto 100% at bar 1. This is because the current tempo setting is always returned to when the sequence plays bar 1, whether it does so by playing from the start or by looping back to the start. To insert a new tempo change, enter the location within the sequence where you want the change to occur into the Location for inserted change field, which is a bar.beat.tick field. Then press the <Insert New> soft key. Immediately, a new tempo change will be inserted into the list, displayed on the screen with a default value in the %Change field of 100%. You must now enter a percentage of the main starting tempo. As you enter the percentage, the Tempo field will show the actual tempo. For example, to insert a tempo change to 60 BPM at bar 5 from a main starting tempo of 120 BPM, you must insert a 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 two options: ON and OFF. If set to ON, tempo changes are used; if set to OFF, all tempo changes within the sequence are ignored.

The TAP TEMPO Key

The TAP TEMPO key allows the tempo to be set quickly by tapping two beats (1/4-notes) on the TAP TEMPO key. After two taps, the MPC60 automatically assumes the two taps to be 1/4-notes and recalculates a new tempo to match those 1/4-notes. For example, to change to a tempo of 80 BPM quickly, tap two 1/4-notes at a tempo of approximately 80 BPM on the TAP TEMPO key. After the second tap, the new tempo will appear in the Active Tempo field of the Play/Record screen. This can also be done while the sequence is playing. Normally, only two taps are required before the MPC60 recalculates the new tempo. However, it is possible to set this feature so that it recalculates the tempo by averaging the last three (or four) successive

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tap intervals. This is set in the Tap averaging field, located in the Tempo screen. More information about using the TAP TEMPO key is contained in the Tempo and the TEMPO/SYNC Key section of the manual, earlier in this chapter.

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The WAIT FOR KEY and COUNT IN Keys
These two keys make the process of real-time sequence recording easier. The WAIT FOR KEY key This function is useful in the recording of keyboard sequences when your keyboard is not located close to the MPC60. If Play, Record or Overdub mode is entered while the Wait For Key function is on, the sequence will not begin to play until a key is played on the MIDI keyboard. This acts as a remote switch to start the sequence playing. Note that the first key that is played to start the sequence is NOT recorded into the sequenceit only starts the sequence. All keys played after recording has been initiated are recorded into the sequence. To turn Wait For Key mode on, press the WAIT FOR KEY key once; the light goes on to indicate it has been activated. To turn the mode off, press the WAIT FOR KEY key again and the light will go off. If set to ON, it will automatically go OFF after it has been used once (for playback, recording, or overdubbing a sequence). You must turn it on again each time you want to use it. The COUNT IN key If the Count In function is on, one bar of metronome clicks will precede the playing of the sequence or song whenever you initiate playback of a sequence or song. The clicks provide a tempo guide to prepare you to record or play along with the sequence. Press COUNT IN to turn the function on and again to turn it off. While on, the light above the key is lit. It is possible to select a mode in which the count in only occurs before recording and not before playing. To select this mode and to adjust other metronome parameters, press the OTHER key. These features are explained in the OTHER Key section, later in this chapter. COMMENT: While the Count In bar is playing, keys played on the MIDI keyboard will not be output through MIDI (via the MPC60 s Soft Thru function) until the Count In bar has finished. For example, if you were to play a chord during the count in bar, the chord would not sound until bar 1 started playing. This is normal operation and serves as a reminder that no notes can be recorded during the count in bar, and that any notes played during that time will be held and recorded at the start of the sequence.

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This is for display only and cannot be changed. It indicates that the sequences Loop field is forced to OFF because loop recording is not permitted during 16 channel recording. The <Done> soft key: When finished recording, press this soft key to exit to the Play/Record screen with your new sequence intact. To record the incoming sequence: While holding the RECORD key on the MPC60, start the external sequencer playing from the beginning of its sequence. As soon as the MPC60 receives the sync signals, it will enter Record mode and begin recording the data from the other sequencer in real time. (Note: The OVERDUB key is disabled during 16 channel recording.) Once the transfer is finished, stop the external sequencer (the MPC60 will stop automatically) or manually stop the MPC60. The MPC60 now contains the transferred sequence, which can be played using the PLAY, PLAY START, REWIND, FAST FORWARD and LOCATE keys. Play the sequence; if the transfer was successful, press <Done> to return to the Play/Record screen. If the transfer didnt come out as intended, try again by holding RECORD and starting the other sequencer. COMMENT: If the incoming multitrack sequence contains a large amount of data or is playing at a very fast tempo, it is possible for the MPC60 to become overloaded, causing delays in the timing of the recorded sequence. If this occurs, reduce the tempo of the sending sequencer. This will lower the MPC60s processing requirement, and should eliminate any overload errors.

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Recording MIDI System-Exclusive Data
The MPC60 can record patch data or any other MIDI system-exclusive messages from external synthesizers directly into tracks. To do this, simply send the system-exclusive message to the MPC60 while in Record, Overdub, or Step Edit mode, and it will be recorded into the active track, just the same as any other MIDI data. The only limitation is that the message must be smaller than 1000 bytes. If an attempt is made to record a message that is larger than that, the entire message will be rejected. 1000 bytes is enough to accommodate a single voice patch data dump from virtually any synthesizer, but it is not large enough for many voice bank data dumps (large files containing an entire bank of synthesizer patches). One way of using this feature is to insert a blank bar at the beginning of your sequence and record the voice data dumps for each track into that first bar. When the sequence is played from the start, each external synthesizer will immediately receive the voice data in the first bar, so it will be ready to play the note data starting in the second bar with the proper sound. There is one problem with playing system-exclusive messages from sequences: there is no standard method for identifying the MIDI channel number within the message, and therefore the MPC60 cannot assign the output MIDI channel over which the message will be sent. This means, for example, that a system-exclusive message received over MIDI channel 3 while recording into the MPC60 will always be played out of the MPC60 on MIDI channel 3, regardless of the tracks output MIDI channel. To overcome this problem, you must send the system-exclusive message on the desired MIDI channel while recording it into the MPC60. Most synthesizers allow you to select the transmit channel. Note, however, that some older synthesizers, such as the original Yamaha DX7, always transmit on MIDI channel 1. However, there is a way to change the MIDI channel of a systemexclusive message while it is in the MPC60 by using Step Edit. The MIDI channel is assigned to a single byte within the message and the Step Edit function allows you to change the contents of any byte within the message. If you know which byte a particular manufacturer uses for the channel number, you can change the contents of that byte to the desired MIDI channel number. For example, the Yamaha DX-7 systemexclusive messages contain the MIDI channel in byte number 3, so whatever number you put into byte number 3 of the message will be the new output MIDI channel number. To learn more about editing in Step Edit mode, read The STEP EDIT Key section in the Editing Sequences chapter of this manual.

== Adjust L/R Timing of Stereo Sound ==A Sound: Snare_drum (ST) Lft start:00.000.00 Rt start:00.000.00 <Find> thres: 0% Right phase:NORMAL ======================================== <Make perm><Ply/Stp><Find best><InvertR>

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Select the new stereo sound in the SOUND field. The LEFT START and RIGHT START fields have a similar function to the SOFT START field in the EDIT SOUND screenthey display the location within the sound that play starts, as SECONDS.MILLISECONDS.SAMPLES. The difference is that in this screen, there is a separate Soft Start parameter for each side. To synchronize, you must independently set these two fields to the desired starting sample within the sound, using one of two autosynchronization features. Once set, pressing <Make perm> makes your settings permanent within the sound. There are two synchronization methods to help you set these two fields. Method 1: If the sound has a sharp attack such as a drum strike If the sound has a sharp attack such as a drum strike, set the THRESHOLD field to 1 and press <Find best>. This will set each START field independently to the first sample that exceeds 1% of full dynamic range. This should synchronize the audible starts of each side to each other. If your sound has some noise before the start, you may need to set THRESHOLD to a higher value to bypass the noise. Press <Ply/Stp> to verify that synchronization worked and save the sound to disk. Method 2: If the sound doesnt have a clear start, such as a sampled phrase from a recorded song If your sound doesnt have a blank space before the intended start, then you cant use the <Find best> method above. In this case, you must use the following process: 1. Listen only to the MPC60s left output. Manually adjust the LEFT START field until pressing <Ply/Stp> causes the sound to start playing as close as possible to the intended start location. Use the SECONDS sub-field (00.000.00) to make gross adjustments then use the MILLISECONDS sub-field (00.000.00) to make fine adjustments. 2. Listening only to the right output, do the same for the RIGHT START field. Now, the sides are roughly synchronized. 3. To fine-tune the synchronization, press <InvertR>. This will perform a process called phase inversion to the right side, making the right side out-of-phase with the left. (When finished, the RIGHT PHASE field will show INVERT.) In your external mixer, pan both sides together to mono and listen to both sides. When the sides of a stereo recording are out-of-phase and mixed together to mono, any instruments panned to the center of the stereo recording such as bass and lead vocal will not be heard, or will be heard at a greatly reduced volume. 4. Fine tune either the LEFT START or RIGHT START field until pressing <Ply/Stp> causes the greatest reduction in volume of any center-panned sounds such as bass or lead vocal. It is best to adjust the MILLISECONDS sub- field first (00.000.00), then the SAMPLES part (00.000.00). When the volume of these center-panned instruments is least, the sides are synchronized.

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file is not overwritten by the sound in memory. If when doing an APS save you know that the sounds have not changed, this option will permit a faster save. 2. YES: When saving an APS file and sounds, if a sound file exists on disk with the same name as one of the sounds to be saved, the file is overwritten by the sound in memory. If when doing an APS save you know that the sounds have changed, you should select this option. The <Do it> soft key: Press this key to save to disk the APS file and each individual sound file currently in memory. The <Select disk> soft key: This soft key only appears if your MPC60 contains a Marion Systems MPC-SCSI interface and a hard disk is connected to its SCSI port. It has the same function as in the Save Sequence screen described above.
Saving a PAR File (System Parameters)
A number of parameters in the MPC60 are not saved in SEQ, ALL, SND, PGM, or APS files. These settings, called system parameters, are retained in a special memory that doesnt lose its contents when the power is turned off. These settings include: Names for all 64 MIDI channels Master tempo BPM/FPB select and frames per second select MIDI Input Filter settings Default settings for initializing sequences.and many more (see the Appendix for a complete list). These settings can be saved to disk in a file called a parameter file, which has the file extension PAR. To save a parameter file, select 6 (System parameters) from the DISK key menu. The following screen will appear:
=========== Save Parameters ===========A File name:File_name Size: 2K Disk:SCSI DISK PART A Free: 793K

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The fields and soft keys are: The File name field: Enter the name for the file in this field. The name can be changed in the same way as the sequence name field in the Play/Record screen. The files extension will be PAR. The Disk, Size, and Free fields: These fields have the same functions as in the Save Sequence screen described above. The <Do it> soft key: Press this key to save the file to disk. The <Select disk> soft key: This soft key only appears if your MPC60 contains a Marion Systems MPC-SCSI interface and a hard disk is connected to its SCSI port. It has the same function as in the Save Sequence screen described above.

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Loading, Erasing, or Renaming Files
This function is used to either load, erase, or rename files on the current disk. In the case of a load, the screens will guide you to load the file into the proper place, according to the file extension (the three letters after the period in a file name, e.g., PGM). To load, erase, or rename a file on disk, select 7 (Load,erase, rename) from the DISK key menu. The following screen will appear:

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Saving and Loading MIDI Files
MIDI Files are an industry-standard file format used for moving sequences from one sequencer to another. The MPC60 will permit you to convert your sequences to MIDI Files or your MIDI files to MPC60 sequences. This is particularly useful for exchanging sequences between your MPC60 and an external computer sequencer. There was not enough room in the MPC60s software ROM chips to hold all of the features of version 3.1, so MIDI File conversions must be done by loading in the special utility disk included with version 3.1, MPC60 MIDI File Convert. When this is loaded, no other MPC60 functions will operateonly MIDI File conversionsuntil you turn power on again without the utility disk inserted. When converting between MPC60 sequences and MIDI Files, the MIDI Files must be stored on Double Sided Double Density disks (DS/DD) that are formatted to Windows 720K byte format. This is the only disk format that is readable by the MPC60, a Windows computer and a Macintosh. When you buy DS/DD disks (the disks that the MPC60 uses) they are usually pre-formatted to Windows 720K format. If not, you must format them to Windows 720K in any Windows or Macintosh computer. To convert between an MPC60 sequence file and a MIDI File, insert the disk MPC60 MIDI File Convert in the drive and turn power on. Once loaded, your MPC60 is ready for converting. A screen will appear asking you to insert a disk containing the sequence or MIDI file to be converted. If converting an MPC60 sequence file, insert the MPC60 disk containing the file and press <Proceed>. If converting a MIDI File on a 720K disk, insert the disk and press <Proceed>. The main conversion screen will then appear:
======= Convert To/From MIDI File ====== File:BIGSEQUENCE.SEQ Size: 52K Free: 368K
======================================== <Load>
To convert a MIDI file to an MPC60 sequence file

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To load a MIDI file, the disk must be a Windows 720K disk. The file must have a standard DOS eight character file name and a three-character file name extension of either.MID,.MFF or.SMF. From the Convert To/From MIDI File screen, select the MIDI file to be converted and press <Load>. The following screen will appear:
============ Load MIDI File ============ Make drum tracks from MIDI channel:10 Arrange tracks:AS IN FILE (NORMAL)

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Chapter 10: Syncing to Tape and Other Devices

The SYNC Screen

To access the sync input and output settings, press the TEMPO/SYNC key, followed by the <Sync> soft key. The following screen will be displayed:
===== Sync In ====== Mode:MIDI CLOCK Shift early(msec):20 MIDI input:2 Song pointer:ON ==================== <SyncIn=OFF>
==== Sync Out ==== MIDI clock:OUT A
================== <GenSMPTE>
This screen has two sections, Sync In and Sync Out.
The Sync In section The left side of the Sync screen shows all settings related to slaving the MPC60 to an external source. There are five possible sync input signals: 1. MIDI CLOCK: This is the standard method of syncing two MIDI devices together. Since the sync signal is only sent over MIDI, this method cannot be used with tape. When the MPC60 is slaved to MIDI clock, the internal tempo settings are not used, because MIDI clock provides the tempo information. 2. SMPTE: SMPTE timecode is a standard sync code used in video, film, and music. SMPTE code contains information about absolute elapsed time, but no tempo information. So when syncing to SMPTE, the MPC60s internal tempo settings are used. When syncing to SMPTE, always use the same tempo setting each time you play the sequence or song. Tip: using the SEQ (sequence) tempo mode (set in the Tempo Source field of the Play/Record screen) will ensure that your sequences will play at the desired tempo, because that tempo is stored with the sequence disk file. 3. MIDI TIME CODE: MIDI Time Code is similar to SMPTE timecode except that the timing information is converted into a signal that is sent over MIDI. As such, it cannot be recorded on tape.

4. FSK24:

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This is the general-purpose tape sync code commonly used by inexpensive drum machines and sequencers. FSK24 stands for Frequency Shift Keying at 24 2400Hz/1200Hz transitions per 1/4note. This code contains no location information, so when syncing to it, you must start both devices from the beginning of the song in order for them to play in sync. Because of this, the MPC60 always plays from bar 1 when FSK24 sync is received. This code does contain tempo information, so the MPC60s tempo settings are not used when syncing to FSK. Also, FSK24 signal is always generated from the SYNC OUT jack when the MPC60 plays. 5. 1/4 NOTE CLICKS: In the event that no sync signal exists on tape, this feature allows the MPC60 to sync to any percussive sound playing 1/4-notes. The Mode field in the upper left corner allows the selection of one of these five sync input sources. The fields in the Sync In section vary according to the sync mode selected. If MIDI CLOCK is selected in the Mode field, the following screen is displayed:

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large numbers of these events exist in a sequence. In many cases, however, many more of these events are output from the keyboard than are necessary to produce the desired effect. The Min change field is used to thin out the event data for the above specified event types, thereby reducing the total number of events that will be recorded into tracks. It works by only recording events that have changed more than a specified amount since the last received event of the same type. This amount is set in the Min change field. As with the Pass event? field, the Min change field shows the value associated with the event type shown in the Event field. For example, to thin out incoming channel pressure events: 1. Set the Event field to CHANNEL PRESSURE. 2. Set the Pass event? field to YES. 3. Set the Min change field to 5. This means that an incoming channel pressure message will be recorded only if its value has changed by more than 5 increments from the last value received. The range of this field is 0127, with 127 being the full range of the controller. (Pitch bend is an exceptioneven though the pitch bend messages actually have a range of 8191, 0127 represents the full range here. For example, to specify that only a change of 10% or more in the total range of the bend wheel may be recorded, enter a 12 here, because 12 is approximately 10% of 127, which here represents the full range of the bend wheel.) If the Min change value is set too high, a stepping effect will be heard as the continuous controller is moved. Try to pick a value that is low enough so that the stepping is not noticeable. The Velocity mode and Fixed veloc fields: Incoming MIDI note events are normally recorded into the sequence with their velocity values intact, permitting the recording of dynamics. These two fields permit the incoming velocity data to be ignored, if desired, and a fixed value substituted for each incoming note. The Velocity mode field has two options: NORMAL and FIXED. If set to FIXED, all incoming velocity values are replaced by the value specified in the neighboring Fixed veloc field (1127).

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Using the MPC60 with External Sequencers
If you use the MPC60 with an external sequencer, heres how to use only the sound generator or pads over MIDI. How to use the MPC60 only as a sound generator receiving notes from another sequencer 1. Press the MIDI key and select option 2. In the screen that appears, set the Active track receive channel field to the channel you want the MPC60 to receive on. 2. In the Play/Record screen, set the Type field to DRUM or select a track that has a Type of DRUM. 3. Load in the desired program. 4. To change the note number to sound assignments, press SOUNDS then 1.

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Sync output level: 1.0V p-p, impedance 220 Metronome output: 1 clock MIDI inputs: 2 (mergeable) MIDI outputs: 4 (independent) Foot Switch inputs: 2 (independently assignable) RS-232C computer port (MPC60 only): 1

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Answers to Frequent Questions
If you discover a problem in the Version 3.1 software, we at Roger Linn Design would appreciate it if you would please read the relevant section of the manual to make sure you correctly understand the operation before calling us. Here are some answers to commonly asked questions and problems: When I play a particular sequence or song, the timing is irregular. Whats wrong? If you notice a timing irregularity in song mode at the point of transition from one sequence into another, the problem may be caused by assignments of the Pgm (Program) field (in the Play/Record screen) for the new playing sequence. When a new sequence is encountered in a song, any program assignments for the tracks in the newly selected sequence are sent out at the moment that the sequence starts to play. This can present a problem because most synthesizers require time to change programs, which can cause any notes existing at the start of the new sequence to be delayed. This delay is brief in most synthesizers, but is usually enough to cause a timing irregularity at the start of the sequence. To avoid this problem, remove any assignments of the Pgm field for all sequences except the first sequence in the song. If you are encountering the same problem when changing sequences while playing (in which case the new sequence begins immediately following the current repetition of the current sequence), then use the same solution: remove all program assignments for the newly selected sequence. If the timing irregularity does not exist at the beginning of a sequence, it may be due to the sequence containing a large system exclusive message at that location, in which case the MPC60 must finish processing the system exclusive message before playing any other notes at that location. If this is the case, erase or move the system exclusive event that is causing the problem. If the timing irregularity does not exist at the beginning of a sequence and is not due to a system exclusive event, it may be due to having too many notes (more than approximately 10 or 12) at one tick in the sequence. If so, this could cause the last notes occurring at this location to be delayed. This problem is aggravated at faster tempos. This problem exists to some degree in all sequencers, and is due to the fact that there is a finite number of notes that the internal computer can process at one time. However, this will NOT cause the sequence to slip out of sync when syncing to an external sync source. To reduce the processing requirement in your sequence, try the following: 1. Erase any unnecessary events from the sequence. For example, erase any channel pressure, poly pressure and system exclusive events if you are not using them. Many keyboards send out large amounts of channel pressure messages while playing, which are recorded into your tracks. If you are not using these messages,

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Loading an MPC60 version 1 or 2 SET or ST1 file, 172 Loading files, 165 Loading MPC60 version 1 or 2 ALL files, 170 Loading MPC60 version 1 or 2 sequence files, 167 Making a SCSI device active, 186 MIDI Files, 177 Partitions of hard disk, 185 Renaming files, 165 Saving a PAR file (system parameters), 163 Saving a sequence, 156 Saving a single program (and its sounds), 159 Saving a single sound, 158 Saving an ALL file (all sequences and songs), 157 Saving an APS file (all programs and sounds), 161 Saving files, 156 Termination, 184 Using a SCSI hard disk, 184 DRUM MIX Key, 123 Drum Tracks, 26, 30 EDIT key, 71 EDIT LOOP key, 95 Edit Loop, using as an undo function, 96 Edit Note Data (global editing of note events), 80 Envelope (volume), 117 ERASE key, 66 Erasing notes in real time, 66 Erasing notes while stopped, 66 External sequencers, 212 FAST FORWARD keys, 35 Foot Switches, 58 Free Sequence Memory, 58 FULL LEVEL key, 18 Gain Switch (rear panel), 139 Getting around on the MPC60, 11 HELP key, 13 Hooking up your system, 10 Individual out/echo send mixer, 126 Inserting Blank Bars, 73 Irregular timing, 220 Local Mode, 206 LOCATE key, 35 Looping, sequence, 29 MAIN SCREEN key, 27 Metronome settings, 57 MIDI All notes off, 213 Assigning Pads to Note Numbers, 204 Feedback loop, 207 Implementation Charts, 214 Input Filter, 209 Local Mode, 206 MIDI key, 203 MIDI Routing, 206 Output channel assignment for tracks, 31 Receive Channel, 206 Soft Thru, 206

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MIDI channels, 26 MIDI System-Exclusive Data, recording, 64 MIDI Tracks, 26, 30 Mix Data, setting all channels at once, 129 Mix, automated, 132 Mixer source select, 131 Mixers, text view, 128 Multichannel Sequence Recording, 60 Note Number Assignment, globally editing, 82 Note Number, defined, 15 Note Repeat, 45 Note variation Globally editing, 83 Note Variation 16 LEVELS key, 22 AFTER key, 21 Assigning slider to performance parameters, 20 Controlling from external MIDI controller, 207 Defined, 19 Slider, 19 NOW field (current location counter), 32 Numeric Keypad, 12 Options for MPC60, 227 OTHER key, 57 OVERDUB key, 34 Overdub Mode, defined, 34 Pad, defined, 15 PLAY key, 34 PLAY START key, 34 PLAY/RECORD keys, 34 Play/Record screen, 27 Poly Mode (poly, mono or note off), 118 Programs Active Program, defined, 111 Copying and Initializing, 120 Defined, 16, 108 Graphic representation of, 108 How to create, 110 Individual out/echo send mixer, 126 Mix data, text view, 128 Note Numbers, 108 Pad Banks, 18 Pad, defined, 15 Playing simultaneous sounds, 112 Poly mode (poly, mono or note off), 118 Selecting, 18 Selecting the active program and assigning sounds, 111 Sound Assignment mode, 112 SOUNDS key, 107 Stereo Mixer, 124 Switching sounds depending on Envelope Decay, 114 The DRUM MIX Key, 123 Tuning, 118 Velocity modulation of attack, start address & volume, 118 Velocity switching between sounds., 113 Volume Envelope, 117