SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha rcserves the right to change or modify any of thc specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period bcforc damage occurs. Some Yamaha products may have benches and/or accessory mounting fixtures that arc either supplied with the product or as optional accessories. Some of thcsc items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses arc recommended. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturers warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to bc aware of thc following:
Model Serial No. Purchase Date

PLEASE KEEP THIS MANUAL

The SU10 Stereo Digital Sampler is a compact, easy-to-use stereo phrase sampler offering high sound quality, a unique ribbon controller, excellent loop capability, and a host of other distinctive editing and performance features. The SU10 is ideal for up-and-coming DJs, "desktop musicians,'' and all others interested in experiencing the world of electronic digital sampling.
Sampling and playback features
Record up to 48 stereo samples within nonvolatile memory. Samples remain in memory even whale power is off. Excellent sound quality: Can record at a maximum sampling rate of 44.1 kHz, the same rate used by audio CDs. Reverse play reproduces samples in reverse. Scale play sets up a single sample at different pitches along the pad console. Unique ribbon controller allows you to apply a dramatic filter or scratch effect to your samples, or to crossfade your samples with realtime sound from an external source. Impressive editing features. Select any one of five loop patterns for each sample. Select arbitrary loop start point and end point, Move or copy sample to a different location; split one sample into two; trim off the leading and trailing parts of the sample. Select any one of three triggering modes for each sample. Create up to four songs, each consisting of any arbitrary sequence of sample play.

Use the correct cables. Handle cables with care.
When disconnecting a cable, grip firmly at the connector area and pull straight out. Use only high-quality MIDI cables for your MIDI connections. Cable performance degrades as length increases: avoid cables that are longer than 15m.
Handle the SU10 with care.
Do not drop it or otherwise subject it to severe physical impact. Do not leave the SU10 in a location where it may be exposed to high temperatures, high humidity, extreme dust, or extreme vibration.
Do not open the casing or attempt repairs. The SU10 contains no user-serviceable parts. Please refer all maintenance to qualified technicians. Opening of the case will void the warranty.
Clean with soft dry cloth only. Do not attempt to clean the SU10 with detergents or solvents, as these may damage the casing.

Precautions

This chapter presents a very brief overview of basic concepts relevant to understanding and operation of the SU10.

What is the SU10?

The SU10 combines the functions of a digital stereo phrase sampler with a variety of add-on features that significantly enhance its effectiveness in a performance environment. In addition to basic recording, edit, and playback capabilities, this compact unit includes special play functions, a touch-driven ribbon controller, and two external modes that apply filter or scratch effects to realtime line or microphone input.

Operating Modes

The SU10 has four operating modes: PLAY, REC (Recording), EDIT, and UTIL (Utility). PLAY: Use this mode to play samples and songs, or to apply a scratch or filter effect to a realtime signal as it passes through the SU10. The SU10 always starts from PLAY mode when power is switched on. You can always return to PLAY mode from any other mode by pressing once or, in some cases, twice. For full information about PLAY mode, see Chapter 6. REC: This is the mode you use to record samples and create songs. You enter this mode from PLAY mode by pressing For details, see Chapter 7.
EDIT: Use this mode to set playback parameters for each sample. You can enter this mode from PLAY mode by pressing Refer to Chapter 8. UTIL: This mode consists of seven utilities that you use to set parameters or execute operations that are not sample-specific. You can use this mode, for example, to reinitialize the system, adjust the system-wide pitch offset, or set overwrite protection for banks and songs. You can enter this mode from See Chapter 9. PLAY mode by pressing
Overview and Basic Concepts

Samples

The SU10 stores up to 48 samples. A sample is a digital recording of an acoustic waveform (or two waveforms, if stereo), together with playback parameters that determine how the sound is played: the type of loop applied, the direction of playback, the start and end points, and so on. The following conceptual diagram shows how a sample exists within a typical sampler.

to enter the mode. The LCD changes as Press shown below to indicate that you are in external scratch mode.
Feed a sound signal through the SU10. Use the button to adjust the or volume as necessary; the LCD indicates the current volume. Now try alternately scratching and then releasing the ribbon. Listen to the type of effect you get. Notice also that the LCDs RIBBON indicator displays the ribbon value in real time.
4. To quit the mode, press

Playback 29

External Filter
This mode applies filtering to realtime input as it feeds through the SU10. You use pads 1 to 4 to select or change the filter type, and pads 7 to 9 to select or change the resonance. You use the ribbon to dynamically change the filter cutoff frequency. Procedure
Press The screen displays four special indicators: external-mode indicator, filter-type indicator, resonance indicator, and graphic image of the current filter effect.
Press the pads corresponding to the filter and resonance you want to use. The LCD indicators change to reflect the new selections. (For information about filter types and resonance, see FILTER SETTINGS box on page 24.)

Filter Type

LPF BPF HPF Bypass 1 b h * :

Flat Weak Strong f w s

Now feed some sound through the SU10 and listen to the filter effect. Poke your finger at various points on the ribbon, then run your finger up and back: the cutoff point will change with each touch. Try this with different filter types and resonance settings. You will see that you can get some very interesting or button to adjust the volume. sounds. You can use the
Notice that the LCD's RIBBON indicator displays the current value in real time.

To quit the mode, press

This chapter explains how to record samples and how to create songs. (Explanation of song creation begins on page 35.)
Sample Recording Overview
To record a sample, you must (1) connect up the input source, (2) enter REC mode and select the destination pad, (3) set the recording parameters, (4) start the recording, and (5) stop the recording. Each of these steps will be described in turn.
Connecting the Input Source
Connect a line input to the LINE IN jack, or a microphone to the MIC INPUT.
Entering REC Mode and Selecting the Pad
1. Check that the SU10 is in PLAY mode, then press
to enter RECORDING mode. The LCD displays the REC indicator and prompts you to select the pad to be recorded. The LCDs meter area indicates the available recording time.
Available recording time depends on (a) the amount of memory used by other pads, and (b) the current settings for the Grade, Pitch, and Format recording parameters. Once you have entered RECORDING mode, you can return to PLAY mode at any time by pressing

Recording SampIes, and Creating Songs

2. To select, press

to choose the desired bank, then press the appropriate pad or press or as necessary. When you are sure that you have selected the correct pad, press The LCD displays the Gain parameter setting. The GAIN indication on the third line of the LCD indicates the input level.
If the bank you have selected is locked, the LCD displays the Locked Bank! message, then automatically returns you to PLAY mode. (For instructions about how to unlock a bank, see page 64.) If the bank is unlocked but the pad is already occupied by an existing sample, the LCD will ask to delete, or whether you want to delete (overwrite) it: press to return to PLAY mode. If you delete the sample, the available recording time will increase accordingly.
Setting the Recording Parameters
The LCD now displays the Gain setting, the first of seven recording parameters. Set each parameter to the appropriate value before beginning to record. To move To change the setting of a paramor from one parameter to another, press or eter, press The following diagram illustrates the structure. The RECORDING PARAMETERS box describes each of the parameters in detail. Gain Grade RecTrg Pitch Defalt. Format Input
You can also set these parameters (with the exception of the Gain parameter) from the UTILITY modes Recording Setup utility (see page 55). You will generally want to use UTILITY mode when you need to set these parameters for purposes other than recording. For example, the Grade setting also affects the playback pitch and polyphony, while the Input parameter selects the input source used during CROSSFADE, EXTERNAL FILTER, and EXTERNAL SCRATCH play.
Recording Samples, and Creating Songs
RECORDING PARAMETERS Gain: Sets the gain applied to the input signal. Press or to adjust the gain setting while inputting a signal similar to the signal you plan to record. (You may first need to change the setting of the Input parameter to match your input source; see explanation below.) You can set the gain to any value between 1 to 16; in general, you want to set the gain as high as you can without causing clipping. If the setting is too high, a * mark appears to the right of Gain. If you see this mark, reduce the setting.

Grade:

Selects the sampling grade at which the sample is recorded. You have four choices: High, Standard, Long, and Extra Long (Hi, Std, Long, Exlg). The tradeoff is between quality and recordable length: High gives the best quality but is very memory-intensive and limits the available recording time. Extra Long provides much longer recording time at a significant cost in quality.
A sample recorded at a given sampling grade will change its pitch if played at a different grade. You may therefore find it best to record all related samples at the same grade. Playback at "High" grade reduces the available memory. If you plan to play your recorded sample in combination with other samples, you may want to avoid the "High" setting. Total maximum recording time (for all 48 samples) at High grade is limited to approximately 19 seconds. A sampling grade of High combined with a pitch setting of +10% will provide a true sampling rate of 44.1kHz the same as used on conventional CD recording.

Pitch:

You can use this setting to add an offset to the systems pitch: the available range is -20% to 10%, settable in 1% increments. The setting applies to all samples and songs, and controls the pitch during both recording and playback. The adjustment is exactly analogous to applying a slight change to the rotation speed of an analog tape recorder; the pitch change applies both to tracks being recorded and to tracks being played back.
In general, you will want to leave this setting at 0% for recording purposes. But note that increasing the pitch value will improve the actual sampling grade, while decreasing the value will provide slightly longer recording time. You can also use the pitch setting to match the length of the sample you are about to record to the length of another phrase that has already been recorded. Recording the two samples at different pitches may make it possible for them to have equal replay lengths (tempos).
Format: Selects whether to record in stereo or mono (St or Mono). If you select
mono, the SU10 records the left input only. Note that a stereo sample counts as two sounds in the polyphony calculation: you can never play more than two stereo samples at once.

Input:

Selects whether the SU10 takes its input from the LINE IN jack or the MIC INPUT jack (Line or Mic ). You cannot use both inputs together; you must set this value to match the input you wish to use. The third line of the LCD always indicates the currently selected source. eight triggers.
RecTrg:Selects the trigger that starts the actual recording. You can select one of Mnual:
1..7: Manual trigger; recording will begin when you press The SU10 will enter standby when you press then begin recording when the input level reaches the trigger level. Value 1 selects the lowest trigger level (hair trigger); value 8 selects the highest level.

Defalt: Selects the default loop mode the loop mode initially used for playing
back the recorded sample. This setting is not binding, since you can change the value at any time by editing the sample. For information about loop modes, see page 41.
Starting/Stopping the Recording
If the recording trigger (RecTrg) is set to manual, To start recording, press the SU10 starts recording immediately; otherwise it displays the Waiting message and waits for the input level to reach the trigger level. During recording, the LCD displays the word Recording, and the meter decrements to indicate the remaining recordable time. You can end recording at any time manually, or else continue to record until you run out of memory. The SU10 displays the Finished mesTo end recording manually: Press sage, then returns to PLAY mode. If memory runs out: The SU10 stops the recording, briefly displays the Memory Full! message, then returns to PLAY mode.
Do not switch off the power while the Finished! or Memory Full! message is on the LCD as this may in some cases cause destruction of all internal data.

Creating Songs

To record a song, you (1) enter RECORDING mode and select the destination to begin the recording, (3) press the pad sequence you want song, (2) press to end the recording. The procedure is deto record as a song, (4) press scribed below. For hints about song creation, refer to the Creating Effective Songs on page 37.
The SU10 has 4000 words (8KB) of dedicated song memory, sufficient for about 1000 pad and button on/off events. The LCD indicates the amount of remaining memory as recording proceeds. The song recording function recognizes both pad action and MIDI IN action. It is possible to record from MIDI input in place of (or in addition to) local pad play. You cannot record to a locked song. For information about song locks, see page 64.

Procedure

mode. The LCD appears as follows. to enter RECORDING
Hold down and press the pad corresponding to the song you want to record The LCD will then ask for confirmation, and the to meter will indicate the remaining free song memory.
If you wish to change to a different song, hold to cancel and return to PLAY mode, press and press the appropriate pad. If you wish

Do not include samples whose Sounding Mode is set to Toggle (see page 43), since the pad trigger action changes according to the current replay state. If you start a song from mid-position. you may find that sample replay begins where you expected it to end, or ends where you wanted it to begin.
For additional information. refer to the ABOUT SONG PLAY box, page 28.
This SU10 offers you a variety of ways to edit your samples to control the way they play back. For example, you can choose:

l l l l

Which portion of the sample plays out The direction of play (forward or reverse) Whether the sample loops or plays one time only Whether playback continues when you release the pad
You edit a sample by entering EDIT mode, selecting the sample, then making the desired changes at one or more of the various edit functions. It is possible to play a sample during editing so that you can hear the effect of your changes. You are also free to switch editing to a different sample without leaving EDIT mode. A listing of the edit functions appears below. The first eight functions set parameter values; the remaining five functions execute an operation. Keep in mind that the parameter-setting functions and the COPY and MOVE operations do not affect the sound-data content of the sample in any way, so that you can try out various changes without fear of destroying your recorded phrase. The SPLIT, COMPACT and DELETE operations, however, will alter or delete the recorded wave and should therefore be handled with special care.

Editing Functions

(1) Set the loop mode. (2) Set the sounding mode. (3) Set the volume. (4) Set the alternate group. (5) Set the MIDI note number. (6) Set the start point. (7) Set the loop paint. [Only if loop mode = PLoop] (8) Set the end point. (9) Copy sample to another pad. (10) Move to a different pad. (11) Split one sample into two. (12)Compact (trim) the sample. (13)Delete the sample.
Change wave content; not reversible

Editing

Basic Procedure
Starting from PLAY mode, press The LCD returns the message

Which pad?

Once you have entered EDIT mode, you can return to PLAY mode at any time by pressing once or (in some cases) twice.
Select the sample you want to edit. Press the pad corresponding to the sample.
to select the bank, then press
The LCD displays the Edit xx? message (where xx identifies the selected , a different pad). If you like, you can change the selection by pressing When you are satisfied with your selection, press pad, or
If you press an empty pad, the LCD displays the Pad Empty message and waits for a different selection. If you select a pod that is in a locked bank, the LCD briefly displays the Locked Bank! message.

Move to the appropriate edit function. The SU10 begins from the first edit parameter the loop-mode setting. If loop mode is currently set to One-Shot, for example, the LCD will look something like this.
If you are satisfied with the current setting, you can proceed to the next edit In general, you can move from function to function function by pressing The sequence is as follows: by pressing or
SOUNDING MODE LOOP MODE MIDI NOTE NUMBER ALTERNATE GROUP LOOP POINT* END POINT COPY COMPACT DELETE
PAD VOLUME START POINT MOVE SPLIT
* Loop Point setting appears only if LOOP MODE = PLoop.
As a shortcut, you can press any of the following buttons to jump directly to the corresponding function. START POINT setting LOOP POINT setting (Available only if loop mode is set to Partial Loop.) END POINT setting
Change the value, or execute the operation. To change a value You can always change a value by pressing or holding For some parameters you can also use the ribbon to change the value: you may find it or useful to select an approximate value with the ribbon, then adjust with The MIDI Note Number parameter can be set via MIDI input. For more information, refer to the individual parameter explanations below. To execute an edit operation COPY, MOVE, SPLIT: Select the destination by pressing the appropriate pad, or as necessary. Then press to execute. COMPACT, DELETE: Check the pad selection, then press to cancel. once again to confirm, or Then press

5. 6. 7.

Repeat steps 3 and 4 as necessary to edit the selected sample. If you wish to edit a different sample, press This will return you to Step 2 above. When you have finished editing, press and/or the appropriate pad.

to return to PLAY mode.

During editing, you can hear the current editing result by pressing the pad of the sample you are working on. But you must be careful to press the correct pad. If you press a different pad, the SU10 stops editing of the current sample and offers to switch to your new selection. Note that the LCD does not indicate the sample that is currently being edited; you must remember this yourself. If you switch from one sample to another during editing, the SU10 begins editing of the new sample starting from the last selected edit function. This feature is convenient when you need to change the same parameter on two or more samples; change the value on the first sample, then press the pad for the next sample, then change the value again, and so on.
Edit Parameters and Operations

LOOP MODE [LpMode]

Purpose: Sets the playback direction and loop method. Values: OShot,WLoop,Ploop,RShot,RLoop To set: Press Explanation

(One Shot)

The sample plays once through, from Start Point to End Point, then stops.

(Whole Loop)

Play begins from the Start Point, advances to the End Point, then jumps back to the Start Point and repeats in a continuous loop.

Splx x y y ?

to execute. If splitting is possible, the SU10 begins execution Press and displays the Keep PwrOn message. Do not switch off power while this message is on the screen.
If your destination pad is in a locked bank, the LCD briefly displays the Locked Bank! message, then waits for another destination selection. If the destination pad is already occupied, or if the pad's End Point is within 128 units of the wave end, the LCD will return the Cannot Splt message and prompt you for another pad selection. If the problem is with the End Point setting, you will not be able to execute the or split no matter which pad you choose: you must press to change the edit function, or else press to return to PLAY mode.
Once the split is executed, the LCD asks whether to begin editing of the desto start editing of the destination pad; tination pad. You can (a) press to return to PLAY (b) select a different sample for editing; or (c) press mode.

COMPACT [Compct

To compact a sample means to remove all of its leading and trailing waveform data that is, all waveforrn data existing ahead of the Start Point or Loop Point (whichever is first), as well as all data existing after the End Point. By clearing this extraneous data, you free some memory for additional recording. This operation does not affect the samples current sound, since leading and trailing data are not reproduced during playback. But once you have deleted this data, it is lost forever, and cannot be restored by editing.
The LCD displays the following message, where xx identifies the currently selected pad.

Compct x x ?

You are free to change the selection. To change the bank, press To change to a different sample within the same bank, press the corresponding or pad, or
If you do not wish to compact, press to return to PLAY mode. or to change to a different edit function, or else press
to execute. The LCD displays a confirmation query. Cpt xx Sure?

To execute, press

instead. The SU10 returns to Step 1 above.
If you do not want to execute, press
The SU10 begins execution and displays the Keep PwrOn message. Do not switch off power while this message is on the screen. When execution is completed, the LCD briefly displays the Complete message, then returns to the same prompt display shown in Step 1 above. To select another pad for compacting, repeat from Step 1 above. To return to PLAY mode, press Editing
You may notice that the Start Point (or Loop Point) value may not return to exactly 0 following compacting, but may be as high as 1 (for a stereo sample) or 3 (for a monaural sample). In the same way, the End Point may be 1 to 3 units ahead of the actual wave end. This is because the SU10 can only delete data in 2-unit (if stereo) or 4-unit (if monaural) segments.

The SU10 breaks the transmission into four segments to allow for transfers to machines with limited memory or reception capacity. Some receiving devices will be able to record all four segments to a single file. With other devices you will have to set each segment into a separate file. at any time to abort the dump. The LCD displays the word Canceled, then You can press returns you to the UTILITY menu.

Interval

[Intrvl]
Assigns the bulk-dump packet interval. Values: Short, Mid, Long Explanation Selects the time interval that the SU10 interposes between adjacent packets when transmitting a bulk dump. Short Provides fastest dumping. Use this setting when dumping to another SU10 or a YAMAHA MDF2 or QY300. About twice as long as the Short interval. Use this setting when Mid dumping to a YAMAHA QS300. About eight times as long as the Short interval. Long
If you are not yet sure of the receiving capabilities of your destination device, use the Long setting to ensure accurate transmission. After making a secure backup, you can test out shorter intervals to see if the device supports them.
Dumping To or From a Yamaha MDF2, QY300, or QS300 To dump to an MDF2:
Set the MDF2 to Seq mode. (Do not set to MDR mode.) Set the SU10s Intrvl value to "Short".
2. At the MDF2, press REC + START/STOP to begin recording. 3. At the SU10, move to the Dump Send? screen and press

begin sending.

twice to to con-
When the SU10 displays the message Next OK?, press tinue transmission. The message will appear three times.
When transfer is completed, move to the MDF2 and press START/STOP to terminate recording. You can then remove the disk.
To dump to a QY300 or QS300:
If dumping to a QY300, set the SU10s Intrvl value to "Short". If dumping to a QS300, set the value to "Mid".
2. Begin song recording at the QY300/QS300. 3. At the SU10, move to the Dump Send? screen and press

twice to

Each time the SU10 displays the message Next OK?, proceed as follows. You will have to repeat this process three times. When you have finished, your SU10 data will be stored in four separate song files on floppy disk.

4-1) 4-2)

Go to the QY300/QS300 and terminate the recording. Save the data as a song into floppy disk, then clear the song data from main memory. Set the QY300/QS300 to begin recording of a new song.
You will need to remember the order in which you record the songs. so that you can use the some order when reloading the data to the SU10. Include sequential numbers or other identifiers in the song names.

SONGS Song content has changed.

Troubleshooting

Problem RECORDING Cannot record.
Possible Cause Is LINE IN or MIC INPUT connected correctly? Have you selected the correct input source? The selected source (displayed on third line of the LCD) must match the actual source either microphone or line. If necessary, go to RECORDING or UTILITY mode and change the Input recording parameter (see page 34 or 56). The Recording Trigger (RecTrg) setting may be inappropriate. Check, and adjust as necessary. (RecTrg Is a recording parameter and can be set from either REC or UTIL mode. See page 34 or 56.) You can increase recording in any of the following ways. Reduce the sampling grade, (-> page 33.) Set Pitch lower. (-> page 34) Use mono recording instead of stereo. ( -> page 34) Compact all pads. (-> page 52) Delete one or more pads, (-> page 53 or 64) Check that the MIDI channel setting on the SU10 and the external device match. ( -> page 56) Check the MIDI Note Number settings. (a) If you have cleared the Note Table, all note number settings have been deleted. You must reassign note numbers to enable pads to drive and be driven. (-> pages 45, 57). (b) Check that note number assignments correspond to notes assignments on the external device. (c) Remember that note numbers are different during SCALE play. (-> page 20) Check the MIDI Device No. setting (the DevNum parameter in the MIDI utility). (-> page 56) If the LCD displays the message Wrong Data!: There is a problem with the data at the sending side- Bulk receive is impossible in this case Check that the receiving side is correctly set up, and has sufficient memory to receive the data. The SU10 does not support reception of MSDS sample dumps. Troubleshooting 69
Recording begins loo soon or too late.
Available recording time Is too low,
MIDI SU10 cannot drive (or be driven by) an external device.
Cannot receive bulk dump.
Cannot send MSDS sample dump. Cannot receive MSDS sample dump.
Problem MIDI input does not drive SU10 sound as expected.
Possible Cause Check sounding-mode (SdMode) settings for each sample. (-> page 43.) Check the MIDI Note Number settings.
This section describes the causes and responses for each of the SU10 error and warning message.

Warning messages

Locked Data! Locked Bank! Locked Song! [Cause] You attempted to execute an operation that would delete data from a protected area. [Response] You can switch off locks using the LOCK utility. (See page 64.) Be careful to avoid accidental deletion of data. Change Grd! (Change Grade) [Cause] You attempted to select a PLAY feature that is not available at the currently selected sampling grade. [Response] Go to the Recording Setup utility and reduce the Grade setting. Memory Full! [Cause] Song/sample memory became full during recording of a sample or song. (All data recorded prior to the appearance of this message remains registered in memory.) [Response] If you need to record a longer sample, try deleting or compacting existing samples, and/or reducing the sampling grade or pitch. If you need to record a longer song, you can increase available memory by deleting one or more existing songs. Battry Low! [Cause] Batteries are low. [Response] Replace the batteries.

Error and Warning Messages

MIDI Errors

Time Out! [Cause] Data flow stopped during reception of bulk dump, so the SU10 terminated the operation. All internal pad and song data are now lost. [Response] Try the dump again. If this fails, reinitialize the entire system (go to the INIT utility and execute Init All). Buffer Full! [Cause] MIDI input buffer became full: the amount of incoming MIDI data exceeded the SU10s processing capacity. [Response] Reduce the amount of MIDI data being sent to the SU10. DevNum Off! [Cause] Attempted to receive bulk-dump with SU10s DevNum parameter set to "Off". [Response] To enable bulk-dump reception, set the SU10s device number (DevNum parameter, in the MIDI utility) either to "All" or else to match the device number of the sending device. Wrong Data! [Cause] The SU10 received an unrecognizable MIDI System Exclusive message. [Response] Check the machine type and data at the sending side. ChkSum Err! [Cause] The received bulk-dump data failed checksum test. [Response] Check the machine type and data at the sending side. MIDI Err1! [Cause] Overrun error occurred during MIDI reception. [Response] Check the settings at both sides. Check that cables are correctly attached.
MIDI Err2! [Cause] A framing error during MIDI reception [Response] Check the settings at both sides. Check that cables are correctly attached.

Memory-Related Errors

Bad Data! [Cause] The SU10 detected a problem with internal data at time of power-on. This problem can occur if you switch the power off while a memory-write is in progress. [Response] The SU10 does its best to repair the problem, but it is possible that you will lose some songs or samples. If you find that the data loss is considerable, you should clear all remaining data and reinitialize the system (go to the INIT utility and execute Init All).

1. Main Specifications

Features l Compact low-cost sampling module. (Same size as VHS cassette) l Special playback features unprecedented for this price range: REVERSE, SCALE, PITCH, others. l Touch-driven ribbon controller controls any one of various effects; excellent for realtime performance applications. l Custom LCD indicates full status information (sampling grade, current song, selected input source, and much more). Maximum polyphony Maximum number of samples Play modes Special effects Songs Interfaces 4 samples (monaural) 48 Sampler, Realtime Scratch, Realtime Filter Low-pass, band-pass, and high-pass filters (all with resonance); crossfade; pitch Records up to 4 songs. (Each song is a recorded sequence of pad and button operations.) MIDI IN, MIDI OUT: Connects to MIDI sequencer, MIDI keyboard, etc. Can dump individual sample(s) in MSDS (MIDI Sample Dump Standard) format to supporting RAM-equipped devices (synthesizer, sampler, computer, etc.) LINE IN accepts input from CD player or other audio device. MIC INPUT accepts input from dynamic microphone or powered condenser microphone. 1 demo song is included.

FM115.cycloops

21/9/01

5:28 pm

Page 64
RED SOUND SYSTEMS CYCLOOPS
As its name suggests, the Cycloops is a loop sampler aimed straight at the DJ

RSS Cycloops

> In the valley of the blind the one-eyed man is king. Or so they say. Oz Owen investigates a new angle on sampling with the Red Sound Systems Cycloops

ALTERNATIVELY

Boss SP-202 (322, 6/10, FM103) has a few effects but not the looping power or functions. www.roland.co.uk Yamaha SU10 (239, 7/10, FM103) is getting on a bit now, and is fiddly to use, but it does have the cool ribbon controller. www.yamaha.co.uk
WHILE WE AT Future Music like to concern ourselves with all things studiobased, we have been known to stray from the path when the mood takes us. It doesnt happen often, but then its not every day that we come across an interesting piece of gear that isnt designed to work primarily in the studio. And the piece of gear in question is the Red Sound Systems Cycloops, a sampler thats been developed for the DJ side of the tracks, and given the amount of DJs who read FM we thought wed
better take a look. Dont think of it as a traditional sampler though.

DJ sampling

At this point I know what youre thinking: DJing has largely been a simple business. And although there have been many (noble) attempts to improve upon the basic two turntables and a mixer scenario, not much of the DJ-orientated gear that weve seen so far has actually been taken up by the DJing fraternity, usually because the gear in question has
been over-complex and impractical to use on the fly. There are, of course, exceptions. Korgs Kaoss Pad and Electrixs Filter Factory are a couple of examples of DJ-friendly gear that can regularly be seen making appearances in a DJ booth near you, but what about sampling though? Well thats another matter. Anyone whos tried pepping up their set with a sampler, purely for spinning in the odd loop or some crazy effects, will realise that it can be a pretty dodgy busi-

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ness. For a start the extra gear can be a handful (and expensive), there can be all manner of syncing problems, not to mention a keyboard or other MIDI trigger you get the picture. What you need is something simpler, a gadget that doesnt need a hundred menu pages, something that can seamlessly loop whole sections of a tune, then sync them to a beat so you can spin them into your sets effortlessly and to good effect, all by pushing just a couple of buttons. Surely you can see where all this is leading?
input on one of the mixer channels. Admittedly, its not as convenient as having Cycloops return on its own channel, but I spose you cant have everything. For the curious among you, the headphones plug straight into Cycloops, so as far as monitoring goes nothings actually changed; whatever you select for monitoring will already be running through Cycloops, all ready to be sampled.

In play

Now put a 12-inch on the deck remember this works just as well with CDs, or any audio in fact and youll be monitoring the deck through Cycloops, which automatically sets an appropriate input level, and after a few seconds analysing the incoming audio the bpm is

An overview

Enter Cycloops, the latest addition to Red Sounds range, and, as with their Micro Sync Beat Xtractor, the Cycloops incorporates Red Sounds very own bpm engine for syncing MIDI to audio; very handy for clocking those grooveboxes and so on to vinyl. The deal with the bpm engine is that you play audio into it and it works out the tempo. When it knows the tempo it can easily sync sampled audio to it. It may not sound like much on paper, but in effect it can be an excellent way to kickstart all manner of tempo-related high jinks. As can be seen from the picture, Cycloops is an uncomplicated piece of kit, for a sampler anyway. Gone are the usual wealth of buttons, a full-on LCD screen and multiple outs for bussing those signals all over the place. Instead we have a refreshingly different take on things. Its also built like a brick. With its blue, felt-effect covered, metal front and back plates and flightcase-style sidebar, Cycloops is built to last. For getting signals in and out of Cycloops there are four RCA phono plugs on the top of the unit, comprising a stereo pair in and a stereo pair out. Theres also an input for 9V DC from the included power supply. The bottom of the unit houses a quarter-inch headphones socket for monitoring purposes and a tempo selector switch enabling the Cycloops to work within three tempo ranges covering 60-230bpm, so it might not suit you gabba-heads! Next up, fitting Cycloops into your set-up is pretty simple. Using the supplied cables, take a feed from the headphone out on your DJ mixer into the Input on Cycloops. Then connect the Loops Out to a spare channel on your mixer. Its no problem if youve only got a two-channel mixer. Most have the cut switch above each channel that flips between phono/line inputs, so simply connect Cycloopss output to the line

the odd snare-roll, or a chunky breakbeat is no problem. How about a spinback that you can crossfade into every four beats? Just having those snippets loaded in and ready to drop can certainly work wonders for your creativity. Sampling a house break, then letting it roll in and out, or just one beat of a vocal break, then spinning it into a
There arent too many connections round the back
< Sure, Cycloops hasnt got everything weve come to expect from a sampler, but thats to miss the point. Cycloops is a one-off and theres certainly nothing else quite like it in terms of instant sampling and looping >
displayed in the four-digit LED screen. Now that Cycloops knows the tempo of the track, it knows how long to sample for to get a perfect loop. All you need to do is tell it when to begin sampling, it couldnt be simpler. Of the eight pads on the front panel, the top two take care of the admin duties, record and erase. The six pads below them will each hold a sample, and the number next to each pad is how long that pad will sample for be it one, two, four, eight or 16 beats and this is not variable. While the record spins simply hit the 8 Beats pad to record two bars of the tune, 2 Beats for half a bar, and so on. When samplings finished, Cycloops loops the sample seamlessly, all ready to be brought into the mix. When the samples been captured, pressing the pad toggles the sample on and off, so its easy to bring loops in and out on the fly. Up to six samples can be held at any one time, thats one for each pad. And using the jogwheel and the two admin pads you can change the volume of each sample (between -9dB and +6dB), jog them backwards and forwards in time for manual syncing, or erase individual/all samples in memory. Another handy feature that wasnt put into Cycloops in earlier models is the toggle bpm on/off, meaning you can stop Cycloops from clocking to incoming audio if you wish. This is handy when letting the odd loop roll and if you want to cue up another track without the bpm drifting accordingly. Cycloops fits so easily and transparently into your set-up that its always plumbed in ready to go, so just playing a normal set and using Cycloops to capture mental breakdown can really get a crowd jumping. And how many tunes have you got with a killer intro that all goes a bit messy when the lead line comes in? Just sample up four, eight or 16 beats before it all turns nasty, then let the beat kick while mixing in the next tune at your leisure.

The verdict

Cycloops is a one-off. Theres certainly nothing else quite like in terms of instant sampling and looping. Sure, its not got everything weve come to expect from a sampler but thats to miss the point, cos you can use it, and to good effect, after just a few minutes of experimentation. Straightforward it may be, but dont underestimate its power to enhance your set as the results can be truly stunning. Its speed and simplicity in use make it an instant winner as a tool for adding some real excitement and individuality to your set in a way no other piece of DJorientated gear can do. Couple that to the reasonable price tag (it is cheaper than a third 1210 deck, after all), and the fact that anyone who sees this baby in action will probably mug you for it, and youve got what looks like a fairly inevitable addition to your set-up. FM

RSS CYCLOOPS

Without a doubt the most exciting and instantly rewarding DJ tool around. OK, so its a one-trick pony, but what a trick! PLATINUM AWARD
Red Sound Systems Cycloops DJ-orientated sampler Price 275 Audio ins Two RCA phono Audio outs Two RCA phono, headphone out Sample rate Variable (48kHz max) Bit depth 16 Polyphony Six loops BPM range 60-230BPM Dimensions 202 x 106 x 30mm Weight 1kg Contact Red Sound: Website www.redsound.com

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