SAMPLING UNIT Owner's Manual
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Thank you for your purchase of the Yamaha SU700 sampling unit. The SU700 is a combination sampler, sequencer, mixer, and multi-effector— a powerful new tool for a wide range of performance and recording environments. This manual will help you learn what you need to know to make effective use of all of the SU700’s many features. Please read through the essential parts of the manual carefully before beginning work with the SU700, and refer back to the manual for additional information as necessary.
Intro Features The SU700 is an ideal tool for artists in need of sampling and sequencing capabilities for their recording and performance work. Here is just an abbreviated list of what’s included. ◆ Forty-two tracks. With 40 sample tracks plus 2 special tracks, you can make your songs as complex as you wish. ◆ Three different sample track types.
Please check your SU700 package to confirm that all of the following accessories are present. If any items are missing or damaged, please contact your Yamaha dealer for assistance.
Intro ■ Chapter 3: Basic Concepts, Track Types, and Memory Introduces basic concepts underlying SU700 operation. Also provides a detailed explanation of the different track types, and explains how the SU700 memory is organized. You should read through this chapter before you begin serious work with the SU700. ■ Chapter 4: SU700 Operating Modes Describes the six operating modes.
Appendix 1 provides detailed instructions for installing each of the SU700’s supported options. Appendix 2 gives the SU700 specifications. Appendix 3 offers a number of helpful usage tips. Appendix 4 explains the SU700 error messages. Appendix 5 lists and describes the 43 built-in effects and their associated parameters. Appendix 6 explains the MIDI implementation. Notations This manual employs the following notational conventions.
Intro Finally, please note that screen illustrations and other drawings presented in this manual are for explanatory purposes only, and in some cases may differ from actual displays and configurations.
Table of Contents Yamaha SU700 Sampling Unit Owner’s Manual Features ............................................................................................................. 6 Accessories ........................................................................................................ 7 Using the Manual .............................................................................................. 7 Notations ........................................................................................
Table of Contents Chapter 8 Knob Functions 8.1 8.2 8.3 8.4 Chapter 9 Overview .............................................................................................. 194 Knob Settings for Each Track ............................................................ 195 Quantize and Resolution .................................................................... 196 Parameter Descriptions ...................................................................... 197 Editing Functions 9.1 9.2 9.3 9.
CHAPTER 1 Chapter 1 SU700 Components, Connections, and Startup This chapter describes the SU700’s layout and screen displays, shows you how you can connect the SU700 to other devices, and takes you through the SU700 startup procedure. CONTENTS 1.1 SU700 Layout 14 1.2 SU700 Display Configuration 23 1.3 Connecting Up 29 1.
Chapter 1 SU700 Components, Connections, and Startup 1.1 SU700 Layout This section explains all of the SU700 components. 1.1.1 Main Panel N L M K J H I G F O E D C B A P 0 1 9 8 7 2 3 4 5 6 1 Display The display provides all the information you need to work effectively at the SU700. For a detailed explanation of common screen displays and indications, see page 23.
The SU700 provides four track banks, each with ten sample tracks. This gives you a total of 40 sample tracks. This means that each song can utilize anywhere from 1 to 40 samples. 3 Sample Track Pads You use these 10 pads to control play on the sample tracks, and to select tracks for sample recording, track editing, and track setup. Each pad can be used to control a variety of operations. At any given time, each pad controls a single operation only.
Chapter 1 SU700 Components, Connections, and Startup 7 Knobs You use these knobs to control the values of multiple parameters (or knob settings) on each track. At any given time each knob controls a single parameter only. You use the KNOB FUNCTION panel (see item 9 below) to switch the parameter controlled by the knobs. When you are working the main screen, each knob controls its default parameter. You can set these default separately for each track using the TRACK SET | MAIN job (→ p.231).
Available functions include most of the knob functions, and a special scratch function that lets you scratch out the sound of a selected track—the same kind of sound that you would get by manually turning a vinyl record forward or backward. For more information about ribbon use, see page 172. C [CANCEL] and [OK] Buttons Use these buttons to confirm or cancel various operations, or to move forward or backward through the various job screens. Actual operation varies according to the SU700’s current state.
Chapter 1 SU700 Components, Connections, and Startup J [UNDO/REDO] Button You use this button to undo or redo all changes that you recorded into your song during your previous recording pass. This feature is useful for undoing poor results, or for comparing “before” and “after” versions to determine which you want to keep. The [UNDO/REDO] button operates only while the sequencer is in PLAY STANDBY mode. (→ p.183) K Sequencer Controls Use these buttons to control the sequencer.
Note that you can store and initialize scenes only while the sequencer is in PLAY or PLAY STANDBY mode. You can recall scenes at any time. For more information about scenes, refer to page 176. If MARKER: Use markers [1] to [8] to store song positions or to immediately jump the song to a stored position. These buttons only work while the sequencer is in PLAY or PLAY STANDBY mode. To store the current position, hold down one of the marker buttons for about 1.5 seconds, until the screen says MARKER STORED.
Chapter 1 SU700 Components, Connections, and Startup 1.1.2 Front Panel 3 1 2 4 1 Floppy-Drive Slot The drive accepts 3.5" floppy disks (2HD or 2DD). You can use the disks to save and reload all data, and to import commercially available sample or voice data. 2 Floppy Eject Button Press this button to eject the floppy disk currently inserted in the slot. Remember: Do not eject the disk while the access lamp is lit.
7 9 8 CHAPTER 6 1 1.1.3 Rear Panel SCSI OPTICAL IN OUT DIGITAL IN OUT AS6 AS5 ASSIGNABLE OUT AS4 AS3 AS2 AS1 POWER ON/ OFF MIDI OUT STEREO OUT R L/MONO IN ANALOG INPUT R L AC INLET CAUTION RISK OF ERECTRIC SHOCK DO NOT OPEN ATTENTION :RISQUE DE CHOC ELECTRIQUE ME PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ERECTRIC SHOCK WARNING DO NOT EXPOSETHIS PRODUCTTO RAIN OR MOISTURE. 1 2 3 4 5 ∗ Circled numbers indicate standard connectors. Numbers enclosed in squares indicate options.
Chapter 1 SU700 Components, Connections, and Startup 4 AC Inlet Connects to SU700 power cord. CAUTION Use the supplied power cord only. Use of a different cord may result in electric shock or device damage. 5 POWER Switch Switches the SU700 power ON and OFF. 6 OPTICAL IN/OUT connectors 7 DIGITAL IN/OUT connectors Use the OPTICAL connectors to input or output digital audio signals over opticalfiber cable.
You refer to the SU700 screen for information and guidance during all SU700 operations. This section presents an overview of the various screen displays. The first part, “Screen Layout,” introduces the various elements of the display panel. The second part, “Main-Screen and Function-Screen Displays,” shows screen examples for the two most frequently used working environments. The third part, “Other Screen Indication,” gives an overview of less commonly encountered screen indications. 1.2.
Chapter 1 SU700 Components, Connections, and Startup 5 Track indicator .......... When you are working at the main screen or a function screen, each vertical bar meter (or track meter) indicates the relevant knob-function value for the corresponding track (of the current bank). The brackets (above and below the meter) are visible if the track is not muted; they disappear if the track is muted.
The screen display content varies according to the current machine state. This section shows screen displays for two most commonly used machine states. Main Screen This screen that appears immediately following power-on. It is also the default screen, and will reappear when you exit from job mode, when you finish sample recording, and when you press [OK] to escape from a function screen. Note that this screen can appear only while the sequencer is operating in PLAY STANDBY or PLAY mode. (→ p.
Chapter 1 SU700 Components, Connections, and Startup Function Screen You enter this screen from the main screen when you press any knob-function or pad-function button, or when you press the [REC] button. When you are working at a function screen, knob functions and pad functions are the same on all tracks. A typical display appears as follows. 1 2 4 3 6 5 Appears only if you have pressed to set the sequencer into RECORD mode. Indicates the current pad function. Indicates the current knob function.
NOTE: For TRACK EDIT | EVENT COPY, TRACK EDIT | EVENT INIT etc., it is also important to know whether a selected track contains recorded sequence data. For these jobs, six bars will appear at the center of the bracketed area to indicate that the track contains both a sample and some sequence data. Sample only: Sample plus sequence data: Sample Recording Meter When you are standing by to record a sample (or to execute a resampling job), the meter operates as a two-bar horizontal level meter.
Chapter 1 SU700 Components, Connections, and Startup Flashing Parameters When you are working at a screen that allows you to set more than one parameter value, the parameter currently selected for setting will be blinking, indicating that you can proceed to change its value by turning the dial (or pressing an appropriate button). Note that only one parameter can be blinking at any given time. In the screen illustration shown above, for example, the 44K value (frequency setting) is flashing.
Power Connect the power as follows. that the power switch (on the rear panel) is in the OFF position (pro1. Confirm truding from the panel). If the switch is ON, press it so that it pops out into the OFF position. the small end of the supplied power cable to the power inlet on the rear 2. Connect panel. 3. Connect the other end to a standard wall outlet. CAUTION Do not connect the power while the power switch is ON.
Chapter 1 SU700 Components, Connections, and Startup To enable input, you must set the AUDIO IN parameter to the source you wish to use. You can set the parameter using the SYSTEM | SETUP job; see page 302. The SU700 can only accept input from one source at a time. CD Record (turntable) Microphone STEREO OUT R L/MONO ANALOG INPUT R L Electric keyboard Output You can connect any or all of the following.
1 CHAPTER STEREO OUT R L/MONO ANALOG INPUT R L Using the AIEB1-board outputs If you have installed the optional AIEB1 board (input/output expansion board), you will be able to use the board’s assignable and digital/optical outputs. Note the following points. • Under factory defaults, the output goes to the STEREO OUT jacks. • The signal to the STEREO OUT jacks is also directed to the DIGITAL OUT and OPTICAL OUT connectors.
Chapter 1 SU700 Components, Connections, and Startup MIDI Connections ● If you are going to use an external MIDI device to synchronize SU700 playback or to control track play, run a MIDI cable from the MIDI OUT connector of the controlling device (or the MIDI THRU connector on an intermediate device) to the MIDI IN connector on the SU700.
● If you are connecting multiple devices in a chain, the SU700 must be at one end of the chain. It cannot be in the middle of the chain. ● If you are connecting to a single SCSI device, that device must be terminated. If you are connecting to a chain of SCSI devices, the device at the other end of the chain must be terminated. For information about SCSI termination, refer to the instructions provided with your external SCSI device(s).
Chapter 1 SU700 Components, Connections, and Startup 34 Chapter 1 SU700 Components, Connections, and Startup
This chapter takes you through a tutorial that will give you some quick hands-on experience with the SU700. The first part of the tutorial how to play the demo song and how to use various features. The second part of the tutorial takes you through the procedures for recording samples and building a song. CONTENTS 2.1 Setting Up 36 2.2 Listening to the Demo Song 37 2.3 Building Your Own Song 47 2.
Chapter 2 Tutorial 2.1 Setting Up First you will need to connect your audio system so that you can listen to the demo song and monitor the process of creating a song. You will also need to connect a CD player so that you can playback the sampling sources from the included audio CD. Connections Before you make connections, be sure that the power of the SU700, your CD player, and your audio system is turned off. 1.
2 CHAPTER Headphones PHONES 3. Turn the MASTER VOLUME of the SU700 and the volume controls of your CD player and audio system all the way down to 0. Turn down to 0 Do not turn on the power yet. We still need to prepare the SU700 to auto-load the demo song when its power is turned on. 2.2 Listening to the Demo Song This section shows you how to load and play the demo song included in the accessory floppy disk.
Chapter 2 Tutorial Procedure the accessory floppy into the slot on the SU700 front panel. 1. Insert Insert with label facing up and shutter facing the front panel. Push in lightly until the ● disk clicks into place. 2. Switch on the power to the SU700. SU700 begins automatic loading of the song data. While data is being loaded, 3. The the display will indicate “LOADING …” ● Do not eject the floppy disk or switch off the SU700 power while the word LOADING...
2 Playing the Demo ■ You’re now ready to play the song. Press the sequencer start button ( ) to begin playback of the song. ● Adjust the volume by turning the MASTER VOLUME knob. ● You can stop playback by pressing the stop button ( ● You can jump back to the top of the song by pressing CHAPTER ● ). . Use this knob to adjust the volume.
Chapter 2 Tutorial ■ Changing the Tempo 1. Press the [BPM] button. ◆ The BPM indication on the screen begins blinking. 2. Turn the dial to change the tempo. Turn right to increase the tempo, or left to reduce it. Another way to set the BPM: You can use the [BPM COUNTER] button to tap out the tempo that you want to use. The SU700 automatically detects the tempo and displays it in the BPM area. If you wish to use the newly displayed tempo, press [OK].
ON MUTED (These tracks (These tracks are audible.) are silenced.) ■ Using the ROLL Pad Function The roll function generates a drum-roll (machine-gun) type of sound by rapidly repeating the first part of the sample. The repetition rate is set by the interval, or “resolution.” Let’s try it out now. 1. Set the roll rate (the “resolution”). Press the [NOTE] button once. Then hold down the [ROLL] pad-function button.
Chapter 2 Tutorial ■ Using the LOOP START Pad Function You can use this feature to restart the loop on any of the LOOP or COMPOSED LOOP tracks. Press the [LOOP RESTART] pad-function button. The upper part of the display 1. will indicate “LOOP RESTART.” the song playing, try pressing the pad on any (un-muted) LOOP or COM2. With POSED LOOP track that you wish to restart. The track’s loop phrase jumps back to the top when you press the pad.
3. Now press the [PLAY] pad-function button, so that pads can be used to play the Now you can use the pads to play the samples. Try pressing the pad for each track to hear the sample. By doing this you can identify all of the song’s samples and the tracks they are located on. ■ Adjusting the Levels The sound from each track is conditioned by numerous parameter settings. These are called knob settings, since you control them using the track knobs.
Chapter 2 Tutorial 2. To adjust the level on any track, turn the track’s knob. You can listen to the result by hitting the track’s pad. Rotate the knob for the LOOP1 track to adjust the volume ■ Adjusting the Other Parameters Now try adjusting some of the other parameters in the same way. First press the button on the Knob Function panel, and then turn the knobs on each track while at the same time hitting the pad so that you can hear the sound.
■ Trying Out the Scratch Function Under factory defaults, the ribbon is set to control the scratch function. Assuming you haven’t changed the ribbon setup, you can proceed without making any adjustment. NOTE: If you have already changed the ribbon function to something other than SCRATCH, you can change the setting using the SYSTEM | SETUP job, as described following the procedure given below. 1. Hold down the [RIBBON TRACK] button and press the pad for the first LOOP track.
Chapter 2 Tutorial NOTE: To provide this function, the SU700 maps the sample to the ribbon, with the start point of the sample mapped to the bottom of the ribbon. Each point on the ribbon corresponds to a specific location on the sample waveform. For more information, see page 173. Sample start point ■ Using the Ribbon to Control the Level Now let’s change the ribbon function so that the ribbon can be used to control the LEVEL on each track. 1. Select the SYSTEM | SETUP job.
NOTE: Touching the ribbon at the very bottom causes the track’s LEVEL setting to immediately drop to 0; touching the ribbon at the top causes the tracks LEVEL setting to jump to 127. You can also slide your finger up or down the ribbon so as to adjust the value more gradually. ■ Using the Ribbon to Control Other Parameters Now try using the ribbon to control some of the other functions. Repeat the above procedure but at step 3 select some function other than LEVEL or SCRATCH.
Chapter 2 Tutorial ● Track Structure Our song will use all of the tracks in bank 1 plus FREE tracks 1–4 of bank 2, for a total of fourteen tracks. Tracks 79–92 of the included audio CD (SU700 Sampling Audio) contain the sample sources that we will use for this tutorial. First let’s sample these sources and use them to create a song. NOTE: Tracks 79-92 were created by processing sources from tracks 1-78.
As with the sample on FREE 1, we’ll set the sound up in two different ways for track banks 1 and 2, so we can get different sounds in different sections. * This CD features samples from the world’s foremost sample developer — AMG. ● Structure of the song Our song will consist of 10 sections, as outlined below. Measure Section Description 001 : : : : Intro A • Track bank 2 samples are used for FREE tracks 1–4. • We’ll play the sample on FREE 1 continuously (all the way through to the end of Intro B).
Chapter 2 Tutorial The above design plan is intended to give you an idea of how we will go about building the song. But note that when building your own songs, you do not need to set up a detailed plan ahead of time. You can use knobs, pads, and the ribbon controller freely to try out different ideas while listening to the sounds and using mutes to switch different combinations of samples on and off.
2 press [OK] once more. Dial [OK] button With this setting, the included audio CD can be used as a source for sampling. NOTE: You can also supply sound through a microphone connected to the ANALOG IN input(s), provided that you first set ANALOG INPUT to MIC . If you have installed the optional AIEB1 board (optional I/O expansion board), you can also record samples directly through the board’s OPTICAL or DIGITAL connectors. 4. Press the [SAMPLING] button. The screen displays the SELECT TRACK message.
Chapter 2 Tutorial select the track you want to record on. In this case we are going to record on 5. Now the first LOOP track in bank 1. (We will call this track “LOOP 1.”) So press TRACK BANK button [1], and then hit the first (leftmost) LOOP pad. The brackets move to this track to indicate that it is selected.
To adjust, press the right arrow button twice to select the format parameter, so that the parameter is blinking on the screen. Then turn the dial to select MONO L. Press twice let’s adjust the input level from the CD. First, start playback of track 79 on the 7. Now sampling CD. ▼ If the CD player is correctly connected to the SU700, you will hear the sound coming through the SU700 and you will see the level meter moving on the screen.
Chapter 2 Tutorial NOTE: If you are recording to a digital input on the optional AIEB1 board, the parameter settings and level settings are fixed. you have finished setting the level, press the [SAMPLING] button on the SU700 8. After to begin recording. To stop sampling, press the button once again. ● Track 79 repeats the same phrase four times. You can sample at any location that is convenient. NOTE: You generally want to include excess material at the beginning and end of your recording.
NOTE: • If the recording results are not acceptable, you can simply repeat the previous procedure to record the sample again. When you select the same track as the recording destination, the SU700 will display the query REPLACE?, asking you whether you wish to replace the data that you have already recorded. Simply press [OK] to proceed. • The following steps show how to edit the sample’s length. When working on your own, you may also want to edit the sample in other ways as well.
Chapter 2 Tutorial press the top job selector if you wish to adjust the start point, or the second job 3. Next, selector if you wish to adjust the end point. You can move back and forth between the two adjustments as necessary by pressing these two buttons. Then press here or here to move to start-point or endpoint adjustment screen. Press here first (one time only.) selecting the start point (or end point) adjustment screen, you can adjust the 4. After start point (end point) by turning the dial.
■ Recording the Sample Using the same procedure as we did for the LOOP 1 track, we will now sample Track 80 (bass phrase) from the included audio CD to the LOOP 2 track. Procedure the [SAMPLING] button to enter sample-recording mode. 1. Press The screen displays the [SELECT TRACK] message. 2. Press the second LOOP pad to select the track. Then press [OK]. 3. Set the sampling parameters as follows: the CD player, play the sample, and adjust the level (using the ANALOG LEVEL 4.
Chapter 2 Tutorial NOTE: You can also listen to the both loop tracks together by starting the sequencer (by pressing ).You may want to try this to get an idea of how the loops sound when playing together. But remember that you must stop the sequencer before you can proceed to edit the sample length. use the SAMPLE | START POINT and SAMPLE | END POINT jobs to adjust the 2. Now playback range (the length) of the LOOP 2 sample. (Again, you can find full details about these jobs on page 258.
LOOP LENGTH=008 means that the loop is 8 beats long when calculated at BPM=172. If the display indicates the wrong loop length for the two loops, use the dial to correct the settings to LOOP LENGTH = 004 for LOOP 1, and LOOP LENGTH=008 for LOOP 2. The BPM will be recalculated automatically, and should be a value in the region of 172. ● Adjusting the volume balance Here’s how to adjust the volume balance between the LOOP 1 track and the LOOP 2 track. Procedure 1. Press the SOUND group [LEVEL] button.
Chapter 2 Tutorial ● Adjusting the groove When you listen to LOOP 1 (drums) and LOOP 2 (bass) together, the groove may not match precisely. There are several possible reasons. ● Loop point connections If the loop points of the sample do not coincide with beats, the groove will not feel right. → Try making fine adjustments to the start/end points of the sample. Even if the loop length is identical, the location of the connection between start/ end points can affect the groove.
Notice how the groove changes. ). CHAPTER For this example, let’s set this parameter to an 8th note ( MEASURE BPM NOTE ● Aligning the left and right channels of a stereo sample In the case of a stereo sample, skewed timing between the left and right channels may impair the groove. → This can be solved by converting the stereo sample to a mono sample. (SAMPLE | PROCESS/STEREO TO MONO. p.270) Here we will end our work on the LOOP 1 and LOOP 2 tracks. Next let’s proceed to the COMPOSED LOOP tracks. 2.
Chapter 2 Tutorial ■ Recording to the Sequencer Now we will record the CL1 track sample to the sequencer. The sample of a COMPOSED LOOP track will playback as a loop over the specified length (number of measures). The CL1 track sample will play as a loop of 16 quarter-note beats (i.e., 4 measures), and will sound for five beats starting at the beginning of the third measure. (See diagram below.
ensure that pads can be used to record notes. ◆ The SU700 displays a function screen (similar to the one shown below). Note that the “REC” and “PLAY” indications appear along the top of the screen. we want to set the quantize interval. Press the [NOTE] button, so that the 2. Now QUANTIZE= indication is blinking. Then turn the dial to set the quantize value to quarter note ( ).
Chapter 2 Tutorial to start song recording (to switch the sequencer into REC mode), and 3. Press get ready to press the CL1 pad to record the note event for your loop. Watch the location indicator as the SU700 plays through the lead-in measures and the first two measures of the song. Press the pad when the indicator is reaches 003:1, hold it for five beats, and release it just before the indicator reaches 004:2. Allow the sequence to keep playing.
CL1 sample Undo Redo disappears ● To delete a sample that was recorded by mistake + ), and at the location where the sample Put the sequencer in recording mode ( you wish to delete is played, hold down the JOB group [NOTE DEL] button and press the CL1 pad to delete any note-on data for the CL1 sample that occurs in that area. Since the CL1 track is a loop, the samples deleted from that area will disappear from the entire song.
Chapter 2 Tutorial ● Tips for recording ● If the tempo is too fast for you to achieve accurate timing, use the dial to lower the BPM setting and try recording at a slower tempo. ● You can press the [MEASURE] button, use the dial to move to the desired measure location, and begin recording from there. ● If you do not wish to listen the sound of other tracks while you record, you can mute those tracks before you begin recording.
If there is more than one note event, use to the first event. the next event, or to move to the previous event, to ● In addition to the location of a note event, you can also modify its velocity and gate time. 2.3.4 Setting Up The Second COMPOSED LOOP track (“CL2”) ■ Sampling As you did for the LOOP 1 track, sample Track 82 from the included audio CD to COMPOSED LOOP 2 (subsequently referred to as CL2). ● Set the sampling grade to “22K 8BIT MONO L.
Chapter 2 Tutorial 2.3.5 Setting Up The Third COMPOSED LOOP track (“CL3”) ■ Sampling Using the same procedure as you did for the LOOP 1 track, sample Track 83 of the included audio CD to the COMPOSED LOOP 3 track (hereafter referred to as “CL3”). ● Set the sampling grade to “22K 8BIT MONO L.” ■ Setting the Loop Length Using the same procedure as you did for the LOOP 2 track, set the CL3 track to “LOOP LENGTH=016.” ■ Recording the Loop Phrase Now we’ll record the sample to the CL3 track of the sequencer.
■ Recording the Loop Phrase The CL4 track is a loop 32 quarter-notes long (eight measures), and will play the sample starting at the first beat of measure 3 and extending for four beats. CL4 sample Record this phrase using the same method you used to record on the other CL tracks. Start the sequencer in REC mode, press the CL4 pad when the location indicator reaches 003:1, hold it for four beats, and release it just before the indicator reaches 004:1. 2.3.
Chapter 2 Tutorial ● For each sample, set the sampling grade to “22K 8BIT MONO L.” The sampling procedure is the same as for the LOOP 1 track. (→ p.50) When sampling to track bank 1, press the TRACK BANK button [1] before selecting the sampling track (the “SELECT TRACK” display). When sampling to track bank 2, press the TRACK BANK button [2]. Example: to select TRACK BANK=2 and FREE track 1 2.3.
NOTE: • You can also adjust the overall sound using the MASTER VOLUME knob. But the MASTER-track setting can be stored into a scene and reproduced each time you play the song. The MASTER VOLUME setting is not stored as song data. • LEVEL settings Track bank 1 LOOP 1 ........................... 127 LOOP 2 ........................... 075 COMPOSED LOOP 1 ...... 085 COMPOSED LOOP 1 ...... 080 COMPOSED LOOP 1 ...... 090 COMPOSED LOOP 1 ...... 075 FREE 1 ............................. 127 FREE 2 .................
Chapter 2 Tutorial 2.3.10 Putting the Song Together Now we’ll build a song using the samples we have recorded into our ten sample tracks in bank␣ 1. The song will consist of ten sections, as outlined on page 49 and again below. For each section we will use a different muting arrangement. For FREE tracks only, we’ll prepare two different sound setups (Setup “A” and Setup “B”), and use one or the other of these in each section.
Measure Section 001:1 : 009:1 : : 023:1 : : 025:1 : : 041:1 : : 057:1 : : 071:1 : : 073:1 : : 105:1 : : 121:1 : : 130:1 Intro A *1: Track Mutes *1 TRACK LOOP C.
Chapter 2 Tutorial ■ Storing the mute settings of each block to a scene button Let’s store the mute settings of the tracks for each song block to a scene button. ● Intro A = scene button [TOP] ● Ending B = scene button [G] Intro A and Ending B have the same mute settings. We will defeat muting only for the FREE 1–4 tracks of track bank [2], and mute all the other tracks. The same settings will be stored to scene buttons [TOP] and [G].
▼ This completes mute settings. Now we will store this condition to the [TOP] and [G] scene buttons. 5. Set the [SCENE/MARKER] switch to the SCENE position. 6. Continue pressing the [TOP] button until the display indicates “SCENE STORED.” set to the SCENE position 7. Release the [TOP] button. The settings have now been stored to the [TOP] button. store the same mute settings to the [G] button. 8. Next ▼ Press and hold the [G] button until the display indicates “SCENE STORED.” 9. Release the [G] button.
Chapter 2 Tutorial Procedure 1. Press the PAD FUNCTION [ON/MUTE] button. will start with the settings of the [TOP] and [G] scenes, and un-mute the CL1/2 2. We tracks of track bank [1]. ▼ Press the TRACK BANK [1] button to select track bank [1]. Then press the pads of CL1/2 tracks to make the bracket ( ) appear for the CL1/2 tracks. 3. Press the PAD FUNCTION [PLAY] button. 4. Set the [SCENE/MARKER] switch to the SCENE position. 5. Continue pressing the [A] button until the display indicates “SCENE STORED.
TRACK BANK [1] [2] LOOP 1 2 × × × × C.LOOP 1 2 3 4 × × × × FREE 1 2 3 4 × × × × ● Section D = scene button [F] Un-mute CL3/4 tracks of track bank [1] and FREE 1–4 tracks of track bank [2] so that they will be heard. TRACK BANK [1] [2] LOOP 1 2 × × × × C.LOOP 1 2 3 4 × × × × × × FREE 1 2 3 4 × × × × ■ Recording Scene-Recall Events Into the Song Now that we’ve set up the scenes, we’re ready to record the scene-recall events into our songs.
Chapter 2 Tutorial the location indicator. You now want to press and release the Scene [A] but3. Watch ton, timing your action so that you release the button as the song location is changing from 008:4 to 009:1. Then press scene buttons to record the remaining scene changes at the measure locations shown below.
NOTE: • Even if the song returns automatically to the top position when you finish recording, you must nevertheless press the button (or the [TOP] button, briefly) to restore the top scene. • If you are not happy with the results, you can use the UNDO/REDO feature to remove them. This feature works only while the sequencer is in PLAY STANDBY mode, and only on the events recorded during the last recording pass. (→ p.
Chapter 2 Tutorial 2.3.11 Recording the FREE Tracks Now that we’ve set up the basic structure for our song, we’ll proceed to record note and ribbon events onto our FREE tracks. This is the final step in the building of our song. NOTE: • If the PAD SENS parameter (in the TRACK SETUP | SETUP job) is set to ON, the COMPOSED LOOP and FREE track pads are velocity sensitive. This means that the loudness of the recorded note depends on the force with which you hit the pad (stronger force produces a louder sound).
2 MEASURE NOTE to begin recording. Allow the lead-in measures to pass, while watching the 4. Press location indicator. When the position reaches 001:1 (the actual start of the song), press and hold the FREE 1 track pad. Continue to hold the pad down for 22 measures, releasing it when the location reaches 023:1. NOTE: The number of lead-in measures is determined by the COUNTDOWN parameter in the SYSTEM | SETUP job (→ p.299).
Chapter 2 Tutorial the dial until the screen indicates that the function is set to SCRATCH, and press 3. Turn [OK]. let’s assign the ribbon so that it works with the second FREE track (FREE␣ 2). To 4. Now do this, hold down the [RIBBON TRACK] button and press and release the FREE 2 pad. ▼ Now you can use the ribbon controller to record scratch actions onto the FREE 2 track. Press to start recording. Slide your finger up and down the ribbon to record 5.
■ Building Sections A and B 2 Now we will record FREE tracks 1–4 of track bank 1 for sections A and B. For the other FREE tracks (FREE 2, 3, 4), you can strike pads to record notes (pad presses) at any locations you like while listening to the playback from the other tracks. ● Since the FREE track pads are velocity-sensitive, the force with which you strike the pads can be used to change the volume or record other types of data.
Chapter 2 Tutorial Recording on Other Free Tracks (FREE 2, 3, and 4) Put the sequencer in recording mode, and press the pads for FREE tracks 2/3/4 at the locations shown in the table below. MEASURE Section A Section B 025:1 028:1 032:1 032:4 036:1 040:1 040:4 041:1 044:1 048:1 048:4 052:1 056:1 056:3 FREE Tracks 2 3 4 ● ● ● ● ● ● ● ● ● ● ● ● ■ Building Sections C and D In sections C and D, the LOOP tracks 1 and 2 are muted.
Section E is simply two repetitions of Section B (16 measures). Record section E in the same way that you did for Section B. MEASURE 073:1 076:1 080:1 080:4 084:1 088:1 088:4 089:1 092:1 096:1 096:4 100:1 104:1 104:3 1 ● CHAPTER Record each track as shown in the following table. FREE Tracks 2 3 4 ● ● ● ● ● ● ● ● ● ● ● ● ● Building the Endings (Ending A and Ending B) Ending A is identical to Intro B, and Ending B to identical to Intro A. FREE 1 of track bank 2 is a long sample.
Chapter 2 Tutorial ● In the same way as for [LEVEL] settings, the parameters set by the KNOB FUNCTION buttons can be modified and stored again to a scene button. When the song is played back, the modified settings will be recalled. ● Detailed adjustments to note events can be made using the Event Edit function “LOCATION & VALUE” (→ p.246). ● Note, mute, roll, loop restart, and scene events can be deleted using an Event Edit function (→ p.246). 2.3.
CHAPTER the original name and return to the main screen.) The main screen will show the song name that you specified. 2 the same procedure to finish entering the name. Then press [OK] to register the 6. Use song name and return to the main screen. (Or press [CANCEL] at any time to restore Naming rules ● Names are limited to eight characters. ● The following characters can be used in a song name.
Chapter 2 Tutorial ● All names must be unique. If you attempt to use a name already in use by another song in memory, the screen will briefly display the NAME EXISTS message and then return you to the editing screen. You can then re-edit the name, or else press [CANCEL] to restore the original name. ● If you press the [OK] button when the song name consists only of blank spaces, the display will indicate “ILLEGAL NAME” for several seconds, and will then return you to the song name editing screen. 2.3.
3. Turn the dial as necessary to select the following, and press the [OK] button. 4. Confirm that the display appears as follows. ▼ If you have installed an ASIB1 board and mounted a SCSI drive, you may need to turn the dial to select FDD at the above screen. [OK]. The screen will display the volume name for the volume your are saving. 5. Press The default volume name for floppy-disk saves is FD VOLUM.
Chapter 2 Tutorial 8. When saving is completed, the main screen will reappear. 2.3.15 Loading a song Here’s how data (a volume) previously saved to a floppy disk can be loaded back into the SU700. When you load a volume, the previously-created song data as well as the SU700 setup data will be loaded. ● It is also possible to load individual samples from data that was saved as a volume. (→ p.
the [OK] button, and the load source volume select display will appear. Since 5. Press a floppy disk can contain only one volume, that volume name will be displayed. [OK] to load the volume. During this process, the display will indicate “LOAD6. Press ING…” ▼ At this time it is not possible to use [CANCEL] to cancel the loading process. loading volume data that was distributed across two or more floppy disks, 7.
Chapter 2 Tutorial 2.3.16 Techniques for song playback By taking advantage of various techniques as you playback a song, you can add variety to the performance. ● Using the function knobs ● When you press a KNOB FUNCTION button, the knobs of all tracks will perform the specified function. When the power is turned on, the knobs will control the volume (LEVEL) of each track. → When the [LEVEL] parameter is selected, you can create fade-in/out effects for an individual track.
● Use scene memory to change the settings of various parameters ● Function knob data and mute on/off settings can be stored in the scene buttons. (→ p.176) The scene buttons offer a wide range of possibilities; for example you might program a scene button to raise the pitch of all non-rhythm instrument by a semitone, or switch the LOOP tracks to other tracks, etc. ● By using SYSTEM/SETUP/REC MODE (→ p.300) to set the sequencer recording mode to “OVERDUB,” you can add scene changes to existing song data.
Chapter 2 Tutorial ● When a song is played back, the NOTE area of the display may indicate “QUANTIZE” or “RESOLUTION,” depending on the selected knob function or pad function. By setting “QUANTIZE,” you can correct the timing at which a sample is played. (The accuracy is specified as a note value.) “RESOLUTION” will appear when you use GROOVE to set the groove, or when you set the cyclic frequency of an effect, or when you use the [ROLL] button to roll-playback a sample.
In this section, we will sample these original sources, use effects, equalizer, and filter settings to modify them, and finally create a song. Track Structure Our song will use ten samples—thereby making use of all tracks in Bank 1. All tracks will use samples recorded from the included sampling CD (SU700 Sampling Audio). Using the procedure described in “Building Your Own Song,” go ahead and sample these unprocessed sources (tracks 79–92).
Chapter 2 Tutrial COMPOSED LOOP 4: ... Source: Track 45-13 (*Radiator) We’ll build an eight-measure effect-type phrase. We’ll drop the pitch of the original sample, and apply LFO modulation, filtering, and effects. FREE 1: ......................... Source: Track 64-1 (*Japaneez Rev) We’ll use a long sample, with a duration of at least four measures (16 beats). We’ll set the sound up in two different ways, and use the different sounds in different sections of the song. FREE 2: .........................
Measure Section Description 001 . . . . Intro A Sound type B settings are used for FREE tracks 1–4. We’ll play the sample on FREE 1 continuously (all the way through to the end of Intro B). We’ll use the ribbon control to scratch out the sound on FREE tracks 2–4 (both in Intro A and again in Intro B). 009 . Intro B FREE tracks continue as in Intro A, using the sound type B settings. At start of Intro B, begin bass loop phrases on COMPOSED LOOP 1 and 2. . 023 . .
Chapter 2 Tutrial Before you sample! Make sure that you have sufficient memory before you begin sampling. If you have loaded the demo song or created a song as described in the previous section, turn the power off and then on again to clear the memory before you begin creating the song described below. 2.4.1 Creating the LOOP 1 track ■ Sampling On the LOOP 1 track, we will record the last measure from track 14-2 “Dear John B (wet)-102 bpm” (drum phrase) of the included audio CD.
the amp simulator effect is a system effect (→ p.189), you can use the knobs to 2. Since independently adjust the depth of the effect for each track. ▼ Use the LOOP 1 track knob to set “AMP SIM=040.” At this time you can press the pad to hear the result. Rotate the LOOP 1 track knob to set In this example, we simply used the amp simulator that was assigned to [EFFECT 1] by default. However you are free to choose from 43 types of effect, and adjust the effect parameters as desired.
Chapter 2 Tutrial ● Equalizer (EQ) settings Next we will use the EQ/[LO GAIN] button to raise the level of the low-frequency region. Procedure 1. Press the EQ/[LO GAIN] button. display will indicate “EQ LO GAIN = +00.” Rotate the LOOP 1 track knob to 2. The make the display read “EQ LO GAIN = +24.” At this time you can press the pad to hear the results. LO GAIN setting of LOOP 1 track LOOP 1 track LO GAIN setting display for each track ● Pitch settings We will raise the playback pitch of the sample.
CHAPTER 2 2. Rotate the LOOP 2 track knob to make the display read “PITCH =+003.” ● Filter resonance settings We will raise the filter resonance to emphasize the overtones of the sound. Procedure 1. Press the FILTER/[RESONANCE] button. 2. Rotate the LOOP 2 track knob to make the display read “RESONANCE=000.” 2.4.2 Creating the LOOP 2 track ■ Sampling We will sample track 77-5 “Jumping Jaks” from the included audio CD to the LOOP 2 track.
Chapter 2 Tutrial ■ Track editing (creating a loop phrase) The LOOP 2 track is a loop that plays back endlessly, as is the LOOP 1 track. We will adjust the start/end point of the sample to create a loop that is suitable for our song. ● The loop phrase editing procedure is the same as described on page 55 of “Building Your Own Song.” ■ Modifying the sound ● Applying a band-pass filter We will use a band-pass filter to modify the sound of the LOOP 2 sample.
2 CHAPTER group of the knob function buttons, press the [CUTOFF] button, and ro3. IntatethetheFILTER LOOP 2 track knob to make the display read “FILTER CUTOFF=024.” press the FILTER/[RESONANCE] button, and rotate the LOOP 2 track knob to 4. Next make the display read “RESONANCE=050.” ● Effect settings The amp simulator effect that is assigned to the [EFFECT 1] button will be applied to the LOOP 2 track as well. Procedure 1. Press the EFFECT/[EFFECT 1] button. 2.
Chapter 2 Tutrial ● Pitch settings Since we want to use the sample of the LOOP 2 track to play the bass, we will lower its pitch. Procedure 1. Press the SOUND/[PITCH] button. 2. Rotate the LOOP 2 track knob to make the display read “PITCH=-045” At the location where you want to audition the sound, press the sequencer button and listen to the LOOP 1 and LOOP 2 tracks. When you start the sequencer, the samples of the LOOP 1 and LOOP 2 tracks will loop repeatedly.
2 CHAPTER 2. Rotate the dial to select “LOOP LENGTH,” and press the [OK] button. current loop length (which was set automatically) will be displayed. Rotate the 3. The dial to make the display read “LOOP LENGTH=008,” and press the [OK] button. ● BPM setting button, and while you listen to check that LOOP 1 (drums) Press the sequencer and LOOP 2 (bass) are suitably synchronized, set the BPM. Press the [BPM] button, and set the BPM display to “172.0.
Chapter 2 Tutrial 2.4.3 Creating the COMPOSED LOOP 1 track ■ Sampling We will sample track 75-1“Lo Note Rezo C2” from the included audio CD to the COMPOSED LOOP 1 track (subsequently referred to as CL1). ● The sampling procedure is the same as described on page 50 of the preceding section, “Building Your Own Song.” ● Set the sampling grade to “22K 8BIT MONO L.” ■ Modifying the sound For the CL1 track, we will set the following four parameters. [Settings] SOUND group .......... [PITCH] +042 FILTER group ..
) will be shown in the effect has several parameters which adjust some aspect of the effect. By modi3. Each fying the parameter settings, you can change the speed or depth etc. of the effect. , ) to select the desired parameter, and use the dial ▼ Use the cursor buttons ( to modify its value. For this example, we will set the parameters of the 1DELAY effect to the following values. (Parameters marked by * differ from their default values.) FBLVL ............ +32 FBHIDMP ...... 008 LOWGAIN .....
Chapter 2 Tutrial 6. Turn the knob for track CL1 to make the display read “1DELAY=020.” let’s set the delay interval of 1DELAY to match the BPM of the song. 7. Now Press the [NOTE] button to that “RESOLUTION=” is blinking. Then turn the dial to select a note value of . ■ Loop length setting Using the same procedure as you did for LOOP 2, set the sample loop length of the CL1 track to “LOOP LENGTH=016.” ■ Recording to the sequencer Now we will record the sample for the CL1 track on the sequencer.
2. Press the [NOTE] button, and turn the dial to set Quantize to a quarter note ( ). the sequencer button to start recording, and at the beginning of measure 3 3. Press (MEASURE display 003:1), press and hold the CL1 pad for five beats. Release the pad immediately before you reach 004.2. 2.4.4 Creating the COMPOSED LOOP 2 track ■ Sampling The CL2 track will use the same sample as the CL1 track, but we will modify its pitch. For this reason, we won’t need to sample a sound for the CL2.
Chapter 2 Tutrial ■ Modifying the sound For the CL2 track, only the pitch will be different. [Settings] SOUND group .......... [PITCH] +100 Use the same procedure as for the LOOP 1 and 2 tracks to make settings. ■ Loop length setting Using the same procedure as when you set the LOOP 2 track, set the sample loop length of the CL2 track to “LOOP LENGTH=016.” ■ Recording to the sequencer Now we will record the sample for the CL2 track on the sequencer.
■ Sampling We will sample track 45-1 “*Harp Gliss Down” from the included audio CD to the COMPOSED LOOP 3 track (subsequently referred to as CL3). ● The sampling procedure is the same as described on page 47 of the preceding section, “Building Your Own Song.” ● Set the sampling grade to “22K 8BIT MONO L.” ■ Modifying the sound For the CL3 track, we will set the following parameters. [Settings] SOUND group .......... [PAN] L30 [PITCH] +062 LFO group ................ [SPEED] 026 [FILTER] 068 FILTER group ...
Chapter 2 Tutorial Begin recording using the same procedure as for the CL1 track, and at the first beat of the first measure (MEASURE display 001:1), press and hold the CL3 pad. Continue holding it for three beats, and release it immediately before 001:4. 2.4.6 Creating the COMPOSED LOOP 4 track ■ Sampling We will sample track 45-13: “*Radiator” from the included audio CD to the COMPOSED LOOP 4 track (subsequently referred to as CL3).
CL4 sample Begin recording using the same procedure as for the CL1 track, and at the first beat of the third measure (MEASURE display 003:1), press and hold the CL4 pad. Continue holding it for four beats, and release it immediately before 004:1. 2.4.7 Creating the FREE tracks Later, we will record all of the FREE tracks into the sequencer. First, let’s sample the sounds for the FREE tracks 1–4, and modify the sounds.
Chapter 2 Tutorial [Settings] ● FREE 1 track SOUND group .......... [PITCH] FILTER group ........... [CUTOFF] [RESONANCE] EFFECT group ......... [EFFECT 1] [EFFECT 2] [EFFECT 3] +24 068 070 005 080 65 FREE 2 track SOUND group .......... [PITCH] [RELEASE] EFFECT group ......... [EFFECT 1] [EFFECT 3] +005 088 041 050 ● 114 ● FREE 3 track SOUND group .......... [PITCH] +006 [RELEASE] 086 LFO group ................ [SPEED] 003 [FILTER] 085 FILTER group ...........
Procedure the PAD FUNCTION [ON/MUTE] button, and then press the MASTER track pad 1. Press twice to defeat muting for all tracks. (All tracks will now be able to sound.) the PAD FUNCTION [PLAY] button, and then press the SOUND/[LEVEL] but2. Press ton. the sequencer 3. Press LOOP 1/2/3/4 tracks. button to loop-playback the LOOP 1/2 and COMPOSED the volume of the LOOP 1/2 and COMPOSED LOOP 1/2/3/4 tracks, using 4. Adjust their respective knobs.
Chapter 2 Tutorial Effect settings On the SU700, you can assign any desired effect type to each of the three buttons [EFFECT 1]-[EFFECT 3], and then specify how each of the three effects will be applied to each track. Procedure ● Select the effect type and the depth of the effect 1. Press the EFFECT SETUP/[SETUP 1] (or [SETUP 2] or [SETUP 3]) button. display will indicate the currently selected effect type. 2. The Rotate the data dial to select the desired effect type.
Indicates the depth at which the 1DELAY effect is applied to each track Resolution at which the effect will change ▼ In the case of an Insertion effect, brackets ( ) will be displayed only in the meter display of the tracks to which the effect is connected. The effect will apply only to the sample of the tracks that you selected by pressing their pad. The effect depth is adjusted by the MASTER track knob. It cannot be adjusted separately for each track (sample).
Chapter 2 Tutorial ● Setting the effect parameters effect has several parameters that determine how it will process the sound. By 3.Each modifying the parameter settings you can change the speed or depth etc. of the effect. , ) to access the parameter that you wish to modify, ▼ Use the cursor buttons ( and use the dial to set the value. NOTE: • For details on the parameters of each effect, refer to “Effect parameter list” (→ p.335).
you press an EFFECT/[EFFECT 1]-[EFFECT 3] buttons, the effect type selected 5. When for the corresponding button will be displayed. ▼ In the case of a system effect, the specified effect can be applied to all tracks. Turn the knob of the track to which you wish to apply the effect, and specify the effect depth for that track. You can strike the pad and hear the sound processed by the effect.
Chapter 2 Tutorial 2.4.9 Song structure Now we have provided samples for the ten pads (tracks) of track bank 1. In the previous section “Building Your Own Song,” we switched between two banks to play a total of eight samples on FREE tracks 1–4. However this time, we will use only the four samples of one bank. We will store two different types of sound settings (knob data) in the scene buttons, and switch scenes during the song to play a total of eight sampled sounds.
● Section A = scene button [C] We will mute only the CL4 and CL4 tracks, and store these settings to scene button [C]. LOOP 1 2 C.LOOP 1 2 3 4 × × FREE 1 2 3 4 Procedure 1. Press the PAD FUNCTION [ON/MUTE] button. 2. Press the pads of CL tracks 3 and 4 to mute them (so that they will not sound). the PAD FUNCTION [PLAY] button. 3. Press ▼ This completes the mute settings. Since the FREE tracks 1–4 are currently set to type A sounds, we will store these settings in scene button [B]. 4.
Chapter 2 Tutorial For the following song sections, use the same procedure to store the mute settings to scenes. ● Sections B and E = scene button [D] Defeat muting on all tracks (so that they will sound), and store the settings in scene button [D]. ● Break = scene button [B] Mute all tracks (so that they will not sound), and store the settings in scene button [B].
FREE 4 SOUND group........... [LEVEL] [PAN] [ATTACK] LFO group................. [SPEED] EQ group................... [HI GAIN] [LO GAIN] [LO FREQ] FILTER group ........... [RESONANCE] EFFECT group ......... [EFFECT 1] [EFFECT 2] [EFFECT 3] 082 R57 097 010 +60 -64 200 075 000 120 120 2 116 078 000 110 100 CHAPTER ● LFO group................. [PITCH] FILTER group ........... [RESONANCE] EFFECT group .........
Chapter 2 Tutorial ● Section C = Scene button [E] Using the same procedure as you did for the type A sounds, mute only the LOOP tracks 1 and 2, and store the mute settings in scene button [E]. ● Section D = Scene button [F] Using the same procedure as you did for the type A sounds, mute LOOP tracks 1/2 and CL tracks 1/2, and store the mute settings in scene button [F]. ■ Recording scene recall operations on the sequencer Now we will record scene recall data on the sequencer for these scene buttons.
the sequencer button to stop recording. Press the sequencer button to 4. Press button to hear the song. When return to the beginning of the song, and press the the song reaches a location at which a scene change was recorded, the track mute settings will change automatically, as will the sounds (samples) that are played back when you press the pads of FREE tracks 1–4.
Chapter 2 Tutorial 2.4.10 Recording the FREE tracks Now that the overall form of the song is complete, we have come to the last step — recording the FREE tracks 1–4 on the sequencer. ■ Recording intro A and B The FREE 1 track sample which is used in Intro A and B is a long sample that plays for more than 16 measures. Since we want to record this from the beginning of the song (001:1), you should first set a count-in of 2 or 1. (→ SYSTEM/SETUP/COUNTDOWN: p.
CHAPTER You can record sections A–E and endings A and B in the same way as explained on pages 83 to 85 of “Building Your Own Song.” Refer to these pages and following, and complete your recording. 2 ■ Recording the sections and endings When you have finished recording the FREE tracks, your song is complete! ● ● ● Play back the song, and adjust the overall volume balance and other final adjustments. You can assign an original song name to your completed song. (→ p.
Chapter 2 Tutorial Note timing chart This table shows the timing of the scene changes and the timing of the pad on/off (note on/off) events for the completed version of the SU700 tutorial song that is included as track 93 of the included audio CD (SU700 Sampling Audio).
2 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 10 89 10 90 10 91 10 92 10 93 10 94 10 95 10 96 10 97 10 98 10 99 100 10 101 10 102 10 103 10 104 10 106 107 108 109 110 111 112 CHAPTER SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE FREE1 FREE2 FREE3 FREE4 SCENE (TOP) FREE1 FREE2 FREE3 FREE4 105 SCENE FREE1 FREE2 FREE3 Scratch freely Scratch freely FREE4 Scratch freely 113 114
Chapter 2 Tutorial 130 Chapter 2 Tutorial
This chapter explains the relationship between songs, samples, and tracks, and introduces some important concepts required for operating the SU700 effectively. It explains the three different types of sample tracks (LOOP, COMPOSED LOOP, and FREE). Finally, it describes the SU700 memory implementation. CONTENTS 3.1 Basics 132 3.2 Sample-Track Types 135 3.
Chapter 3 Basic Concepts, Track Types, and Memory 3.1 Basics To use the SU700 effectively, you need to understand how songs are generated and how they are related to samples and tracks. In particular, you need to understand the following basic points about SU700 operation. ◆ The main objective at the SU700 is to build and perform multitrack sequences called songs. ◆ The SU700 can hold up to 20 songs within its internal memory.
Scenes make it possible for you to change the entire song sound with a single button press. Each scene stores an entire environment: knob settings, mute settings, and the effects setup. You create the scene by setting up an environment and then storing it into scene memory. Once the scene is stored, you can recall it at any time by pressing the corresponding scene button.
Chapter 3 Basic Concepts, Track Types, and Memory ◆ Each track stores multiple parameters (level, pan, pitch, and so on) that condition its sound. For each track, you control all of these parameters using a single knob. For this reason, these parameters are called knob settings. At any given time, a knob will control only one of the available parameters. You use the KNOB FUNCTION buttons to select the parameter to be controlled by the knobs. Not all knob functions are supported on all tracks.
◆ The SU700 internal memory will lose all samples, sequence data, scenes, effect setup, and track settings when power goes off. If you wish to retain your work, you must save your results to disk before turning off the unit. (→ p.287) 3.2 Sample-Track Types Sample tracks come in three types: LOOP, COMPOSED LOOP, and FREE. Specifically, you get eight LOOP tracks, 16 COMPOSED LOOP tracks, and 16 FREE tracks. Each track type reproduces samples in a different way.
Chapter 3 Basic Concepts, Track Types, and Memory Loop generation and playback is automatic: you do not use the pad to record note-on and note-off events. You can, however, use the pad MUTE function to switch the sound on or off at any point in the song. The following shows what LOOP playback looks like. If sample = and loop length = 4 Sample playback Song location (measure:beat) 1:1 :2 :3 :4 2:1 :2 :3 :4 3:1 :2 :3 :4 4:1 :1 Play back is automatic and continuous.
FREE Tracks The sample in the FREE track is played only when you hit the pad (in PLAY mode) to register a Note On. Playback ends when you release the pad (generating a Note Off) or when the end of the sample is reached. These tracks do not loop; you will get sound only in those places where you record a pad press. These pads are great for punctuation your song with odd effect-type sounds. 3.3 Memory Implementation Internal Memory The SU700 includes the following types of internal memory.
Chapter 3 Basic Concepts, Track Types, and Memory External Memory If you wish to retain your samples, sequence data, and volatile settings, you must save these to a volume on disk before switching the power off. (→ p.287). The SU700 comes standard with a built-in floppy disk drive that you can use to save and load data. The SU700 also supports an optional SCSI board (ASIB1 board) that enables use of external SCSI disk drives. When saving data to disk, you can select two save types.
This chapter briefly describes each of the SU700’s operating modes. When using the SU700 you will be switching modes often, so it will be helpful keep in mind that basic purpose of each mode, the conditions that cause the SU700 to switch from one mode and another, and the basic operations that you can carry out from each mode. CONTENTS 4.1 Introduction 140 4.2 Sequencer Modes 141 4.
Chapter 4 SU700 Operating Modes 4.1 Introduction The SU700 has six operating modes—four sequencer modes, and two modes that temporarily disable use of the sequencer. The six modes are listed below. Sequencer Modes ● ● ● ● PLAY STANDBY PLAY REC STANDBY REC Other Modes ● ● JOB SAMPLE RECORDING The following diagram shows how the SU700 moves from one mode to another.
The table on page 145 shows the operations available from each of the sequencer modes. OVERVIEW The general use for each of these modes is as follows. ● PLAY STANDBY Lets you adjust the song location and set the knob settings, mutes, effects, and tempo to be used for start of playback (or recording). Also can be used to set up scenes and markers. Finally, you must also move through this mode when you want to transition into job mode (to execute a job) or to sample-recording mode (to record a sample).
Chapter 4 SU700 Operating Modes ● REC Plays the song and records your actions into the song. Advancing PLAY STANDBY DESCRIPTION This mode becomes active at power-on, and provides direct access to all other operating modes (with the exception of REC mode). While the sequencer is in this mode, the song remains locked at its current location. You use this mode to set up for song playback (or recording).
● Press to return to PLAY STANDBY. (The song will stop at its current location.) 4 HOW YOU EXIT THIS MODE DESCRIPTION You must enter this mode before you can begin recording. While the sequencer is in this mode, the song remains locked at its current location. You can use this mode to set up for the start of recording (although in many cases you will complete setup work in PLAY STANDBY mode), and to wait for the appropriate time to move into REC mode.
Chapter 4 SU700 Operating Modes MAIN SCREEN and FUNCTION SCREEN When you are working in PLAY STANDBY or PLAY mode, the SU700 may display either the main screen or else a function screen. The main screen shows the song number and song name, while the function screen shows the name of the currently selected knob function. (For a detailed description of the display confent of main and function screens, refer to pages 25 to 26.
Operations Accessible From Each Sequencer Mode MODE PLAY STBY Screen Type Main Function PLAY Main REC STBY REC Function Function Function Start playback Start recording ●*1 Store scene ● ● Recall scene Store/recall marker ● ● ● ● ● ● ● ● ●*1 ● ● Change to different song Adjust song location with seq.
Chapter 4 SU700 Operating Modes 4.3 Other Modes The SU700 offers two special modes that you use for work that is not directly related to the sequencer. You can access these modes from the sequencer’s PLAY STANDBY mode. JOB MODE DESCRIPTION Use this mode to carry out one or more of the SU700 jobs. For details, see Chapter 10, “Jobs.” (→ p.223) WHAT YOU CAN DO IN THIS MODE ● Carry out any of the SU700 jobs. Once you are in this mode you can move from job to job.
DESCRIPTION Use this mode to record your samples. While you are working in this mode all sequencer operations and all normal pad and knob operations are disabled. For information about how to record samples, see Chapter 5, “Samples and Sampling.” (→ p.149) WHAT YOU CAN DO IN THIS MODE ● Record a sample into a selected sample track. HOW YOU GET TO THIS MODE ● Press the [SAMPLING] button while the sequencer is in PLAY STANDBY mode.
Chapter 4 SU700 Operating Modes 148 Chapter 4 SU700 Operating Modes
This chapter tells you more than you will want to know about SU700 samples. The chapter’s first section explains samples and sample parameters and presents important information about editing and handling of your samples. The second section presents step-by-step instructions for recording your own samples. CONTENTS 5.1 All about Samples 150 5.
Chapter 5 Samples and Sampling 5.1 All about Samples Introduction Samples are the sounds you use to build up your songs. You can get samples for the SU700 by recording them yourself, by loading them from commercially available sampling CDs or other such media, by porting them from other samplers, or by resampling (re-recording) existing SU700 data. The SU700 provides you with 40 sample tracks. This means that you can use up to 40 samples for each song (one sample per track).
● Sampling Frequency The rate at which digital readings are taken is referred to as the sampling rate or sampling frequency. A conventional audio CD uses a sampling frequency of 44.1kHz (44,100 readings per second). The SU700 supports frequencies of 44.1, 22.05, and 11.025 kHz frequencies. Note that higher frequencies produce higher-fidelity sound reproduction, but also consume a greater quantity of sampling memory.
Chapter 5 Samples and Sampling ● Start Point and End Point The start point and end point settings determine the points on the recorded waveform at which playback actually begins and ends. You can adjust these values to eliminate playback of unnecessary material recorded at the beginning and end of the waveform, and to fine-tune the playback length for LOOP-track samples. You use the SAMPLE | START POINT and SAMPLE | END POINT jobs to perform this adjustment (→ p.259 to 261).
DELETE....................... Deletes the sample from memory, freeing up additional sampling memory. Also deletes any sequence data stored on the track. (→ p.271) Selecting the Appropriate Track for the Sample When recording, loading, or importing a sample, you must select the track that you want to place it on. Placing the sample on an inappropriate track is not a critical error, since you can always move it to a different track using the TRACK | COPY job (→ p.135).
Chapter 5 Samples and Sampling Listening to Samples Once you have recorded, loaded, or imported a sample into the SU700, you can listen to the sample by hitting the corresponding pad—provided that the track mute is off and that the pad function is set to PLAY. In general, you will want to set the sequencer into PLAY STANDBY when using pads to listen to your samples.
Memory Considerations Samples require large quantities of data to produce short intervals of sound, and can fill up available RAM faster than you might think. It is very likely that at some point you will find yourself running up against memory limitations. The total available sampling time on the SU700 will depend on the amount of installed memory and the sampling parameters that you use, but will in no case exceed more than several minutes.
Chapter 5 Samples and Sampling 5.2 Sample Recording Procedure The step-by-step instructions below take you through the entire sample-recording procedure. Getting Ready the SYSTEM | SETUP job and set the AUDIO IN parameter to match your in1. Open put source you are going to use. (See page 302.) Then press [OK] to exit the job and return to the main screen. · If using a microphone: Set to AUDIO IN=MIC. · · 2. If using analog output from an audio device: Set to AUDIO IN=LINE.
NOTE: • From this point on, you can use the [CANCEL] button to move back to a preceding step or to return to the main screen. • If you selected DIGITAL or OPTICAL as your audio input source, the cable must be properly connected and the audio device must be switched on. If the audio device is disconnected or off, the SU700 will display the message DIG-IN UNPLUGGED. If the device is connected incorrectly, the SU700 will display the message DIG-IN PARITY ER.
Chapter 5 Samples and Sampling Frequency Lowest segment of horizontal level meter. Selected track Bit resolution Format (stereo or mono) 7. Adjust the recording parameters and input level as follows. If you have already adjusted these values during the current session, the screen begins by showing your most recent settings; otherwise, the screen will show the defaults (44K, 16BIT, and STEREO).
Remaining time indicators Selected track. you reach the point at which you want to stop sampling, hit the [SAMPLING] 9. When button one last time. ▼ Sampling stops. If the SU700 requires significant time to post-process the new sample data, it may display the WAIT... message. When post-processing is completed, the SU700 returns you to the main screen.
Chapter 5 Samples and Sampling 160 Chapter 5 Samples and Sampling
This chapter provides detailed information about how to use each of the SU700’s main features during song recording, song performance, and song setup work.
Chapter 6 Using the Features Using the Sequencer: Recording, Playing, and Adjusting the Position This section presents an overview of sequencer operations you will need to use repeatedly when recording and playing songs. How To Start Recording If the sequencer is not currently in PLAY STANDBY mode, press the 1. CEL] button to set the sequencer into PLAY STANDBY. or [CAN- necessary, adjust the song to the location at which you want to begin recording. 2. If(See “How to Adjust the Location,” below.) 3.
How To Stop Recording ● 6 button to stop recording. The sequencer displays PROCESSING... briefly, then jumps back to the position at which you started the recording session. NOTE: The SU700 does not update the environment when jumping back to the earlier position; the knob settings, scenes, and mutes remains exactly as they were when you finished recording. If you wish to restore the song’s true environment, you must set up and recall scenes as necessary.
Chapter 6 Using the Features Using the Dial The screen’s MEASURE indication must be blinking. If it is not blinking, press the [MEASURE] button once—so that it begins blinking. 1. the dial to the right to advance the song position, or to the left to move back 2. Turn in the song. Using Markers If you have stored locations into markers, you can use these markers to jump from location to location. But note that markers can be used only while the sequencer is in PLAY or PLAY STANDBY mode.
● Tap a beat on the [BPM COUNTER]. The SU700 detects the tempo you are tapping and displays it in the BPM display area. If you wish to use this tempo, press the [OK] button to lock it in. (If you do not press [OK] within several seconds, the original BPM setting is restored.) Using the Knobs You use the knobs to set and adjust the various knob settings (level, pan, pitch, and so on) on each track. At any given time each knob controls one setting on a single track.
Chapter 6 Using the Features KNOB USAGE and SEQUENCER MODE Knob usage varies according to the sequencer state as follows. In REC mode: You use the knobs to record knob changes onto each track. If you select the SOUND/[PITCH] function and then turn the knob on the first LOOP track, for example, the sequencer records a pitch-change event onto that track at the current song position (as corrected by quantizing). In PLAY mode: You use the knobs to change the sound in real time.
Function screen. All pads now control the MUTE function. Press pad once to switch track on; again to switch track mute. ● If you wish to use the ROLL function, you must hold down the [ROLL] button while pressing the pad(s). When you release the [ROLL] button, the function selection automatically switches to PLAY. ● While you are working at a function screen, the top line of the screen indicates the currently selected function (see illustration directly above).
Chapter 6 Using the Features PLAY Function Purpose: Description: Use to play notes (to play the sample sound). Use the pad to record note-on events (sample-playback events) onto COMPOSED LOOP and FREE tracks, and to play samples out in real time. Operation in Each Mode: REC mode Pad press records a Note-On; pad release records a Note-Off. (Effective only on COMPOSED LOOP and FREE tracks.) Any other mode Pad press causes sample to play out; pad release causes sample playback to stop.
6 Recorded sample = Roll might look like this: At slower RESOLUTION (Roll at ) :1 :2 :3 :4 :1 :2 :3 :4 At fast RESOLUTION (Roll at ) Description: Hold down [ROLL] button and press pad to record or play a “roll” sound. Operation in Each Mode: REC mode Holding down the [ROLL] button and pressing the pad records a roll onto the track at the current resolution (see below).
Chapter 6 Using the Features 2 Hold down the [ROLL] button and turn the dial to select the new rate. You can select any of the following 18 roll rates: 3 3 3 3 3 3 ● Although it is possible to change the roll resolution while you are rolling a note (while you are holding down both [ROLL] button and a pad), the roll rate will not change until the pad is released. ● When you press the [ROLL] button, the pad-function indicator on the screen displays PLAY (and not ROLL).
Sequencer Mode Track Type Operation ● ● LP REC ● CL ● PLAY AU, MA Pressing the pad generates a Note On; releasing it generates a Note Off. These events are recorded with respect to their location in the song. ● The pad does not operate. ● If track is muted, no sound.
Chapter 6 Using the Features Using the Ribbon Controller The ribbon controller is a special feature that you can use to control one selected function on a preselected track. Once you have selected the function, you can control it by tapping or rubbing the ribbon. The ribbon gives you a tactile type of control not provided by the knobs. For the controlled function you can choose one of the knob functions (pitch, pan, etc.
6 (Example: LEVEL) Tap here Track’s LEVEL becomes 0. Track’s LEVEL becomes 100. Track’s LEVEL rises from 0 to 127. If Scratch: If you set the ribbon to control the scratch function, the SU700 maps the first part of the sample along the span of the ribbon, starting from the bottom of the ribbon. If you set your finger on the bottom of the ribbon and run it upwards, you can scratch out the sound in the forward direction.
Chapter 6 Using the Features Using Quantizing You use the quantizing feature to automatically adjust the timing of knob and pad actions that you input when recording a song. The purpose of the quantize feature is to allow you to get clean timing even when your input is slightly off time or sloppy. Quantizing is particularly useful when you need to record precise rhythm patterns (precise pad PLAY actions) onto your COMPOSED LOOP tracks.
6 Examples 1:1 :2 If QUANTIZE = 1:1 :2 If QUANTIZE = 1:1 :2 If QUANTIZE = 1:1 :2 :3 :4 :1 :2 :3 :4 CHAPTER Note-On :1 , adjusted as follows : :3 :4 :1 :2 :3 :4 :1 :2 :3 :4 :1 :4 :1 , adjusted as follows : :3 :4 :1 , Knob events are pulled as follows : :3 :4 :1 :2 :3 Once you have used quantizing, there is no direct way to restore your original timing, since the SU700 the will not remember your original timing.
Chapter 6 Using the Features How to Set the Quantize Value To change the quantize setting, proceed as follows. Note that you can change the quantize setting at any time when working at the main screen or a function screen, regardless of the sequencer’s current state. Note that the quantize setting is a temporary state (→ p.137); it cannot be saved into scenes or onto disk. The SU700 simply retains the current setting until you change it or switch the power off.
● To hold complete or partial environments temporarily as you build your songs, or to create temporary backup environments when testing out new possibilities that you may not want to keep. Overview ● Each song contains memory space for eight scenes: TOP, A, B, C, D E, F, and G. ● When you begin working on a new song (after setting the power on and loading some samples) all scenes (TOP, A,...,G) are empty.
Chapter 6 Using the Features What Does the Scene Hold? When you store a scene, the scene memory stores the current settings for all of the items listed below. When you recall the scene, the sequencer will recall of these settings. ● All current knob settings (SOUND/LEVEL, SOUND/PAN, SOUND/PITCH, ...,EFFECT/EFFECT 3) for all nonempty sample tracks, and for the AUDIO IN and MASTER tracks. ● The current GROOVE resolution setting (for all nonempty sample tracks).
NOTE 2: Be careful that you do not release the button too soon. If the button already contains a scene, then releasing it too quickly will cause you to lose the settings that you wanted to store. How Do I Recall a Scene? You can recall a scene with the sequencer in any mode (REC, REC STANDBY, PLAY, or PLAY STANDBY) by briefly pressing and releasing the corresponding SCENE button ([TOP], [A],...[G]). Note the following points.
Chapter 6 Using the Features ● If you do not store a top scene (if the top scene is empty), then: When you move back to the start of the song from any other position in the song, settings will simply retain the values they had prior to the move. It will probably be impossible to predict how the song will sound when you begin playback.
When building a song segment (recording and then re-recording over the same section), you will want to use a scene to store the environment that exists at the start of the section, so that you can recall the environment before re-recording from the start of that segment. ● When building a song, you may want to use scenes to hold current settings as you continue to adjust these settings. ● You may want to set up multiple scenes temporarily as possible alternatives.
Chapter 6 Using the Features Using Markers You can use markers to jump to preset locations in the song. You can memorize up to eight locations for each song. This feature is useful when you want to jump around to different song locations during performance, or if you wish to jump to specific locations when building your song. Markers can only be used while the sequencer is in PLAY or PLAY STANDBY, and marker-button presses cannot be stored into scenes or otherwise recorded into your song.
6 Hold down until the screen shows message. New location (123) is stored in marker A. Previous content of marker A, if any, is lost. To jump to a marker location sure that the sequencer is in PLAY or PLAY STANDBY mode, and that the 1. Be SCENE/MARKER switch is set to MARKER. Press the appropriate marker button briefly to jump to the stored location. Note 2. that the position changes when you release the button, not when you press it.
Chapter 6 Using the Features The [UNDO/REDO] button is effective only while the sequencer is in PLAY STANDBY; you can not execute an undo or redo while playback is in progress. Pressing the button will always return the song to position 001:1. Note that the “undo” memory will lose its content when you do any of the following: ● Press the [REC] button again to enter RECORDING STANDBY. ● Change to a different song. ● Switch off the power.
This chapter tells you what you need to know about setting up and using the SU700’s built-in effects. CONTENTS 7.1 Introduction 186 7.2 Using the Effects 186 7.3 Effect Blocks 188 7.4 System Effects 189 7.5 Insertion Effects 190 7.6 Usage Tips 191 7.
Chapter 7 Effects 7.1 Introduction The SU700 effects system offers the following features and characteristics: ● ● ● ● A wide variety of built-in effects. Each effect includes a number of dedicated parameters that give you great control over how the effect is actually applied. Three effect blocks. You assign a different effect to each block—so that you can have three effects working at any given time. Effect blocks are interconnected.
Use these buttons to select and set up the effect for each block. NOTE: If you have installed the optional AIEB1 board (I/O expansion board), be aware that effects are not applied to signals directed to the analog assignable outputs (although they are applied to the signals to the DIGITAL and OPTICAL connectors). USING SCENES There is only one way to preserve the effect assignments and parameter settings that you make with the EFFECT SETUP buttons: you must store these into scenes.
Chapter 7 Effects 7.3 Effect Blocks The SU700 provides three effect blocks, with a separate effect assigned to each block. An effect is applied by passing the signal output from the tracks through the corresponding effect block. You might want to note that the SU700 will never pass the entire signal through the block; some part of the signal will always bypass the block, as illustrated below. Effect Block Track Output Out The three blocks are interconnected.
When working with a system effect, you can control the effect level separately for each track by pressing the appropriate [EFFECT] button ([EFFECT 1], [EFFECT 2], or [EFFECT 3]) and then turning the knobs. But note that the MASTER-track’s knob in this case is disabled. The following shows the function screen produced by pressing the [EFFECT 1] button, where the function assigned to block 1 is AMP SIM (the default), which is a system effect.
Chapter 7 Effects 7.5 Insertion Effects Insertion effects are subject to restrictions that do not apply to system effects. The following conditions apply to insertion effects. (a) When setting up the effect, you decide which tracks you want to connect to that effect. For each track (other than the MASTER track) you can set the connection either ON or OFF. (b) You cannot connect a track to more than a single insertion-effect block.
7 The following illustration shows the connection configuration when insertion effects have been assigned to all three blocks. EFFECT 1 2 3 CHAPTER EFFECT 1 2 LOOP 3 OFF 1 2 3 EFFECT 1 OUT OFF FREE 1 EFFECT 2 OUT 2 3 OFF AUDIO IN 1 2 EFFECT 3 3 OUT OFF MASTER 1 2 3 OFF MASTER knob controls level for all connected tracks. 7.6 Usage Tips ● ● Remember that when you use the knobs to control the EFFECT levels during recording, these knob actions are recorded as sequence events.
Chapter 7 Effects 7.7 Changing the Effect Resolution Many effects include a resolution setting (note-interval) that determines the effect’s timing. It is important to note that the following points: • You cannot change the resolution setting using the EFFECT SETUP functions. You can only change the resolution setting from the EFFECT screens ([EFFECT ␣ 1], [EFFECT 2], [EFFECT 3]). • Changes you make to the resolution setting while recording is in progress are not recorded into the song.
You use the SU700 control knobs to set or adjust values for up to 22 parameters, or knob settings, on each track. This chapter describes all of the settings that you can control with the knobs and the knob-function buttons. CONTENTS 8.1 Overview 194 8.2 Knob Settings for Each Track 195 8.3 Quantize and Resolution 196 8.
Chapter 8 Knob Functions 8.1 Overview The SU700 allows you to set and control up to 22 playback parameters (or knob settings) on each track. These parameters determine how the track’s sound is processed during playback. For any given track, you control all of these parameters using the track’s single control knob. This means that you must switch the knob function (the parameter controlled by the knob) frequently as you carry out setup, recording, and playback.
NOTE: When you are working at a function screen, as described above, all knobs control the currently selected function. When you are working at the main screen, however, each knob controls the function assigned to it by the TRACK SET | MAIN job. For general information about the difference between the main screen and function screens, see pages 25 and 144. 8.2 Knob Settings for Each Track Although 22 knob parameters are provided, not all tracks can store or accept settings for all parameters.
Chapter 8 Knob Functions 8.3 Quantize and Resolution Some of the knob functions support a QUANTIZE setting, while several others support a RESOLUTION setting. QUANTIZE Setting The quantize setting determines the interval at which the SU700 sequencer records knob and pad input. For a detailed explanation of quantizing, refer to “Using Quantizing,” on page 174.
SOUND Group These parameters control sound output quality by adjusting the waveform playback. LEVEL Range: Default: 000 to 127 100 (on all sample tracks) 077 (on AUDIO IN track) 127 (on MASTER track) Works on: All tracks Controls the sound level of the track’s playback. Turn the knob right to increase the level, or left to decrease it. A value of 000 cuts off the sound.
Chapter 8 Knob Functions PITCH Range: -128 to +127 Default: +000 Works on: Sample tracks Adjusts the pitch of the sample playback. Turn the knob right to increase the pitch, or left to reduce it. Each increment corresponds to 20 cents (where 100 cents is equivalent to 1 semitone). On LOOP tracks only: If you set the track’s BPM TRACKING to CHNG PITCH , this function is disabled and the SU700 automatically controls the pitch so as to match the tempo.
RELEASE This function applies a fade-out to the sample. Higher values increase the length of the fade; 0 applies no fade at all. This feature is primarily intended for use on COMPOSED LOOP and FREE tracks. A fade-out refers to a gradual drop in the sample level. The following illustration shows the concept. Release=0 (No fade-out) Release>0 (Fade-out) Level Level Time Note-On Note-Off Time Note-On Note-Off On COMPOSED LOOP and FREE tracks: The level starts to fade-out at the note off (pad release).
Chapter 8 Knob Functions Overlapping sound Level Note-On Note-Off Note-On Note-Off LENGTH Range: -64 to +63 Default: +00 Works on: LOOP tracks This function lets you dynamically adjust the length of a LOOP-track sample. The adjustment is available only if BPM TRACKING (in the TRACK SET | SETUP job) is set to SLICE (→ p.237), and only on LOOP tracks. Positive values increase the length, while negative values reduce the length.
These functions operate only on sample tracks; they do not work on AUDIO IN and MASTER tracks. • For COMPOSED LOOP and FREE tracks, adjustments are applied directly to the recorded note events. • On LOOP tracks, the function operates only if the BPM TRACKING (in the TRACK SET | SETUP job) is set to SLICE. If the setting is SLICE, the SU700 breaks the loop phrase into interval-length pieces and applies the groove adjustment to every other piece.
Chapter 8 Knob Functions To Set the Interval Procedure the track that you want to adjust. 1. Select ▼ Use the bank selectors to select the bank, and then hit the pad for the track you wish to adjust. GROOVE/[TIMING]. 2. Press ▼ The SU700 displays the GRV TIMING function screen. The NOTE area of the screen displays the current resolution setting for the track you just selected. the [NOTE] button (so that the RESOLUTION indication on the screen is blink3.
8 SUPPLEMENTARY EXPLANATION On LOOP tracks: Gray areas indicate groove intervals. All note events that start within the groove interval are adjusted for groove. 1:1 :2 :3 :4 2:1 :2 :3 START POINT :4 3:0 END POINT If you set RESOLUTION = , the SU700 slices the phrase into eight pieces (four quarter-note intervals per measure), and applies groove adjustments to every other piece. On COMPOSED LOOP and FREE tracks: Assume that your original Note-On pattern looks like this.
Chapter 8 Knob Functions TIMING [GRV TIMING] Range: -100 to +100 [%] (if LOOP); +000 to +100[%] (if COMPOSED LOOP or FREE) Default: +000 Works on: Sample tracks This function applies an adjustment to the start location of the notes that fall within the groove intervals. Turning the knob to the right increases the timing adjustment, while turning to the left reduces it. Positive values delay the note start. On LOOP tracks: This function works only if BPM TRACKING is set to SLICE.
VELOCITY [GRV VELOCITY] This function applies an offset to the velocity values of the notes (or slices) that start within the groove intervals. (The velocity determines the loudness at which the note is reproduced.) Turn the knob to the right to increase the velocity, or left to decrease it. Although possible offsets range from -100 to +100, be aware that the applied velocity can never be raised above 127 (maximum loudness) or reduced below 0 (no sound).
Chapter 8 Knob Functions GATE TIME [GRV GATETIM] Range: -100 to +100 Default: +000 Works on: Sample tracks This function applies an adjustment to the gate time (duration) of the notes (or slices) that start within the groove intervals. Turn the knob to the right to increase the gate time, or left to reduce it. NOTE: • You can edit the gate times directly (on COMPOSED LOOP and FREE tracks only) using the EVENT EDIT | LOCATION & VALUE job (→ p.246).
8 Original track output CHAPTER ORIGINAL LEVEL: LFO waveform RESOLUTING LEVEL: SPEED [LFO SPEED] Range: 000 to 127 Default: 025 Works on: Sample tracks Adjusts the frequency of the LFO wave. Higher values produce faster modulation. A setting of 000 switches modulation off.
Chapter 8 Knob Functions FILTER [LFO FIL DPTH] Range: 000 to 127 Default: 000 Works on: Sample tracks Sets the amount by which the LFO modulates the filter cutoff frequency. A filter depth of 000 applies no modulation, while a setting of +127 applies maximum modulation. The LFO modulation is applied as an offset to the filter cutoff value set by the FILTER/CUTOFF function (→ p.210).
Low Band 8 If both gain settings are negative: High Band Level Sample Central frequency CHAPTER Level Sample Freq Central frequency Freq HI GAIN [EQ HI GAIN] Range: -64 to +63 Default: +00 Works on: Sample tracks and MASTER track Sets the gain applied at the equalizer’s high band. Positive values apply a positive gain, thereby emphasizing the sound within the high band. Negative values apply a negative gain, suppressing the sound within the high band.
Chapter 8 Knob Functions FILTER Group The SU700 provides one filter for each sample track. This group lets you dynamically adjust each filter’s cutoff frequency and resonance. Note that the filter type itself is set by the TRACK SET | FILTER TYPE job (→ p.233). CUTOFF [FILTR CUTOFF] Range: 000 to 127 Default: 127 Works on: Sample tracks Adjusts the filter’s cutoff frequency. Higher values raise the cutoff frequency, while lower values reduce the frequency.
You use this group to control the effect levels on each track, and to set or change the effect resolution for each effect. 8 The SU700 includes a sophisticated effects implementation that provides you with three separate effect blocks. You can assign a different effect to each block (from a total of 43 effects), set a variety of parameters for each of these effects, and adjust the configuration of the signal flow among the three blocks.
Chapter 8 Knob Functions If the effect supports a RESOLUTION setting, then the current setting is indicated at the lower right of the screen. You can change the RESOLUTION value by pressing the [NOTE] button and turning the dial. Resolution values can be set separately for each supporting effect. Level for most recently controlled track.
You use the editing-function panel to set up the effects and to carry out a number of other tasks. This chapter describes each of the operations that you can access using this panel. CONTENTS 9.1 Overview 214 9.2 EFFECT SETUP Group 214 9.3 JOB Group 220 9.
Chapter 9 Editing Functions 9.1 Overview You use the editing function panel to perform the following tasks. ● Cancel an effect. Instantly switch off operation of an effect. ● Set up each effect block. Select the effect type for each block, and set the effect’s parameters. ● Reset knob function values. Reset all values for the selected track to their defaults. ● Delete note events. Delete note events over selected range on selected COMPOSED LOOP or FREE track. ● Assist in name editing.
the sequencer in PLAY or PLAY STANDBY, press the button corresponding to 1. With the effect block whose effect you want to cancel. 9 ▼ The SU700 displays CLEAR=effect_name, where effect_name is the name of the effect assigned to the block. If the effect supports a RESOLUTION setting, the note area (at the bottom right of the screen) displays the note image corresponding to the current setting.
Chapter 9 Editing Functions These functions can be accessed only while the sequencer is in PLAY or PLAY STANDBY. When you press any of these buttons, the SU700 displays the corresponding setup screen (see illustrations in the procedure below). While working at a setup screen, you can hear results of your new effect settings immediately. Note that when working at these screens you can do any of the following: ● Use the sequencer controls to start and stop song play, or to adjust the song position.
If insertion effect: Current resolution. (Cannot be changed from this screen.) HINT: Regardless of other settings, you can always tell whether or not an effect is an insertion effect by looking the meter brackets for the MASTER track. If the brackets are off, the effect is an insertion effect; if the brackets are visible, the effect is a system effect. the dial to select the effect that you wish to assign to the block (so that the ef2. Turn fect name appears on the screen).
Chapter 9 Editing Functions IMPORTANT Note that you cannot connect a given track to more than one insertion effect. (See illustration, page 191.) If you try to switch on the connection for a track that is already connected to an insertion effect on one of the other two effect blocks, the screen will display the REPLACE? query. Press [CANCEL] to leave the track’s connections unchanged, or press [OK] to switch on connection to the selected block and switch off its connection to the other block.
The first five parameters are different for each effect. For an explanation of each effect and its parameters, to the effect listings starting on page 333. 9 The subsequent parameters set up the output from the effect block itself, and are therefore the same regardless of the selected effect. These parameters are as follows. Refer also to the diagram below. CHAPTER Parameters LEVEL Sets the output level from the effect block. (See illustration, page 188.
Chapter 9 Editing Functions 9.3 JOB Group Use this group to reset knob-function values or delete note events on selected tracks. KNOB RESET Use this function to reset all current knob settings on the selected track to their defaults. This function is effective in PLAY and PLAY STANDBY modes only. Procedure Hold down the [KNOB RESET] button, and press the pad(s) corresponding to the track(s) that you want to reset. ▼ The SU700 resets all knob-function settings for the selected track.
NOTE: You can simultaneously delete note events from multiple tracks (in the same bank) by holding down more than one track pad. 9.4 NAME Group Use this group to insert a space character or to delete a character when editing a name (song name, sample name, volume name, etc.). These functions operate only when you are working at a name-editing screen. INSERT Procedure Press [INSERT] once to insert a blank character at the current cursor position.
Chapter 9 Editing Functions 222 Chapter 9 Editing Functions
This chapter describes all of jobs available at the SU700 job panel. You use these jobs to carry out editing, data management, and system management tasks. CONTENTS 10.1 Overview and Job List 224 10.2 General Procedure 225 10.
Chapter 10 Jobs 10.1 Overview and Job List You use the SU700 jobs to carry out editing, data management, and utility-type operations. To select a job, you press the job group selector (along the top of the selector grid) and then the appropriate job selector (along the left of the grid). In some cases you will then need to turn the data-entry dial to select from several related jobs. The following is a brief description of all available jobs.
SAMPLE: Edit/convert the waveform on the selected track. START POINT Set the playback start point on the waveform. END POINT Set the playback end point on the waveform. PROCESS TRIM Trim the waveform (remove unused parts at the ends of the waveform), freeing up additional sample memory. REVERSE Reverse the direction of the waveform (so sound goes “backwards”). NORMALIZE Adjust the dynamic range of the waveform. FREQ. CONVERT Reduce the waveform’s sampling frequency (freeing up additional waveform memory).
Chapter 10 Jobs the job group by pressing one of the job group selectors along the top of 2. Select the job grid. Then select the job (or job type) by pressing one of the job selectors along the left of the grid. Job Group Selectors Job Selectors ● When you press the group selector, the screen displays the name of the group. When you press the job selector, the screen displays the top level of the corresponding job screen. ● You must always press a group selector to begin a job session.
Note that you can switch from one job to another at any time by pressing another job group selector or job selector. The SU700 will immediately display the top screen for the new job you have selected. So long as power remains on, the SU700 will remember “job flow” selections that have no effect on actual operation, and will recall these the next time you run the job.
Chapter 10 Jobs SONG | NAME Use to: Edit the name of the currently selected song. ● ● ● Maximum name length is eight characters. The default song name is SONGxx, where xx is the song number. You cannot use a name that is already assigned to another song. Procedure SONG | NAME to enter this job. 1. Press ▼ The screen shows both the song number (at the left) and the song’s current name (at the right). The first character of the name is flashing.
Use to: Copy the content of the current song into another song. After completion of this job, you will have two copies of the same song. This feature is useful when you want to edit one copy of the song while retaining another for safekeeping, when you want to edit multiple versions of the same basic song content, or when you want to copy multiple samples from one song to another.
Chapter 10 Jobs SONG | INIT Use to: Initialize the current song. This job deletes all song data stored in the specified song number. The following information is deleted or reset: all samples, all sequence data, all knob data, all scene content, all marker settings, MTC offset, track settings, and MIDI settings. Procedure SONG | INIT to enter this job. 1. Press ▼ The screen displays INIT SONG xx, where xx is the song number of the song to be initialized (deleted).
You use the jobs to set up the operation of each track for the current song. The settings you make here significantly affect the sound of the song. These settings are stored together with the song when you save the song to volume on disk, and are restored when you reload the song from the volume. What The Jobs Do MAIN Sets the default action for the selected track’s knob and pad. FILTER TYPE Sets the type of filter applied to the selected track.
Chapter 10 Jobs ● For information about how the track-meter displays operate when you are working at a main screen, refer to pages 25 and 144. Procedure Be sure that you have selected the song containing the track(s) that you want to set up. TRACK SET | MAIN to enter this job. 1. Press ▼ The screen appears as follows. The bank number and meter bracket indicate the currently selected track (the last track whose pad you pressed).
Use to: Select the filter type for each track. ● This operation has no affect on the track’s current cutoff-frequency and resonance settings. To change the cutoff frequency and resonance, use the corresponding knob functions (→ p.210). ● This operation does not apply to AUDIO IN and MASTER tracks. You cannot select these tracks when working on this job. ● You can select from the following four filter types. The default type is LPF. LPF Low-pass filter [12dB/oct].
Chapter 10 Jobs Procedure Be sure that you have selected the song containing the track(s) that you want to set up. TRACK SET | FILTER TYPE to enter this job. 1. Press ▼ The screen appears as follows. The bank number and meter bracket indicate the currently selected track (the last pad you pressed, except that if this was AUDIO IN or MASTER then the fourth FREE track of the current bank). Selected Bank Track’s current filter type. Brackets indicate selected track.
The setting works separately for notes recorded in the song (recorded note events ) and notes generated by realtime playback. If you set the value to SINGLE, for example, then the track can actually play two notes at a time: one generated by the song and one played by you in real time. ● The difference between these two settings can be illustrated as follows.
Chapter 10 Jobs TRACK SET | SETUP Use to: Set various playback parameters for each track, or to view current settings. ● Parameters are as follows. See below for a detailed explanation of each setting. BPM TRACKING LOOP LENGTH OUTPUT TO LFO WAVE Determines how playback reacts to changes in tempo (BPM). Applies to sample tracks only (cannot be set for AUDIO IN or MASTER tracks). Sets the length of the loop generated by the track. Applies to LOOP tracks and COMPOSED LOOP tracks only.
BPM TRACKING MODE = SLICE or CHNG PITCH (on LOOP tracks) NORMAL or CHNG PITCH (on COMPOSED LOOP and FREE tracks) (where bold indicates the default) SLICE The SU700 breaks the track’s sample into slices, and spaces the slices so that the sample just fills the specified loop length at the current BPM. The sample always maintains its original pitch. As BPM increases, the slices move close together, cutting off part of the sound at the end of each slice (see illustration).
Chapter 10 Jobs The following illustration shows how the SLICE setting operates on a LOOP-track sample having a four-beat loop length, assuming that groove resolution is set to quarter note (four slices per measure).
OUTPUT TO OUT = STEREO OUT, AS 1,..., AS 6, AS 1+2, AS 3+4, AS 5+6 [all tracks except AUDIO IN and MASTER] The default is STEREO OUT. This value sets the output destination of the selected track. This setting is available only if you have installed the AIEB1 I/O expansion board. (If you have not installed the board, the SU700 will not display the OUT= setting screen.
Chapter 10 Jobs LFO WAVE LFO WAV = SAW DOWN, SAW UP, TRIANGLE, SQUARE (Works on sample tracks only. The default is SAW DOWN.) This value selects the LFO waveform. This waveform provides the modulation for the LFO group of knob functions (→ p.206). Note that the LFO/[AMP] knob function can not generate saw-up modulation. If you select SAW UP, the LFO/[FILTER] and /[PITCH] settings will generate sawup modulation but the /[AMP] function will generate saw-down modulation.
Use these jobs to copy track data or event data from one track to another, or to reset track data or event data on a selected track. You must select the appropriate song before beginning to run these jobs. What The Jobs Do TRACK COPY Copies all non-event track data from one track to another. TRACK INIT Deletes all data on the track (the sample itself, event data, and nonevent data), and returns all track settings to their defaults. EVENT COPY Copies all events (all sequence data) from one track to another.
Chapter 10 Jobs Procedure Be sure that you have selected the appropriate song. TRACK EDIT | TRACK COPY to enter this job. 1. Press ▼ The screen displays SOURCE TRACK, and the bank number and meter bracket indicate the last track you were working on (the last pad you pressed, except that if this was AUDIO IN or MASTER then the fourth FREE track of the current bank). a bank selector and track pad (as necessary) to select a nonempty source track. 2.
Use to: Erase the track’s recorded sample and recorded event data (sequence data), and reset all track settings to their defaults. ● Be careful when using this job, as it erases data without issuing any warning or confirmation prompt. Be sure that you are ready to proceed before you press the [OK] button. Procedure Be sure that you have selected the appropriate song. TRACK EDIT | TRACK INIT to enter this job. 1.
Chapter 10 Jobs ● For you reference, when you select a track the screen will show not only whether that track contains a sample but also whether it contains sequence data. If the track has a sample only, then only the two center bars will light up; if it also contains sequence data, then the six center bars light up. If you select a source track that does not contain any sequence data, then this job will simply delete any sequence data already existing in the destination track.
TRACK EDIT | EVENT INIT Use to: Clear all recorded sequence data (sequence events) from a selected track. ● This job clears all sequence data recorded on the track. ● This operation does not delete the track’s sample, its current knob settings, and its other track-related data. (In particular, the job does not change the settings enumerated in the explanation for the TRACK COPY job above.) ● If you execute this job on the MASTER track, it will delete all scene-recall events from the song.
Chapter 10 Jobs 10.3.4 EVENT EDIT Use these jobs to edit or delete specific sequence data on a selected track, or to add measures to or delete measures from the current song. What The Jobs Do LOCATION &VALUE Allows you to edit or delete actions you recorded using the pads and scene buttons.
Be sure that you have selected the song containing the track you want to edit. EVENT EDIT | LOCATION & VALUE. 1. Press ▼ The screen displays EDIT=trackname, where trackname is the name of the track whose pad you last pressed. The bank number and meter bracket also indicate the selected track. Track contains Sample and sequence data. Track contains sample only. Track is empty. a bank selector and track pad (as necessary) to select the track you want to 2. Press work on. Then press [OK].
Chapter 10 Jobs If EVNT=NOTE The screen now displays information about the note-on event nearest the current song location, as follows. 4. Measure-Beat-clock count (location of note-one event) Note’s duration (gate time) Note’s velocity valve Clock count a note you want to edit or delete by pressing the sequencer’s or but5. Select button moves you to the next note event; ton as necessary. Each press on the each press on moves you to the preceding note event.
4. (Indicates that mute was applied at measure 4, beat 1, clock count 279.) (Indicates that mute was released at measure 4, beat 2, clock count 107.) Select the mute event you want to delete by pressing the sequencer’s or but5. ton button moves you to the next mute event as necessary. Each press on the (MUTE or ON); each press on moves you to the preceding mute event. delete the event, press the JOB/[DEFAULT] knob-function button. The information 6.
Chapter 10 Jobs EVENT EDIT | NOTE CLEAR Use to: Delete all note events on the selected COMPOSED LOOP or FREE track. This job deletes note events only, and leaves all other pad-function events [ON/MUTE, ROLL, LOOP RESTART events]) in place. Procedure Be sure that you have selected the song containing the track you want to edit. EVENT EDIT | NOTE CLEAR. 1. Press ▼ The screen displays CLEAR=trackname, indicating the selected track. The bank number and meter bracket also indicate the selected track.
Use to: Delete all occurrences of a selected event type over a specified range of measures on the selected track. This job cannot delete note events, but can delete any other type event (knob events, pad events, and ribbon scratch events). But be aware that you cannot use it to delete specific instances of an event—you can only use it to delete all instances over some selected range of measures.
Chapter 10 Jobs a bank selector and track pad (as necessary) to select the track you want to 2. Press work on. Then press [OK]. ▼ The screen displays EVNT=LEVEL, since LEVEL is the event type that is targeted by default. the type of event you wish to delete from the track, using the dial or the ap3. Select propriate control buttons . If you wish to select ALL (to delete all events), you must use the dial. Otherwise, you can use the following shortcuts.
Use to: Insert one or more measures into the current song, or to delete one or more measures from the song, or to take a copy of sequence data and write it (one or more times) into the specified location of the same track or of a different track of the same type. ● Three jobs are available. ADD MEASURES Inserts one or more empty measures into the selected song, at any selected time meter (1/4,...,4/4). DELETE MEASURES Deletes one or more measures from the selected song.
Chapter 10 Jobs EXAMPLE: Assume you want to insert 4 measures between measures 2 and 3, and that you want these new measures to have a meter of 2/4.
and to move among the three param- you have finished setting all values, press [OK]. 5. After ▼ The measures are inserted. The screen may display a “processing” pattern while processing is in progress. When processing is completed, the job terminates and the SU700 returns you to the main screen. This job deletes a segment consisting of one ore more measures from the selected song. The measures are deleted from all tracks.
Chapter 10 Jobs Procedure sure that the song you want to delete the segment from is currently selected. 1. Be ▼ You may find it convenient to stop the song at the first measure that you want to delete. 2. Press EVENT EDIT | MEASURES. turn the dial to select DELETE MEASURES. Then press [OK]. 3. If▼necessary, The screen displays the start-measure and end-measure parameters, which you use to select the range of measures you want to delete. As a default, the screen offers to delete the current measure only.
Sequence data 1 A B C D E F G H I J 1:1 :2 :3 :4 2:1 :2 :3 :4 3:1 :2 :3 •••• G H I J E F 2 G H E 3 F G H E F G H W X Y 9:1 :2 :3 :4 10:1 :2 :3 :4 11:1 :2 :3 :4 12:1 :2 :3 :4 13:1 :2 Z A B •••• :3 :4 14:1 Procedure sure that the song you want to work in is currently selected. 1. Be You may find it convenient to stop the song at the first measure from which you want to copy data. 2. Press EVENT EDIT | MEASURES. turn the dial to select COPY MEASURES. Then press [OK]. 3.
Chapter 10 Jobs EXAMPLES: FROM M50—50: will copy data from measure 50 only. FROM M50—59: copies data from measures from 50 to 59 (a ten-measure segment). ▼ The SU700 won’t let you set first value higher than the second, or the second value lower than the first. Once the values become equal, raising the left value or lowering the right value will cause both values to move together. [OK]. 6. Press ▼ The screen displays DEST. TRACK, and indicates the default destination.
Use these jobs to set a sample’s start or end point, to modify the sample waveform in any of various ways, or to delete a waveform. Several of these jobs (the TRIM, FREQ CONVERT, BIT CONVERT, and DELETE jobs) can be used to increase the amount of memory available for additional sample recording. These jobs can only be used on sample tracks that already contain recorded samples. What The Jobs Do START POINT Sets the sample’s start point (the point on the waveform from which playback begins).
Chapter 10 Jobs Recorded wave form Start point End point ● You can listen to the sample playback as you adjust the start and end points. This makes it easy to set the points to appropriate locations. ● When making adjustments, you can switch freely among samples simply by pressing the appropriate bank selectors and pads. This makes it easy to set up start and end points for all of your samples during a single job session. ● It is not possible to set the end point lower than the start point.
This setting determines the increment at which the value changes when you turn the dial. For example, you can opt to adjust by single units (all eight digits), by increments of 10 (the first seven digits only), by increments of 100 (the first six digits to inonly), and so on up to increments of 10,000,000 (the first digit only). Press to decrease it. The selected digits flash on the screen.
Chapter 10 Jobs SAMPLE | PROCESS Use to: Perform various types of processing on sample waveforms. ● ● ● These jobs can only be used on nonempty sample tracks. You cannot select the AUDIO IN or MASTER track (since these tracks never contain samples). Four of these jobs can be used to reduce the size of the selected sample in memory, thereby freeing up additional space for new sample recording. Specifically, the following jobs can be used for this purpose: TRIM, FREQ.
Procedure Be sure that you have selected the song containing the sample(s) you want to work on. SAMPLE | PROCESS. 1. Press ▼ The track brackets indicate the currently selected sample track. The screen briefly 2. displays PROCESS, and then displays the name of the last process job that you selected. If the screen displays a job name other than TRIM, turn the dial so that the name changes to TRIM. the track containing the sample you want to work on by pressing the appropri3.
Chapter 10 Jobs This job reverses the waveform so that the sound is reversed-producing the same type of sound that you would get by rotating a vinyl record backwards or by playing a tape in reverse. Hello••• •••olleH REVERSE When you run the job, the SU700 reverses the waveform and then gives you a chance to listen to the results to determine whether you wish to keep the change. If you are not pleased with the sound you can cancel the job and retain the original waveform.
memory, overwriting the original waveform. If you are not pleased with the result, press [CANCEL] to discard the result and retain the original (unreversed) waveform. ▼ The job terminates and the main screen appears. This job increases the waveform dynamic range, by multiplying the waveform amplitude at each point along the waveform. You can set the normalization rate to any value from 100% to 200%, in 1% increments. The default is 100%.
Chapter 10 Jobs Procedure Be sure that you have selected the song containing the sample(s) you want to work on. SAMPLE | PROCESS. 1. Press ▼ The track brackets indicate the currently selected sample track. The screen briefly displays PROCESS, and then displays the name of the last process job that you selected. the screen displays a job name other than NORMALIZE, turn the dial so that the 2. Ifname changes to NORMALIZE. the track containing the sample you want to work on by pressing the appropri3.
The sampling rate refers to the number of frames (data readings) per unit time. For general information about sampling rates, see page 151. For an explanation about how to set the sampling rate when recording a sample, see page 158. After processing the waveform, the SU700 gives you a chance to listen to the results to determine whether you wish to keep the change. If you are not pleased with the sound you can cancel the job and retain the original waveform.
Chapter 10 Jobs that the selected sample has a reducible frequency, the screen prompts you 4. Provided to select the frequency: necessary, use the dial to select the target frequency. (In many cases only one pos5. Ifsibility exists, and the dial is disabled). [OK] to execute the conversion. 6. Press ▼ The SU700 converts the waveform. The screen displays a “processing” pattern while processing is in progress. When processing is finished, the screen displays the word FINISHED.
Be sure that you have selected the song containing the sample(s) you want to work on. SAMPLE | PROCESS. 1. Press ▼ The track brackets indicate the currently selected sample track. The screen briefly displays PROCESS, and then displays the name of the last process job that you selected. the screen displays a job name other than BIT CONVERT, turn the dial so that the 2. Ifname changes to BIT CONVERT. Then press [OK]. the track containing the sample you want to work on by pressing the appropri3.
Chapter 10 Jobs This job changes a stereo sample (L-channel and R-channel waveforms) into a monaural sample (one waveform). In most cases this operation will reduce the size of the sample in memory, thereby increasing the amount of free memory available for additional sample recording. The amount of size reduction will depend on the size of each channel’s waveform and the type of conversion you select. This operation is available on stereo samples only.
NOTE: If you select an empty track, the screen displays NO SAMPLE. If you select a track containing a monaural sample, the screen displays IMPOSSIBLE, indicating that conversion is not possible. In either case, you can simply select a different sample by pressing the appropriate bank selector or pad, or you can cancel by pressing the [CANCEL] key as necessary. selected a stereo sample, turn the dial to select the conversion type: CH=L, 5. Having CH=R, CH=L+R, or CH=L-R. [OK] to execute the conversion. 6.
Chapter 10 Jobs Procedure Be sure that you have selected the song containing the sample(s) you want to work on. SAMPLE | DELETE. 1. Press ▼ The track brackets indicate the currently selected sample track. If the track is empty, the screen displays the NO SAMPLE message. If the track contains a sample, the screen displays the sample name. necessary, change the track selection by pressing the appropriate bank selector 2. Ifand/or pad. ▼ The SU700 plays out the sample each time you hit the pad.
TRACK COPY Source Track Destination Track Sample Knob Settings Waveform is identical COPY LEVEL=60 PAN=R16 .. . EFFECT3=50 LEVEL=60 PAN=R16 .. . EFFECT3=50 Settings are identical TRACK RESAMPLE Sample LEVEL=60 PLAY Knob PAN=R16 .. Settings . EFFECT3=50 RECORD AS NEW SAMPLE Waveform modified accourding to source Knob settings LEVEL=100 PAN=C .. . EFFECT3=000 Knob settings are set to defaults.
Chapter 10 Jobs Basic Information ● Resampling is always carried out at 44.1 kHz sampling frequency and 16-bit resolution. The new sample is always monaural. (You cannot change these sampling conditions.) ● When carrying out this job, you are prompted to set the GAIN and the L/R channel mode.
entering the job, adjust the knob values on the track you want to resample so 1. Before as to get the sound that you want to capture. Play the track (hit the pad) as often as necessary while adjusting each of the knob settings as desired. RESAMPLE | TRACK to enter this job. 2. Press ▼ The screen displays the gain setting and the channel mode. The initially displayed settings are the same as those you made the last time you accessed this job. (The defaults are GAIN=+00, channels=L+R).
Chapter 10 Jobs [OK]. 6. Press ▼ The screen displays DEST. TRACK, prompting you to select the destination track. the destination track. 7. Select You can select any sample track, with the exception of the source track itself. 8. Press [OK]. NOTE: If you select a nonempty destination track, the screen displays the REPLACE SAMPLE? message, warning you that the operation will overwrite the sample already existing on the destination track.
NOTE: If you allow resampling to continue until memory runs out, resampling will automatically stop and the MEMORY FULL message will briefly appear. ▼ Sampling stops. If the SU700 requires some time to post-process the new sample data, it may display the WAIT... message. When post-processing is completed, the SU700 returns you to the main screen. RESAMPLE | SEQ Use to: Create a sample from a sequence (song).
Resample the mix of the source sample’s left and right outputs. (This is the default.) MONO L Resample the source sample’s left output only. MONO R Resample the source sample’s right output only. While this job is selected, the track meters operate as a two-channel horizontal level meter, just as during normal sampling recording. The meter grows to the right as the level increases, and the word CLIP appears if the level goes too high.
▼ The screen displays SELECT TRACK, prompting you to select the track on which you want to record the sample. the destination track. 5. Select Select the track by pressing a bank selector and/or track pad. The bank number and meter bracket change to indicate the track selection. Remember that you must select an empty LOOP, COMPOSED LOOP, or FREE track. NOTE: If you select a track that already has a sample on it, the screen displays the TRACK NOT EMPTY message.
Chapter 10 Jobs You can hear the sound of the sequence playing back through your headphones. You are free to adjust the location or the tempo while recording is in progress, but you cannot use any of the other sound controls (knobs, etc.). NOTE: If you are not happy with the way recording is going, you can press [CANCEL] once to return to step 4 above, or several times to escape from the job. you reach the point where you wish to terminate sampling, hit the [SAM8.
Use these jobs to load data from disk, save data to disk, delete data existing on disk, format disks, and review information about disks. What The Jobs Do LOAD Loads data from disk. SAVE Saves data to disk DELETE Deletes volume from SCSI disk. UTILITY Returns disk information; formats the disk NOTE: In its standard configuration, the SU700 can access the floppy drive only.
Chapter 10 Jobs NOTE: • Remember that a floppy disk can never hold more than a single volume. (In some cases, a single volume may extend across multiple floppy disks.) SCSI disks, in contrast, can hold multiple volumes. • If a floppy disk with an SU700 volume is in the disk drive when the SU700 first comes on, the SU700 will automatically load the volume from the disk. Procedure are going to load from floppy disk, insert the disk containing the volume. (If 1.
selected volume. The screen displays LOADING... to indicate that loading is in progress. When loading is finished, the main screen appears. The screen displays the lowest-numbered nonempty song of the new volume (or Song 1, if all loaded songs are empty). ● If you are loading a volume stored on multiple floppy disks, you must insert each disk in order, then wait for the prompt to insert the next disk INSERT FD xx where xx indicates the number of the disk within the set (02, 03, ..., 99).
Chapter 10 Jobs a bank selector and track pad (as necessary) to select the destination track. 4. Press If you select a track that already contains a sample, the screen displays the REPLACE ● SAMPLE? warning message, indicating that you will overwrite the existing sample if you proceed. If you do not wish to overwrite the sample, press [CANCEL] once. You can then select a different destination. [OK]. 5. Press ▼ The screen displays DRIVE=drive_name.
Song number Track number the dial as necessary to select the sample that you wish to load. Then press 10. Turn [OK]. ▼ The SU700 displays LOADING... to indicate that loading is in progress. When loading is finished, the main screen appears. ● If internal memory becomes full while loading is in progress, the SU700 displays the message MEMORY FULL, and the load is cancelled. This job loads a standard sample that was generated by a device other than the SU700.
Chapter 10 Jobs [OK]. 5. Press ▼ The screen displays DRIVE=drive_name. dial as necessary to select the disk (partition) you wish to import from. 6. TurnTo the import from floppy disk, select DRIVE=FDD. (This selection is forced if you have ● not mounted a SCSI drive.) ● To import from a SCSI disk, select DRIVE=SCSI (if the disk is unpartitioned) or DRIVE=SCSI Px (where x is the partition number). selecting the drive, press [OK]. 7.
● such cases the SU700 will display UNKNOWN FORMAT when you attempt to load the file. If this occurs, press [CANCEL] as necessary to move back to an earlier step or to exit from the job. ● If internal memory becomes full while loading is in progress, the SU700 displays the message MEMORY FULL, and the import is cancelled. ● The filename itself is not loaded into the SU700.
Chapter 10 Jobs Procedure you are going to save to floppy disk, insert a floppy disk. Be sure that the disk con1. Iftains no data that you need. (If you think the volume will not fit on a single disk, have additional disks ready.) If you are saving to an external SCSI disk, be sure that the SCSI drive is correctly mounted (→ p.32), and that a disk is inserted (if applicable). NOTE: SCSI drives can be used only if the optional SCSI board (ASIB1 board) is installed. 2. Press DISK | SAVE to enter this job.
If the disk in the drive is unformatted (or has a non-MS-DOS format): the FORMAT NOW? message appears. If you wish to format the disk, press [OK]. (Keep in mind that this will destroy any data already on the disk.) The SU700 will detect whether the disk is 2HD-type or 2DD-type and will format it accordingly. When formatting is completed, the SU700 automatically begins saving as described in step 6 below. ● If no disk is present in the drive, the screen will display NO DISK.
Chapter 10 Jobs To save into an existing disk volume After selecting the volume by name, press [OK]. ▼ The SU700 displays the OK TO CLEAR ALL? message, warning you that the save operation will overwrite any data already existing in the disk volume. 7. ● If you decide that you do not want to overwrite the existing volume, press [CANCEL] as necessary to move back to a previous step or to exit from the job. proceed with the overwrite, press [OK]. 8.
● The SU700 can export to a single floppy disk only. It cannot export onto multiple floppy disks or onto SCSI disks. Procedure 1. Insert a floppy disk into the floppy-disk drive. 2. Press DISK | SAVE to enter this job. the dial as necessary to select EXPORT, and then press [OK]. 3. Turn ▼ The screen displays SELECT TRACK, prompting you to select the track containing the sample you wish to export. a bank selector and track pad (as necessary) to select the track. 4.
Chapter 10 Jobs If you wish to edit the name, press or to move the cursor to each character position at which you want to delete, insert, or change a character. (The character at that position flashes to indicate that it is selected.) To delete the selected character, press NAME/[DELETE] (on the Editing Function panel). To insert a space character, press NAME/[INSERT]. To change the character, turn the dial.
Use to: Delete an entire volume on external SCSI disk. This job is effective only if you have installed the optional SCSI board (ASIB1 board). Procedure sure that the SCSI drive is correctly mounted (→ p.32), and that the correct disk 1. Be is inserted (if applicable). DISK | DELETE to enter this job. 2. Press ▼ The screen shows DISK=SCSI (if your SCSI disk is not partitioned) or DISK=SCSI Px (if your SCSI disk includes multiple partitions; where x is a partition number).
Chapter 10 Jobs Procedure DISK | UTILITY to enter this job. Then turn the dial as necessary to select DISK 1. Press INFO, and press [OK]. ▼ The SU700 displays DRIVE =drive_name. the dial to select the disk or partition you are interested in. Selections are as 2. Turn follows. FDD SCSI Floppy disk. SCSI disk. (This selection appears only if the mounted SCSI disk is not partitioned [or to be more precise, contains exactly 1 partition]).
FD FORMAT (Format a floppy disk.) This job formats a 2HD or 2DD floppy disk. Procedure 1. Insert a floppy disk into the floppy-disk drive. DISK | UTILITY to enter this job. Then turn the dial as necessary to select DISK 2. Press FORMAT, and press [OK]. the dial to select FD FORMAT, and press [OK]. 3. Turn ▼ The SU700 displays FD TYPE=xxx (where xxx is either 2HD or 2DD). the dial as necessary to select the format type: either 2HD (1.44MB format) or 4. Turn 2DD (720KB format).
Chapter 10 Jobs When running either of these jobs, you can select anywhere from 1 to 8 partitions. You cannot select the partition size: the SU700 will automatically generate equalsized partitions. IMPORTANT SCSI disks formatted at the SU700 cannot be accessed by other devices. Procedure Be sure that the SCSI device is correctly mounted (→ p.32). If the device uses remov1. able disks, be sure that you have inserted the disk that you want to format. DISK | UTILITY to enter this job.
This job reformats a selected partition on the SCSI disk, deleting any information contained in that partition. This job has no effect on information in other partitions. Note that you cannot use this job to add or delete partitions: if you wish to change the number of partitions on the disk, you must use either the SCSI QUICK FMT job or the SCSI FORMAT job. Procedure Be sure that the SCSI device is correctly mounted (→ p.32). If the device uses remov1.
Chapter 10 Jobs 10.3.8 SYSTEM Group Use these jobs to set various system and MIDI parameters and to view remaining sequence memory and sampling time. What The Jobs Do SETUP Selects the ribbon function, and sets the metronome, the recording countdown, the recording mode, the pad sensitivity, and the audio-input type. MIDI Sets the various MIDI parameters. SCSI Sets SCSI IDs (local ID and remote ID). MEMORY Shows remaining sample and sequence memory. SYSTEM | SETUP Use to: Make various system settings.
STEREO {AS 1, AS 2,..., AS 6, AS 1+2, AS 3+4, AS 5+6} where STEREO directs the sound to the standard stereo outputs, and AS x directs the sound to the corresponding assignable output. The factory default setting is STEREO. Note that the AS x settings are available only if the optional AIEB1 board is installed. Note also that it is not possible to direct the metronome sound to the AIEB1 board’s digital outputs. Procedure SYSTEM | SETUP to enter this job. Then turn the dial as necessary to select 1.
Chapter 10 Jobs Procedure SYSTEM | SETUP to enter this job. Then turn the dial as necessary to select 1. Press COUNTDOWN, and press [OK]. 2. Turn the dial to set the value to 00, 01, or 02. 3. Press [OK] to return to the main screen, or press [CANCEL] to move back one level. Use this job to set the recording method for song recording. Two modes are available, as follows. The factory default setting is REPLACE.
SYSTEM | SETUP to enter this job. Then turn the dial as necessary to select REC 1. Press MODE, and press [OK]. 2. Turn the dial to set the mode to OVERDUB or REPLACE. 3. Press [OK] to return to the main screen, or press [CANCEL] to move back one level. Sets pad velocity sensitivity ON or OFF. The factory default is ON. This setting applies to COMPOSED LOOP and FREE tracks only.
Chapter 10 Jobs
LEVEL, PAN, PITCH, ATTACK, RELEASE, SAMPLE LNGTH ([LENGTH]), LFO SPEED ([SPEED]), LFO AMP DPTH ([AMP]), LFO FIL DPTH ([FILTER]), LFO PIT DPTH (LFO/[PITCH]), EQ HI GAIN ([HI GAIN]), EQ LO GAIN ([LO GAIN]), FILTR CUTOFF ([CUTOFF]), RESONANCE, EFFECT 1, EFFECT 2, EFFECT 3, SCRATCH Procedure SYSTEM | SETUP to enter this job. Then turn the dial as necessary to select 1. Press RIBBON FUNCTION, and press [OK]. 2. Turn the dial or press the appropriate knob function button to make your selection. 3.
Chapter 10 Jobs NOTE: If you set the value to EXTERNAL or MTC SLAVE, the sequencer will operate only if the corresponding synchronization signal is being received. Procedure Be sure that you have selected the song whose synchronization you want to set. SYSTEM | MIDI to enter this job. Then turn the dial as necessary to select 1. Press SYNC, and press [OK]. 2. Turn the dial to set the SYNC parameter, the press [OK]. 3. Turn the dial to select the setting. 4.
= Assigns the note number used when transmitting MIDI messages generated by the track. This setting lets you use each track to drive a given note on an external device. (Typically, you would use this setting to arrange pads so that they drive different drum sounds in an external a drum kit.) Note that this setting is effective only for MIDI transmission, and not for reception. The note value is sent over the track’s Transmit channel. The setting is meaningless if the track’s TRANS setting is OFF.
Chapter 10 Jobs Use this job to set the MIDI controller number (control-change number) associated with each knob function. Specifically, the settings you make here determine (a) the outgoing control-change messages generated by SU700 knob action, and (b) the functions controlled by incoming control-change messages received from an external MIDI device. As an example, suppose that the LEVEL function is set to 007.
Be sure that you have selected the song whose MIDI values you want to set. SYSTEM | MIDI to enter this job. Then turn the dial as necessary to select 1. Press CONTROL NUMBERS, and press [OK]. ▼ The screen now looks something like this. Control number Function left side of the screen selects the function; the right side assigns the control num2. The ber for the function. Move from right side to the left side as necessary by pressing and buttons (the selected side will blink on the screen).
Chapter 10 Jobs SU700= 0,...,7 Sets the SCSI ID of the SU700 itself. The factory default is 6. A change in the setting does not become effective until you restart the SU700. (If you change the value, the job will offer you the chance to restart immediately.) This setting is stored in nonvolatile memory and is not lost at power off. ● All devices connected to a SCSI chain require IDs.
Use to: Check the percentage of free sample/song memory or sequencer memory. Use this job to get a estimate of the amount of memory remaining for new samples or for new sequence data. You can view information about two types of memory, as follows. Sample & Song Memory: Sequencer Memory: This memory stores the samples (the waveform data) and sequence data for all songs. This is the memory that stores the sequence data (note events, pad events, and so on) for the current song.
Chapter 10 Jobs 310 Chapter 10 Jobs
APPENDIX Appendix CONTENTS Installing the Options 312 Specifications 326 SU700 Usage Hints 328 Error Messages 331 Effect Type List 333 Effect Parameter List 335 MIDI Data Format 345 MIDI Implementation Chart 348 Installing the Options 311
Appendix Installing the Options This Appendix explains how to install the following SU700 options: NExpansion memory (SIMMs) NExpansion I/O board (“AIEB1” board) NSCSI board (“ASIB1” board) IMPORTANT Please read the safety information on the next page carefully before carrying out installation work. If you are installing more than one option at this time, please follow the sequence given in this Appendix (SIMMs first, then AIEB1, then ASIB1). 312 1. Safety Information 313 2.
WARNING Failure to observe the following warnings may lead to fatality or serious injury from fire or electric shock. • Do not attempt to disassemble or modify boards or SIMMs. Do not apply excessive force to connectors or other components. (Damage to components may lead to shock, fire hazard, or equipment failure.) • Be sure to disconnect the power cable from the SU700 before carrying out installation work (to eliminate shock hazard).
Appendix 2. Opening and Closing the SU700 Before you can install an option, you need to open the SU700 by lifting and flipping over its top cover. When you have completed installation, you will need to reattach the cover. Flipping the Cover sure that you have the following items on hand. 1.
right sides of the cover, and lift the cover slightly (about 2 inches) to free it from the lower unit. Then carefully bring the left side of the cover up and over, and lay the cover upside-down along the right side of the lower unit. IMPORTANT Be careful not to disturb the cables running between the top cover and the lower unit; these cables should remain connected during the entire installation procedure. Lift up a few inches and then filp over. These wires must remain connected.
Appendix the SU700 upside down, and screw in the 12 larger screws along the bottom 3. Turn perimeter. 4. Turn the SU700 right side up again. 3. Installing SIMMs You can increase the SU700 memory capacity by installing commercially available SIMMs (single in-line memory modules). IMPORTANT • The SU700 comes standard with 4MB of (non-SIMM) memory, and can accept up to 64MB of SIMM expansion memory. (Maximum accessible memory space is 68MB.) • You may install 4MB, 8MB, 16MB, or 32MB SIMMs.
push the board out of the way to gain access to the SIMM sockets. To do this, lean over to the rear side of the unit and remove the three screws holding the board in place. Then shift the position of the board, within the lower unit, as necessary to gain access to the sockets. Shift the board position Remove 3 screws... (Viewing from rear.) Installation one of the SIMMs into the memory socket closest to the side. 1.
Appendix (2) Push upright. the remaining SIMM into the remaining socket. 2. Insert Again, set the SIMM into the socket at an angle (with the cutout facing down and toward the rear), and then push it upright so that it locks into place. NOTE: If for some reason you should need to remove a SIMM from its socket: Hold open the two hooks on the socket (one at each end) and push on the SIMM so that it moves in the opposite angle from that shown in Figure (2) above. Then pull the SIMM out.
4. Installing the AIEB1 Board 2 1 The optional AIEB1 Input/Output expansion board adds digital I/O (both optical and coaxial formats) and six assignable outputs to the SU700. Preparation SU700 package includes a short flat cable and a short round 3-wire cable spe1. The cially designed for use with the AIEB1 board. Be sure that you have these cables on hand. Note that one end of the short flat cable is “banded” (has a bulging ferrite core near the connector), while the other end has no band.
Appendix one end of the short 3-wire cable (described in Step 1) to the now-empty 35. Connect pin connector on the board (connector “CN3”). you have not yet done so, unfasten and lift off the top cover as described in “Flip6. Ifping the Cover” on page 314 above. Also be sure that you have a Phillips screwdriver at hand. if an optional ASIB1 board is already installed... 7.
coverplate was). Fasten it to the rear panel by screwing in the three screws you removed in Step 1. (Viewing from rear.) the flat cable so that it passes through the vertical flap on the FD drive, and 3. Arrange connect the free end to the black 40-pin connector (“CN4”) located next to the FD drive.
Appendix the free end of the 3-wire cable to the 3-pin connector (“CN6”) on the 4. Connect brown board. the free end of the 4-wire cable to the 4-pin connector (“CN5”) on the 5. Connect brown board, and pass the cable through the clamp mounted on the corner of the FD drive. Open the clamp, set the cable inside it, and then close it so that it snaps shut. Clamp (Viewing from rear.) you are finished with installation, replace and refasten the cover, as described in 6.
2 1 The optional ASIB1 board (SCSI board) allows the SU700 to connect to external SCSI storage devices such as hard drives and MO drives so that you can save and reload large quantities of data quickly and conveniently. NOTE: The SU700’s factory-default SCSI ID settings are as follows. • SU700 SCSI ID: 6 • External device ID: 5 Preparation that the ASIB1 board has both of its cables attached. 1. Check The board should have two bundled cables extending from it, as shown in the illustration above.
Appendix up the flat cable. 2. Connect Connect the free end of the flat cable into the corresponding CN2 in the SU700 (the long black 50-pin connector). The connectors are notched to ensure that you connect in the right direction. (Viewing from rear.) up the 2-wire cable. 3. Connect Connect the cable to the 2-pin connector (labeled “CN7 TO SCSI”) on the brown board inside the SU700. Note that the cable can attach to the connector in one direction only.
panel (where the coverplate was). Fasten the board to the rear panel by screwing in the two screws you removed in Step 1. (Viewing from rear.) the flat cable so that it passes through the nearest plastic fastener on the FD 5. Arrange drive. You want to arrange the cable so that it moves over and then under the fastener on its way from the ASIB1 board to the SU700 connector. The fastener keeps the cable firmly in place so that it can not interfere with the SU700 internals.
Appendix Specifications 1. Sequencer Memory Tempo (BPM) Recording Method Synchronization Tracks Songs Approx. 32,000 notes (no backup) 40.0 to 299.9 (Accurate to 1 decimal place) Realtime Internal, MIDI sync, MTC slave 42 tracks (10 sample tracks/bank × 4 banks; plus one AUDIO IN track and one MASTER track) Holds up to 20 songs. 2.
5. Connection Terminals L/MONO and R (standard jacks) L and R (standard jacks) Stereo jack (High output level) MIDI IN and MIDI OUT APPENDIX Line Out Line/Mic In Headphones MIDI AC inlet 6. Power Ratings US: 120V, 30W Europe: 220V to 240V, 30W UK 220V to 240V, 30W 7. Dimensions 363(w) × 310 (d) × 115 (h) [mm] 14.3(w) × 12.2 (d) × 4.5 (h) [inches] 8. Weight 6.0 kg [13.2 lb] 9.
Appendix SU700 Usage Hints How can I change rhythm patterns in the middle of a song? ● ● ● Use different mute combinations to switch LOOP and COMPOSED LOOP track groupings on and off. Record mute switching directly into the song (as sequence data). Store different mute combinations into scenes. Then record appropriate scenerecall events into the song.
I want to adjust the content of an existing scene. Changing the scene abruptly cuts off the current effect sounds (reverb, delay, etc.). Effects set up within the new scene take a while to become audible. ● ● It may take the SU700 a few moments to switch the effects. Avoid changing the scene while reverb or other prolonged effect sound is still audible. After changing the setup, wait a few moments before playing tracks that depend on the new effects.
Appendix How can I get good distortion sounds? ● ● ● Apply distortion-type effects (such as DISTORTION and AMP SIM). If you want to build distortion directly into a sample: First set the effects to get the distortion you want, and then resample the result onto another track. Using the SAMPLE | PROCESS/NORMALIZE job, normalize the sample to a value greater than 100%. I’d like to get a rougher, lo-fi sound: ● ● ● Apply an appropriate lo-fi effect (such as LO RESO or ATK LOFI).
SIMM CONFIG ERR Installed SIMM configuration is not supported. TOO MANY VOLUMES Tried to create more than 128 volumes on a single SCSI partition. (Maximum is 128 volumes per partition.) NO DISK No disk present in floppy drive or in removable-disk SCSI drive; or SCSI drive’s power is off. UNKNOWN DISK Disk is not formatted, or format is not recognized by the SU700. NOT SU700 DISK Disk not formatted for use with the SU700. BAD DISK SU700 unable to access disk.
Appendix 332 TOO LONG Sample is too long. TOO SHORT Sample is too short. DIG-IN UNPLUGGED Digital or optical cable not connected or improperly connected; or digital device’s power is off. DIG-IN PARITY ER Unable to receive digital or optical signal. (Check the connection and try again.) EFFECT OVERFLOW Too much effect data. (SU700 unable to fully process the effect data.) NO SAMPLE Empty sample track selected for sample editing or as destination for EVENT COPY job.
Effect Type List Display Effect Name TECHMOD TECH MODULATION INS FREE Adds a unique feeling of modulation similar to ring modulation. AUTOSYN AUTO SYNTH INS SYNC Processes the input signal into a synthesizer-type sound. SCRATCH DIGITAL SCRATCH INS SYNC Adds a scratch sound to the input signal. JUMP JUMP INS FREE Cuts apart the input signal and applies extreme modulation to the playback order or speed. PITCH1 PITCH CHANGE 1 INS FREE Changes the pitch of the input signal.
Appendix Display Effect Name Mode* BPM sync* Description AUTO PAN AUTO PAN INS SYNC Cyclically moves the sound between left and right, front and back. TREMOLO TREMOLO INS FREE Cyclically modulates the volume. TRM_BPM TREMOLO(BPM) INS SYNC Cyclically modulates the volume. Synchronizes BPM. ROTARY ROTARY SPEAKER INS FREE Simulates a rotary speaker. CHORUS CHORUS INS SYNC Standard chorus effect.
Effect Parameter List 1 2 3 Mod Speed Mod Depth Pre Mod HPF Freq MOD SPD MOD DPTH MOD HPF 0,...,127 0,...,127 0,...,52 4 5 Mod Gain Dry/Wet Balance MOD GAIN DRY/WET -12,...,+12 D63>W,...,D_W, ...,D
Appendix 6: PITCH2 [PITCH CHANGE 2] 1 2 3 4 5 Fine 1 Fine 2 Initial Delay Feedback Level Dry/Wet Balance PITCH FINE1 INITDLY FBLEVEL DRY/WET -50,...,+50 -50,...,+50 0,...,127 -63,...,+63 D63>W,...,D_W, ...,D
1 2 3 Sensitivity Resolution Peak Freq. SENSITV RESOLTN PEAKFRQ 0,...,127 0, 1/2,...,1/16 14,...,54 4 LPF Cutoff Freq LPF FRQ 34,...,60 5 Dry/Wet Balance DRY/WET D63>W,...,D_W, ...,D
Appendix 15: OVERDRV [OVERDRIVE] 1 2 Drive LPF Cutoff DRIVE LPF FRQ 0,...,127 34,...,60 3 EQ Mid Freq. MIDFREQ 14,...,54 4 5 Output Level Dry/Wet Balance OUT LVL DRY WET 0,...,127 D63>W,...,D_W, ...
1 Cutoff Freq. Offset FRQOFST 0,...,127 2 3 4 Resonance Drive PostDrive LPF Freq. RESO DRIVE DR LPF 10,...,120 0,...,127 34,...,60 5 Dry/Wet Balance DRY/WET D63>W,...,D_W, ...,D
Appendix 23: AUTOPAN [AUTO PAN] 1 2 3 L/R Depth F/R Depth Pan Direction L/RDPTH F/RDPTH DIRECTN 4 EQ Low Gain LOWGAIN L<>R, L>R, LR is sine wave, L/R is square wave) Gain with which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the high range 24: TREMOLO [TREMOLO] 1 2 3 LFO Freq.
1 2 LFO Depth EQ Low Gain DEPTH LOWGAIN 0,...,127 -12,...,+12 3 EQ High Gain HI GAIN -12,...,+12 4 Dry/Wet Balance DRY/WET 5 Input Mode INMODE D63>W,...,D_W, ...,D
Appendix 31: NOISDLY [NOISY MOD DELAY] 1 2 3 4 5 Mod Speed Mod Depth Mod Wave Type Feedback Level Dry/Wet Balance MOD SPD MODDPTH MODWAVE FBLEVEL DRY/WET 0,...,127 0,...,127 A,...,D -63,...,+63 D63>W,...,D_W, ...,D
1 2 Feedback Level Feedback Hi Damp FBLEVEL FBHIDMP -63,...,+63 1,...,10 3 EQ Low Gain LOWGAIN -12,...,+12 4 EQ High Gain HI GAIN -12,...,+12 Amount of feedback High range attenuation (lower values cause the high range to decay faster) Gain with which the EQ will boost/cut the low range Gain with which the EQ will boost/cut the high range 37: X-DELAY [CROSS DELAY] 1 2 Feedback Level Feedback Hi Damp FBLEVEL FBHIDMP -63,...,+63 1,...
Appendix 40: ROOM [ROOM] 1 2 Reverb Time LPF Cutoff Freq. REVTIME LPF FRQ 0,...,69 34,...,60 3 HPF Cutoff Freq. HPF FRQ 0,...,52 4 Er/Rev Balance ER/REV 5 Diffusion DUFFUSN 63>R,...,E_R, ...,E
MIDI Data Format 1.1 Note Off • Note-off messages are used to switch off note play, and are typically transmitted in response to releasing of keys on a MIDI keyboard. On the SU700, these messages correspond to releasing of the track pads. • Only receiving is supported. Status 8nH Note Number kkH where: n: MIDI channel kk: Note number vv: Ignored. Value vvH 0H to FH 0H to 7FH (Ch1 to Ch16) (C-2 to G8) 1.
Appendix 1.4 Program Change • Not sent. • Not received. 1.5 Pitchbend • Not sent. • Not received. 1.6 Channel Aftertouch • Not sent. • Not received. 1.7 Polyphonic Aftertouch • Not sent. • Not received. 2. System-Common Messages 2.1 MIDI Time-Code (MTC) Quarter-Frame Message • Receive only. • Effective only if MIDI sync is set to MTC SLAVE.
2.2 Song Position Pointer Status F2H 2nd Byte llH where: mm, ll: Song position APPENDIX • This message is used to change the song position. • Sending and receiving are both supported. 3rd Byte mmH 00H 00H to 7FH 7FH (0 to 16383) 3. System Realtime Messages 3.1 Timing Clock • Used to synchronize with external MIDI sequencer. • Sending and receiving are both supported. Status 2nd Byte 3rd Byte F8H (none) (none) 3.2 Start • Used to synchronize with external MIDI sequencer..
Date :23-OCT-1998 Version : 1.0 YAMAHA [ Sampling Unit ] Model SU700 MIDI Implementation Chart Recognized Transmitted Remarks Appendix Function...
E Index A AC INLET ................................................................... 21 ADD MEASURES .................................................... 253 AIEB1 board ...................................................... 31, 319 AMP (LFO) ............................................................... 207 ANALOG INPUT jacks .............................................. 21 ASIB1 board ............................................................ 323 ASSIGNABLE analog output jacks .....................
Index K Knobs ................................................................. 16, 165 Knob function ......................................................... 193 KNOB FUNCTION Panel .......................................... 19 KNOB RESET (JOB) .............................................. 220 L LENGTH (SOUND) ................................................. 200 LEVEL (SOUND) .................................................... 197 LFO ..................................................................
INDEX SCSI QUICK FMT ................................................... 295 SEQ (RESAMPLE) .................................................. 277 SEQUENCE MEMORY ........................................... 137 Sequencer ................................................................ 162 Sequencer Controls ................................................... 18 SETUP (SYSTEM) .................................................. 298 SETUP (TRACK SET) ............................................. 236 SIMM ....
FCC INFORMATION (U.S.A.) regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s.
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
M.D.G.,EMI Division,©Yamaha Corporation 1998 VZ14420 812CRIT10.
