User manual ROLAND CPM-300

[. . . ] [SONG] START [ SONG button ] START button · Reference such as (p. **) indicate pages in this manual to which you can refer. Copyright © 2003 BOSS CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION. USING THE UNIT SAFELY Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. [. . . ] First stop the performance, then make the changes. Changing the Ambience Parameters The values that can be set for each of the parameters are shown below. Parameter Size Value 5. 6 m­ 20. 5 m 0. 1­32. 0 0­100 Description This parameter adjusts the size of the room which is simulated. This parameter adjusts the time interval between the direct sound and the beginning of the reverb sound. This parameter adjusts the volume level of the sound (Early Reflections) that arrives at the listener after bouncing off the walls once or a few times. This parameter adjusts the density of the sound that reaches the listener after many repeated reflections. * * Time Level PreDelay 0 ms­ 20 ms * Density 0­100 How to Make the Settings 1. The Edit Menu screen appears. fig. 09-23d ErLevel 0­100 RelDensity 0­100 2. Press [ ], select a <AMBIENCE>, then press [ENTER]. fig. 09-24d Low Damp / Gain This parameter adjusts the amount of damping for Low -36. 0 dB­ Damp. No low-frequency 0. 0 dB damping occurs when set to "0. " This parameter adjusts the standard frequency at which 55 Hz­ the low-frequencies are 4. 00 kHz damped. This parameter adjusts the amount of damping for High -36. 0 dB­ Damp. No high-frequency 0. 0 dB damping occurs when set to "0. " Low Damp / Freq 3. When you have finished making the setting, press [EXIT] a number of times until you exit Edit mode. 56 Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC) Parameter Value Description This parameter adjusts the standard frequency at which the high-frequencies are damped. This parameter adjusts the frequency at which the lowfrequencies are cut. Copying the Settings Select a <COPY> on step 4 in p. The names of the notes assigned to the pads are printed under the pads. 59 Chapter 6 Performing with the Pads Selecting a Different Sound (VARIATION [KIT]) When [INST] is on, the set of three groups of sounds played with the pads (DRUM, PERC, BASS) is called the "drum kit. " A single Style has two drum kits included with it, and you can switch between these two drum kits by turning VARIATION [KIT] on and off. fig. 06-06p You can change the instrument sounds contained in a drum kit, and create original drum kits. For further details, refer to "Chapter 10 Creating Your Own Kits" (p. 3. Press [ ] so the button lights up. Turning VARIATION [KIT] on switches not only the pad drum kit, but also the drum kit for the Style or song currently being played. Press VARIATION [KIT] so the button lights up. To return to the original drum kit, press [ ] and then VARIATION [KIT], causing the button lights to go out. 60 Chapter 7 Creating Styles Even though the CPM-300 comes with a great variety of styles, representing many genres, you can also create your own original styles. Such original styles are called "User styles. " User styles have a "U" at the beginning of the style number, for example "U001. " You can create and store up to 100 User styles in the CPM-300. There are two ways to record the patterns in Step <3>. Realtime Recording With this method, the key pads are played in time with a metronome count, with the pattern being recorded just as it is performed. Even if there is a little unevenness in the timing used in tapping the key pads, the Quantize function allows you to record with the timing corrected. 65) Step Recording With this method, you "record" by specifying the timing (step), volume, etc. , of each instrument sound, one at a time. This allows patterns to be recorded accurately, even those that are hard to record using Realtime Recording. After recording the basic pattern using Step Recording, finish creating the Pattern by using Realtime Recording to add sounds in a freer adlib style. Convenient Functions for Creating Styles You can speed up the process of creating a new style by first copying a Preset style, or the patterns in a Preset style to a User style, and then modifying that to create the new style. 72) Procedure for Creating Styles Here are the steps you need to take to create a new style: fig. 07-01 <1> Select a Number for the Style You Are Creating <2> Make the Settings for the New Style - Set the Tempo - Set the Beat - Set Up the Drum Kit - Set VARIATION [MUTE] - Make the TSC Settings - Determine the Number of Measures for Each Pattern (These settings can be changed after the patterns are recorded. ) Chapter 7 <3> Record the Patterns (Realtime Recording/Step Recording) - Record the Drum Part - Record the Bass Part - Change Dynamics to the Sounds (Velocity Edit) - Transpose the Bass Part <4> Check the Created Style - Edit the Settings <Finish the Style> - Name the Style Creating Two-Measure Patterns from Four-Measure Patterns When you copy a four-measure pattern, and then, using the procedure described in "Determining the Number of Measures for Each Pattern" (p. [. . . ] 85 Polarity switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Preset Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Q Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]