User manual ROLAND MMP-2

Owner's manual Before using this unit, carefully read the sections entitled: "USING THE UNIT SAFELY"(p. 2), and "IMPORTANT NOTES"(p. 6). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner's manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. http://www.roland.co.jp/ Copyright © 2002 ROLAND 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. * Material damage refers other adverse effects respect to the home furnishings, as well animals or pets. to damage or caused with and all its to domestic The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. The q symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet. · Before using this unit, make sure to read the instructions below, and the Owner's Manual. ................................................................................................ · Do not open or perform any internal modifications on the unit. ................................................................................................ · Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page. ................................................................................................ · Never use or store the unit in places that are: · Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are · Damp (e.g., baths, washrooms, on wet floors); or are · Humid; or are · Exposed to rain; or are · Dusty; or are · Subject to high levels of vibration. ................................................................................................ · Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces. ................................................................................................ · The unit should be connected to a power supply only of the type described in the operating instructions, or as marked on the unit. ................................................................................................ · Use only the attached power-supply cord. . ................................................................................................ · Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards! ................................................................................................ · This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist. ................................................................................................ · Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. · In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. ................................................................................................ 2 USING THE UNIT SAFELY · Protect the unit from strong impact. (Do not drop it!) ................................................................................................ · Do not force the unit's power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords--the total power used by all devices you have connected to the extension cord's outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. ................................................................................................ · Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page. ................................................................................................ · DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result. ................................................................................................ · The unit should be located so that its location or position does not interfere with its proper ventilation. ................................................................................................ · Always grasp only the plug on the powersupply cord when plugging into, or unplugging from, an outlet or this unit. ................................................................................................ · Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children. ................................................................................................ · Never climb on top of, nor place heavy objects on the unit. ................................................................................................ · Never handle the power cord or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. ................................................................................................ · Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices. ................................................................................................ · Before cleaning the unit, turn off the power and unplug the power cord from the outlet (p. 18). ................................................................................................ · Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet. ................................................................................................ 3 Contents USING THE UNIT SAFELY....................................................... 2 Contents ................................................................................... 4 IMPORTANT NOTES ................................................................ 6 Getting Started ......................................................................... 8 Checking the Included Items.............................................................................................. 8 Main Features ....................................................................................................................... 8 You can use the MMP-2 for a wide variety of applications such as:............................ 8 Top and Rear Panels ............................................................... 9 Top Panel............................................................................................................................... 9 Rear Panel ........................................................................................................................... 10 Function Organization and Signal Flow .............................. 11 Set Up and Basic Operations................................................ 12 Getting Ready to Switch on the Power ........................................................................... 12 Making the Connections........................................................................................ 12 Setting the Output Level........................................................................................ 13 Turning On the Power ........................................................................................... 13 Global Functions ................................................................................................................ 14 Adjusting the Contrast of the LCD Screen (LCDCNT) ..................................... 14 Patches...................................................................................................................... 14 Meters ....................................................................................................................... 16 Edit Channel Select (EDIT CH SELECT)............................................................. 16 Settings for the Analog Inputs ......................................................................................... 17 Pad ............................................................................................................................ 17 Sensitivity (SENS) ................................................................................................... 17 Peak Indicator ......................................................................................................... 17 Phantom Power (+48V).......................................................................................... 17 Phase......................................................................................................................... 18 Low-cut Filter (LO-CUT) ....................................................................................... 18 Attenuator (ATT) .................................................................................................... 18 Turning Off the Power ...................................................................................................... 18 Using Effects .......................................................................... 19 BYPASS................................................................................................................................ 19 Mic Modeling...................................................................................................................... 19 Equalizer.............................................................................................................................. 20 Dynamics............................................................................................................................. 21 Compressor.............................................................................................................. 21 Expander .................................................................................................................. 23 Enhancer/De-esser................................................................................................. 23 Plug-in Effect ...................................................................................................................... 24 Pre-amp Modeling.................................................................................................. 24 4 Contents Settings for Digital Connections .......................................... 26 Sampling Clock Source .......................................................................................... 26 Sampling Frequency............................................................................................... 26 Audio Input Source ................................................................................................ 26 Display Messages ................................................................................................... 26 Examples of Use .................................................................... 27 Analog Input to Analog Output ...................................................................................... 27 Analog Input to Digital Output ....................................................................................... 27 Other Features ....................................................................... 28 Channel Linking ..................................................................................................... 28 Copying Settings Between Channels ................................................................... 28 Backup Patch ........................................................................................................... 28 Route......................................................................................................................... 29 Initializing................................................................................................................ 29 Use of computer and setup................................................... 30 Set up (PC setting and Install).......................................................................................... 30 MMP-2 settings ....................................................................................................... 30 Computer settings .................................................................................................. 30 Functions work in conjunction with computers............................................................ 41 Backup Patches ....................................................................................................... 41 Intuitive operation of MMP-2 using MMP-2 editor .......................................... 41 Trouble Shooting ................................................................... 42 Trouble Shooting about Computer ...................................... 43 Windows users ................................................................................................................... 43 Macintosh users.................................................................................................................. 44 MIDI Implementation.............................................................. 46 TRANSMITTED DATA AND REGOGNIZED RECEIVE DATA............................... 46 Channel Voice message ......................................................................................... 46 System Exclusive Message .................................................................................... 46 Data Transfer Address Map ............................................................................................. 47 Parameter Address Block ...................................................................................... 47 Appendices ......................................................................................................................... 51 Specifications......................................................................... 53 Index........................................................................................ 54 5 IMPORTANT NOTES In addition to the items listed under "USING THE UNIT SAFELY" (p. 2), please read and observe the following: · Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation. Power Supply · Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). · Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices. Additional Precautions · Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit's memory on a storage device (e.g., hard disk or floppy disk). · Unfortunately, it may be impossible to restore the contents of data that was stored on a storage device once it has been lost. Roland Corporation assumes no liability concerning such loss of data. · Use a reasonable amount of care when using the unit's buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions. · Never strike or apply strong pressure to the display. · When connecting / disconnecting all cables, grasp the connector itself--never pull on the cable. This way you will avoid causing shorts, or damage to the cable's internal elements. · A small amount of heat will radiate from the unit during normal operation. · To avoid disturbing your neighbors, try to keep the unit's volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night). · When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials. Placement · Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference. · This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers. · Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off. · To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture. Maintenance · For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. 6 IMPORTANT NOTES · Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions. · Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable. · Before you open the included CD-ROM, you must read the "license agreement." Opening the CD-ROM will be taken to mean your acceptance of the license agreement. Copyright · When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.) · Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit. Handling CD-ROMs · Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CDROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner. ·Microsoft and Windows are registered trademarks of Microsoft Corporation. ·Windows® 98 is known officially as: "Microsoft® Windows® 98 operating system." ·Screen shots in this documents are reprinted with permission from Microsoft Corporation. ·Windows® 2000 is known officially as: "Microsoft® Windows® 2000 operating system." ·Windows® Me is known officially as: "Microsoft® Windows® Millennium Edition operating system." ·Macintosh are registered trademark of Apple Computer, Inc. ·MacOS is a trademark of Apple Computer, Inc. ·Pentium is a registered trademark of Intel Corporation. ·MMX is a trademark of Intel Corporation. ·OMS is a registered trademark of Opcode Systems, Inc. ·FreeMIDI is a trademark of Mark of the Unicorn, Inc. ·All product names mentioned in this document are trademarks or registered trademarks of their respective owners. 7 Getting Started Checking the Included Items This product includes the following items in addition to the MMP-2 itself. Check to make sure they are all present and accounted for. If anything is missing, contact the retailer from whom you purchased the product. · Owner's manual (this document) · CD-ROM (setup procedures, drivers, editors, etc.) · Power cable · USB cable Main Features The MMP-2 is a microphone pre-amp that delivers high sound quality and is equipped with a large number of functions, offering the following features: Full Range of Input and Output Connectors and Pre-amps The unit is equipped with two channels of XLR/1/4" phone jacks for balanced analog inputs. It supports a wide range of input sensitivities, from line level (+4 dBu) to microphone level (-64 dBu). Features such as phantom power and low-band cutoff are also provided. The unit provides not only balanced-XLR analog output, but also digital output. It is most definitely ready to play an active role in a variety of environments, including any place that uses a public-address system, or any recording studio. Designed with Emphasis on Sound Quality The design of the MMP-2's analog circuitry is actually a direct descendent of the design responsible for the high-quality sound of the VS-2480 Digital Studio Workstation. A separate shielded structure is employed for the vital heart of the amp circuitry, and only carefully selected parts are used. These exacting considerations result in the achievement of professional-spec sound. Mic Modeling Using Microphone Modeling you can process your input audio so that it models the characteristics of audio from a variety of high quality microphones. Microphone modeling of even greater fidelity is achieved through use of the best-selling C 3000 B microphone from AKG Acoustics as the source microphone for your input. A Wide Variety of Input Processing The MMP-2's four-band parametric equalizer has powerful specifications. The stereo 4 band parametric equalizers can also be configured from 9 different choices including band-pass filters, and shelving equalizers The MMP-2 also features a full range of dynamics processing including, models of vacuum-tube compressors. USB-MIDI Interface Connection to a computer can be made easily using a USB cable, and you can intuitively monitor and modify the state of the equalizer and dynamics using the included editor program for Mac and PC. You can use the MMP-2 for a wide variety of applications such as: · When you want to convert signals to digital at an early stage, because leaving them in analog makes them prone to noise. · When you want to route your signals through a high-quality pre-amp before inputting them to a mixer or recorder. · When you want to alter the response of a microphone or pre-amp. 8 Top and Rear Panels Top Panel 5 1 2 6 3 4 5 Top and Rear Panels 7 8 9 10 11 12 13 14 15 16 17 1. 2. 3. [METER] Button This changes the meter display. (p. 16) [PATCH] Button This performs Select, Store, and Reset operations for patches. (p. 14) [SYSTEM] Button This accesses Clock, USB, and other functions. ("Sampling Clock Source" (p. 26), "MMP-2 settings" (p. 30)) You can also adjust the contrast of the LCD screen by holding down [SYSTEM] and turning the right Value control. (p. 14) 4. [ENTER] Button This confirms operations. You also use this when you want to save a change right away. ("Save pressing [ENTER] button" (p. 14)) [PAGE] Buttons These scroll the screen a page at a time. Value Controls These edit parameter values. The items shown on the display correspond to the controls below the screen. These are the left, center, and right Value controls. [MIC IN] Jacks These are balanced XLR/phone input jacks. (p. 13) [PAD] Switches Pressing one of these attenuates the signal input to the corresponding MIC IN jack by 20 dB. (p. 17) [SENS] Controls 5. 6. 7. 8. 9. 9 Top and Rear Panels These adjust the [MIC IN] sensitivity. (p. 17) 10. [PEAK] Indicators These light up when the input level exceeds the set value. (p. 17) 11. [PHANTOM/PHASE/LO-CUT] Buttons These call up the Phantom power switches, plus the Phase, Lo-cut, and Attenuator setting screens. (p. 17) 12. [EDIT CH SELECT] Buttons These specify the channels to manipulate. Pressing them simultaneously links the effect settings for both channels. ("Linking" (p. 28)). 13. [BYPASS] Buttons These bypass effects temporarily. (p. 19) 14. [EDIT SELECT] Buttons ([MODEL] Button) This calls up the editing screen for microphone modeling. (p. 19) 15. [EDIT SELECT] Buttons ([EQ] Button) This calls up the parameter screen for the equalizer. (p. 20) 16. [EDIT SELECT] Buttons ([DYNAMICS] Button) This calls up the parameter screen for dynamic effects. (p. 21) 17. [EDIT SELECT] Buttons ([PLUG IN] Button) This calls up the editing screen for plug-in effects. (p. 24) Rear Panel 1 1. 2. 3. 4. 5. 6. 7. 8. 2 3 45 6 7 8 [POWER] Switch This switches the power on and off. (p. 13) [AC IN] Connector This is for connecting the power cable. (p. 12) [DIGITAL OUT AES/EBU] Jack This is an AES/EBU-standard digital-output jack. [DIGITAL OUT] Jack This is an S/PDIF-standard digital-output jack. [DIGITAL IN] Jack This is an S/PDIF-standard digital-input jack. [USB] Jack This is for connecting a computer and exchanging parameter settings using MIDI protocol. (p. 30) [OUTPUT LEVEL] Switch This switches the output level to either -16 dBu or +4 dBu. (p. 13) [LINE OUT] Jack This is a balanced XLR-type line-output jack. (p. 13) 10 Function Organization and Signal Flow The diagram below shows how the functions are organized, and how the signals flow. Function Organization and Signal Flow fig.e.stract-flow.eps balanced XLR/phone pad sens phantom phase low cut attenuater input parameter S/PDIF system parameter · LCD contrast · sampling frequency · peak indicate level · input source · sampling clock source · USB driver effects parameter bypass mic modeling · · · · · off/on input output proximity effect time bypass equalizer · · · · · · off/on attenuater frequency gain Q type bypass dynamics compresser · · · · · · · · · · off/on type key in threshold ratio knee attack release level auto-gain expander · · · · · · off/on key in threshold ratio attack release enhanser/de-esser · · · · · off/enh/des frequency sensitivity enhance level rejection level bypass plug in pre-amp modeling · · · · · off/on type warm bright harmonic balanced XLR AES/EBU S/PDIF 11 Set Up and Basic Operations This chapter introduces the basic functions of the MMP-2 in the following order, which you should follow in getting started with your new unit. Getting Ready to Switch on the Power Switching on the power Global Functions Adjusting the Input Switching off the power Read through this in sequence as you try things out for yourself. Getting Ready to Switch on the Power s Making the Connections fig.e.BasicConnect.eps MMP-2 power recorder microphone MMP-2 Refer to the figures and the following explanation to connect the equipment you're using. For information about digital connections, please read "Settings for Digital Connections" (p. 26). To prevent problems, including malfunction and damage to speakers, turn the volume down completely and turn off the power for all the devices being connected before making the connections. fig.e.PowerConnect.eps Connecting the Power Source Use the included power cable to connect the unit with a power source. MMP-2 rear panel power cable 12 Set Up and Basic Operations Connecting the Input Device Microphone Input (MIC IN) Use the XLR or phone plug to connect the input device. fig.MicInPin.eps * Microphone input for the unit uses a balanced-type (XLR/TRS) jack which is wired as shown in the figure. Check the wiring of the device you want to connect and make the connection. Depending on the specifications of the input device, the phase of the sound may be inverted, resulting in input that is not correct. If this happens, refer to "Phase" (p. 18). If you're connecting a microphone that requires a phantom power source, refer to "Phantom Power (+48V)" (p. 17). Phantom power is not suppled to phone jacks. Set Up and Basic Operations Connecting the Output Equipment Line Output (LINE OUT) Use an XLR-type plug to make the connection for output to a mixer, recorder, or the like. s Setting the Output Level Select level switching [OUTPUT LEVEL] on rear panel. Level should be selected in accordance with output destination device. This value serves as the reference for the output level. Generally, commercial equipment is designed for +4 dBu, while consumer equipment is designed for -16 dBu. s Turning On the Power Once you've got everything hooked up properly, you can turn on the power--but make sure to follow the order shown below. Should you neglect to follow the correct order, you risk causing malfunction, or damage to your speakers. * To protect its circuitry, the unit requires a few moments after power is switched on before it is ready for normal operation. 1. 2. 3. Make sure all devices are turned off. Make sure the volume level on all equipment is turned down. fig.LcdOpeningLogo.eps Press the Power switch (POWER) on the rear panel. When the unit starts normally, the display shows the model name, then changes to the Patch-selection screen. (If you perform no operation after that, the screen then changes to the input meter.) fig.LcdInputMeter.eps 4. 5. Turn on the other audio equipment. Turn up the volume to an appropriate level on the other audio equipment. · Now sound can be produced. For information on how to turn off the power, please read "Turning Off the Power" (p. 18). The positioning of the microphone and speakers may produce feedback whine. If this happens, try using the methods below to correct the problem. · Change the direction of the microphone. · Move the microphone and speakers farther apart. · Lower the volume level. 13 Set Up and Basic Operations Global Functions In this manual, parameter settings are grouped into three categories with the following names. System Parameters These manipulate global settings for the entire MMP-2: CLOCK, FREQ, INPUT, DRIVER, LCDCNT, and PEAK. Input Parameters These manipulate basic settings for the microphone pre-amp: PHANTOM, PHASE, LO-CUT, and ATT. Effect Parameters These manipulate settings for microphone modeling, the equalizer, and the like: all of the settings are called up using the [EDIT SELECT] buttons MODEL, EQ, DYNAMICS, and PLUG IN. Save pressing [ENTER] button When you change system parameters or input parameters, the [ENTER] button lights up. This indicates that there are changes that have not been saved. Pressing the [ENTER] button saves them immediately. Settings are also saved automatically whenever you change to another screen. * If you turn off the power without saving first, any changes you have made disappear and are no longer applied. s Adjusting the Contrast of the LCD Screen (LCDCNT) fig.LcdLcdcntPeak.eps 1. 2. Press the [SYSTEM] button a number of times, until it lights in orange. If the screen doesn't show the letters "LCDCNT", use the [PAGE] buttons to scroll to the correct page. The setting screen for LCD screen contrast appears. Turn the left Value control to make adjustments. You can also adjust this by holding down the [SYSTEM] button and turning the right Value control. 3. s Patches You can call up and use any of a variety of grouped settings (Patches) suited to different uses and environments that are stored in memory. You can also take settings you've made yourself and save them as patches. Settings for the presence or absence of links and effect parameters can also be saved as patches. ("Linking" (p. 28)). When you turn on the power, the patch you used before turning off is called up. The functional algorithms are pre-set according to the types of patches. Each patch includes the setting of algorithms. Users cannot control such algorithms. The [EDIT SELECT] button of each effect lights to show that the effect is available in this patch. Operation of patch shall be like below. 1. 2. 3. Select original patch ("Patch Selection (SELECT)" (p. 15)) Customize the patch changing Effect or Link parameters ("Using Effects" (p. 19)/ "Linking" (p. 28)) Save the customized status as a new patch or overwrite ("Saving a Patch (STORE PATCH)" (p. 15)) 14 Set Up and Basic Operations Patch Selection (SELECT) The alphabet character shown upper left side of the patch number is showing the status of patch. (U) to be indicated if it is a user patch. (P) to be indicated if it is a preset patch. You cannot customize the preset patch. But it is possible to customize the parameter of preset patch and save as a new user patch. fig.LcdPatchSelect.eps Set Up and Basic Operations 1. Press the [PATCH] button a number of times, until it lights in green. You are now in the mode where you can choose a patch. Turn the left Value control to choose a patch. Press the [ENTER] button to confirm your selection. 2. 3. The patch currently selected will be shown at first in patch selection screen. If you turn around the knob, the status changes and let you select other patch. You will see the currently selected patch while turning around the knob. This to show the patch in saved status. For example, once you select patch A and customize parameters, it is different from saved status of patch A. However, it isn't saved yet. If you turn around the knob and re-select patch A, the parameter before your customize will be shown. Saving a Patch (STORE PATCH) Save current status as a new user patch * The patch stored in the memory area disappears and to be replaced by newly created patch. * Only the user patch area will be shown as memory area. fig.LcdStorePatch.eps 1. Press the [PATCH] button a number of times, until it lights in red. You are now in the mode where you can choose the destination for saving. Turn the left Value control to choose the patch to serve as the destination for saving. Use the center Value control to move the cursor, and use the right Value control to choose characters. Repeat this to enter the patch name. Press [ENTER]. Your confirmation will be requested. Re-press [ENTER]. The patch will be saved. Once the saving procedure is completed, system go back to normal screen after indicating [Completed] on screen. 2. 3. 4. 5. Resetting Effect Parameters (RESET) This resets the effect parameter to the values shown below. This is the status with almost no effect. If you want to set effect parameter completely from zero, this shall be executed. You can apply this to all effects or to just one. fig.LcdResetPatch.eps 1. Press the [PATCH] button several times to display "RESET PATCH." The button lights up in orange. Use the left Value control to choose the target effect or effects for the [RESET] operation. Choosing "ALL" resets all effects. Press [ENTER]. Your confirmation will be requested. 2. 3. 15 Set Up and Basic Operations 4. Re-press [ENTER]. Reset will be executed. Once the reset is completed, system go back to normal screen after indicating "Completed." on screen. Effect mic modeling Parameter MODEL INPUT OUTPUT PROXFX TIME EQ ATT LOTYPE LOW GAIN Q LMTYPE LO-MID GAIN Q HMTYPE HI-MID GAIN Q HITYPE HIGH GAIN Q Value OFF C3000B SML.D 0 0 ON 0 PEAK 80 0.0 2.00 PEAK 400 0.0 2.00 PEAK 2.00k 0.0 2.00 PEAK 10.0k 0.0 2.00 Effect compressor Parameter COMP TYPE KEYIN THRESH RATIO KNEE ATTACK RELEAS LEVEL A.GAIN EXP KEYIN THRESH RATIO ATTACK RELEAS ENH/DE TYPE SENS FREQ ENHLEV SENS FREQ DESREJ Value OFF SOLID same channel -24.0 2.00:1 HARD 10.0 500 0.0 OFF OFF same channel -40 2.00:1 0.0 500 OFF ENH 25 10.0k 6,0 25 10.0k -6.0 equalizer LOW expander LO-MID HI-MID enhancer/de-esser ENH HIGH DES s Meters Press the [METER] button to select from the three types of level meters. Input (IN) fig.LcdInputMeter.eps This displays the input level. The [METER] button lights up in green. Dynamics (CMP / EXP) fig.LcdDynamicsMeter.eps This displays the level suppressed by the dynamics processors (gain reduction). The [METER] button lights up in red. Pressing the [PAGE] buttons switches what is displayed between the compressor and the expander. Output (OUT) fig.LcdOutputMeter.eps This displays the output level. The [METER] button lights up in orange. s Edit Channel Select (EDIT CH SELECT) These choose the channel to edit. Pressing an [EDIT CH SELECT] button makes the button light up green, showing that the corresponding channel is selected. You make the settings for effects one channel at a time. The system enters Link Mode pressing channel 2 button holding down channel 1 button. ("Linking" (p. 28)) 16 Set Up and Basic Operations Settings for the Analog Inputs s Pad Pressing either of these switches attenuates the MIC IN input signal by 20 dB. You use these at times such as when devices other than microphones are connected. Press them again to cancel. Set Up and Basic Operations s Sensitivity (SENS) These adjust the input sensitivity. You can perform adjustments within a range of -64 dBu to -16 dBu (within a range of -44 dBu to +4 dBu when PAD is depressed). When a microphone input has nothing connected to it, it may be a good idea to press the PAD switch and leave the SENS control set at +4 dBu. This suppresses the amount of noise sent to the unit. s Peak Indicator The peak indicator lights up when the input level from microphone input jacks exceeds the value set for PEAK. At the factory default setting, it lights up at -3 dBu. To change this, follow the steps below. fig.LcdLcdcntPeak.eps 1. Press the [SYSTEM] button several times to display "PEAK." The button lights up in orange. Turn the center Value control to change the settings. " 0 dB": The indicator lights up when the input sound is distorted. "-3 dB": The indicator Lights up at -3 dB from the level at which sound will distort. "-6 dB": Lights up at -6 dB from the sound-distortion level. 2. s Phantom Power (+48V) These switch the phantom power supply on and off. When a condenser microphone or other microphone that requires a power source is connected to the corresponding MIC IN jack, set this to "ON." Phantom power is not supplied to 1/4 inch TRS phone jacks. If your microphone requires phantom power, please connect it to XLR jacks. Turn this on only when a condenser microphone requiring a phantom power source is connected. Otherwise, leave it off. Supplying phantom power to a dynamic microphone or audio playback equipment may cause malfunction, so carefully check the documentation for the connected device and make the setting accordingly. (The spec for the phantom power source for this unit is DC 48 V and 7 mA when the output is shorted.) The phantom power source of MMP-2 can drive Condenser Microphones with electrical specification 6.0mA or lower at 48V. Microphones that require more ampere is not supported. Please use phantom power supply devices separately. To prevent hazard or damage, ensure that only microphone cables and microphones designed to IEC-268-15A are connected. Afin d'eviter tout risque ou dommage, ne brancher que des cables de microphone et des microphones conformes a la norme IEC-268-15A. * The unit is designed not to produce noise when switching the phantom setting, but just to be on the safe side, turn down the volume level before switching the setting. 1. 2. 3. fig.LcdPhantomPhaseLocut.eps Press the [PHANTOM,PHASE,LO-CUT] button to display "+48V." Use the left Value control to switch between "ON" and "OFF." Press the [ENTER] button to confirm your selection. 17 Set Up and Basic Operations s Phase The microphone input jacks for this unit are balanced. The jack wiring is shown in the figure. However, Hot and Cold may be reversed of MMP-2 on some balanced equipment. If such equipment is connected, sound localization may be poor, or the balance of left and right will be disrupted. Furthermore, the left and right channels may cancel each other when stereo input is used. The phase shall be set same as MMP-2 in all channels before the use. * If the phase is same through out all channels, it causes no problem even in case the wiring is different from mixers etc. fig.LcdPhantomPhaseLocut.eps fig.MicInPin.eps 1. 2. Press the [PHANTOM,PHASE,LO-CUT] button. Turn the center Value control to switch "PHASE" between "NORM" and "INV." "NORM" (normal): Normal phase (same phase as input). "INV" (invert): Inverted (opposite) phase. * Usually "NORM" is selected. s Low-cut Filter (LO-CUT) This cuts the audio below a specified frequency. This is effective when you want to eliminate bass noise such as microphone stand rumble or microphone handling noise. You can set a value from 20 dB to 2.00k dB. fig.LcdPhantomPhaseLocut.eps 1. 2. Press the [PHANTOM,PHASE,LO-CUT] button. Turn the right Value control to specify the threshold frequency for cutoff. When set to "THRU," the original signal is passed without performing low-band cutoff. s Attenuator (ATT) This adjusts the level of the input signal using digital processing. You can set a value from -42 dB to +6 dB. fig.LcdAttenuater.eps 1. 2. 3. Press the [PHANTOM,PHASE,LO-CUT] button. Press the [PAGE] buttons to advance the screen until "ATT" appears. Turn the left Value control to set the value. Leaving the attenuator set at 0 dB and adjusting for the optimal audio levels using only the Sensitivity (SENS) control may result in the best possible audio in most cases. Turning Off the Power * If you've changed any effect parameters, you should note that your changes will be lost if you turn off the power before they've been saved. If you want to keep your settings, save them in a patch (p. 15). * Similarly, with system parameters, any setting changes you've made, but have not saved will be discarded as soon as you turn off the power. If you want to keep your settings, press the [ENTER] button to save them (p. 14). 1. 2. 3. Lower the volume on the other audio equipment. Turn off the other audio equipment. Use the [POWER] switch on the rear panel to turn off the MMP-2. 18 Using Effects The effects this unit provides are divided into four groups, which are respectively assigned to the four [EDIT SELECT] buttons [MODEL], [EQ], [DYNAMICS], and [PLUG IN]. The functional algorithms are pre-set according to the types of patches (p. 14). Each patch includes the setting of algorithms. Users cannot control such algorithms. The [EDIT SELECT] button of each effect lights to show that the effect is available in this patch. If you press [EDIT SELECT] buttons of effects that are not functioning, "Can't edit. No effects module." will be displayed. The steps for effect operations are as follows. 1. 2. 3. Press the [EDIT CH SELECT] button to select the channel you want to work on. Press the [EDIT SELECT] button to select the effect you want to manipulate. If the screen for the parameter you want to change for does not appear, use the [PAGE] buttons to scroll through the screens. * While adjusting some parameters such as effect "TYPE", you may hear short click noise. This is not a malfunction. You can call up and use any of a variety of grouped settings (Patches) suited to different uses and environments that are stored in memory. You can also save settings you have changed as patches. ("Patches" (p. 14)) Using Effects BYPASS This has the same effect as setting the Effect ON/OFF parameter to OFF. (However, the setting for the ON/OFF parameter does not change.) The Dynamics settings have a number of switches, and they are all bypassed at one time. Pressing the [BYPASS] button makes the button light up red, and in this state effects are bypassed. Press again to cancel. Mic Modeling This effect models the sound characteristics of certain types of expensive microphones. It works best when the input source you use matches the settings available in the processor. For example, the effect is optimized if you use an AKG C3000B or a Roland DR-20 microphone as the source microphone and then choose the output microphone whose characteristics you would like to model. You can also edit the modeling effect by changing microphone proximity or distance effects, and other qualities. Mic Modeling OFF/ON (MODEL) This is the On/Off switch for the microphone modeling. Reference Microphone (INPUT) This table shows the optimum choices for the microphones or inputs to use when using the microphone modeling effect. When you use modeling, specify the microphone used when making the recording or pick the choice closest to the microphone you used. DR-20 SML.D HED.D MIN.C FLAT C3000B Roland DR-20 Small Dynamic Microphone Head-worn Dynamic Microphone Miniature Condenser Microphone Flat AKG C 3000 B Dynamic microphone from Roland Dynamic microphone used for musical instruments and vocals Headset-type dynamic microphone Ultra-compact condenser microphone Line in Condenser microphone from AKG Acoustics 19 Using Effects Modeling Microphone (OUTPUT) This table shows the choices for different microphones or microphone types that the effect will model. SML.D VOC.D LRG.D SML.C LRG.C VNT.C FLAT Ordinary dynamic microphone for musical instruments and vocals. For guitar amps, snare drums, etc. Preferred dynamic microphone for vocals. Features a prominent midrange. For vocals. Dynamic microphone with sustained lower range. For bass drums, tams, etc. Small condenser microphone for musical instruments. Features a brilliant treble range. For metallic percussion instruments and acoustic guitars. Condenser microphone with flat response. For vocals, narration, live instruments, etc. Vintage condenser microphone. For vocals, instruments, etc. Microphone with flat frequency response. Used when you want to capture the idiosyncrasies of the microphone used when recording. When you select a condenser microphone modeling for "OUTPUT," lower range response is extended, so bass noise from the microphone stand may become prominent. If this happens, use Lo-Cut (p. 18) to cut the unneeded lower range, or install an isolation mount (a vibration-absorbing microphone holder made of rubber or the like) on the microphone stand when recording. Proximity Effect (PROX FX) A microphone's bass response is enhanced when it is near the source of the sound. This is called the proximity effect. The Proximity Effect in the models can create this effect. You can set a value from -12 to +12. Positive values impart close-distance characteristics, and negative values impart the characteristics of farther distances. You can also use this to adjust the desired microphone proximity even when the microphone cannot be placed at the desired location. Distance from the Sound Source (TIME) This models the delay that occurs when the microphone is located some distance from the sound source. You set the distance you want to reproduce to a value from 0 cm to 3,000 cm. Equalizer This is a 4-band parametric equalizer and adjusts the volume level for individual frequency bands. You can choose from nine types of filters for each band. These filters can be used to optimize the sound quality of the input source. You can also use it to suppress resonant frequencies and prevent feedback whine. This is called an equalizer because it is used to restore characteristics that have been modified by the processes of recording and transmission to characteristics equal to those of the original sound, but like other effects, it is also actively used to create new sounds. Equalizer OFF/ON (EQ) This is the On/Off switch for the equalizer. It is the same as using bypass. Attenuator (ATT) This uses digital processing to amplify or attenuate the signal input to the equalizer. You can set a value from -42 dB to +6 dB. Reference Frequency (LOW, LO-MID, HI-MID, HI) This sets four points that serve as the frequency response curve's peak and valley centers (center frequencies) or as the filter boundaries (cutoff frequencies). You can set a value from 20 Hz to 20,0k Hz. 20 Using Effects Because you can make the settings anywhere within this range, it's even possible, for instance, to set all four points so they're stacked at the same location, and create a sharp filter. * A frequency 3 dB lower than the flat portion of the response curve is taken to be the cutoff frequency. Gain (GAIN) This sets the amount by which the volume is to be increased/decreased. You can set a value within a range of ±15.0 dB for each reference frequency. Using Effects Q (Q) This sets the sharpness for peaks and valleys. You can set a value within a range of 0.36 to 16 for each frequency band. When the filter type is "LPF2" or "HPF2," making the Q larger makes the cutoff frequency band more prominent. On an historical note, with analog peaking equalizers and the like, the sharpness of the peaks that occur in the response curve changes according to the performance of the coils in the resonance circuit. For this reason, the value Q (quality factor) is used to indicate coil performance. Filter Type (TYPE) This chooses the type of filter for each frequency band. The available filter parameters change according to which type of filter you choose to use. Unavailable parameters are indicated by "no." Reference frequency PEAK LSV HSV LPF1 HPF1 LPF2 HPF2 BPF BRF THRU Peaking Low shelving High shelving Low-pass filter 1st High-pass filter 1st Low-pass filter 2nd High-pass filter 2nd Band-pass filter Band-reject filter Thru Creates peaks and valleys around the reference frequency Adjusts the band lower than the reference frequency Adjusts the band higher than the reference frequency Passes only sound lower than the reference frequency Passes only sound higher than the reference frequency Steeper response curve than "LPF1" Steeper response curve than "HPF1" Passes only sound near the reference frequency Blocks only sound near the reference frequency Passes the audio without modification yes yes yes yes yes yes yes yes yes no Gain yes yes yes no no no no no no no Q yes no no no no yes yes yes yes no Dynamics This is a group of effects that dynamically control the amount of change in the output level based on the input level. s Compressor This suppresses or lowers the output level of loud sounds to reduce changes in volume. Input signals that exceed the threshold are suppressed by an amount determined by the Ratio parameter. Compressor OFF/ON (COMP) This is the On/Off switch for the compressor effect. 21 Using Effects Compressor Type (TYPE) This chooses the type of compressor. "SOLID": Semiconductor compressor characteristics "TUBE1"..."TUBE4": Vacuum-tube compressor characteristics Key In Channel (KEY IN) The compressor operates when the input level of the channel specified here exceeds the threshold. You can choose either channel 1 or channel 2. Normally, the same channel is specified, but a different channel may be specified for special uses. For example, when there is a microphone input and a background music input, setting the microphone channel as the key-in for the background-music channel reduces the volume of the background music when the microphone picks up someone speaking. Threshold (THRESH) When the input level exceeds this value, the output is lowered or suppressed according to the ratio. You can set a value from -24.0 dB to 0.0 dB. Ratio (RATIO) This is the ratio for suppressing sound that exceeds the threshold. You can set a value from 1.00 to infinity. When infinity is selected, the output level won't get any louder even if the input level gets louder than the threshold. This is the same effect as using a limiter. Knee (KNEE) This setting determines whether the change in the relationship between the input level and the output level is abrupt or gradual when the input crosses the Threshold level. "HARD": Immediate change before and after the threshold "SOFT": Sloping change centering on the threshold Attack Time (ATTACK) This sets the time after the input signal exceeds the threshold until the compressor effect is completely applied. You can set a value from 0.0 ms to 800.0 ms. Release Time (RELEAS) This sets the time after the input signal falls below the threshold until the compressor effect disappears completely. You can set a value from 0 ms to 8,000 ms. Compression Level (LEVEL) This sets the output level after passing through the compressor. You can set a value from -24 dB to +24 dB (from -24.0 dB to +6.0 dB in case Auto Gain is "ON"). If you are compressing the signal to even out the loud points, you may want to boost the overall output level using this control. Auto Gain (A-GAIN) The dynamic range is reduced when sound passes through the compressor, but setting Auto Gain to "ON" boosts the overall output level so as to match the original overall input level. Specifically, this assures that the output level is loud but not distorted by creating a margin (output level upper limit at 0 ms of attack) of 6 dB from the clipping level (0 dB) and then boosting the output level to this point. When the attack is set to a long time, the start of the compressor effect is delayed, and so depending on the input signal the sound may be distorted. The Auto Gain has a margin of 6 dB to prevent spiking of the output level due to this delay in the compressor effect. 22 Using Effects s Expander This lowers or suppresses, at a constant ratio, low-volume sounds that do not reach the threshold. It is effective for low-volume noise. Expander OFF/ON (EXP) This is the On/Off switch for the expander effect. Using Effects Key In Channel (KEY IN) The expander cuts off when the input level of the channel specified here exceeds the threshold. You can choose either channel 1 or channel 2. Normally the same channel is specified, but a different channel may be specified for special uses. For example, specifying a snare drum input as the key-in lets you produce sound on the other channel when you strike the drum. Threshold (THRESH) Input smaller than this is suppressed according to the ratio. You can set a value from -80 dB to 0 dB. Compression Ratio (RATIO) This is the ratio for lowering or suppressing sound that does not reach the threshold. You can set a value from 1.00 to infinity. When you set the Ratio to Infinity, no sound is passed when the input sound doesn't get over the Threshold level. This is the same effect as using a Gate. Attack Time (ATTACK) This sets the time after the input signal falls below the threshold until the expander effect is applied completely. You can set a value from 0.0ms to 800.0ms. Release Time (RELEAS) This sets the time after the input signal exceeds the threshold until the expander effect disappears completely. You can set a value from 0ms to 8000ms s Enhancer/De-esser Enhancer/De-esser OFF/ON (ENH/DE) This is the On/Off switch for the enhancer/de-esser effect. Switching Between Enhancer and De-esser (TYPE) This is the switch for choosing either the de-esser or the enhancer. "ENH": This augments the harmonics of human vocals, making the sound more distinct. When the high-frequency content is deficient, it is increased. "DES": This suppresses harsh sibilant consonants, for a softer sound. When the high-frequency content is excessive, it is reduced. Sensitivity (SENS) In case the high frequency sound reaches certain level, this unit increases/decreases the level. The certain level can be set in 100 steps (from 0 to 100). Frequency (FREQ) This is to set the border of high frequency sound. The border can be set from 500 Hz to 20.0k Hz. 23 Using Effects Enhance Level (ENHLEV) This is to set the level to increase. The level can be set from 0.0 dB to 12.0 dB. This is not available for de-esser. De-esser Rejection Level (DESREJ) This is to set the level to decrease. The level can be set from -24.0 dB to 0.0 dB. This is not available for enhancer. Plug-in Effect Pre-amp Modeling is assigned to [PLUG IN] by default. You can also add effect algorithms through the USB connection. s Pre-amp Modeling Microphone pre-amp brand names are used solely to refer to the sounds modeled by the Roland MMP-2 product. The trademarks described in this product are trademarks of their respective owners, which are separate companies from Roland. These companies are not affiliated with Roland in any way and they have not licensed or authorized the Roland MMP-2. Their marks are used solely to identify the equipment whose sounds are simulated by the Roland MMP-2. Pre-amp Modeling replicates the sonic response of different types of pre-amps. It models such distinctive features as the frequency response, harmonic balance and distortion. Press the [PLUG IN] button to display the setting parameters, then use the Value controls to change the settings. If the item you want is not displayed, use the [PAGE] buttons to scroll through the pages. Select patches with the "Pre-amp" name to use the Pre-amp modeling function using "Patch Selection (SELECT)" (p. 15) Please note that the Pre-amp Modeling requires the use of the DSP that is normally allocated for the EQ section. For this reason, when you are using Pre-amp Modeling presets, you can not access the EQ section of the MMP-2. * It may difficult to figure out the result of Pre-amp modeling effects because very slight character difference of various Pre-amps were modeled. Pre-amp OFF/ON (PREAMP) This is the On/Off switch for the pre-amp modeling. Pre-amp Type (TYPE) This chooses the type of pre-amp. The models are: Red7, N1073, ManSS, AvTube, AvSolS, HHTube, MillHV, SATube, CSSlSt. Warm This parameter adjusts the warmth of the input sound by changing the balance of the low frequency content. Warm Frequency (WRM F) This sets the upper limit of this parameter. The sound components that are of a lower frequency than this parameter will be adjusted. You can set a value from 20 Hz to 1.00k Hz. Warm Gain (WRM G) This parameter adjusts the warmth of the signal below the value set with "Warm Frequency". You can set a value within a range of ±6.0 dB. 24 Using Effects Bright This parameter adjusts the brightness of the input sound by changing the high frequency content's balance. Brightness Frequency (BRT F) This sets the lower limit of this parameter. The sound components that are of a higher frequency than this parameter will be adjusted. You can set a value from 1.00k Hz to 20.0k Hz. Using Effects Brightness Gain (BRT G) This parameter adjusts the brightness of the signal above the value set with the Brightness Frequency parameter.You can set a value within a range of ±6.0 dB. Harmonic This adjusts the color and balance of the sound's harmonics Harmonic Threshold (HRM TH) This sets the threshold for the Harmonic Balance control. If the sound level exceeds this level, the harmonics control will function. You can set a value from -24 dB to 0.0 dB. Harmonic Level (HRM LV) This sets the value of the harmonic control. You can set a value in 100 steps (from 0 to 100). Harmonic Color (HRM CL) This sets the value of the harmonic distortion. You can set a value in 100 steps (from 0 to 100). 25 Settings for Digital Connections When you change the digital-connection settings, sound may stop momentarily until the new settings are in place. s Sampling Clock Source Select the source of sampling clock. fig.LcdClock.eps 1. 2. Press the [SYSTEM] button several times to display "CLOCK." The button lights up in green. Turn the left Value control to make the selection. "INT": Uses the internal clock. "DIGI": Synchronizes with the clock signal from [DIGITAL IN]. s Sampling Frequency Set frequency of internal clock (INT). Four are supported: 44.1k Hz, 48.0k Hz, 88.2k Hz, and 96.0k Hz. * In case the sampling clock source (CLOCK) is supplied from external devices (DIGI), it is impossible to set sampling frequency on MMP-2. fig.LcdClock.eps 1. 2. Press the [SYSTEM] button several times to display "FREQ." The button lights up in green. Turn the center Value control to make the selection. s Audio Input Source Select the jacks to input. fig.LcdClock.eps 1. 2. Press the [SYSTEM] button several times to display "AUDIO." The button lights up in green. Turn the right Value control to make the selection. "MIC": Input from [MIC IN] "DIGI": Input from [DIGITAL IN] * When you change the input source, sound may stop momentarily until the changeover has been completed. * There is no need to make settings for the output. Outputs include the [LINE OUT], [AES/EBU], and [DIGITAL OUT] jacks. * "AUDIO: DIGI" and "CLOCK: INT" cannot be selected simultaneously. Relation of each setting is shown on the chart below. CLOCK (sampling clock source) FREQ (sampling frequency) AUDIO (audio input source) INT 44.1k/48.0k/88.2k/96.0k MIC DIGI synchronizes with [DIGITAL IN] MIC / DIGI s Display Messages Digital In locked. Wrong sample freq. Changed the source of Sampling Clock to [DIGITAL IN]. A digital signal that is not compatible with MMP-2 is coming in from [DIGITAL IN]. The following causes can be considered. · Sampling frequency of inputting device is not one of followings; 44.1k Hz, 48.0k Hz, 88.2k Hz or 96.0k Hz · Vari-pitch (function to change sampling frequency continuously) is used on inputting devices. Confirming signal from [DIGITAL IN]. The signal compatible with MMP-2 is not coming in. The system waits for the signal. Do you cancel the Digital Input and return to internal clock? DIGITAL IN checking... DIGITAL IN unlock! Change INTERNAL? 26 Examples of Use This section shows some examples of how you can use the MMP-2. * Before hooking up or turning on any equipment, make sure the volume on all devices is turned down. Analog Input to Analog Output The microphone input is output from the MMP-2 as an analog signal and sent to a recording device or a mixer. fig.e.mic-MMP2-a-VS1824.eps Examples of Use 1. 2. 3. Connect the microphone to [MIC IN]. Connect the destination device to [LINE OUT]. Use the [PHANTOM/PHASE/LO-CUT] buttons and other controls to set the phantom power setting so it matches the type of microphone (p. 17). microphone 4. 5. Use the [METER] button to display the input meter. MMP-2 recorder Refer to the meters and the [PEAK] indicator and adjust the [PAD] and [SENS] settings. Analog Input to Digital Output The microphone input is output from the MMP-2 as an S/PDIF-standard digital signal and sent to a recording device or the like. (The AES/EBU-standard jacks can also be used in the same way.) fig.e.mic-MMP2-SPDIF-VS1824.eps 1. 2. 3. Connect the microphone to [MIC IN]. Connect the destination device to [DIGITAL OUT]. Use the [PHANTOM/PHASE/LO-CUT] buttons and other controls to set the phantom power setting so it matches the type of microphone (p. 17). microphone MMP-2 recorder 4. 5. 6. Use the [METER] button to display the input meter. Refer to the meters and the [PEAK] indicator and adjust the [PAD] and [SENS] settings. Use the [SYSTEM] button and other controls to set "CLOCK" to "INT," to set "FREQ" to an appropriate value for the destination device, and to set "AUDIO" to "MIC" (p. 26). Make the clock setting on the destination device. 7. 27 Other Features s Channel Linking This interlinks the effect parameters for the two channels. You can use it with stereo recording or other applications. Input parameters are not linked. Linking Hold down the [EDIT CH SELECT] button for channel 1 and press the [EDIT CH SELECT] button for channel 2. Both [EDIT CH SELECT] buttons light up, showing that linking is in effect. Canceling Linking Press either one of the [EDIT CH SELECT] buttons to cancel the link. This makes only one button light up, and lets you edit individual channels in the usual way. When linked, the effects for channel 2 use the parameter values for channel 1 (the reverse is not possible). Effect operations you perform while in this state are handled as settings for channel 1, and so the setting values for channel 2 remain unchanged in memory. When you cancel the link, the effects for channel 2 revert to the setting values they had before linking. s Copying Settings Between Channels This copies the effect parameters to the other channel. You can use this at times such as when you want to edit sets of parameters separately after making the same settings. Input parameters are not copied. Copied settings are overwritten. The original settings cannot be restored after copying. What follows is the procedure for copying from channel 1 to channel 2. To copy in the opposite direction, follow the same procedure with the channel numbers reversed. fig.LcdChannelCopy.eps 1. Press and hold the [EDIT CH SELECT] button for channel 2 for several seconds. The message "COPY PARAM CH1 CH2 OK?" is displayed. Press [ENTER] to carry out the procedure. The setting values for channel 1 are copied to channel 2. * If you don't want to copy, press any button other than [ENTER]. 2. s Backup Patch You can save user patch to computers or sequencers and load it from those. You can transfer your user patch to another MMP-2 using this function. Operation from MMP-2 editor is shown on adopted CD-ROM "ReadMe". Save patch to Computer (BACKUP) 1. Press [SYSTEM] button of MMP-2 several times and make it lights up in orange. The screen turn to the status as right. Press [PAGE] button several times to display "BACKUP" on screen. Operate external device like computer to start sending/receiving signal. If commencement of operation is necessary on MMP-2, press [ENTER]. 2. 3. Load patch from computer (RECOVER) 1. Press [SYSTEM] button of MMP-2 several times and make it light orange. The screen turn to the status as right. 28 Other Features 2. 3. Press [PAGE] button several times to display "RECOVER" on screen. Operate external devices like computer to start sending/receiving signal. s Route Select one of the following routings from input to output. Take "NORM" as a normal rule. Other Features 1. 2. Press the [SYSTEM] button several times to display "ROUTE." The button lights up in orange. Turn the right Value control to make the selection. "NORM": The normal routing. "P IN": This divide signal flow into two routes. DSP* can be inserted into each route individually. This would be suitable for creating "Channel divider" which divides audio signal into various outputs according to its frequency range. This divides signal flow into two routes after DSP* insertion. Two divided signals must always be same. * DSP: digital signal processor. "P OUT": NORM DIGITAL IN MIC IN 1 MIC IN 2 DIGITAL IN PHANTOM,SENS,PAD PHANTOM,SENS,PAD DSP DSP DIGITAL OUT LINE OUT 1 LINE OUT 2 DIGITAL OUT DIGITAL OUT LINE OUT 1 LINE OUT 2 DIGITAL OUT DIGITAL OUT LINE OUT 1 LINE OUT 2 DIGITAL OUT P IN DIGITAL IN MIC IN 1 MIC IN 2 DIGITAL IN PHANTOM,SENS,PAD PHANTOM,SENS,PAD DSP DSP P OUT DIGITAL IN MIC IN 1 MIC IN 2 DIGITAL IN PHANTOM,SENS,PAD PHANTOM,SENS,PAD DSP DSP s Initializing This returns the contents of memory to their factory defaults. Initializing erases any parameters or patches you have set yourself. Once they are lost, they cannot be recovered. Save your settings to a computer if you want to save them before initializing. ("Backup Patch" (p. 28), "Use of computer and setup" (p. 30)) fig.LcdInitializeSystem.eps 1. Press the [SYSTEM] button a number of times, until it lights in orange. fig.LcdInitializeSystem.epsMMP10 2. Press the [PAGE] buttons several times until the message "INITIALIZE" appears. Use the left Value control to choose the target for the initializing. "SYSTEM": system parameters "USER PATCHES":user's effect patches "ALL": both Press [ENTER]. Your confirmation will be requested. Re-press [ENTER]. The system will be initialized. Once it's initialized, system go back to normal screen after indicating [Completed] on screen. * If you don't want to initialize, press any button other than [ENTER]. 3. 4. 5. 29 Use of computer and setup You can add effect algorithms via a USB connection. You can also use a computer editor to easily and intuitively change the equalizer and dynamics parameters. What's more, you can also exchange MIDI signals with the computer. For more details and descriptions of this operation, please read "ReadMe" on the included CD-ROM. Both Mac OS and Windows are supported. The system requirements are as follows. USB (Universal Serial Bus) is an interface for connecting peripheral equipment to computers. It is a standard that lets you connect a variety of peripherals using a single USB cable. It also allows peripheral devices to be connected or disconnected while the power is left on. Set up (PC setting and Install) s MMP-2 settings Stop sending meter signal and select USB-MIDI driver to be used on MMP-2 1. Make sure MMP-2 is NOT connected to the computer. * The USB driver cannot be switched while the unit is connected to computer by USB. 2. 3.