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Akai MPC 5000
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ξ˜‚
ξ˜‚ Switching pad banks....................................................................................................................................................71
ξ˜‚ Full level function ([FULL LEVEL] button) ...............................................................................................................71
ξ˜‚ 16 levels function ([16 LEVEL] button)......................................................................................................................71
$ξ˜ξ˜’ξ˜›ξ˜‚+1ξ˜žξ˜ξ˜’#ξ˜ξ˜‚&"#ξ˜šξ˜ξ˜‚ξ˜˜ξ˜$.ξ˜‚ξ˜Ÿ"%ξ˜ξ˜‚9&"#ξ˜šξ˜‚ξ˜ˆξ˜ž$;ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”70
ξ˜‚ Operation.....................................................................................................................................................................72
ξ˜‚ Solo Function ..............................................................................................................................................................72
ξ˜‚ Selecting Instant Track Mute.......................................................................................................................................72
ξ˜‚ Setting the Track Mute in Solo Mode..........................................................................................................................73
ξ˜‚ Recording Track Mutes ...............................................................................................................................................73
ξ˜‚ Ignoring Track Mute Events........................................................................................................................................73
ξ˜‚ Track Mute Groups......................................................................................................................................................73
$ξ˜ξ˜’ξ˜›ξ˜‚6ξ˜’%ξ˜ξ˜—ξ˜%"(ξ˜‚+"'(ξ˜ξ˜ξ˜‚/ξ˜Žξ˜‘'ξ˜‚"ξ˜‚ξ˜Ÿξ˜Žξ˜‘ξ˜›ξ˜Ž"'ξ˜‚ξ˜˜ξ˜$.ξ˜‚ξ˜Ÿ"%ξ˜ξ˜‚9"%ξ˜‚ξ˜ˆξ˜ž$; ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”72
ξ˜‚ Operation.....................................................................................................................................................................74
ξ˜‚ Pad Mute Groups.........................................................................................................................................................74
+(#$ξ˜ξ˜’ξ˜›ξ˜‚"ξ˜‚+1ξ˜žξ˜ξ˜’#ξ˜ξ˜‚$ξ˜‘ξ˜‚ξ˜Ÿ(")ξ˜‚ξ˜˜ξ˜$.ξ˜‚ξ˜Ÿ"% ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”7
ξ˜‚ Operation.....................................................................................................................................................................75
ξ˜‚ SUDDEN Button .........................................................................................................................................................75
ξ˜‚ HOLD Button ..............................................................................................................................................................75
Chapter 10: MIXER Mode..............................................................................................77
ξ˜Ÿξ˜Žξ˜‘ξ˜›ξ˜Ž"'ξ˜‚ξ˜ˆξ˜= ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”77
ξ˜‚ Setting the Output........................................................................................................................................................77
ξ˜‚ Setting the Level and Pan of a Pad ..............................................................................................................................78
ξ˜‚ Assigning Effects to a Pad...........................................................................................................................................78
ξ˜‚ Muting Pads.................................................................................................................................................................79
ξ˜Œξ˜ξ˜ξ˜˜ξ˜ξ˜’ξ˜›ξ˜‚ξ˜Ÿξ˜Žξ˜‘ξ˜›ξ˜Ž"'ξ˜‚6ξ˜’/ξ˜‘ ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”7-
&"#ξ˜šξ˜‚ξ˜ˆξ˜= ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,ξ˜•
ξ˜‚ Setting the Level and Pan Position of a Track .............................................................................................................80
ξ˜‚ Muting a Track ............................................................................................................................................................80
ξ˜‚ Using Q-LINK Controls with MIXER Mode...............................................................................................................81
ξ˜Œξ˜ξ˜ξ˜˜ξ˜ξ˜’ξ˜›ξ˜‚&"#ξ˜šξ˜‚5$"( ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,ξ˜“
=ξ˜ξ˜Žξ˜‚ξ˜‰ξ˜ž$ξ˜‘'"$ξ˜ξ˜‘ξ˜’ ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,ξ˜“
ξ˜‚ Shortcut between MIXER and EFFECTS mode. .........................................................................................................82
6ξ˜’ξ˜œξ˜ž$ξ˜‚&. ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,0
ξ˜‚ Applying effects to an incoming signal .......................................................................................................................82
Chapter 11: Sampling ...................................................................................................83
"ξ˜Žξ˜ξ˜’ξ˜›ξ˜‚$.ξ˜ξ˜‚ξ˜Žξ˜#ξ˜‘ξ˜Ž%ξ˜ξ˜’ξ˜› ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,*
ξ˜‚ Starting the recording ..................................................................................................................................................84
+"'(ξ˜ξ˜’ξ˜›ξ˜‚>ξ˜‚%$"(%ξ˜‚ξ˜ξ˜’/ξ˜‘ξ˜Ž'"$ξ˜ξ˜‘ξ˜’ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,
ξ˜ƒξ˜#ξ˜‘ξ˜Ž%ξ˜ξ˜’ξ˜›ξ˜‚$.ξ˜ξ˜‚%ξ˜ξ˜›ξ˜$"(ξ˜‚ξ˜ξ˜ξ˜›ξ˜’"( ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,
ξ˜‚ Preparing the recording................................................................................................................................................85
ξ˜ƒξ˜#ξ˜‘ξ˜Ž%ξ˜ξ˜’ξ˜›ξ˜‚$.ξ˜ξ˜‚ξ˜ˆξ˜‰6ξ˜†ξ˜‚ξ˜–ξ˜Š& ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,
ξ˜‚ Preparation For Recording...........................................................................................................................................85
ξ˜ƒξ˜#ξ˜‘ξ˜Ž%ξ˜ξ˜’ξ˜›ξ˜‚$.ξ˜ξ˜‚ξ˜ξ˜’$ξ˜ξ˜Žξ˜’"(ξ˜‚ξ˜‡5?ξ˜ξ˜‚ξ˜ξ˜‘ξ˜žξ˜’% ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,
ξ˜‚ Preparation For Recording...........................................................................................................................................85
ξ˜–$.ξ˜ξ˜Žξ˜‚ξ˜…ξ˜"$ ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,4
ξ˜‚ Monitoring feature.......................................................................................................................................................86
ξ˜‚ Peak hold/Reset peak feature.......................................................................................................................................86
ξ˜‚ RECORD INFORMATION Window..........................................................................................................................87
5#$ξ˜‚ξ˜ƒξ˜#ξ˜‘ξ˜Ž%ξ˜ξ˜’ξ˜›ξ˜‚/"$ ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,7
ξ˜‚ Preparing the recording................................................................................................................................................87
ξ˜‚ Starting the recording ..................................................................................................................................................88
Chapter 12: Sample Editing..........................................................................................89
+$$ξ˜ξ˜’ξ˜›ξ˜‚$.ξ˜ξ˜‚+$"$ξ˜‚3ξ˜‚ξ˜„ξ˜’%ξ˜‚ξ˜Ÿξ˜‘ξ˜ξ˜’$ ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”ξ˜”,-
ξ˜‚ About the waveform display........................................................................................................................................89
ξ˜‚ LEFT / RIGHT / BOTH Waveform View ...................................................................................................................89
ξ˜‚ Adjusting the start point...............................................................................................................................................89
ξ˜‚ Adjusting the end point................................................................................................................................................89
ξ˜‚ Snapping to the Next Zero Crossing (SNAP 0) ...........................................................................................................90

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