Boss Sp-505 Manual

Boss Sp-505 Manual

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Boss Sp-505 ManualDeleting or copying a patter. Using a memory card Using the SP-505 with other. Making system settings Restoring the factory settin. Appendices The manual No part of this publication may be reproduced in any form Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. Also, avoid getting the terminals dirty. Chop function The “Chop” function detects the attacks within a sampled phrase, and divides the sample into separate sound events. REC LEVEL (REC Level Knob) Adjusts the volume during sampling. Adjusts the EXT SOURCE volume. (2) SAMPLING SOURCE SELECT Button This selects the input source (input jack) that is to be sampled. SYSTEM Button Press this button when you want to make system-related settings, such as adjusting the display contrast or setting the MIDI channel. Display A variety of information is shown here.VALUE Dial Use this to adjust the value of a setting. EXIT Button Press this button to cancel an operation. You are returned to the Play page. Parameter list display fig.00-06 The scroll bar in the right of the screen shows the current location of the cursor relative to the entire list.This will reduce the available space on the memory card. Instead, it records (samples) various sounds such as music and vocals, and plays back these sounds. Effects This section applies various effects to the sampled sound (samples). When sampling ends, the BPM will be calculated automatically from the length of the sample. You can use the BPM Adjust function (p. After the Pitch function is executed, settings will be made automatically, so only the necessary portion is sounded.This will reduce the available amount of space on the memory. Each stereo sample counts as two sounds. If more than eight pads are pressed, the sample of the last- pressed pad will be given priority and will sound, and the sample of a pad you pressed earlier will stop sounding.http://amybarryphotography.com/images/uploads/boston-acoustics-pv800-manual.xml

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On the SP-505 you can create basic rhythms by looping samples. For each sample, you can select one of the following settings (Loop Mode). Type The Lch and Rch signals from LINE IN will be MONO: mixed, and output to LINE OUT. STEREO: The Lch and Rch signals from LINE IN will be output to LINE OUT Lch and Rch respectively. Multiple effects cannot be on simultaneously. If you do want to use multiple effects on a sample, or if you need to have a different effect applied to each individual effect, then use “resampling.”. Adjusts the cutoff frequency. Changes the pitch up or down two octaves. Adjusts the depth of distortion. 14. FUZZ DRIVE Adds harmonics and distorts the Adjusts the depth of distortion. sound. 15. WAH SENS Produces a “wah” effect Adjusts the sensitivity of the Wah effect. The types of notes that can be set: thirty-second note eighth-note triplets quarter-note triplets (. This is called “resampling.” For example, this allows multiple samples to be played simultaneously and then sampled to combine them into one sample, or to be resampled with an effect applied. You may select more than one pad. If you want to select a sample of another pad bank, switch pad banks (p. For example, a drum phrase can be divided into samples containing separate rhythm instruments such as “bass. When adding or making fine adjustments to the dividing point, the number of samples at the location of the wave pointer will be displayed in the upper right of the screen. The sample waveform will be displayed. 2. Use the VALUE dial to move to the dividing point whose location you want to adjust. Realtime recording Realtime recording lets you record by striking pads while you listen to the metronome. The pattern will play back repeatedly, and the data you input will be combined with the existing data. Pressing the pads will produce sound, but nothing will be recorded.http://puisan.ru/uploads/boston-acoustics-pv1000-manual.xmlMove the cursor to the ACC (accent) location of the pad data whose volume you want to adjust, and use the VALUE dial to adjust the accent. Never turn off the power while the display indicates “Keep Power On!” Assigning a name to a pattern 1. On the SP-505 you can connect a maximum of 999 patterns.Never turn off the power while the display indicates “Keep Power On!” Deleting a pattern 1. Deleting Or Copying A Pattern Or Song Using A Memory Card If the power is on when you insert a card, not only the memory card, but also the internal data can be destroyed. Using The Sp-505 With Other Midi Devices. The SP-505 may fail to operate correctly if this is done. About MIDI MIDI stands for Musical Instrument Digital Interface. It is a. Making System Settings Restoring The Factory Settings You can restore all data to the factory settings at once, or select a specific type of data, such as sequencer settings, to be initialized. Appendices If this does not resolve the problem, please contact the nearest Roland Service Center or your dealer.If you continue using the SP-505 in this state, further malfunctions may occur. Please initialize the internal memory. When you initialize, all data in internal memory will be. Make sure that the note numbers of the note messages are in the range of note numbers that the SP-505 is able to receive. (p. 83) Check the settings of the external MIDI device. MIDI Buffer Full! Too many MIDI messages were received all at once, and the SP-505 was unable to process all of them. Reduce the amount of MIDI messages being transmitted to the SP-505. MIDI Error! A MIDI message was not received correctly. Universal System Exclusive Message INQUIRY MESSAGE Identity Reply Status Byte 39H 01H. Basic Default Channel Changed Default Mode Messages Altered Note Number: True Voice Note On Velocity Note Off After Key's Touch Channel's Pitch Bend Control Change Program: True Number Change.http://www.drupalitalia.org/node/72307 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 entiIn the case of the symbol at left, it is used for improperly.Used for instructions intended to alert The symbol To protect yourself againsSmartMedia into the SP-505. The samples that are generated in this way are automatically assigned to pads. Re-sampling You can play back samples while applying inPress this to edit the sampled waveform. REC LEVEL (REC Level Knob) (4) PHRASE CONTROL Adjusts the volume during sampling. Adjusts the EXT SOURCE volume. BPM ADJUST Button Press this when you want to control the BPM of a sampled phrase in real time. (2) SAMPLING BPM SYNC Button SOURCE SELECT Button BySYSTEM Button Press this button when you want to make system-related settings, such as adjusting the display contrast or setting the (7) SEQUENCER MIDI channel. SONG Button Display Press this button to play back Use this button to delete the sample assigned to a pad. HOLD Button (8) If you hold down a pad and press this button, the sample will continue to play even after you take your finger off the VALUE Dial pad. Use this to adjust the value of a setting. EXT SOURCE (External source) Button EXIT Button You can use this button to play external input sources. Press tBy connecting headphones, you can hear the same sound as that output from LINE OUT.Doing so can cause malfunctions. (17) (12) LINE OUT JacksBy turning on VOLUME knob to adjust the volume appropriately.Instead, it records (samples) various sounds contain sound, “patterns,” which contain performance. REC LEVEL (REC Level Knob) Adjusts the volume during sampling. When sampling ends, the BPM will be calculated automatically from the length of the sample. Type MONO: The Lch and Rch signals from LINE IN will be mixed, and output to LINE OUT. Multiple effects cannot be on simultaneously.Cuts the high fr equencies and adds distortion.http://gerryikputuandpartners.com/images/boss-sp-505-sampler-manual.pdf O VERDRIVE DRIVE T ONE LEVEL Mildly distorts the sound. Adjusts the depth of distortion. Adjusts the tonal character. You may select more than one pad. Realtime recording Realtime recording lets you record by striking pads while you listen to the metronome. Making system settings Here ’ s how to make system settings (such as LCD Contrast) for the SP-505. Restoring the factory settings Use the Initialize operation when you want to restore the system and pattern data to the factory settings. Appendices Troubleshooting If the SP-505 does not operate as you expect, check the following points. Appendices Preset Sample PAD BANK PAD No. Appendices 6 Appendices MIDI Implementation Chart Function. For EU Countries For Canada This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Before using this unit, carefully read the sections entitled. The manual should be saved and kept on hand as a convenient reference.Page 4: IMPORTANT NOTES IMPORTANT NOTESPage 5 IMPORTANT NOTES. Before Using Memory Cards Remove the Card CoverPage 6: Contents ContentsThe SP-505 is a groove sampling workstation that provides all the functionality you need to produce dance. Page 10: Names of Things and What They Do Names of Things and What They Do. Front PanelPITCH Button FX ASSIGN (Effect Assign) Button. This allows you to play. Page 12 Names of Things and What They Do. REC (Recording) Button DEL (Delete) Button. Press this button when you want to. Page 13 Names of Things and What They Do. Rear PanelMaking the ConnectionsPage 15 Quick Start. Turning the power on. Once the connections have been completed, turn on power to 4. While striking. Page 16 Quick Start. The SP-505’s display. Broadly speaking, the SP-505 displays two types of screens. Sub-window displayPress the pads to play sounds. The SP-505 contains already-sampled sounds such as drum 1. Turn on. Page 18 Quick Start. Listening to the preset patterns. An overview of the SP-505.http://www.acefence.com/wp-content/plugins/formcraft/file-upload/server/content/files/1627389d32aa02---briot-6000-manual.pdf How the sections of the SP-505 are connectedPhrase samples fig.00-17. A sample of an actual performance is generally called a PatternApplying effects. The SP-505 contains 26 different effects. 1. Turn on the POWER switch of the SP-505. Page 22 Quick Start. Recording a sample. The SP-505 can sample for a maximum of approximately 17Page 23 Quick StartPage 24 Quick Start. Changing the BPM (tempo) of the sample (BPM Adjust)Synchronizing the BPM (tempo) of several samples (BPM Sync). You can synchronize the BPM of the sixteen. Page 26 Quick Start. Dividing a sample between several pads (Chop). The “Chop” function of the SP-505 detects the attacks within. Page 27 Quick Start. Playing pitches with a sample (Pitch). The SP-505’s “Pitch” function lets you play different pitches 6. Use. Page 28 Quick StartPage 29: Chapter 1. Playing samples from the pads Chapter 1. Playing samples from the pads. What are the 32 pad banks. Basic ways to play samplesThe number of samples that Switching the pad accentChanging how the sample Looping the sound (Loop Mode)Playing a sample backward Playing an audio input signalPage 33 Chapter 1. Playing samples from the pads. Adjusting the EXT source settings Changing the BPM of a samplePage 36 Chapter 2. Using the internal effects. Effects ListPage 39: Chapter 3. Recording samples Chapter 3. Recording samplesParameter: With BPM Applying an effect while you sample. OFF: The timing at which the. Page 41 Chapter 3. Recording samplesPage 42 Chapter 3. Recording samples. Re-sampling samples AutoPage 43 Chapter 3. Recording samples. Resampling procedure 2 (Manual) 5. As necessary, switch the pad bank (p. 30), and press. Page 44: Chapter 4. Changing the settings of a sample Chapter 4. Changing the settings of a sample. Procedure Adjusting the stereo positionPage 45 Chapter 4. Changing the settings of a sample. Playing a sample backward Changing the number of. If you want. Page 46 Chapter 4. Changing the settings of a samplePage 48 Chapter 4.cysasdo.com/geektic/files/canon-manuale.pdf Changing the settings of a sample. Page 49: Chapter 5. Deleting or copying a sample Chapter 5. Deleting or copying a sample. Deleting a sample Using the clipboard to copy. Copying multiple samples. If you want to copy to another pad bank. Page 51: Chapter 6. Applying special processing to a sample Chapter 6. Applying special processing to a sample. Page 52 Chapter 6. Applying special processing to a samplePage 54 Chapter 6. Applying special processing to a sample. Playing pitches with a sample 8. To execute the Pitch function. Page 55: Chapter 7. Playing songs and patterns Chapter 7. Playing songs and patternsSelecting and playing songs Playing patterns. Page 57 Chapter 7. Playing songs and patterns. Selecting and playing a Muting individual partsPage 58: Chapter 8. Creating patterns Chapter 8. Creating patterns. About pattern recording If you turn this “OFF,” the data will be recorded at timing. Page 59 Chapter 8. Creating patternsThis indicates. Page 61 Chapter 8. Creating patterns. Adjusting the dynamics (accent) Moving the timing of the soundPage 62 Chapter 8. Creating patternsDeleting or copying a pattern or song Chapter 10. Deleting or copying a pattern or song. Deleting a pattern or song Copying a pattern or song. Page 66: Chapter 11. Using a memory card Chapter 11. Using a memory card. About memory cards Formatting a memory card. The SP-505 uses commercially available SmartMedia. Page 67 Chapter 11. Using a memory card. Page 68 Chapter 11. Using a memory cardPage 71: Chapter 12. Using the SP-505 with other MIDI devices Chapter 12. Using the SP-505 with other MIDI devices. Page 72 Chapter 12. Using the SP-505 with other MIDI devices. Page 73: Chapter 13. Making system settings Chapter 13. Making system settings. Restoring the factory settings Chapter 14. Restoring the factory settings. Appendices Chapter 15. Appendices. Troubleshooting. If the SP-505 does not operate as you expect, check the following points. If this. Page 76 Chapter 15.www.cir.cloud/wp-content/plugins/formcraft/file-upload/server/content/files/1627389e76bfdd---briot-512i-manual.pdf AppendicesPage 77 Chapter 15. Appendices. Problems with a memory card Problems with MIDI or synchronization. Page 78 Chapter 15. Appendices. Error message listMemory Full!. Page 79 Chapter 15. AppendicesParameter List. Parameter Display Value. SamplingParameter Display Value. Position Swing. Position Position Eighth note, 32nd note. Part 1. Page 82 Chapter 15. Appendices. Preset Sample Preset PatternPage 83 Chapter 15. Appendices. MIDI Implementation. Model: SP-505. Page 84 Chapter 15. AppendicesPage 86 Chapter 15. AppendicesThe. Page 87 Chapter 15. Appendices. MIDI Implementation ChartPage 88 Chapter 15. Appendices. Specifications. SP-505: Groove Sampling Workstation. Maximum Polyphony Nominal Output LevelInternal. Page 89: Index IndexAdd. 52 Measure. 45. Auto. 42 Memory. Page 90 IndexStereo sampling. 39. Page 91 USING THE UNIT SAFELY. The SP-505 is centered around working with one-shot samples, loops,Sampling specs are limited to CD-qualityIt imports AIFF and WAV audio fileAs the machine is based on flash-RAM, everyA Pitch function can map aThere's a BPM Sync feature to instantly match up to 16 phrases to theThe Chop functionSequencer has 4 tracks with independent quantization and. This allows you to create complete musicPattern creation is possible withPattern Select feature makes changing patterns easy using the 16 pads,Speaking of connections, the SP-505 has the typical DJ-orientedFor budding musicians and especiallyExternal memory cards of 8MB to 128MB (up to 64 min sampling at 44.1 or 395min at 11.025 kHz). The new SP505 is another logical step forward and shares much of the SP303's feature-set (see my review in SOS August 2001) while including some noticeable additions and a few nods towards the granddaddy of Roland Groovesamplers, the SP808 (see SOS August 1998, and in its EX version in SOS August 2000). It's an impressive line-up of features — and all for a reasonable ?449.https://avenirpourtous.fr/wp-content/plugins/formcraft/file-upload/server/content/files/1627389f5c99bc---briot-alta-nx-manual.pdf There are numerous illuminated flashing rubberised buttons and sample pads, an excellent backlit LCD (128 x 64 pixels), a large data-entry wheel and three assignable real-time effects knobs. All in all, it's just on the right side of tacky-looking. You'll either love it or hate it! There's also an input for an AC-type power adaptor. A number of manufacturers are now supplying AC adaptors rather than the more universally available 9V or 12V DC type. I'm not sure why this should be, as finding replacements can be a real headache for the gigging musician, as I've mentioned in previous reviews. As supplied, the SP505 has four preset Pad Banks containing various (non-eraseable) ROM samples from Roland TR808 and 909 drum machines, various percussion sounds and a collection of basses, synths and pads (more on the sounds themselves later). All the ROM samples are of a high standard, but annoyingly can't be edited directly (not even their level or pan settings) without an error message flashing up on the LCD. To edit these presets, you first need to copy them to an empty user Pad in one of the RAM-based user banks. This is a painless task, but the process could be wasteful of precious RAM if you're not using an additional memory card (you only have 4MB in the default machine). This last option would normally be used when sampling beats and loops, and is intended to give the SP505 some indication of the sample's tempo, and so make its life easier when it automatically inserts the loop end point. There are also three quality modes: 'Standard' (44.1kHz), 'Long' (22.05kHz) and 'LoFi' (11.025kHz). The only other things you need to worry about are setting the analogue input level control and selecting an empty pad to sample into. If only all sampling was this easy. The dedicated Wave Edit Menu button on the left of the front panel brings up the main editing screen with plenty of details about the selected sample's length, quality setting, pad number and tempo in beats per minute.www.cxnjl.com/userfiles/files/canon-manuale-online.pdf You can adjust the audio level and pan here, too (but only left, centre or right settings are possible). There are also options to loop and reverse samples, and three trigger modes: normal, gate and one-shot. The three assignable Function buttons under the LCD take you to various sub-menus to set loop points, trim the start and end and to normalise the level. These deeper menus also display the sample waveform graphically, and you can zoom in or out on this with the controls to the right of the LCD for more precise adjustments. A dedicated Clipboard feature also allows samples to be moved, copied and deleted — very civilised. Chop takes a sample and divides it into percussive audio chunks in a similar way to Steinberg's Recycle, although here there is only a single Resolution adjustment to detect rhythmic peaks. Pitch, on the other hand, has three parameters to detect and map the pitch of a sample across one octave. After each function has processed the original, it maps the resulting multisamples across special 'Pitch Banks'. Unfortunately, the results of the Chop and Pitch functions are variable and depend very much on the kind of material you feed them. All samples have a Play Type tag and are either 'Phrase' samples or 'Single' samples — these definitions tell the SP505 whether it is dealing with a rhythmic loop or not. So Phrase samples have extra parameters for the numbers of measures in a loop and time signature, and can also make use of two tempo-specific functions: 'BPM Adjust' and 'BPM Sync'. However, BPM Sync takes this concept a little further and will match the tempo of multiple loops simultaneously (over a range of half to 1.3 times the tempo of the original) without shifting the original pitch. If you play a few Phrase loops (using the pads) and press the BPM Sync button (see left) all the samples instantly lock into the tempo of the last pad activated. Once the loops are locked to each other you can deactivate and reactivate them and they still remain in sync with each other. If at any time you introduce a new loop with a different tempo it is automatically processed to run at the tempo of the others. If things do start to go adrift you just hit the Sync button (on the down-beat produces the best result) and all the currently playing loops lock into sync once more. Alternatively, you can reset the overall tempo to that of a newly activated loop, or reset each loop to its original tempo and start over again. The only caveat is when trying to match loops with widely differing tempos as the audio quality gets progressively worse with large tempo shifts. Adjust seems to suffer more lumpiness than Sync and rhythmic loops really lose their punch and definition if the tempo is shifted more than a few percent. Although I'm not sure I'd be happy committing the results to a finished mix, both these features are great for fleshing out song ideas and will probably come into their own when used in a less audio-critical DJ or live situation. However, it works just fine with Single samples, ROM samples and non-looping percussion sounds. Polyphony: Eight notes. User samples: 250 (across 16 banks). Built-in ROM samples: 64, across four banks (Bank 1 is TR808 percussion, Bank 2 'various' percussion, Bank 3 TR909 percussion, and Bank 4 contains Roland synth sounds and pads from the likes of the Juno series, TB303, and so on). Sequencer: 100 user Patterns, 20 user Songs, approximately 15,000 events. Dimensions: 298 x 254 x 64mm. Weight: 1.4kg. Effects can also be applied to a whole bank or just to individual pads. The effects are fine as far as budget processing goes. There is a varied selection (see the box on the next page for a full list) including an authentic-sounding tape delay and a tempo-sync'ed delay. The reverb is OK (if a bit boxy) and there are some good filters, distortions and ring-modulator patches. Annoyingly, and just as on the SP303, effects settings are not saved with your patterns or songs, but at least the sample pads also double as shortcut buttons for selecting the first 16 effects. Voice Transformer. Centre Canceller. Each pattern can have up to four parts (each part has a dedicated mute button) which are shared across eight samples. So you could have, for instance, a bass drum and snare in Part 1, hi-hats and percussion in part 2, synth pads and bass in part 3 and loops, beats or vocal phrases in part 4. You just need to remember the eight-note polyphony limit, which is divided by two if you are using stereo samples. The ROM samples, as mentioned earlier, are of a pretty high standard, but the patterns seem almost like an afterthought. All is not lost though, as they can be copied into empty user patterns and edited to suit your tastes. First you select an empty user pattern, then hit the Record button. The SP505 then drops into Record Standby mode, the metronome begins clicking and the Pattern Play screen pops up to give you options for setting the tempo, number of measures and time signature. At this point you can either practice your rhythmic skills along with the metronome, or press the Play button to drop into Record mode. The LCD and metronome give you a one-bar countdown before recording starts, and the metronome continues in Loop Record mode until you press Stop. However, it's not until you are in Record mode that a small icon appears, allowing you to adjust the Quantise values for the pads and the Part you are recording into (there are eight Quantise types and the 'Off' setting). You can switch between Parts while recording, adjusting quantise values as you need. One tiny niggle is that the metronome can't be muted. You can edit timing, level and gate length and notes can be deleted or inserted into the list. You can even edit a pattern while a track is playing. Patterns can be inserted and deleted, but there is no option to set a pattern to repeat before it moves to the next, which makes song construction a little repetitive and laborious. Editing previously recorded Songs is almost identical to pattern editing, and uses a similar list menu. It's all very logical. In fact, it will have to suffice, as I could see no way to save or load Pattern or Song data via MIDI SysEx, or find mention in the manual of how to do this. However, it is possible to save and load Patterns and Songs (and samples) onto optional SmartMedia cards. I was surprised to find no step-time recording option. It's even more unusual considering the SP505 has so many TR808 and TR909 drum samples, and a classic 16-pad drum-machine-style layout (see above). The pad samples also respond to key velocity when triggered from an external MIDI keyboard or sequencer. What the SP505 won't do is let you play a sample chromatically across a MIDI keyboard. Admittedly Boss have introduced the 'Sample Pitch' feature which allows you to remap a sample across one of the dedicated so-called Pitch Banks, but as this is a form of multisampling, it uses valuable RAM in the process, and isn't quite the same as playing a specific sample across a keyboard anyway. Boss would probably argue that the SP505 is a phrase sampler, and therefore doesn't need this feature, but I still find it a puzzling omission. It can't be that difficult to implement, can it? If there is one area it excels at, it's sampling and getting arrangements worked out fast before you lose creative inspiration. There's no booting up to slow down the creative process, and sampling (and indeed resampling) is always available on tap thanks to the widespread use of dedicated buttons. This also applies to the built-in sequencer, which is ready to record Patterns and Songs in a matter of seconds.The Long audio mode is sufficient for non-critical sounds and loops, and the LoFi mode is useful for grungey effects. The 40 preset patterns aren't nearly varied enough for my tastes (in fact, the SP's unashamedly dance-and hip-hop-oriented preset patterns and ROM samples could deter some potential purchasers), and the lack of step-time pattern recording is baffling. The effects sound OK but I had expected a few more a year on from the SP303. And although you can resample multiple pad-playing, you still can't resample internal (or external) sequenced patterns. But the SP505 is, in my opinion, funkier and easier to use than either of these. DJs, dance producers, dabblers and novices (not to mention PC-phobics) are going to love the easy-to-use, hands-on accessibility, dedicated buttons, tempo-matching features and long sample times. While I had the SP505 for review, I made a pile of sample loops, thrashed out a load of song ideas and demos, and found the speed at which I could club together rough mixes really impressive — but don't forget that you will need to invest in a decent-capacity SmartMedia card before you can undertake any major projects. Anyone looking for an affordable all-in-one phrase sampler, sequencer, and workstation that can occasionally take on the guise of a digital multitracker need search no further. Pros Good-quality, fast sampling. LCD waveform editing. Lots of dedicated buttons. Expandable memory. AIFF and WAV import. No step-time pattern recording. You can't resample sequencer patterns. Non-standard AC adaptor. If you're not into dance or rap, you might be put off by the domination of house and hip-hop styles in the preset patterns and samples, but otherwise, this Groovesampler is great for fast, high-quality sampling, loop- and groove-matching, and quickly knocking together song ideas. Everything You Wanted To Know About Studio Headphones. 1 month 3 weeks ago. Top 10 Boring Things That Are Really Important In The Studio 2 months 3 weeks ago. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Stay up to date with Roland news, artists, promotions, events, and more. Provides an overview of key features, functions and operational tips. The Roland Worldwide Social Network keeps you connected to the latest products, exciting events, and much more. Boss samplers have been slowly but surely evolving over the years, from the 1990’s diminuitive DSD2 sampling delay pedal to the recent darlings of loopists everywhere the Dr.Sample range. The new SP-505 Groove Sampling Workstation is a logical step forward and shares many of the SP-303’s feature set while including some noticeable additions and a few nods towards the grandaddy of Roland Groove samplers the SP-808. The SP-505 looses the Dr.Sample tag but gains a multitude of sample-processing effects, graphic waveform editing, an impressive maximum sampling time of 64 minutes at full CD bandwidth (using an optional 128 Mb SmartMedia card), Recycle-like sample chopping and tempo matching, built-in ROM samples (Roland TR drum sounds and various basses and pads are included), preset rhythm patterns, realtime controls, 16 sample pads, a 15,000 note four-part sequencer, plus coaxial and optical digital inputs as standard. Whew! not a bad line up of features I think you’d agree. The low profile desktop design and busy layout follows the now familiar lines of Boss Groove instruments.