Boss Sp-505 Groove Sampling Workstation Manual

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Deleting 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://dynamic1984.com/user_file/boston-acoustics-pv700-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://www.marconivivai.it/uploads/boston-acoustics-pv350-manual.xml

Move 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/72308

With eight voices of CD-quality sampling, cool Chop and BPM Sync functions—plus a 4-part sequencer and 26 killer DSP effects—the SP-505 has everything groove musicians need to build cutting-edge tracks.Chop function divides loops and maps individual samples to pads. Pitch function for playing back samples at new pitches as on a keyboard. BPM Sync function instantly matches up to 16 phrases to the same tempo Intuitive graphic LCD (with waveform display) and three knobs The new SP-505 changes all that with helpful tools like sample Chop, for dividing loops into individual samples, and automatic BPM sync of phrases. And with onboard sequencing and professional-quality effects, you get a lot more than you pay for with this cool, tabletop groove sampling workstation. Powerful Sample Editing In addition to its 8-note, CD-quality sampling—with the ability to pitch samples chromatically—the SP-505 provides several powerful editing functions. A graphic LCD with waveform display allows you to zoom in when editing Start and End points or boost the level of a specific waveform range. The aforementioned Chop function is great for dividing loops into individual “slices,” which can then be replayed and rearranged at will. And with automatic BPM Sync, getting your loops together is a snap. 4-Part Sequencing with Adjustable Swing A complete sampling workstation, the SP-505 features a 4-part sequencer with 15,000-note capacity, plus a Swing function for creating shuffle patterns. By mapping individual samples to the pads, you can create custom drum grooves and even overdub loops. Or, create sequences using the SP-505’s internal ROM Tones, which include a selection of drums, basses and synths. A Pattern Select feature makes changing patterns easy using the 16 pads—great for live performance. Killer Effects Processing and Resampling With 26 onboard effects, you can twist your samples into just about any sound imaginable. SmartMedia Slot,. http://anthonycohen.com/images/boss-sp-404-manual.pdf

WAV Compatibility and More While the SP-505’s internal memory provides more than two minutes of CD-quality mono sampling, this can be expanded to over one hour using an optional 128MB SmartMedia card. And with a choice of Mic, Line, or Coaxial and Optical digital inputs, you can sample virtually any source and process sounds though the internal effects.Please follow the steps outlined in the readme document to perform the update. Please follow the steps outlined in the readme document to perform the update. Please follow the steps outlined in the readme document to perform the update. Note to Mac Users: You will need the UPD SMF Update Application if you do not have access to a sequencer program. Please follow the steps outlined in the readme document to perform the update. 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. How the sections of the SP-505 are connectedPhrase samples fig.00-17. http://bubblesoflove.net/wp-content/plugins/formcraft/file-upload/server/content/files/162738a72eb458---brisa-swamp-cooler-manual.pdf

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. Changing the settings of a sample. Page 49: Chapter 5. damabilisim.com/images_upload/files/canon-manuals-camera.pdf

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. AppendicesPage 77 Chapter 15. Appendices. {-Variable.fc_1_url-

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. 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. https://www.reroofingbrisbaneqld.com.au/wp-content/plugins/formcraft/file-upload/server/content/files/162738a9041d8f---brisa-cooler-manual.pdf

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. 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. There are numerous illuminated flashing rubberised buttons and sample pads, an excellent backlit LCD (128 x 64 pixels), a large data entry wheel and 3 assignable realtime effects knobs. All very visual and just on the right side of tacky looking. You’ll either love it or hate it. There is also an input for an AC type PSU adaptor. dakotaterritorycustomhomes.com/ckfinder/userfiles/files/canon-manuals-butkus.pdf

An increasing number of manufacturers are moving over to AC adapters 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 have mentioned before in previous reviews. BANK ACCOUNT As with the previous Boss and Roland SP samplers the SP-505 arranges its samples into Pad Banks and in this machine each bank has access to 16 sample pads. Out of the box the SP-505 has four preset Pad Banks containing various (non-erasable) ROM samples from Roland TR 808 and 909 drum machines, various percussion sounds and a collection of basses, synths and pads. All the ROM samples are of a high standard but annoyingly can’t be edited (not even level or panning) without an error message flashing up on the LCD. To edit a ROM sample you first need to copy it to an empty user Pad in one of the RAM based user banks, a painless task but it could be wasteful of precious RAM if you’re not using an additional memory card. Boss have been refining the actual process of sampling with each new SP sampler and on this mini-workstation it is simplicity itself. And all can be connected simultaneously. Most of the usual sampling options are on offer: mono or stereo, three quality modes (Standard-44.1k, Long-22k and LoFi-11k), eight Auto Start levels and a WITH BPM function. This last option would normally be used when sampling beats and loops and is intended to give the SP-505 some indication of the sample’s BPM, and so make its life easier when it automatically inserts the loop end point. The only other things you need to worry about is setting the analogue input level control and selecting an empty pad to sample into. If only all sampling was this easy. EDIT.ING Compared to many phrase samplers, including those from Roland and Boss, the SP-505 is quite well endowed in the sample editing department and is helped in no small measure by the informative LCD. The dedicated Wave Edit Menu button brings up the main editing screen with plenty of details about the selected samples length, quality setting, pad number and BPM. Here you can also adjust the audio level and pan (but only left, centre or right I’m sorry to say). Plus options to loop, reverse and three trigger modes: normal, gate and one-shot. The three assignable F button shortcuts 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 show a graphic waveform of the sample, which can be zoomed in or out for more exacting adjustments. A dedicated CLIPBOARD feature allows samples to be moved, copied and deleted and is an almost foolproof procedure, very civilised. CHOP CHOP A couple of useful sample edit options are the CHOP and PITCH features. 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 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 multi-samples across special user banks reserved specifically for each function. Unfortunately the results of Chop and Pitch can be a little inconsistant and variable and although better results are sometimes achieved with different types of material it also seems to be as much down to keeping your fingers crossed as anything else. TEMPO TIME As to be expected in a Boss Groove instrument there are plenty of options for adjusting and matching the tempo of samples and patterns. All samples have a PLAY TYPE tag and are either a Phrase sample or Single sample. Basically the SP-505 needs to know if it is dealing with a rhythmic loop or not. So Phrase samples have additional parameters for the numbers of measures in a loop, the time signature and also have access to two BPM specific functions: ADJUST and SYNC. BPM ADJUST allows you to change the tempo of individual Phrase samples in realtime without changing the pitch (from 40 to 200 BPM). However, BPM SYNC takes this concept a little further and will match the tempo of multiple loops simultaneously (from 0.5 to 1.3 of the original BPM) without shifting the original pitch. If you play a few Phrase loops (using the pads) and press the BPM SYNC button 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 automatically locks into the BPM of the others and if things start to go adrift you just hit the SYNC button (on the down beat is best) and all the currently playing loops lock into sync once more. Alternatively you can reset the overall BPM to the tempo of a newly activated loop, or reset each loop to its original BPM and start over again. This feature is not only a lot of fun to play but it lets you come up with all kinds of unusual but perfectly synced rhythms, loops and beats. The only caveat is when trying to match loops with widely differing tempos as the audio quality gets progressively worse with tempo shifts of more than a few BPM. In fact the quality of both BPM options can vary quite considerably. ADJUST seems to suffer more lumpiness than SYNC and rhythmic loops can have a tendency to loose 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. DOUBLING UP There is a bank of 26 effects (see box) at your disposal and although you can only use one effect at a time the built-in resampling feature means you can easily transfer effected samples (individually or in groups) to empty pads as many times as you like, changing or adding further effects as RAM permits. Effects can also be applied to a whole bank or just to individual pads. The effects are fine as budget effects go and are in fact identical to those in the SP-303. There is a varied selection including an authentic sounding tape delay and a BPM synced DDL. The reverb is OK, if a bit boxy and there are a few good filters, distortions and ring modulator patches. Annoyingly, and just as with the SP-303, effects settings are not saved with your patterns or songs. Though a useful trick is that the sample pads also double as shortcut buttons for selecting the first 16 effects. The ROM samples 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 modified to your own wicked ways. SWINGS AND ROUNDABOUTS The sequencer can store 100 user patterns (plus the 40 presets) and these can be arranged into 20 songs. Each pattern can have up to four parts (each part has a dedicated mute button) which are shared across 8 samples. So you could have, for instance, a BD and SD in part 1, hi-hats and percussion in part 2, synth and bass in part 3 and loops, beats or vocal phrases in part 4. You just need to remember the 8-note polyphony limit, which is divided by two if you are using stereo samples. Recording rhythm patterns is straightforward, first you select an empty user pattern, then hit the record button and the SP-505 simultaneously drops into record standby mode, the metronome begins clicking and the Pattern Play screen pops up to give you options for setting the BPM, 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 now give you a one bar countdown before recording starts, which then continues in loop record mode until you press stop. However, it’s not until you are in recording mode that a small icon pops up allowing you to adjust the quantise values (8 types and OFF) for the pads and the Part you are recording into. You can switch between Parts while recording, adjusting quantise values as you need. One small niggle is that the metronome can’t be muted. Editing patterns is carried out using the MICRO function, which displays a list of recorded events. You can edit timing, level and gate length and notes can be deleted or inserted into the list. You can also edit a pattern while a track is either playing or stopped. TAKEN TO THE LIMIT Songs are put together using a similar list view, by either dialling up patterns using the data wheel or selecting them using the sample pads (although only from the first 16 patterns if using the pads). 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 using a similar list menu, all very logical. There is an upper limit of approximately 15,000 sequencer events (shared by patterns and songs) which should be enough for most users. Well it had better be as I could find no way (or mention of in the instruction manual) to save or load pattern or song data via MIDI system exclusive. However, it is possible to save and load patterns and songs (and samples) onto SmartMedia cards. The SP-505 sequencer is a bit of an oddity as it only records in realtime and I was a little surprised in finding no step-time recording option. It’s even more unusual considering it has so many TR808 and TR909 drum samples and a classic 16 pad drum machine layout. MINI MIDI High spec MIDI support is not one on the SP-505’s strong points but basic functionality and various synchronisation options are catered for. The pad samples also respond to key velocity when triggered from an external MIDI keyboard or sequencer. What it 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 Pitch Banks but as this is a form of multi-sampling 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 SP-505 is a phrase sampler so doesn’t need this feature, which is technically true but I still find it a puzzling omission in a sampler. It can’t be that difficult to implement can it. THE FAST AND FURIOUS After spending a couple of weeks using the SP-505 I found my fingers flying around it like a demon. If there is one area it excels at it’s in sampling and getting arrangements worked out fast before you loose the moment. There’s no booting up to slow down the creative juices and sampling (and resampling) is always available on tap thanks to the widespread use of dedicated buttons. This also applies to the sequencer which is ready to record patterns and songs in a matter of seconds. Audio quality at the Standard setting is about as close to CD quality as you can get. The Long audio mode is sufficient for non-critical sounds and loops and the LoFi mode is very useful for extreme grunge effects. But what don’t I like about the SP-505.