Roland AT15 Muting Individual Channels of Performance Data, Expression Pedal Operations

Settings for the Composer

Assigning Commercial SMF Music Files to the Tracks

Track	Channel
R (Rhythm)	10
A (Accomp)	5, 6, 7, 8, 9, 11, 12, 13, 14, 15, 16
B (Bass)	2
L (Lower)	3
U (Upper)	4
S (Solo)	1

During recording, the control track will store the operations as follows.

❍Panel Operations (Voice selections, Tempo changes, Rotary fast/slow etc.)

Newly recorded performance data will be added without erasing the previously recorded data.

If you wish to record new performance data, erase all the recorded data (p. 69).

❍Expression Pedal Operations

The way in which expression operations are recorded will depend on the setting of the “Exp. Source” item “Recording” in the Utility menu.

	Expression pedal operations will be
PEDAL	recorded.
	If expression data has already been
	recorded, the previously recorded data
	will be erased as the new data is recorded.
	Expression pedal operations will not be
COMPOSER	recorded.
	If expression data has already been
	recorded, the previously recorded data
	will remain without being erased.

➔For details refer to “Changing the Function of the Expression Pedal” (p. 82).

Muting Individual Channels of Performance Data

You can mute (silence) individual channels of performance data of SMF music files (sold separately).

1.Press the [Utility] button.

2.Press the Menu [ ] and [ ] buttons to select “Ch.Mute” (Channel Mute).

3.Press the Value [-] and [+] buttons to select the channel that you wish to mute.

From the left, these are “1 Ch. (channel 1), 2 Ch. ... 15 Ch.,

and 16 Ch.”

fig.09-09

4.Press the [Rec] button.

fig.09-10

The number will change to “–,” indicating that the corre- sponding channel has been muted.

5.Once again press the [Rec] button, and muting will be canceled.

To return to the basic screen, press the [Utility] button.

*Channel mute will be defeated when you perform the following operations.

•Press the Select [-] and [+] buttons to select different performance data.

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