Zoom Mrs 8 Users Manual

2015-07-15

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MRS-8(E).book 1 ページ ２００４年７月３０日 金曜日 午後５時２４分

Operation Manual

MRS-8(E).book 2 ページ ２００４年７月３０日 金曜日 午後５時２４分

USAGE AND SAFETY PRECAUTIONS

USAGE AND SAFETY PRECAUTIONS
• Pay close attention to the labelling of the battery to

SAFETY PRECAUTIONS

make sure you choose the correct type.
• When not using the unit for an extended period,
remove the batteries from the unit.

In this manual, symbols are used to highlight warnings and

• If battery leakage has occurred, wipe the battery

cautions for you to read so that accidents can be prevented.

compartment and the battery terminals carefully to

The meanings of these symbols are as follows:

remove all remnants of battery fluid.
• While using the unit, the battery compartment

This symbol indicates explanations about

cover should be closed.

extremely dangerous matters. If users

Warning ignore this symbol and handle the device
the wrong way, serious injury or death could
result.

• Environment
To prevent the risk of fire, electric shock or
Warning malfunction, avoid using your MRS-8 in
environments where it will be exposed to:

This symbol indicates explanations about
dangerous matters. If users ignore this

• Extreme temperatures

Caution symbol and handle the device the wrong

• Heat sources such as radiators or stoves

way, bodily injury and damage to the

• High humidity or moisture

equipment could result.

• Excessive dust or sand
• Excessive vibration or shock

Please observe the following safety tips and precautions to
ensure hazard-free use of the MRS-8.

• Power requirements
Since power consumption of this unit is fairly high,
Warning we recommend the use of an AC adapter whenever
possible. When powering the unit from batteries, use
only alkaline types.

• Handling
• Never place objects filled with liquids, such as
vases, on the MRS-8 since this can cause electric
Warning
shock.
• Do not place naked flame sources, such as lighted
candles, on the MRS-8 since this can cause fire.
The MRS-8 is a precision instrument. Do not exert

[AC adapter operation]
• Be sure to use only an AC adapter which supplies
9 V DC, 300 mA and is equipped with a "center

Caution

undue pressure on the keys and other controls. Also
take care not to drop the unit, and do not subject it to
shock or excessive pressure.

minus" plug (Zoom AD-0006). The use of an
adapter other than the specified type may damage
the unit and pose a safety hazard.
• Connect the AC adapter only to an AC outlet that
supplies the rated voltage required by the adapter.
• When disconnecting the AC adapter from the AC
outlet, always grasp the adapter itself and do not

• Connecting cables and input and output jacks
You should always turn off the power to the MRS-8
Caution and all other equipment before connecting or
disconnecting any cables. Also make sure to
disconnect all connection cables and the power cord
before moving the MRS-8.

pull at the cable.
• During lightning or when not using the unit for an
extended period, disconnect the AC adapter from
the AC outlet.

• Alterations
Never open the case of the MRS-8 or attempt to
Warning modify the product in any way since this can result in
damage to the unit.

[Battery operation]
• Use four conventional IEC R6 (size AA) batteries
(alkaline).
• The MRS-8 cannot be used for recharging.

• Volume
Do not use the MRS-8 at a loud volume for a long
Caution time since this can cause hearing impairment.
ZOOM MRS-8

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USAGE AND SAFETY PRECAUTIONS

Usage Precautions

* MIDI is a registered trademark of Association of
Musical Electronics Industry(AMEI).
* SD Logo is a trademark.

• Electrical interference
For safety considerations, the MRS-8 has been designed to
provide maximum protection against the emission of
electromagnetic radiation from inside the device, and
protection from external interference. However, equipment

* All trademarks and registered trademarks mentioned
in this manual are for identification purposes only and
are not intended to infringe on the copyrighted
properties of their respective owners.

that is very susceptible to interference or that emits powerful
electromagnetic waves should not be placed near the MRS8, as the possibility of interference cannot be ruled out
entirely.
With any type of digital control device, the MRS-8 included,
electromagnetic interference can cause malfunctioning and
can corrupt or destroy data. Care should be taken to
minimize the risk of damage.

• Cleaning
Use a soft, dry cloth to clean the MRS-8. If necessary,
slightly moisten the cloth. Do not use abrasive cleanser, wax,
or solvents (such as paint thinner or cleaning alcohol), since
these may dull the finish or damage the surface.

• Backup
The data of MRS-8 can be lost because of malfunction or
incorrect operation. Backup your data.

• Copyrights
Except for personal use, unauthorized recording from
copyrighted sources(CDs, records, tapes, video clips,
broadcast material and so on) is prohibited.
ZOOM Corporation does not bear any liability for
injunctions regarding the copyright law infringement.
Please keep this manual in a convenient place for
future reference.

ZOOM MRS-8

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Contents
USAGE AND SAFETY
PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . 2
Introduction . . . . . . . . . . . . . . . . . . . . . . . . 7
Introducing the MRS-8 . . . . . . . . . . . . . . 8
Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Step 4: Mixing . . . . . . . . . . . . . . . . . . . . . . . . 26
4.1
4.2
4.3

Adjusting volume, panning, and EQ. . . . . . 26
Applying the send/return effect . . . . . . . . . 27
Applying the insert effect to a track. . . . . . 28

Step 5: Mixdown . . . . . . . . . . . . . . . . . . . . . . 29
5.1
5.2

Using the mastering effect . . . . . . . . . . . . . 29
Mixdown onto the master track . . . . . . . . . 30

Rhythm section. . . . . . . . . . . . . . . . . . . . . . . . . 9
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Reference [Recorder] . . . . . . . . . . . . . . . 32

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

V-takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Names of Parts . . . . . . . . . . . . . . . . . . . . 10

Switching V-takes . . . . . . . . . . . . . . . . . . . . . . . . . 32
Changing the V-take name . . . . . . . . . . . . . . . . . . 32

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Rear panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connections . . . . . . . . . . . . . . . . . . . . . . 12
Inserting SD Card and Batteries. . . . . . 13
Inserting an SD card. . . . . . . . . . . . . . . . . . . . 13

Moving to a desired point in the song
(locate function) . . . . . . . . . . . . . . . . . . . . . 35
Setting marks in a song (marker function)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Setting a mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Locating a mark. . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Deleting a mark . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Inserting the batteries . . . . . . . . . . . . . . . . . . 13

Playing back the same passage repeatedly
(A-B repeat function). . . . . . . . . . . . . . . . . . 36

Power On/Off. . . . . . . . . . . . . . . . . . . . . . 14

Re-recording only a specified region
(punch-in/out function) . . . . . . . . . . . . . . . . 37

Power-on. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Power-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Let’s Record . . . . . . . . . . . . . . . . . . . . . . 15
Quick Tour . . . . . . . . . . . . . . . . . . . . . . . . 17
Step 1: Preparations. . . . . . . . . . . . . . . . . . . . 17
1.1
1.2

Creating a new project . . . . . . . . . . . . . . . 17
Selecting the rhythm pattern to use. . . . . 18

Step 2: Recording the first track . . . . . . . . . . 20
2.1
2.2
2.3

Adjusting input sensitivity. . . . . . . . . . . . . 20
Applying the insert effect . . . . . . . . . . . . . 21
Selecting a track and recording . . . . . . . . 23

Manual punch-in/out . . . . . . . . . . . . . . . . . . . . . . . 37
Auto punch-in/out . . . . . . . . . . . . . . . . . . . . . . . . . 37

Recording several tracks on a master track
(mixdown function) . . . . . . . . . . . . . . . . . . . 38
About the master track . . . . . . . . . . . . . . . . . . . . . 38
Master track mixdown steps . . . . . . . . . . . . . . . . . 39
Playing the master track . . . . . . . . . . . . . . . . . . . . 39

Combining multiple tracks on one or two
tracks (bounce function) . . . . . . . . . . . . . . . 40
Making bounce settings . . . . . . . . . . . . . . . . . . . . 40
Executing bounce recording . . . . . . . . . . . . . . . . . 41

Recording drum/bass sound on audio tracks
(rhythm recording) . . . . . . . . . . . . . . . . . . . . 42
Selecting the recording source . . . . . . . . . . . . . . . 42
Rhythm recording procedure . . . . . . . . . . . . . . . . 42

Making settings for pre-count operation . . . 43
Step 3: Overdubbing . . . . . . . . . . . . . . . . . . . 25
3.1
3.2

Making settings for input sensitivity and
insert effect . . . . . . . . . . . . . . . . . . . . . . . . 25
Selecting a track and recording . . . . . . . . 25

ZOOM MRS-8

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Contents

Reference [Track Editing] . . . . . . . . . . . 44

Editing rhythm patterns . . . . . . . . . . . . . . . . . 75

Editing a range of data . . . . . . . . . . . . . . . . . . 44

Copying a rhythm pattern . . . . . . . . . . . . . . . . . . . 75
Erasing a rhythm pattern . . . . . . . . . . . . . . . . . . . . 76

Basic steps for range editing. . . . . . . . . . . . . . . .
Copying a specified range of data. . . . . . . . . . . .
Moving a specified range of data . . . . . . . . . . . .
Erasing a specified range of data . . . . . . . . . . . .
Trimming a specified range of data. . . . . . . . . . .
Fade-in/fade-out of specified data range . . . . . .
Reversing a specified range of audio data . . . . .

44
45
46
47
47
48
49

Creating a rhythm song . . . . . . . . . . . . . . . . . 76
Selecting a rhythm song . . . . . . . . . . . . . . . . . . . . 76
Entering pattern information using step input. . . . 77
Using FAST for pattern information input . . . . . . . 79
Entering chord information . . . . . . . . . . . . . . . . . . 81
Entering other information. . . . . . . . . . . . . . . . . . . 83

Editing using V-takes . . . . . . . . . . . . . . . . . . . 50

Playing a rhythm song . . . . . . . . . . . . . . . . . . 84

Basic steps for V-take editing . . . . . . . . . . . . . . .
Erasing a V-take . . . . . . . . . . . . . . . . . . . . . . . . .
Copying a V-take . . . . . . . . . . . . . . . . . . . . . . . . .
Moving a V-take. . . . . . . . . . . . . . . . . . . . . . . . . .
Exchanging V-takes. . . . . . . . . . . . . . . . . . . . . . .
Importing a V-take from another project . . . . . . .

50
51
51
51
52
52

Editing a rhythm song . . . . . . . . . . . . . . . . . . 85

Track capture and swap. . . . . . . . . . . . . . . . . 53

Importing rhythm patterns and rhythm songs
from another project . . . . . . . . . . . . . . . . . 88

Capturing a track . . . . . . . . . . . . . . . . . . . . . . . . . 53
Swapping track data . . . . . . . . . . . . . . . . . . . . . . 54

Reference [Mixer] . . . . . . . . . . . . . . . . . . 55
About the mixer . . . . . . . . . . . . . . . . . . . . . . . 55
Assigning input signals to recording
tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Adjusting the signal for each track
(track parameters) . . . . . . . . . . . . . . . . . . . 59
Linking two tracks (stereo link) . . . . . . . . . . . 60

Reference [Rhythm] . . . . . . . . . . . . . . . . 61
About the rhythm section. . . . . . . . . . . . . . . . 61
Drum kits and bass programs . . . . . . . . . . . . . . .
Rhythm patterns . . . . . . . . . . . . . . . . . . . . . . . . .
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Rhythm pattern mode and rhythm song
mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

61
62
62
62

Playing rhythm patterns . . . . . . . . . . . . . . . . . 63
Selecting a rhythm pattern . . . . . . . . . . . . . . . . .
Changing the tempo . . . . . . . . . . . . . . . . . . . . . .
Changing the drum kit / bass program . . . . . . . .
Using the pads to play drum/bass sounds . . . . .

63
63
64
64

Creating a rhythm pattern . . . . . . . . . . . . . . . 66
Preparations . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drum sequence real-time input . . . . . . . . . . . . . .
Bass sequence real-time input . . . . . . . . . . . . . .
Drum sequence step input . . . . . . . . . . . . . . . . .
Bass sequence step input . . . . . . . . . . . . . . . . . .
Entering rhythm pattern chord information . . . . .
Changing the drum/bass sequence volume
level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning a name to a rhythm pattern. . . . . . . . .

ZOOM MRS-8

66
67
69
70
71
73

Copying a specified range of measures . . . . . . .
Transposing the entire rhythm song . . . . . . . . . .
Copying a rhythm song . . . . . . . . . . . . . . . . . . . .
Erasing the rhythm song . . . . . . . . . . . . . . . . . . .
Assigning a name to a rhythm song . . . . . . . . . .

85
85
86
87
87

Editing various settings of the rhythm
section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Basic procedure . . . . . . . . . . . . . . . . . . . . . . . . .
Changing the length of the pre-count . . . . . . . . .
Changing the metronome volume. . . . . . . . . . . .
Adjusting the sensitivity of the pads . . . . . . . . . .
Checking the remaining amount of memory . . . .
Swapping the left/right pan position . . . . . . . . . .

89
89
90
90
90
90

Reference [Effects] . . . . . . . . . . . . . . . . 91
About the effects . . . . . . . . . . . . . . . . . . . . . . 91
Using the insert effect . . . . . . . . . . . . . . . . . . 92
About insert effect patches . . . . . . . . . . . . . . . . .
Changing the insert location of the insert
effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting the patch for the insert effect . . . . . . .
Editing an insert effect patch . . . . . . . . . . . . . . .
Storing or swapping insert effect patches . . . . .
Assigning a name to an insert effect patch. . . . .
Applying the insert effect only to the monitor
signal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

92
93
93
95
98
98
99

Using the send/return effect . . . . . . . . . . . . 100
About the send/return effect patches . . . . . . . . . 100
Selecting a send/return effect patch . . . . . . . . . . 100
Editing a send/return effect patch. . . . . . . . . . . . 100
Storing or swapping send/return effect
patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Assigning a name to a send/return effect
patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Importing patches from another project . . . . 102

74
75

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Contents

Reference [Projects]. . . . . . . . . . . . . . . 104

Troubleshooting. . . . . . . . . . . . . . . . . . . 120

About projects . . . . . . . . . . . . . . . . . . . . . . . 104

Problems during playback. . . . . . . . . . . . . . 120

Working with projects. . . . . . . . . . . . . . . . . . 104

Problems during recording . . . . . . . . . . . . . 120

Basic procedure . . . . . . . . . . . . . . . . . . . . . . . .
Loading a project . . . . . . . . . . . . . . . . . . . . . . .
Creating a new project . . . . . . . . . . . . . . . . . . .
Copying a project . . . . . . . . . . . . . . . . . . . . . . .
Erasing a project . . . . . . . . . . . . . . . . . . . . . . . .
Changing the project name . . . . . . . . . . . . . . . .
Protecting a project . . . . . . . . . . . . . . . . . . . . . .

104
105
105
106
106
107
107

Reference [MIDI] . . . . . . . . . . . . . . . . . . 108
About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Problems with effects . . . . . . . . . . . . . . . . . 121
Problems with the rhythm section . . . . . . . 121
Problems with MIDI . . . . . . . . . . . . . . . . . . . 121
Other problems . . . . . . . . . . . . . . . . . . . . . . 122

Appendix . . . . . . . . . . . . . . . . . . . . . . . . 123
Specifications. . . . . . . . . . . . . . . . . . . . . . . . 123
Effect Parameters . . . . . . . . . . . . . . . . . . . . 125

What you can do using MIDI . . . . . . . . . . . . 108

Insert Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Send/return Effect . . . . . . . . . . . . . . . . . . . . . . . 133

Making MIDI-related settings . . . . . . . . . . . 108

Effect Patch . . . . . . . . . . . . . . . . . . . . . . . . . 134

Basic procedure . . . . . . . . . . . . . . . . . . . . . . . .
Setting the drum kit/bass program MIDI
channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turning Timing Clock messages on or off. . . . .
Turning Song Position Pointer messages on or
off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turning Start/Stop/Continue messages on or
off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turning MIDI Time Code (MTC) messages on or
off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

108

Insert Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Send/return Effect . . . . . . . . . . . . . . . . . . . . . . . 139

109
109

Rhythm Pattern . . . . . . . . . . . . . . . . . . . . . . 140

110

Instrument/MIDI note number chart . . . . . . 142

Drum Kits/Bass Programs . . . . . . . . . . . . . . 142
Files on SD card . . . . . . . . . . . . . . . . . . . . . 142

110
110

Reference [Other Functions] . . . . . . . 111

MIDI implementation . . . . . . . . . . . . . . . . . . 143
MIDI implementation chart . . . . . . . . . . . . . 144

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Playing several projects continuously
(sequence play) . . . . . . . . . . . . . . . . . . . . . 111
Creating a playlist . . . . . . . . . . . . . . . . . . . . . . . 111
Playing a playlist . . . . . . . . . . . . . . . . . . . . . . . . 112

Using the tuner function . . . . . . . . . . . . . . . 114
Using the chromatic tuner . . . . . . . . . . . . . . . . . 114
Using other tuning types . . . . . . . . . . . . . . . . . . 115

Switching the level meter display type . . . . 116
Adjusting the display contrast and
backlight . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Changing the SD card . . . . . . . . . . . . . . . . . 117
Formatting an SD card . . . . . . . . . . . . . . . . . 118
Checking the available SD card capacity/
project size . . . . . . . . . . . . . . . . . . . . . . . . . 118

ZOOM MRS-8

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Introduction
Thank you for selecting the ZOOM MRS-8 MultiTrak Recording Studio (simply called the “MRS-8” in this manual).
The MRS-8 is a fascinating product with the following features.
• Four major functions in a compact unit
The MRS-8 combines an 8-track SD card recorder, effect device, digital mixer, and drum/bass machine in a single
unit of amazingly compact dimensions. Everything you need to create music is right there. Use it to pre-produce a
song at home or take it into the studio for some serious recording work. The MRS-8 is a great tool that will go
anywhere.
• Versatile input configuration handles a wide variety of sources
In addition to the standard phone type jack, the MRS-8 features a combo type connector that can handle XLR plug
leads (balanced) as well as phone plug leads (balanced and unbalanced). Guitar, bass, synthesizer and various other
sources as well as microphones and direct boxes can be connected easily. A high-performance microphone is also
built in, which is great for recording acoustic guitar or vocals.
• Recorder with 8 tracks x 10 virtual takes
The recorder section provides four mono tracks and two stereo tracks, resulting in a total of eight tracks. Each track
has ten virtual tracks (V-takes). A bounce function lets you play all tracks and record the result on an empty V-take.
• Dedicated master track for mixdown
The master track is separate from the regular recording tracks and is optimized for mixdown with a minimum of
fuss. A sequence play function lets you play the master tracks of multiple songs in succession, which is convenient
for moving mixed-down songs onto an external recorder in one go.
• Full-function mixer
The built-in digital mixer handles the audio tracks and drum/bass sounds and allows adjusting parameters such as
level, panning, EQ, and effect intensity. The result is a full-fledged stereo mix to which the input signal can also be
added.
• Two versatile effects
The MRS-8 provides an insert effect for processing the input signal and/or any track, and a send/return effect that
is used via the mixer send/return loop. The insert effect can be used as mastering effect for the stereo mix, for
adjusting the sound pressure and tonal quality during mixdown.
• Rhythm section can be used to provide guide rhythm or accompaniment
Realistic PCM sources produce drum and bass sounds that can be played in more than 500 rhythm patterns. By
programming a combination of patterns and setting a chord progression, you can build the rhythm accompaniment
to an entire song.
• Compatible with system-wide synchronization
The MIDI OUT connector can supply synchronization messages such as MIDI time code information and MIDI
clock information. In combination with a computer, MIDI sequencer or similar device, this lets you create a system
with professional-level synchronization.
• Built-in tuner with support for various tuning methods
Besides the standard chromatic type, the tuner function of the MRS-8 also caters for 7-string guitar, 5-string bass,
and other special tuning needs.
In order to take full advantage of the MRS-8’s versatile functions and to ensure trouble-free enjoyment, please
read this manual carefully. Keep this manual in a safe place together with the warranty card.

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Introducing the MRS-8
The MRS-8 is internally divided into the following four sections.

● Recorder

Recorder

Records and plays back audio signals.
● Rhythm section

Uses the internal drum/bass sound source to play
rhythms.
● Mixer

Mixes the signals from the recorder and the drum/bass
sound source into a stereo signal, for output via the output
jacks and for mixdown on dedicated master tracks.
● Effects

Process input signals, recorder playback signals, or drum/
bass sound source signals in various ways, to achieve
various sound characteristics.

The recorder section of the MRS-8 has eight audio tracks.
(A “track” is a separate section for recording audio data.)
There are four mono tracks (track 1 – 4) and two stereo
tracks (tracks 5/6 and 7/8). Up to 2 tracks can be recorded
simultaneously and up to 8 tracks can be played back
simultaneously.
Each of the tracks has ten switchable virtual tracks (called
“V-takes”). For each track, one V-take can be selected for
recording/playback.

The following diagram shows the relationship and signal
flow between each section.

Recorder
INPUT 1
or
Built-in
mic

Insert
effect

INPUT 2

Track 1
Track 2
Track 3
Track 4
Tracks 5/6

MASTER OUTPUT

Tracks 7/8
From immediately
after [MASTER] fader

Master Track

To immediately
before
[MASTER] fader
To
master
track

Rhythm section
Drum sound source
Bass sound source

DRUM

BASS

5/6

7/8

MASTER

Send/return effect

Mixer

From master track

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Introducing the MRS-8

Currently selected V-take on tracks 1 – 8
and master track

The playback signals from the audio tracks and the drum/
bass sounds are sent to the built-in digital mixer to create
a stereo mix. For each track/sound, parameters such as
volume, panning, and 2-band EQ (Hi and Lo) can be
controlled independently.
The resulting stereo mix is sent to the output jacks and
can be sent to an empty V-take of the master track or any
other tracks, for mixdown and bounce operation.

V-take
1
2
3
4
5
6
7
8
9
10
1 2 3 4 5/6 7/8

Mixer

Master track

Tracks

The recorder section also provides a set of stereo tracks
which are separate from the normal audio tracks. This is
called the master track. The master track is reserved for
use in mixdown.

Rhythm section

Effects
The MRS-8 provides two types of effects: insert effect
and send/return effect. These effects have the
characteristics described below.

■ Insert effect
The MRS-8 contains a rhythm section that operates in
sync with the recorder. It offers 511 accompaniment
patterns (called “rhythm patterns”) that use the internal
d r u m / b a s s s o u n d g e n e r a t o r. Yo u c a n u s e t h e
preprogrammed patterns, modify them in part, or create
entirely new patterns from scratch.

This effect can be inserted at one of the following three
points in the signal path.
(1)
(2)
(3)

Recorder

In the default condition, position (1) (immediately after
input) is selected. When the setting is changed to (2), only
a selected track or drum/bass sound is processed by the
effect. When the setting is changed to (3), the final stereo
mix can be processed.

Track 1
Track 2
Track 3

Rhythm section
Rhythm Rhythm
pattern pattern

Rhythm
pattern

Immediately after the input
In the output of any audio track or drum
track/bass sound
Immediately before the [MASTER] fader

Drum sound

To mixer

Bass sound

To mixer

HINT
The drum/bass sound sources can be also played with the
pads on the top panel.

■ Send/return effect
This effect is internally connected to the send/return loop
of the mixer section. The effect includes reverb, chorus
and other processing types.
The level of the signal supplied to the send/return effect
(send level) for each track/sound adjusts the depth of the
effect. Raising the send level will produce a deeper effect
for that track or sound.

You can arrange rhythm patterns in the desired order of
playback, and program chords and tempo to create the
rhythm accompaniment for an entire song. (This is called
a “rhythm song”.) Up to 10 rhythm songs can be created,
among which one is selected for editing/playback.

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Names of Parts
Front panel
Input section

Control section

Display section

Effect
section

Rhythm
section

Built-in mic

Input section

Fader section

Transport section

Rhythm section

[INPUT] controls 1/2

[SONG/PATTERN] key
[DRUM/BASS] key

[PEAK] indicators
[TEMPO] key

[MIC] key
INPUT [ON/OFF] keys 1/2

Pads 1 – 9

Effect section

[INSERT EFFECT] key

[INPUT SRC] key

[SEND/RETURN] key

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Names of Parts

Display section

Control section

[SD CARD ACCESS] indicator

MARKER [U] / [I] keys

Display

[AUTO PUNCH I/O] key
[BOUNCE] key
[A-B REPEAT] key
[MARK/CLEAR] key

[SYSTEM/UTILITY] key

[FUNCTION] key
[EXIT] key

[TRACK PARAMETER] key
[EDIT] key

[NEW PROJECT] key

Dial

Fader section
Status keys
([RHYTHM], 1 – 4, 5/6, 7/8, [MASTER])

Cursor keys
[ENTER] key

Transport section
REW [T] key
ZERO [U] key

FF [Y] key

STOP [P] key
REC [O] key
PLAY [R] key

Faders ([RHYTHM], 1 – 4, 5/6, 7/8, [MASTER])

Rear panel

DC 9V jack

MIDI OUT
connector

[POWER ON/OFF]
switch

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MASTER
OUTPUT jacks
PHONES jack

Card slot

[PHONES]
volume control

INPUT 1/2
connectors

[INPUT 1 SELECT]
switch

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Connections

MIDI sequencer (computer etc.)

The INPUT 1 connector accepts a standard phone
plug cable (unbalanced). The INPUT 2 connector
accepts an XLR plug cable (balanced) or a phone
plug cable (balanced or unbalanced).

Guitar

MIDI interface
MIDI IN

When a passive electric guitar/bass or other
instrument with high output impedance is
connected to INPUT 1, set the [INPUT 1 SELECT]
switch to GUITAR/BASS.
When an active electric guitar/bass, a dynamic
microphone, synthesizer or other device with low
output impedance is connected to INPUT 1, set
the [INPUT 1 SELECT] switch to MIC/LINE.

Dynamic or condenser microphone

Rear panel

AC adapter

Bass

To power the MRS-8 from
an AC outlet, be sure to use
only the ZOOM AD-0006
(available separately). Using
another AC adapter can
lead to malfunction and
damage.

Loop the cable of the AC adapter around
the hook as shown in the diagram before
connecting it to the [DC 12V] jack. This
will prevent the plug from being pulled out
if the AC adaptor cable is accidentally
pulled.

Synthesizer or sampler etc.
When connecting stereo output devices
such as a synthesizer or CD player, connect
the L output of the external device to INPUT
1 and the R output to INPUT 2.
To monitor the sound with headphones,
connect a pair of headphones to the
PHONES jack. The listening volume can
Headphones be adjusted with the PHONES control.
To prevent damage to the speakers of your
monitor system, turn off the power of the
system connected to the output jacks (or
turn the volume all the way down) before
you make connections.

Monitor system (audio components or amplified speakers etc.)

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Inserting SD Card and Batteries
Inserting an SD card

Inserting the batteries

For operating the MRS-8, an SD card or a miniSD card
with adapter (capacity 16 MB or more) must be inserted
as storage media. Before inserting a card, verify that the
write protect feature is turned off. Make sure that power
to the MRS-8 is turned off, and then insert the card as
shown below.

The MRS-8 can be powered from batteries. Purchase the
correct batteries and insert them as described below.

Turn the unit over and open the battery
compartment cover.

IEC R6 (size AA) battery x 4

MRS-8 bottom view

Battery compartment

SD card

When inserting the card, push it all the way into the slot.
To remove the card, turn power off and then pull the card
out.
To remove or insert a card with the power turned on, be
sure to follow the procedure described on page 117.
Otherwise data may be permanently destroyed.

Insert four IEC R6 (size AA) batteries into
the compartment. (Use alkaline batteries.)

Close the battery compartment cover.

NOTE
If you are operating the unit on battery power and the
indication [
] appears in the bottom right of the
display, the batteries are almost exhausted. Replace all four
batteries with fresh ones as soon as possible.

NOTE
• If the card is inserted with wrong orientation, it will not go all
the way in. Never try to force the card, as this may damage it.

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Power On/Off
To turn the MRS-8 on and off, follow the steps described below.

complete, the main screen appears.

Power-on
HINT

Make sure that the MRS-8 and peripheral
equipment is turned off.
Turn down the volume controls of connected equipment,
the MRS-8, and the monitor system.

Insert an SD card into the card slot.

Set the [POWER ON/OFF] switch of the
MRS-8 to ON.

• You can also format an SD card after the MRS-8 has started
up, as described on page 118.
• Changing the SD card while the MRS-8 is operating is
possible by following the procedure described on page 117.

Turn on the connected instrument and the
monitor system in that order.

Power-off

Data loading for the inserted SD card starts. During this
interval, the [SD CARD ACCESS] indicator lights up.

Turn down the volume at the monitor
system.

Turn off the monitor system and the
connected instrument in that order.

Set the [POWER ON/OFF] switch of the
MRS-8 to OFF.
The indication “GoodBye See You!” appears on the
display and the unit is turned off. Any settings and other
information are stored automatically on the SD card.

After a while, the following screen appears.

PRJ 000
MRS-8 SD
0

1- 1- 0

This is called the main screen. From this screen, you can
access various recording and playback functions.

• Never turn power on or off by connecting or
disconnecting the AC adapter. Otherwise data
may be destroyed.
• In particular, if you disconnect the AC adapter
while the [SD CARD ACCESS] indicator is lit,
all data may be permanently destroyed.

HINT
To return to the main screen from other screens, press the
[EXIT] key repeatedly.

If an SD card that is not ready for use in the MRS-8 is
inserted, the indication “FORMAT?” appears when you
turn the MRS-8 on. If you press the [ENTER] key at this
point, the SD card will be formatted. When formatting is

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Let’s Record
This section demonstrates the basics of recording and playback with the MRS-8. As an example, we explain how to record
an electric guitar connected to the INPUT 1 connector.

Connect the guitar to the INPUT 1
connector and set the [INPUT 1 SELECT]
switch to GUITAR/BASS (for a passive
guitar) or MIC/LINE (for an active guitar).
Press the [NEW PROJECT] key in the
display section. Verify that the indication
“PRJNOxxx (where xxx is the project
number) is shown on the first line of the
display. Then press the [ENTER] key.

Flickers occasionally

Press the [TRACK PARAMETER] key in the
display section, and use the cursor left/
right keys to bring up the indication
“INPUT” on the first line of the display.

A new project is created, and the unit goes into recording
standby mode. If necessary, you can edit the project name
in this condition (→ p. 105).

Verify that the [MIC] key is flashing or out.
Then press the INPUT [ON/OFF] key 1 so
that the key is lit.
In this condition, the INPUT 1 connector is active.

NOTE
If “INPUT” is not shown on the first line of the display, check
whether the INPUT [ON/OFF] key is lit.

Use the cursor up/down keys to bring up
the following indication on the display.
From this screen, you can adjust the input signal
recording level (the signal level sent to the track).

INPUT
REC LVL

100

Recording level setting

HINT
If the [MIC] key is lit, the built-in microphone is active instead
of the INPUT 1 connector. In such a case, press the [MIC] key
once to switch the key to flashing status.

Turn the dial to adjust the recording level.

While playing your guitar, use the [INPUT]
control 1 to adjust the input sensitivity.
Make the adjustment so that the [PEAK] indicator
flickers slightly when you play your instrument at its
loudest volume.

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The current signal level can be checked using the meter

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Let’s Record

in the lower part of the display. Adjust the recording level
so that the 0 (dB) segment for IN 1 flashes slightly when
the guitar is at maximum volume.

your instrument along with the rhythm pattern.

0 (dB) segment

Input 1 recording level

Lit in green

Lit in red

HINT
• If you do not want a rhythm pattern, select an empty rhythm
pattern (→ p. 18) or mute the drum/bass sound (→ p. 19).

Press the [EXIT] key repeatedly to return to
the main screen.

• In the default condition of a project, the insert effect
processes the input signal. You can bypass the effect
(→ p. 22) or select another effect patch (→ p. 21).

12. When recording is complete, press the
STOP [P] key.

Press status key 1 repeatedly until the key
is lit in red.
When a status key is lit in red, the respective audio track
(track 1 in this example) is selected as recording
destination.
Lit in red

The REC [ O ] key and PLAY [ R ] key go out, and
recording stops.

13. To check the recorded contents, press the
ZERO [U] key and then press the PLAY [R]
key.

10. Operate fader 1 and the [MASTER] fader to
adjust the input signal monitor level.
Faders 1 – 4, 5/6, and 7/8 adjust the volume for the
respective track. When the input signal is sent to a track,
the monitor level can be adjusted. The [MASTER] fader
can be used to adjust the final output level.

By operating the [MASTER] fader you can adjust the
volume of the entire song (stereo mix signal level).

14. To cancel the recording condition, press
the status key 1 so that the key is lit in
green.
Lit in green

11. To start recording, press the PLAY [R] key
while holding down the REC [O] key.
A four-beat pre-count is heard, and recording starts. In
the default condition of a project, an 8-beat rhythm
pattern is played during recording and playback. Play

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Quick Tour
Now let’s use your MRS-8 to do some actual recording. This Quick Tour describes the five steps that cover the entire
process from preparation until the completion of a song.

• Step 1: Preparations
Shows how to create a new project, select a guide rhythm,
and perform other steps necessary for recording.
• Step 2: Recording the first track
Shows how to record the first track while using the insert
effect on the input signal.
• Step 3: Overdubbing
Shows how to record further tracks while listening to a
track already recorded (overdubbing).
• Step 4: Mixing
Shows how to adjust the level, panning, and EQ of each
track, apply the send/return effect, and mix the recorded
material to a pair of stereo tracks.
• Step 5: Mixdown
Finally the completed stereo mix is recorded on the
master track to create the finished song.

Step 1: Preparations

1.1 Creating a new project
On the MRS-8, song data are managed in units called
“projects”. A project comprises recorded audio data as
well as various rhythm and effect settings. By loading a
project, the same condition as when the song was last
saved can be recreated.
To start recording with the MRS-8, you must first create
a project.

Connect the instrument to record and the
monitor system to the MRS-8 (→ p. 12).

Insert the SD card to use for recording
(→ p. 13).

Turn power on in the order MRS-8 →
monitor system.
When the MRS-8 starts up, the last handled project is
automatically loaded.

Press the [NEW PROJECT] key in the
display section.
When you press the [NEW PROJECT] key from the main
screen, the display changes as follows.

PRJNo001
PRJ001

Cursor keys that
be used

In this condition, a new project can be created.
The top right of the display shows the cursor keys that can
be used on this screen.

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Quick Tour

HINT
Rhythm pattern number

• When creating a new project, the lowest free project number
is automatically selected.

001#117
MTNs1Vb

• It is also possible to create a new project from the project
menu (→ p. 105).

Rhythm pattern name

Press the [ENTER] key.
A new project is created, and the main screen for audio
track recording/playback appears.

PRJ 001
PRJ001

HINT
To return to the main screen from other screens, press the
[EXIT] key repeatedly. The [EXIT] key always serves to return
to the previous screen.

Turn the dial to select a pattern to use as
guide rhythm.

HINT
• When selecting a different project or creating a new project,
the project you were working on up to that point is
automatically saved.
• When performing the power-off procedure for the MRS-8
(→ p. 14), the last project is automatically saved.
• When creating a new project, you can edit the project name
(→ p. 105).

NOTE
While the MRS-8 is operating, do not remove the SD card.
Otherwise data may be destroyed and malfunction may
occur. If you want to remove the SD card while the MRS-8 is
on, be sure to follow the correct procedure (→ p. 117).

1.2 Selecting the rhythm
pattern to use
The MRS-8 has a built-in rhythm function that operates
in sync with the recorder. This lets you use drum sounds
(drum kits) and bass sounds (bass programs) to create
repeated rhythm patterns of several measures. By
combining various patterns, you can create the rhythm
accompaniment for an entire song (rhythm song).
This section explains how to select a rhythm pattern for
use as guide rhythm during recording.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key
goes out.
The rhythm pattern selection screen appears.

Up to 511 types of rhythm pattern can be used in a
project. (More than 450 of these are preprogrammed.)
You select a pattern by turning the dial.
When you turn the dial to select another rhythm pattern
while a pattern is playing, the new pattern will start after
the current pattern has finished. When you select a new
pattern with the cursor up/down keys, the new pattern
begins playing immediately.
In this example, we will select a simple rhythm pattern as
guide rhythm for use during recording. If you select for
example the rhythm pattern number 510, a 4/4-beat
metronome sound is heard.

Set the [MASTER] fader to 0 (dB) and press
the PLAY [R] key in the transport section.

0dB

The selected rhythm pattern is played in sync with the
recorder operation. The [TEMPO] key flashes according
to the current tempo setting.

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Quick Tour

In the default condition of a project, the sound the bass
program (bass track) is muted. Therefore only the drum
kit (drum track) is heard when the rhythm pattern plays.

• When drum track is selected

HINT
During rhythm pattern play, the pads corresponding to the
currently produced sound of the drum kit (or pitch of the bass
program) are flashing. You can also tap the pads to play the
drum sounds/bass notes.

Lit

• When bass track is selected
To change the tempo, press the [TEMPO]
key in the rhythm section and then turn the
dial to change the tempo value shown on
the display.
Out

TEMPO
BPM=

1200

Tempo value

The signal level of the respective channel can be checked
with the level meter in the lower part of the display.

The tempo value can be set in 0.1 BPM steps. When the
setting is complete, press the [EXIT] key to return to the
previous screen.

HINT
You can also set the tempo by hitting the [TEMPO] key
repeatedly.

To adjust the volume of the drum/bass
track, use the [DRUM/BASS] key in the
rhythm section to select the sound (drum or
bass), and then operate the [RHYTHM]
fader.
The [RHYTHM] fader serves for controlling either the
drum track or the bass track. When the key is lit, the drum
track is selected. When the key is out, the bass track is
selected. The [RHYTHM] fader then controls the
respective level.

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Bass track signal level
Drum track signal level

In the same way, the [DRUM/BASS] key can be used to
select the sound (drum or bass), and then the [RHYTHM]
status key can be used to control muting on/off for the
drum track/bass track.

To stop playback, press the STOP [P]key in
the transport section.

To return to the main screen, press the
[EXIT] key.

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Quick Tour

Step 2: Recording the first
track

is selected as input source.
To use two input sources simultaneously, hold down one
INPUT [ON/OFF] key while pressing the other one.

In this step, we explain how to select an audio track for
recording, how to record while listening to the guide
rhythm of the rhythm section, and how to use the insert
effect on the input signal.

2.1 Adjusting input sensitivity

Connect an instrument to the INPUT 1/2
connector.
The MRS-8 can handle up to two input sources at a time,
from INPUT 1, INPUT 2, and the built-in mic.
INPUT 1 and the built-in mic are mutually exclusive. A
switch selects one of these for use as input source.

The INPUT [ON/OFF] keys 1/2 and [MIC] key lighting
status with various input selections is shown below.
• Input source = INPUT 1 connector

Lit

To use the built-in mic, press the [MIC] key
in the input section so that the key is lit.

Flashing
or out

Out

• Input source = INPUT 2 connector

Out

Flashing
or out

Lit

• Input source = Built-in mic
When the unit is in a mode where the built-in mic can be
used, the [MIC] key in the input section flashes. If you
press the key so that it is lit, the built-in mic will be active
instead of INPUT 1.
Depending on the insert effect settings, the built-in mic
may not be available. In this case, the [MIC] key is out.
[MIC]
[MIC] key
key
lit
lit

[MIC]
[MIC] key
key
flashing
flashing

Lit

Built-in
Built-in mic
mic is
is
available
available
(INPUT
1
is
(INPUT 1 is
active)
active)

Out

• Input source = INPUT 1 connector + INPUT 2
connector

[MIC]
[MIC] key
key
out
out
Lit

Built-in
Built-in mic
mic is
is
active
active
(INPUT
1
is
(INPUT 1 is
inactive)
inactive)

Lit

Built-in
Built-in mic
mic is
is
not available
available
not
(INPUT
1
is
(INPUT 1 is
active)
active)

Flashing
or out

Lit

• Input source = Built-in mic + INPUT 2
connector

Use the INPUT [ON/OFF] keys 1/2 to select
the input source.
The INPUT [ON/OFF] keys 1/2 control the INPUT 1
connector (or built-in mic) and INPUT 2 connector
respectively. When a key is lit, the signal from that input

Lit

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Quick Tour

While playing your instrument, adjust the
[INPUT] control for the input(s) selected in
step 2, to adjust the input sensitivity.
The sensitivity of INPUT 1 and the built-in mic is
adjusted with the [INPUT] 1 control. The sensitivity of
INPUT 2 is adjusted with the [INPUT] 2 control.
Make adjustments so that the [PEAK] indicator in the
input section flickers slightly when you play your
instrument at its loudest volume.

another setting is currently displayed, turn the dial to
select “IN”.

IN SRC
IN
2.

Press the [INSERT EFFECT] key in the
effect section.

Flickers
occasionally

0 (dB) segment

The display changes as follows. From this screen, you
can select the insert effect algorithm (combination of
effect modules used simultaneously) and patch (effect
program).
Algorithm name

CLEAN
Standard

Input 1 recording level

Patch name

The input signal level can be checked with the level meter
IN 1/IN 2 bars in the display.

2.2 Applying the insert effect
The insert effect can be applied to a point immediately
after the input, to the output of any track, or immediately
before the [MASTER] fader. The insert effect actually is
a multi-effect unit that contains a number of single effects
(effect modules) such as compressor, distortion, and
delay, connected in series.
When you apply the insert effect to the input signal, you
can record the processed signal on a track. The following
steps show how to apply an insert effect suitable for
guitar/bass.

Press the [INPUT SRC] key in the effect
section.

0
Patch number

The MRS-8 has eight algorithms with multiple patch
selections for each algorithm. To use the insert effect,
select the algorithm first and then call up one of the
patches in that algorithm.

Use the cursor up/down keys to select the
algorithm.

The following algorithms are available.
• CLEAN
• DIST
• ACO/BASS SIM (shown on the display as “Ac/
BsSIM”)
• BASS
These algorithms are suitable for recording guitar/bass.

The indication “IN” (input) appears on the second line of
the display. In this condition, you can select the insert
effect position.
In the default condition of a patch, “IN” is selected. If

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• MIC
An algorithm suitable for vocals and other microphone
recordings.

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• LINE
An algorithm suitable mainly for recording line-level
output instruments such as synthesizer or electric piano.
• Dual MIC
An algorithm for two entirely separate mono input and
mono output channels, for use with two microphones.
• MASTERING (shown on the display as
“MASTRING”)
An algorithm suitable for processing the final stereo
mixdown signal.

HINT
When “EMPTY” is shown as the patch name, the patch is
empty. Selecting such a patch will have no effect.

NOTE
Depending on the selected algorithm, the input/output signal
routing will change (→ p. 94).

HINT

To adjust the signal level recorded on a
track, press the [TRACK PARAMETER] key
in the control section and then press the
INPUT [ON/OFF] key.

In the default condition of a project, the CLEAN algorithm is
selected for the insert effect.

NOTE
When a patch of the CLEAN, DIST, ACO/BASS SIM, or BASS
algorithms is selected, the built-in mic cannot be used. But
when the insert effect is temporarily bypassed, when
“CABINET” is selected on the PRE AMP/DRIVE module, or
when the module is turned off, you can use the built-in mic.

Set the [MASTER] fader to 0 (dB). While
playing your instrument to check the
sound, use the dial to select the patch.

The insert effect output level may change according to the
selected patch. When recording with the insert effect
applied, you will have to adjust the recording level
according to the selected patch.

6.
0 dB

300 patches can be used with the insert effect. The effect
type and intensity for a patch can be adjusted as needed.
The patches available with the different algorithms are
listed below.
Algorithm

Patch number

CLEAN

0 – 29
0 – 49
0 – 19
0 – 19
0 – 49
0 – 49
0 – 49
0 – 29

DIST
ACO/BASS SIM
BASS
MIC
LINE
DUAL MIC
MASTERING

Press the cursor down key repeatedly to
bring up the indication “REC LVL” on the
second line of the display.
The display changes as follows. The REC LVL parameter
shown on this screen indicates the signal level after
passing the insert effect, which will be recorded on the
track.

INPUT
REC LVL

100

Turn the dial to adjust the recording level.

To return to the main screen, press the
[EXIT] key.

HINT
• To record without using the insert effect, press the [INSERT
EFFECT] key in the effect section repeatedly until the key goes
out. While the key is out, the insert effect is bypassed.

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• When the insert effect is bypassed for recording, setting the
REC LVL parameter to 100 (default) results in unity gain (the
recording level same as the input level).

2.3 Selecting a track and
recording

Mono track selected

Now we will select a track and record the input sound
(with the insert effect applied) on that track.

When a status key is red, the track is in the recording
standby condition and the input signal is assigned to that
track.
If a mono track (1 – 4) has been selected as recording
track, the signal routing will be as follows.

From the main screen, repeatedly press the
status key of the recording track until the
key is lit in red.

One Input source

MASTER

Track 1
Track 2

Two Input sources

Track 1
Track 2

Lit in red

If a stereo track has been selected as recording track, the
signal routing will change as shown below. Except for the
V-take selection, the parameters for left/right stereo
tracks are set to the same values. This is useful for
recording from a stereo source such as a synthesizer or
CD player.
The audio track status keys are used to select the
recording track and to switch muting for each track on
and off. Each time you press a status key, the key will
cycle through the following states.

Stereo track selected
7/8

MASTER

Two Input sources
Track 7／8

Status key
Lit in green

Out

Lit in red

Mute off

Mute on

Selected as
recording track

HINT
• You can select up to two tracks for recording, either one
stereo track or two mono tracks. To select two mono tracks,
press the first status key of an odd/even-numbered pair so

When all status keys are green, the input signal will not
be sent to the tracks and will go directly to the
[MASTER] fader. (Panning and send/return effect depth
can be adjusted in this case.)
Recording track not selected
MASTER

One Input source

that it is lit in red, and then hold down that key and press the
other key so that it also is lit in red.
• If the input signal is mono, selecting a pair of stereo tracks as
target will ensure that the left/right spread added by certain
insert effect settings is preserved in recording.

Set the fader for the recording track and the
[MASTER] fader to 0 (dB). Then adjust the
volume of the monitor system while playing
your instrument.

To begin recording, press the ZERO [U]
key to return to the beginning of the song.
Then hold down the REC [O] key and press
the PLAY [R] key.

Track 1
Track 2

MASTER

Two Input sources

Track 1
Track 2

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Both keys light up, and a pre-count of 4 beats is heard.
Then recording will begin. Record the first instrument
track while listening to the guide rhythm from the rhythm
section.

The track will be played back together with the selected
guide rhythm from the rhythm section.

HINT
• You can specify a position in minutes/seconds/milliseconds
or measures/beats/ticks and move directly to that point ( → p.

HINT

35).

• The number and the sound of the pre-count clicks can be
changed (→ p. 43).

• By setting marks at the desired points, you can quickly jump
to these points (→ p. 35).

• If the input signal is distorted, refer to steps 2.1 and 2.2 to
readjust the input sensitivity and recording level.

When you have finished recording, press
the STOP [P] key.
The REC [ O ] key and PLAY [ R ] key go out, and
recording will stop. The indication “wait...” is briefly
shown on the display, and then the main screen reappears.

HINT
The duration of the “wait...” period may differ. Never turn
power to the unit off while “wait...” is being shown on the
display. Otherwise recorded data may be lost and damage to
the unit may occur.

To stop playback, press the STOP [P] key.
To redo the recording, repeat steps 3 – 5.

When you are satisfied with the recorded
content, press the status key of the
recording track until it is lit in green.
The recording standby condition of the track is canceled.

HINT
• A recorded track can be copied, deleted, or edited ( → p. 44).
• By switching the V-take for the track on which you have
recorded, you can record again on the track without erasing
the current recording.

To listen to the recorded content, press the
ZERO [U] key to return to the beginning of
the song (counter zero position), and then
press the PLAY [R] key.

Basic operation of transport keys
REW [T] key
Moves the current position back in 1-second steps. Movement speed can be
increased by holding down the REW [T] key and pressing the FF [Y] key.

ZERO [U] key

FF [Y] key

Returns the recorder to the
start position (counter zero
position).

Moves the current position forward in 1-second steps.
Movement speed can be increased by holding down
the FF [Y] key and pressing the REW [T] key.

STOP [P] key

REC [O] key

Stops the recorder.

If you press the PLAY [R] key while holding down this
key, recording starts. Pressing the key during
playback causes punch-in and pressing the key
during recording causes punch-out (→p. 37).

PLAY [R] key
Starts recorder playback
from the current position.

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Quick Tour

Step 3: Overdubbing
In this step, you will learn how to record another
instrument on another track, while listening to the content
you recorded in step 2. Adding parts in this way is called
“overdubbing”.

3.1 Making settings for input
sensitivity and insert
effect
As in step 2, select the input source, adjust input
sensitivity and recording level, and make settings for the
insert effect.

2.
3.

Connect the next instrument you want to
record, and adjust input sensitivity in the
same way as in step 2.1.

Then hold down the REC [O] key and press
the PLAY [R] key.
After the pre-count, recording on the new track will
begin. Record your instrument while listening to the
guide rhythm and the recorded track.

When you have finished recording, press
the STOP [P] key.
The indication “wait...” is briefly shown on the display,
and then the main screen reappears.

To check the recorded content, press the
ZERO [U] key once more to return to the
beginning of the song, and press the PLAY
[R] key.
The guide rhythm of the rhythm section and the
previously recorded track will be played back along with
the newly recorded track. Use the faders as necessary to
adjust the level balance.

To stop playback, press the STOP [P] key.

Select the algorithm and patch for the
insert effect in the same way as in step 2.2.

HINT

When the setting is complete, press the
[EXIT] key to return to the main screen.

To redo the recording, repeat steps 3 – 5. You can also start
rerecording from partly into the track and use the punch-in/
punch-out function (→ p. 37) to redo a limited passage only.

7.
3.2 Selecting a track and
recording
Now you’re ready to record the second instrument on
another track, while listening to the content of the first
track and the guide rhythm.

Repeatedly press the status key of the
track on which to record, until the key is lit
in red.
This track is now in the recording standby condition.
Verify that the status key of the recorded track and the
[RHYTHM] status key are lit in green.

When you are satisfied with the recorded
content, press the status key of the
recording track until it is lit in green.
The recording condition for that track is turned off. You
can now record more tracks in the same way.

HINT
The maximum number of tracks that can be recorded is 8.
But even when all 8 tracks have been filled, you can still use
the bounce function (also called ping-pong recording) to
move the contents from multiple tracks onto 1 or 2 tracks.
Then you can select another V-take for the bounce source
tracks and record more (→ p. 40).

Set the [MASTER] fader to 0 (dB) and use
the fader of the recording track to adjust
the monitoring level.
If necessary, set the recorder to playback and operate the
faders to adjust the monitor level balance between the
recorded track and the track to record.

To begin recording, press the ZERO [U]
key to return to the beginning of the song.

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Quick Tour

Step 4: Mixing
When you have finished recording all tracks, you can use
the built-in mixer to adjust parameters such as volume
level, EQ (equalizer), and panning (stereo left/right
positioning) to create the stereo mix.

NOTE
In some cases, the current fader position may not match the
volume setting value for a track stored in a project (such as
when the fader was moved for another project and then the
previous project was called again). In such a case, the
volume may not change until the fader setting has been
changed to a certain extent.

2.
4.1 Adjusting volume,
panning, and EQ
Adjust the volume, panning, and equalization for each
track by controlling the track parameters of the built-in
mixer.

To adjust the volume balance between
tracks, operate the faders in the fader
section.
By operating the faders of a pair of stereo tracks, you can
adjust the left/right level together.

If an input signal is not required, press the
lit INPUT [ON/OFF] key so that the key goes
out.
While the INPUT [ON/OFF] key is lit, the signal from
that input will be added to the stereo mix. If the input
signal is not required, the key should be turned off.

To adjust EQ and panning for each track,
press the [TRACK PARAMETER] key in the
display section.
You now can adjust various track parameters such as
equalization and panning for each track.

Use the cursor left/right keys or the status
keys to select the track for which you want
to make a setting.
The status key for the currently selected track is lit in
orange.
Lit in orange

To add the drum/bass track to the mix, operate the
[RHYTHM] fader after switching the [DRUM/BASS]
key between lit (drum track selected) and out (bass track
selected). This will adjust the drum/bass track mixing
balance.
To control the mute/on status, select the drum or bass
track with the [DRUM/BASS] key and then press the
[RHYTHM] status key.
The signal level for each track can be checked with the
respective bars in the display.

TR2
EQ HI G

While a track parameter is shown, you can use the status
keys and cursor left/right keys to switch tracks. The
cursor left/right keys cycle through the following
selections: drum track → bass track → audio track 1 – 8.

Track 1 – 8 signal level

Use the cursor up/down keys to bring up
the parameter that you want to adjust.

TR2
PAN

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The parameters that can be selected for tracks 1 – 8 and
for drum/bass track are listed in the table below.

■ Track parameter list
Parameter
EQ HI GAIN

Display

Setting range

Description

-12 – +12dB

Adjusts high frequency EQ boost/cut.

500 – 18000(Hz)

Selects turnover frequency for high frequency EQ.

-12 – +12dB

Adjusts low frequency EQ boost/cut.

40 – 1600(Hz)

Selects turnover frequency for low frequency EQ.

EFX SEND LEVEL

EQ HI G
EQ HI F
EQ LO G
EQ LO F
EFX SEND

0 – 100

Adjusts signal level sent to send/return effect.

PAN

L100 – 0 – R100

Adjusts panning (left/right positioning) for the track. For tracks 5/6,
7/8, and the drum track, this adjusts the left/right balance.

V-TAKE
(tracks 1 – 8 only)

TR x-y

x=1 – 8, y=1 – 10

Selects the V-take to use for the track (→p. 32). x is the track number
and y is the V-take number.

FADER

0 – 127

Adjusts the fader setting.

STEREO LINK
(tracks 1 – 4 only)

ST LINK

ON/OFF

Links the parameters for tracks 1/2 or 3/4 (→p. 60).

EQ HI FREQUENCY
EQ LOW GAIN
EQ LOW FREQUENCY

Turn the dial to select the setting value.

4.2 Applying the send/return
effect

HINT
By pressing the [ENTER] key while an EQ parameter or the
EFX SEND LEVEL parameter is displayed, you can switch
that parameter (EQ HI, EQ LO, effect send) on and off.

Repeat steps 4 – 6 to adjust other
parameters.
By using the cursor left/right keys or the status keys to
select other tracks, you can adjust the parameters for
these tracks.

The track signals sent to the internal mixer can be
individually processed by an effect that is connected
internally to the send/return loop of the mixer. (This is
called the send/return effect.)

Send/return
effect

Send
Return

SEND LEVEL
DRUM

BASS

7/8

MASTER

To return to the main screen, press the
[EXIT] key.

HINT
Some track parameters (EQ, panning etc.) can also be used
for the drum/bass track and input signals.

The intensity of the send/return effect can be adjusted for
each track by using the send level parameter (which
controls the signal level that is sent to the effect).
Increasing this parameter will result in stronger effect
action.
This section describes how to adjust the send level for
each track.

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■ Selecting the send/return effect patch

To return to the main screen, press the
[EXIT] key.

From the main screen, press the [SEND/
RETURN] key in the effect section.
The display changes as follows. From this screen, you
can select the send/return effect patch.

SEND
VoChorus
Patch name

Turn the dial to select the patch.
The send/return effect has 60 patches (of which 40 are
preprogrammed).

HINT
In the default condition of a project, the send level for the
send/return effect is set to zero for each track. Therefore you
need to raise the setting to verify the sound produced by the
effect.

To return to the main screen, press the
[EXIT] key.

■ Adjusting the send/return effect intensity

From the main screen, press the [TRACK
PARAMETER] key in the display section,
and then use the cursor left/right keys or
the status keys to select the track for which
you want to adjust the send level.

Use the cursor up/down keys to bring up
the indication “EFX SEND” onto the second
line of the display.
In this condition, you can adjust the send level for the
track.

TR4
EFX SEND

4.3 Applying the insert effect
to a track
You can apply the insert effect to the output of any track
(audio track or drum/bass track), so that it post-processes
the output signal of the track.

From the main screen, press the [INPUT
SRC] key in the effect section.
The currently selected insert location appears on the
display.

IN SRC
IN
2.

Use the status keys or turn the dial to bring
up the track to which you want to apply the
insert effect on the second line of the
display.
The status key of the selected track lights up.

IN SRC
TR1
HINT
If required, you can use the effect on two mono tracks. To do
this, press the status keys for an odd-numbered and evennumbered track together, or turn the dial to select a mono
track x 2 as insert target (TR 1/2, TR 3/4).

3.
0
Send level value

While playing the song, turn the dial to
adjust the send level value for the track.

Adjust the send level for other tracks in the
same way.

If no recording track is selected, you can apply the insert
effect to the input signal.

Patch number

HINT

Press the [INSERT EFFECT] key in the
effect section.
The screen for selecting the insert effect algorithm/patch
appears.

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Quick Tour

CLEAN
Standard

Step 5: Mixdown
0

Use the cursor up/down keys to select the
algorithm, and turn the dial to select the
patch.
The currently selected algorithm/patch is shown on the
display.
If required, switch the patch while playing the song to
check the sound. When you finish checking it, stop the
song and press the [EXIT] key to return to the main
screen.

When the mix is ready, you can transfer it onto two tracks
to create the finished song. This procedure is called
“mixdown”.
For mixdown, you can either use the MASTER OUTPUT
connectors and record the song on an external recorder, or
you can record the song on the internal master track of the
MRS-8.
The master track is a dedicated pair of stereo tracks that
is separate from the normal audio tracks. When you select
the master track as recording track, the signal
immediately after the [MASTER] fader is recorded.

HINT
By using the bounce function (→ p. 40), you can record the
processed track on an empty V-take. This lets you retain the
processed sound and then apply the insert effect at another
position.

To master
track

This section explains the mixdown procedure for
recording on the master track.

5.1 Using the mastering
effect
By applying the insert effect immediately before the
[MASTER] fader, you can process the stereo mix signal
for mixdown. If you select a patch of the MASTERING
algorithm, you can adjust the sound pressure and tonal
quality of the final mix during mastering.

NOTE
While the insert effect is inserted immediately before the
[MASTER] fader, you cannot use the effect for processing the
input signal or for post-processing a recorded track.

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Press the [INPUT SRC] key.

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The current insert effect position is shown on the display.

Turn the dial to bring up the indication
“MASTER” on the second line of the
display.

After the mastering effect settings have been made,
record the final mix on the master track.

IN SRC
MASTER
The insert effect is now inserted immediately before the
[MASTER] fader.

5.2 Mixdown onto the master
track

When the setting is complete, press the
[EXIT] key to return to the main screen.

Press the [INSERT EFFECT] key and use
the cursor up/down keys to bring up the
indication “MASTRING” on the first line of
the display.
The insert effect algorithm is switched to MASTERING.
The second line of the display shows the currently
selected patch.

From the main screen, press the ZERO [U]
key to return to the beginning of the song.

Press the PLAY [R] key to play the song,
and operate the [MASTER] fader to adjust
the volume of the stereo mix.
The signal level after the [MASTER] fader can be
checked by observing the rightmost bars of the level
meter in the display. If the 0 dB segment lights up during
play, fine-tune the signal level by turning down the
[MASTER] fader.
After checking the level, press the STOP [P] key.

Left channel signal level

MASTRING
PlusAlfa

Right channel signal
level

3.
5.

While playing the song, turn the dial to
select the patch.
If desired, you can edit the patch to modify the effect
further (→ p. 95).
If the sound is distorted when you apply the mastering
effect, verify that the sound of each track is not distorted
and then lower the overall fader setting.

Repeatedly press the [MASTER] status key
until the key lights up in red.
Lit in red

Press repeatedly

When you have checked the sound, stop
the song and press the [EXIT] key.
The main screen returns.
The master track is now selected for recording.

HINT
While the [MASTER] status key is lit in red, the other tracks
can be operated normally. This lets you fine-tune the mixing
balance also at this stage.

Press the ZERO [U] key to return to the
beginning of the song. Then hold down the
REC [O] key and press the PLAY [R] key.
Recording on the master track starts.

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When recording is completed, press the
STOP [P] key.

To play the master track, repeatedly press
the [MASTER] status key until it is lit in
green.
Lit in green

Press repeatedly

While the [MASTER] status key is lit in green, the master
track can be played. During this period, the signals from
all other tracks are muted. The insert and send/return
effects are also disabled.

Return to the beginning of the song, and
press the PLAY [R] key.
The master track is played back. The playback volume
can be adjusted with the [MASTER] fader.

To stop playback, press the STOP [P] key.

To return the tracks and effects to normal
operation, press the [MASTER] status key
so that the key goes out.
Muting of the tracks and the effect bypass condition is
canceled, and the unit reverts to the original condition.

HINT
• Like the other tracks, the master track also has 10 V-takes.
This lets you switch the V-take and create different versions
with different mixing balance (→ p. 32).
• The contents of the master track can be edited later ( → p. 44).
• You can play the master tracks of multiple projects in
succession (→ p. 111).

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Reference [Recorder]
This chapter explains the various audio recording and playback functions.

V-takes

Track number

Each audio track (1 – 8) and the master track contains ten
virtual tracks, called “V-takes”. For each track, you can
select one such take, which will be used for recording and
playback. For example, you can switch V-takes as you
record multiple vocal or guitar solos on the same track,
and later compare them and select the best V-take.

V-take name

V-take number

TR 1- 1
GTR 1- 1

HINT
• If you select a V-take on which nothing is recorded, the
indication “NO DATA” appears.
• If you select the master track, “M” is shown as the track
number.

V-takes selected for tracks 1 - 8 and master track

3.
V-takes
1
2
3
4
5
6
7
8
9
10

Use the cursor left/right keys or the status
keys to select the track for which to switch
the V-take.

TR 3- 1
GTR 3- 1
1 2 3 4 5/6 7/8

Master track

Tracks

HINT
For stereo tracks (tracks 5/6, 7/8), you can select a separate
V-take for the odd-numbered and even-numbered track.

Switching V-takes
Here’s how to switch the V-take used by the audio tracks
or the master track.

HINT
When you select a stereo track with a status key, each push
of the key toggles between the odd-numbered track and
even-numbered track.

Turn the dial to select the V-take.

Repeat steps 3 – 4 as necessary, to select a
V-take for each track.

To finish, press the [EXIT] key.
The main screen appears again.

From the main screen, press the [TRACK
PARAMETER] key in the display section.
You can now select various track parameters.

Use the cursor up/down keys to bring up
the indication “TR x-yy” on the display
(where x is the track number and yy is the
V-take number).
The V-take name is shown on the second line of the
display.

Changing the V-take name
A V-take that has been recorded will be automatically
assigned an 8-character name, according to the following
pattern. (x denotes the track number, and yy the V-take
number.)
• GTR x-yy
V-take recorded through CLEAN, DIST, or ACO/BS SIM
algorithm of insert effect

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Reference [Recorder]

• BAS x-yy
V-take recorded through BASS algorithm of insert effect
Cursor

• MIC x-yy
V-take recorded through MIC algorithm of insert effect

TakeName
±TR
TR 2- 1

5.
• LIN x-yy
V-take recorded through LINE algorithm of insert effect
• DUL x-yy
V-take recorded through DUAL MIC algorithm of insert
effect
• MAS x-yy
V-take recorded through MASTERING algorithm of
insert effect
• BYP x-yy
V-take recorded without passing through insert effect
• BOU x-yy
V-take recorded using the bounce function or rhythm
recording function
You can change the assigned name of a V-take as follows.

From the main screen, press the [TRACK
PARAMETER] key in the display section.

Use the cursor up/down keys to bring up
the indication “TR x-yy” on the display
(where x is the track number and yy is the
V-take number).

TR 1- 1
GTR 1- 1

Use the cursor left/right keys to move the
cursor to the character to change, and use
the dial or the pads and keys in the rhythm
section to select the character.
During character input, you can use the cursor left/right
keys to move the input position. Characters can be input
either by turning the dial or pressing the pads and keys of
the rhythm section, as described below.
• Deleting a character
Move the cursor to the character to delete, and press the
[EDIT] key. The character is deleted and subsequent
characters move one position to the left.
• Entering a character with the dial
The dial changes the character under the cursor. Turn the
dial until the desired character is shown. The following
characters can be selected.
Numerals: 0 – 9
Letters:
A – Z, a – z
Symbols: (space) ! “ # $ % & ‘ ( )
=?@[]^_`{ } \˜

Use the cursor left/right keys or the status
keys to select the track for which to change
the V-take name.

[SONG/PATTERN] key
Symbol: x +
Letter:
WXYZ wxyz
Numeral: 8

[TEMPO] key
Symbol: ( )

Letter:
TUV tuv
Numeral: 7

Pad 5

Pad 4
Letter:
JKL jkl
Numeral: 4

ZOOM MRS-8

Numeral: 0

Pad 9

If you select a V-take on which nothing is recorded, the
indication “NO DATA” appears and the name cannot be
edited.

Press the [EDIT] key.
The cursor (flashing box) appears on the first character of
the V-take name. This indicates that you can change the
V-take name.

[DRUM/BASS] key

Pad 7

NOTE

./:;<>

• Entering a character with the rhythm section
pads and keys
Move the cursor to the input position and repeatedly press
the respective pad or key to enter a numeral, letter, or
symbol. The pad/key assignments are shown below.

Pad 8

*+,–

Symbol: !?@&
Numeral: 9
Letter:
MNO mno
Numeral: 5

Pad 6

Letter:
PQRS pqrs
Letter: ABC abc Pad 2
Pad 3 Numeral: 6
Numeral: 1
Letter: DEF def Letter: GHI ghi
Numeral: 3
Numeral: 2

Pad 1

When you press a pad or key, the character is inserted and

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Reference [Recorder]

subsequent characters move one position to the right. To
clear the old name first, press the [EDIT] key repeatedly
until all characters are erased, and then start the input
procedure.
When all characters are cleared and you press pad 1
repeatedly, the character under the cursor changes in the
order A → B → C → 1 → A → B ...

By pressing another pad or key after entering a character,
the cursor will move to the next position, without the
need for pressing the cursor key. If the next character to
input is assigned to the same pad, you must first press the
cursor right key once to move the cursor, and then enter
the character. An example for entering “BASS” from
scratch is shown below.

TakeName

TakeName
TR 1- 1

[EDIT] key

Pad 1

TakeName
±

TakeName
B

Press x2

Press repeatedly

Pad 1

TakeName
B

TakeName
A

Cursor [R] key
Pad 1

TakeName
B

TakeName
BA

Press x1

Pad6

TakeName
C

TakeName
BAS

Press x4

TakeName
1

TakeName
BAS
Cursor [R] key

TakeName
A

Pad 6

TakeName
BASS

Press x4

To switch between upper and lower case, press the cursor
down key. The currently selected case is indicated by the
“A” or “a” shown on the second line of the display. You
can change the case of a letter after you have already
input it by pressing the cursor down key immediately
afterwards.

Upper case
character

TakeName
A

NOTE
The space character and some symbols (“ # $ % ‘, – . / : ; <
> = [ ] ^ _ ` { } \ ˜ ) cannot be entered with the pads and keys
of the rhythm section.

6.
Case
indication

Repeat step 5 to complete the desired
name.

To finish, press the [EXIT] key.
The main screen appears again.

Cursor down key

Lower case
character

TakeName
a

HINT
If the contents of a V-take are erased, the name reverts to
“NO DATA”.

Case
indication

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Reference [Recorder]

Moving to a desired point in
the song (locate function)

Setting marks in a song
(marker function)

Using the counter indication on the display, you can
specify a location within the song in time units (minutes/
seconds/milliseconds) or in measure units (measures/
beats/ticks), and move to that location.

This function lets you set index information (marks) at
any position in a song. Up to 100 marks can be set in one
project. When you have specified marks, it is easy to
jump to them at any time. This is useful to quickly repeat
playback from a certain point during a mixing operation.

Seconds

Measures

0 13 240
Minutes Milliseconds

Ticks

6- 2- 8
Beats

Setting a mark
Here’s how to assign a mark at the desired location in a
song.

Verify that the transport is stopped and the
main screen is shown.
The locate function can only be used when the transport
is stopped.
Use the cursor left/right keys to move the
flashing part to the unit to change.
The unit that can be changed is indicated by the flashing
value.

0 13 240

6- 2- 8

Locate the point where you want to assign
a mark.
A mark can be assigned either during playback or when
the transport is stopped.
Press the [MARK/CLEAR] key in the control
section.
A mark is assigned to the current location. The mark
number appears in the MARKER field at the bottom right
of the display.
When the current position matches the mark, a marker
icon appears to the right of the mark number.

GH
GH

006- 2- 8

Turn the dial to change the value.
When you change the displayed value, the recorder
immediately moves to the new location. Pressing the
PLAY [R] key starts playback from that point.

HINT
• While the transport is stopped, the REW [T] / FF [Y] keys
can be used to move backward or forward in 1-second steps.
• If you have set marks using the marker function, you can use

Marker icon
Mark number

Mark numbers (01 – 99) are assigned automatically in
ascending order from the beginning of the song. If you
add a new mark between two existing marks, the
subsequent marks will be renumbered.

the locate function to move among marks. For details, see the
next section.

Mark 00
number

Add a mark
01

Song
Mark 00
number

Song

HINT
Mark number 00 is already set at the beginning of the song
(the counter zero location).

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Reference [Recorder]

Locating a mark
This section explains how to select a mark and move to
its position. This can be done in two ways: you can use
dedicated keys to jump to marks in the vicinity, or you
can specify the mark number directly.

■ Locating the next or previous mark

Press the [MARK/CLEAR] key in the control
section.
The selected mark will be deleted, and subsequent marks
will be renumbered.

HINT
• It is not possible to delete the mark (number 00) located at the
beginning of the song.
• A deleted mark cannot be recovered.

From the main screen, press either the
MARKER [U] or [I] key in the control
section.
Each time you press the key, the unit jumps to the next
mark before or after the current location.
Mark

Playing back the same
passage repeatedly (A-B
repeat function)

Current location

A-B repeat is a function that automatically plays only a
specified section of a song. This is useful to listen to the
same passage repeatedly.

Song

1.
■ Specifying the mark number to locate

From the main screen, use the cursor left/
right keys to cause the mark number to
flash.
In this condition, the mark number can be changed.

H
H

006- 2- 8

Move to the point where repeat playback
should start, and press the [A-B REPEAT]
key in the control section.
The key flashes, and the repeat start location (point A) is
set.

HINT
The A/B point can be specified either during playback or
when the MRS-8 is stopped.

Mark number flashes

Turn the dial to select the desired mark
number.
As soon as the number is changed, the recorder jumps to
that number.

Deleting a mark

Move to the point where repeat playback
should end, and press the [A-B REPEAT]
key once more.
The [A-B REPEAT] key changes from flashing to
constantly lit, and the repeat end location (point B) is set.

NOTE
If you specify a point B that is located earlier than point A, the
region from points B → A will be played repeatedly.

Here’s how to delete a mark that you assigned.

1. Locate the mark to delete.
The mark whose number is shown in the MARKER field
can be deleted. A mark can only be deleted when it
exactly matches the current location. Make sure that the
mark icon is shown. If not, use the MARKER [U] / [I]
keys to jump to the exact marker point.
36

To redo the A/B point setting, press the [AB REPEAT] key so that it goes out, and then
repeat the procedure from step 1.

To begin repeat playback, press the PLAY
[R] key.
When point B is reached, the recorder jumps to point A,
and playback resumes.

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Reference [Recorder]

To stop repeat playback, press the STOP
[P] key.

To turn off repeat playback, press the [A-B
REPEAT] key.
The key goes out, and repeat playback is turned off. The
A/B point locations will be erased.

Re-recording only a
specified region (punch-in/
out function)
Punch-in/out is a function that lets you re-record just a
specified region of a previously recorded track. The
action of switching a currently-playing track to record
mode is called “punch-in”, and the action of switching
back from recording to playback is called “punch-out”.
The MRS-8 provides two ways to do this. You can use the
panel keys to punch-in/out manually (“manual punch-in/
out”), or you can cause punch-in/out to occur
automatically at previously specified points (“auto
punch-in/out”).

Manual punch-in/out
To re-record a part of a track using the panel keys,
proceed as follows.

Raise the fader of the track on which to
perform punch-in/out to a suitable position.

Press the status key of that track
repeatedly, until the key is lit in red.

Play your instrument connected to the
INPUT jack and adjust the input sensitivity
and recording level as required.
For information on how to adjust input sensitivity and
recording level, see page 15.

Locate a point shortly before the intended
punch-in point, and press the PLAY [R] key
to begin playback.

When you come to the punch-in point,
press the REC [O] key.
The REC [O] key lights up, and the MRS-8 switches
from playback to recording.

ZOOM MRS-8

When you come to the intended punch-out
point, press the REC [O] key once more.
The REC [O] key goes out, and the MRS-8 switches
from recording to playback.

To stop the recorder, press the STOP [P]
key.

To check the newly recorded content,
locate to a point before the punch-in point,
and press the PLAY [R] key.

Auto punch-in/out
Auto punch-in/out is a function that lets you specify
beforehand the region to be re-recorded. This is
convenient when you cannot operate the MRS-8 because
you are playing the instrument yourself, or when very fast
playback/record switching is required.
In point
Track Playback

Out point

Recording

Playback

In order to perform auto punch-in/out, you must first
specify the In point (the point where the recorder
switches from playback to record) and Out point (the
point where the recorder switches from record to
playback), and then perform the recording operation.

Raise the fader of the track on which to
perform punch-in/out to a suitable position.

Play your instrument connected to the
INPUT jack and adjust the input sensitivity
and recording level as required.
For information on how to adjust input sensitivity and
recording level, see page 15.

Locate the point where punch-in should
occur, and press the [AUTO PUNCH I/O]
key.
The key flashes. This sets the “In point” at which
recording will begin.

Locate the point where punch-out should
occur, and press the [AUTO PUNCH I/O]
key once more.
The key changes from flashing to solidly lit. This sets the
“Out point” at which recording will end.
While the key is lit, auto punch-in/out is active.

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Reference [Recorder]

Repeatedly press the status key for the
track on which to perform punch-in/out,
until the key is lit in red.

Use the Locate function to go to a spot
before the In point.
If the current location is outside the region between the In
and Out points, the status key flashes in red. When the
current location is between the In point and Out points,
the status key is lit in red. In this case, use the locate
function once again to go to a point that is earlier than the
In point.

To rehearse the auto punch-in/out process,
press the PLAY [R] key.
The MRS-8 will begin playing. When you reach the In
point, the track on which you are punching in/out will be
muted. When you reach the Out point, muting is defeated.
(You are always able to monitor the input signal during
this time.) Performing this action does not delete or
record anything on the track.
To change the positions of the In point or Out point, press
the [AUTO PUNCH I/O] key so that the key goes out, and
then repeat steps 3 – 4.
When you are finished rehearsing, move again to a
location earlier than the In point.

Recording several tracks
on a master track (mixdown
function)
This section explains how to play recorded audio tracks
as well as drum/bass track sounds and record them as a
stereo mix on a master track (mixdown).

About the master track
The master track is a set of stereo tracks that is separate
from the normal audio tracks. The most common use of
the master track is as a track on which the end result of a
mixdown process is recorded.
The MRS-8 offers one master track for each project.
Similar to the regular audio tracks, the master track also
has ten virtual tracks (V-takes). This allows you to record
different mixes on several V-takes and select the optimum
take later.
When you switch the master track to the recording
condition, the signal after passing the [MASTER] fader
(the same signal as available from the MASTER
OUTPUT jacks) is recorded on the master track.

To actually perform auto punch-in/out, hold
down the REC [O] key and press the PLAY
[R] key.
The MRS-8 will begin playing. When you reach the In
point, recording begins automatically (punch-in). When
you reach the Out point, recording ends automatically
and playback resumes (punch-out).

Master
track

When you are finished recording, press the
STOP [P] key.

10. To listen to the recorded result, repeatedly
press the status key for the track on which
you recorded, until the key is lit green. Then
move to a location earlier than the In point,
and press the PLAY [R] key.
To re-do the punch-in/punch-out recording, repeat steps 5
– 9.

HINT
It is possible to play the master tracks of several projects in
succession (→ p. 111).

11. When you are satisfied with the recording,
press the [AUTO PUNCH I/O] key so that
the key goes out.
The auto punch-in/out function is canceled, and the In
point and Out point settings are discarded.

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Reference [Recorder]

Master track mixdown steps
Here’s how to mix audio tracks and the drum/bass track
sound onto two stereo channels and record these on the
master track.

Press the [TRACK PARAMETER] key in the
display section and use the cursor up/down
keys to bring up the indication “TR x-yy” on
the display (where x is the track number
and yy is the V-take number).

TR 4- 1
GTR 4- 1
2.

Use the [MASTER] status key or the cursor
left/right keys to select the master track.
The name of the V-take selected for the master track is
shown. (If there is noting recorded on the V-take, the
indication “NO DATA” is shown.)

Recording on the master track starts.

When recording is complete, press the
STOP [P] key.

Playing the master track
To play the recorded master track, proceed as follows.

From the main screen, press the [MASTER]
status key repeatedly until the key is lit in
green.
The master track is now ready for playback. In this mode,
all other status keys are out and the audio tracks and
drum/bass track are muted. The insert and send/return
effects are also switched off.

TR M- 1
NO DATA
3.

Use the dial to select the V-take.
When you have selected the V-take, press the [EXIT] key
to return to the main screen.

Master
track

From the main screen, press the [MASTER]
status key so that the key is lit in red.
The master track is now ready for recording. The signal
after passing the [MASTER] fader will be sent to the
master track.
The other tracks operate normally, also while the
[MASTER] status key is lit in red.

Press the PLAY [R] key to start playback
and adjust the mixing balance.
The individual track level settings as well as panning,
insert effect, and send/return effect settings all have an
influence on the signal that is sent to the master track.
Adjust levels while watching the L/R level meter, and
make sure that no signal clipping occurs.

Press the ZERO [U] key to return to the
beginning of the song, and then press the
PLAY [R] key.
Playback of the master track starts. To adjust the playback
volume, use the [MASTER] fader.

To stop recorder playback, press the STOP
[P] key.

To cancel the master track playback mode,
press the [MASTER] status key so that the
key goes out.
Muting for the audio tracks and drum/bass track is
canceled, and the unit returns to the previous condition.

To carry out the mixdown operation, press
the ZERO [U] key to return to the
beginning of the song, and then press the
PLAY [R] key while holding down the REC
[O] key.

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Reference [Recorder]

Combining multiple tracks
on one or two tracks
(bounce function)
“Bounce” is a function that mixes the sound from the
audio tracks and drum/bass track, and records them on a
mono or stereo audio track. (This is sometimes called
“ping-pong recording”.)
You might bounce the contents of tracks 1 – 6 onto tracks
7/8 and then switch the V-takes of tracks 1 – 6 to record
new versions of your performance.
If necessary, you can play back all tracks 1 – 8, and
bounce the signal onto an empty V-take of a selected
track.

HINT

Use the cursor left/right keys to bring up
the indication “BOUNCE RECTRACK” on
the display, and press the [ENTER] key.
The current setting is shown.

RECTRACK
MUTE
The indications have the following meaning.
• MUTE:
The recording track(s) will be muted (default setting).
• PLAY:
The recording track(s) will play back.

To play the bounce destination track, turn
the dial to change the setting to “PLAY”.

To return to the main screen, press the
[EXIT] key repeatedly.

• You can mix the signals from the [INPUT] jacks into the
bounce recording.
• You can bounce the drum/bass track only, while playing back
all other tracks (→ p. 42). This lets you record a drum fill-in by
hitting the pads while listening to the audio tracks.

Making bounce settings
Before using the bounce function, make the required
settings as follows.

■ Selecting operation status of bounce
destination track(s)
By default, the bounce destination recording track(s) will
be automatically muted. This is to prevent the content of
the track being mixed to the bounced signal.
To play back the V-take of a track while you bouncerecord onto another V-take of that track, use the following
procedure to change the internal setting so that the
recording track(s) will also play back.

■ Selecting the recording destination
V-take
By default, the result of the bounce operation will be
recorded on the V-take that is currently selected for the
recording track(s). To play back a track while bouncing
onto another V-take of that track, you can use the
following procedure to change the recording destination
V-take.

From the main screen, press the [SYSTEM/
UTILITY] key.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM BOUNCE” on the
display, and press the [ENTER] key.

Verify that the indication “BOUNCE REC
TAKE” is shown on the display, and press
the [ENTER] key.
The V-take currently selected as bounce destination is
shown.

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Reference [Recorder]
bounced result, set the Pan parameter for the odd-numbered
and even-numbered tracks to separate left and right settings.

REC TAKE
CURRENT
The following settings are available.
• CURRENT (default)
The bounce result will be recorded on the V-take
currently selected for the recording track.
• 1 – 10
Regardless of the V-take currently selected for the track,
the bounce result will be recorded on the specified V-take.

Turn the dial to specify the recording
destination V-take.

To return to the main screen, press the
[EXIT] key repeatedly.

HINT
By setting the operation for the bounce destination track(s)
to “PLAY” and selecting an unused V-take as recording
destination, you can play all tracks and bounce the result as
an entire song onto the V-take.

Executing bounce recording
This example explains how to bounce the contents of all
tracks onto V-take 10 of tracks 7/8.

Refer to “Making bounce settings” and set
the BOUNCE RECTRACK parameter to
“PLAY”.

Refer to “Making bounce settings” and set
the BOUNCE REC TAKE parameter to “10”.

Press the [BOUNCE] key.
The key lights up and the bounce function for the
destination tracks is turned on. While the key is lit, the
track(s)/V-take(s) selected in steps 2 and 3 are used as
recording destination. Other tracks and effects are
unchanged.

Play the song from the beginning and
adjust the mixing balance of the various
tracks.
The individual track level and panning settings as well as
the insert effect and send/return effect settings all have an
influence on the mixed signal that is sent to the bounce
destination tracks. Adjust levels while watching the L/R
level meter, and make sure that no signal clipping occurs.

Press the ZERO [U] key to return to the
counter zero position, and press the PLAY
[R] key while holding down the REC [O]
key.
Bounce recording starts.

When recording is complete, press the
STOP [P] key.

HINT
It is also possible to combine the bounce function and the
auto punch-in/out function (→ p. 37).

Press the status key of tracks 7/8
repeatedly, until the key is lit in red.
In this condition, V-takes 10 of tracks 7/8 are selected as
bounce destination.

HINT
• When a single mono audio track is selected as bounce
destination, the bounce signal is mixed to mono for recording.
• When a pair of mono tracks with odd/even numbers is
selected as bounce destination, the bounce signal is recorded
in stereo. To achieve correct left/right positioning of the

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Reference [Recorder]

Recording drum/bass
sound on audio tracks
(rhythm recording)
The MRS-8 allows you to bounce only the drum track or
bass track onto any track, while playing all tracks. This
function is called “rhythm recording”.
This lets you record a drum fill-in by hitting the pads
while listening to the audio tracks.

Selecting the recording
source
In the default condition of a project, the signal
immediately after the [MASTER] fader is selected as
recording source for bouncing. To record the drum/bass
track, you must switch the recording source to the drum
track or bass track.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.

SYSTEM
PROJECT
2.

Use the cursor left/right keys to bring up
the indication “SYSTEM BOUNCE” on the
display, and press the [ENTER] key.

Use the cursor left/right keys to bring up
the indication “BOUNCE REC SRC” on the
display, and press the [ENTER] key.
The currently selected bounce recording source is shown.

REC SRC
MASTER
The following settings are available.
• MASTER
Signal immediately after [MASTER] fader
• DRUM TR
Drum track

• BASS TR
Bass track

Turn the dial to select “DRUM TR” or “BASS
TR” as recording source.

Press the [EXIT] key repeatedly to return to
the main screen.

Rhythm recording procedure
While playing the audio tracks, you can now record the
drum/bass track on any audio track.

From the main screen, press the [BOUNCE]
key.
The key lights up, and bounce recording is active.

Repeatedly press the status key for the
track on which to record, until the key is lit
in red.
In this condition, the signal of the track selected in step 4
of “Selecting the recording source” will be recorded.

HINT
To record the drum track in stereo, select a pair of stereo
tracks (or two mono tracks) as recording destination. If only
one mono track is selected, the left/right signals will be
mixed to mono.

Press the [SONG/PATTERN] key in the
rhythm section, and turn the dial to select
the rhythm pattern/rhythm song.
To record your pad play, select an empty rhythm pattern/
rhythm song. Check that the sounds to play are assigned
to the pads.

Press the PLAY [R] key and adjust the
drum/bass track output level.
Adjust levels while watching the level meter, and make
sure that no signal clipping occurs.

Press the ZERO [U] key to return to the
counter zero position, and start recording.
The rhythm pattern/rhythm song play is recorded on the
audio track. If you hit the pads during recording, this
sound will also be captured.

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Reference [Recorder]

When play is complete, press the STOP [P]
key.

Press the [BOUNCE] key.
The key goes out, and bounce recording is canceled. To
return to the normal condition, switch the recording
source back to “MASTER”, as described in “Selecting
the recording source”.

COUNT
4
Number of pre-count beats

Making settings for precount operation
In the default condition of a project, a pre-count of four
beats is heard before the start of recording. The number
of beats and the pre-count volume can be changed as
follows.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.

When the setting is complete, press the [EXIT] key to
return to the screen of step 2.

To change the volume of the pre-count
sound, use the cursor left/right keys to
bring up the indication “PreCount
VOLUME” on the display, and press the
[ENTER] key.
The display changes as follows. Turn the dial to set the
volume (0 – 15).

VOLUME
10

SYSTEM
PROJECT
2.

Use the cursor left/right keys to bring up
the indication “SYSTEM PreCount” on the
display, and press the [ENTER] key.
The display changes as follows.

Pre-count volume

When the setting is complete, press the
[EXIT] key repeatedly to return to the main
screen.
When you initiate a recording, the selected number of
pre-count beats will be heard at the selected volume.

PreCount
COUNT
3.

To change the number of pre-count beats,
press the [ENTER] key.
The current setting is shown. Turn the dial to make the
selection from the following choices.
• OFF
The pre-count is turned off.
• 1–8
A pre-count of 1 – 8 beats is heard.
• SPECIAL
A special pre-count as follows is heard.

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Reference [Track Editing]
This section explains how to edit audio data contained on tracks 1 – 8 of the recorder section. There are two major types
of editing functions: specifying a range within a track for editing, or editing an entire V-take.

Editing a range of data

• Trim
Retain only a specified range of audio data and erase the
rest.

The procedure for specifying a range within a track and
then performing an editing action is explained below.

• Fade I/O (Fade-in/out)
Perform fade-in/fade-out over a specified audio data
interval.

Basic steps for range editing
When performing editing for a specified range of data,
some steps are similar for each action. These are as
follows.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

SYSTEM
PROJECT
2.

Use the cursor left/right keys to bring up
the indication “SYSTEM TR EDIT” on the
display.

SYSTEM
TR EDIT
3.

Press the [ENTER] key.
The track edit menu for operating on a range of data
appears.

• Reverse
Reverse a specified range of audio data.

Press the [ENTER] key.
The screen for selecting the track and V-take for editing
appears. The display shown below is an example for
selecting the Copy command in step 4.

Copy Src
TR 1- 1
6.

Use the dial or the status keys to select the
track (1 – 8, MASTER), and use the cursor
up/down keys to select the V-take number
(1 – 10).

Copy Src
TR 3- 1
A V-take that is not currently selected for the track can
also be selected for editing. When track 8 is selected,
turning the dial clockwise lets you select odd/even track
pairs (track 1/2, track 7/8 etc.) or the master track.

Copy Src
TR1/2

TR EDIT
Copy
4.

Use the cursor left/right keys to select one
of the following editing commands.

NOTE
• You can press the status keys for two adjacent odd/evennumbered mono tracks together to select these tracks.

• Copy
Copy a specified range of audio data.
• Move
Move a specified range of audio data.
• Erase
Erase a specified range of audio data.

• Repeatedly pressing the status keys for stereo tracks selects
the odd-numbered track, even-numbered track, and stereo
track in sequence.
• When two tracks or the master track have been selected as
editing source, the editing destination must also be two tracks
or the master track. The currently selected V-take for each
track will be the destination.

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Reference [Track Editing]

Press the [ENTER] key.
The subsequent steps will differ, depending on which
command was selected in step 4. See the sections for the
respective commands.

When the editing command has been
carried out, press the [EXIT] key repeatedly
to return to the main screen.

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the copy start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks. You can also use
the MARKER [U] / [I] keys to jump to a mark (→ p.
36) and use this as starting point.

HINT
If you specify a point where no audio data exist, the second
line of the display shows *.

NOTE
After executing an edit command for rewriting audio data,
the original data cannot be restored. To retain the condition
before editing, use the capture and swap function (→ p. 53).

Press the [ENTER] key.
The display changes to “Copy Src END”. This screen lets
you specify the copy range end point.

Copying a specified range of
data

Copy Src
END
3 15

You can copy the audio data of a specified range to a
specified position on a specified track/V-take. This action
will overwrite the existing data at the destination
location. The copy source data will be unchanged.

75- 4- 0
00

HINT

Copy source track

The specified range is memorized until another entry is
made. This lets you keep using the setting for editing the
same range on a number of tracks.

Copy

Copy destination track

Refer to steps 1 – 6 of “Basic steps for
range editing” to select the copy source
track/V-take, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the copy start point.

Specify the copy end point in the same way
as described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

Press the [ENTER] key.
The display now shows “Copy Dst TR x-yy” (where x is
the track number and yy the V-take number). From this
screen, you can specify the copy destination track/V-take.

Copy Src
START
0

Copy Dst
TR 1- 1

1- 1- 0
00

HINT
The copy range start point is shown on the counter in
minutes, seconds, milliseconds, and in measures, beats,
and ticks.

You can select the same track as copy source and copy
destination, and the copy destination range may overlap the
copy source range.

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Select the copy destination track/V-take in
the same way as for the copy source, and
press the [ENTER] key.

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Reference [Track Editing]

The display changes as follows. From this screen, you
can specify the copy destination start point.

Copy Dst
TO
3 15

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the move start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks.

75- 4- 0
00

HINT
If you specify a point where no audio data exist, the second
line of the display shows *.

Specify the copy destination start point in
the same way as in step 2, and press the
[ENTER] key.
The indication “Copy SURE?” appears on the display.

Press the [ENTER] key.
The display changes to “Move Src END”. This screen lets
you specify the move range end point.

To carry out the copy operation, press the
[ENTER] key.
When the copy operation is completed, the unit returns to
the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Moving a specified range of
data
You can move the audio data of a specified range to a
specified position on a specified track/V-take. This action
will overwrite the existing data at the destination
location. The move source data will be erased.

Move Src
END
4 28

103- 3-44
00

Specify the move end point in the same way
as described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

Press the [ENTER] key.
The display now shows “Move Dst TR x-yy” (where x is
the track number and yy the V-take number). From this
screen, you can specify the move destination track/Vtake.

Move source track

Move Dst
TR 1- 1

Move

HINT
Move destination track

You can select the same track as move source and move
destination.

Refer to steps 1 – 6 of “Basic steps for
range editing” to select the move source
track/V-take, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the move start point.

Move Src
START
0

1- 1- 0
00

Select the move destination track/V-take in
the same way as for the move source, and
press the [ENTER] key.
The display changes as follows. From this screen, you
can specify the move destination start point.

Move Dst
TO
4 28

103- 3-44
00

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Reference [Track Editing]

Specify the move destination start point in
the same way as for the move source, and
press the [ENTER] key.
The indication “Move SURE?” appears on the display.

Ers Src
END
1 44

40- 4-23
00

To carry out the move operation, press the
[ENTER] key once more.
When the move operation is completed, the unit returns
to the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Erasing a specified range of
data
You can erase the audio data of a specified range and
return the range to the mute (non-recorded) condition.
Erase

Refer to steps 1 – 6 of “Basic steps for
range editing” to select the track/V-take for
erasing, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the erase start point.

Ers Src
START
0

Specify the erase end point in the same way
as described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

Press the [ENTER] key.
The indication “Erase SURE?” appears on the display.

To carry out the erase operation, press the
[ENTER] key.
When the erase operation is completed, the unit returns to
the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a time.

Trimming a specified range of
data
You can erase the audio data outside of a specified range
and adjust the data start/end point (trimming). This is
useful to eliminate unnecessary portions from a
completed master track.
Trim

Trim

1- 1- 0
00

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the erase start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks.

HINT
If you specify a point where no audio data exist, the second
line of the display shows *.

Press the [ENTER] key.
The display changes to “Ers Src END”. This screen lets
you specify the erase range end point.

NOTE
When data before a specified section are erased (trimmed),
the remaining audio data will move up by that amount.
Therefore the timing may become mismatched with regard to
other tracks.

Refer to “Basic steps for range editing” to
select the track/V-take from which to trim
data, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the start point of the range that you want to keep.

Trim Src
START
0

1- 1- 0
00

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Reference [Track Editing]

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks.

The display changes as follows. In this condition, you can
specify the fade-in/out start point.

Fade Src
START
0

1- 1- 0

HINT

If you specify a point where no audio data exist, the second
line of the display shows *.

Press the [ENTER] key.
The display changes to “Trim Src END”. This screen lets
you specify the end point of the range that you want to
keep.

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the fade-in/out start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks.

HINT

Trim Src
END
4 10

96- 4-16
00

Specify the end point in the same way as
described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

If you specify a point where no audio data exist, the second
line of the display shows *.

Press the [ENTER] key.
The display changes to “Fade Src END”. This screen lets
you specify the fade-in/out end point.

Fade Src
END

0 10

Press the [ENTER] key.
The indication “Trim SURE?” appears on the display.

To carry out the trimming operation, press
the [ENTER] key.
When the trimming operation is completed, the unit
returns to the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

4- 4-17
00

Specify the fade-in/out end point in the
same way as described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

Press the [ENTER] key.
The display changes as follows.

Fade-in/fade-out of specified
data range

Fade Src
CURVE

1-1

Volume change curve

You can fade in or fade out the audio data over a specified
range.

6.
Fade-in

Turn the dial to select the fade-in or fadeout curve.
Curves I-1 to I-3 are for fade-in, and curves o-1 to o-3 are
for fade-out. The different kinds of curves look as
follows.

Refer to steps 1 – 6 of “Basic steps for
range editing” to select the track for fadein or fade-out, and press the [ENTER] key.

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Reference [Track Editing]

Use the cursor left/right keys to move the
flashing section of the counter, and turn the
dial to specify the reverse start point.
The point can be specified in minutes/seconds/
milliseconds, or in measures/beats/ticks.

Fade-in
I-1

I-2

I-3

HINT
If you specify a point where no audio data exist, the second
line of the display shows *.

Fade-out
o-1

o-2

o-3

Press the [ENTER] key.
The display changes to “Rvrs Src END”. This screen lets
you specify the reverse end point.

Rvrs Src
END

Press the [ENTER] key.
The indication “Fade SURE?” appears on the display.

1 18

42- 2- 0
00

To carry out the fade-in/fade-out operation,
press the [ENTER] key once more.
When the fade-in/fade-out operation is completed, the
unit returns to the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Reversing a specified range of
audio data
You can reverse the order of a specified range of audio
data.
Reverse
A

Specify the reverse end point in the same
way as described in step 2.
If you press the PLAY [R] key at this point, the specified
range will be played.

Press the [ENTER] key.
The indication “Reverse SURE?” appears on the display.

To carry out the reversing operation, press
the [ENTER] key.
When the reverse operation is completed, the unit returns
to the track edit menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Refer to steps 1 – 6 of “Basic steps for
range editing” to select the track/V-take for
reversing, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the reverse start point.

Rvrs Src
START
0

1- 1- 0
00

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Reference [Track Editing]

Editing using V-takes
Recorded audio data can also be edited in V-take units.
This is convenient to exchange the data on two V-takes or
delete a V-take that is no longer needed. The procedure is
explained in this section.

Basic steps for V-take editing
When editing audio data in V-take units, some steps are
similar for each action. These are as follows.

From the main screen, press the [TRACK
PARAMETER] key in the display section.

Use the cursor up/down keys to bring up
the following indication on the display.

Track number
V-take name

V-take number

TR 1- 1
GTR 1- 1

This screen lets you select the V-take. While the screen is
shown, the V-take for the audio tracks (1 – 8, master
track) can be switched.

HINT
If you select a V-take on which nothing is recorded, the
indication “NO DATA” is shown.

Use the cursor left/right keys or the status
keys and the dial to select the track and Vtake.
The status key for the currently selected track is lit in
orange. It is also possible to select the master track. In this
case, the track number indication shows “M”.

ERASE
TR 1- 2
5.

Repeatedly press the [FUNCTION] key to
call up the command to use. The following
editing commands are available.

• Erase
Erase the audio data on a specified V-take.
• Copy
Copy the audio data of a specified V-take to another Vtake.
• Move
Move the audio data of a specified V-take to another Vtake.
• Exchg (Exchange)
Exchange the audio data of a specified V-take with the
data of another V-take.
• Import
Import any V-take from another project saved on SD card.

HINT
You can still change your track and V-take selection while
selecting an editing command.

6. Press the [ENTER] key.
The subsequent steps will differ, depending on which
command was selected in step 5. See the sections for the
respective commands.
7.

When the editing command has been
carried out, press the [EXIT] key repeatedly
to return to the main screen.

NOTE
HINT
Pressing the status key for a stereo track repeatedly selects
the odd-numbered track and even-numbered track in
sequence.

After executing an edit command for rewriting audio data,
the original data cannot be restored. To retain the condition
before editing, use the capture and swap function (→ p. 53).

Press the [FUNCTION] key in the control
section.
Commands for editing audio data in V-take units appear
on the display.

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Reference [Track Editing]

Erasing a V-take
You can erase the audio data on a specified V-take. The Vtake is returned to the non-recorded condition.
Erase

Refer to steps 1 – 5 of “Basic steps for Vtake editing” to select the track/V-take to
erase and to bring up the indication
“ERASE” on the display. Then press the
[ENTER] key.
The indication “ERASE SURE?” appears on the display.

To carry out the erase operation, press the
[ENTER] key once more.
The V-take name changes to “NO DATA” and the V-take
reverts to the non-recorded condition. When the erase
operation is completed, the V-take selection screen
appears again.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Copying a V-take
You can copy the audio data of a specified V-take to any
other V-take. This action will overwrite any existing data
on the destination V-take. The data on the copy source Vtake will be unchanged.

HINT
If nothing is recorded on the V-take selected as editing
destination, the indication “E” is shown next to the V-take
number.

Use the cursor left/right keys or the status
keys and the dial to select the destination
track/V-take, and press the [ENTER] key.
If no audio data exist at the copy destination, the
indication “COPY SURE?” appears on the display. If
audio data exist, the indication “OverWrt?” is shown.
When the copy operation is performed, these data will be
overwritten.

To carry out the copy operation, press the
[ENTER] key once more.
When the copy operation is completed, the unit returns to
the V-take selection menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Moving a V-take
You can move the audio data of a specified V-take to any
other track/V-take. This action will overwrite any existing
data on the destination V-take. The data on the move
source V-take will be erased.
Move source track

Move

Copy source track
Move destination track
Copy

Copy destination track

Refer to steps 1 – 5 of “Basic steps for Vtake editing” to select the track/V-take to
copy and to bring up the indication “COPY”
on the display. Then press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the copy destination track/V-take.

COPY TO
TR 1- 2E

Refer to steps 1 – 5 of “Basic steps for Vtake editing” to select the track/V-take to
move and to bring up the indication
“MOVE” on the display. Then press the
[ENTER] key.
The display changes as follows. In this condition, you can
specify the move destination track/V-take.

MOVE TO
TR 1- 2E
HINT
If nothing is recorded on the V-take selected as editing

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Reference [Track Editing]
destination, the indication “E” is shown next to the V-take
number.

Use the cursor left/right keys or the status
keys and the dial to select the destination
track/V-take, and press the [ENTER] key.
If no audio data exist at the move destination, the
indication “MOVE SURE?” appears on the display. If
audio data exist, the indication “OverWrt?” is shown.
When the move operation is performed, these data will be
overwritten.

To carry out the move operation, press the
[ENTER] key once more.
When the move operation is completed, the unit returns
to the V-take selection menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

To carry out the exchange operation, press
the [ENTER] key once more.
When the exchange operation is completed, the unit
returns to the V-take selection menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Importing a V-take from
another project
You can import any V-take from another project into a
specified track/V-take of the current project. Any audio
data on the destination V-take are overwritten by the
imported V-take.
Track of import source project

Import

Exchanging V-takes
You can exchange the audio data of two specified V-takes.

Import destination track

NOTE
Exchange

The master track cannot be specified as import destination
or import source.

1.
NOTE
You cannot exchange V-takes of the master track.

Refer to steps 1 – 5 of “Basic steps for Vtake editing” to select the track/V-take to
exchange and to bring up the indication
“EXCHG” on the display. Then press the
[ENTER] key.
You can now select the other track/V-take.

Refer to steps 1 – 5 of “Basic steps for Vtake editing” to select the import
destination track/V-take and to bring up the
indication “IMPORT” on the display. Then
press the [ENTER] key.
The name of the import source project is shown on the
display.

IMPORT
PRJ002

Project number
Import source project name

EXCHG TO
TR 1- 3
2.
2.

Turn the dial to select the import source
project, and press the [ENTER] key.
The display changes as follows. In this condition, you can
specify the import source track/V-take.

ZOOM MRS-8

Use the cursor left/right keys or the status
keys and the dial to select the exchange
destination track/V-take, and press the
[ENTER] key.
The indication “EXCHG SURE?” appears on the display.

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Reference [Track Editing]

Track capture and swap

Track/V-take number

TR 6- 1
T06-LdVo

V-take name

Use the cursor left/right keys and the dial to
select the track/V-take to import, and press
the [ENTER] key.
When an unrecorded track/V-take is selected, the
indication “NO DATA” is shown instead of the V-take
name.

You can capture the audio data of any track and
temporarily store them. Later you can swap the captured
data with the current data of the track. This lets you save
the state of a track before an editing operation. If the
result of the operation is not as desired, you can then
easily restore the track to its previous state.
Capture
Track 1
Track 2
Track 3

Press the [ENTER] key.
The indication “IMPORT SURE?” appears on the
display. If audio data exist at the import destination, the
indication “OverWrt?” is shown. When the import
operation is performed, these data will be overwritten.

To carry out the import operation, press the
[ENTER] key once more.
When the import operation is completed, the unit returns
to the V-take selection menu.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Recorded data

Recorder

Captured
data of
track 1

Swap

Capture operation for track 1
Rerecorded data

Recorder
Track 1
Track 2
Track 3
Captured
data of
track 1

Swap operation for track 1

Recorder
Track 1
Track 2
Track 3
Captured
data of
track 1

Capture/swap is performed on a track basis. If required,
you can capture all audio tracks.
Captured audio data will be retained on the SD card until
another project is loaded or the power is turned off.

Capturing a track
You can capture the audio data of any specified track.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

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Reference [Track Editing]

Swapping track data

SYSTEM
PROJECT
2.

Use the cursor left/right keys to bring up
the indication “SYSTEM CAP/SWAP” on the
display, and press the [ENTER] key.
The display changes as follows.

CAPTURE
TR1
3.

Use the status keys or the dial to select a
track for capture.
The status key for the currently selected track is lit in
orange. It is also possible to select the master track. In this
case, the indication shows “MASTER” and the
[MASTER] status key is lit.

You can swap the current data of a track with the captured
data.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM CAP/SWAP” on the
display, and press the [ENTER] key.

Use the status keys or the dial to select a
track that was previously captured.
When you select a captured track, the indication “SWAP”
appears on the display.

SWAP
TR1

HINT
• Tracks for which stereo link is active, stereo tracks, and the
master track can only be captured in stereo.
• A track for which an unrecorded V-take is selected cannot be
captured.

HINT
If you select a track that was not captured, the indication
“CAPTURE” appears.

Press the [ENTER] key.
The indication “CAPTURE SURE?” appears on the
display.

NOTE

To carry out the capture operation, press
the [ENTER] key once more.
When capture is completed, the indication “SWAP TR x”
(where x is the track number) appears on the display. This
indicates that the track has been captured and can be
swapped if necessary.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

To return to the main screen, press the
[EXIT] key repeatedly.

Captured audio data can only be swapped with the original
track.

Press the [ENTER] key.
The indication “SWAP SURE?” appears on the display.

To carry out the swap operation, press the
[ENTER] key once more.
When the operation is completed, the audio data of the
selected track will have been replaced by the previously
captured audio data.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

HINT
By performing the swap operation once more, you can return
the track contents to the previous condition.

To return to the main screen, press the
[EXIT] key repeatedly.

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Reference [Mixer]
This section explains the functions and operation of the mixer built into the MRS-8.

About the mixer
The MRS-8 incorporates a mixer that processes the audio
track output signals as well as the drum kit/bass program
output signals (the drum track/bass track) into a stereo
mix that is supplied to the MASTER OUTPUT jacks.
The mixer adjusts parameters such as level, panning, EQ,
and send/return effect intensity for each track.

Similarly, mute on/off for the audio tracks is switched
using the status keys (1 – 4, 5/6, 7/8), and mute on/off for
the drum/bass track is switched using the [RHYTHM]
status key.
The [MASTER] status key switches the master track
between recording and playback.
Control of drum track/bass track
Control of tracks 1 - 8
Control of stereo mix or master
track

The level for the audio tracks is adjusted with the
corresponding faders in the fader section.
The [MASTER] fader adjusts the stereo mix/master track
volume.
The level of the drum track and bass track is adjusted with
the [RHYTHM] fader after selecting either drum track or
bass track with the [DRUM/BASS] key.

Recording
standby tracks

INPUT
No recording
standby track

Recorder
Track 1
Track 2
Track 3
Track 4
Tracks 5/6

MASTER OUTPUT

Tracks 7/8
From
immediately
after
[MASTER]
fader

Master Track

To immediately
before
[MASTER] fader

Rhythm section

To
master
track

Drum kits
Bass program

DRUM

BASS

5/6

7/8

MASTER

Send/return effect

Mixer
From master track

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Reference [Mixer]

If no recording track is selected, the signal from the
inputs can be sent to the mixer and mixed to the output
signal during bounce and mixdown. In this case, track
parameters such as panning and send/return effect depth
can be set for the input signal.

Assigning input signals to
recording tracks
This section explains how to select the input source signal
from the INPUT 1/2 connectors and the built-in
microphone, and how to send it to the audio tracks for
recording.
The MRS-8 allows you to select up to two signals from
the INPUT 1/2 connectors and the built-in mic. The
INPUT 1 connector and the built-in mic are switchable,
and one of these can be used at a time. The following
combinations are possible.
Input source

Signal type

INPUT 1 connector
INPUT 2 connector
Built-in mic
INPUT 1/2 connectors
Built-in mic + INPUT 2
connector

Mono
Mono
Mono
Stereo
Stereo

Select the input source as follows.
The input source selection is made using the INPUT
[ON/OFF] 1/2 keys and the [MIC] key. Repeatedly
pressing a key toggles between the lit/out (or flashing)
conditions.
• Selecting one INPUT connector
Verify that the [MIC] key is flashing or out. Then press
the INPUT [ON/OFF] key for the connector to which the
instrument is connected, so that the key is lit.

INPUT [ON/OFF] key

• Selecting two INPUT connectors
Verify that the [MIC] key is not lit. Then press one
INPUT [ON/OFF] key so that the key is lit. Next, hold
down the lit INPUT [ON/OFF] key and press the other
INPUT [ON/OFF] key.

INPUT
[ON/OFF]
key

NOTE
• The built-in mic can normally only be used when an algorithm
other than CLEAN, DIST, or ACO/BS SIM is selected for the
insert effect.
• When the PRE AMP/DRIVE module is set to CABINET or OFF,

• Selecting only the built-in mic
Press the [MIC] key so that the key is lit. Then press the
INPUT [ON/OFF] 1 key so that the key is lit.

the built-in mic can be used also when one of the above
algorithms is selected for the insert effect.
• The status of the [MIC] key indicates whether the built-in mic
can be used. When the key is flashing, the mic can be used.
When the key is out, the mic cannot be used.

When using the INPUT 1/2 connectors,
make sure that the instrument or mic that is
to be recorded is connected to the
respective input.

[MIC] key
INPUT
[ON/OFF]
key

NOTE
When using the INPUT 1 connector, the [INPUT1 SELECT]
switch on the rear panel must be set to the correct position
for the instrument.

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Reference [Mixer]

• Selecting the built-in mic and INPUT 2
Press the [MIC] key so that the key is lit. Then hold the
INPUT [ON/OFF] 1 key and press the INPUT [ON/OFF]
2 key so that both keys are lit.

CLEAN
Standard

[MIC]キー

INPUT
[ON/OFF]
key

Use the cursor up/down keys and the dial
to select the effect patch, and press the
[EXIT] key.
The main screen returns.
The level of the signal sent to the recording track(s)
changes according to the insert effect setting. After
switching a patch or changing an effect setting, you
should readjust the recording level as described in steps 7
– 9.

7.
3.

While playing your instrument, adjust the
[INPUT] control for the input(s) selected in
step 2, to adjust the input sensitivity.
The sensitivity of the built-in mic can be adjusted using
[INPUT] control 1. Make adjustments so that the [PEAK]
indicator flickers slightly when you play your instrument
at its loudest volume.

From the main screen, press the [TRACK
PARAMETER] key in the display section,
and then press the INPUT [ON/OFF] key 1
or 2.
The indication “INPUT” appears on the first line of the
display. This indicates that the track parameters for the
input signal are being called up.

INPUT
EFX SEND

To record the sound through the insert
effect, press the [INPUT SRC] key in the
effect section and turn the dial to set the
insert position for the effect to IN.
The insert effect will be applied to the input source. To
record without the insert effect, press the [INSERT
EFFECT] key in the effect section repeatedly until the
key is out. (While the key is out, the insert effect will be
bypassed.)
When the setting is complete, press the [EXIT] key to
return to the main screen.

HINT
In the default condition of a project, the insert effect is
inserted into the input, and a patch suitable for guitar/bass
recording is selected.

To select the patch for the insert effect,
press the [INSERT EFFECT] key in the
effect section.
The display changes as follows. In this condition, the
cursor up/down keys select the insert effect algorithm,
and the dial selects the effect patch for the algorithm.

ZOOM MRS-8

Press the cursor down key repeatedly, until
“REC LVL” is shown on the second line of
the display.
The input signal recording level can now be adjusted.

INPUT
REC LVL

100

While playing your instrument at its loudest
volume, turn the dial to adjust the recording
level.
The REC LVL parameter determines the level of the
signal sent to the recording track via the insert effect. The
level after adjustment can be checked on the level meter.
At the highest volume, the 0 (dB) segment of the level
meter should flicker slightly.

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Reference [Mixer]

• Stereo track or two mono tracks selected
0 (dB) segment

One Input source

Recorder

INPUT 1 (built-in mic)
or
INPUT 2

Odd-numbered track
Even-numbered track

Input 2 recording level
Input 1 recording level

Recorder

Two Input sources

After setting the recording level, press the [EXIT] key to
return to the main screen.

INPUT 1 (built-in mic)

Odd-numbered track

INPUT 2

Even-numbered track

HINT
When the insert effect is bypassed for recording, setting the
REC LVL parameter to 100 results in unity gain (recording
level same as input level).

10. Press the status key for the track to be
used for recording until the key is lit in red.
The signal of the selected input source will be sent to the
track(s). Up to two mono tracks or one stereo track can be
selected.
When selecting two mono tracks, only odd/evennumbered pairs can be selected (tracks 1/2 or 3/4). To
select two tracks, repeatedly press the status key for one
track until the key is lit in red, and then hold the key while
pressing the status key for the other track so that it is also
lit in red.
The signal flow will change as follows, depending on the
destination track selection.

• Recording destination not selected

One Input source
INPUT 1 (built-in mic)
or
INPUT 2

PAN

MASTER

MASTER
OUTPUT

MASTER

MASTER
OUTPUT

Tracks 1 - 8
Drum/bass track

Two Input sources
INPUT 1 (built-in mic)

PAN

INPUT 2

Tracks 1 - 8
Drum/bass track

• One mono track selected

HINT

One Input source
Recorder
INPUT 1 (built-in mic)
or
INPUT 2

Track

You can link two mono tracks and use them as a stereo track
(→ p. 60). In this case, the track parameter PAN functions as
a BALANCE parameter that adjusts the left/right level
balance.

Two Input sources
INPUT 1 (built-in mic)

Recorder
Track

INPUT 2

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Reference [Mixer]

Adjusting the signal for
each track (track
parameters)

Use the cursor left/right keys or the status
keys to select the track/input to be set.

TR 3
EQ HI G

The mixer of the MRS-8 lets you adjust various aspects
for each track (called track parameters), such as level,
panning, EQ, and send/return effect intensity.

HINT
• When selecting the V-take of stereo tracks (5/6, 7/8), the track
is toggled between odd-numbered track and even-numbered
track with each push of the key.

NOTE
The audio tracks 5/6 and 7/8 and the drum track are stereo
tracks. Except for the V-take selection (audio tracks only),
the track parameters for these tracks are the same for left
and right.

From the main screen, press the [TRACK
PARAMETER] key in the display section.

• When selecting the drum track/bass track with the [RHYTHM]
status key, each push of the key toggles the track. The track
operated with pads or faders is also switched.

Use the cursor up/down keys to select the
track parameter to adjust.
The selectable parameters for the respective tracks and
inputs are listed below.

■ Track parameter list
Parameter

Display

Setting
range

EQ HI GAIN (*) EQ HI G

-12 – +12dB

EQ HI
FREQUENCY
(*)

EQ HI F

500 – 18000
(Hz)

EQ LOW
GAIN (*)

EQ LO G

-12 – +12dB

EQ LOW
FREQUENCY
(*)

EQ LO F

40 – 1600 (Hz)

EFX SEND
LEVEL (*)

EFX SEND

0 – 100

PAN

L100 – 0
–R100

V-TAKE

TR x-y

x=1 – 8,
y=1 – 10

FADER

FADER
REC LVL

REC LVL
STEREO
LINK

ST LINK

Description
Adjusts high-frequency boost or
cut in the range from -12 to +12
dB. This parameter is only shown
when HI EQ is on.
Adjusts turnover frequency for
high-frequency boost/cut. This
parameter is only shown when HI
EQ is on.
Adjusts low-frequency boost or
cut in the range from -12 to +12
dB. This parameter is only shown
when LOW EQ is on.
Adjusts turnover frequency for
low-frequency boost/cut. This
parameter is only shown when
LOW EQ is on.
Adjusts the level of the signal sent
to the send/return effect.
Adjusts the panning value (left/
right position) of the track/input
signal. For stereo tracks, the
parameter adjusts the left/right
level balance.
Selects the V-take to use for the
track (→p. 32). x stands for the
track number and y for the V-take
number.

Track
1-4

Track
5-8

Master
track

Drum/
bass
track

Input

---

0 – 127

Adjusts the fader setting.

---

0 – 127

Adjusts the recording level.

---

ON/OFF

Controls the stereo link function
for linking the parameters of mono
tracks 1/2 or 3/4 (→ p. 60).

---

(*) : denotes a parameter that can be switched on and off by pressing the [ENTER] key.
O: Valid parameter for this track/input

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Reference [Mixer]

NOTE
When the recording track is selected, the input signal does
not pass through the mixer but is supplied directly to the
track. Therefore, if a track is in recording standby mode, the
input track parameter settings will have no effect. (However,
the REC LVL parameter is always active.)

Turn the dial to adjust the value.

To switch EQ HI, EQ LO, or effect send
between on and off, select the respective
parameter (marked with an asterisk in the
table on the previous page) and press the
[ENTER] key.
Each push of the [ENTER] key toggles between on and
off. For example, when switching EQ HI from on to off,
the display changes as follows.
• On condition

TR1
EQ HI G

In the MRS-8, the parameters of adjacent odd-numbered/
even-numbered mono tracks (1/2 or 3/4) can be linked,
resulting in a pair of stereo tracks. This function is
referred to as “stereo link”. The setting procedure is as
follows.

From the main screen, press the [TRACK
PARAMETER] key in the display section

Use the cursor left/right keys or the status
keys to select one of the two tracks to
stereo-link.

Use the cursor up/down keys to bring up
the following indication on the display.

• Off condition

TR1
EQ HI

Linking two tracks
(stereo link)

TR1
ST LINK

OFF

4.
OFF

Turn the dial to set the parameter to ON.
Stereo linking will be enabled immediately, so that the
selected track and the adjacent odd-numbered/evennumbered track are linked. To defeat stereo linking,
return the setting to OFF.

Repeat steps 3 – 5 until all desired
parameters are adjusted.
If required, you can use the cursor left/right keys or the
status keys to change to another track and adjust its
parameters. This is useful to adjust the same parameter
for several tracks.

To return to the main screen, press the
[EXIT] key.

TR1/2
ST LINK

When stereo link is on, track operation will be as follows.
• To adjust the track volume, use the odd-numbered
fader. (The even-numbered fader will have no
effect.)
• The PAN parameter of two stereo-linked tracks will
function as a balance parameter that adjusts the
volume balance between the tracks.
• Except for PAN and V-TAKE, the track parameters
for the odd-numbered track will also apply to the
even-numbered track.

To return to the main screen, press the
[EXIT] key.

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Reference [Rhythm]
This section explains the functions and operation of the built-in rhythm section of the MRS-8.

About the rhythm section
The rhythm section of the MRS-8 uses internal drum
sound and bass sound sources to generate rhythm
accompaniment. It can be used instead of a metronome
by playing simple rhythm patterns, or you can program a
sequence of rhythm patterns and chord progression into
the rhythm accompaniment for an entire song.

Drum kits and bass programs
The rhythm section has two different types of sound,
created by a “drum kit” and a “bass program”.
The drum kit is a set of 27 drum/percussion sounds such
as kick, snare, and hihat. The MRS-8 contains 8 different
drum kits. You can select one of these drum kits and play
it manually with the pads on the top panel, or you can use
it as a sound source for rhythm accompaniment.

When you select a bass program, a sound of a certain
pitch is assigned to each pad, and you can play it by
selecting a scale. By switching the scale type, key, and
range, you can cover up to four octaves.
For the rhythm section, you select either the drum kit or
bass program to be played with the pads. Immediately
after creating a new project, the drum kit is selected. The
[DRUM/BASS] key is used to toggle between the two
sound types. When the [DRUM/BASS] key is lit, the
drum kit is selected. When the key is out, the bass
program is selected for playing.

■ Drum kit selected

Lit

■ Bass program selected
When you select a drum kit, its sounds are assigned to the
nine pads. Such a combination of sounds assigned to the
pads is called a “pad bank”. One drum kit gives access to
three pad banks. Simply by switching the pad bank you
can play other sounds from the current drum kit.
A bass program is a single bass sound, such as an electric
bass or acoustic bass, which can be played as a scale with
the pads on the top panel. The MRS-8 has five bass
programs. You can choose one of these and play a scale
with the pads, or use it as a sound source for rhythm
accompaniment.

ZOOM MRS-8

Out

The output signal from the drum kit (drum track) and the
output signal from the bass program (bass track) are sent
to the internal mixer, where you can use the [RHYTHM]
fader and [RHYTHM] status key to adjust the volume
and switch the signal on and off. (This affects the sound
type currently selected with the [DRUM/BASS] key.

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Reference [Rhythm]

Rhythm patterns
A project can contain over 500 accompaniment patterns
with drum/bass performance data for up to 99 measures
each. This is called a rhythm pattern. Inside each rhythm
pattern, the area that holds the drum performance data is
called the “drum sequence”, and the area that holds the
bass performance data is called the “bass sequence”.
In the default condition, a project contains preprogrammed
rhythm patterns in numbers 000 – 472, 509, 510. You can
edit a portion of a rhythm pattern, or use an empty slot to
create an entirely original rhythm pattern. The rhythm
patterns you modify or create are saved on the SD card as
part of the project.
Rhythm 1
section PATTERN

Drum sequence
Bass sequence

Rhythm pattern mode and
rhythm song mode
The rhythm section can operate in one of two modes:
“rhythm pattern mode”, in which the currently selected
rhythm pattern is constantly repeated, and “rhythm song
mode”, in which you can create and play an entire rhythm
song consisting of a sequence of patterns.
Immediately after creating a new project, the rhythm
pattern mode is selected. By pressing the [SONG/
PATTERN] key, you can toggle between the rhythm
pattern mode and rhythm song mode. When the [SONG/
PATTERN] key is out, the rhythm pattern mode is
selected. When the key is lit, the rhythm song mode is
selected.

■ Rhythm pattern mode

PATTERN
Drum sequence
Bass sequence

Out

Rhythm song

■ Rhythm song mode

Multiple rhythm patterns arranged in a desired order of
playback are collectively called a “rhythm song”. Besides
the rhythm pattern data, a rhythm song comprises
information about various aspects such as chord, tempo,
and time signature to create the accompaniment for an
entire song. Up to 10 rhythm songs can be programmed
in one project.

Lit

PATTERN A
PATTERN B
PATTERN C
PATTERN D
PATTERN E

Rhythm
song
Measure
number
1

PATTERN A

Drum sequence
Bass sequence
Chords

PATTERN E

Drum sequence
Bass sequence
Dm7

PATTERN B

Drum sequence
Bass sequence
C

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Reference [Rhythm]

Playing rhythm patterns
This section explains how to select a rhythm pattern for
playback, and how to change the tempo and sound.

Selecting a rhythm pattern
Proceed as follows to select and play one of the more than
500 rhythm patterns.

From the main screen, press the [SONG/
PATTERN] key in the rhythm section
repeatedly, until the key is out.
The rhythm pattern selection screen appears. In this
condition, the following information is displayed.
Number of measures of rhythm pattern
Rhythm pattern number

001#117
MTNs1Vb

To adjust the volume of the drum/bass
track, use the [RHYTHM] fader.
The [RHYTHM] fader serves to adjust the drum track or
bass track level. When the [DRUM/BASS] key is lit, the
fader adjusts the drum track. When the key is out, the
fader adjusts the bass program.
Use the [DRUM/BASS] key to toggle the desired setting,
and then operate the [RHYTHM] fader.

To mute the sound of the drum track or
bass track, repeatedly press the [RHYTHM]
status key, until the key is flashing.
The [RHYTHM] status key can be used to switch muting
on or off for the sound that is currently selected for the
rhythm section. To cancel muting, press the [RHYTHM]
status key once more so that the key is lit.

To stop rhythm pattern playback, press the
STOP [P] key.

To return to the main screen, press the
[EXIT] key.

Rhythm pattern name

The indication to the right of the rhythm pattern name
shows the pad bank (if a drum kit is selected) or the range
(if a bass program is selected). These items can be
changed if desired (→ p. 65).

HINT
During rhythm pattern playback, it is also possible to play
drum kit/bass program sounds by hitting the pads.

Changing the tempo
You can change the tempo of the rhythm pattern.

HINT
While the display shows the rhythm section screen, the audio
track status keys (1 – 8 and [MASTER]) are out and cannot
be used.

Turn the dial to select the rhythm pattern to
play.
In the default condition of a project, patterns are
programmed in rhythm pattern numbers 000 – 472, 509,
510.

HINT
The tempo set here applies to all rhythm patterns. A rhythm
song for which no tempo information is programmed also will
use this tempo.

From the main screen or the rhythm pattern
screen, press the [TEMPO] key.
The display changes as follows, and the current tempo is
shown.

Press the PLAY [R] key.
The selected rhythm pattern will begin playing
repeatedly. If there is one or more recorded audio tracks,
these will also be played back. To play the rhythm pattern
only, turn down the faders of the audio tracks.

TEMPO
BPM=

120.0

HINT
You can change the tempo either in playback or stop mode.

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Reference [Rhythm]

Turn the dial to adjust the tempo.
The tempo can be adjusted over a range of 40.0 – 250.0
(BPM).

The currently selected drum kit/bass program name is
shown.

DRUM KIT
Standard

To change the tempo manually, hit the
[TEMPO] key repeatedly at the desired
tempo.
The average of the key press intervals is determined and
set as the new tempo.

Drum kit name

BASS PRG
Finger

To return to the main screen, press the
[EXIT] key repeatedly.

Bass program name

4.
NOTE
If you record on the audio tracks while listening to the rhythm
pattern, and then later change the tempo, the audio track
content and the rhythm pattern will no longer be
synchronized. Be sure to decide on the tempo first.

Changing the drum kit / bass
program
You can change the drum kit/bass program used by the
rhythm section.

Turn the dial to select the drum kit/bass
program to use.
The change becomes active immediately.
For a list of drum kits/bass programs that can be selected,
see the appendix at the end of this manual.

HINT
The drum kit/bass program selected here is saved for each
rhythm pattern. For rhythm songs which do not have drum
kit/bass program information programmed, the sound
selected here will be used.

From the main screen, press the [SONG/
PATTERN] key.

001#117
MTNs1Vb

To return to the main screen, press the
[EXIT] key repeatedly.

Using the pads to play drum/
bass sounds
1

Using the pads on the top panel, you can manually play a
drum kit or bass program.

HINT
Drum kit/bass program switching can be done in rhythm
pattern mode or rhythm song mode.

Press the [SYSTEM/UTILITY] key.
The RHYTHM mode utility menu appears.

UTILITY
DRUM KIT
3.

Use the cursor left/right keys to bring up
the indication “UTILITY DRUM KIT” or
“UTILITY BASS PRG” on the display. Then
press the [ENTER] key.

■ Playing a drum kit with the pads
When playing a drum kit, you can switch between pad
banks, giving you a total of 27 drum/percussion sounds.

From the main screen, press the [DRUM/
BASS] key repeatedly, until the key is lit.
When the [DRUM/BASS] key is lit, the pads can be used
to play a drum kit. The display changes as follows.
Sound assigned to pads

Pad=DRUM
PadBank=

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Reference [Rhythm]

HINT

Pad=BASS
Major

Immediately after creating a new project, the pad bank 1 is
selected.

Scale type

Turn the dial to select the pad bank to use
(1 – 3).
The sounds assigned to the nine pads are switched
immediately. For a list of drum/percussion sounds in each
pad bank, see the appendix at the end of this manual.

E 1

Range number

Scale key-note

To change the key-note of the scale, use
the cursor up/down keys.
The setting range is C – B in semitone steps. The key-note
specified here is the note that will be played by pad 1.

HINT
• You can also use the cursor up/down keys to switch the pad
bank.
• The currently selected pad bank number is also shown on the
rhythm pattern selection screen.

Hit the pads to play.
Use the [RHYTHM] fader and [RHYTHM] status key to
control the drum kit volume and switch mute on and off
as necessary.

To switch the pad bank during play, repeat
steps 2 and 3.
The pad bank can also be switched while a rhythm pattern
or rhythm song is playing.
When you press the [EXIT] key, the rhythm pattern or
rhythm song selection screen appears again.

HINT
The sharp symbol is shown as , such as in F# =
G# =
.

To change the type of the scale, use the
cursor left/right keys.
The scale type can be set to Major or Minor.
For example, when the key-note of “E” is selected, the
pitch of the pads changes as follows, depending on the
scale type selection.
Major

To return to the main screen, press the
[EXIT] key repeatedly.

Minor

■ Playing a bass program with the pads

By switching the scale and range assigned to the pads,
you can play bass programs covering up to four octaves.

NOTE
With a bass program, there can be no overlapping of multiple
sounds. If you press another pad while holding down a pad,
the sound of the first pad will stop and the sound of the other
pad is heard.

From the main screen, press the [DRUM/
BASS] key repeatedly, until the key is out.
When the [DRUM/BASS] key is out, the pads can be
used to play a bass program. The display changes as
follows.

ZOOM MRS-8

Turn the dial to change the range to be
played by the pads.
The range of the pads can be selected in four steps (1 – 4).
For example, a change from 1 to 2 will shift the pitch
assigned to the pads up by 1 octave.

Hit the pads to play.
Use the [RHYTHM] fader and [RHYTHM] status key to
control the bass program volume and switch mute on and
off as necessary.

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Reference [Rhythm]

To switch the scale type and range during
play, repeat steps 2 – 4.
The scale type and range can also be switched while a
rhythm pattern or rhythm song is playing.
When you press the [EXIT] key, the rhythm pattern or
rhythm song selection screen appears again.

To return to the main screen, press the
[EXIT] key repeatedly.

Creating a rhythm pattern
This section explains how you can create your own
rhythm patterns. There are two ways of doing this: realtime input where you record your play on the pads, and
step input where play is stopped and you enter the sounds
one by one.

Preparations
Before starting to record, you must make various settings
for the rhythm pattern, such as bar length and time
signature, and quantize value (shortest unit for
recording). By default, an empty rhythm pattern has a 4/
4 time signature and a length of 2 measures.

NOTE
After you have started the rhythm pattern input procedure,
you can no longer change the time signature and number of
measures. Be sure to make these settings beforehand.

From the main screen, press the [SONG/
PATTERN] key to call up the rhythm pattern
selection screen.
If the [SONG/PATTERN] key is lit, press the key once
more so that it goes out.

001#117
MTNs1Vb

Turn the dial to select an empty rhythm
pattern.
The indication “EMPTY” appears on the display when an
empty pattern is selected.

---#500
EMPTY

HINT
If there is no empty rhythm pattern, erase an unneeded
pattern (→ p. 76).

Press the [EDIT] key.
The rhythm pattern edit menu for making various rhythm
pattern settings appears.

ZOOM MRS-8

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Reference [Rhythm]
indicates that the setting has already been fixed and cannot
be changed.

PTN EDIT
QUANTIZE
4.

To set the quantize value, make sure that
the indication “PTN EDIT QUANTIZE” is
shown on the display, and press the
[ENTER] key.
The display changes as follows.

QUANTIZE
16

Turn the dial to select the desired setting.
The setting range is 1 – 99 measures.
When the setting is complete, press the [EXIT] key to
return to the rhythm pattern edit menu.

To set the rhythm pattern time signature,
use the cursor left/right keys to bring up the
indication “PTN EDIT TimSig” on the
display, and press the [ENTER] key.
The current time signature setting appears on the display.

Quantize value

The quantize value is the smallest note unit for recording
a pattern. When performing real-time input, your play is
recorded using the note steps selected here.
The default setting is “16” (a sixteenth note).

Turn the dial to select one of the following
quantize values. Then press the [EXIT] key.
4...........Quarter note
8...........Eighth note
12.........Eighth triplet note
16.........Sixteenth note (default)
24.........Sixteenth triplet note
32.........Thirty-second note
Hi.........1 tick (1/48 of quarter note)

When you press the [EXIT] key, the rhythm pattern edit
menu appears again.

To set the number of measures of the
rhythm pattern, use the cursor left/right
keys to bring up the indication “PTN EDIT
BarLen” on the display, and press the
[ENTER] key.
The current length of the pattern is shown as number of
measures.

BarLen
2

TimSig
4
4/4 beat

HINT
When an already created rhythm pattern is selected, the time
signature is enclosed in parenthesises. This indicates that
the setting has already been fixed and cannot be changed.

Turn the dial to select the beat.
The setting range is 1 – 8 (1/4 – 8/4 beats). When the
setting is complete, press the [EXIT] key twice to return
to the rhythm pattern selection screen.

Drum sequence real-time
input
For real-time input of a drum sequence, you play the
rhythm pattern on the pads of the MRS-8.

At the rhythm pattern screen, select an
empty rhythm pattern number.
If necessary, select a drum kit (→ p. 64) before carrying
out the following steps.

Press the [DRUM/BASS] key repeatedly,
until the key is lit.
The pads can now be used to play a drum kit.
Immediately after switching the sound, the pad bank
selection screen is shown.

Number of measures

3.
HINT
When an already created rhythm pattern is selected, the
number of measures is enclosed in parenthesises. This

ZOOM MRS-8

If necessary, use the cursor up/down keys
to switch the pad bank.
When the setting is complete, press the [EXIT] key to
return to the rhythm pattern selection screen.

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Reference [Rhythm]

Hold down the REC [O] key and press the
PLAY [R] key.
A four-beat pre-count (one measure) is heard, and rhythm
pattern recording starts. During recording, a click sound
(metronome sound) is heard, according to the tempo and
time signature setting. The current position is shown on
the counter in measures/beats/ticks.

HINT
• You can use step input to add playing information to a rhythm
pattern recorded with real-time input.
• After concluding real-time input, you can change the quantize
setting and then record on top of the existing sequence.
(Changing the quantize value will not affect the existing
playing information.)

HINT
The number and the sound level of the pre-count clicks can
be changed (→ p. 90).

While listening to the metronome, tap the
pads.
Your performance on the pads will be recorded as a drum
sequence according to the quantization setting. The
intensity with which you hit the pads will also be
recorded.
When you reach the end of the pattern, the unit
automatically returns to the first measure, and real-time
input continues.

To edit the recorded contents during realtime input, proceed as follows.

• To erase the performance of a specific pad
While holding down the [FUNCTION] key, press the pad
whose sound you want erase. While you are holding
down both keys, the performance of the corresponding
pad is erased from the rhythm pattern.

Drum sequence
Snare
Kick

Pad

Snare
Kick

Pre-count
Recorded repeatedly

• Switching the pad bank during real-time input
of a drum sequence
Press the [DRUM/BASS] key once to bring up the pad
bank selection screen, and use the cursor up/down keys to
select the pad bank. To return, press the [EXIT] key.

• To erase the performance of all pads
While holding down the [FUNCTION] key, press the
[RHYTHM] status key. While you are holding down both
keys, the performance of all pads is erased from the drum
sequence.

Drum sequence

• Switching to a bass sequence during realtime input of a drum sequence
Press the [DRUM/BASS] key once to bring up the pad
bank selection screen, and then press the [DRUM/BASS]
key once more so that the key goes out.

Snare

• Temporarily pausing real-time input
Press the REC [O] key during recording so that the key
is flashing. In this state you can tap the pads to check
which sound is assigned to each pad. Recording resumes
when you press the REC [O] key once more.

Kick

Snare

When you have finished real-time
recording, press the STOP [P] key.
Rhythm pattern recording will stop. Press the PLAY [R]
key to hear the pattern that you recorded.

ZOOM MRS-8

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Reference [Rhythm]

HINT
When you select an empty pattern and record it, the pattern
name “Patxxx” (where xxx is the pattern number) is
automatically assigned. You can edit this pattern name as
necessary (→ p. 75).

Bass sequence real-time
input
For real-time input of a bass sequence, you play the pads
of the MRS-8.

At the rhythm pattern screen, select an
empty rhythm pattern number or a rhythm
pattern number where only a drum
sequence has been recorded.
If necessary, select a bass program (→ p. 64) before
carrying out the following steps.

Press the [DRUM/BASS] key repeatedly,
until the key is out.
The pads can now be used to play a bass program.
Immediately after switching the sound, the range and
scale selection screen is shown.

If necessary, select the scale type, keynote, and range.
Use the cursor keys to select the scale type and key-note,
and use the dial to select the range. When the setting is
complete, press the [EXIT] key to return to the rhythm
pattern selection screen.

Hold down the REC [O] key and press the
PLAY [R] key.
A four-beat pre-count (one measure) is heard, and rhythm
pattern recording starts. (During recording, the
metronome click sound is heard, according to the tempo
and time signature.)
The current position is shown on the counter in measures/
beats/ticks.

also be recorded.
When you reach the end of the pattern, the unit
automatically returns to the first measure, and real-time
input continues.
• Switching the range and scale during realtime input of a bass sequence
Press the [DRUM/BASS] key once to bring up the range/
scale selection screen, and use the cursor keys and the
dial to select the range and scale. To return, press the
[EXIT] key.
• Switching to a drum sequence during realtime input of a bass sequence
Press the [DRUM/BASS] key once to bring up the range/
scale selection screen, and then press the [DRUM/BASS]
key once more so that the key is lit.
• Temporarily pausing real-time input
Press the REC [O] key during recording so that the key
is flashing. In this state you can tap the pads to check
which note is assigned to each pad. Recording resumes
when you press the REC [O] key once more.

HINT
You can use step input to add playing information to a
rhythm pattern recorded with real-time input.

To edit the recorded contents during realtime input, proceed as follows.

• To erase the performance of a specific pad
While holding down the [FUNCTION] key, press the pad
whose note you want erase. While you are holding down
both keys, the performance of the corresponding pad is
erased from the rhythm pattern.

Bass sequence

HINT
The number and the sound level of the pre-count clicks can
be changed.

While listening to the metronome, tap the
pads.
Your performance on the pads will be recorded as a bass
sequence according to the quantization setting. The
duration and intensity with which you hit the pads will

ZOOM MRS-8

• To erase the performance of all pads
While holding down the [FUNCTION] key, press the
[RHYTHM] status key. While you are holding down both

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Reference [Rhythm]

keys, the performance of all pads is erased from the bass
sequence.

If you only press the PLAY [R] (RHYTHM STEP) key,
no playing information is entered, but the step advances
by an interval corresponding to the current quantize
value. This becomes a rest (see illustration below).

Bass sequence

At the rhythm pattern screen, select an
empty rhythm pattern number.

Press the [DRUM/BASS] key repeatedly,
until the key is lit.
The pads can now be used to play a drum kit.
Immediately after switching the sound, the pad bank
selection screen is shown.

When you have finished real-time
recording, press the STOP [P] key.
Rhythm pattern recording will stop. Press the PLAY [R]
key to hear the pattern that you recorded.

If necessary, select the pad bank to use.
When the setting is complete, press the [EXIT] key to
return to the rhythm pattern selection screen.

4.
HINT
You can switch the drum kit/bass program during real-time
recording (→ p. 64), and you can change the volume of the
metronome click (→ p. 90).

Drum sequence step input

Press the REC [O] key.
The key lights up and the display changes as follows. In
this condition, drum sequence step input is possible.
Quantize setting
Current pad bank

Q=16
1

For step input, you enter each note separately, while the
rhythm pattern is in the stop condition. This makes it easy
to enter even complex drum patterns or bass lines that
might be difficult to achieve with real-time input.
For drum sequence step input, you specify the step length
(interval to next note or rest) using the quantize value.
Then you enter notes and rests.
When you hit a pad and then press the PLAY [ R ]
(RHYTHM STEP) key, playing (note) information is
entered at that point, and the step advances by an interval
corresponding to the current quantize value. The intensity
with which you hit the pad is also recorded.

1- 1- 0

Measure Tick
Beat

During drum sequence step input, the first line of the
display shows the quantize value, and the second line
shows the currently selected pad bank number. The
counter shows the current position in measures/beats/
ticks.

Drum sequence step input
Quantize: quarter note

Quantize: sixteenth note

ZOOM MRS-8

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Reference [Rhythm]

Use the cursor up/down keys to select the
quantize value.
This setting becomes the length of one step. The quantize
setting can be changed at any time during step input,
using the cursor up/down keys.

enter more sounds.
When you use the PLAY [R] (RHYTHM STEP) key to
move step by step through a recorded rhythm pattern, the
pad recorded at the respective position lights up.
You can edit the recorded sequence as follows.

4...........Quarter note
8...........Eighth note
12.........Eighth triplet note
16.........Sixteenth note
24.........Sixteenth triplet note
32.........Thirty-second note
Hi.........1 tick (1/48 of quarter note)

• Erasing an entered note
Repeatedly press the PLAY [R] (RHYTHM STEP) key
to move to the position to erase. Then hold down the
[FUNCTION] key and press the respective pad. The note
recorded at that point is erased, and the pad goes out.

HINT
HINT
The quantize value setting is linked to the quantize setting for
real-time input. If you change one setting, the other will also
change.

To enter a note, hit the pad corresponding
to the note, and then press the PLAY [R]
(RHYTHM STEP) key.
The pad lights up, and the unit advances by one step.

During step input, you can use the [DRUM/BASS] key to call
up the pad bank selection screen and switch the pad bank.
(To return, press the [EXIT] key.)

NOTE
When searching for a note to erase, set the quantize value to
the same value as the smallest value used during recording,
or to a smaller value. Otherwise the start of a note may be
missed.

Q=4
1
1- 2- 0

HINT
• The intensity with which you hit the pad is also recorded in the
drum sequence.
• If you hit several pads during input, multiple sounds will be

When you have finished step input, press
the STOP [P] key.
The REC [ O ] key goes out and the rhythm pattern
selection screen appears again. By pressing the PLAY
[ R ] key you can check the rhythm pattern that you
recorded.

10. To return to the main screen, press the
[EXIT] key repeatedly.

recorded at the same position.

To enter a rest, press only the PLAY [R]
(RHYTHM STEP) key.
If you press the PLAY [R] (RHYTHM STEP) key by
itself, the position advances by one step, but no play
information is recorded.

Q=4
1
1- 3- 0

Repeat steps 5 – 7 while changing the step
length as necessary, to enter the desired
rhythm pattern.
When you reach the end of the pattern, the unit
automatically returns to the first measure, letting you
ZOOM MRS-8

Bass sequence step input
Compared to the drum sequence step input, the step input
procedure for a bass sequence is somewhat more
complex, because there are the additional elements of
“pitch” and “duration”.
As for drum track step input, you specify the step length
(interval to next note or rest) using the quantize value, and
you use the pads and the PLAY [R] (RHYTHM STEP)
key to enter notes and rests. But when you input a note,
you must also specify the duration parameter. This
parameter allows you to vary the actual duration for each
note, while keeping the step length the same (see diagram
on next page).

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Reference [Rhythm]

Bass sequence step input
Quantize: quarter note
Duration: quarter note

Quantize: eighth note
Duration: eighth note

At the rhythm pattern screen, select an
empty rhythm pattern number or a rhythm
pattern number where only a drum
sequence has been recorded.

Quantize: quarter note Quantize: eighth note
Duration: quarter note Duration: sixteenth note

Turn the dial to select the duration value, as
listed below.
The duration is specified as “ x 1”, i.e. as multiples of a
quarter note. Depending on the value, the actual duration
becomes as follows.

Press the [DRUM/BASS] key repeatedly,
until the key is out.
The pads can now be used to play a bass program.
Immediately after switching the sound, the range and
scale selection screen is shown.

1 – 8..... quarter note x 1 – 8
3/2........ dotted quarter note
1/2........ 8th note
3/4........ dotted 8th note
1/3........ 8th note triplet
1/4........ 16th note
1/6........ 16th note triplet
1/8........ 32nd note
1/12...... 32nd note triplet
1/16...... 64th note
1/24...... 64th note triplet

If necessary, select the scale type, key, and
range.
When the setting is complete, press the [EXIT] key to
return to the rhythm pattern selection screen.

Press the REC [O] key.
The key lights up and the display changes as follows. In
this condition, bass sequence step input is possible.
Quantize setting Current range number

Q=16
D= x1/4

E 1

To enter a note, hit the pad corresponding
to the note, and then press the PLAY [R]
(RHYTHM STEP) key.
The note is recorded, and the unit advances by the step
duration set in step 5.

1- 1- 0

Q=4
D= x1

Duration setting
Tick
Measure Beat

E 1
1- 2- 0

During bass sequence step input, the first line of the
display shows the quantize value, and the second line
shows the duration setting and the currently selected
range. The counter shows the current position in
measures/beats/ticks.

HINT
The intensity with which you hit the pad is also recorded in
the bass sequence.

Use the cursor up/down keys to select the
quantize value.
This setting becomes the length of one step.

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Reference [Rhythm]

To enter a rest, press only the PLAY [R]
(RHYTHM STEP) key.
If you press the PLAY [R] (RHYTHM STEP) key by
itself, the position advances by one step (duration of
quantize value) but no play information is recorded.

Q=4
D= x1

E 1

Entering rhythm pattern
chord information
When you have recorded a rhythm pattern, and you later
set the chord information (root + chord type), the bass
sequence of the rhythm pattern will also be transformed
according to the chord information programmed in a
rhythm song.

1- 3- 0

HINT

Repeat steps 5 – 8 while changing the
quantize value and duration as necessary,
to enter the desired bass pattern.
When you reach the end of the pattern, the unit
automatically returns to the first measure, letting you
continue the input.

For patterns not used in a rhythm song or for which no bass
sequence is input, this procedure is not necessary.

You can edit the recorded sequence as follows.

From the main screen, press the [SONG/
PATTERN] key in the rhythm section
repeatedly, until the key is out.
The rhythm pattern selection screen appears.
Turn the dial to select the pattern for which
to specify chord information, and press the
[EDIT] key.
The rhythm pattern edit menu appears.

PTN EDIT
QUANTIZE

HINT
During step input, you can use the [DRUM/BASS] key to call
up the range selection screen and switch the range and
scale. (To return, press the [EXIT] key.)

NOTE

Use the cursor left/right keys to bring up
the indication “EDIT OrgRoot” on the
display, and press the [ENTER] key.
This screen allows you to specify the root for the selected
rhythm pattern.

When searching for a note to erase, set the quantize value to
the same value as the smallest value used during recording,
or to a smaller value. Otherwise the start of a note may be
missed.

Org Root
E
Chord root

10. When you have finished step input, press
the STOP [P] key.
The REC [ O ] key goes out and the rhythm pattern
selection screen appears again. By pressing the PLAY
[ R ] key you can check the rhythm pattern that you
recorded.

11. To return to the main screen, press the

[EXIT] key repeatedly.

ZOOM MRS-8

Turn the dial to select the root for the chord.
The available range is C – B (default setting: E). When
setting chord information for a rhythm song, the value
specified here will become the root for transposing up or
down.
When the setting is complete, press the
[EXIT] key.
The rhythm pattern edit menu appears again.

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Reference [Rhythm]

Use the cursor left/right keys to bring up
the indication “PTN EDIT OrgChord” on the
display, and press the [ENTER] key.
The display changes as follows.

OrgChord
Major
This screen allows you to specify the chord type for that
rhythm pattern.

Use the cursor left/right keys to bring up
the indication “PTN EDIT DR LEVEL” on the
display, and press the [ENTER] key.
The display changes as follows. This screen allows you to
specify the drum sequence volume.
The display shows the current volume setting (0 – 15).

DR LEVEL
15
4.

Turn the dial to select the chord.
For the chord type, you can select Major or Minor.

Turn the dial to select the desired setting,
and then press the [EXIT] key.
The setting is entered, and the previous screen appears
again.

For example, if you have entered a bass phrase with a G
major chord in mind, set the root to “G” and the chord
type to “Major”.

When the setting is complete, press the
[EXIT] key.
The setting is entered and the rhythm pattern edit menu
appears again.

Use the cursor left/right keys to bring up
the indication “PTN EDIT BS LEVEL” on the
display, and press the [ENTER] key.
The display changes as follows. This screen allows you to
specify the bass sequence volume. The display shows the
current volume setting (0 – 15).

BS LEVEL
15

To return to the main screen, press the
[EXIT] key repeatedly.

Changing the drum/bass
sequence volume level
The playback volume of the rhythm pattern can be
adjusted separately for the drum and bass with the
[RHYTHM] fader. If necessary, the volume levels can
also be individually programmed for each rhythm
pattern.

Turn the dial to select the desired setting,
and then press the [EXIT] key.
The setting is entered, and the previous screen appears
again.

To return to the main screen, press the
[EXIT] key repeatedly.

From the main screen, press the [SONG/
PATTERN] key in the rhythm section
repeatedly, until the key is out.
The rhythm pattern selection screen appears.

Turn the dial to select the rhythm pattern
for which to specify volume information,
and press the [EDIT] key.
The rhythm pattern edit menu appears.

PTN EDIT
QUANTIZE

ZOOM MRS-8

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Reference [Rhythm]

Assigning a name to a rhythm
pattern
When an empty rhythm pattern is selected and used for
input, the pattern name “Pat xxx” (where xxx is the
pattern number) is automatically assigned. You can edit
this pattern name as necessary.

From the main screen, press the [SONG/
PATTERN] key in the rhythm section
repeatedly, until the key is out.
The rhythm pattern selection screen appears.

Turn the dial to select the rhythm pattern
for which to edit the name, and press the
[EDIT] key.
The rhythm pattern edit menu appears.

PTN EDIT
QUANTIZE
3.

Use the cursor left/right keys to bring up
the indication “PTN EDIT NAME” on the
display, and press the [ENTER] key.
The display changes as follows. This screen allows you to
specify a name for the selected rhythm pattern.

Editing rhythm patterns
This section explains how to copy an existing rhythm
pattern or how to erase the playing information and return
the pattern to the blank condition.

Copying a rhythm pattern
You can copy the currently selected rhythm pattern to
another pattern number. This is useful to create variations
of a rhythm pattern.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is
out.
The rhythm pattern selection screen appears.

Turn the dial to select the rhythm pattern to
use as copy source.

Press the [FUNCTION] key in the control
section twice.
The display changes as follows. In this condition, you can
select the number of the copy destination rhythm pattern.

COPY
117å420E
117
420E

PTN NAME
Pat 500
4.

Use the cursor left/right keys to move the
flashing position to the character to
change, and turn the dial or use the rhythm
section pads and keys to select a
character.
For information on how to input characters, refer to page
33.

HINT
By repeatedly pressing the [EDIT] key, you can clear all
characters.

Repeat step 4 until the name is as desired.

To return to the main screen, press the
[EXIT] key repeatedly.

ZOOM MRS-8

Turn the dial to select the number of the
rhythm pattern to use as copy destination.
When an empty pattern is selected, the indication “E” is
shown to the right of the pattern number.

NOTE
When you select a recorded rhythm pattern as destination,
its contents will be overwritten with the data of the copy
source.

To carry out the copy operation, press the
[ENTER] key. When the indication “COPY
SURE?” appears, press the [ENTER] key
once more.
When the copy operation is completed, the display
returns to the rhythm pattern selection screen. By
pressing the [EXIT] key instead of the [ENTER] key, you
can cancel the operation and back up one step at a time.

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Reference [Rhythm]

To return to the main screen, press the
[EXIT] key repeatedly.

Erasing a rhythm pattern
This section explains how to erase all data from a
specified rhythm pattern, returning it to the blank state.

NOTE

Creating a rhythm song
A rhythm song consists of a sequence of rhythm patterns
with programmed chord and tempo information. The
MRS-8 allows you to save up to 10 rhythm songs per
project. While the [SONG/PATTERN] key is lit, one of
these can be selected for editing or playing.

It is not possible to restore data once the rhythm pattern has
been erased. Use this operation with care.

The following two methods are available for entering
rhythm pattern information into a rhythm song.

■ Step input

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is
out.
The rhythm pattern selection screen appears.

Turn the dial to select the rhythm pattern to
erase.

Press the [FUNCTION] key in the control
section.
The display changes as follows.

DELETE
SURE?
4.

To carry out the erase operation, press the
[ENTER] key.
When the erase operation is completed, the display
returns to the rhythm pattern selection screen. By
pressing the [EXIT] key instead of the [ENTER] key, you
can cancel the operation and back up one step at a time.

To return to the main screen, press the
[EXIT] key repeatedly.

With this method, you line up rhythm patterns one by one
by specifying a pattern and the number of measures.
Input can be performed at any point in the song. It is also
possible to switch to another pattern while the previous
pattern is still playing. This mode is suitable for
specifying patterns in detail.

■ FAST (Formula Assisted Song Translator)
This method uses simple formulas to specify rhythm
pattern playback from start to end. The result is written to
the song in a single operation. Because input midway
through a song is not possible with this method, it is most
suitable for cases where the configuration of the entire
song has been decided beforehand.

HINT
There is no difference in the completed rhythm song due to
input method that was used, i.e. a song will be the same,
regardless of whether it was created using step input or the
FAST method. If necessary, you can first create a rough
version of a song using FAST and then perform detailed
editing using step input.

Selecting a rhythm song
Out of the 10 available songs, select the rhythm song for
editing or playing as follows.

HINT
In the default condition of a project, all rhythm songs are
empty.

From the main screen, press the [SONG/
PATTERN] key in the rhythm section
repeatedly, until the key is lit.
The rhythm section switches to rhythm song mode, and

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Reference [Rhythm]

the rhythm song selection screen appears.
Current position
Rhythm song number

1 (measure number)

Rhythm End of Song
song

SongNo0E
EMPTY
Rhythm song name

When the rhythm song is empty, the indication
“EMPTY” is shown in the rhythm song name field, and
the indication “E” is shown to the right of the rhythm
song number.

Turn the dial to select a rhythm song
number from 0 – 9.

To return to the main screen, press the
[EXIT] key.

Entering pattern information
using step input

åPTN
EOS
1- 1- 0

During step input, the cursor up/down keys serve to bring
up various kinds of information about events that are
programmed at the current point. For example, when
“PTN” is shown, rhythm pattern information can be
entered for the rhythm song. The following items can be
selected.
Parameter

This section explains how to input rhythm pattern data
into an empty rhythm song by specifying the rhythm
pattern number and number of measures.

EV→
PTN
TimSig
ROOT
CHORD
TEMPO
DrLevel
BsLevel
Dr KIT
Bs PRG

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm section switches to rhythm song mode, and
the rhythm song selection screen appears.

Press the REC [O] key in the transport
section.
The key lights up and the display changes as follows. In
this condition, you can perform rhythm song step input.

EVå
EV
EOS
1- 1- 0

End-of-song indication Current position

The indication “EOS” (End of Song) shows the position
where the rhythm song ends. For an empty song, “EOS”
will be located at the beginning. Therefore nothing
happens if you play the song.

Use the cursor up/down keys to bring up
the indication “←PTN” on the first line of
the display.

Description
Event information at current point
Rhythm pattern number
Time signature
Chord root
Chord type
Tempo
Drum sequence volume
Bass sequence volume
Drum kit number
Bass program number

HINT
When an item other than “EV→” is selected and no
information is input for the current position, the arrow “←” is
shown before the item name. This indicates that information
input at a preceding point continues to be valid.

Press the [FUNCTION] key in the control
section.
The indication “INSERT?” appears on the first line of the
display.

INSERT?
P000x 4
Rhythm pattern
number to insert
Number of measures to insert

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Reference [Rhythm]

In this condition, you can input rhythm pattern
information for the current point.

Turn the dial to select the rhythm pattern to
insert.

Use the cursor up/down keys to specify the
number of measures to insert.
If you specify more measures than the original length of
the rhythm pattern, the rhythm pattern will be repeated. If
you specify fewer measures, the song will switch to the
next rhythm pattern before the current pattern has
finished playing.

Current position
(Measure number)
1
2

Rhythm
song

PATTERN 002

End of Song

HINT
• The REW [T] and FF [Y] keys in the transport section can be
used to move the current position in beat units.
• When “EV→” is shown on the display, turning the dial moves
the current position in sixteenth note units. By bringing up the
“EV→” indication to move to a point within a measure and
then using the cursor up/down keys to display event
information, you can enter event information in sixteenth note

To finalize the setting, press the [ENTER]
key.
The rhythm pattern information will be input at the
current location, and the display reverts to the original
screen. The “EOS” indication is moved back by the
number of measures that were inserted.

PTN 002
08Beat03
1- 1- 0

units (→ p. 83).

Repeat steps 4 – 8 to enter all required
pattern information.

10. When all required pattern information has
been entered, press the STOP [P] key.
The REC [O] key goes out and the rhythm song selection
screen appears again. If you press the PLAY [R] key, the
created rhythm song will be played.
To edit the entered rhythm pattern information, proceed
as follows.

Current position
(measure number)
1
2

Rhythm
song

PATTERN 002

End of Song

By pressing the PLAY [R] key while this display is
shown, you can repeatedly play the rhythm pattern
entered at the current point.

Repeatedly press the cursor right key to
move to the measure number for which
“EOS” is shown on the second line of the
display.
During rhythm song step input, you can use the cursor
left/right keys to move the input position in measure
units. When you reach the end of the song, the indication
“EOS” is shown on the second line of the display.

åPTN
EOS
3- 1- 0

• Selecting a different rhythm pattern
Use the cursor left/right keys to move to the point where
the respective rhythm pattern information is input, and
then turn the dial to select the new rhythm pattern.
By turning the dial at a point where no rhythm pattern
information is input (“←PTN” is shown), you can add
new rhythm pattern information for this point.
The newly selected rhythm pattern information will
always be valid until the point where the next rhythm
pattern information is input.
• Deleting entered rhythm pattern information
Use the cursor left/right keys to move to the position of
the rhythm pattern information to delete, and press the
[FUNCTION] key twice. (The indication “EV ERASE
SURE?” appears.) Then press the [ENTER] key. When
rhythm pattern information was deleted, the previous
pattern will remain valid until the point where the next
rhythm pattern information is input.
Delete
PATTERN A

PATTERN A

PATTERN B

PATTERN C

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Reference [Rhythm]

• Inserting a rhythm pattern in a song
Use the cursor left/right keys to move to the point where
the rhythm pattern should be inserted, and perform steps
4 – 7. A new rhythm pattern is inserted at the current
location, and all subsequent patterns are moved back by
the duration of the inserted pattern.
Insert
PATTERN D

PATTERN A

PATTERN B

PATTERN C

PATTERN A

PATTERN B

PATTERN D

Using FAST for pattern
information input
The FAST (Formula Assisted Song Translator) method
developed by ZOOM uses simple formulas to specify
rhythm pattern sequences and write an entire rhythm
song in one operation.
The following keys and pads can be used for numeric
input.
[x+] key

PATTERN C

• Deleting a specific measure
Use the cursor left/right keys to move to the start position
of the measure to delete. Press the [FUNCTION] key
three times. (The indication “MEAS DEL SURE?”
appears.) Then press the [ENTER] key. The measure at
the current position is deleted, and subsequent rhythm
pattern information moves forward. When a measure at
the beginning of a rhythm pattern (such as the first
measure of a 2-measure pattern) is deleted, that measure
only is deleted, and the indication changes to “←PTN”
for the second measure.

Enters the "+" (plus symbol)
for lining up patterns and
the "x" (multiplication
symbol) for repeated play of
the same pattern.

[( )] key
Enters the opening and
closing brackets used
for linking several
patterns.

Pads 1 - 9 / [0] key
Serve for specifying pattern numbers and
repetition count.

Delete 1 measure
PATTERN A

PATTERN B

PATTERN A

PATTERN B

PATTERN D

PATTERN C

The basic rules for creating a rhythm pattern sequence are
as follows.
• Line up patterns
Use the “+” symbol to line up rhythm patterns. For
example, entering 0 + 1 + 2 will result in the following
rhythm pattern play sequence.

PATTERN 0 PATTERN 1 PATTERN 2

• Repeat patterns
Use the “x” (multiplication) symbol to specify pattern
repetitions. As in normal arithmetic, “x” takes
precedence over “+”. For example, entering 0 + 1 x 2 + 2
will result in the following rhythm pattern play sequence.

PATTERN 0 PATTERN 1 PATTERN 1 PATTERN 2

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Reference [Rhythm]

• Repeat multiple patterns
Use the “(“ and “)” symbols (opening and closing
brackets) to link a group of patterns for repetition.
Formulas enclosed in brackets take precedence over other
formulas. For example, entering 0 + (1 + 2) x 2 + 3 will
result in the following rhythm pattern play sequence.

HINT
• If the formula does not fit on two lines, the indication scrolls
by one character each. If you use the cursor left/right keys to
move the input position, the line scrolls left and right
accordingly.
• For FAST input, the leading zeros 0 and 00 can be omitted. For
example, pattern 001 is specified as “1”, and pattern 050 as
“50”.

PATTERN 0 PATTERN 1 PATTERN 2

• The entered formula is saved as part of a project. By calling up
the formula later, you can edit it or use it to write the song.

PATTERN 1 PATTERN 2 PATTERN 3

NOTE
• The FAST method can only be used to write a song in one go,

An example for creating the rhythm pattern sequence
0 + (1+2) x 4 is shown below.

from beginning to end. Entering rhythm patterns partly into
the song is not possible.
• To edit a rhythm song that was written with this method, edit
the formula and then write the entire song again, or use step

input.

Press the [SONG/PATTERN] key
repeatedly, until the key is lit.
The rhythm section switches to the rhythm song mode,
and the rhythm song selection screen appears.

0+(

Press twice

Press the [EDIT] key.
The rhythm song edit menu appears.

0+(1
0+(1+
Press twice

0+(1+2

SongEdit
TRANSPOS
3.

Use the cursor left/right keys to bring up
the indication “SongEdit FAST” on the
display, and press the [ENTER] key.
A cursor appears on the first line of the display, and FAST
input is possible.

0+(1+2)
±

Press twice

Cursor

0+(1+2)x
4.

0+(1+2)x
4

Use the pads and keys of the rhythm
section to enter the formula for creating the
rhythm song.

0+(1+2)x
4

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Reference [Rhythm]

If you make a mistake during input, you can correct it as
follows.
• Deleting a number/symbol
Use the cursor left/right keys to move the flashing
segment to the number/symbol to delete, and press the
[EDIT] key.
• Inserting a number/symbol
Use the cursor left/right keys to move the flashing
segment to the point where you want to insert a number
or symbol, and input the new number/symbol with the
pads and keys.

When formula input is completed, press the
[ENTER] key.
The display changes as follows. In this condition, you can
select the rhythm song number into which to write the
song.

SaveSong
0E

Entering chord information
This section explains how to add chord information (root
and chord type) data to the rhythm song that you have
created by inputting rhythm pattern data. When playing a
rhythm song for which chord information was input, the
bass sequence will change according to the chord
progression.

HINT
• If the original root of the rhythm pattern and the root specified
for the rhythm song are different, the bass sequence phrase
will be transposed according to the root input for the rhythm
song.
• If the original chord type of the rhythm pattern and the chord
type specified for the rhythm song are different, the bass
sequence phrase will be converted according to the chord
type input for the rhythm song. (Depending on the phrase and
chord type, there may be no change.)

Bring up the rhythm song selection screen
and turn the dial to select the rhythm song
for which to enter chord information.

Rhythm song number

2.
HINT
When you select an empty rhythm song number, the
indication “E” is shown to the right of the number.

NOTE
When you select an existing rhythm song as write
destination, the contents of that rhythm song will be
overwritten.

Turn the dial to select the destination
rhythm song, and press the [ENTER] key.
The write operation is carried out, and the rhythm song
edit menu appears again.
To check the result, press the [EXIT] key to return to the
rhythm song selection screen, select the rhythm song that
you have written, and press the PLAY [R] key.

Press the REC [O] key.
The key lights up and rhythm song step input becomes
possible.

Use the cursor up/down keys to bring up
the indication “ROOT” on the first line of the
display.
You can now enter the chord root for the rhythm pattern
played at this point.
At a point where rhythm pattern information is already
input, the chord information “E--” (root: E, chord type:
no conversion) is automatically assigned. Therefore, for a
rhythm song without entered chord information, the
phrase of the pattern is unchanged and the root is
transposed to E.

ROOT
E -1- 1- 0

To return to the main screen, press the
[EXIT] key repeatedly.

Chord type
Chord root

Turn the dial to specify the note name (C –
B) that will be the root of the chord.
The following screen shows an example of changing the
chord root to A.

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Reference [Rhythm]

indication “EV→” on the display, and turn the dial to
move forward or backward in 12-tick (16th note) units.

ROOT
A -1- 1- 0

HINT
During chord information input, you can press the PLAY [R]
key to check the rhythm pattern. The pattern will be played
with the new chord setting applied. To stop play, press the
STOP [P] key.

If necessary, you can also input chord information at a
point within a measure, as shown below (smallest unit:
sixteenth note). To do this, bring up the indication
“EV→” on the first line of the display, turn the dial to
move current point, and then bring up the chord
information input screen again.
Em

Measure 1

To change the chord type, press the cursor
down key once to bring up the indication
“CHORD” on the first line of the display.
You can now input the chord type.

Turn the dial to select the chord type from
the following options.

Display

Description

PATTERN A

Beat

Em
3

Am
4

PATTERN B

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

HINT
At a point where no chord information is input, “←” is shown
to the left of the “ROOT” or “CHORD” indication. This means
that the immediately preceding information continues to be
valid.

CHORD
A -6.

Am
2

Display

Description

Input the remaining chord information in
the same way.
If you have made a mistake or want to make a change,
proceed as follows.

No change

• To change chord information
Move to the location at which the chord information is
input, use the cursor up/down keys to switch the display
to “ROOT” or “CHORD”, and turn the dial to change the
chord information.

Move to the location where you want to
input the next chord information, and input
chord information in the same way as
described in steps 3 – 6.
You can move the input location during rhythm song step
input in the following ways.
• Moving in steps of a measure
Use the cursor left/right keys to move to the beginning of
the preceding or following measure.
• Moving in steps of a beat
Use the REW [T]/FF [Y] keys to move to the beginning
of the preceding or following beat.

• To delete chord information
Move to the location at which the chord information is
input, and use the cursor up/down keys to show the chord
information to delete. Press the [FUNCTION] key twice.
(The indication “EV ERASE SURE?” appears.) When
you press the [ENTER] key, the chord information will be
deleted, and the display changes to “← ROOT” or “←
CHORD”.

When you have finished, press the STOP
[P] key.
The unit returns to the rhythm song selection screen. By
pressing the PLAY [R] key in this condition, you can
check the rhythm song with the new chord information.
To return to the main screen, press the [EXIT] key.

• Moving in steps of a sixteenth note
Repeatedly press the cursor up key to bring up the

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Reference [Rhythm]

Entering other information
Event type Symbol Description

A rhythm song contains information about rhythm
patterns, chord, tempo, time signature etc. in a matrix
configuration, as shown at the bottom of this page. This is
called event information. When the rhythm song is in the
step input condition, you can move the current position
with the cursor left/right keys etc. and use the cursor up/
down keys to call up and enter or edit event information.

Bring up the rhythm song selection screen
and turn the dial to select the rhythm song
for which to enter chord information.

TimSig
ROOT

Chord root

C–B

CHORD

Chord type

--, Maj, m, 7, m7,
M7, aug, dim,
7sus4, sus4, m7b5,
m6, 6, m9, M9,
mM7

TEMPO

Tempo

40.0 – 250.0

Drum sequence 0 – 15
volume
Bass sequence 0 – 15
volume

DrVOL
BsVOL

Press the REC [O] key.
The key lights up and rhythm song step input becomes
possible.

Setting range

Rhythm pattern 000 – 510
number
Time signature 1 – 8(1/4 – 8/4)
(beat)

PTN

DrKIT

Drum kit

See appendix

BsPRG

Bass program

See appendix

Use the cursor up key to bring up the
indication “EV→” on the first line of the
display.
This screen lets you check which event information is
entered at the current point. The symbol after “EV→”
(such as “Pt” or “TS”) denotes the type of event.

HINT
• Time signature information can be entered only at the
beginning of a measure.
• If no tempo information is input for the rhythm song, the
tempo currently set for the rhythm section will be used. To
ensure that a rhythm song will always play with the same
tempo, be sure to enter tempo information at the beginning of
the song.

EVå
EV

1- 1- 0

Move to the location where you want to
input a new event.
For details on how to move the current location, refer to
page 82.

Entered event type

Available events and their symbols are listed in the table
below.

Measure 1
Pattern
PATTERN 001
Time signature
Root/chord
Tempo

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Use the cursor up/down keys to select the
type of event to input.
If the event you select here has been input at the current
location, its value will be displayed.

PATTERN 020

4/4

D maj

G min

BPM-135

Drum track volume

Bass track volume

Drum kit number

Bass program number

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Reference [Rhythm]

DrLevel
15
If there is no corresponding event, the display will
indicate “←xxx” (where xxx is the event name). This
indicates that the previously input event information still
applies.

Playing a rhythm song
This section explains how to select and play one of the 10
rhythm songs that were created by inputting rhythm
pattern and chord information.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

åTempo
6.

SongNo0
SONG000

Turn the dial to input the event value.

HINT
During rhythm song step input, you can press the PLAY [R]
key to check the rhythm pattern. The pattern will be played
with the current setting applied. To stop play, press the STOP
[P] key.

Input the remaining events in the same way.
To input more information for the same type of event, you
can move the current position in measures or beats while
the event input screen is displayed.
If you make a mistake or want to change the information,
the events can be edited in the following ways.

• To change an event setting
Display the event to change, and turn the dial to alter the
setting.
• To delete event information
Display the event to delete, and press the [FUNCTION]
key twice. (The indication “EV ERASE SURE?”
appears.) Then press the [ENTER] key.

Turn the dial to select the rhythm song, and
then press the PLAY [R] key.
The selected rhythm song will begin playing. If
something has been recorded on the audio tracks, those
tracks will play back simultaneously.

HINT
It is also possible to play a drum kit or bass program
manually during rhythm song playback by hitting the pads.

NOTE
If you select an empty rhythm song for which an “E” is shown
to the right of the song number, nothing will be played back.

To stop the rhythm song, press the STOP
[P] key.

To return to the main screen, press the
[EXIT] key.

When you have finished, press the STOP
[P] key.
The REC [ O ] key goes out, and the rhythm song
selection screen appears again. To return to the main
screen, press the [EXIT] key repeatedly.

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Reference [Rhythm]

Editing a rhythm song
This section explains how to edit a rhythm song that you
have created.

Turn the dial to select the measure to use
as copy source start point, and press the
[ENTER] key.
The display changes as follows. This screen lets you
specify the measure to be used as copy source end point.

COPY
END

Copying a specified range of
measures

1- 1- 0

Copy source end point

Part of a rhythm song can be copied in measures and
inserted into another location. This is convenient to repeat
a portion of a rhythm song.
Copy
1

Turn the dial to select the measure to use
as copy source end point, and press the
[ENTER] key.
The copy range is specified, and the screen for selecting
the copy destination appears.

PATTERN A PATTERN A PATTERN A PATTERN B

COPY
TO

PATTERN A PATTERN B PATTERN A PATTERN A PATTERN B

1- 1- 0

Copy
1

Copy destination start point

PATTERN A PATTERN B

7.
1

PATTERN A PATTERN B PATTERN A PATTERN B

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

Turn the dial to select the measure to use
as copy destination start point.

Turn the dial to select the rhythm song to
edit.

Press the REC [O] key.
The key lights up and rhythm song step input is possible.

Repeatedly press the [FUNCTION] key to
bring up the indication “COPY START” on
the display.
This screen lets you specify the measure to be used as
copy source start point.

To carry out the copy process, press the
[ENTER] key.
The “EOS” marker is shifted back by the number of
copied measures.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Press the STOP [P] key.
The unit returns to the rhythm song selection screen. To
return to the main screen, press the [EXIT] key.

Transposing the entire rhythm
song
You can transpose the bass sequence of the rhythm song
up or down in semitone units.

COPY
START
1- 1- 0

Copy source start point

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From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

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Reference [Rhythm]

Turn the dial to select the rhythm song to
transpose.

Press the [EDIT] key.
The rhythm song edit menu appears.

SongEdit
TRANSPOS
4.

Verify that the indication “TRANSPOS” is on
the display, and press the [ENTER] key.
The display changes as follows.

TRANSPOS
0
Transpose value

Turn the dial to select the transpose setting
(-6 – 0 +6), and press the [ENTER] key.
The default setting is 0 (no transposing). When you select
a setting such as +5, the bass sequence will be transposed
five semitones (a perfect fourth) up. (Depending on the
range, the result may be one octave higher or lower.)
When you press the [ENTER] key to confirm the
transpose setting, the indication “TRANSPOS SURE?”
appears on the display.

Copying a rhythm song
You can copy the contents of any rhythm song in a project
to any other rhythm song number. This is useful to create
variations of a song.

NOTE
When you execute the copy, the contents of the destination
rhythm song will be erased. Use this function with care.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

Turn the dial to select the rhythm song to
copy.
This song will be used as copy source.

Press the [FUNCTION] key twice.
The display changes as follows.

COPY
00å 1E
Copy destination rhythm song
Copy source rhythm song

To carry out the transpose operation, press
the [ENTER] key once more.
The transpose operation is carried out, and the rhythm
song edit menu appears again.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

Turn the dial to select the number of the
copy destination rhythm song, and press
the [ENTER] key.
When you select an empty rhythm song number, the
indication “E” is shown to the right of the number.
When you press the [ENTER] key, the indication “COPY
SURE?” appears on the display.

5.
NOTE
When you carry out the transpose operation, the root of the
chord information for the rhythm song is rewritten. To return
to the original condition, perform transpose once more in the
opposite direction.

To return to the main screen, press the
[EXIT] key repeatedly.

To carry out the copy operation, press the
[ENTER] key once more.
When the copy operation is completed, the unit returns to
the rhythm song selection screen with the destination
rhythm song being loaded.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

To return to the main screen, press the
[EXIT] key repeatedly.

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Reference [Rhythm]

Erasing the rhythm song
This section explains how to erase the entire rhythm song,
resetting it to a blank state.

NOTE
Once you erase the rhythm song, it cannot be recovered.
Use this function with care.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

Turn the dial to select the rhythm song to
erase.

Assigning a name to a rhythm
song
When a rhythm song is created, the song name “Songxxx”
(where xxx is the song number) is automatically assigned.
You can edit this name as necessary.

From the main screen, press the [SONG/
PATTERN] key repeatedly, until the key is lit.
The rhythm song selection screen appears.

Turn the dial to select the rhythm song
whose name you want to edit.

Press the [EDIT] key.
The rhythm song edit menu appears.

Press the [FUNCTION] key.
The display changes as follows.

DELETE
SURE?
4.

To carry out the erase operation, press the
[ENTER] key.
When the erase operation is completed, the unit returns to
the rhythm song selection screen.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

To return to the main screen, press the
[EXIT] key repeatedly.

SongEdit
TRANSPOS
4.

Use the cursor left/right keys to bring up
the indication “SongEdit NAME” on the
display, and press the [ENTER] key.
The display changes as follows.

SongName
SONG000
5.

When the name has been input, press the
[EXIT] key.
The rhythm song name is changed, and the display
returns to the rhythm song edit menu.

ZOOM MRS-8

To return to the main screen, press the
[EXIT] key repeatedly.

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Reference [Rhythm]

Importing rhythm patterns
and rhythm songs from
another project
This section explains how to import all rhythm pattern
and rhythm song data or only a specific rhythm pattern
from another project that was saved on the SD card.

NOTE
The import process will overwrite existing rhythm patterns/
rhythm songs in the currently selected project. Take care not
to accidentally overwrite rhythm pattern or rhythm song data
that you want to keep.

From the main screen, press the [SONG/
PATTERN] key to bring up the rhythm
pattern or rhythm song selection screen.
Importing of rhythm patterns or rhythm songs is possible
both in rhythm pattern mode and rhythm song mode.

Press the [SYSTEM/UTILITY] key.
The rhythm utility menu for making various rhythm
section settings appears.

UTILITY
DRUM KIT
3.

Use the cursor left/right keys to bring up
the indication “UTILITY IMPORT” on the
display, and press the [ENTER] key.
The display changes as follows.

IMPORT
BontLkBl
Project name

0
Project number

Turn the dial to select the source project,
and press the [ENTER] key.
The subsequent steps differ, depending on which
selection was made in step 4.
• When ALL was selected
Verify that the indication “IMPORT SURE?” is shown on
the display. Then proceed to step 6.
• When PATTERN was selected
The source rhythm pattern is shown on the display. Turn
the dial to select the desired rhythm pattern, and press the
[ENTER] key. The import destination pattern then is
displayed. Use the dial again to select the destination
pattern, and press the [ENTER] key. The indication
“IMPORT SURE?” appears on the display.

To carry out the import process, press the
[ENTER] key.
When all patterns/songs were selected, the rhythm
pattern or rhythm song selection screen appears again.
When a specific rhythm pattern was selected, the unit
returns to the condition of step 5. To return to the main
screen, press the [EXIT] key repeatedly.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

IMPORT
ALL
4.

Use the cursor left/right keys to select ALL
(import all rhythm patterns and rhythm
songs) or PATTERN (import specific rhythm
pattern), and press the [ENTER] key.
In this condition, you can select the source project from
which to import.

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Reference [Rhythm]

Editing various settings of
the rhythm section
This section explains how to edit various settings that
affect the entire rhythm section, such as adjusting the pad
sensitivity or adjusting the volume of the metronome.

Basic procedure
The basic procedure for editing the rhythm section
settings is the same for most items, as described below.

• PAD SENS
Change the pad sensitivity which determines the volume
level in relation to the force with which the pad is struck.
• MIDI
Make MIDI-related settings (→ p. 108).
• IMPORT
Import rhythm patterns and rhythm songs from another
project saved on the SD card (→ p. 88).
• MEMORY
Check the remaining amount of rhythm pattern and
rhythm song memory.

This procedure can be carried out either in rhythm pattern
mode or rhythm song mode.

• POSITION
Select whether the drum track panning operates as seen
from the drummer or from the listener (audience).

HINT

From the main screen, press the [SONG/
PATTERN] key to bring up the rhythm
pattern or rhythm song selection screen.

Press the [SYSTEM/UTILITY] key.
The rhythm utility menu for making various rhythm
section settings appears.

UTILITY
DRUM KIT
3.

Use the cursor left/right keys to select one
of the following items to edit, and press the
[ENTER] key.

• DRUM KIT
Select the drum kit to use for rhythm pattern/rhythm song
play (→ p. 64).
• BASS PRG
Select the bass program to use for rhythm pattern/rhythm
song play (→ p. 64).
• COUNT
Change the length of the pre-count that is heard during
real-time input of a rhythm pattern.
• ClickVol
Change the volume level of the metronome click that is
heard during real-time input of a rhythm pattern.

ZOOM MRS-8

Turn the dial to edit the setting.
The screen display and operation will be different for
each item. For details on most items, refer to the sections
that follow. For information on rhythm pattern/rhythm
song import and MIDI settings, refer to the respective
sections in this manual.

When you have finished making settings,
press the [EXIT] key repeatedly to return to
the main screen.

Changing the length of the
pre-count
You can change the length of the pre-count that is heard
when you record a rhythm pattern in real time. Perform
steps 1 – 3 of “Basic procedure” to bring up the indication
“UTILITY COUNT”, and press the [ENTER] key. Then
turn the dial to choose one of these settings.

COUNT
4
• OFF
The pre-count is turned off.
• 1–8
A pre-count of 1 – 8 beats is heard (default: 4).

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Reference [Rhythm]

• SPECIAL
A special pre-count as shown below is heard.

• LITE
Maximum sensitivity. Even light taps will produce a loud
volume.
• NORMAL
Normal sensitivity (default setting).

Changing the metronome
volume
You can change the volume of the metronome that is
heard when you record a rhythm pattern in real time.
Perform steps 1 – 3 of “Basic procedure” to bring up the
indication “UTILITY ClickVol”, and press the [ENTER]
key. Then turn the dial to set the volume (0 – 15).

ClickVol
15
HINT
A setting of zero means that the metronome click is off.

Adjusting the sensitivity of
the pads
You can specify the volume that is produced according to
the force with which you hit the pads (pad sensitivity).
Perform steps 1 – 3 of “Basic procedure” to bring up the
indication “UTILITY PAD SENS”, and press the
[ENTER] key. Then turn the dial to choose one of these
settings.

PAD SENS
NORMAL
• SOFT
The volume will be soft, regardless of how strongly you
tap the pad.
• MEDIUM
The volume will be medium, regardless of how strongly
you tap the pad.

• HARD
Low sensitivity. Strong tapping is needed to produce a
loud volume.
• EX HARD
Lowest sensitivity. Very strong tapping is needed to
produce a loud volume.

Checking the remaining
amount of memory
To check the remaining amount of recording memory for
rhythm patterns and rhythm songs, perform steps 1 – 3 of
“Basic procedure” to bring up the indication “UTILITY
MEMORY”, and press the [ENTER] key.
This screen is for display only. There is no setting that can
be edited.

MEMORY
32%

Swapping the left/right pan
position
The pan setting for the drum sound can be set to apply as
seen from the drummer or from the listener.
Perform steps 1 – 3 of “Basic procedure” to bring up the
indication “UTILITY POSITION”, and press the
[ENTER] key. Then select one of the following settings.
• PLAYER
Left/right pan setting applies as seen from the player
(drummer).
• LISTENER
Left/right pan setting applies as seen from the listener
(audience).

• LOUD
The volume will be loud, regardless of how strongly you
tap the pad.

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Reference [Effects]
This section explains the functions and operation of the effect section built into the MRS-8.
result will be recorded when you carry out recording.
When the insert effect is applied to one of the audio tracks
(tracks 1 – 8) or the drum track/bass track (drum kit/bass
program output signal), the effect processes only a
specific track. This can be used to modify the sound of a
recorded track.
By selecting the position immediately before the
[MASTER] fader, you can process the final stereo mix,
for example to adjust the tonal quality or sonic intensity
during mixdown or bounce recording.

About the effects
The MRS-8 has two types of effects, an “insert effect”
that is inserted at a specific position, and a “send/return
effect” that is used via the built-in mixer. The two effect
types can be used simultaneously. The characteristics of
these effects are described below.

■ Insert effect

■ Send/return effect

The insert effect is placed into the signal path at a specific
point. You can select one of the following positions at
which to apply the effect.

The send/return effect is internally connected to the send/
return loop of the mixer section. This applies to all tracks
and can be used to add effects such as reverb or chorus
during mixdown or bounce recording.
The signal level of each track going to the send/return
effect (send level) can be adjusted individually. The
output of the send/return effect is returned to the internal
mixer and added to the stereo mix.

(1) Immediately after the input jack
(2) In the output of any audio track or drum
track/bass track
(3) Immediately before the [MASTER] fader
When the position immediately after the input jack is
selected, the effect processes the input signal, and the

Insert effect
Recorder

(2)

Track 1
Track 2

(1)
Input

Track 3
Track 4
Track 5/6
Track 7/8

MASTER OUTPUT

Drum
Bass

Rhythm section

DRUM

BASS

5/6

7/8

MASTER

(3)
Internal mixer

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Reference [Effects]

Send level adjustment

Send

SEND LEVEL

Send/return effect
Return

DRUM

Using the insert effect

About insert effect patches
The insert effect section contains a number of single
effects such as compressor, distortion, and delay. Each of
these separate effects is called an “effect module”.
In the insert effect, the effect modules are connected in
series. A combination of effect modules that can be used
simultaneously is called an “algorithm”.
The MRS-8 allows the following algorithms.
• CLEAN
• DIST
• ACO/BASS SIM (Display: Ac/BsSIM)
• BASS
An algorithm suitable for recording guitar/bass.

• DUAL MIC
An algorithm with two entirely separate channels for
mono input x 2 and mono output x 2.
• MASTERING (Display: MASTRING)
An algorithm suitable for processing the final stereo mix
signal.
Depending on the selected algorithm, the input/output
configuration of the effect will differ. The arrangement of
effect modules for each algorithm and the input/output
signal flow are shown in the diagram below.

HINT
For some insert position settings, a stereo signal may be
mixed to mono before effect input (→ p. 94).

Effect module arrangement

Input/output type

COMP

PRE AMP/DRIVE

ZNR

MODULATION/DELAY

MIC

COMP/LIM

MIC PRE+DE-ESSER

ZNR

MODULATION/DELAY

LINE

COMP/LIM

ISOLATOR

ZNR

MODULATION

COMP/LIM

MIC PRE

ZNR

DOUBLING

COMP/LIM

MIC PRE

ZNR

DOUBLING

3BAND COMP
LO-FI

NORMALIZE

ZNR

DIMENSION
RESONANCE

MASTERING

MASTER

• LINE
An algorithm suitable for recording line-level output
instruments such as a synthesizer.

CLEAN
DIST
ACO/BASS SIM
BASS

DUAL MIC

7/8

• MIC
An algorithm suitable for microphone recording of vocals
and acoustic instruments.

This section explains how to select the position for the
insert effect, how to select a patch, and how to edit
patches.

Algorithm

BASS

Mono → Stereo

Stereo → Stereo

Mono x 2 → Mono x 2

Stereo → Stereo

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Reference [Effects]

Each effect module in an algorithm comprises two
aspects, namely the effect type and the effect parameters.
Even within the same algorithm, changing the effect type
and/or the effect parameters can produce a variety of
different sounds.

PRE AMP/
DRIVE

MODULATION/
DELAY

ZNR

PAT LVL

The edited effect type and parameter settings are stored as
a so-called “patch”. The insert effect allows 20 – 50
patches per algorithm. The numbers are listed in the table
below.
Algorithm
CLEAN
DIST
ACO/BASS SIM
BASS
MIC
LINE
DUAL MIC
MASTERING

• DRUM
Drum track
• BASS
Bass track

Patch
COMP

• IN
Immediately after input (default)

Number of patches
(preprogrammed patches)
30 (22)
50 (42)
20 (10)
20 (10)
50 (31)
50 (30)
50 (30)
30 (21)

To use a patch, first select the algorithm and then select
one of the patches in the algorithm. When you select a
patch, it becomes effective immediately.

Changing the insert location
of the insert effect

• TR 1 – 4
Tracks 1 – 4
• TR 1/2, TR 3/4, TR 5/6, TR 7/8
Mono tracks x 2 (tracks 1/2, 3/4) or stereo tracks (tracks
5/6, 7/8)
• MASTER
Immediately before [MASTER] fader

Turn the dial to select the insert position.

HINT
While the screen of step 1 is shown, the status keys and
INPUT [ON/OFF] keys 1/2 can also be used to select the
insert position. To select the track pairs 1/2 and 3/4, press
both status keys together. To select the drum/bass track
using the status key method, press the [RHYTHM] status key
repeatedly until the desired insert position (“DRUM” or
“BASS”) is shown.

When the desired insert position has been
selected, press the [EXIT] key to return to
the main screen.

Selecting the patch for the
insert effect

In the default condition of a project, the insert effect is
applied immediately after the input. To change the insert
location, proceed as follows.

This section explains how to select the patch for the insert
effect.

From the main screen, press the [INPUT
SRC] key in the effect section.
The current insert position is shown on the display.

IN SRC
IN

From the main screen, press the [INSERT
EFFECT] key in the effect section
repeatedly, until the key is lit.
The following display is shown. In this condition, you
can select the algorithm and patch for the insert effect.

Insert position

The display meaning is as follows.

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Reference [Effects]

• Insert position immediately after input
Algorithm name

Recording on a mono track

CLEAN
Standard
Patch name

Input 1

Patch number

Use the cursor up/down keys to select the
algorithm to use.
When you select the algorithm, the patch currently
selected for that algorithm becomes active.

EFFECT
(M→S)
L

Input 1

Input 1
Input 2

EFFECT
(DUAL)

Input 1

Track
R
L

EFFECT
(S→S)

Track
R
L

Turn the dial to select the patch to use.
The new patch is called up immediately.

Track
R

EFFECT
(S→S)

Track
R

HINT
• You can also use the cursor left/right keys to adjust the patch
level (the final volume of the patch).
• If the indication “EMPTY” is shown in the patch name field,
selecting the patch will have no effect.

Input 1
Input 2
Input 1
Input 2

EFFECT
(M→S)

EFFECT
(DUAL)

Recording on a stereo track
L
Input 1

EFFECT
(M→S)
R
L

Input 1

EFFECT
(DUAL)
R

HINT
Pressing the [ENTER] key in the bypass condition activates
the tuner function (→ p.114).

Input 1

EFFECT
(S→S)

Input 2

L
R

Press the [EXIT] key to return to the main
screen.
The flow of the signal before and after the insert effect
will change, depending on the insert position and the
number of input/output channels (mono/stereo).
The illustration at right shows how the signal changes
before and after the insert effect, depending on the insert
effect position. (In the effect indication, “M→S” stands
for mono input/stereo output, “S→S” stands for stereo
input and output, and “Dual” stands for mono input x 2
and mono output x 2.)

Track
R

To temporarily turn off the insert effect,
press the [INSERT EFFECT] key so that the
key goes out.
The insert effect is switched to the bypass (off) condition.
The indications “BYPASS” and “TUNER→ENTER” are
shown alternately on the display.
To turn the insert effect on again, press the [INSERT
EFFECT] key once more.

Track
R
L

L
Input 1

EFFECT
(S→S)
R

Input 1
Input 2
Input 1
Input 2

L
EFFECT
(M→S)
R
L
EFFECT
(DUAL)
R

Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track

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Reference [Effects]

• Insert position at output of audio track or
drum kit/bass program

• Insert position immediately before [MASTER]
fader
MASTER fader

Insert target is mono track (1 - 4) or
bass track
Recorder
Track

MASTER

Internal mixer

Fader

EFFECT
(M→S)

MASTER
OUTPUT

EFFECT
(M→S)

R
L
Track

EFFECT
(S→S)

MASTER fader

Fader

MASTER

R
L

L
Track

EFFECT
(DUAL)

Fader

MASTER
OUTPUT

EFFECT
(S→S)

R
MASTER fader
MASTER

Insert target is stereo track (5/6, 7/8),
mono track pair (1/2, 3/4) or drum track
L
Internal mixer

Recorder
Oddnumbered track
Evennumbered track

Oddnumbered track
Evennumbered track
Oddnumbered track
Evennumbered track

L
EFFECT
(M→S)
R

EFFECT
(S→S)

R
L
EFFECT
(DUAL)
R

MASTER
OUTPUT

EFFECT
(DUAL)

Fader
Fader

Fader

Editing an insert effect patch

Fader

The effect modules of an algorithm have various effect
parameters that can be adjusted to make detailed changes
to the character of the effect. By editing the effect
parameters, you can obtain the desired sonic result.
For some effect modules, you can also change the effect
type. For example, the MODULATION/DELAY effect
module of the MIC algorithm provides 19 effect types
such as chorus, flanger, phaser, etc. (When you change
the effect type, the effect parameter arrangement also
changes.)

Fader
Fader

Effect MODULATION/
module
DELAY
Effect
type
Effect
parameters

CHORUS

FLANGER

PHASER

DEPTH
RATE
MIX

DEPTH
RATE
FB

RATE
COLOR

This section explains how to edit the effect type and effect
parameters for the currently selected patch.

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Reference [Effects]

NOTE
The algorithm itself (type and arrangement of effect modules)
cannot be edited.

Effect module

COMPRESS
SENS

From the main screen, press the [INSERT
EFFECT] key in the effect section
repeatedly, until the key is lit.
The insert effect patch selection screen is shown.

CLEAN
Standard
2.

MOD/DLY
CHORUS

HINT
If the indication “EMPTY” is shown in the patch name field,
all of the modules are set to off. By editing such a patch, you
can create it from scratch.

Press the [EDIT] key.
The indication “EDIT” appears on the display. This
means that the patch can now be edited.
The first line of the display shows the effect module
currently selected for editing.

Depending on the selected effect module, the indication
on the first line of the display changes as shown in the
table below.
This table shows the display that is shown when the effect
module is on. If the effect module is off, the first line of
the display shows the module name or the effect type, and
the second line shows “-OFF-”.

HINT
In the DUAL MIC algorithm, the modules assigned to the L
and R channels can be edited separately. The indication “L”
on the display means that the module for the left channel is
selected. The indication “R” means that the module for the
right channel is selected.

Algorithm

MIC

LINE

To change the effect type of the currently
selected effect module, turn the dial.

Module/display indication

COMPRESS
COMP

COMP/LIM

PRE/DRV
PRE AMP/DRIVE

MIC PRE

3BandEQ
EQ

3BandEQ

COMP/LIM

MICPRE+DE-ESSER

COMP/LIM

ISOLATOR

3BandEQ

COMP/LIM
DUAL MIC

Use the cursor left/right keys to select the
effect module to edit.

Use the cursor up/down keys to select the
algorithm which has the patch you want to
edit. Turn the dial to select the patch.

CLEAN
DIST
ACO/BASS SIM
BASS

COMP L
COMP/LIM

CMP/LoFi

ISOLATOR

MicPre L
MICPRE

NORMLZR

EQ L
EQ

3BandEQ

MOD/DLY
MODULATION/DELAY

DOUBLE L
DOUBLING

DIM/RESO

TOTAL
ZNR, PAT LVL

TOTAL

MASTERING
3BAND COMP/
Lo-Fi

NORMALIZER

DIMENSION/
RESONANCE

ZNR, PAT LVL

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Reference [Effects]

For effect modules which comprise multiple effect types,
the name of the currently selected effect type is shown on
the second line of the display. When you turn the dial in
this condition, the effect type changes.

module on again.

FLANGER
-OFFNOTE

MOD/DLY
FLANGER

The modules included in TOTAL cannot be turned off.

Effect type name

HINT
• If the contents of a patch have been changed, the “EDIT”
indicator in the upper part of the display will change to
“EDITED”. When the setting is returned to the original

To compare the sound of the currently
edited patch before and after editing, press
the [INSERT EFFECT] key.
Pressing the [INSERT EFFECT] key during editing
activates the compare function. While the compare
function is active, the display changes as follows and the
patch reverts to the last stored condition.

condition, the indicator reverts to “EDIT”.
• To edit the ZNR module, bring up the indication “TOTAL” on

COMPARE
Standard

the first line of the display, and then press the cursor down key
to call up the parameter.

Use the cursor up/down keys to select the
effect parameter to edit.
The displayed parameter will be different, depending on
the effect module and effect type.
The following illustration shows what appears on the
display when you have selected the DEPTH parameter of
the “FLANGER” effect.

FLANGER
DEPTH
Effect parameter

2
Setting value

To return to the edited patch, press the [INSERT
EFFECT] key once more, or press the [EXIT] key.

10. Repeat steps 4 – 8 as necessary to edit
other modules.

11. To adjust the patch level (the final volume of
the patch), use the cursor left/right keys to
bring up the indication “TOTAL PAT LVL” on
the display, and turn the dial.
The patch level can be adjusted in the range from 1 to 30.

TOTAL
PAT LVL

HINT
When the first line of the display shows “TOTAL”, the cursor
up/down keys can be used to select the ZNR module and the
patch level.

Turn the dial to change the setting value.
For details on the effect types that can be selected for each
effect module and on the effect parameters of each type,
refer to the information in the appendix of this manual.

To toggle the effect module on or off, bring
up an effect type or parameter for the
module, and then press the [ENTER] key.
The effect module is turned off. The module name or the
effect type is shown on the first line and the indication
“-OFF-” on the second line of the display. Pressing the
[ENTER] key once more in this condition turns the

ZOOM MRS-8

12. When you have finished editing, press the
[EXIT] key repeatedly to return to the main
screen.

NOTE
Keep in mind that if you select another patch without first
storing the edited patch, the changes will be lost. For
information on how to store a patch, refer to the next section.

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Reference [Effects]

Storing or swapping insert
effect patches
An insert effect patch that you have edited can be stored
in any location of the same algorithm. By storing an
existing patch in another location, you can create a copy
of that patch. Interchanging the position of patches
(swapping) is also possible.

Assigning a name to an insert
effect patch
This section explains how to assign a name to the
currently selected insert effect patch.

From the insert effect patch selection
screen or the edit screen, press the
[FUNCTION] key.
The currently selected patch goes into store standby
mode. In this condition, you can select whether to
perform store or swap.

STORE TO
Standard

CLEAN
Standard
Press the [EDIT] key.
The selected patch can now be edited.

Use the cursor left/right keys to bring up
the indication “STORE TO” or “SWAP TO”.

Turn the dial to select the number of the
patch to store/swap.
When carrying out store, the current patch settings will be
stored under this number.
When carrying out swap, the currently selected patch and
the patch settings selected here will be interchanged.

HINT
• Patches are saved as part of a project.
• Patches from another project can be imported to the current
project (→ p. 102).

Use the cursor left/right keys to bring up
the indication “TOTAL PAT LVL” on the
display.

TOTAL
PAT LVL

Repeatedly press the cursor down key to
bring up the indication “PAT NAME” on the
display.
The name of the selected patch can now be edited. The
cursor indicates the character that can be changed.

To carry out the store/swap operation,
press the [FUNCTION] key.
When the store/swap operation is completed, the insert
effect patch selection screen appears again.
By pressing the [EXIT] key instead of the [FUNCTION]
key, you can cancel the operation and back up one step at
a time.

Patch number

From the insert effect patch selection
screen, select the patch whose name you
want to change.

PAT NAME
±tandard
tandard
Cursor

Use the cursor left/right keys to move the
cursor to the character you want to change,
and turn the dial or use the rhythm section
pads and keys to select a character.
For information on how to input characters, refer to page
33.

To confirm the new name, press the
[FUNCTION] key in the control section
twice.
The patch is stored, overwriting the old information.
When storing is complete, the insert effect patch selection
screen appears again.

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Reference [Effects]

NOTE
Fader 1

Keep in mind that the name will revert to the previous name
if you switch to another patch without storing the edited
patch.

Insert
effect

[MASTER] fader

• DRY
Only the unprocessed input signal will be recorded on the
track. If the insert effect is applied to the input, the signal
appearing at the MASTER OUTPUT jacks will be
processed by the effect.
Fader 1
1

Track 1

SYSTEM
PROJECT
3.

Use the cursor left/right keys to bring up
the indication “SYSTEM REC SRC” on the
display, and press the [ENTER] key.
The display changes as follows.

MASTER

MASTER
OUTPUT
jacks

Insert
effect

Set the insert effect position to immediately
after the input.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

MASTER
OUTPUT
jacks

Track 1

Applying the insert effect only
to the monitor signal
Normally, when the insert effect is applied immediately
after the input, the signal processed by the effect will be
recorded (effect recording). If necessary, however, you
can apply the insert effect only to the monitor signal, and
record the unprocessed input signal on the track.
For example when recording the unprocessed sound of a
vocal performance, the vocalist may be more comfortable
singing if an effect is applied to the monitor signal only.

MASTER

[MASTER] fader

Turn the dial to change the setting to
“DRY”.

When you have finished making settings,
press the [EXIT] key repeatedly to return to
the main screen.

NOTE
This setting is stored for each project. If required, change the
setting back to “WET” before you begin recording other
parts.

REC SRC
WET
You can now select one of the following two signal types
to be recorded on the track.
• WET
The input signal that has passed through the insert effect
will be recorded on the track (default setting).

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Reference [Effects]

Using the send/return
effect
This section explains how to select and edit patches for
the send/return effect.

About the send/return effect
patches
The send/return effect of the MRS-8 is a single effect
module for which one effect type (reverb, chorus, delay,
etc.) can be selected.
Each effect type has various effect parameters which can
be adjusted to control the sound produced by the effect.
Such settings can be assigned a name and stored as a
patch. In the default condition, a project has 60 send/
return effect patches (40 of which are preprogrammed).
By selecting one of these, the send/return effect can be
instantly switched.

To temporarily turn off the send/return
effect, press the [SEND/RETURN] key so
that the key goes out.
The send/return effect is switched to the bypass (off)
condition. The indication “SEND -MUTE-” is shown on
the display. To turn the send/return effect on again, press
the [SEND/RETURN] key once more.

Press the [EXIT] key to return to the main
screen.

Editing a send/return effect
patch
This section explains how to edit a send/return effect
patch.

From the main screen, press the [SEND/
RETURN] key in the effect section
repeatedly, until the key is lit.
The send/return effect patch selection screen appears.

Selecting a send/return effect
patch

SEND
VoChorus

This section explains how to select a send/return effect
patch.

HINT

From the main screen, press the [SEND/
RETURN] key in the effect section
repeatedly, until the key is lit.
The send/return effect patch selection screen appears.

SEND
VoChorus
Patch name

Turn the dial to select the patch to edit.

If the indication “EMPTY” is shown in the patch name field,
all of the modules are set to off. By editing such a patch, you
can create it from scratch.

3.
0

Press the [EDIT] key.
The currently selected effect type appears on the second
line of the display.

Patch number

Turn the dial to select the patch.
As you turn the dial, new patches will be recalled
immediately. If the send/return effect send level for each
track has been raised, you can press the PLAY [R] key to
play back the song and check out the result of the newly
selected patch.

TYPE
HALL
Effect type

The indication “EDIT” is shown on the display during
patch editing.

HINT
• You can also use the cursor left/right keys to adjust the EFX
LVL parameter (the mix amount of the effect sound).
• For information on how to adjust the send level, see page 59.

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Reference [Effects]

Turn the dial to switch the effect type.
When the effect type is changed, the effect parameters
will also change accordingly.

HINT
• If the contents of a patch have been changed, the “EDIT”
indicator in the upper part of the display will change to

Repeat steps 5 – 6 as necessary to edit
other effect parameters.

When you have finished editing, press the
[EXIT] key.
The send/return effect patch selection screen appears
again.

“EDITED”. When the setting is returned to the original
condition, the indicator reverts to “EDIT”.
• By pressing the [ENTER] key during editing, you can
temporarily turn the effect off, which is convenient during
parameter adjustment. To turn the effect back on, press the
[ENTER] key once more.

Use the cursor up/down keys to select the
effect parameter to edit.
The first line of the display shows the effect type, and the
second line shows the name and current value of the
effect parameter.

HALL
PRE DLY
Effect parameter

5
Setting value

HINT
To change the effect type, press the cursor up key repeatedly
to bring up the indication of step 3, and then turn the dial.

NOTE
Keep in mind that if you select another patch without first
storing the edited patch, the changes will be lost. For
information on how to store a patch, refer to the next section.

Storing or swapping send/
return effect patches
A patch that you have edited can be stored in any location
of the send/return effect. By storing an existing patch in
another location, you can create a copy of that patch.
Interchanging the position of patches (swapping) is also
possible.

From the send/return effect patch selection
screen or edit screen, press the
[FUNCTION] key.
The currently selected patch goes into store standby
mode. In this condition, you can select whether to
perform store or swap.

Turn the dial to change the setting.
For details on the effect types and effect parameters for
the send/return effect, refer to the appendix at the end of
this manual.

To compare the sound of the currently
edited patch before and after editing, press
the [SEND/RETURN] key.
Pressing the [SEND/RETURN] key during editing
activates the compare function.
While the compare function is active, the display changes
as follows and the patch reverts to the last stored
condition.

COMPARE
VoChorus

STORE TO
VoChorus

0
Patch number

Use the cursor left/right keys to bring up
the indication “STORE TO” or “SWAP TO”.

To return to the edited patch, press the [SEND/RETURN]
key once more, or press the [EXIT] key.

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Reference [Effects]

To carry out the store/swap operation,
press the [FUNCTION] key.
When the store/swap operation is completed, the send/
return effect patch selection screen appears again.
By pressing the [EXIT] key instead of the [FUNCTION]
key, you can cancel the operation and back up one step at
a time.

To confirm the new name, press the
[FUNCTION] key in the control section
twice.
The patch is stored, overwriting the old information.
When storing is complete, the send/return effect patch
selection screen appears again.

NOTE
HINT
• Patches are saved as part of a project.
• Patches from another project can be imported to the current

Keep in mind that the name will revert to the previous name
if you switch to another patch without storing the edited
patch.

project.

Assigning a name to a send/
return effect patch
This section explains how to assign a name to the
currently selected send/return effect patch.

From the send/return effect patch selection
screen, select the patch whose name you
want to change.

Importing patches from
another project
If required, you can import all patches or specific patches
of the insert effect or send/return effect from another
project.

NOTE

SEND
VoChorus

Keep in mind that importing patches in this way will overwrite
patches in the current project. Take care not to accidentally
erase patches that you wish to keep.

• Importing a specific insert effect patch
From the main screen, press the [INSERT EFFECT] key
to bring up the insert effect patch selection screen. Then
use the cursor up/down keys and the dial to select the
algorithm and patch to use as import target. The import
source can be selected from the patches of the same
algorithm.

Press the [EDIT] key.
The selected patch can now be edited.

PAT NAME
±oChorus
oChorus
Cursor

102

To import a specific patch, select the patch
to use as import target.

• Importing a specific send/return effect patch
From the main screen, press the [SEND/RETURN
EFFECT] key to bring up the send/return effect patch
selection screen. Then use the dial to select the patch to
use as import target.

Press the [SYSTEM/UTILITY] key to bring
up the indication “UTILITY IMPORT” on the
display, and then press the [ENTER] key.
The display changes as follows.

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Reference [Effects]

IMPORT
ALL
3.

Turn the dial to select ALL (import all
patches) or PATCH (import single patch),
and press the [ENTER] key.
In this condition, you can select the project from which to
import.

IMPORT
PRJ005

Project name

Project number

Turn the dial to select the import source
project, and press the [ENTER] key.
The subsequent steps differ, depending on which
selection was made in step 3.
• When ALL was selected
Verify that the indication “IMPORT SURE?” is shown on
the display and proceed to step 5.
• When PATCH was selected
The import source patch appears on the display. When
you turn the dial to select the patch and press the
[ENTER] key, the import target patch selected in step 1 is
shown. If necessary, turn the dial to select the number of
the patch to use as import target, and press the [ENTER]
key. The indication “SURE?” appears on the display.

To carry out the import process, press the
[ENTER] key.
All patches or the specified patch of the selected project
will be imported. When the process is completed, the
display of step 1 appears again.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

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Reference [Projects]
This section describes how to perform operations for entire projects.

About projects

Working with projects

On the MRS-8, the data needed to reproduce a song you
create are managed in units called “projects”. By loading
a project, you can always go back to exactly the same
condition that existed when the project was saved.
A project contains the following information.

This section explains how to perform operations such as
loading or saving a project.

• Audio data recorded on V-takes 1 – 10 of tracks
1 – 8 and the master track
• V-take selected for each track
• Internal mixer settings
• Track parameter settings

Basic procedure
Some steps are the same for all project operations. These
are explained below.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The display changes as follows.

• Numbers and settings of patches currently selected
for insert effect/send return effects

SYSTEM
PROJECT

• Rhythm patterns
• Rhythm songs
• Drum kit/bass program currently selected for drum/
bass track
• Other settings

Verify that “SYSTEM PROJECT” is shown
on the display, and press the [ENTER] key.
The project menu appears on the display, allowing you to
select the desired project operation.

PROJECT
SELECT

HINT
On the MRS-8, recording/playback operations can be
performed only for the currently loaded project. It is not
possible to perform functions for multiple projects
simultaneously.

HINT
Each time you call up the project menu, the current project is
automatically saved.

Use the cursor left/right keys to select one
of the following operations.

• PROJECT SELECT
Load a previously saved project from the SD card.
• PROJECT NEW
Create a new project.
• PROJECT COPY
Duplicate a project saved on the SD card.
• PROJECT ERASE
Erase a project from the SD card.

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Reference [Projects]

• PROJECT NAME
Edit the name of the currently loaded project.
• PROJECT PROTECT
Switch the protection status of the currently loaded
project on or off.
• PROJECT SEQ PLAY
Continuously play the master tracks from several projects
saved on the SD card (sequence play).

HINT
For details on the sequence play function, see page 111.

screen. By pressing the [EXIT] key instead of the
[ENTER] key, you can cancel the operation and back up
one step at a time.

Creating a new project
This operation creates a new project on the SD card.

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT NEW” on
the display. Then press the [ENTER] key.
The name and number of the project to create are shown
on the display.

Press the [ENTER] key to execute the
operation (or change the setting) that you
selected.
For details on the procedure, refer to the sections that
follow.

To return to the main screen, press the
[EXIT] key repeatedly.
Depending on which selection was made in step 3, the
main screen may return automatically.

Loading a project
You can select a project that was saved on the SD card,
and load it.

HINT
When power to the MRS-8 is turned on, the project that was
last worked on will be loaded automatically.

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT
SELECT” on the display. Then press the
[ENTER] key.
The name and number of the project to be loaded are
shown on the display.

PRJ SEL
PRJ000
Project name

Project number

PRJNo001
PRJ001
Project name

The number of the newly created project is assigned
automatically, choosing the lowest free project number,
and a default name of “PRJxxx” (where xxx is the project
number) will be assigned.
The project name is shown with a cursor on the first
character. This indicates that you can change the project
name.

If necessary, edit the project name.
To edit the name, use the cursor left/right keys and the
dial or the pads and keys in the rhythm section to input a
character. For details on entering characters, see page 33.

To create the project, press the [ENTER]
key.
The newly created project is loaded automatically, and
the unit returns to the main screen.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

HINT
0
Project number

• The project name can also be edited later ( → p. 107).
• If the recorder is stopped and the main screen is shown, you
can call up the screen of step 1 simply by pressing the [NEW
PROJECT] key.

Turn the dial to select the desired project.

Press the [ENTER] key to load the project.
When loading is completed, the unit returns to the main

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Reference [Projects]

Copying a project

Erasing a project

This operation duplicates a project that is saved on the SD
card.

This operation erases a saved project from the SD card.

NOTE

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT COPY”
on the display. Then press the [ENTER] key.
The name and number of the project to copy are shown
on the display.

PRJ COPY
PRJ000
Project name

Once a project has been erased, it cannot be restored. Use
this operation with care.

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT ERASE”
on the display. Then press the [ENTER] key.
The display changes as follows.

0
Project number

PRJ ERS
PRJ002

Turn the dial to select the copy source
project, and press the [ENTER] key.
The display changes as follows.

PRJ COPY
COPY TO

Copy destination project number

From this screen, you can select the copy destination
project number.

Turn the dial to select the copy destination
project number, and press the [ENTER] key.
The indication “SURE?” appears on the display.

Project name

2
Project number

Turn the dial to select the project, and press
the [ENTER] key.
The indication “SURE?” appears on the display.

Press the [ENTER] key to erase the project.
You can also erase the project that is currently loaded. If
you do this, the lowest-numbered project on the SD card
will automatically be loaded after the erase operation has
been completed.

NOTE
A project for which protect is ON cannot be erased. Set
protect to OFF and then repeat the procedure (→ p. 107).

Press the [ENTER] key to copy the project.
When copying is completed, the copy destination project
is loaded, and the unit returns to the main screen.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

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Reference [Projects]

Changing the project name
This operation lets you edit the name of the currently
loaded project.

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT
PROTECT” on the display. Then press the
[ENTER] key.
The display changes as follows.

Refer to steps 1 – 3 of “Basic procedure” to
bring up the indication “PROJECT NAME”
on the display. Then press the [ENTER] key.
The display changes as follows.

PRJ NAME
±RJ001
RJ001
Cursor

PRJ PRT
OFF
2.

Turn the dial to select ON (protect enabled)
or OFF (protect disabled).
If protect is ON for the project, a lock icon is shown in the
bottom right of the main screen.

A cursor appears on the first character of the project
name.

PRJ 008
PRJ008
0

Use the cursor left/right keys and the dial or
the pads and keys in the rhythm section to
input a character.
For details on entering characters, see page 33.
To return to the main screen after editing the name, press
the [EXIT] key repeatedly.

Protecting a project
This operation lets you write-protect the currently loaded
project, which disables project saving and editing. When
protect is ON, the following operations will not be
allowed.

1- 1- 0
00

Lock icon

A change in the protect status becomes active
immediately. To return to the main screen after making
the setting, press the [EXIT] key repeatedly.

NOTE
A project that is not protected will be automatically saved on
the SD card every time the power is turned off or the project
menu is called up. If you have finished a song, we
recommend to turn protect ON. This will prevent
inadvertently saving changes caused by operation steps that
you have taken after finishing the song.

• Erasing a project
• Editing or recording on the recorder
• Changing the V-take
• Editing a patch for the insert effect and send/return
effect
• Recording or editing a rhythm pattern or rhythm
song
• Setting or deleting marker information
• Changing the names of various data

HINT
A project that has been protected can still be played
normally, and you can change the mixing balance and make
certain other changes, but the changes cannot be saved.

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Reference [MIDI]
This section explains the MIDI-related settings and functions of the MRS-8.

About MIDI

Making MIDI-related settings

MIDI (Musical Instrument Digital Interface) is a standard
that allows messages such as play data and sound data
(collectively called “MIDI messages”) to be exchanged
between devices including electronic musical
instruments and computers.
The MRS-8 is equipped with a MIDI OUT connector that
can send internally generated MIDI messages to other
MIDI compatible devices. This can be used to supply
rhythm pattern playing information and synchronization
information.

This section explains how to make MIDI-related settings.

Basic procedure
The procedure for making MIDI settings is similar for
most settings. The basic steps are as follows.

From the main screen, press the [SONG/
PATTERN] key and then the [SYSTEM/
UTILITY] key.
The rhythm utility menu for making various rhythm
section related settings appears.

UTILITY
DRUM KIT
2.

What you can do using MIDI

Use the cursor left/right keys to bring up
the indication “UTILITY MIDI” on the
display, and press the [ENTER] key.
The display changes as follows.

On the MRS-8, you can use MIDI for the following
functions.
• Send play information
You can send Note On/Off messages from the MRS-8
when hitting the pads or when playing a rhythm song/
rhythm pattern. These can be used to play an external
MIDI sound source connected to the MIDI OUT
connector.
• Send sync information
The MRS-8 can supply clock information based on
internal tempo (Timing Clock) or absolute time
information in hours/minutes/seconds/frames (MIDI
Ti m e C o d e ) t o a n e x t e r n a l M I D I d ev i c e , f o r
synchronization of transport operations.
• Send control change information
The MRS-8 can supply Control Change messages
according to drum/bass sequence information
programmed in a rhythm pattern or rhythm song.

108

MIDI
DRUM CH
In this condition, you can select MIDI-related setting
items.

Use the cursor left/right keys to select one
of the following items.

• DRUM CH
Set the MIDI channel for sending playing information of
drum kit.
• BASS CH
Set the MIDI channel for sending playing information of
bass program.
• CLOCK
Turn Timing Clock transmission on/off.
• SPP
Turn Song Position Pointer transmission on/off
(information about current position in beats from the start

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Reference [MIDI]
single channel via the MIDI OUT connector.

of the song).
• COMMAND
Turn Start/Stop/Continue message transmission on/off.
• MTC
Turn MIDI Time Code transmission on/off.

NOTE
Control Change transmission is always enabled, except
when the drum kit/bass program send channel is set to off.

Press the [ENTER] key to display the
setting of the selected item, and turn the
dial to change the setting.
For details on each item, refer to the following
explanation.

When you have finished making settings,
press the [EXIT] key repeatedly to return to
the main screen.

Setting the drum kit/bass
program MIDI channel
You can specify the MIDI channels for the drum track
and bass program.
Refer to steps 1 – 3 of “Basic procedure” to bring up the
indication “MIDI DRUM CH” or “MIDI BASS CH” on
the display. Then turn the dial to select one of the
following settings.
• 1 – 16CH
Select one of MIDI channels 1 – 16 (default: DRUM
CH=10CH, BASS CH=9CH)
• OFF
Channel messages (Note On/Off, Control Change etc.)
for the drum kit or bass program will not be sent.

Turning Timing Clock
messages on or off
This setting specifies whether the MIDI synchronization
message Timing Clock will be transmitted.
Refer to steps 1 – 3 of “Basic procedure” to bring up the
indication “MIDI CLOCK” on the display. Then press the
[ENTER] key and turn the dial to select one of the
following settings.
• ON (Transmission on)
Timing Clock information will be transmitted when the
MRS-8 is running (default setting).
• OFF (Transmission off)
Timing Clock information will not be transmitted.

CLOCK
ON
The Timing Clock information is derived by dividing a
quarter note by 24. When Timing Clock is on, the clock
signal will calculated based on the tempo of the rhythm
pattern/rhythm song that is playing.
In order for the external MIDI device to play back in
synchronization at an appropriate tempo, you will need to
specify the tempo of the rhythm pattern/rhythm song at
the MRS-8. To synchronize the measure indication at the
MRS-8 and the MIDI device, the time signature setting at
both devices must be matched.

NOTE
Timing Clock information will be transmitted even if the
drum/bass track is muted.

HINT

DRUM CH
10CH

• When using MIDI Timing Clock messages transmitted from
the MRS-8 to synchronize the transport locate operation at
the external MIDI device, you should also turn on transmission
for Song Position Pointer and Start/Stop/Continue messages

If you specify a MIDI channel (1 – 16), hitting a pad of
the MRS-8 or playing back a rhythm pattern or rhythm
song will cause the drum/bass track playing information
to be transmitted as Note On/Off messages in the selected
channel.

in addition to Timing Clock.
• If you transmit Timing Clock together with Note On/Off or
MTC information from the MRS-8, synchronization may
become unstable. When transmitting Timing Clock,
transmission of these messages should be turned off.

HINT
By selecting the same channel for the drum kit and bass
program, the playing information can be sent together on a

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Reference [MIDI]

Turning Song Position Pointer
messages on or off

Turning MIDI Time Code (MTC)
messages on or off

You can specify whether Song Position Pointer messages
will be transmitted. Song Position Pointer is a MIDI
message that indicates the current position as a beat/clock
count from the start. Normally it is used in conjunction
with Timing Clock.
Refer to steps 1 – 3 of “Basic procedure” to bring up the
indication “MIDI SPP” on the display. Then press the
[ENTER] key and turn the dial to select one of the
following settings.

You can specify whether MIDI Time Code (MTC)
messages used for synchronization will be transmitted.
Refer to steps 1 – 3 of “Basic procedure” to bring up the
indication “MIDI MTC” on the display. Then press the
[ENTER] key and turn the dial to select one of the
following settings.

• ON (Transmission on)
MIDI Song Position Pointer messages will be transmitted
when a locate operation is performed on the MRS-8
(default setting).

• 29.97nd (29.97 frames/second, non-drop)

• OFF (Transmission off)
Song Position Pointer messages will not be transmitted.

• OFF (Transmission off)
MTC messages will not be transmitted.

• 24 (24 frames/second)
• 25 (25 frames/second)

• 30nd (30 frames/second, non-drop)
When the MRS-8 is running, MTC messages with the
specified frame rate are sent out.

SPP
ON
Turning Start/Stop/Continue
messages on or off
You can specify whether Start/Stop/Continue messages
will be transmitted. Start/Stop/Continue are MIDI
messages that indicate the transport status of a device.
Normally these messages are used in conjunction with
Timing Clock.
Refer to steps 1 – 3 of “Basic procedure” to bring up the
indication “MIDI COMMAND” on the display. Then
press the [ENTER] key and turn the dial to select one of
the following settings.

MTC
OFF
When using MTC to synchronize MIDI devices, the
MRS-8 always functions as MTC master. Set up the other
device to operate as MTC slave which receives MTC
messages and functions accordingly.
An example for synchronizing the MRS-8 with a
synthesizer is shown below.
MTC master
MIDI
IN
MTC

MRS-8

MTC slave
Sequencer

MIDI OUT
connector

• ON (Transmission on)
The appropriate Start/Stop/Continue message will be
transmitted when the MRS-8 stops or begins running
(default setting).

The frame rate setting (24, 25, 29.97nd, 30) must always
be matched at the master and slave side. Otherwise
correct synchronization is not possible.

• OFF (Transmission off)
Start/Stop/Continue messages will not be transmitted.

HINT

COMMAND
ON

110

If you transmit MTC as well as other MIDI messages from the
MRS-8, synchronization may become unstable. When
transmitting MIDI Time Code (MTC) messages, transmission
of other messages should be turned off.

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Reference [Other Functions]
This section explains various other functions of the MRS-8.

Playing several projects
continuously
(sequence play)
The MRS-8 lets you line up the master tracks from
multiple projects saved on the SD card and play them
continuously in a specified order (sequence play). This is
handy to record several projects on an external recorder,
or to play the accompaniment to multiple songs during a
live performance.
To use sequence play, you create a playlist which
specifies the order of projects. Up to 10 different playlists
can be created per SD card. Up to 99 projects can be
specified per playlist.

Creating a playlist

Use the cursor left/right keys to bring up
the indication “PROJECT SEQ PLAY” on the
display, and press the [ENTER] key.
The display changes as follows.

SEQ PLAY
EMPTY

1
Playlist number

The display shows the screen for selecting a playlist. The
second line of the display shows the number of the
selected playlist and the number of projects registered in
that playlist. If an empty playlist has been selected, the
display shows “EMPTY”.

Turn the dial to select the playlist for which
to register projects, and press the [EDIT]
key.
The display changes as follows.

END OF
LIST

Verify that the V-take you want to play is
selected for each project’s master track.

1
Playback number

NOTE
Projects in which an unrecorded V-take is selected for the
master track cannot be registered in a playlist.

From the main screen, press the [SYSTEM
UTILITY] key in the display section.
The display changes as follows.

SYSTEM
PROJECT
3.

Press the [ENTER] key.
The project menu for various project related functions
appears.

This screen lets you register projects in the playlist. The
bottom right of the display shows the playback number
which indicates the sequential position of the current
project.
The “END OF LIST” indication denotes the end of the
playlist. When the playlist is empty, the indication “END
OF LIST” appears at the beginning of the list.

Turn the dial to select the project to register
at the beginning of the playlist.
The project is registered in the first position of the
playlist. The “END OF LIST” indication moves to the
next playback number.
(1) Project number/project name

PROJECT
SELECT

PRJ 001
MRS8DEMO

4 36 120

(2) V-take duration

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(3) Playback number

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Reference [Other Functions]

(1) Project number/project name
Shows the number and name of the project registered in
the playlist.
(2) V-take duration
Shows the playing time of the V-take selected for the
master track of the registered project, in minutes,
seconds, and milliseconds.
(3) Playback number
Shows the playback position of the project.

NOTE
• Projects in which an unrecorded V-take is selected for the
master track cannot be registered in a playlist. If the name of

• To delete a single project from a playlist
Use the cursor left/right keys to select the position
number of the project to delete. Press the [FUNCTION]
key in the display section. (The indication “DELETE
SURE?” appears on the display.) Press the [ENTER] key.
The project is deleted and subsequent projects are
renumbered.
• To delete all projects from a playlist
O n t h e p l a y l i s t r eg i s t r a t i o n s c r e e n , p r e s s t h e
[FUNCTION] key in the display section. (The indication
“DELETE SURE?” appears on the display.) Press the
cursor down key. (The indication “ALL DEL SURE?”
appears on the display.) To carry out the operation, press
the [ENTER] key.

a desired project does not appear on the display, check
whether a recorded V-take is selected for the master track.
• A master track whose selected V-take is extremely short (4
seconds or less) cannot be registered in a playlist.

Press the cursor right key.
The display changes as follows.

END OF
LIST

9.
2

In this condition, you can select the second project to
play.

Turn the dial to select the next project to
play.
Use the same procedure to select projects for subsequent
positions. A maximum of 99 projects can be registered in
a playlist.
To edit the contents of a playlist, proceed as follows.
• To change projects in a playlist
Use the cursor left/right keys to select the position
number for which you want to change the project, and use
the dial to select another project.
• To insert a project in a playlist
Use the cursor left/right keys to select the position
number where you want to insert a project. Press the
[FUNCTION] key in the display section twice. (The
indication “INSERT?” appears on the display.) Turn the
dial to select another project, and press the [ENTER] key.
The project is inserted and subsequent projects are
renumbered.

112

• To switch the V-take for the master track
Press the [EXIT] key repeatedly to return to the main
screen. Load the project for which you want to switch the
V-take, and select the V-take for the master track. Then
return to the playlist registration screen.
When you have registered all desired
projects in the playlist, press the [EXIT] key
repeatedly to return to the main screen.

NOTE
• The playlist can be edited and played from any project.
• If the V-take data of the master track of a project registered in
a playlist are deleted from the SD card, or when the V-take
selection has been changed to an empty V-take, the
respective playlist becomes empty.

Playing a playlist
Select the playlist for continuous project playback as
follows.

From the main screen, press the [SYSTEM
UTILITY] key in the display section.
The display changes as follows.

SYSTEM
PROJECT
2.

Press the [ENTER] key.
The project menu for various project related functions
appears.

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Reference [Other Functions]

• REW [T] key
Stop playback, jump to the beginning of the previous
project, and resume playback.

PROJECT
SELECT
3.

Use the cursor left/right keys to bring up
the indication “PROJECT SEQ PLAY” on the
display, and press the [ENTER] key.
The display shows the screen for selecting a playlist.
When a playlist is selected for which projects have been
registered, the counter in the bottom of the display shows
the total playback time of all projects in the playlist.

SEQ PLAY
3 Songs

When playback of the last project is completed, the
recorder stops.

HINT
During playback, you can use the [MASTER] fader to adjust
the playback volume. (Other faders have no effect.)

To return to the main screen, press the
[EXIT] key repeatedly.

20 15 320

Total playing time
of projects

List number

Turn the dial to select the desired playlist.

Press the PLAY [R] key.
Projects are played in the order as registered in the
playlist. During playback, the display changes as follows.

PLAY
PRJ000
Name of project
being played

2
Playback number

When a project has played through, the master track of
the next project is automatically loaded and played.
During project playback, the following keys can be used
to select a project, pause play, or locate a certain point.
• PLAY [R] key
Play from the start of the current project.
• STOP [P] key
Stop project playback and return to the start of the current
project.
• ZERO [U] key
Return to the start of the project registered for playback
position 1.
• FF [Y] key
Stop playback, jump to the beginning of the next project,
and resume playback.

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Reference [Other Functions]

Using the tuner function
The MRS-8 incorporates a versatile tuner that can also
accommodate 7-string guitar, 5-string bass and other
unconventional tunings. This section explains how to use
the tuner function.

Play the note that you want to tune.
The pitch is automatically detected, and the display
shows the nearest note name (C, C#, D, D#, E...). The
display also indicates by how much the current pitch is
different from the correct pitch.

CHROMATC
>>A

Using the chromatic tuner
Pitch is flat

The chromatic tuner which can automatically detect pitch
in semitone steps operates as follows.

Connect the instrument that you want to
tune to one of the INPUT 1/2 connectors
and set the respective INPUT [ON/OFF] key
to ON.
When using INPUT 1, the [INPUT 1 SELECT] switch on
the rear panel must be set to the correct position.

Correct pitch

HINT
• If you press the [MIC] key so that it is lit, the internal

Pitch is sharp

microphone will be active and can be used for tuning.

> A
> A
>>A
>A

<
<<
<
<

• If both inputs are activated, the input signals will be mixed and
sent to the tuner. Set the INPUT [ON/OFF] key of the input not
required for tuning to OFF.

Press the [INSERT EFFECT] key in the
effect section repeatedly, until the key is
out.
The insert effect is bypassed and the display alternately
shows “INSERT BYPASS” and “TUNER→ENTER.”

Adjust the pitch until the “<>” indication
encloses the desired note.

To change the reference pitch of the tuner,
turn the dial during tuner operation.
The reference pitch of the tuner is set to center A = 440
Hz by default. The reference pitch can be adjusted over
the range of 435 – 445 Hz, in 1-Hz steps.

Press the [ENTER] key.
The tuner function is turned on. In the default condition
of a project, the chromatic tuner will be selected.
Currently selected tuner

CHROMATC
__
HINT
• You can switch the tuning type by pressing the left and right
cursor keys. For details, see the next section.
• While the tuner is operating, all effects are disabled.

CALIB
440Hz
When the value was changed, the original display will
return after a while. You can also press the [EXIT] key or
one of the cursor keys to return.

HINT
• The reference pitch setting is saved individually for each
project.
• When you change the reference pitch of the tuner, the pitch of
the rhythm section bass program will also change
accordingly.

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Reference [Other Functions]

When you have finished using the tuner
function, press the [EXIT] key repeatedly to
return to the main screen.

While the tuner function is active, the cursor left/right
keys serve to switch the tuning type. Tuning types and
notes for each string are listed in the table below.
For example, when you select the tuning type
“GUITAR”, the display shows the following information.

Using other tuning types
The MRS-8 allows various other tuning types besides
chromatic tuning, including standard tuning for guitar
and bass, and various special tuning functions.
Using the example of a guitar/bass connected to the
INPUT 1 connector, the following section describes how
to use other tuning types.

Connect the instrument that you want to
tune to the INPUT 1 connector and set the
INPUT [ON/OFF] key 1 to ON.
Make sure that the [INPUT 1 SELECT] switch is set to
GUITAR/BASS. If the [MIC] key is lit, press the key so
that it is flashing or out.

GUITAR
>> E
Target note
for string number

6
String number

HINT
While the tuner is operating, all effects are disabled.

Play the indicated string as an open string,
and perform tuning.

HINT
HINT
When the internal mic is activated, it can be used for tuning.
This is convenient for tuning an acoustic guitar.

Press the [INSERT EFFECT] key in the
effect section repeatedly, until the key is
out.
The insert effect is bypassed and the display alternately
shows “INSERT BYPASS” and “TUNER→ENTER.”

If required, you can change the reference pitch of the tuner
(A = 440 Hz). The procedure is the same as for the chromatic
tuner.

Use the cursor up/down keys to select
other string numbers.
Tune the other strings in the same way.

Press the [ENTER] key to turn the tuner
function on, and use the cursor left/right
keys to select the tuning type.

Tuning type
1
2
3
String number/note name

4
5
6
7

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When you have finished using the tuner
function, press the [EXIT] key repeatedly to
return to the main screen.

GUITAR

BASS

OPEN-A

OPEN-D

OPEN-E

OPEN-G

DADGAD

E
B
G
D
A
E
B

G
D
A
E
B

E
C#
A
E
A
E

D
A
F#
D
A
D

E
B
G#
E
B
E

D
B
G
D
G
D

D
A
G
D
A
D

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Reference [Other Functions]

Switching the level meter
display type

Adjusting the display
contrast and backlight

In the default condition of a project, the level meter below
the display indicates the level of the signal after passing
through the faders (post-fader). If required, you can
change the setting so that the signal before passing
through the level faders (pre-fader) is shown. To do this,
proceed as follows.

You can adjust the display contrast and turn the backlight
on and off. To do this, proceed as follows.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM LCD” on the
display, and press the [ENTER] key.
A display related item can be selected.

Use the cursor left/right keys to bring up
the indication “SYSTEM LVL MET” on the
display, and press the [ENTER] key.
The current level meter setting will be displayed.

LVL MET
POST

LCD
LIGHT
3.

Use the cursor left/right keys to select
“LIGHT” (backlight on/off) or CONTRAST
(adjust display contrast), and press the
[ENTER] key.

The settings have the following meaning.
• POST
The meter shows the level of the signal after passing
through the faders.
• PRE
The meter shows the level of the signal before passing
through the faders.

Turn the dial to change the setting.

When the setting is complete, press the
[EXIT] key repeatedly to return to the main
screen.

• When LIGHT was selected
Turn the dial to set the backlight to ON or OFF.

LIGHT
ON
• When CONTRAST was selected
Turn the dial to set the contrast in the range from 1 to 8.

CONTRAST
1
4.

116

When the setting is complete, press the
[EXIT] key repeatedly to return to the main
screen.

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Reference [Other Functions]

Changing the SD card
The SD card should normally only be removed or
inserted while the MRS-8 is turned off. However, by
using the following procedure, the SD card can be
removed or inserted while the MRS-8 is on.

NOTE
If the SD card is changed without following the procedure
below and while the MRS-8 is on, data may be permanently
destroyed.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM CARD” on the
display, and press the [ENTER] key.
The menu for various SD card functions appears.

CARD
EXCHANGE
3.

Verify that the indication “CARD
EXCHANGE” is shown on the display and
press the [ENTER] key.
If currently a SD card is inserted in the MRS-8, the
indication “CARD Exist” is shown.

Depending on the type of SD card that was inserted,
operation changes as follows.
• SD card not ready for use in MRS-8 was
inserted
The indication “FORMAT SURE?” appears on the
display. When you press the [ENTER] key at this point,
the SD card will be formatted (initialized) and the data of
all projects that were handled up to this point will be
saved on the card (except for audio data).
When the formatting and saving process is completed, the
main screen appears.

HINT
If you cancel the format by pressing the [EXIT] key, the
indication “CARD NotExist” appears again. In this case, the
unit operates as if no card were inserted.

• SD card already formatted in MRS-8 was
inserted
The indication “LoadData <-ENT->” appears on the
display. When you press the [ENTER] key twice at this
point, the project with the lowest number stored on the
SD card will be loaded.
You can save all project data up to this point (except audio
data) on the new card. To do this, use the cursor left/right
keys when “LoadData” is displayed to bring up the
indication “SaveData” and press the [ENTER] key. In this
condition, you can select the copy target project number.
Turn the dial to select the number and press the [ENTER]
key twice. The data are saved, and then the project is
loaded.

CARD
Exist
While this screen is being shown, the SD card can be
changed.

Replace the SD card.
For information on how to remove the SD card, see page
13. When the card is removed, the display indication
changes to “CARD NotExist”.

CARD
NotExist

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Reference [Other Functions]

Formatting an SD card

Checking the available SD
card capacity/project size

To format an SD card in the MRS-8, proceed as follows.
This operation displays the remaining capacity of the SD
card and the size of the currently loaded project.

NOTE
When you format a card, all data already on the card will be
erased and cannot be restored. Perform this operation with
care.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM CARD” on the
display, and press the [ENTER] key.
The menu for various SD card functions appears.

CARD
EXCHANGE
3.

Use the cursor left/right keys to bring up
the indication “CARD FORMAT” on the
display, and press the [ENTER] key.
The display changes as follows.

FORMAT
SURE?
4.

To proceed with formatting, press the
[ENTER] key.
During formatting, the indication “Format wait...” is
shown. When the process is completed, a new project is
automatically created and the main screen appears.
By pressing the [EXIT] key instead of the [ENTER] key,
you can cancel the operation and back up one step at a
time.

From the main screen, press the [SYSTEM/
UTILITY] key in the display section.
The indication “SYSTEM PROJECT” appears on the
display.

Use the cursor left/right keys to bring up
the indication “SYSTEM CARD” on the
display, and press the [ENTER] key.
The menu for various SD card functions appears.

CARD
EXCHANGE
3.

Use the cursor left/right keys to bring up
the indication “CARD CAPACITY” on the
display, and press the [ENTER] key.

Use the cursor up/down keys to select the
desired screen from one the following
options.

• REMAIN (MB units)
This shows the remaining space on the SD card in MB
(megabyte) units.

REMAIN
000037MB
• REMAIN (m/s units)
The approximate recordable time remaining on the SD
card (converted into one track) is shown in minutes (m),
and seconds (s).

REMAIN
0007m24s
• PRJ SIZ (MB units)
This shows the size of the currently loaded project in MB
(megabyte) units.

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Reference [Other Functions]

PRJ SIZE
00007MB
• PRJ SIZ (m/s units)
This shows the size of the currently loaded project in
terms of recorded time (converted into one track), in
minutes (m), and seconds (s).

PRJ SIZE
0001m09s
To return to the main screen, press the [EXIT] key
repeatedly.

NOTE
• These screens are for display only and contain no settings
that can be changed.
• The remaining recordable time is an approximation. Use it for
general reference only.

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Troubleshooting
If there are problems during operation of the MRS-8, check the following points first.

Problems during playback
■ No sound, or sound is very weak
• Check the connections to your monitor system, and
the volume setting of the system.
• Make sure that the [MASTER] fader is raised.
• Make sure that the status keys in the mixer section
are lit in green and that the faders are raised. If a key
is out, press it to make it light up in green.

■ Playback sound is distorted
• Lower the faders of recorded tracks so that the level
meter 0 (dB) segment does not light.
• If the EQ gain of the mixer is set extremely high, the
sound may be audibly distorted even if the fader for
the track is lowered. Set the EQ to an appropriate
value.

■ Operating the fader does not affect the
volume
• On channels for which stereo link is turned on, the
fader of the even-numbered channel will have no
effect. Either turn stereo link off ( → p. 60), or
operate the fader of the odd-numbered channel.
• The [RHYTHM] fader controls only the sound
(drum kit or bass program) currently selected for the
rhythm section. Press the [DRUM/BASS] key in the
rhythm section repeatedly to select the desired
sound, and then operate the fader.

■ No sound from input signal, or sound is
very weak
• Make sure that the respective INPUT [ON/OFF] key
is lit.
• Make sure that the respective [INPUT] control is
raised.
• Make sure that the record level setting (→ p. 15) is
appropriate.

120

• Make sure that the [INPUT 1 SELECT] switch is set
to the appropriate position for the instrument
connected to the INPUT 1 connector.

■ The display indicates “Don’t Play” and
playback is not possible
The recorder will not operate in the current screen.
Press the [EXIT] key repeatedly to switch to the main
screen.

■ The indication “Stop Recorder” is shown
on the display, and operation is not
possible.
The current operation is not possible while the
transport is in playback mode. Press the STOP [P]
key to stop the recorder.

Problems during recording
■ Cannot record on a track
• Make sure that you have selected a recording track.
• Recording is not possible if the project is writeprotected. Either turn protect off (→ p. 107), or use
a different project.
• If the indication “CARD PROTECT” is shown on
the display, write protect is enabled for the inserted
SD card. Slide the write protect switch on the card
up to turn write protect off.
• If the indication “FULL” appears during recording,
the SD card is full. Change to another SD card or
erase unneeded data to free up space. The V-take
currently being recorded will not be saved.

■ The signal from an instrument or mic
connected to an INPUT connector is not
available
While the built-in mic is active, the INPUT 1
connector cannot be used. Press the [MIC] key so that
it is flashing or out. This turns the built-in mic off.

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Troubleshooting

■ The recorded sound is distorted

■ Cannot hear the rhythm song playback

• Check whether the input sensitivity setting and
record level setting are appropriate.

• Make sure that you have not selected an empty
rhythm song (→ p. 76).

• When the insert effect is applied to the input, check
whether the effect output level (patch level) setting
is appropriate.

• Make sure that the selected rhythm song does not
include an event with a volume level zero setting
(→ p. 83).

■ No sound when you tap the pads

Problems with effects
■ Insert effect does not work
• Make sure that the [INSERT EFFECT] key is lit.
• Check whether the insert effect position has been
selected correctly.

■ Send/return effect does not work

If the pad sensitivity has been set to “SOFT”, loud
sounds will not be produced even when you tap the
pad strongly. Change the pad sensitivity setting
(→ p. 90).

■ Cannot create a new rhythm pattern/
rhythm song
If the display indicates “SEQ FULL”, the rhythm
section memory has been used to maximum capacity.
Delete unneeded rhythm patterns or songs to free up
memory.

• Make sure that the [SEND/RETURN] key is lit.
• Make sure that the send level for the track is raised
(→ p. 28).

■ Notes recorded in the rhythm pattern do
not play
Notes that exceed the maximum polyphony (6 sounds for
drum kit, 1 sound for bass program) will not be played.
Delete some of the notes that have been recorded to stay
within the maximum polyphony.

Problems with the rhythm
section
■ Cannot hear the rhythm pattern playback
• Press the [DRUM/BASS] key repeatedly to select
the desired sound (drum kit/bass program), and then
operate the [RHYTHM] fader.
• Press the [DRUM/BASS] key repeatedly to select
the desired sound (drum kit/bass program), and then
press the [RHYTHM] status key repeatedly until the
key is lit in green.
• If the drum/bass sequence level has been set to zero
within a pattern, that sound will not be heard. Raise
the level setting for the drum/bass sequence (→ p.
74).

Problems with MIDI
■ Cannot synchronize with external MIDI
device
• Make sure that the MIDI cable is correctly connected
from the MIDI OUT connector of the MRS-8 to the
MIDI IN connector of the external device.
• Synchronization with an external MIDI device is
only possible by using the MIDI clock or MTC
output from the MRS-8.
• Make sure that the external MIDI device is set to
receive MIDI clock or MTC and synchronize to it.
• When synchronizing on the timing clock, make sure
that output is enabled for Timing Clock, Song
Position Pointer, and Start/Stop/Continue messages
at the MRS-8 (→ p. 110).

ZOOM MRS-8

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Troubleshooting

• When synchronizing on the MTC (MIDI Time
Code), make sure that the frame rate setting of both
devices is matched and that the external MIDI
device is set to playback standby (→ p. 110).

Other problems
■ Cannot create a new project or copy a
project
• If the write protect switch of the SD card has been
set to the write protect position, data cannot be saved
on the card.
• If the display indicates “FULL”, there is no more
free space on the SD card. Change to another SD
card or erase unneeded data to free up space.

■ Cannot save a project
• When a project has been set to write protect status,
overwrite/save cannot be carried out. Turn protect
off (→ p. 107).
• If the display indicates “PRJ FULL”, no more
projects can be created on the SD card. Change to
another SD card or erase unneeded projects to free
up space.

■ SD card is not recognized
• Format the SD card in the MRS-8 (→ p. 118).
• The MRS-8 cannot use SD cards with a capacity of
less than 16 MB. If such a card is inserted, the
indication “Too Small” is shown.

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Appendix
Specifications

● Effect
Algorithm

8 (CLEAN, DIST, ACO/BASS
SIM, BASS, MIC, DUAL MIC,

● Recorder
Physical track

LINE, MASTERING)
8

Virtual take

80 (10 takes per track)

Drum track

1 (stereo)

Bass track

Module

6 for insert, 1 for send/return

Type

94 for insert, 6 for send/return

Patch

300 for insert, 60 for send/return

Tuner type

Chromatic, guitar, bass,
open A/D/E/G, D modal

Simultaneous recordable track
2
Simultaneous playback track
11 (8 audio + stereo drum + bass)
Recording time

Drum sound

27 per kit (9 pads x 3 banks)

Bass sound

Pad

9 (velocity sensitive)

Resolution

48 PPQN

Beat

1/4 – 8/4

Rhythm pattern

511 per project

approximate. Actual times may

Rhythm song

10 per project

be somewhat shorter, depending

Measure

99 per rhythm pattern

on the setting conditions.

Note/event

Approx. 20000 per rhythm song

Tempo

40.0 – 250.0 BPM

256MB 100min
(in mono track)
* Regardless of the card capacity,
continuous recording can be
performed up to 180 minutes.
* Recording times are

Project

1000 per card

Marker

100 points per project

Locator

minute/second/millisecond,
measure/beat/tick

A/D conversion

24-bit, 64-times oversampling

Copy, move, erase, exchange, trim,

D/A conversion

24-bit, 128-times oversampling

Sampling frequency

44.1 kHz

fade-in/out, reverse
Other function

6 for drum, 1 for bass

Drum kit

1GB 400min

Track editing

● Rhythm
Voice

Punch-in/out, bounce recording,
A-B repeat, capture/swap

● Mixer
Fader

Level meter

Post-fader/pre-fader

Track parameter

2-band equalizer, effect send level,
panning (balance)

Stereo link

ZOOM MRS-8

Track 1/2 or 3/4 linkable

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Appendix

Display

55 x 35 mm custom LCD with
backlight

Input 1

DC 9 V, 300 mA (ZOOM AD0006)

Standard mono phone jack
Input impedance10 kilohms

Input 2

Power supply
AC adaptor
Battery

4 x IEC R6 (size AA);

(MIC/LINE), 470 kilohms

approx. battery life 4 hours/5

(GUITAR/BASS)

hours (display backlight on/off)

XLR-3-31/standard phone combo
jack

Dimension

300 (W) x 165 (D) x 60 (H) mm

(Balanced)

Weight

1.1 kg without batteries

input impedance 1 kilohm, pin 2
hot
(Unbalanced)
input impedance 10 kilohms
Input level

-50 dBm < continuously variable

* 0 dBm = 0.775 Vrms
* Design and specifications are subject to change without
notice.

< +4 dBm
Master output

RCA phono jack (L/R)
Output load impedance 10
kilohms or more
Rated output level -10 dBm

Headphones output

Standard stereo phone jack
50 mW into 32-ohm load

MIDI

124

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Appendix

Effect Parameters

Insert Effect
■ CLEAN, DIST, ACO/BASS SIM, BASS algorithm
COMP module
Type
COMPRESS

Parameter
SENS

ATTACK

LEVEL

Keeps the dynamic range consistent.

Parameter description
Parameter
SENS

Setting range
0 – 10

Description
Adjusts the compression input sensitivity.

ATTACK

0 – 10

Adjusts the compression attack speed.

LEVEL

1–8

Adjusts the module output level.

PRE AMP/DRIVE module

J-CLN
US-CLN
US-DRV
TWEED
CLASS A
UK-CRU
UK-DRV
CMB 335
MTL PNL
BLK BTM
MD LEAD
FZ-STK
TE BASS
FD BASS

Type

Parameter
Clean sound that models a transistor combo amp.
Clean sound that models a built-in type vacuum tube amp.
Drive sound that models a built-in type vacuum tube amp.
Model of a small built-in vacuum tube combo amp with dry distortion.
Unique crunch sound that models a British-style combo amp.
Crunch sound that models a British-style vacuum tube stack amp.
Drive sound that models a British-style vacuum tube stack amp.
Models a vacuum tube combo amp characterized by long sustain.
High-gain drive sound that models a vacuum tube stack amp.
Model of a vacuum tube stack amp, characterized by fat bass and delicate distortion.
Drive sound that models a high-gain amp suitable for lead guitar.
60's sound typical of a Fuzz unit played through an amp stack.
Model of a bass amp with a distinctively clean low-mid range.
Model of a bass amp with vintage-style drive.

SNS BASS
CR+CAB
TS+CAB
GV+CAB
MZ+CAB
9002+CAB

Parameters for type J-CLN to FD BASS are the same.
Trebly drive sound for bass.
Combination of crunch and cabinet simulator.
Combination of vintage overdrive and cabinet simulator.
Combination of vintage distortion and cabinet simulator.
Combination of metal-style distortion and cabinet simulator.
Combination of the Zoom 9002 distortion and cabinet simulator.

GAIN

TONE

LEVEL

CABINET

SPEAKER

DEPTH

CABINET

SPEAKER

DEPTH

SPEAKER

DEPTH

Parameters for type SNS BASS to 9002+CAB are the same.
ACO SIM
E-AcPRE
BASS SIM
CABINET

ZOOM MRS-8

TOP

BODY

LEVEL

Transforms the sound of an electric guitar into an acoustic-guitar-like tone.
COLOR

TONE

LEVEL

CABINET

Pre-amp for electroacoustic guitar.
TONE

LEVEL

Transforms the sound of an electric guitar into a bass-guitar-like tone.
CABINET

SPEAKER

DEPTH

Simulation of the cabinet of a guitar/bass amp.

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Appendix
Parameter description
Parameter
GAIN

Setting range
1 – 30

Description

TONE

0 – 10

Adjusts the tone.

LEVEL

1–8

Adjusts the module output level.

Adjusts the amount of gain.

Selects the cabinet type
CM
CABINET

Combo-type cabinet.

Produces a brighter tone than CM.

Cabinet with a flat response.

Stack-type cabinet.

Combo-type cabinet for bass.

Stack-type cabinet for bass.
Selects the loudspeaker type.

SPEAKER

Combo-type guitar amp with one 12 inch speaker.

Combo-type guitar amp with two 12 inch speakers.

Combo-type guitar amp with one 10 inch speaker.

Stack-type guitar amp with four 10 inch speakers.

Multiple stack-type amps placed together.

Combo-type bass amp with one 15 inch speaker.

Stack-type bass amp with four 6.5 inch speakers.

DEPTH

0 – 10

Adjusts the cabinet resonance of the speaker.

TOP

1 – 30

Adjusts the resonance of the strings.

BODY

0 – 10

Adjusts the resonance of the body.

COLOR

1–4

Adjusts the character of the electroacoustic guitar preamp.

3 BAND EQ module
Type
3BandEQ

Parameter
HIGH

MID

LOW

LEVEL

Three-band equalizer.

Parameter description
Parameter
HIGH

Setting range
-12 – 12

Description
Boosts/cuts the high-frequency range.

MID

-12 – 12

Boosts/cuts the mid-frequency range.

LOW

-12 – 12

Boosts/cuts the low-frequency range.

LEVEL

1–8

Adjusts the module output level.

MODULATION/DELAY module
Type
CHORUS
V-CHORUS
FLANGER
PHASER
TREMOLO
AUTO PAN
AUTO WAH
PITCH
SLOW-ATK
VIBE

126

Parameter
DEPTH

RATE

MIX

Adds pulsation and spaciousness to the sound.
DEPTH

RATE

MIX

Simulates the warm sound of a vintage effect.
DEPTH

RATE

Produces a unique, undulating sound.
POSITION

RATE

COLOR

Produces a swooshing sound.
DEPTH

RATE

CLIP

Periodically varies the level of the sound.
WIDTH

RATE

CLIP

Pereodically moves the stereo position of the sound.
FLT TYPE

POSITION

RESONANC

SENS

Gives a varying wah sound that depends on the picking intensity.
SHIFT

TONE

BALANCE

Modifies the pitch of the direct sound.
POSITION

TIME

CURVE

Creates a “violin playing” sound with soft attack.
DEPTH

RATE

BALANCE

Automatic vibrato effect.

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Appendix

STEP
RING MOD
CRY
EXCITER
AIR
WIDE
DELAY
ECHO
FIX-WAH
ARRM-PIT

DEPTH

RATE

RESONANC

Changes the sound with step-like filter characteristics.
POSITION

RATE

BALANCE

Produces a metallic sound.
POSITION

RESO

SENS

Talking-modulator-like effect.
FREQ

DEPTH

LowBoost

Gives the sound more focus and spatial definition.
SIZE

TONE

MIX

Simulates the air ambience of the room, giving the sound spatial depth.
TIME

WET LVL

DRY LVL

Simulates a stereo recording with two microphones.
TIME

MIX

Delay effect with a delay time of up to 2.9 seconds.
TIME

MIX

Delay effect with warm sound, up to 2.9 second delay time.
FLT TYPE

POSITION

FREQ

R MODE

R WAVE

R SYNC

Changes the wah frequency in sync with rhythm tempo.
TYPE

TONE

R WAVE

R SYNC

Changes the pitch in sync with rhythm tempo.

Parameter description
Parameter
DEPTH

Setting range
EXCITER: 0 – 30
Others: 0 – 10

Description
Adjusts the depth of the effect.

TREMOLO: 1 – 30, t0 – t9, M1
RATE

FLANGER, PHASER,
AUTO PAN: 1 – 30, t0 – t9, M1 – M4

Adjusts the speed of the effect. The "tx" or "Mx" setting results in sync with the
rhythm tempo.

Others: 1 – 30
MIX
FB
POSITION

COLOR

0 – 30
FLANGER: -10 – 10
DELAY, ECHO: 0 – 10
AF, bF

Adjusts the mix amount of the effect.
Adjusts the amount of feedback.
Selects the module location from AF; after the 3 BAND EQ module and bF; before
the PRE AMP/DRIVE module.
Specifies the type of phase tone.

4-stage phaser

4-stage phaser with inverted feedback

8-stage phaser

8-stage phaser with inverted feedback

CLIP

0 – 10

Emphasizes the effect.

WIDTH

0 – 10

Adjusts the width between L/R.

FLT TYPE

bPF, LPF

RESONANC

AUTO WAH, CRY: 1 – 10
STEP: 0 – 10

Specifies the filter type.
Adjusts the effect character intensity.

SENS

-10 – -1, 1 – 10

SHIFT

-12.0 – 24.0

TONE

0 – 10

Adjusts the tone.

BALANCE

0 – 30

Adjusts the balance between the direct sound and effect sound.

SLOW-ATK: 1 – 30
TIME

WIDE: 1 – 64
DELAY, ECHO: 1 - 2900, t1 - t9, M1

CURVE

0 – 10

Adjusts the effect sensitivity.
Adjust the pitch shift amount. The value “1.0” corresponds to semitone.

Adjusts the attack speed.
Adjusts the delay time in 1-ms steps. The "tx" or "M1" setting results in sync with
the rhythm tempo.
Adjusts the attack curve.

EXCITER: 1 – 5

Adjusts the frequency.

FIX-WAH: 1 – 50

Adjusts wah effect center frequency.

LowBoost

0 – 10

Emphasizes the low frequency range.

SIZE

1 – 10

Adjusts the spatial width.

WET LVL

0 – 30

Adjusts the mix amount of the effect sound.

DRY LVL

0 – 30

Adjusts the mix amount of the direct sound.

LEVEL

1-8

FREQ

ZOOM MRS-8

Adjusts the module output level.

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Appendix

Selects the changing width.

R MODE

oFF

Frequency stays constant.

Minimum→ maximum

Maximum→ minimum

Setting value → maximum

Minimum→ setting value
Selects the control waveform.

R WAVE

Rising sawtooth wave

Rising fin wave

Falling sawtooth wave

Falling fin wave

Triangle wave

Second power triangle wave

Sine wave

Square wave
Adjusts the control waveform cycle.

R SYNC

0.5

Eighth note

Quarter note

Half note

Dotted half note

b1 – b4

1 measure - 4 measures
Selects the pitch change type.

TYPE

Semitone lower → original

Original → semitone lower

Doubling → detune + original

Detune + original → doubling

Original → 1 octave higher

1 octave higher → original

Original → 2 octaves lower

2 octaves lower → original

1 octave lower + origina → 1 octave higher + original

1 octave higher + original → 1 octave lower + original

Perfect 5th lower + original → perfect 4th higher + original

Perfect 4rth higher + original → perfect 5th lower + original

0 Hz + original → 1 octave higher

1 octave higher → 0 Hz + original

0 Hz + original → 1 octave higher + original

1 octave higher + original → 0 Hz + original

Sync settings of RATE and TIME parameters
Setting
t0
t1
t2
t3
t4
t5
t6
t7
t8
t9
M1
M2
M3
M4

Sync cycle
32nd note
16th note
Quarter triplet
Dotted 16th note
8th note
Half triplet
Dotted 8th note
Quarter note
Dotted quarter note
Half note
Whole note
2 x whole note
3 x whole note
4 x whole note

ZNR module
Type
ZNR

128

Parameter
THRSHOLD

Cuts noise during performance pauses.

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Appendix
Parameter description
Parameter
THRSHOLD

Setting range
OFF, 1 – 30

Description
Adjusts the sensitivity. Set this high as far as the attacks or decays sound natural.

■ MIC algorithm
COMP/LIM module
Type
COMPRESS
LIMITER

Parameter
THRSHOLD

RATIO

ATTACK

LEVEL

RATIO

RELEASE

LEVEL

Keeps the dynamic range consistent.
THRSHOLD

Controls the signal peeks.

Parameter description
Parameter
THRSHOLD

Setting range
-24 – 0

Description
Adjusts the sensitivity.

COMP: 1 – 26

RATIO

Adjusts the compression degree of the signal.

LIMIT: 1 – 54, ∞

ATTACK

0 – 10

Adjusts the compression attack speed.

LEVEL

0 – 12

Adjusts the module output level.

RELEASE

0 – 10

Adjusts the time between the threshold and compression finish.

MIC PRE module
Type
MIC PRE

Parameter
COLOR

TONE

LEVEL

DE-ESSER

Preamp for microphone.

Parameter description
Parameter

Setting range

Description
Adjust the frequency response.

COLOR

Flat response

Low cut

Acoustic guitar characteristics

Acoustic guitar characteristics with low cut

Vocal characteristics

Vocal characteristics with low cut

TONE

0 – 10

Adjusts the tone.

LEVEL

1–8

Adjusts the module output level.

DE-ESSER

0 – 10

Adjusts the cut amount of vocal sibilants.

3 BAND EQ module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

MODULATION/DELAY module
Parameter

Type
CHORUS
V-CHORUS
FLANGER
PHASER
TREMOLO

ZOOM MRS-8

DEPTH

RATE

MIX

Adds pulsation and spaciousness to the sound.
DEPTH

RATE

MIX

Simulates the warm sound of a vintage effect.
DEPTH

RATE

Produces a unique, undulating sound.
RATE

COLOR

Produces a swooshing sound.
DEPTH

RATE

CLIP

Periodically varies the level of the sound.

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Appendix

AUTO PAN
PITCH
SLOW-ATK
VIBE
STEP
RING MOD
CRY
EXCITER
AIR
DELAY
ECHO
DOUBLING
FIX-WAH
ARRM-PIT

WIDTH

RATE

CLIP

Pereodically moves the stereo position of the sound.
SHIFT

TONE

BALANCE

Modifies the pitch of the direct sound.
TIME

CURVE

Creates a “violin playing” sound with soft attack.
DEPTH

RATE

BALANCE

RATE

RESONANC

Automatic vibrato effect.
DEPTH

Changes the sound with step-like filter characteristics.
RATE

BALANCE

Produces a metallic sound.
RESONANC

SENS

Talking-modulator-like effect.
FREQ

DEPTH

LowBoost

Gives the sound more focus and spatial definition.
SIZE
TONE
MIX
Simulates the air ambience of the room, giving the sound spatial depth.
TIME
FB
MIX
Delay effect with a delay time of up to 2.9 seconds.
TIME
FB
MIX
Delay effect with warm sound, up to 2.9 second delay time.
TIME
TONE
MIX
Doubling effect with a delay time of up to 100 milliseconds.
FLT TYPE
FREQ
R MODE
Changes the wah frequency in sync with rhythm tempo.
TYPE
TONE
R WAVE
Changes the pitch in sync with rhythm tempo.

R WAVE

R SYNC

Regarding the parameter description, see the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

ZNR module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

■ LINE algorithm
COMP/LIM module
See the MIC algorithm.

ISOLATOR module
Type
ISOLATOR

Parameter
XOVER LO

XOVER HI

MIX HIGH

MIX MID

MIX LOW

Divides the signal into three frequency bands, and specifies the mix amount each.

Parameter description
Parameter
XOVER LO

Setting range
50 – 16000

Description
Adjusts the frequency for bass/midrange division.

XOVER HI

50 – 16000

Adjusts the frequency for midrange/treble division.

MIX HIGH

OFF, -24 – 6

Adjusts the treble mix amount.

MIX MID

OFF, -24 – 6

Adjusts the midrange mix amount.

MIX LOW

OFF, -24 – 6

Adjusts the bass mix amount.

3 BAND EQ module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

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Appendix

MODULATION/DELAY module
Type
CHORUS
FLANGER
PHASER
TREMOLO
AUTO PAN
PITCH
RING MOD
DELAY
ECHO
DOUBLING

Parameter
DEPTH

RATE

MIX

Adds pulsation and spaciousness to the sound.
DEPTH

RATE

COLOR

LFO SFT

RATE

CLIP

LFO SFT

Produces a unique, undulating sound.
RATE

Produces a swooshing sound.
DEPTH

Periodically varies the level of the sound.
WIDTH

RATE

CLIP

Pereodically moves the stereo position of the sound.
SHIFT

TONE

BALANCE

Modifies the pitch of the direct sound.
RATE

BALANCE

Produces a metallic sound.
TIME

MIX

Delay effect with a delay time of up to 1.4 seconds.
TIME

MIX

Delay effect with warm sound, up to 1.4 second delay time.
TIME

TONE

MIX

Doubling effect with a delay time of up to 100 milliseconds.

Parameter description
Parameter
DEPTH

Setting range
0 – 10

RATE

FLANGER, PHASER,
AUTO PAN: 1 - 30, t0 - t9, M1 - M4

Description
Adjusts the depth of the effect.

TREMOLO: 1 - 30, t0 - t9, M1
Adjusts the speed of the effect. The "tx" or "Mx" setting results in sync with the
rhythm tempo.

Others: 1 – 30
0 – 30

MIX

FLANGER: -10 – 10

DELAY, ECHO: 0 – 10

Adjusts the mix amount of the effect.
Adjusts the amount of feedback.

LFO SFT

0 – 180

COLOR

1–4

Specifies the type of phase tone.

CLIP

0 – 10

Emphasizes the effect.

WIDTH

0 – 10

Adjusts the width between L/R.

SHIFT

-24.0 – 12.0

TONE

0 – 10

Adjusts the tone.

BALANCE

0 – 30

Adjusts the balance between the direct sound and effect sound.

TIME

DOUBLING: 1 – 100
DELAY, ECHO: 1 – 1400, t1 – t9, M1

Adjusts the phase difference between L/R.

Adjust the pitch shift amount. The “dt” setting results in a detune effect.

Adjusts the delay time in 1-ms steps. The "tx" or "M1" setting results in sync with
the rhythm tempo.

ZNR module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

■ DUAL MIC algorithm
COMP/LIM module
MIC PRE module
3 BAND EQ module
See the MIC algorithm.
(Same with the MIC algorithm except that there is not the parameter “DE-ESSER” in MIC PRE module)

ZOOM MRS-8

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Appendix

DOUBLING module
Type
DOUBLE L/R

Parameter
TIME

TONE

MIX

Doubling effect with a delay time of up to 100 milliseconds.

Parameter description
Parameter
TIME

Setting range
1 – 100

Description
Adjusts the delay time in 1-ms steps.

MIX

0 – 30

Adjusts the mix amount of the effect.

TONE

0 – 10

Adjusts the tone.

ZNR module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

■ MASTERING algorithm
3 BAND COMP/Lo-Fi module
Type
MLT CMP
Lo-Fi

Parameter
XOVER LO

XOVER HI

SENS HI

SENS MID

SENS LOW

MIX HIGH

MIX MID

MIX LOW

Divides the signal into three frequency bands, and specifies the compression and the mix amount each.
CHARACTR

COLOR

DISTORTN

TONE

EFX LVL

DRY LVL

Degrades the audio quality of the sound.

Parameter description
Parameter
XOVER LO

Setting range
50 – 16000

Description
Adjusts the frequency for bass/midrange division.

XOVER HI

50 – 16000

Adjusts the frequency for midrange/treble division.

SENS HI

0 – 24

Adjusts the compressor input sensitivity for the treble range.

SENS MID

0 – 24

Adjusts the compressor input sensitivity for the midrange.

SENS LOW

0 – 24

Adjusts the compressor input sensitivity for the bass range.

MIX HIGH

OFF, -24 – 6

Adjusts the treble mix amount.

MIX MID

OFF, -24 – 6

Adjusts the midrange mix amount.

MIX LOW

OFF, -24 – 6

Adjusts the bass mix amount.

CHARA

0 – 10

Specifies the character of the filter.

COLOR

1 – 10

Adjusts the color.

DIST

0 – 10

Adjusts the degree of distortion.

TONE

0 – 10

Adjusts the tone.

EFX LVL

0 – 30

Adjusts the mix amount of the effect sound.

DRY LVL

0 – 30

Adjusts the mix amount of the direct sound.

NORMALIZER module
Type
NORMLZR

Parameter
GAIN

Set the input level of the 3 BAND COMP/Lo-Fi module.

Parameter description
Parameter
GAIN

Setting range
-12 – 12

Description
Adjusts the level.

3 BAND EQ module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

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Appendix

DIMENSION/RESONANCE module
Type
DIMENSN
RESONNC

Parameter
RISE 1

RISE 2

Produces spatial width.
DEPTH

FreqOFST

RATE

TYPE

RESONANC

EFX LVL

DRY LVL

A resonance filter with LFO.

Parameter description
Parameter
RISE 1

Setting range
0 – 30

Description
Adjusts the emphasizing degree of the stereo component.

RISE 2

0 – 30

Adjusts the spaciousness that includes the monaural component.

DEPTH

0 – 10

Adjusts the depth of the effect.

FreqOFST

1 – 30

RATE

1 – 30, t0 – t9, M1 – M4

Adjusts the LFO offset.
Adjusts the speed of the effect. The "tx" or "Mx" setting results in sync with the
rhythm tempo.
Specifies the filter type.

TYPE

HPF, LPF, bPF

RESONANC

1 – 30

Adjusts the effect character intensity.

EFX LVL

0 – 30

Adjusts the mix amount of the effect sound.

DRY LVL

0 – 30

Adjusts the mix amount of the direct sound.

ZNR module
See the CLEAN, DIST, ACO/BASS SIM, BASS algorithm.

Send/return Effect
CHORUS/DELAY module
Type
CHORUS
DELAY
HALL
ROOM
SPRING
PLATE

Parameter
LFO TYPE

DEPTH

RATE

PRE DLY

EFX LVL

PAN

EFX LVL

EQ HIGH

EQ LOW

E/R MIX

EFX LVL

EQ HIGH

EQ LOW

E/R MIX

EFX LVL

EQ HIGH

EQ LOW

EFX LVL

EQ HIGH

EQ LOW

EFX LVL

Adds pulsation and spaciousness to the sound.
TIME

DAMP

Delay effect with a delay time of up to 2.9 seconds.
PRE DLY

DECAY

Simulates the acoustics of a concert hall.
PRE DLY

DECAY

Simulates the acoustics of a room.
PRE DLY

DECAY

Simulates a spring type reverb machine.
PRE DLY

DECAY

Simulates a plate reverb.

Parameter description
Parameter
LFO TYPE

Setting range
Mn, St

DEPTH

0 – 10

Adjusts the depth of the effect.

RATE

1 – 30

Adjusts the speed of the effect.

PRE DLY

CHORUS: 1 - 30
HALL, ROOM, SPRING, PLATE: 1 – 100

EFX LVL

0 – 30

TIME

1 - 2900, t1 – t9, M1

Description
Selects the LFO phase: Mn (mono) or St (stereo).

Adjusts the pre-delay time.

0 – 10

Adjusts the mix amount of the effect sound.
Adjusts the delay time in 1-ms steps. The "tx" or "M1" setting results in sync with
the rhythm tempo.
Adjusts the amount of feedback.

DAMP

0 – 10

Adjusts the cut amount of the delay sound's high range.

PAN

L10 – L1, 0, r1 – r10

DECAY

1 – 30

Adjusts the reverb time.

EQ HIGH

-12 – 6

Adjusts the high range level of the effect sound.

EQ LOW

-12 – 6

Adjusts the low range level of the effect sound.

E/R MIX

0 – 30

Adjusts the volume of early reflections.

ZOOM MRS-8

Adjusts the stereo position of the delay sound.

133

MRS-8(E).book 134 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

Effect Patch

Insert Effect
■ CLEAN algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22 - 29

Standard
J-Chorus
Phaser
DryComp
RiffCLN
WideCLN
PunchCLN
Arpeggio
CleanCH
50sRNB
StrmBeat
CompCln
12-Clean
Funky
FDR-Cln
Rockbily
NYFusion
Wet-Rhy
JazzTone
DeepFLG
ArrmWah
Kaitei
EMPTY

Comment
Basic sound touched up for recording
JC clean sound
Emulates a vintage phase effect
Line input clean sound with a hint of doubling
Rock'n roll sound bringing out differences between guitars
Wide clean sound with crunch
Airy sound with a punch
Clean sound for arpeggios
Clean channel sound of an American-made vintage tube amp
Tremolo sound for rhythm & blues
Basic sound for strummed backing
Natural compression sound
Clean sound with an upper octave mixed in
Funky cutting sound
Clean sound of American-made vintage tube amp
Rockabilly sound with short delay
Clean sound for direct-line recording
Cutting sound for ballads
Clean sound for jazz
Clean flanging sound
Clean wah sound using FIX-WAH
Mellow echoed sound for arpeggios or lead

■ DIST algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18

MRS-Drv
RCT-BG
CrnchCmp
9002Lead
F-Tweed
BlackPnl
MatchCru
Sticky
HardPick
RockDrv
Duplex
MadBass
Straight
JetSound
Combo-BG
FDR-Twin
Beatle
WildFuzz
JB.Style

134

Comment
Full distortion with rich sustain
High-gain amp sound of American-made “Rectifier” series
Crunch sound with a touch of compression
ZOOM 9002 sound
Sound of a small, American-made vintage tube amp
Heavy metal sound of “5100 series” American-made stack amp
Crunch sound of a modern class-A amp
Tight crunch sound
Hard crunch sound
Straight rock drive sound
Spacious lead sound with dual overlay effect
Distortion bass sound for high range chord playing and lead
Versatile, straight lead sound
Versatile jet sound
Overdrive sound with detailed long sustain
Clean sound of American-made vintage tube amp
Class-A type Mersey Beat sound
Vintage fuzz box
Octaver for guitar and bass unison riffs

ZOOM MRS-8

MRS-8(E).book 135 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42 - 49

Pitch-5
BRT-Drv
Soldan
MatchDrv
Snake
Crunch
Ballad
Metal-X
DP-Drv
WetDrive
Mellow
MultiDst
Bright
Melody
V-Blues
BlueFngr
HDR-Drv
Cry-Lead
ZakWah
LA-Std
TheRing
JimVib
Creamy
EMPTY

Even single notes sound like power chords
Great sound of British “900 series” stack amp
High-gain amp sound for single coil half-tone settings
Drive sound of a modern class-A amp
Heavy metal sound with a solid bottom
Ensemble of “800” series crunch and delay
Warm lead sound
Metal sound with subtle overtones
1970's hard rock sound
Simple wet overdrive sound
Lead sound with a sweet tone
Strong all-round sound
Crisp sound
Tastefully seasoned sound for melodies
Vintage blues sound
Bluesy sound for finger picking
Wet hard rock sound
Zoom's original “cry effect” sound
Lead sound with auto-wah
L.A. studio-style big chorus sound
Ring modulator simulation
Remade famous vibrato
Mild fuzz

■ ACO/BASS SIM algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10 - 19

AcoSIM 1
AcoSIM 2
AcoSIM 3
FullSize
Light12
BsSIM 1
BsSIM 2
BsSIM 3
FlngBass
UniSolo
EMPTY

Comment
Simulates unadorned acoustic guitar sound
Simulates acoustic guitar with beautiful chorus
Shimmering detuned sound with no modulation
Simulates acoustic guitar with full-sized body
Light 12-string guitar sound
Simulates a tight picked bass
Chorus bass simulation for melody lines
Auto-wah bass simulation
Flanging sound often used in 1980's fusion
Guitar and bass unison sound

■ BASS algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10 - 19

BS-Pick
BS-Od
BS-Drv
BS-Fingr
BS-Slap
BS-Comp
BS-Edge
BS-Solo
BS-Octve
BS-Wah
EMPTY

ZOOM MRS-8

Comment
Tight sound for playing with a pick
Retro distortion sound
Hard distortion sound
All-round sound for finger picking
Crisp slap sound
Sound with attack, controlled by picking dynamics
Tight sound with an edge
Chorus sound for melodies
Sound with an upper octave mixed in
Funky bass with auto-wah

135

MRS-8(E).book 136 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

■ MIC algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31 - 49

Vo-Stnd
Vo-Rock
Vo-Balld
Vo-Echo
Vo-PreC1
Vo-PreC2
Vo-PreD1
Vo-PreD2
Vo-Robot
AG-Live
AG-Brght
AG-Solo
AG-Edge
AG-Strum
ForWind
ForBrass
ForPiano
AG-Mix 1
AG-Mix 2
SweeperX
FXgroove
Lo&Hi
Lo-Boost
FanFan
Alien
TapeComp
Duet??
Active
Psyche
DeepDLY
HeGas
EMPTY

Comment
Standard vocal effect
Rock vocal effect
Ballade vocal effect with detuned chorus
Vocal echo
Smooth, listenable sound for condenser mics
Adds depth for condenser mics
Improves definition for dynamic mics
Makes sound fatter and wetter
Robot voice as in SF movies
Sound for mic recording with a live feel, not only for guitar
Bright and crisp sound for mic recording
Gorgeous solo sound
Acoustic guitar recording sound with enhanced edge
Acoustic guitar recording sound for strumming
Sound with distinctive mid-range
Crisp-sounding short delay
Enhances depth and definition
Enhanced sound for strumming
Enhanced sound for arpeggio
Adds sharp sweep to one-shot percussion
Rhythm machine sound
Boosts highs and lows and attenuates midrange
Emphasizes low end by pitch shifter
Sound like talking into a fan
Space creature sound for vocal
Simulates analog multi-track recording
Adds a child voice to female vocal or a female voice to male vocal
Emphasizes attack
Vocal gimmick effect in psychedelic style
Delay for vocals, useful when cutting shouts or sound
Duck voice after inhaling helium gas

■ LINE algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18

Syn-Lead
OrganPha
OrgaRock
EP-Chor
ClavFlg
Concert
Honkey
PowerBD
DrumFlng
LiveDrum
JetDrum
AsianKit
BassBost
Mono->St
AM Radio
WideDrm
DanceDrm
Octaver
Percushn

136

Comment
For synthesizer single note lead
Phaser for synthesizer/organ
Boomy distortion for rock organ
Beautiful chorus for electric piano
Wah for clavinet
Concert hall effect for piano
Honky-tonk piano simulation
Gives a bass drum more power
Conventional flanger for drum
Simulates outdoor live doubling
Phaser for 16-beat hi-hat
Changes a standard kit to an Asian kit
Emphasizes low range
Gives spaciousness to a monaural source
AM radio simulation
Wide stereo effect for internal drums
Reinforces bass for dance rhythms
Adds one-octave lower sound
Gives air, presence, and stereo spread to percussion

ZOOM MRS-8

MRS-8(E).book 137 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

19
20
21
22
23
24
25
26
27
28
29
30 - 49

MoreTone
SnrSmack
Shudder!
SwpPhase
DirtyBiz
Doubler
SFXlab
SynLead2
Tekepiko
Soliner
HevyDrum
EMPTY

Distortion with emphasized midrange body
Emphasizes snappy snare sound
Sliced sound for techno tracks
Phaser with powerful resonance
Lo-fi distortion using ring modulator
Doubling for vocal track
Forced SFX sound for synthesizer
Old-style jet sound for synthesizer lead
For sequence phrases or single note muted guitar
Simulates analog strings ensemble
For hard rock drums

■ DUAL MIC algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30 - 49

Vo/Vo 1
Vo/Vo 2
Vo/Vo 3
AG/Vo 1
AG/Vo 2
AG/Vo 3
ShortDLY
FatDrum
BothTone
Condnser
DuoAtack
Warmth
AM Radio
Pavilion
TV News
F-Vo/Pf1
JazzDuo1
Cntmprry
JazzDuo2
Ensemble
Enhanced
Warmy
Strum+Vo
FatPlus
Arp+Vo
ClubDuo
BigShape
FolkDuo
GtrDuo
Bright
EMPTY

ZOOM MRS-8

Comment
For duets
Chorus for main vocal
For harmony
Creates a street-like character
Different from AG/Vo 1 in vocal character
Aggressively modifies vocal character
Short delay sound with effective doubling
For drum recording with single point stereo mic
Tuned for male on L channel and female on R channel
Simulates condenser mic sound with dynamic mic input
Chorus for lead vocals with emphasized attack
Warm sound with prominent midrange
Simulates AM monaural radio
Narration sound at expo booths
TV newscaster sound
For female vocal piano ballads
Simulates jazz session LP with lo-fi sound
All-round clear sound
JazzDuo 1 for male vocal
For guitar with strong attack and mellow piano
Enhances clear, strong outline for ballads
Moderates overbright ambience
Smooth fat sound with midrange compensation
Spruces up a thin midrange
Overall solid sound
Simulates live sound in small club
Enhances overall clarity
Fresh and clean sound
Suitable for guitar duos
Bright and sharp outlook

Recommended L/R input
Vocals
Vocals
Vocals
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Microphones
Microphones
Vocals
Vocals
Vocals
Vocals
Vocals
Vocals
Vocals
Vocal/Piano
Vocal/Piano
Vocal/Piano
Vocal/Piano
Acoustic guitar/Piano
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Acoustic guitar/Vocal
Acoustic guitars
Acoustic guitars
Acoustic guitars
Acoustic guitars
Acoustic guitars

137

MRS-8(E).book 138 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

■ MASTERING algorithm
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21 - 29

PlusAlfa
All-Pops
StWide
DiscoMst
Boost
Power
Live
WarmMst
TightUp
1930Mst
LoFi Mst
BGM
RockShow
Exciter
Clarify
VocalMax
RaveRez
FullComp
ClearPWR
ClearDMS
Maximizr
EMPTY

138

Comment
Enhances the overall power
Conventional mastering
wide-range mastering
For club sound
For hi-fi finish
Powerful low range
Adds a live feel
Adds a warm feeling
Adds a hard feeling
Mastering with 1930's sound
Lo-fi mastering
Mastering for background music
Makes a rock style mix live
Lo-fi mastering with slight distortion in mid and upper range
Emphasizes high-end range
Brings vocals to the foreground
Special sweep effect using sharp filter
Strong compression over full frequency range
Power tuning with emphasized midrange
Enhances clarity and spaciousness
Boosts overall sound pressure level

ZOOM MRS-8

MRS-8(E).book 139 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

Send/return Effect
No.

Name

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40 - 59

VoChorus
DeepDBL
TightHal
LargeHal
TrStudio
VcxRev
RealPlat
VinSprin
Delay3/4
Natural
GtChorus
Doubling
Echo
Delay3/2
FastCho
DeepCho
ShortDLY
SoloLead
WarmyDly
EnhanCho
Detune
Whole*1
Delay2/3
Delay1/4
BrgtRoom
SoftHall
SmallHal
LiveHous
DarkRoom
Tunnel
BigRoom
PowerSt.
BrgtHall
BudoKan
Ballade
SecBrass
ShortPlt
Dome
ClearSpr
Dokan
EMPTY

ZOOM MRS-8

Comment
Chorus adding color to vocals
Deep doubling
Hall reverb with a hard tonal quality
Simulates the reverberation of a large hall
Simulates the reverberation of a rehearsal studio
Tuned to enhance vocals
Spring reverb simulation
Simulates analog spring reverb
Dotted-8th-note delay in sync with rhythm tempo
Chorus with low modulation for backing
Chorus for weak guitar sound
Versatile doubling
Showy analog-style delay
Dotted-quarter-note delay in sync with rhythm tempo
Fast-rated chorus
Versatile deep chorus
Versatile short delay
Keeps fast phrases tight
Simulates warm analog delay
Enhancer using phase shift doubling
For instruments with strong harmonics such as electronic piano or synthesizer
Whole-note delay in sync with rhythm tempo
Half-triplet-note delay in sync with rhythm tempo
16th-note delay in sync with rhythm tempo
Room reverb with a hard tonal quality
Hall reverb with a mild tonal quality
Simulates the reverberation of a small hall
Simulates the reverberation of a club
Room reverb with a mild tonal quality
Simulates the reverberation of a tunnel
Simulates the reverberation of a gym
Gate reverb
Simulates the bright reverb of a concert hall
Simulates the reverberation at Budokan in Tokyo
For slow ballads
Reverb for brass section
Short reverb
Reverb of a Domed-stadium
Clear reverb with short reverb time
Simulates the reverberation of a clay pipe

139

MRS-8(E).book 140 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

Rhythm Pattern
In “Song” columns (No. 35-234), verses and fill-ins are gathered up on a style basis to make a rhythm song efficiently with
FAST.
For example, when you enter (71+72+73)x2+(74+75+76)x2, 16-measure fusion rhythm part is completed. ("V" of a
pattern name means verse, and "F" does fill-in.)

No.

Name

Measure

0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34

Variation
08Beat01
08Beat02
08Beat03
08Beat04
08Beat05
08Beat06
08Beat07
08Beat08
08Beat09
08Beat10
08Beat11
08Beat12
16Beat01
16Beat02
16Beat03
16Beat04
16Beat05
16Beat06
16Beat07
16Beat08
16Beat09
16Beat10
16Beat11
16Beat12
16FUS01
16FUS02
16FUS03
16FUS04
04JAZZ01
04JAZZ02
04JAZZ03
04JAZZ04
DANCE
CNTRY
68BLUS

4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
4
4
4
2
2
4
4
4
4
2
2
4
2
4
4
4
4
2
2
4

No.

Name

Measure

35
36
37
38
39
40
41
42
43
44
45
46

Song
ROCKs1VA
ROCKs1Va
ROCKs1FA
ROCKs1VB
ROCKs1Vb
ROCKs1FB
ROCKs2VA
ROCKs2Va
ROCKs2FA
ROCKs2VB
ROCKs2Vb
ROCKs2FB

2
1
1
2
1
1
2
1
1
2
1
1

140

47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98

ROCKs3VA
ROCKs3FA
ROCKs3VB
ROCKs3FB
ROCKs4VA
ROCKs4Va
ROCKs4FA
ROCKs4VB
ROCKs4Vb
ROCKs4FB
HRKs1VA
HRKs1FA
HRKs1VB
HRKs1FB
HRKs2VA
HRKs2Va
HRKs2FA
HRKs2VB
HRKs2Vb
HRKs2FB
MTLs1VA
MTLs1FA
MTLs1VB
MTLs1FB
FUSs1VA
FUSs1Va
FUSs1FA
FUSs1VB
FUSs1Vb
FUSs1FB
FUSs2VA
FUSs2Va
FUSs2FA
FUSs2VB
FUSs2Vb
FUSs2FB
FUSs3VA
FUSs3Va
FUSs3FA
FUSs3VB
FUSs3Vb
FUSs3FB
INDTs1VA
INDTs1Va
INDTs1FA
INDTs1VB
INDTs1Vb
INDTs1FB
POPs1VA
POPs1Va
POPs1FA
POPs1VB

1
1
1
1
2
1
1
2
1
1
1
1
1
1
2
1
1
2
1
1
1
1
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
2
2
1
1
2

99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150

POPs1Vb
POPs1FB
RnBs1VA
RnBs1Va
RnBs1FA
RnBs1VB
RnBs1Vb
RnBs1FB
RnBs2VA
RnBs2Va
RnBs2FA
RnBs2VB
RnBs2Vb
RnBs2FB
MTNs1VA
MTNs1Va
MTNs1FA
MTNs1VB
MTNs1Vb
MTNs1FB
FUNKs1VA
FUNKs1Va
FUNKs1FA
FUNKs1VB
FUNKs1Vb
FUNKs1FB
FUNKs2VA
FUNKs2Va
FUNKs2FA
FUNKs2VB
FUNKs2Vb
FUNKs2FB
HIPs1VA
HIPs1Va
HIPs1FA
HIPs1VB
HIPs1Vb
HIPs1FB
HIPs1VC
HIPs1Vc
HIPs1VD
HIPs1Vd
HIPs2VA
HIPs2Va
HIPs2VB
HIPs2Vb
HIPs2FB
HIPs2VC
HIPs2Vc
HIPs2VD
DANCs1VA
DANCs1FA

1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
2
1
2
1
2
1
1
2
1
2
1
1

151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202

DANCs1VB
DANCs1FB
DANCs2VA
DANCs2Va
DANCs2FA
DANCs2VB
DANCs2Vb
DANCs2FB
HOUSs1VA
HOUSs1FA
HOUSs1VB
HOUSs1FB
TECHs1VA
TECHs1FA
TECHs1VB
TECHs1FB
DnBs1VA
DnBs1Va
DnBs1FA
DnBs1VB
DnBs1Vb
DnBs1FB
TPs1VA
TPs1FA
TPs1VB
TPs1FB
AMBs1VA
AMBs1Va
AMBs1FA
AMBs1FB
BALDs1VA
BALDs1Va
BALDs1FA
BALDs1VB
BALDs1Vb
BALDs1FB
BLUSs1VA
BLUSs1Va
BLUSs1FA
BLUSs1VB
BLUSs1Vb
BLUSs1FB
CNTRs1VA
CNTRs1Va
CNTRs1FA
CNTRs1VB
CNTRs1Vb
CNTRs1FB
JAZZs1VA
JAZZs1Va
JAZZs1FA
JAZZs1VB

1
1
2
1
1
2
1
1
1
1
1
1
1
1
1
1
2
1
1
2
1
1
1
1
1
1
2
1
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2

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Appendix
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234

JAZZs1Vb
JAZZs1FB
AFROs1VA
AFROs1Va
AFROs1FA
AFROs1VB
AFROs1Vb
AFROs1FB
REGGs1VA
REGGs1Va
REGGs1FA
REGGs1VB
REGGs1Vb
REGGs1FB
LATNs1VA
LATNs1Va
LATNs1FA
LATNs1VB
LATNs1Vb
LATNs1FB
LATNs2VA
LATNs2Va
LATNs2FA
LATNs2VB
LATNs2Vb
LATNs2FB
MidEs1VA
MidEs1Va
MidEs1FA
MidEs1VB
MidEs1Vb
MidEs1FB

1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1
2
1
1

No.

Name

Measure

235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264

Standard
ROCK01
ROCK02
ROCK03
ROCK04
ROCK05
ROCK06
ROCK07
ROCK08
ROCK09
ROCK10
ROCK11
ROCK12
ROCK13
ROCK14
ROCK15
ROCK16
ROCK17
ROCK18
ROCK19
ROCK20
ROCK21
ROCK22
ROCK23
ROCK24
ROCK25
ROCK26
ROCK27
ROCK28
HRK01
HRK02

ZOOM MRS-8

2
2
2
2
2
2
2
2
2
2
4
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2

265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328

HRK03
HRK04
HRK05
HRK06
HRK07
MTL01
MTL02
MTL03
MTL04
THRS01
THRS02
PUNK01
PUNK02
FUS01
FUS02
FUS03
FUS04
FUS05
FUS06
FUS07
FUS08
POP01
POP02
POP03
POP04
POP05
POP06
POP07
POP08
POP09
POP10
POP11
POP12
RnB01
RnB02
RnB03
RnB04
RnB05
RnB06
RnB07
RnB08
RnB09
RnB10
FUNK01
FUNK02
FUNK03
FUNK04
FUNK05
FUNK06
FUNK07
FUNK08
FUNK09
FUNK10
FUNK11
FUNK12
HIP01
HIP02
HIP03
HIP04
HIP05
HIP06
HIP07
HIP08
HIP09

2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2

329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392

HIP10
HIP11
HIP12
HIP13
HIP14
HIP15
HIP16
HIP17
HIP18
HIP19
HIP20
HIP21
HIP22
HIP23
DANC01
DANC02
DANC03
DANC04
DANC05
DANC06
HOUS01
HOUS02
HOUS03
HOUS04
TECH01
TECH02
TECH03
TECH04
TECH05
TECH06
TECH07
TECH08
TECH09
TECH10
DnB01
DnB02
DnB03
DnB04
DnB05
DnB06
TRIP01
TRIP02
TRIP03
TRIP04
AMB01
AMB02
AMB03
AMB04
BALD01
BALD02
BALD03
BALD04
BALD05
BALD06
BALD07
BALD08
BALD09
BALD10
BALD11
BLUS01
BLUS02
BLUS03
BLUS04
BLUS05

2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
4
2
2
2
2
2

393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456

BLUS06
CNTR01
CNTR02
CNTR03
CNTR04
JAZZ01
JAZZ02
JAZZ03
JAZZ04
JAZZ05
JAZZ06
JAZZ07
SHFL01
SHFL02
SHFL03
SHFL04
SHFL05
SKA01
SKA02
SKA03
SKA04
REGG01
REGG02
REGG03
REGG04
AFRO01
AFRO02
AFRO03
AFRO04
AFRO05
AFRO06
AFRO07
AFRO08
LATN01
LATN02
LATN03
LATN04
LATN05
LATN06
LATN07
LATN08
LATN09
LATN10
LATN11
LATN12
BOSSA01
BOSSA02
SAMBA01
SAMBA02
MidE01
MidE02
MidE03
MidE04
INTRO01
INTRO02
INTRO03
INTRO04
INTRO05
INTRO06
INTRO07
INTRO08
INTRO09
INTRO10
INTRO11

2
2
2
2
2
2
2
2
2
2
2
4
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
4
4
4
4
2
2
2
2
1
1
1
1
1
1
1
1
1
1
1

141

MRS-8(E).book 142 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

INTRO12
INTRO13
INTRO14
INTRO15
INTRO16
INTRO17

457
458
459
460
461
462

1
1
1
1
1
1

INTRO18
ENDING01
ENDING02
ENDING03
ENDING04
ENDING05

463
464
465
466
467
468

1
1
1
1
1
1

ENDING06
ENDING07
COUNT
AllMute

469
470
471
472

1
1
2
1

473
I
508
509
510

EMPTY

METRO34
METRO44

1
1

Drum Kits/Bass Programs
Drum Kit

Bass Program

No.

Name

No.

Name

Standard

Finger

Basic

Pick

LiveRock

Slap

Analog

Acoustic

Light

SynthBS

Brush

Funk

Pop

Instrument/MIDI note number chart
Pad
BD
SD
CHH
CRASH
RIDE
OHH
TOM1
TOM2
TOM3

Bank 1

Bank 2

Bank 3

Instrument

Note#

Instrument

Note#

Instrument

Kick drum

Rim shot

Low agogo

Note#
68

Snare drum

Clap

High agogo

Closed hi-hat

Cowbell

Stick

Crash cymbal

Low conga

High bongo

Ride cymbal

Mute high conga

Low bongo

Open hi-hat

Open high conga

Metronome bell

Tom 1

Cup

Maracas

Tom 2

Tambourine

High timbale

Tom 3

Claves

Low timbale

Files on SD card
■ PROJxxx folder
(xxx; 000-999 corresponding to project number)
Contains various data for each project.
PRJDATA.ZIF
Settings for marker, track parameter, effect
RHYTHM.SEQ
Rhythm pattern/rhythm song data

142

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MRS-8(E).book 143 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

TRACKx_y.ZAF
Audio data for each track/V-take
(x; 0-7 corresponding to track number 1-8, y; 0-9 to V-take number 1-10)

■ SYS folder
Contains the system-related files.
MACPRM.ZIF
Number of most recently edited project
SEQPLY.LST
Play list data

■ SYSTEM.BIN
Common settings between projects on the card
* Do not change the file names using a conventional SD card reader/writer. If the files have different names,
they will not be recognized on the MRS-8.

MIDI implementation
1. Recognized Messages
None.
2. Transmitted Messages
Status
1st
2nd
Description
---------------------------------------------------------------------------8nH
kk
40H
Note Off kk: note number
9nH
kk
00H
Note Off kk: note number
9nH
kk
vv
Note On
kk: note number
vv: velocity
BnH
07H
vv
Channel Volume
vv: volume value
BnH
7BH
00H
All Notes Off
F1H
dd
MTC Quarter Frame dd: data
F2H
sl
sh
Song Position Pointer shsl: song position
F8H
Timing Clock
FAH
Start
FBH
Continue
FCH
Stop
NOTE: n = MIDI Channel Number ( 0 - F )
3. System Exclusive Messages
No SysEx messages are recognized/transmitted.

ZOOM MRS-8

143

MRS-8(E).book 144 ページ ２００４年７月３０日 金曜日 午後５時２４分

Appendix

MIDI implementation chart
[SD card Recorder]
Model MRS-8
MIDI Implementation Chart
Transmitted

Date : 30 Jun. 2004
Version: 1.00
Recognized

Remarks

Function ...
Basic
Channel

Default
Changed

1-16,OFF
1-16,OFF

Mode

Default
Messages
Altered

3
x
******************

True voice

12-75
******************

Note
Number

Velocity Note ON
Note OFF

o
x

After
Touch

x
x

Key's
Ch's

Pitch Bend

Memorized

x
7

Volume

Control

Change

Prog
Change

o
******************

True #

System Exclusive
Qtr Frame
Song Pos
Song Sel
Tune

System
Common
System
Real Time
Aux
Messages

Clock
Commands

o
o
x
x

Local ON/OFF
All Notes OFF
Active Sense
Reset

o
o

Notes

x
o
x
x

Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY

MTC quarter frame message is transmitted.

144

Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO

o : Yes
x : No

ZOOM MRS-8

MRS-8(E).book 145 ページ ２００４年７月３０日 金曜日 午後５時２４分

INDEX
■ Symbols and numerals
( ......................................
) ......................................
+ .....................................
X .....................................
← PTN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

79
79
79
79
77

■A
A-B repeat function . . . . . . . . . . . . . . . . . . . . . . 36
Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Auto punch-in/out . . . . . . . . . . . . . . . . . . . . . . . 37

■B
Bass program . . . . . . . . . . . . . . . . . . . . . . . 61, 142
MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Bass sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Bass track . . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 55
Battery insertion . . . . . . . . . . . . . . . . . . . . . . . . . 13
Bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
BsPRG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
BsVOL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

■C
Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Chord information
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . . . . . 73
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

CHORD

DrKIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Drum kit . . . . . . . . . . . . . . . . . . . . . . . . . . . 61, 142
MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Switching the drum kit . . . . . . . . . . . . . . . . . . . 64

Drum sequence . . . . . . . . . . . . . . . . . . . . . . . . . 62
Drum track . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 55
DrVOL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

■E
Effect module . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Effect parameters . . . . . . . . . . . . . . . . . . . 95, 125
Effect patch . . . . . . . . . . . . . . . . . . . . . . . . 93, 134
Effect related problems . . . . . . . . . . . . . . . . . . 121
Effect section . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Importing from another project . . . . . . . . . . . . 102

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 59
Erase
Bass sequence play . . . . . . . . . . . . . . . . . . . . . 69
Drum sequence play . . . . . . . . . . . . . . . . . . . . . 68
Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Rhythm song events . . . . . . . . . . . . . . . . . . . . . 84
Specified data range (track editing) . . . . . . . . . 47
V-take . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

EV→ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

■F
Fade-in/out

Entering chord information (rhythm song) . . . . 81

Specified range of data . . . . . . . . . . . . . . . . . . . 48

Chromatic tuner . . . . . . . . . . . . . . . . . . . . . . . . 114
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Control Change . . . . . . . . . . . . . . . . . . . . . . . . 108
Control section . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Copy

Fader section . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
FAST input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . . . . . 75
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Specified data range (rhythm song) . . . . . . . . . 85
Specified data range (track editing) . . . . . . . . . 45
V-take . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

■D
Delete
Before/after specified range (track editing) . . . . 47
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . . . . . 76
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Display section . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Contrast/backlight adjustment . . . . . . . . . . . . 116

ZOOM MRS-8

■I
Import
Patch from another project . . . . . . . . . . . . . . . 102
Rhythm pattern/rhythm song from another
project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
V-take from another project . . . . . . . . . . . . . . . 52

In point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Input section . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Input sensitivity . . . . . . . . . . . . . . . . . . . . . . 15, 25
Insert effect . . . . . . . . . . . . . . . . . . . . . . . . . 91, 92
Applying the insert effect to the monitor
signal only . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Assigning a name to a patch . . . . . . . . . . . . . . 98
Changing the insert point . . . . . . . . . . . . . . . . . 93

145

MRS-8(E).book 146 ページ ２００４年７月３０日 金曜日 午後５時２４分

INDEX
Editing a patch . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting a patch . . . . . . . . . . . . . . . . . . . . . . .
Saving/swapping a patch . . . . . . . . . . . . . . . . .
Signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . .

95
93
98
94

Inverting a specified range of data
(track editing) . . . . . . . . . . . . . . . . . . . . . . . . . . 49

■L
Level meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Locate function . . . . . . . . . . . . . . . . . . . . . . . . . 35

■P
Pad bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Pad
Panning . . . . . . . . . . . . . . . . . . . . . . . . . 26, 27, 90
Patch

Major / Minor
Entering chord information in a rhythm
pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Selecting the scale for pad playing . . . . . . . . . . 65

Manual punch-in/out . . . . . . . . . . . . . . . . . . . . . 37
Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Marker function . . . . . . . . . . . . . . . . . . . . . . . . . 35
Deleting a marker . . . . . . . . . . . . . . . . . . . . . . . 36
Moving a marker . . . . . . . . . . . . . . . . . . . . . . . . 36
Setting a marker . . . . . . . . . . . . . . . . . . . . . . . . 35

Master track . . . . . . . . . . . . . . . . . . . . . . . 9, 30, 38
Mixdown to master track . . . . . . . . . . . . . . . . . 39
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Mastering effect . . . . . . . . . . . . . . . . . . . . . . . . . 29
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
108
108
109
110
110
110
109

MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . 109
MIDI implementation . . . . . . . . . . . . . . . . . . . . 143
MIDI implementation chart . . . . . . . . . . . . . . . 144
MIDI OUT connector . . . . . . . . . . . . . . . . . . . . 108
MIDI/synchronization related problems . . . . . 121
Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 39
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9, 55
Move
Moving a specified range of data . . . . . . . . . . . 46
Moving a V-take . . . . . . . . . . . . . . . . . . . . . . . . 51

■N
Note On/Off . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Insert effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Send/return effect . . . . . . . . . . . . . . . . . . . . . . 100

Play list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Playback related problems . . . . . . . . . . . . . . . 120
Power-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Power-on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Pre-count
Changing the duration (rhythm section) . . . . . . 89
Selecting pre-count operation (recorder) . . . . . 43

Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
PTN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Punch-in/out . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Auto punch-in/out . . . . . . . . . . . . . . . . . . . . . . . 37
Manual punch-in/out . . . . . . . . . . . . . . . . . . . . . 37

■Q
Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67, 70

■R
Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Real-time input
Bass sequence . . . . . . . . . . . . . . . . . . . . . . . . . 69
Drum sequence . . . . . . . . . . . . . . . . . . . . . . . . . 67

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8, 32
Recording level . . . . . . . . . . . . . . . . . . . . . . 15, 22
Recording related problems . . . . . . . . . . . . . . 120
Recording
Let's record . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overdubbing . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording the first track . . . . . . . . . . . . . . . . . .

15
29
25
20

Repeat playback . . . . . . . . . . . . . . . . . . . . . . . . 36
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . 62, 140
Adjusting the drum/bass sequence volume . . .
Assigning a name to a rhythm pattern . . . . . . .
Copying a rhythm pattern . . . . . . . . . . . . . . . . .
Entering chord information . . . . . . . . . . . . . . . .

146

73
74
37
25
25

Changing the pad sensitivity . . . . . . . . . . . . . . . 90

■M

Changing MIDI settings . . . . . . . . . . . . . . . . .
Control Change . . . . . . . . . . . . . . . . . . . . . . . .
Drum/bass MIDI channel . . . . . . . . . . . . . . . .
MIDI Time Code (MTC) . . . . . . . . . . . . . . . . . .
Song Position Pointer . . . . . . . . . . . . . . . . . . .
Start/Stop/Continue . . . . . . . . . . . . . . . . . . . .
Timing Clock . . . . . . . . . . . . . . . . . . . . . . . . . .

■O
Org Root . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
OrgChord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Out point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overdubbing . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overdubbing . . . . . . . . . . . . . . . . . . . . . . . . . . .

74
75
75
73

ZOOM MRS-8

MRS-8(E).book 147 ページ ２００４年７月３０日 金曜日 午後５時２４分

INDEX
Erasing a rhythm pattern . . . . . . . . . . . . . . . . . 76
Real-time input . . . . . . . . . . . . . . . . . . . . . . 67, 69
Selecting a rhythm pattern . . . . . . . . . . . . . . . . 63
Step input . . . . . . . . . . . . . . . . . . . . . . . . . . 70, 71

Rhythm pattern mode . . . . . . . . . . . . . . . . . . . . 62
Rhythm recording function . . . . . . . . . . . . . . . . 42
Rhythm related problems . . . . . . . . . . . . . . . . 121
Rhythm section . . . . . . . . . . . . . . . . . . . . 9, 10, 61
Changing the metronome volume . . . . . . . . . .
Changing the pad sensitivity . . . . . . . . . . . . . . .
Changing the pre-count duration . . . . . . . . . . .
Displaying remaining memory capacity . . . . . .

89
90
89
90

Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Assigning a name to a rhythm song . . . . . . . . .
Copying a rhythm song . . . . . . . . . . . . . . . . . .
Copying a specified measure . . . . . . . . . . . . . .
Deleting a rhythm song . . . . . . . . . . . . . . . . . . .
Entering chord information . . . . . . . . . . . . . . . .
Entering other information . . . . . . . . . . . . . . . .
Entering pattern information with FAST input . .
Entering pattern information with step input . .
Importing from another project . . . . . . . . . . . . .
Selecting a rhythm song . . . . . . . . . . . . . . . . . .
Transposing the entire rhythm song . . . . . . . . .

87
86
85
87
81
83
79
77
88
76
85

Rhythm song mode . . . . . . . . . . . . . . . . . . . . . . 62
ROOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

■T
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Tempo
Changing the tempo . . . . . . . . . . . . . . . . . . 19, 63
Tempo information (rhythm song) . . . . . . . . . . . 83

Tick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Timing Clock . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Timsig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Track editing . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Track parameters . . . . . . . . . . . . . . . . . . . . . . . . 59
Transport section . . . . . . . . . . . . . . . . . . . . . . . . 11
Tuner function . . . . . . . . . . . . . . . . . . . . . . . . . 114
Using the chromatic tuner . . . . . . . . . . . . . . . . 114
Using other tuner types . . . . . . . . . . . . . . . . . . 115

■V
V-take . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Copying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Erasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing from another project . . . . . . . . . . . . .
Moving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Renaming . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Swapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

51
51
52
51
32
52
32

Volume adjustment

■S
SD card
Checking the remaining capacity . . . . . . . . . . 118
Exchanging . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Initialization . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Inserting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Stored files . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Drum/bass sequence . . . . . . . . . . . . . . . . . . . . 74
Pre-count (recorder) . . . . . . . . . . . . . . . . . . . . . 43
Pre-count (rhythm section) . . . . . . . . . . . . . . . . 90
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . . 62, 76
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . 62, 75
Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Send/return effect . . . . . . . . . . . . . . . . . . . 91, 100
Assigning a name to a patch . . . . . . . . . . . . .
Editing a patch . . . . . . . . . . . . . . . . . . . . . . . .
Patch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving/swapping patches . . . . . . . . . . . . . . .
Selecting a patch . . . . . . . . . . . . . . . . . . . . . .

102
100
100
101
100

Song Position Pointer . . . . . . . . . . . . . . . . . . . 110
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Start/Stop/Continue . . . . . . . . . . . . . . . . . . . . . 110
Status keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Step input
Rhythm pattern . . . . . . . . . . . . . . . . . . . . . . 70, 71
Rhythm song . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Stereo link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Swap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

ZOOM MRS-8

147

MRS-8(E).book 148 ページ ２００４年７月３０日 金曜日 午後５時２４分

■ The FCC regulation warning (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful
interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy
and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the
following measures:

• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.

ZOOM CORPORATION
ITOHPIA Iwamotocho 2chome Bldg., 2-11-2, Iwamoto-cho,
Chiyoda-ku, Tokyo 101-0032, Japan
Web Site: http://www.zoom.co.jp
MRS-8 5000-1

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