Owner`s manual

ManualsBrandsRoland ManualsAudio MixerMC-307

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IM-

PORTANT NOTES” (REFERRENCE MANUAL p. 2; p. 8). These sections provide important infor-

mation concerning the proper operation of the unit. Additionally, in order to feel assured that

you have gained a good grasp of every feature provided by your new unit, REFERRENCE MAN-

UAL should be read in its entirety. The manual should be saved and kept on hand as a conve-

nient reference.

written permission of ROLAND CORPORATION.

MC-307 REFERENCE MANUAL

01904601 ’00-2-C3-21N

REFERENCE MANUAL

To resize thickness, move all items on the front cover to left or right

on the master page.

Summary of content (216 pages)

PAGE 1
To resize thickness, move all items on the front cover to left or right on the master page. MC-307 REFERENCE MANUAL 01904601 ’00-2-C3-21N REFERENCE MANUAL Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (REFERRENCE MANUAL p. 2; p. 8). These sections provide important information concerning the proper operation of the unit.
PAGE 2
To resize thickness, move all items on the front cover to left or right on the master page. U S I The symbol alerts the user to important instructions N or warnings.The specific meaning of the symbol is G determined by the design contained within the T triangle. In the case of the symbol at left, it is used for H general cautions, warnings, or alerts to danger. E The symbol alerts the user to items that must never be carried out (are forbidden).
PAGE 3
013 • In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. .......................................................................................................... 014 • Protect the unit from strong impact. (Do not drop it!) ..........................................................................................................
PAGE 4
Contents IMPORTANT NOTES ...............................................................................8 Features of the MC-307 ..........................................................................9 Front and Rear Panels..........................................................................10 Top Panel ................................................................................................................................................... 10 Rear Panel .....................................
PAGE 5
Contents Calling up Patterns from the Keyboard Pads (Pattern Call).............................................................. 37 Using the Pattern Call function................................................................................................... 37 Registering a Pattern Set .............................................................................................................. 37 Saving a Pattern Set ....................................................................................
PAGE 6
Contents Playing and Recording Songs................................................................................................................. 84 Playing Back a Song...................................................................................................................... 84 Return to the beginning of the song and play it back.............................................................. 84 Recording a Song ..................................................................................
PAGE 7
Contents Synchronization with an External MIDI Device..................................................................... 136 Appendices..........................................................................................139 Troubleshooting..................................................................................140 Error Message List..............................................................................142 Parameter List ...............................................................
PAGE 8
IMPORTANT NOTES 291a 552 In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following: • Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.
PAGE 9
Features of the MC-307 High-performance Synthesizer Sound Generator A high-performance synthesizer module equivalent to the MC-505 is featured in the sound generator section, the key element for sound performance. A rich array of parameters, precision filters, and ADSR-style envelopes can be changed with the knobs, the buttons and the GRAB switch on the panel, allowing you to create sounds as easily as you could on an analog synthesizer. The MC-307 will also function as an 8-part multitimbral sound module.
PAGE 10
Front and Rear Panels Top Panel 7 10 1 4 2 5 28 8 3 11 12 9 16 29 14 6 15 13 20 18 30 19 17 26 21 27 22 23 24 1. VOLUME Knob Adjusts the overall volume level of the MC-307. 2. MODE Buttons (SONG, PTN and SYSTEM) Switch the operating mode of the MC-307. 3. BANK SEL Buttons (PRESET and USER) Select patterns and tones. 4. Function Button Make sure that the setting page for the ARPEGGIO section is displayed. 5.
PAGE 11
Front and Rear Panels 24. HOLD Button 12. EXIT Button Mainly used to return to the previous screen. Pressing this button is equivalent to pressing and holding down a keyboard pad, except you can release the pad. 13. ENTER Button Use this to execute an operation. 25. Keyboard Pads 14. INC and DEC Buttons Used to set/change the displayed settings. Useful for setting precise values. 15. PART SELECT Button Press this button to select the part that is to be controlled in real-time. 26.
PAGE 12
Front and Rear Panels Rear Panel 5 1 2 3 This switch turns the power on/off. 2. DC IN Connector Connect the included AC adaptor here. Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock. 3.
PAGE 13
Chapter 1 Introducing the MC-307 This section is an overview of the basic sections of the MC-307: the sequencer section, sound generator section, and controller section. SOUND MODULE Section SEQUENCER Section PLAY Keyboard Pad Play 1 2 3 4 5 6 8 9 10 11 12 13 14 The sound generator section The sound generator is what actually produces the sound. The sounds are generated in accord with information arriving from the MC-307’s controllers and sequencer.
PAGE 14
Chapter 1 Introducing the MC-307 The controller section Controllers refer collectively to the keyboard pads, the knobs and sliders on the panel, and pedal switches (separately sold) that can be connected to the rear panel. By operating these, you can perform or apply effects. Knobs The CUTOFF (P. 26), RESONANCE (P. 27), LFO 1 (P. 27), and assignable 1 - 4 (P. 28)knobs can be operated in real time to modify the sound.
PAGE 15
Canceling the Previous Operation (Undo/Redo) Confirming Performance of Rhythm Part (Rhythm Part View) For songs and patterns, editing (track and microscopic editing) and recording operations can be canceled. For the rhythm part (PART R), a graphical display is available for confirming what kind of performances are recorded for the respective patterns. This operation is useful when you want to check how the rhythm part performance is configured.
PAGE 16
Chapter 1 Introducing the MC-307 Metronome Settings The metronome can be set to automatic on/off according to the operating mode of the MC-307. Procedure (Pattern/Song play screen) Restoring the Factory Settings (FACTORY RESET) This operation can restore the settings of the MC-307 to their factory settings. 1. Press [PTN] (or [SONG]) button. 2. Press [F4 (BPM)] button. 3. Press [CURSOR (up/down)] buttons to move the cursor over to “METRO NOME.
PAGE 17
Chapter 2 Basic of Pattern Playback Basic Functions of Patterns Playing back patterns continuously A pattern consists of 1 to 32 measures of play that include patches and rhythm sets of up to 8 parts. Selecting the next pattern while a pattern is being played back, the new pattern is played back when playback of the current one is completed. Playing Back Patterns The MC-307 is a sequencer that plays back patterns and adds changes to the playback method.
PAGE 18
Chapter 2 Basic of Pattern Playback Playing Back at the Tempo Set for the Pattern Viewing the number of measures in a pattern In order to play back patterns at the BPM (tempo) set up for the respective patterns, select a pattern while no pattern is being played back, then start playback.This secures playback at the optimal BPM for the pattern. The measure number and the rhythm can be indicated on the display.
PAGE 19
Chapter 2 Basic of Pattern Playback your own sense of rhythm, even if you don’t know the settings value. Procedure 1. Press [TAP] button more than three times to change the tempo a quarter note at a time to obtain the BPM desired for playback. Muting rhythm tones individually Musical instruments used in Part R can be muted individually. These instruments are muted by instrument type such as bass drum (BD) and snare drum (SD). * You can also set the BPM by pressing the TAP button using eighth-note timing.
PAGE 20
Chapter 2 Basic of Pattern Playback Muting all parts in a single step "MR" is displayed in the center of the screen. The following operation mutes all parts associated with [R], [1] to [7] buttons. Procedure 1. While holding down [PART MUTE] button, press [RHYTHM MUTE] button. 4. Select a pattern using [VALUE] dial or [INC/DEC] buttons. All parts will be muted. After a while, the selected pattern is played back with the previous PART MUTE setting maintained.
PAGE 21
Chapter 2 Basic of Pattern Playback Procedure 1. 1. Press [OCT +] button (lighting the button) when setting a positive value; press [OCT -] button when setting a negative value (lighting the button). 2. Hold down [TRANSPOSE] button and press a keyboard pad to set the transpose value. 5. Press [PRESET] button or [USER] button to make selection between preset patches and user patches. 6. Select a patch using [VALUE] dial or [INC/DEC] buttons.
PAGE 22
Chapter 2 Basic of Pattern Playback 5. Press [ENTER] button. The screen contains patches in the selected category. 6. Select a patch using [VALUE] dial or [INC/DEC] buttons. 7. Press [ENTER] button. The patch is selected and the display returns to the initial patch display screen. * Selection by category is also possible for real-time recording, for which the above procedure can be applied. (P.
PAGE 23
Chapter 2 Basic of Pattern Playback - SEQ OUT (Sequencer Output Assign) Specify the output destination from the sequencer to the sound source. Range: - INT: Output to the internal sound generator. Saving a Pattern When you have made the settings for patches used for a pattern and the mute mode, save the pattern as a user pattern. - EXT: Output to the MIDI OUT connector. When these settings windows are displayed, each of the settings can be made using the assignable knobs 1-4.
PAGE 24
Chapter 3 Giving Variation to Pattern Playback Playing Back with Keyboard Pads Using the Keyboard Pads to Play Sounds 1. Make sure that all the [ARP], [PTN CALL], [RPS] and [TR-REC] button indicators are dark. If any button is lit, press the button to light it up. Shifting the Keyboard Range in One-Octave Steps (Octave Shift) Octave Shift is a function that shifts the pitch of the keyboard pads in one-octave units.
PAGE 25
Chapter 3 Giving Variation to Pattern Using with Turntable (Turntable Emulation) Operation similar to touching a turntable ([HOLD] and [PUSH] buttons) Synchronizing the Start with the Turntable Using the BPM button, synchronize the starting point with the turntable. What is the Turntable Emulation? The MC-307 has a TURNTABLE EMULATION slider, just like a record player, for BPM adjustment, and TURNTABLE HOLD/PUSH buttons that make effects just like holding and turning the turntable possible.
PAGE 26
Chapter 3 Giving Variation to Pattern Changing the Tone with the Knobs during Playback (REALTIME MODIFY) The tone can be modified during playback using the knobs on the MC-307 panel. In addition, the items subject to modification can be changed using the four assignable knobs below the display. Procedure 1. Select a part, following the procedure described in “Selecting a part subject to modification.” 2. Press the [FILTER] button. The filter type can be selected each time this button is pressed.
PAGE 27
Chapter 3 Giving Variation to Pattern When using the filter functions, be careful not to raise the RESONANCE value too high. Setting the RESONANCE value too high may cause output at excessively high volume levels. Some settings may damage your hearing, or your speakers. Please use caution. This procedure is equivalent to the CUTOFF operation of the Patch Edit function. (P. 92) Depending on the CUTOFF setting, increasing the RESONANCE setting may not achieve the intended effect.
PAGE 28
Chapter 3 Giving Variation to Pattern - FILTER: Changes the cutoff frequency of the filter. Procedure - AMP: 1. Press the button to the left of the assignable knobs. Changes the amplifier volume level. LFO Waveform - TRI (triangle): The sound will be modulated continuously. This is a frequently-used waveform, and is suited for effects such as vibrato. Each time you press it, “>” in the figure comes on in sequence. Thus, you can select from the functions listed on the display.
PAGE 29
Chapter 3 Giving Variation to Pattern * In TR-REC (P. 68) and “Changing the Settings for Each Part” (P. 22), the above assignments cannot be used (the assignable knobs have other special functions when used for TR-REC and Part settings). 8. Select a parameter using the [VALUE] dial or the [INC/ DEC] buttons, then press [ENTER] button. * The assignable knobs can be used for user-defined settings while the arrow shown in the figure below is lit.
PAGE 30
Chapter 3 Giving Variation to Pattern PTCH (PITCH) Group: • VELO (VELOCITY) * *Before operating "QTZ Group" parameters or "ARP Group" parameters,turn on the Quantize or Arpeggiator functions respectively.
PAGE 31
Chapter 3 Giving Variation to Pattern Playing Back in Arpeggio (Arpeggiator) Available Settings (Arpeggio style list): What is an Arpeggiator? You can play phrases that use the component notes of a chord, just by pressing the chord. With this function, you can easily produce phrases too rapid to play on the keyboard as well as those extremely enhanced with staccato. Using the Arpeggiator Activating the Arpeggiator function enables the keyboard pads to be used for the Arpeggiator function.
PAGE 32
Chapter 3 Giving Variation to Pattern STYLE Description BOUND BALL A style suggestive of a bouncing ball. RANDOM A style in which the notes sound in random order. BOSSA NOVA A style with bossanova guitar cutting. Hold 3–4 notes for best results. You can increase the BPM and use this as a Samba. SALSA Typical salsa style. Hold 3–4 notes for best results. MAMBO Typical mambo style. Hold 3–4 notes for best results.
PAGE 33
Sequence of the notes in the chord (MOTIF) Specifies the order in which the notes of the chord will be sounded. * The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for each style, refer to "STYLE/MOTIF/BEAT PATTERN Correspondence Chart "(p. 158). Available Settings: MOTIF SINGLE UP Description Notes you press will be sounded individually, beginning from low to high.
PAGE 34
Chapter 3 Giving Variation to Pattern Adding expression to the arpeggio (ACCENT RATE) By modifying the accent strength and note length, you can change the sense of groove of the arpeggio. Adjust this setting over the range 0–100. Range: 0–100 Higher settings will strengthen the sense of groove. Lower settings will decrease the amount of expression.
PAGE 35
Chapter 3 Giving Variation to Pattern The setting screen for Quantize appears. 5. Select the part for which Quantize is to be applied by pressing one of the [R], [1] to [7] part buttons. Quantize is applied to the part whose button is blinking. Parts whose buttons are not lighted are not subject to quantize. Procedure 1. Referring to Steps 1 - 5 (P. 34) in the Grid Quantize operation , open the settings window, and select the part to be quantized. 2. Press the [F3 (SHFL)] buttons.
PAGE 36
Chapter 3 Giving Variation to Pattern 1. Referring to Steps 1-5 in the Grid Quantize operation, open the settings window, and select the part to be quantized. (P. 34) 2. Press the [F4 (GRV)] button. Parameters of groove quantize appear in the display. 3. Press the [CURSOR (up/down)] buttons to move the cursor to “TIMING.” 4. Set up the strength of correction using the [VALUE] dial or the [INC/DEC] buttons. A “0” value indicates playback according to the original.
PAGE 37
Chapter 3 Giving Variation to Pattern Calling up Patterns from the Keyboard Pads (Pattern Call) 37: POPS-NM-L.AC exact/low dynamics 38: POPS-NM-H.AC exact/high dynamics 39: POPS-NM-L.SW exact/light swing 40: POPS-NM-H.SW exact/strong swing 41: POPS-HV-L.AC dragging/low dynamics 42: POPS-HV-H.AC dragging/high dynamics 43: POPS-HV-L.SW dragging/light swing 44: POPS-HV-H.SW dragging/strong swing 45: POPS-PS-L.AC rushing/low dynamics 46: POPS-PS-H.AC rushing/high dynamics 47: POPS-PS-L.
PAGE 38
Chapter 3 Giving Variation to Pattern Saving a Pattern Set Once a pattern set is created and saved, you can readily use it next time on simply by invoking it. First, refer to the previous section, “Registering a pattern set,” to assign patterns to it. Procedure Select a Pattern set you want to save. 1. With the [PTN CALL] button held down, select a PTN SET using the [VALUE] dial or the [INC/DEC] buttons. Bring up the set-up screen for pattern sets. 2. Press the [SYSTEM] button. 3.
PAGE 39
Chapter 3 Giving Variation to Pattern If you connect a pedal switch (optional: DP-2, DP-6, FS5U etc.) and set the System parameter “Pedal Assign” to “HOLD,” the pedal switch can be used to hold the RPS. refer to "Setting up the pedal (PEDAL ASSIGN) "(p. 117). RPS Modify While you are pressing a keyboard pad to play an RPS, you can move the Patch parameter knobs to modify the sound of the RPS. If you are pressing two or more keyboard pads, You can modify the sound of the pad that was last pressed.
PAGE 40
Chapter 3 Giving Variation to Pattern playback will use the M-FX settings of the pattern that is selected at that time. This means that what you hear when the RPS plays back may be somewhat different from the original phrase. * If a rhythm part phrase is assigned, the Rhythm Mute settings will be ignored during RPS playback.
PAGE 41
Chapter 3 Giving Variation to Pattern Saving the Settings of an RPS Set Once an RPS set is created and saved, you can readily use it next time on by simply invoking it. First, refer to the previous section, “Registering a pattern set,” to assign patterns to it. Procedure First, Select an RPS Set you want to save. (P. 38) 1. With the [RPS] button held down, select an RPS SET using the [INC/DEC] button or [VALUE] dial. Bring up the RPS set-up screen. 2. Press the [SYSTEM] button. Chapter3 3.
PAGE 42
Chapter 4 Setting Effects Reverb Reverb is an effect which adds reverberation and ambiance to the sound, creating an impression of spatial depth. It simulates the sound of music played in a concert hall. This section describes the settings for using the reverb function. Switching Reverb On/Off Switches the reverb function on and off. You can switch reverb on and off on any part regardless of the other settings you specified for this function.
PAGE 43
Chapter 4 Setting Effects 4. Use the [F3 (Down)] or [F4 (Up)] button to select the screen containing the following parameters you want to set. Adjusting the overall reverb volume (REVERB OUTPUT LEVEL) You can adjust the overall volume of reverb for the eight parts (rhythm part and parts 1–7). Range: 0–127 Applying reverb Multi-effects sound (M-FX TO REV LEVEL) 5. Use the [CURSOR (up/down)] buttons to move the cursor to the parameter you want to set. 6.
PAGE 44
Chapter 4 Setting Effects Delay (Add echoes to the sound) Delay is an effect which adds echoes to the sound. It is effective when applied to solo phrases or to densely rhythmic phrases. Described here is how to set the Delay effect. Adjusts the Delay Volume for Each Part (Part Delay Level) Procedure 1. Press the [PTN] button. The screen for playing patterns appears. 2. Press the [F2 (STUP] button. The Setup Menu screen appears. Switching Delay On/Off Procedure 1. Press the [SYSTEM] button. 3.
PAGE 45
Chapter 4 Setting Effects 6. Set the value using the [VALUE] dial or the [INC/DEC] buttons. OUTPUT jacks on the rear panel; selecting REV outputs it to Reverb; or selecting LINE + REV outputs the sound to both the OUTPUT jacks and Reverb. Selecting the type (TYPE) Range: LINE, REV, LINE+REV Available Settings: - SHORT: A delay which repeats at short intervals. - LONG: A delay which repeats at long intervals. You can also synchronize the spacing of the repeats to the BPM of the pattern.
PAGE 46
Chapter 4 Setting Effects Multi-Effects (M-FX) Multi-effects provides 25 different Effect Types, each of which let you apply a different effect. Described here is how to enter the M-FX-related settings. Applying Multi-Effects for Each Part (Part M-FX Switch) Specifies whether to switch the M-FX on and off for each part. Procedure Switching Multi-Effects On/Off 1. Press the [PTN] button. The screen for playing patterns appears. Procedure 1. Press the [SYSTEM] button.
PAGE 47
Chapter 4 Setting Effects Procedure 1. Press the [PTN] button. Available Settings: No M-FX TYPE Description 1 4BAND EQ modify the tone 2 SPECTRUM add character to the sound 3 ENHANCER add sparkle to the sound 4 OVERDRIVE distort the sound mildly 5 DISTORTION distort the sound severely 6 LO-FI simulate a “low-fidelity” sound 7 NOISE add various types of noise 8 simulate a radio being tuned 4. Use the [VALUE] dial or the [INC/DEC] buttons to select the type of Multi-effects.
PAGE 48
Chapter 4 Setting Effects Defining Parameters in Detail 1. 4 Band EQ (Modify the tone) Defines the Multi-effects settings and their parameters in detail. This is a 4 band (high, midrange x 2, low) stereo equalizer. Procedure The following procedure is common to all types of Multieffects. See P. 48 to P. 61 for details of the parameters. 1. Press the [PTN] button. The screen for playing patterns appears. 2. Press the [F2 (STUP] button. The Setup Menu screen appears. 3. Press the [F4 (M-FX)] button. 4.
PAGE 49
Chapter 4 Setting Effects 2. Spectrum (Add Character to the Sound) 3. Enhancer (Add Sparkle to the Sound) This is a type of filter, which modifies the tonal character by boosting or cutting specific frequencies. It is similar to an equalizer, but when you wish to add character to the sound, the Spectrum effect will produce a more distinctive result. By controlling the overtones of the high frequency range, this effect adds sparkle to the sound, giving it more definition.
PAGE 50
Chapter 4 Setting Effects 4. Overdrive (Distort the Sound Mildly) This simulates the soft distortion that occurs when you raise the gain of a vacuum tube amp. The effect also contains an amp simulator, and produces the natural distortion that is created by sounds played through a guitar amp. It is suitable for use with guitar and synth-bass sounds. 5. Distortion (Distort the Sound Severely) This effect produces a more severe distortion than the Overdrive effect.
PAGE 51
Chapter 4 Setting Effects 6. Lo-Fi (Simulate a “Lo-Fidelity” Sound) 7. Noise Generator (Add Various Types of Noise) This effect intentionally degrades the audio quality to simulate a Lo-Fi sound. It is particularly effective on drums. In addition to a Lo-Fi effect, this effect also generates various types of noise such as hum, pink noise, and disk noise. - BIT DOWN [CTRL 1] This setting lowers the audio quality. Range: 0–7 The audio quality will worsen as this setting is increased.
PAGE 52
Chapter 4 Setting Effects 8. Radio Tuning (Simulate a Radio Being Tuned) Noise Type Table Hum (50Hz) Hum (60Hz) Pink Disc EP Disc LP 1 RND Disc O 2 O 3 4 O 5 6 O 7 O 8 O 9 O 10 O 11 O 12 O O O O O O O O O O O O 14 O 15 O 16 O 17 O 18 O O O O O O O O O O O O Available Settings: - RADIO DETUNE [CTRL 1] Specifies the frequency being tuned.
PAGE 53
Chapter 4 Setting Effects 9. Phonograph (Simulates an Old Record) This effect mutes the tone and adds disc noise to simulate the sound of music played on an old record player. 10. Compressor (Make the Volume Level More Consistent) This effect suppresses loud volume levels and boosts soft volume levels, making the volume more consistent. Available Settings: - DISC NOISE LEVEL [CTRL 2] Specifies the volume of the disc noise. Range: 0–127 - DEPTH [CTRL 3] Adjusts the tone.
PAGE 54
Chapter 4 Setting Effects 11. Limiter (Smooth Out Irregularities in Volume) 12. Slicer (Apply Successive Cuts to the Sound) This effect compresses the sound when it exceeds a specified volume level, thus preventing distortion. By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds.
PAGE 55
Chapter 4 Setting Effects 13. Tremolo (Cyclic Changes in Volume) This effect cyclically modulates the volume to create tremolo. 14. Phaser (Modulate the Sound) By adding a phase-shifted sound to the original sound, this effect modulates the sound to add depth and a sense of rotation. Available Settings: Determines the waveform that will be used to modulate the sound. Range: TRI, TRP, SIN, SAW1, SAW2, SQR - DEPTH [CTRL 2] Specifies the depth of modulation.
PAGE 56
Chapter 4 Setting Effects 15. Chorus (Add Spaciousness and Depth to the Sound) This effect creates an impression of multiple sound sources in unison (Chorus effect), giving spaciousness and depth to the sound. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 8] Specifies the output volume from the stereo chorus. Range: 0–127 16. Space-D (Add Transparent Depth) This is a type of chorus, but unlike a conventional chorus, it does not create a sense of modulation.
PAGE 57
Chapter 4 Setting Effects Specifies the output volume from the Space-D effect. Range: 0–127 17. Tetra Chorus (Layer Chorus Sounds to Add Spaciousness) This effect layers four chorus sounds to produce even more depth and spaciousness than a conventional chorus. - OUTPUT LEVEL [CTRL 8] Specifies the output volume from the Tetra Chorus effect. Range: 0–127 18. Flanger (Add Metallic Resonance to the Sound) This creates a sharper and more mechanical sound than the phaser.
PAGE 58
Chapter 4 Setting Effects Available Settings: OFF: A filter will not be used. LPF: The frequency range above the cutoff frequency will be cut. HPF: The frequency range below the cutoff frequency will be cut. - CUTOFF (Cutoff Frequency) [CTRL 7] Specifies the cutoff frequency of the filter. Range: 200–8000 (Hz) - BALANCE (Effect Balance) [CTRL 8] Adjusts the volume balance between the original sound and the flanger sound.With a setting of “D100:0W,” no flanger sound will be output.
PAGE 59
Chapter 4 Setting Effects 20. Short Delay (Add Echoes to the Sound) 21. Auto PAN (Automatically Move the Stereo Location) This is a short delay which allows you to set the left and right delay times independently. You can also move the panning of the delay sound in synchronization with the BPM. This effect automatically moves the stereo location of the sound. You can cause the sound to be panned left and right in time with low notes such as a Bass Drum, or in synchronization with the BPM of the pattern.
PAGE 60
Chapter 4 Setting Effects 22. Feedback Pitch Shifter (Skew the Pitch) This effect shifts the pitch of the original sound and layers it with the original sound. It can be used to play unison lines at an interval of an octave or fifth, or to layer a slightly pitchshifted with the original sound to create a chorus effect. effect. Range: 0–127 23. Reverb (Add Reverberation) This effect adds reverberation and ambiance to the sound, creating spatial depth.
PAGE 61
Chapter 4 Setting Effects 24. Gated Reverb (Sharply Cut the Reverberation) This is a type of reverb, in which the reverberation is cut off before the natural completion of its decay. 25. Isolator (Cuts Off a Specific Range) An equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. Available Settings: - TIME (Gate Reverb Time) [CTRL 2] Specifies the time from when the reverberation begins until it ends.
PAGE 62
Chapter 4 Setting Effects Switching an Effect Function On and Off in Real Time (How to use the GRAB switch) What is the GRAB Switch? This switch, which you can use to turn on and off the MultiEffects, Reverb, and Delay in real time, works the same way as the GRAB switch featured on the Roland DJ-2000 Professional DJ Mixer. Since the MC-307 features an even greater number of onboard effects, you can now create performances never before possible. 4. Press the [F3 (GRAB)] button.
PAGE 63
Creating Your Own Patterns and Songs Creating Your Own Patterns You can create your own original patterns just as you would record them on a tape recorder or MD recorder (Realtime Recording) or TR-REC. Recording Your Music as You Play it (Realtime Recording) This lets you use the MC-307’s keyboard pads or an external MIDI keyboard for recording performances. Procedure Select recording pattern 1. Press the [PTN] button. The “PATTERN PLAY” screen appears. 2.
PAGE 64
Chapter 5 Creating Your Own Patterns and * You can select a patch for a recording part here, see next “Selecting a patch to use from all lists” and “Selecting a patch by category.”If you do not want to do so, proceed to step 11. Perform Recording 11. Press the [PLAY] button. Recording starts. Now, play on the keyboard pads or external MIDI keyboard. 4. Press the [F1]–[F4] buttons below the category you selected. A list of patches included in that category appears. 5.
PAGE 65
Chapter 5 Creating Your Own Patterns and Trial play without stopping recording (Rehearsal) The MC-307 is capable of temporarily interrupting recording without stopping Realtime Recording. This feature is called “Rehearsal function.” With this function, you can repeat trial playing and recording in turn and save time repeating recording and stopping operations. Procedure 1. Taking steps 1 through 7 in “Recording your music as you play it (Realtime Recording) “(P. 63), starts recording. 2.
PAGE 66
Chapter 5 Creating Your Own Patterns and 5. When you have finished recording, press [STOP] button. - NOTE: Notes in the specified range will be erased. - PC: Program changes will be erased. - CC: All control changes will be erased. - BEND: Pitch bend will be erased. - REVERB TYPE - P-AFT: Polyphonic aftertouch will be erased. - DELAY TYPE - C-AFT: Channel aftertouch will be erased. - M-FX TYPE - SYS-EX: System exclusive data messages will be erased.
PAGE 67
Chapter 5 Creating Your Own Patterns and 4. Press the [F4 (PRM4)] button. Recording changes in BPM 5. Using the [CURSOR (up/down)] buttons, move the cursor to RHY VIEW. You can record the operations used to change the BPM while playing music. 6. Set "MUTE CTRL” using the [VALUE] dial or the [INC/ DEC] buttons. Procedure Now, the [RHYTHM PART VIEW] button can be used as the [MUTE CTRL] button. Next, record your music. 7. Press the [PTN] button. 8. Press the [REC] button. 9.
PAGE 68
Chapter 5 Creating Your Own Patterns and Recording Data Entered in Sequence What is the TR-REC? TR-REC is a way of recording in which the keyboard pads are used as timing scale buttons for inputting note messages. By pressing the keyboard pads, turning the pad lights on or off, you can input and delete notes. This lets you place sounds with whatever timing you want very simply.
PAGE 69
Chapter 5 Creating Your Own Patterns and Specify the lengths of rhythm tones and notes and their loudness. 12. Press the [TR-REC] button to turn off the indicator. The keyboard pads have been switched to work as ordinary keys (i.e., keys used to specify the scale).
PAGE 70
Chapter 5 Creating Your Own Patterns and TR-REC for Parts 1–7 In Parts 1-7, as with the Rhythm Part, only the rhythm, at a single pitch, is recorded. Following this, you can alter the pitches of any notes you want to change. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Inputting Only the Timing at a Single Pitch Procedure Before recording, first make all the necessary settings. 1. Referring to Steps 1-9 in “TR-REC for Rhythm Parts” (P. 68), make the recording settings. 6.
PAGE 71
Chapter 5 Creating Your Own Patterns and Change the pitch of a note you input. When you finish inputting the timing, use the following procedure to input the pitch or chord. Procedure 1. Press the [PTN] button and then the [REC] button. The “REC MODE SELECT” screen will appear. The note will be deleted. * By pressing the [F1 (CLR)] button, you can delete all notes located at that timing. 8. Press the keyboard pad for the desired pitch to input a note message.
PAGE 72
Chapter 5 Creating Your Own Patterns and Individually Editing Performance Data (Micro Edit) You can edit the performance data in the completed pattern on a piece-by-piece basis. CAUTION: The data in any patterns you’ve edited will be lost if the MC-307’s power is turned off. If you wish to keep the pattern that you created, you must use the Pattern Write operation. (refer to Saving the Pattern (p. 83).
PAGE 73
Chapter 5 Creating Your Own Patterns and P-AFT (Polyphonic Aftertouch) These MIDI messages apply aftertouch to individual notes. The display changes to the System Exclusive input screen. Range: - NOTE: C-1 – G9 (Note) - VALUE: 0 – 127 C-AFT (Channel Aftertouch) These MIDI messages apply aftertouch to an entire MIDI channel. Range: 0 – 127 TEMPO (Tempo Change) This data controls the tempo (BPM). This is used only in the MUTE CTRL part. 3.
PAGE 74
Chapter 5 Creating Your Own Patterns and Modifying Performance Data Values 6. Determine the insertion position using the [VALUE] dial or the [INC/DEC] buttons. Changes existing data settings. Procedure 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which you want to edit. 3. Press the [F3 (EDIT] button. The “PATTERN EDIT” screen appears. 4. Press the [F3 (MICRO SCOPE)] button. The “MICROSCOPE” screen appears. Insert the data. 7.
PAGE 75
Chapter 5 Creating Your Own Patterns and Deleting Musical Data (Delete Event) Viewing Desired Performance Data Only (View Filter) Specify the data to be deleted and execute Delete Event. With this function, you can view specific data to facilitate searching for the desired performance data. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which you want to edit. 3. Press the [F3 (EDIT] button. The “PATTERN EDIT” screen appears. 4.
PAGE 76
Chapter 5 Creating Your Own Patterns and Editing Patterns (Pattern Edit) The process of editing the musical data in a pattern is called Pattern Editing. You can modify the content of the musical data in a pattern, or combine various patterns to create an entirely different pattern. CAUTION: The data in any patterns you’ve edited will be lost if the MC-307’s power is turned off. If you wish to keep the pattern that you created, you must use the Pattern Write operation. (refer to Saving the Pattern (p. 83).
PAGE 77
Chapter 5 Creating Your Own Patterns and 18. Press the [F4 (EXEC)] button. Copying is executed and, upon completion, the normal display reappears. Erasing Unwanted Data (Erase) Erases part (or all) of a pattern. Procedure Available Settings: Select a pattern for which Erase is to be executed. SOURCE 1. Press the [PTN] button.
PAGE 78
Chapter 5 Creating Your Own Patterns and To do so, move the cursor to “NOTE RANGE” by pressing the [CURSOR (down)] button before entering the range using the [VALUE] dial or the [INC/DEC] buttons. Deleting Unwanted Measures (Delete Measure) This operation deletes unwanted measures from a pattern, and moves any subsequent measures toward the beginning to close the gap. If, in a part, the deleted measures are followed by data, the musical data of that part will be shortened.
PAGE 79
Chapter 5 Creating Your Own Patterns and Inserting Blank Measures (Insert Measure) A blank measure is inserted in the Pattern between the specified measure and the measure following it. If you wish to add more musical material in the middle of a pattern, use this operation to insert blank measures before recording the additional material. The timing of the inserted measure will be the same as that of the measures located at the preceding positions.
PAGE 80
Chapter 5 Creating Your Own Patterns and Modifying the Strength of Notes (Change Velocity) This operation modifies the velocity (strength) of the notes recorded in the pattern. Increasing the velocity values will cause the notes to be played more strongly. This operation can be used to increase or decrease the note dynamics. Procedure VALUE: -99–0– +99 NOTE RANGE: C -1–G 9 * If this operation would result in a velocity greater than 127 (or less than 1), the result will be limited to 127 (or 1).
PAGE 81
Chapter 5 Creating Your Own Patterns and A screen asking you whether or not you want to execute Change Gate Time appears. 10. Press the [F4 (OK)] button. A screen asking you whether or not you want to execute Shift Clock appears. 13. Press the [F4 (EXEC)] button. 11. Press the [F4 (EXEC)] button. Change Gate Time is executed and, upon completion, the normal display reappears. Shift Clock is executed and, upon completion, the normal display reappears.
PAGE 82
Chapter 5 Creating Your Own Patterns and Thinning Out Unneeded Data (Data Thin) Since messages such as pitch bend or control change use continuously changing values, they can occupy an unexpectedly large amount of memory. The Data Thin operation lets you thin out such data in a way that will not affect the audible result, yet will reduce the amount of data. This allows you to use the memory of the MC-307 more efficiently. Procedure Select the pattern for which Data Thin is to be executed. 1.
PAGE 83
Chapter 5 Creating Your Own Patterns and 9. Press the [F4 (EXEC)] button. The Edit Quantize operation will be carried out, and the normal display will reappear. normal display will reappear. Available Settings: PATTERN SIZE: Converting the Note Timing of a Pattern (Reclock) You can double or halve the timing of the musical data recorded in a pattern. For example, you can convert a fourmeasure pattern of BPM=120 to two measures so it will play back identically at a BPM of 60.
PAGE 84
Chapter 5 Creating Your Own Patterns and Playing and Recording Songs By pressing [ ] button, you can return to the beginning of the song. Also, you can press [ ] button while the song is stopped to return to the beginning. A set of patterns that are connected in the order of playback is called a “song.” Currently playing step and pattern number readout When you play back a song, the patterns will change automatically in sequence, so it will not be necessary for you to select patterns yourself.
PAGE 85
Chapter 5 Creating Your Own Patterns and Recording a Song Enter patterns one by one and specify the order in which they are to be played back. The patterns are numbered in the order in which they are entered and are called steps. Procedure settings. This will not affect the original pattern in any way, since the setup parameters for each pattern are stored as part of the song data.
PAGE 86
Chapter 5 Creating Your Own Patterns and Editing Songs (Song Edit) Clearing All Steps (Clear All Steps) Empties all steps entered. This function is useful when you wish to create a song from the beginning. Procedure Select the song whose steps are to be erased. 1. Press the [SONG] button. 2. Select the song using the [VALUE] dial or the [INC/ DEC] buttons. Invoke the screen for executing Edit. 3. Press the [F3 (EDIT)] button. Copying a Song (Song Copy) You can copy song data to another song.
PAGE 87
Chapter 5 Creating Your Own Patterns and Saving the Song After you’ve created a song you like, do this to save it as a User Song. When you want to save a song with its settings changed, save it by following procedure. If you modified a song setting but do not want to save it, you can use it as it is the next time you power up the MC-307 as long as you do not execute this function. Procedure If you are playing a song, stop it. 1. Press the [SYSTEM] button. 2. Press the [F3 (WR)] button. 3.
PAGE 88
Chapter 6 Making Original Patches You can create desired patches by changing various parameters for creating tones (tone parameters). This operation is referred to as patch editing (or rhythm editing). With this operation, you can set up specific parameters for each tone and rhythm tone. 8. Press the [CURSOR (right/left)] buttons to move the cursor below the tone number (T-1 to T-4) for which you want to define the parameter. 9. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. 10.
PAGE 89
Chapter 6 Making Original Patches WAVE: GAIN This boosts the waveform. Raising this setting 6 dB will double the gain. If you are using the booster to distort the sound, setting this to the maximum value will be effective. 4. Press the [CURSOR (up)] button, then press [F2 (PICH)] button. Range: -6, 0, +6, +12 If you would like to learn more about booster gain settings... - refer to Booster (p. 100). FXM parameters 5. To edit parameters in the “PITCH:”, press [F1 (PICH)] button.
PAGE 90
Chapter 6 Making Original Patches Coarse Tune value for both tones and then use Fine Tune to create a slight pitch difference between the two tones, the sound will appear more spacious (the Detune effect). PITCH: RANDOM PITCH This applies a degree of randomness to the pitch of each note. As this value is increased, a greater degree of randomness will be applied. As this value is decreased, there will be less randomness. With a value of “0” there will be no effect.
PAGE 91
Chapter 6 Making Original Patches Specifies the time until the next pitch level is reached. You can make settings for the four parameters TIME 1–4. 4. Press the [CURSOR (up)] button, then press [F3 (FLTR)] button. Higher settings will result in a longer time until the next pitch level is reached. Range: 0–127 Pitch + Time1(A) Time2 Time3(D) 5. To edit parameters in the “FILTER:” section, press [F1 (FLTR)] button. To edit parameters in “F-ENV “(FILTER ENVELOPE), press [F2 (FENV)] button.
PAGE 92
Chapter 6 Making Original Patches - PKG (Peaking Filter): This filter enhances audio signals with frequencies around the cutoff frequency. It will emphasize the midrange, and is useful for creating a distinctive sound. By selecting the Peaking Filter as the Filter Type and using the LFO to modulate the cutoff frequency, you can create a “wah” effect. - > “Adjusting the depth of cutoff frequency modulation (LFO 1 Filter Depth)” (P.
PAGE 93
Chapter 6 Making Original Patches - PKG (Peaking Filter) As this value is increased, the frequency area that is emphasized will rise. As this value is decreased, the frequency area that is emphasized will fall. FILTER: RESONANCE This setting emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. Level Level LPF Frequency Frequency CUTOFF=0 CUTOFF=64 BPF CUTOFF=127 HPF When operating FILTER, be careful not to set RESONANCE too high.
PAGE 94
Chapter 6 Making Original Patches F-ENV (FILTER ENVELOPE) parameters F-ENV: TIME KEY FOLLOW F-ENV: ENV DEPTH (ENVELOPE DEPTH) This setting causes the filter envelope times (TIME 2/3/4) to be affected by the location of the keyboard pad that you press. This setting adjusts the depth of the filter envelope. As the value is increased in the positive (+) direction, the amount of tonal change will increase.
PAGE 95
Chapter 6 Making Original Patches Changing the Volume Level and Localization (AMP and ENVELOPE) The AMP (amplifier) contains settings related to the volume and the position of the sound (PAN) on the stereo sound field. The parameters of the A-ENV let you specify this type of time-varying change in volume (the Amplifier Envelope). Piano Organ Level * See the following sections for descriptions of the setting ranges and contents of the respective parameters.
PAGE 96
Chapter 6 Making Original Patches AMP: RANDOM PAN SW cannot exceed the maximum level. LWR Bias Level + UPR Bias Level + 0 0 - - C1 Bias Point G9 C1 L&U Bias Level + Bias Point ALL G9 Bias Level + Bias Point G9 C1 Bias Point G9 If you use two tones and set a Bias Direction of “UPR” for one and “LWR” for the other, the two tones will fade smoothly into each other as you play across the Bias Point. (This is known as “key crossfade.
PAGE 97
Chapter 6 Making Original Patches keyboard pressed is used to control TIME 1, while the speed at which the key is released is used to control TIME 4. - VELO TIME 1 Range: -100– +100 With positive (+) settings, TIME1 will become faster as you play the keyboard more strongly. With negative (-) settings, TIME1 will become slower as you play the keyboard more strongly.
PAGE 98
Chapter 6 Making Original Patches independently for these three. - LFO1/2: WAVEFORM, RATE, TEMPO SYNC, KEY SYNC, FADE MODE, DELAY TIME, FADE TIME, OFFSET, PITCH DEPTH, FILTER DEPTH, AMP DEPTH, PAN DEPTH LFO1/2: TEMPO SYNC * See the following sections for descriptions of the setting ranges and contents of the respective parameters. Range: LFO1/2: WAVEFORM Select the output waveform for LFO 1/2. The sound will be modulated in the same shape as the selected waveform.
PAGE 99
Chapter 6 Making Original Patches LFO1/2: FADE TIME Specifies the time over which the LFO amplitude will reach the maximum (minimum) after the Delay TIME has elapsed. Higher settings will produce longer times. Range: 0–127 LFO1/2: OFFSET This parameter offsets the LFO waveform upward or downward from the central value (pitch or cutoff frequency, etc.). As this value is increased in the positive (+) direction, the waveform will be moved upward from the central value.
PAGE 100
Chapter 6 Making Original Patches LOW, VELO RANGE UP, VELO CROSS FADE - SOLO: SOLO SW, SOLO LEGATO - PORTAMENTO: SW, MODE, TYPE, START, TIME * See the following sections for descriptions of the setting ranges and contents of the respective parameters. COMMOM parameters COMMON: STRUCT (STRUCTURE) 1/2, 3/4 Specifies how tones 1 and 2 will be combined (Struct 1/2), and how tones 3 and 4 will be combined (Struct 3/4). modulates it with tone 2 (4), and mixes the result with the filtered sound of tone 2 (4).
PAGE 101
Chapter 6 Making Original Patches When this is “OFF,” equal temperament will be used. As the value is increased, the pitch difference between the high range and low range will increase. Stretch Tuning Stretch Tuning is a unique method of tuning specific to pianos. In general, pianos are tuned so that their high range is sharper and their low range is flatter than the equal tempered pitch. This makes chords sound better.
PAGE 102
Chapter 6 Making Original Patches SOLO/PORTAMENTO parameters PORTAMENTO:TIME SOLO: SOLO SW You can adjust the time over which the pitch will change when portamento is used. By turning on the Solo switch, you can play monophonically (one note at a time). It is effective to turn Solo on when playing synth lead or synth bass sounds. Range: OFF, ON Range: 0–127 As this values is increased, the pitch will take a longer time to reach the next note.
PAGE 103
Chapter 6 Making Original Patches 7. Press the [CURSOR (right/left)] buttons to move the cursor below the tone number (T-1 to T-4) for which you want to define the parameter. 8. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. 9. After the value is specified, press the [EXIT] button to return to the previous screen.
PAGE 104
Chapter 6 Making Original Patches Saving a Patch All parameters explained in connection with patch editing can be saved. * If you turn off the power without saving the patch, the edited patch will be lost. Do not select another patch before saving the edited patch. The edited patch will be lost when you select another patch. Procedure 1. Select a patch and edit it. (P. 88 - P. 103) 2. Press the [SYSTEM] button. [F2 (DEL)]: Delete the character at the cursor location.
PAGE 105
Chapter 6 Making Original Patches Editing Rhythm Sets A rhythm set assigns a different tone to each keyboard pad. The R part can be used to play multiple rhythm instrument sounds by itself. Here’s how to edit each tone. Selecting the Basic Tone of the rhythm (WAVE and KEY) and contents of the respective parameters. WAVE parameters WAVE: You can make settings related to the waveform that is the basis for a synthesizer’s sound. For each tone, select the waveform that will be the basis of the sound.
PAGE 106
Chapter 6 Making Original Patches time as the closed hi-hat sound. To simulate this, you can specify the same mute group number for both hi-hat sounds. Range: OFF, 1–31 and contents of the respective parameters. PITCH parameters Changing the Pitch (PITCH and ENVELOPE) In “PITCH:” you can make settings that affect the pitch. In “P-ENV:” you can make settings to specify how the pitch of the percussion instrument will change over time.
PAGE 107
Chapter 6 Making Original Patches P-ENV: VELO TIME SENS (VELOCITY TIME SENSE) This parameter lets your playing velocity the overall time of the entire Pitch Envelope. With positive (+) settings, TIME1 will become faster as you play the keyboard more strongly. With negative (-) settings, time will become slower as you play the keyboard more strongly. When Velocity TIME Sensitivity is set to a positive value, the pitch will change slowly for softly-played notes, and rapidly for strongly-played notes.
PAGE 108
Chapter 6 Making Original Patches FILTER parameters frequency area to be heard. Level FILTER: TYPE Select the type of filter. Frequency Range: - OFF: The filter will not be applied (all filter indicators are dark). - LPF (Low Pass Filter): This is the most common type of filter, and allows audio signals with frequencies below the cutoff frequency to pass. It is used to make the sound more mellow.
PAGE 109
Chapter 6 Making Original Patches FILTER: RESONANCE F-ENV (FILTER ENVELOPE) parameters Adding a Distinctive Character to the Sound (Resonance) F-ENV: ENV DEPTH (ENVELOPE DEPTH) This setting emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. Level LPF Frequency BPF This setting adjusts the depth of the filter envelope. As the value is increased in the positive (+) direction, the amount of tonal change will increase.
PAGE 110
Chapter 6 Making Original Patches F-ENV: LEVEL1–4 (ENVELOPE LEVEL1–4) PAN DEPTH Specifies the cutoff frequency at each level. You can make settings for the four parameters, Level 1–4. - A-ENV: VELO SENS, VELO TIME SENS, TIME1–4, LEVEL1–3 Raising this setting will also raise the cutoff frequency. * See the following sections for descriptions of the setting ranges and contents of the respective parameters.
PAGE 111
Chapter 6 Making Original Patches between strongly played and softly played notes will gradually increase. With positive (+) settings, the volume will increase as you play more strongly on the keyboard. With negative (-) settings, the volume will decrease as you play more strongly on the keyboard. If this is set to “0,” the volume will not be affected by the strength of your playing on the keyboard.
PAGE 112
Chapter 6 Making Original Patches Adjusting the Effects for Each Rhythm Tone (SEND LEVEL) In the RHY TONE (RHYTHM TONE), the levels of effects to be applied can be set up individually (on/off settings for MFX). Procedure 1. Press the [PTN] button. 2. Press [PART SELECT] then, Press [R] part buttons to select the part R. 3. Press [F1 (PACH)] and [F1 (EDIT)] button, in that order. The menu screen for rhythm set editing appears. 4. Press the [CURSOR (down)] button. Rhythm Tone Reverb Level is raised.
PAGE 113
Chapter 6 Making Original Patches Saving a Rhythm Set This operation is used to save all parameters covered describing rhythm set editing. * To save the rhythm set with modified settings, follow the procedure below. On the other hand, if you have modified some parameters for a rhythm set but do not want to save the modifications, the rhythm set before modification can be used if this procedure is omitted. Procedure 1. Select and edit a rhythm set. (P. 105 - P. 112) 2. Press the [SYSTEM] button. 3.
PAGE 114
Chapter 7 Environment Configuration and Application with MIDI Saving system settings Range: OFF, ON There are two types of system settings: those that are preserved when the power is turned off (backup parameters), and those that return to their default settings when the power is turned off. Parameter Type: Returns to "ON" each time you turn off the power SYSTEM: SOUND REVERB SW DELAY SW M-FX SW Backup parameters are saved when you press the [EXIT] button to close the setting screen.
PAGE 115
Chapter 7 Environment Configuration and Specifying the number of notes for each part (VOICE RESERVE) 2. Press the [CURSOR (up)] button to access the screen for items 1–4. Specifies the number of notes that will be reserved for each part when the total number of requested notes exceeds 64.Voice Reserve settings can be made up to a total of 64 notes for all parts. 3. Press the [F1 (SND)] button. One of the “SYSTEM: SOUND” set-up screen appears. Procedure 1.
PAGE 116
Chapter 7 Environment Configuration and Scale Tune switch (SCALE TUNE SW) This switch activates/deactivates the Scale Tune function. Procedure 1. Press the [SYSTEM] button, then the [F1 (SYS)] button. The selection screen for system settings appears. 2. Press the [CURSOR (up)] button to access the screen for items 1–4. 3. Press [F1 (SND)] button. 6. Press the keyboard pad associated with the key subject to tuning. The asterisks are replaced with the name of the key you pressed. 4.
PAGE 117
Chapter 7 Environment Configuration and Settings Concerning the Display and Controllers 5. Use the [CURSOR (up/down)] buttons to move the cursor to “PAD VELOCITY.” * It is not possible to enter these set-up screens while a pattern or song is being played back. Adjusting the display contrast (LCD CONTRAST) This adjusts the contrast (brightness) of the Display. Increasing this value will increase the contrast of the display. Procedure 1. Press the [SYSTEM] button, then the [F1 (SYS)] button.
PAGE 118
Chapter 7 Environment Configuration and Setting up the polarity of the pedal (PEDAL POLARITY) 7. Operating the [GRAB] switch turns the effect on/off. Select the polarity of the pedal. Range: OFF, ON Parameter Type: Backup parameters If you are using a pedal with inverted polarity (so the pedal functions in a way opposite from what you expect), select “REVERSE.” Procedure * If operating the GRAB switch does not turn the effect on or off, check the following: 1.
PAGE 119
Chapter 7 Environment Configuration and Sequencer-Related Settings * It is not possible to enter these set-up screens while a pattern or song is being played back. Setting up the volume level of the metronome (METRONOME LEVEL) This sets the volume of the metronome. Increasing this setting will raise the volume. 5. Use the [CURSOR (up/down)] buttons to move the cursor to “AUTO CHECKSUM.” 6. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons.
PAGE 120
Chapter 7 Environment Configuration and indicator will light. Parameter Type: Backup parameters 3. Press the [F3 (SEQ)] button. One of the SYSTEM: SEQ set-up screens appears. 4. Press the [F2 (PRM2)] button. Transmitting synchronization messages (SYNC OUT) 5. Use the [CURSOR (up/down)] buttons to move the cursor to “ARPEGGIO SYNC.” This specifies whether or not synchronization-related MIDI messages will be transmitted.
PAGE 121
Chapter 7 Environment Configuration and * When using LOOP2 to playback a song, we recommend that a pattern which mutes all parts (i.e., a silent pattern) be inserted at the end of the song, so that songs are joined smoothly. Procedure 1. Press the [SYSTEM] button, then the [F1 (SYS)] button. The selection screen for system settings appears. Parameter Type: Backup parameters Setting up the mode of song playback (SONG PLAY MODE) 2. Press the [CURSOR (up)] button to access the screen for items 1–4. 3.
PAGE 122
Chapter 7 Environment Configuration and Using the RHYTHM PART VIEW button as the MUTE CTRL part button (RHY VIEW) There is a special “MUTE CTRL part” that is used to record data for operations such as “switching the MUTE buttons on/off,” “tempo changes,” and “system exclusive messages.” If desired, you can make settings so that the RHYTHM PART VIEW button will function as the MUTE CTRL part button. Procedure 1. Press the [SYSTEM] button and then the [F1 (SYS)] button.
PAGE 123
Chapter 7 Environment Configuration and MIDI-Related Settings Parameter Type: Backup parameters * It is not possible to access these setting pages while a pattern or song is playing back. Using an external MIDI keyboard in place of the keyboard pads (REMOTE KEYBOARD) An external MIDI keyboard can be used instead of the MC307’s keyboard pads. Procedure 1. Press the [SYSTEM] button, then the [F1 (SYS)] button. The selection screen for system settings appears.
PAGE 124
Chapter 7 Environment Configuration and 2. Press the [CURSOR (up)] button to access the screen for items 1–4. 3. Press the [F4 (MIDI)] button. 4. Press [CMMN] button. If the following screen is not displayed, use [F4 ( make it appear. )] to 5. Use the [CURSOR (up/down)] button to move the cursor to “THRU.” Parameter Type: Backup parameters - refer to Playing back arpeggio on the MC-307 using an external MIDI keyboard (p. 134).
PAGE 125
Chapter 7 Environment Configuration and Specifying how knob data is transmitted (EDIT TX/RX) will automatically be converted to a control change inside the MC-307. This specifies the type of MIDI message that will be used to communicate with external devices when the front panel knobs are moved. With the factory settings this is set to “MODE1.
PAGE 126
Chapter 7 Environment Configuration and Disconnecting the keyboard pads from the internal sound generator (LOCAL TX SW) You can specify how MIDI messages from the controller section (the keyboard pad, knobs, pedals etc.) will be sent to each part [R], [1] to [7]. Use [PART SELECT] button and the PART buttons to select the part whose settings you wish to modify. Reception settings for each type of MIDI message Procedure 1. Press the [SYSTEM] button, then the [F1 (SYS)] button.
PAGE 127
Chapter 7 Environment Configuration and Transmission settings for each type of MIDI message Transmission settings of Mute Control part Procedure Transmission Setting of Mute Control part, to internal sound source (I), to MIDI OUT connector (E) or both (B) 1. Press the [SYSTEM] button, then the [F1 (SYS)] button. The selection screen for system settings appears. Procedure 2. Press the [CURSOR (up)] button to access the screen for items 1–4. 1. Press the [SYSTEM] button, then the [F1 (SYS)] button.
PAGE 128
Chapter 7 Environment Configuration and Useful Functions (Utilities) 8. Press the [F4 (OK)] button. The “ARE YOU SURE?” message appears for confirmation. * It is not possible to enter these set-up screens while a pattern or song is being played back. Initializing Patches, Rhythm Tones and Patterns (INITIALIZE) Initializing patches and patterns 9. Press [F4 (EXEC)] button. Initialization is performed. Copying Patch Tones and Rhythm Tone (COPY) This function duplicates patch tones and rhythm keys.
PAGE 129
Chapter 7 Environment Configuration and The MC-307 is capable of saving data of the currently selected pattern or patches in a part en masse on an external device. This is referred to as “Bulk Dump.” By using this function, you can save MC-307 data on an external MIDI sequencer (such as the Roland MC-80) that has a floppy disk, or exchange data between two MC-307 units. * Entering the data reception screen for the BULK DUMP function clears the contents of the pattern being edited.
PAGE 130
Chapter 7 Environment Configuration and 8. When transmission from the external device is completed, Pattern Play screen appears. * If you want to about the reception, press [F4 (EXIT)]. * After SETUP data has been received, use the Pattern Write operation to save the setup to user pattern memory. * After SETUP&PATCH or ALL data has been received, first use the Patch Write operation to save the patches of all parts to vacant user patches.
PAGE 131
Chapter 7 Environment Configuration and Restoring the Factory Settings (FACTORY RESET) This operation can restore all settings of the MC-307 to those factory default settings. Caution: If any valuable data reside in the MC-307 main memory, save the data into an external MIDI sequencer or other external devices by performing bulk dumps (P. 130) before executing factory reset. - Song refer to Saving the Song (p. 87). - Arpeggiator refer to Saving Arpeggio Settings (Arpeggio Write) (p. 34).
PAGE 132
Chapter 7 Environment Configuration and Advanced Operation Using MIDI About MIDI The MC-307 records and plays back MIDI musical data, and when MIDI musical data is received its sound generator will produce sound. MIDI (Musical Instrument Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. Devices that have a MIDI connector can be connected using a MIDI cable, allowing them to transmit and receive data.
PAGE 133
Chapter 7 Environment Configuration and Using with an External MIDI Device Recording performance on an external MIDI keyboard in the MC-307 This is the set-up operation for recording performance on an external MIDI keyboard in the MC-307. Set the remote keyboard switch to “ON.” (With the factory settings, this will be “ON.”) For the set-up procedure, refer to Using an external MIDI keyboard in place of the keyboard pads (REMOTE KEYBOARD) (p. 123).
PAGE 134
Chapter 7 Environment Configuration and Playing back arpeggio on the MC-307 using an external MIDI keyboard This setting enables the MC-307 to play back arpeggio upon reception of note messages from a particular MIDI channel. (If the Remote Keyboard Switch is “ON,” you can simply turn the arpeggiator on and play the external MIDI keyboard to produce arpeggios.
PAGE 135
Chapter 7 Environment Configuration and 3. Set the transmit channel(s) of your MIDI sequencer software to match the receive channel of the part(s) you wish to play. This setting enables such information to be recorded by operating the MC-307’s keyboard pads, knobs and Arpeggiator.
PAGE 136
Chapter 7 Environment Configuration and Synchronization with an External MIDI Device Timing of the MC-307’s sequencer can be synchronized with that of another sequencer for playback. This feature enables large-scale performance playing back a number of parts at the same time. Making an external MIDI sequencer synchronized with playback on the MC-307 Now, let’s make MC-307’s patterns synchronized with an external MIDI sequencer.
PAGE 137
Chapter 7 Environment Configuration and 3. Set up so that MIDI clocks are transmitted from the external MIDI sequencer. For details on the setting, refer to the owner’s manual for your external MIDI sequencer. Start synchronized playback. 4. Press the [PLAY] button of the external MIDI sequencer, and synchronized playback will begin. 5. To stop synchronized playback, press [STOP] button on the external sequencer.
PAGE 138
PAGE 139
Appendices 139
PAGE 140
Troubleshooting If there is no sound, or if the instrument does not function as you expect, first check the following points. If this does not resolve the problem, contact your dealer or the nearest Roland Service Center. * Roland shall bear no responsibility whatsoever with regard to any loss of memory contents, or any consequent damages, whether direct or indirect. No Sound The power of the MC-307 or connected devices is not turned on. - Turn on the power.
PAGE 141
Troubleshooting Reverb/Delay/M-FX Do Not Apply Play Quantize Does Not Apply If the GRAB switch is turned “OFF”: Either the Strength setting is at 0%, or the Shuffle Rate setting is at 50%. - To maintain the ON mode, put the GRAB switch at “ON.” Reverb/Delay/M-FX are turned off. - Turn each switch “ON” (P. 42, P. 44, P. 46). The Reverb Level setting and the Part Reverb Level settings of each part are set to “0.” - Increase the settings (P. 43, P. 42).
PAGE 142
Error Message List If an incorrect operation has been performed or if processing could not be carried out as specified, an error message will appear. Refer to this list and take the appropriate action. NOW PLAYING NO QTZ SELECTED Since playback is in progress, operation cannot be performed. - Press the [STOP] button to stop playback, and then perform the operation. Quantize is not selected. - In the Play Quantize setting, select the quantization that you wish to use (P. 34).
PAGE 143
Parameter List Patch Parameter WAVE: [PTN]+[F1 (PACH)]+[F1 (EDIT)]+[F1 (WAVE)]+[F1 (WAVE)] (P. 88) Parameter Parameter Name Setting Value *WAVE: Wave Select Wave Select A001 - 254, B001 - B251, C001 - C236 *WAVE: Tone SW Tone Switch OFF, ON *WAVE: Wave Gain Wave Gain -6, 0, +6, +12 FXM: [PTN]+[F1 (PACH)]+[F1 (EDIT)]+[F1 (WAVE)]+[F2 (FXM)] (P.
PAGE 144
Parameter List TONE n TIME2[D] Time1 (Decay Time) TONE n TIME3 Time3 TONE n TIME4[R] Time4 (Release Time) TONE n Level1 Level1 TONE n Level2 Level2 TONE n Level3 [S] Level3 (Sustain Level) TONE n Level4Level4-63 - +63 (n = 1 - 4) AMP: 0 - 127 0 - 127 0 - 127 -63 - +63 -63 - +63 -63 - +63 [PTN]+[F1 (PACH) ]+[F1 (EDIT) ]+[F4 (AMP) ]+[F1 (AMP) ] (P.
PAGE 145
Parameter List VOICE PRIORITY* KEY RANGE LOWER * KEY RANGE UPPER * VELO RANGE SW* VELO RANGE LOW VELO RANGE UP VELO CROSS FADE Voice Priority Key range Lower Key range Upper Velocity Range Switch Velocity Range Lower Velocity Range Upper Velocity Cross Fade LAST, LOUDEST C-1 - UPR LWR - G9 OFF, ON 1 - UPR LWR - 127 0 - 127 *: Common settings for each tone SOLO: , PORTAMENT: [PTN]+[F1 (PACH) ]+[F1 (EDIT) ]+[F2 (CMN) ]+[F2 (SOLO) ] (P.
PAGE 146
Parameter List ■ Rhythm Set Parameter WAVE:, KEY: [PTN]+[F1 (PACH) ]+[F1 (EDIT) ]+[F1 (WAVE) ]+[F1 (WAVE) ] (P. 105) Parameter Parameter Name Setting Value WAVE: TONE SWITCH WAVE GAIN ENV MODE MUTE GROUP Wave Select Rhythm Tone Switch Wave Gain Envelope MOde Mute Group A001 - 254, B001 - B251, C001 - 236 OFF, ON -6, 0, +6, +12 SUSTAIN, NO-SUS OFF, 1 - 31 PITCH: [PTN]+[F1 (PACH) ]+[F1 (EDIT) ]+[F2 (PICH) ]+[F1 (PICH) ] (P.
PAGE 147
Parameter List A-ENV: [PTN]+[F1 (PACH) ]+[F1 (EDIT) ]+[F4 (AMP) ]+[F2 (AENV) ] (P.
PAGE 148
Parameter List 11 LIMITER, 12 SLICER, 13 TREMOLO, 14 PHASER, 15 CHORUS, 16 SPACE-D, 17 TETRA CHORUS, 18 FLANGER, 19 STEP FLANGER, 20 SHORT DELAY, 21 AUTO PAN, 22 FB PITCH SHIFTER, 23 REVERB, 24 GATE REVERB, 25 ISOLATOR M-FX [PTN]+[F2 (STUP) ]+[F4 (M-FX) ]+[F4 (PRM) ] (P.
PAGE 149
Parameter List HIGH GAIN OUTPUT OUTPUT LEVEL High Gain Output Output Level -15 - +15 MONO, STEREO 0 - 127 M-FX: 7 NOISE Parameter Parameter Name Setting Value NOISE TYPE NOISE LEVEL NOISE FILTER LO-FI LEVEL OUTPUT PAN OUTPUT LEVEL Noise Type Noise Level Noise Filter LO-FI Level Output Pan Output Level 1 - 18 0 - 127 1* 0 - 127 L64 - 63R 0 - 127 1*: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS M-FX: 8 RADIO TUNING Parameter Parameter Name
PAGE 150
Parameter List M-FX: 13 TREMOLO Parameter Parameter Name Setting Value LFO TYPE DEPTH LOW GAIN RATE HIGH GAIN OUTPUT LEVEL LFO Type Depth Low Gain Rate High Gain Output Level TRI, TRP, SIN, SAW1, SAW2, SQR 0 - 127 -15 - +15 0.1 - 10.0, 1* -15 - +15 0 - 127 1*: , 2MES, 3MES, 4MES, 8MES, 16MES M-FX: 14 PHASER Parameter Parameter Name Setting Value MANUAL DEPTH RESONANCE RATE MIX OUTPUT PAN OUTPUT LEVEL Manual Depth Resonance Rate Mix Level Output Pan Output Level 100 - 8000 0 - 127 0 - 127 0.
PAGE 151
Parameter List M-FX: 18 FLANGER Parameter Parameter Name Setting Value PRE DELAY DEPTH FEEDBACK RATE PHASE FILTER TYPE CUTOFF BALANCE OUTPUT LEVEL Pre Delay Time Depth Feedback Level Rate Phase Filter Type Cutoff Frequency Effect Balance Output Level 0.0 - 100 0 - 127 0 - +98 0.1 - 10.
PAGE 152
Parameter List OUTPUT PAN PRE DELAY MODE FEEDBACK LOW GAIN HIGH GAIN BALANCE OUTPUT LEVEL Output Pan Pre Delay Time Pitch Shifter Mode Feedback Level Low Gain High Gain Effect Balance Output Level L64 - 63R 0.
PAGE 153
Parameter List GROOVE Parameter Parameter Name Setting Value TEMPLATE TIMING VELOCITY Groove Template Timing Strength Velocity Strength 01 - 71 0 - 100 % 0 - 100 % Parameter Parameter Name Setting Value TEMPLATE TIMING Shuffle Template Timing Strength 1/12,1/24 0 - 100 % SHUFFLE ■ System Parameter SYSTEM: SOUND [SYSTEM]+[F1 (SYS) ]+[F1 (SND) ]+[F1 (SND) ] (P.
PAGE 154
Parameter List SYSTEM: SEQ [SYSTEM]+[F1 (SYS) ]+[F3 (SEQ) ]+[F4 (PRM4) ] (P. 122) Parameter Parameter Name Setting Value RHY VIEW TAP SW TAP RESOLUTION Rhythm View Button Tap Switch Tap Resolution NORMAL, MUTE CTRL OFF, ON , SYSTEM: MIDI [SYSTEM]+[F1 (SYS) ]+[F4 (MIDI) ]+[F1 (CMN) ] (P.
PAGE 155
Preset Patch List Preset A (CC#0 = 81, CC#32 = 0) Preset B (CC#0 = 81, CC#32 = 1) No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 No.
PAGE 156
Preset Patch List Preset C (CC#0 = 81, CC#32 = 2) Preset D (CC#0 = 81, CC#32 = 3) No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 No.
PAGE 157
Preset Patch List Preset E (CC#0 = 83, CC#32 = 0) Preset F (CC#0 = 83, CC#32 = 1) No. 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 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 No.
PAGE 158
STYLE/MOTIF/BEAT PATTERN Preset G (CC#0 = 83, CC#32 = 2) No.
PAGE 159
Preset Rhythm Set List * The Rhythm Group column shows the button that can be pressed to mute that rhythm tone. P: A 01-26 (CC#0 = 81, CC#32 = 0), P: B 01-26 (CC#0 = 83, CC#32 = 0), User: 01-20 (CC#0 = 85, CC#32 = 0) Note No.
PAGE 160
Preset Rhythm Set List Rhythm Group Note No.
PAGE 161
Preset Rhythm Set List Rhythm Group Note No.
PAGE 162
Preset Rhythm Set List Rhythm Group Note No.
PAGE 163
Preset Rhythm Set List Rhythm Group Note No.
PAGE 164
Preset Rhythm Set List Rhythm Group Note No.
PAGE 165
Preset Rhythm Set List Rhythm Group Note No.
PAGE 166
Preset Rhythm Set List Rhythm Group Note No.
PAGE 167
Waveform List Group-A No. Name No. Name No. Name No. Name No.
PAGE 168
Waveform List Group-B No. Name No. Name No. Name No. Name No.
PAGE 169
Waveform List Group-C No. Name No. Name No. Name No. Name No. Name 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 41 42 43 44 45 46 47 MG Big Lead JP Hardcore JP Hoover JP Seq.Synth P5 Unisync P5 UnisyncLp Mondigital MondigitalLp OSC Saw OSC Reso Saw Siren Synth Sine MG Bass 2 MG Big Bass Solid Bass 2 Jazz Bass Ac.Bass A Ac.Bass C Tremolo sfz Choir Aah A Choir Aah B Choir Aah C Piano 2 Lo-Fi Wurly E.
PAGE 170
Preset Pattern List The sounds, phrases and patterns contained in this product are sound recordings protected by copyright.
PAGE 171
Preset Pattern List Pattern No.
PAGE 172
Preset Pattern List House Pattern No.
PAGE 173
Preset Pattern List Pattern No.
PAGE 174
Preset Pattern List Drum'n'Bass Pattern No.
PAGE 175
Preset Pattern List Pattern No.
PAGE 176
RPS Pattern List RPS Drum Pattern (Used Rhythm Patrt) No.
PAGE 177
RPS Pattern List No. 290 291 292 293 294 295 296 297 298 299 300 Name B.
PAGE 178
RPS Pattern List No. 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 Name HipHop Bass 1 HipHop Bass 2 HipHop Bass 3 HipHop Bass 4 HipHop Bass 5 HipHop Bass 6 HipHop Bass 7 HipHop Bass 8 DnB Bass 1 DnB Bass 2 DnB Bass 3 DnB Bass 4 B.Beats Bass 1 B.
PAGE 179
RPS Pattern List No. 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 Name Ride Cymbal 3 Crash Fill 1 Crash Fill 2 Crash Fill 3 Crash Fill 4 Crash Fill 5 Crash Fill 6 Crash Fill 7 Crash Fill 8 Crash Fill 9 Crash Fill 10 Crash Fill 11 Crash Fill 12 Rev.Cymbal 1 Rev.
PAGE 180
RPS Pattern List No. 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 Name Snare Fill 30 Snare Fill 31 Snare Fill 32 Snare Fill 33 Snare Fill 34 Snare Fill 35 Snare Fill 36 Rim Fill 1 Rim Fill 2 Rim Fill 3 Tom Fill 1 Tom Fill 2 Tom Fill 3 Tom Fill 4 Tom Fill 5 Tom Fill 6 Tom Fill 7 Tom Fill 8 Tom Fill 9 Perc.Fill 1 Perc.Fill 2 Perc.Fill 3 Perc.Fill 4 Perc.Fill 5 Perc.Fill 6 Perc.Fill 7 Perc.
PAGE 181
RPS Pattern List No. 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 Name Piano Chord 8 Piano Chord 9 Piano Chord 10 Piano Chord 11 Piano Chord 12 Piano Seq 1 Piano Seq 2 Piano EFX E.Piano Chord 1 E.Piano Chord 2 E.Piano Chord 3 E.Piano Chord 4 E.Piano Chord 5 E.Piano Chord 6 E.Piano Lead 1 E.Piano Lead 2 E.
PAGE 182
RPS Pattern List No.
PAGE 183
RPS Pattern List No.
PAGE 184
RPS Pattern List No.
PAGE 185
RPS Pattern List No.
PAGE 186
RPS Set List 1. Trance 1 Name Techno Drums 1 Techno Drums 2 Techno Bass 1 Techno Bass 2 Snare Fill 1 Snare Fill 2 Crash Fill 1 BD Fill 1 Synth Pad 1 Synth Seq 1 Synth Lead 1 Synth Riff 1 Synth Riff 2 Synth Seq 2 SFX 1 SFX 2 BPM 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 Meas. Keyboard Pad 2 1 2 2 2 3 2 4 1 5 1 6 2 7 2 8 4 9 2 10 2 11 2 12 1 13 4 14 2 15 1 16 BPM 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 Meas.
PAGE 187
RPS Set List Industry Fill 1 BD Fill 4 Industry Fill 2 Tom Fill 1 Vox 1 Synth Riff 13 Guitar Riff 1 Synth Seq 7 SFX 11 SFX 12 Industry Hit1 Industry Hit2 128 128 128 128 128 128 128 128 128 128 128 128 1 2 1 1 2 2 2 2 2 2 1 1 5 6 7 8 9 10 11 12 13 14 15 16 7.
PAGE 188
RPS Set List Synth Seq 13 Synth Seq 14 Synth Seq 15 Synth Riff 25 SFX 19 SFX 20 137 137 137 137 137 137 2 2 2 2 1 1 11 12 13 14 15 16 12. Dream Trance Name Techno Drums 23 Techno Drums 24 Techno Bass 23 Techno Bass 24 Snare Fill 13 Crash Fill 5 Clap Fill 6 BD Fill 9 Synth Pad 11 Organ Riff 2 Piano Seq 1 Synth Seq 16 Synth Seq 17 Synth Seq 18 Orchestra Hit 2 SFX Hit 4 BPM 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 Meas.
PAGE 189
RPS Set List SFX 26 133 2 16 17. UK HardHouse Name House Drums 9 House Drums 10 House Bass 9 House Bass 10 Snare Fill 21 BD Fill 14 Crash Fill 10 Snare Fill 22 Synth Riff 35 Organ Riff 3 Synth Riff 36 SFX 27 SFX 28 Synth Riff 37 SFX Hit 7 Voice Hit 1 BPM 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 140 Meas. Keyboard Pad 2 1 2 2 2 3 2 4 1 5 1 6 2 7 1 8 2 9 2 10 2 11 2 12 2 13 1 14 1 15 1 16 BPM 135 135 135 135 135 135 135 135 135 135 135 135 135 135 135 135 Meas.
PAGE 190
RPS Set List HipHop Drums 8 HipHop Bass 7 HipHop Bass 8 Noise Fill Voice Fill Rim Fill 2 OHH Fill 1 Piano Chord 5 Strings 3 Sitar Lead Synth Seq 25 Choir Orch. Vox 2 SFX Hit 9 Strings Pizz 2 87 87 87 87 87 87 87 87 87 87 87 87 87 87 87 2 2 2 1 2 1 1 2 1 1 1 1 2 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 23. Drum 'n' Bass 1 Name DnB Drums 1 DnB Drums 2 DnB Bass 1 DnB Bass 2 Snare Fill 24 Snare Fill 25 Snare Fill 26 BD Fill 16 E.
PAGE 191
RPS Set List Ride Cymbal 3 Crash Fill 12 E.Piano Chord 6 Strings 4 Guitar Chord 6 Vox Lead Organ Lead Synth Lead 11 SFX 41 SFX 42 95 95 95 95 95 95 95 95 95 95 1 1 4 4 4 4 4 4 1 1 7 8 9 10 11 12 13 14 15 16 28. Reggae Name Reggae Drums 1 Reggae Drums 2 Reggae Bass 1 Reggae Bass 2 Rim Fill 3 Snare Fill 35 Snare Fill 36 Tom Fill 9 Piano Chord 8 Guitar Chord 7 Synth Lead 12 Guitar Riff 6 Guitar Riff 7 Berimbau SFX 43 SFX Hit 12 BPM 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 85 Meas.
PAGE 192
Transmit/Receive Setting List PITCH FILTER AMPLIFIER P-ENVELOPE F-ENVELOPE A-ENVELOPE LFO1 PORTAMENTO PART MIXER Parameter EDIT TX/RX MODE1 (Default) MODE2 Value COARSE TUNE EXCLUSIVE CC#21 16 - 112 Center=64) *1 FINE TUNE CC#77 CC#77 14 - 114 (Center=64) *1 FILTER TYPE EXCLUSIVE CC#34 0 - 4 *1 CUTOFF CC#74 CC#74 0 - 127 *1 RESONANCE CC#71 CC#71 0 - 127 *1 TONE LEVEL EXCLUSIVE CC#36 0 - 127 *1 TONE PAN EXCLUSIVE CC#35 0 - 127 (Center=64) *1 RND PAN EXCLUSIVE CC#37
PAGE 193
Main Specifications MC-307: groovebox Turntable Emulation block - Turntable Emulation slider SOUND GENERATOR SECTION Maximum Polyphony: ............................................. 64 voices - Turntable PUSH/HOLD button GRAB Switch Parts:....................................................... 24 (Main: 8, RPS: 16) Patches CONNECTORS - Preset: .......................................................................... 800 Headphones Jack - User: .......................................................
PAGE 194
MIDI Implementation Model: Date: Version: MC-307 (groovebox) Feb. 22, 2000 1.01 Symbol n vv kk xx Description MIDI Channel Control value Note Number ON/OFF ❍Modulation (Controller number 1) status 2nd byte 3rd byte BnH 01H vvH * The effect will apply according to the Modulation Control setting. Range 0H–6H,9H (ch.1–ch.7,ch.10) 00H–7FH (0–127) 00H–7FH (0–127) 00H–3FH (0–63:OFF), 40H–7FH (64–127:ON) 1.
PAGE 195
MIDI Implementation * If the Remote Keyboard Switch is ON, operation will be the same as when the switch pedal of the MC-307 is operated. BnH * 5BH vvH The Part Reverb Send Level will change. ❍Sound Controller2 (Controller number 71) status BnH * 2nd byte 47H 3rd byte vvH ❍Effect 4 (Reverb Send Level)(Controller number 94) status BnH 2nd byte 5EH 3rd byte vvH The Resonance parameter will change. * The Part Reverb Send Level will change.
PAGE 196
MIDI Implementation ■Channel Mode messages * ●All Sound Off (Controller number 120) status BnH * * 2nd byte 78H 3rd byte 00H When this message is received, all notes currently sounding on the corresponding channel will be turned off. Not received when the Rx Switch parameter is OFF. ●Active Sensing status FEH * ●Reset All Controllers (Controller number 121) status BnH * * 2nd byte 79H 3rd byte 00H Not received when the Rx Switch parameter is OFF.
PAGE 197
MIDI Implementation * and calculating the checksum” (P. 206). This message is not received if the Rx.System Exclusive Switch Switch parameter is OFF. ●Data Set 1 DT1 * This message transmits the actual data, and is used when you wish to set the data of the receiving device. status F0H data byte 41H, dev, 00H, 0BH, 12H, aaH, bbH, ccH, ddH, eeH, ...
PAGE 198
MIDI Implementation ❍Sostenuto (Controller number 66) status BnH 2nd byte 42H 3rd byte xxH ❍Soft (Controller number 67) status BnH 2nd byte 43H 3rd byte xxH ❍Hold 2 (Controller number 69) status BnH 2nd byte 45H 3rd byte xxH ❍Sound Controller2–6,8 (Controller number 71–75, 77) status BnH 2nd byte 47H-4BH,4DH 3rd byte vvH ❍General purpose Controller5–8 (Controller number 80–83) status BnH 2nd byte 50H-53H 3rd byte vvH ❍Portamento control (Controller number 84) status BnH 2nd byte 54H 3rd by
PAGE 199
MIDI Implementation ●Poly (Controller number 127) * * For the address, size, and checksum, refer to “Examples of system exclusive messages and calculating the checksum” (P. 206). Transmission of consecutive addresses is not possible. 3. Data reception (Sequencer section) status BnH * 2nd byte 7FH 3rd byte 00H The same processing will be done as when an All Note Off message is received.
PAGE 200
MIDI Implementation 4. Data transmission (Sequencer section) ■1 Recorded messages are transmitted during playback. ■2 If the Through parameter is ON, messages received (except for System Common messages and System Realtime messages) will be transmitted. ■3 Messages that are generated and transmitted ■3.1 Messages automatically generated by the system ■Channel Mode messages ●Omni Off (Controller number 124) status BnH * 2nd byte 7CH 3rd byte 00H At start-up, this message is transmitted to all channels.
PAGE 201
MIDI Implementation 5. Parameter address map 1. MC-307 (Model ID=00H 0BH) * * * For addresses marked by #, the data is transmitted in two parts. For example, the hexadecimal data ABH would be divided into 0AH and 0BH, and transmitted in this order. Addresses for which the Description field is listed as “Reserved” have no meaning for the MC-307. They will be ignored. Parameter values enclosed in < > have no meaning for the MC-307.
PAGE 202
MIDI Implementation prm1 Radio Detune 0 - 127 prm2 Noise Level 0 - 127 prm3 Low Gain 0 - 30 -15 - +15 prm4 High Gain 0 - 30 -15 - +15 prm5 Output 0-1 MONO,STEREO prm6 Output Level 0 - 127 ———————————————————————————————————————————————— Type 8: PHONOGRAPH prm1 Disc Type 0-2 LP,EP,SP prm2 D Noise Level 0 - 127 prm3 Depth 0 - 20 0 - +20 prm4 Output Pan 0 - 127 L64 - 63R prm5 Output Level 0 - 127 ———————————————————————————————————————————————— Type 9: COMPRESSOR prm1 Attack 0 - 127 prm2 Sustain 0 - 127 prm3
PAGE 203
MIDI Implementation ■1-3.Patch +——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | Patch Common 1-3-1 | | 10 00 | Patch Tone 1 1-3-2 | | 12 00 | Patch Tone 2 | | 14 00 | Patch Tone 3 | | 16 00 | Patch Tone 4 | +——————————————————————————————————————————————————————————————————————————————+ ■1-3-1.
PAGE 204
MIDI Implementation ■1-4-2.
PAGE 205
MIDI Implementation ■Address block map 2. Supplementary material The following is an outline of the address map for Exclusive messages ■Decimal/Hexadecimal table Address(H) Block Sub Block Reference =========== ==================== =========================== ========= 00 00 00 00 +——————————————————+......................................+———————+ | System common | | 1-1-1 | +——————————————————+......................................+———————+ +——————————————————+.....+——————————+.....................
PAGE 206
MIDI Implementation ■ASCII code table +——————+——————+——————++——————+——————+——————++——————+——————+——————+ | D | H | Char || D | H | Char || D | H | Char | +——————+——————+——————++——————+——————+——————++——————+——————+——————+ | 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` | | 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a | | 34 | 22H | “ || 66 | 42H | B || 98 | 62H | b | | 35 | 23H | # || 67 | 43H | C || 99 | 63H | c | | 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d | | 37 | 25H | % || 69 | 45H | E || 101 | 65H
PAGE 207
MIDI Implementation -) 01 00 00 00H 00 00 19 1AH F0 (1) 41 (2) 10 (3) 00 (4) 0B (5) 11 (6) 01 00 00 00 address 00 00 19 1A data ?? checksum F7 (7) (1) Exclusive status (2) ID number (Roland)(3) Device ID (17) (4), (5) Model ID (MC-307)(6) Command ID (RQ1)(7) EOX When the checksum is calculated in the same way as in , we have the following message to be transmitted: F0 41 10 00 0B 11 01 00 00 00 00 00 19 1A 4C F7.
PAGE 208
groovebox Model MC-307 Sound Generator section Date : Oct. 27, 1999 MIDI Implementation Chart Transmitted Version : 1.
PAGE 209
groovebox Model MC-307 Sequencer section Date : Oct. 27, 1999 MIDI Implementation Chart Transmitted Version : 1.00 Recognized Remarks Function… Basic Channel Default Changed 1—7, 10 X Mode Default Messages Altered Mode 3 OMNI OFF, POLY **************** True Voice 0—127 **************** 0—127 0—127 Velocity Note ON Note OFF O O O O After Touch Key s Ch s O O O O O O O O O **************** O 0—127 O O Note Number : Pitch Bend 0–119 There is no basic channel.
PAGE 210
Index 4 Band EQ ........................................................................48 DEVICE ID ....................................................................123 Distortion .........................................................................50 A E ACCENT RATE ..............................................................34 AFT .................................................................................102 AMP .........................................................................
PAGE 211
Index M-FX TO DLY LEVEL ...................................................45 M-FX TO REV LEVEL ...................................................43 Micro Edit ........................................................................72 NOTE ..........................................................................72 MIDI Channels .............................................................132 MIDI connectors ...........................................................132 MIDI RX SW ........................
PAGE 212
Index S U Saving Arpeggiator ...............................................................34 Pattern ........................................................................23 Saving Settings ................................................................14 SCALE TUNE ...............................................................116 SCALE TUNE SW ........................................................116 SEND LEVEL ................................................................112 SEQ OUT .........
PAGE 213
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. PANAMA POLAND LEBANON Productos Superiores, S.A. P. P. H. Brzostowicz A. Chahine & Fils 150 Sims Drive, SINGAPORE 387381 TEL: 748-1669 Apartado 655 - Panama 1 REP. DE PANAMA TEL: (507) 270-2200 UL. Gibraltarska 4. PL-03664 Warszawa POLAND TEL: (022) 679 44 19 CRISTOFORI MUSIC PTE LTD URUGUAY PORTUGAL P.O. Box 16-5857 Gergi Zeidan St.
PAGE 214
PAGE 215
To resize thickness, move all items on the front cover to left or right on the master page. U S I The symbol alerts the user to important instructions N or warnings.The specific meaning of the symbol is G determined by the design contained within the T triangle. In the case of the symbol at left, it is used for H general cautions, warnings, or alerts to danger. E The symbol alerts the user to items that must never be carried out (are forbidden).
PAGE 216
To resize thickness, move all items on the front cover to left or right on the master page. MC-307 REFERENCE MANUAL 01904601 ’00-2-C3-21N REFERENCE MANUAL Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (REFERRENCE MANUAL p. 2; p. 8). These sections provide important information concerning the proper operation of the unit.