Thank you, and congratulations on your choice of the Roland MC-307 Groove Box. The MC307 is a further evolution of earlier groove boxes, making it even more usable than ever, providing enhanced realtime operability, and boasting new functionality optimized for DJ play. Unlimited possibilities can be achieved even by simply editing the preset patterns, making the MC-307 the ideal piece of groove gear for creating dance music. The MC-307 comes with two manuals: "Quick Start" and "Owners Manual." This "Quick Start" manual will help you to quickly learn basic operation of the MC-307.

QUICK START

Contents
Making the Connections... 2 Turning the Power On and Off.. 3 Using the MC-307... 4 Listening to Various Patterns... 6 Playing Back Patterns Continuously... 6 Adding Variations to Pattern Playback.. 8 Using Mute Function... 8 Changing to Another Patch... 10 Functions for DJ Performance... 12 Adding Variations to Sound Using Knobs. 12 Cutting Sound of a Specified Band (Isolator). 14 Delay (Echo) and Reverb Effects.. 16 Combining a Turntable and BPM.. 17 Phrase Adding Function... 18 Using a Single Keyboard Pad to Sound Phrases (Real-time Phrase Sequencing). 18 Using the Arpeggiator... 19 Making Original Patterns... 20 Creating Drum Part Play.. 20 Creating Bass Part Play... 26 Saving Created Patterns... 30
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. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, REFERRENCE MANUALshould be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
Copyright 1999 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

Making the Connections

The following describes how to get connected up for a typical setup. If you intend to connect other external instruments, refer to the Owners Manual (P.133).
* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
* Be sure to use the supplied AC adapter. Otherwise, malfunction may result.
Wind the cable around the hook to prevent accidental disconnection.

Stereo headphones

Audio Cable Pin Jack (For connecting to audio equipment) Phone Jack (For connecting to keyboard Amp.) Included AC adapter (to the AC outlet)

Keyboard amp, Audio set

* To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.
Turning the Power On and Off

Turning the Power On

Once the connections have been completed (p. 2), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
Make sure that the volume control Knob of the MC-307 and of your amp system are turned to the minimum position. Press the power switch on the MC-307s rear panel to turn it on. Turn on the power of the amp that the MC-307 is connected to. Put your amps volume at an appropriate level. Press whatever keyboard pads you like, so you hear sound, while you adjust the volume using the volume control knob on the MC-307.

Turning the power off

Be sure to turn the power off in the proper order.
Turn down the volume control Knob on the MC-307, your amp, and any other equipment so they are all at the minimum position. Turn off the power on the amp to which the MC-307 is connected. Then, turn off the power of the MC-307.

Using the MC-307

The MC-307 is a player-oriented version of the groovebox. It features functions that support real-time operation, and DJ-play. This manual explains the major functions of the MC-307. See the appropriate pages for how to operate.
Page6 Wide range of preset patterns
240 patterns are pre-installed, covering almost all kinds of dance music. Also, 200 original patterns can be additionally stored.

Various kn of real-tim

These enable rea for use as one typ

Variety of patches

In addition to the 512 patches used in the MC-505, 288 new dedicated patches have been added to the MC-307. Patches for any kind of situation are available.
"Part mu for addin pattern p
Starting with th adding bass an compositions c

Page10

Page12 Various knobs capable of real-time operation
d, These enable real-time tone changing for use as one type of musical expression.
Page17 Dedicated "BPM display" and "TURNTABLE EMULATION"
A display for indicating solely the tempo is provided. This enables easy operation, similar to manually finding the start of a track using a turntable.

nal stored.

Page20 Two types of recording functions
Offers both "Real-time recording," which records play on the keyboard pad as is, and "Tr-Rec" which Records Using Simple Button Operations.
sed ed MC-307. are available.
"Part mute button" for adding variation to pattern play
Starting with the piano solo, and then adding bass and rhythm, musical compositions can be handled in real time.
"RPS" and "Arpeggiator" for stronger sounds
Attractive live performance is possible by adding phrases in real time.

Page18, 19

Listening to Various Patterns
A pattern consists of 1 to 32 measures of play that include patches and rhythm sets of up to 8 parts. The MC-307 is provided with 240 preset patterns. In addition to these, an area for up to 200 user-created patterns is also available. The procedure for playing back a preset pattern is explained here.
For the procedure for creating a user pattern, see 20page.

Playing Back Patterns Continuously
The procedure for playing back various patterns while maintaining the tempo of the first pattern is explained here. This method is useful for live performances.

Procedure

Press the [PTN] button.
The screen for playing back patterns appears.

Press the [PLAY] button.

The pattern is played.
Using the [VALUE] dial or the [INC]/[DEC] buttons, select the pattern to be played back.
The preset patterns are classified as follows: Current Pattern Number Next Pattern Number P: 001 - 090 Techno P: 091 - 142 House P: 143 - 179 Hip Hop P: 180 - 203 DrumnBass P: 204 - 210 BreakBeats P: 211 - 220 Jazz,Lounge P: 221 - 225 Reggae P: 226 - 240 Latin During playback, you can press the [CURSOR (left, right)] buttons to successively select the first number of each genre.
After a while, playback is switched to the selected pattern.
In this way, various patterns can be played back successively without stopping.
Playback-related operations are performed using the buttons shown in the figure below.
Return to the previous measure. Returns to the beginning of the pattern. Proceeds to the next measure.
You can also have it so Patterns play back at the tempo set for each of them every time there is a switch to playback of a succeeding Pattern.

Stops playback.

Starts playback.
Used in recording. (P.20)
- Stopping playback, selecting a pattern, then starting playback again - Pressing the CURSOR buttons (right or left) during playback
Pressing the [PTN] button that appears in the screen in Step 3 allows you to switch to the screen that also shows the name of the selected Pattern. Next Pattern Name
Adding Variations to Pattern Playback
The MC-307 is capable of adding variations to a pattern while playing it back. While general sequencers are designed to play back pre-created music only, the MC-307 is capable of adding variations to music in real time. This is especially useful for dance music.

Using Mute Function

Use the mute function to add variations to sound play. Mute is one of the most basic functions. It is also one of the essential techniques needed to master the MC-307. Try playing a pattern in intro style.

1 3,5, 6,7, 8 4

The pattern playback screen appears.
Using the [VALUE] dial or the [INC]/[DEC] buttons, select pattern P: 003.
Set the part buttons [R] and [1] to [7] as shown in the figure on the following page.
Press the [PART MUTE] button, then press the part buttons [R] and [1] to [7] to set as follows.
Press it, and its indicator will start blinking Each part is equivalent to a single player in a band or orchestra. Parts 1 to 7 are for playing chromatic instruments such as piano and bass, while part R is for percussion instruments such as drum.

[R] and [1] to [7] buttons can be used for the following three functions:
1. Part mute 2. Rhythm mute 3. Part select
Change to another rhythm set and play it.
Select a rhythm set using the [VALUE] dial or the [INC]/ [DEC] buttons.
For example, [P: A04 CR78 & Cheaps] makes the sound lighter, and [P: A24 Industrial] makes the sound heavier.
Just changing the patch or rhythm set make the sound very different. This function is useful for getting the pattern to be more like what you envision.
Functions for DJ Performance
Adding Variations to Sound Using Knobs
The MC-307 is capable of changing how the patterns sound during playback and using the changed version as one sound expression. Try using the CUTOFF and RESONANCE knobs to enjoy sound variations. You can enjoy sound variations unique to the synthesizer.

Function of each knob

CUTOFF: Makes the sound more brilliant or softer. RESONANCE: Gives the sound qualities unique to the synthesizer.
The screen for playing patterns appears.
Using the [VALUE] dial or the [INC]/[DEC] buttons, select pattern P: 002. Press the [PLAY] button.
Playback starts. Select the part of the sound to be varied.
The part buttons [R] and [1] to [7] can be used to select part.

Press part button [2].

The [2] button comes on, and Part 2 is selected. Perform actual play.
Place the [RESONANCE] knob as shown below.
Keep moving the [CUTOFF] knob as shown below.
As the knob is moved, the sound varies.
This way, by moving the knob along with the sound play, a more groovy feeling can be added.
Cutting the Sound of a Specific Frequency Range (Isolator)
The Isolator can be used to cut a specific frequency range. It operates in essentially the same way as an equalizer, but the isolator can cut the sound more strongly. In addition, the isolator can be turned on/off in real time using the GRAB switch to produce interesting effects.

2,5,9,11

3,6 8,10

12,14 13

Procedure Turn on all effects
Press the [SYSTEM] button and then the [F1 (SYS)] button.
System setting items 14 will be displayed. If they are not displayed, press [CURSOR (up)].

Press [F1 (SND)] button.

The SYSTEM: SOUND screen will appear. If it does not appear, press [F1 (SND)].
Use the [CURSOR] buttons to move to the name of each effect unit, and turn all of them "ON."
Make settings so that the GRAB switch will operate
Press the [F2 (LCD)] button, and then press the [F3 (GRAB)] button.
The SYSTEM: GRAB screen will appear. With the settings of step 6, M-FX can be operated by the GRAB switch, and reverb and delay will always be on regardless of the GRAB switch.

Use the [CURSOR] buttons to move to the name of each effect unit, and turn M-FX"ON," and REVERB and DELAY "OFF." Select a pattern This is a pattern that has been set so that M-FX will be applied to all parts.
Press the [PTN] button. Use the [VALUE] dial or the [INC/DEC] buttons to select "P: 065 Dream Trance 2."
For M-FX Type, select "Isolator."
Press [F2 (STUP)], and then press [F4 (M-FX)].
The "M-FX TYPE:" screen will appear.
Use the [VALUE] dial or the [INC/DEC] button to select "25 ISOLATOR." Press [F4 (PRM)] to access the Isolator setting screen. Set LOW GAIN and MID GAIN to "0," and HIGH GAIN to "127."
Now, lets try using the GRAB switch.
The settings of step 11 allow only the high-frequency range to remain.
Set the [GRAB] switch to the OFF position. Press the [PLAY] button.
The pattern will begin playing.
In time with the playback tempo, repeatedly move the switch to the "GRAB" position, and release it so that it returns to the "OFF" position.
While the switch is being held in the "GRAB" position, the isolator will allow only the high-frequency range of the performance will be heard. If the switch is moved to the "ON" position, the isolator will remain in effect.
The GRAB switch can be used on the reverb, delay, and multi-effect (M-FX) that are used on the pattern. Try switching to a different pattern, and see how the GRAB switch affects it.
Delay (Echo) and Reverb Effects
These effects are for adding breadth and spatiality to the sound. Try comparing how the pattern sounds with and without the delay and reverb effects.
Procedure Before you begin, select pattern P: 154. Also, stop pattern playback.
Press the [SYSTEM] button. Press the [F1 (SYS)] button.
The system setting selection screen appears.
Display 1 SOUND, FX SW/TUNE using the [CURSOR (UP)] button, then press the [F1 (SND)] button.
This process displays the screen in which "REVERB SW" is found.If the screen does not appear, press [F4 ( )] several times until the screen is displayed.
The MC-307 is also has a Multi-effect function (MFX) for even more effects.
Place the cursor at REVERB SW.
This can be switched to delay effect using the DELAY SW.
For details, see Reference Manual. (P.46)
Switch on/off using the [INC/DEC] button.
The INC button switches it on and the DEC button switches it off. Press the [EXIT] button to return to the screen where you can play patterns, and then press [PLAY] to hear how the pattern sounds.

Combining a Turntable and BPM
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. They enable start and tempo alignment during turntable playback.

Decreases the BPM

Increases the BPM
Begin playback with the turntable. Begin playback with the MC-307. Make sure that both the [PITCH] and [BPM] buttons are lit.
If it is out, press the button to light it up.
Lighting only the [PITCH] button in Step 3 results in only the pitch being changed; when only [BPM] is lit, then only the BPM changes.
If the MC-307s playback is running slower than the turntables, press the [PUSH] button to speed up the performance. If the MC-307s playback is running faster than the turntables, press the [HOLD] button to slow down the performance. Move the slider to set the BPM.
Moving it upward decreases the BPM and moving it downward increases it. Setting it at the middle detent position causes the original BPM to be resumed.
Repeat steps 45 to synchronize the turntable performance to the MC-307.

Phrase Adding Function

The MC-307 is capable of adding phrases to the sound of the part in the pattern being played back.
Using a Single Keyboard Pad to Sound Phrases(Real-time Phrase Sequencing)
The RPS (Real-time Phrase Sequencing) function is used to disable keyboard pads so that they no longer function as a normal keyboard. Instead, they function as start buttons for playing phrases. RPS is useful not only for adding phrases to the pattern being played back, but can also be used for performance on its own.
The screen for playing patterns appears. Play back the pattern as necessary 6page.

Press the [RPS] button.

The indicator of the button comes on indicating that the RPS function is turned on and the keyboard pad functions as an RPS controller.

Press the keyboard pad.

The pattern is played back. Check which phrase is assigned to which pad.
There are 60 RPS sets (patterns assigned to the 16 keyboard pads) in all. To select an RPS set, hold down the [RPS] button and select using the [VALUE] dial. or [INC/DEC] button.

Using the Arpeggiator

The arpeggiator function enables arpeggio by simply holding down the keyboard pad. Generally, to play with the keyboard you have to press the appropriate keys in time with the rhythm. By using the arpeggiator, however, the rhythm is automatically retained even while a chord is being held down.

Press the [ARP] button.

The arpeggiator is turned on.
Press a chord using the keyboard pads.
Using the notes of the pressed chord, the arpeggio phrase starts to sound. Try listening to another style with the arpeggiator.
While holding down the [ARP] button, use the [VALUE] dial or the [INC]/[DEC] button to select another arpeggio style. Press a chord using the keyboard pad.
Another arpeggio phrase starts to sound.

Making Original Patterns

The MC-307 is capable of creating original patterns and storing them. Of the two recording methods available with the MC-307, try the one called TRREC. TR-REC is a recording method that allows you to create phrases very simply just by pressing the buttons.

Creating Drum Part Play

First, lets try creating a simple rhythm part phrase.
Select User Pattern (U: 001 - 200.)

Get ready for recording.

Press the [REC] button.
The REC MODE SELECT screen appears.
Press the [F3 (TR-REC)] button.
The TR-REC stand-by screen appears.
Press the [PART SELECT] button first, then press the [R] button.
The rhythm part is selected. First, select a rhythm set.
The name of the currently selected rhythm set is displayed.
It is also possible to select the rhythm set in advance on the pattern playback screen.
Select a rhythm set using the [VALUE] dial or the [INC]/ [DEC] button. Press the [EXIT] button to return to the recording stand-by screen.
Ready the MC-307 for recording
The recording screen appears and the unit is ready for rhythm part entry.
Set the MC-307 to enable input using sixteenth-note
Press the [SCALE] button several times, until the light at the very bottom lights.

This enables input using sixteenth-note scales.
A single keyboard pad is equivalent to a 16th note. Therefore, in this example, a note is entered in each 16th note step.
Now, the TR-REC is ready. On the following, try recording from the kick drum.

3,5 1,4

Select the rhythm tone to be entered.
Press the [TR-REC] button, turning off the light.
This disables recording of the data, even if the keyboard pad is pressed, and switches to the function allowing you to select the rhythm tone to be input.
Press [OCT (-)] button twice. Press the [2] keyboard pad.
The note number indication on the screen is changed to C2. Now, the kick drum is selected for the rhythm tone to be input. If the indication does not change to C2, press [OCT(- / +)] several times until it does.
By selecting another note number in step3, the selected note (rhythm tone) can be recorded.
Press the [TR-REC] button again to turn the indicator on.
The keyboard pad functions as a timing entry scale and is ready for recording again. Try recording the selected rhythm tone.
Press the keyboard pad marked with an arrow in the figure below, to turn on the indicator of the keyboard pad.
Entry of the first measure is now completed. The kick drum entered should be heard.
Enter the following measures in the same way.

Press the [

] button.
The keyboard pad is ready for entry of the second measure.
Enter the kick drum in the same way as in procedure 5.
Repeat until entry of the 4th measure is completed. After you have completed entering the kick drum in the 1st to 4th measures, try entering the high-hat next. Repeat procedures 1 to 7.
Enter the closed high-hat.

10, 13

Press the [ ] button several times to make entry of the first measure ready again.
Check by watching the screen indication.
Select F#2 (the note number of the closed high-hat) of the keyboard pad by following procedures 1 to 4. Press the keyboard pad marked with an arrow in the following figure, to turn on the indicator of the keyboard pad.
Lastly, enter the open hi-hat.
Press the [ ] button several times to make entry of the first measure ready again. Select A#2 (the note number of the closed high-hat) of the keyboard pad by following procedures 9 to 10. Press the keyboard pad marked with an arrow in the figure below, to turn on the indicator of the keyboard pad.
Recording of the drum part is done in this way. When all the measures have been recorded, press STOP.
As you can see by now, TR-REC is an efficient recording method which enables you to not only perform recording thoroughly thinking about timing of entry, but also to check the entry results at any time. With bass part recording explained below, scales can be added to the phrases recorded by TR-REC to make them complete. Try bass part recording and master TR-REC.

Creating Bass Part Play

Next, create the bass part by first entering it at a constant pitch (this is done using the same procedure as for the rhythm part). Then, add the scale to make the part complete.
Procedure Prepare for recording using the same procedure as in procedures 3 to 5 for rhythm part recording (p. 20). Select bass patch.
Press the [F1 (PACH)] button, then [F1 (LIST)]. Select a patch using the [VALUE] dial or the [INC]/[DEC] button (p. 21).
Then, decide on the details of the notes to be entered.
The recording screen appears and the unit is ready to record.
P:A078 to P:A127 are available as bass patches. For details, see REFERENCE MANUAL (P.21, P.155).
Use knob [2] to select the input volume, select the notes to be entered using knob [3], then adjust the length of the note using knob [4].
Knob [2] is used for selecting the input velocity. Knob [3] is the note value (for example, "8th note"). Here we will set it to an 8th note. Knob [4] is used for adjusting within the range of 5 to 200% of the note selected with knob [3]. * Knob [2] and [4] entries are indicated by the length of the bar on the screen. Next, specify the pitch at which the notes are to be entered.
Press the [TR-REC] button to turn off the indicator.
Once the [TR-REC] indicator is out, the keyboard pad can be used to specify the pitch at which the notes are to be entered.
The pitch is expressed by a letter and a number, like C4.

Press pad [11].

The note number indication on the screen is changed to A1. Now A1 is selected as the pitch at which notes are entered. If A1 cannot be selected, press [OCT (- / +)] several times until it is.
The keyboard pad functions as the timing entry scale and is ready for recording again. Enter notes.
C corresponds to do, and it is followed by D, E, F, G, A, B. The number after the letter indicates the octave. For example, the note one octave below A2 is A1.
Press the keyboard pad as shown below to turn on the indicator.
In TR-REC of the rhythm part previously explained, the keyboard pad was used as the timing scale. In TR-REC of the bass part, the keyboard pad is also used as a normal keyboard to specify the pitch.
Notes are entered in the 1st measure at the specified timing.
This is the same as for rhythm part entry.So far, the procedures are almost the same as those for TR-REC of the rhythm part.Unlike the rhythm part, however, the bass part is played by changing the pitch.On the following , try changing the last note of notes A1 to C2 input. Once you master this, you can handle TR-REC with ease.

Change the pitch of the last note
While holding down the [F3 (VIEW)] button, press the [14] button of the keyboard pad.
This operation is used to change the pitch of the last note of the four notes input. Upon operation, the screen should look as follows. The keyboard pad now functions for pitch selection.
Carry out Step 8 on p. 26 to delete the last sound input.
Press Keyboard Pad [11], turning of the light.
The sound "A1" input in Step 7 is deleted.

Delete

If Keyboard pad [11] wasnt already lighted when you got to step 10, press the [OCT (-)(+)] buttons enough times to get it to light.
In place of the deleted sound, input the note "G1."
Press Keyboard pad [9], and confirm that its indicator has lighted.
G1 is entered instead of A1, deleted in step 10.
Press the [EXIT] button to exit the pitch change screen.
Proceed to the 2nd measure by pressing the [ ] button, and perform recording of the 2nd, 3rd and 4th measures in the same way as for recording of the 1st measure.When all the measures have been recorded, press STOP. This completes recording of the Bass part.

Saving Created Patterns

If you like the pattern you have just created, you can save it. If you do not perform saving, however, all the patterns you have created are deleted when the MC-307s power is turned off.

2,3 5,7,8 1

Procedure Display the Save screen.
Press the [SYSTEM] button. Press the [F3 (WR)] button.
A screen in which you can select the data to be saved will appear.
Press the [F3 (PTN)] button.
The PATTERN WRITE screen appears. The pattern to be saved is shown on the top line, and the pattern number and name under which the pattern is to be saved are shown on the bottom line.
Determine the destination Pattern.
Using the [VALUE] dial or the [INC]/[DEC] buttons, select the pattern number to which the pattern is to be saved.
Press the [F4 (WR)] button.
The screen for entering the pattern name appears. Name the Pattern.
If a pattern has already been saved under the selected pattern number, it will be deleted, since it will be overwritten by the new one. So, be sure to confirm that it is okay to delete it.
Select characters using the [CURSOR (UP/DOWN)] buttons and the name of the pattern using the [VALUE] dial or the [INC/DEC] buttons.
Press the [F4 (OK)] button.
The confirmation message ARE YOU SURE? appears. Perform saving.
Press the [F4 (EXEC)] button to execute the save, or the [F3 (EXIT)] button to cancel it.

Profile

B.U.S [Build Up Swing]
Okada Hideki, born in 1966, debuted in 1995 with a Japanese house garage unit named Swell Emotion [DOHB disk/Epic], and is a highly acclaimed creative talent of house music. He has signed a contract with the Paratone label, and released an album as the solo project "B.U.S." His work has appeared in the radio and TV charts, and has been praised by DJ TOMO, YO-C, DJ Shinkawa and others. He is also active as a producer for the YO-C solo album. He is one of the most talked-about house creators in Japan today, partially due to his highly successful remixes in 1998 of Debra Morgan, and the group "Every Little Thing."

Naoki "GigBag" Matsuura
Naoki began musical activity in 1983 during his university days. As a bassist, he participated in numerous live and studio sessions. Subsequently, he took a break from his performance activities and began creating MIDI data and working as a producer. At present, he is the chairman and producer of Prest Ltd., which produces desktop music and other digital content.
Sumie "Sue" Furuhashi
Born in 1973, Sue first took an interest in digital music when she came across a keyboard that allowed step entry of sequences. While attending university, she formed a sequencer-based rap unit, and an MTR-based acappella duo unit. Currently she works as an assistant with Prest Ltd., and also provides computer programming-based compositions to musical groups.

Kent Sasaki DJ KENT

DJ/Producer of the hip-hop group Yotsukaido Nature. In addition to playing at clubs, his activities include remixes for Japanese and foreign artists. He is currently engaged in producing albums for Sugar Soul and U.N.K.L.E.
MASA HEIGO TANI Began working as a DJ in 1985. Afterwards, in addition to DJ work, he became active in songwriting, song editing, and other musical endeavors. Additionally, collaborating with WADA, one of Japans best-known Techno DJs, in the Techno and House groups "Co-Fusion" and "ATOM," he has released numerous 12-inch analog records on Japanese, German, American, and other labels. In September of 1998, Japans Sublime Records released "COFU," the duos first original album under the "CoFusion" name. Soulmates Graphica
A unit consisting of programmers, designers, and DJs. Originally they functioned as a sequenced house band, but as the world-wide web developed, they broadened their activities to include the web. They are also engaged in producing flyers for club events, video, and art direction for artists. The three members are Yuji Suzuki, "Ani" Hironobu Fujiyoshi, and "Isa" Isamitsu Fujiyoshi. Each of the three is a DJ and designer as well as a programmer. Masa began his musical activity in the early 80s, and by the mid-90s was performing live at parties both inside and outside Japan. In 1994 he released a single on the German label GAIA, and in 1996 an album "Just Inside" from the German label East-West. He is also represented on numerous compilations. In 1999 he released "Walk In Space" on the British QUBE label, and the beatshifting "You Are Not Who You Are" from Equinox. When this psychedelic genre-crossing DJ takes control, the entire dance floor goes into a state of trance. http://www.tk.xaxon.ne.jp/~masak/

Cappadocia Productions

Electronic sound tinkerers based in Japan. Also active as an art performance unit named GIGAHERTZ. Also involved in the development of products such as the Roland MC series. E-mail:RXN00541@nifty.ne.jp

Tatsuya Kanamori

This DJ and artist runs the major Japanese Techno labels Subvoice and Housedust. In addition to hits on his own label, he is also very active in releasing numbers from overseas labels. In heavy demand for DJ and live P.A. gigs not only in Japan, but also abroad, he appears frequently in many major festivals and concerts.

YOJI BIOMEHANIKA

People call him the hard energy master. While based in Osaka, his field of activities is always the world. Yoji is respected by the hard energy scene around the world. He has dropped compositions from numerous labels such as DOS OR DIE and 3LANKA of Germany and the UKs CHOCIS CHEWNS, earning high praise. In 1999 he founded his own label "Hellhouse," and made a highvoltage entry into the London, UK hard energy scene. He has also done remixes for leading UK energy scene labels such as DP, MOHAWK, and MOM, and in Japan has also done remixes for DJ 19 and NISH. This summer, his Hellhouse label made its second release "SEDUCTION," bringing a flood of license requests from labels around the world, and raising a storm of attention around him.

01904623

'00-2-C3-21N

Changing the settings of each part
You can modify the settings of each part to change how the pattern will sound. The six items listed in Setting ranges can be adjusted. Procedure 1. Press [PTN] button. The pattern playback display will appear. 2. Press [F2 (STUP)] button. 3. Press [F1 (PART)] button. The PART MIXER display will appear.
4. Use [F1 ( )] or [F2 ( wish to set.
)] buttons to select the item you
5. Use [CURSOR (left/right)] buttons to select the part for which you wish to make settings. 6. Use [VALUE] dial or [INC/DEC] buttons to make settings. Range: - LEVEL (Part Level) Set the volume of the part. Range: 0127 - PAN (Part Pan) Set the left/right position of the part. Range: L64063R - KEY SHIFT (Part Key Shift) Set the transposition of the part. Range: -480 +48 - REVERB (Part Reverb Level) Set the amount of reverb for the part. Range: 0127 - DELAY (Part Delay Level) Set the amount of delay for the part. Range: 0127 - M-FX SW (Part M-FX Switch) Specify whether or not the part will use the multi-effect. Range: OFF, ON, RHY * RHY can be selected only for a rhythm set. When RHY is selected, M-FX will be applied according to the setting for each individual tone of the rhythm set. If you select ON for a rhythm part, M-FX will be applied to all tones.
- SEQ OUT (Sequencer Output Assign) Specify the output destination from the sequencer to the sound source. Range: - INT: Output to the internal sound generator. - EXT: Output to the MIDI OUT connector. - BOTH: Output to both of the above simultaneously.

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.
Unless saved, the data for any recorded or edited Pattern is lost when the power is turned off. Procedure Stop operation if the pattern is being played back or recorded. 1. Press [SYSTEM] button. 2. Press [F3 (WR)] button. 3. Press [F3 (PTN)] button. The screen for specifying the pattern to be saved and the destination pattern appears.
When these settings windows are displayed, each of the settings can be made using the assignable knobs 1-4. - When Part R, 1, 2, or 3 is selected: The assignable knobs 1-4 are used for setting Parts R and 1-3, respectively. - When Part 4, 5, 6, or 7 is selected: The assignable knobs 1-4 are used for setting Parts 4-7, respectively.
On the MC-307, the following parameters are saved for each pattern. These parameters are collectively referred to as the Setup parameters. - Standard Tempo (P. 18) - Patch/Rhythm Set Number * (P. 21) - LEVEL * (P. 22) - PAN * (P. 22) - KEY SHIFT* (P. 22) - REVERB LEVEL * (P. 22) - DELAY LEVEL * (P. 22) - M-FX SWITCH * (P. 22) - SEQ OUT * (P. 23) - REVERB settings (P. 42) - DELAY settings (P. 44) - M-FX settings (P. 46) - Part Mute status * (P. 19) - Rhythm Mute status (P. 19) The * indicates parameters that are set independently for each part.

Available Settings (Arpeggio style list):

1/4 1/6 1/8

Description
The rhythm will be divided in quarter notes. The rhythm will be divided in quarter note triplets. The rhythm will be divided in eighth notes. The rhythm will be divided in eighth note triplets. The rhythm will be divided in 16th notes. The rhythm will be divided in 32nd notes. A style using the portamento effect. A glissando style. Styles for sequenced patterns. An echo-like style. Styles appropriate for bass playing.

Using the Arpeggiator

Activating the Arpeggiator function enables the keyboard pads to be used for the Arpeggiator function. Procedure 1. Press [PTN] button. 2. Press the [ARP] button. The indicator of the button comes on and the ARPEGGIATGER function is activated. 3. Press the keyboard pads. Playback automatically starts in arpeggio style. * When the Arpeggiator function is used, playback is performed with the BPM of the currently selected pattern. Using the Arpeggiator while playing back a pattern performs playback at the same BPM. * The phrase to be played back can be switched by changing the setting. For the switching method, see the next section, Selecting Arpeggiator style.

1/12 1/16 1/32

PORTAMENTO A, B GLISSANDO SEQUENCE A D ECHO SYNTH BASS HEAVY SLAP LIGHT SLAP WALK BASS RHYTHM GTR 1-FINGER STRUMMING GTR PIANO BACKING, CLAVI CHORD WALTZ, SWING WALTZ REGGAE PERCUSSION HARP SHAMISEN
Styles for guitar cutting. Styles 25 are effective when 34 notes are held. Three-finger guitar style. A style simulating a guitar chord strummed upward (downward). Effective when 56 notes are held. Styles for keyboard instrument backing. Styles in triple meter. A reggae-type style. Effective when 3 notes are held. A style suitable for percussive instrument sounds. The playing style of a harp. The playing style of a Shamisen.
Selecting the Arpeggio Style
When you wish to make arpeggiator settings, you will first select an Arpeggio Style. When you select a style, optimal values will be set for the four parameters Accent Rate, Motif, Beat Pattern, and Shuffle Rate. You can adjust parameters such as Accent Rate and Octave Range to modify the pattern to your taste. Procedure 1. With the [ARP] button held down, select a style using the [VALUE] dial or the [INC/DEC] buttons. * While it is held down, the SYSTEM: ARPEGGIATOR screen appears.
BOUND BALL RANDOM BOSSA NOVA
A style suggestive of a bouncing ball. A style in which the notes sound in random order. A style with bossanova guitar cutting. Hold 34 notes for best results. You can increase the BPM and use this as a Samba. Typical salsa style. Hold 34 notes for best results. Typical mambo style. Hold 34 notes for best results. A rhythm style with Latin percussion instruments such as Claves, Cowbell, Clap, Bongo, Conga, Agogo etc. Typical samba style. Use for rhythm patterns or bass lines. Typical tango rhythm style. Hold the root, 3rd and 5th of a triad etc. for best results. A style for house piano backing. Hold 34 notes for best results. The settings of all parameters can be freely combined without restriction. Arpeggio settings can be modified and saved in one of these user styles.

Recording knob movements

It is possible to record the operations you do to change timbres (patches) while playing a music as the performance information. Procedure First, specify the part in which the knob movements are to be recorded. 1. Press the [PART SELECT] button. The PART buttons [R], [1] to [7] are used to select the parts. 2. Press the PART button, [R], [1] to [7], for the part for which the knob movements are to be recorded. The target part is specified. 3. Start recording. (refer to Recording Your Music as You Play it (Realtime Recording) (p. 63).) 4. Move the knobs to your music. The actions of controlling the knobs are recorded.
2. Press the Part button for the part ([R], [1],., [7]) you want to record. This part is recorded. Next, change the part to be recorded. 3. Press the Part button for the next part you want to record. In this way, you can continue to record the necessary parts.
5. When you have finished recording, press [STOP] button. * The following parameters are not recorded as performance data. (The values selected before recording is completed are stored as the initial values for the pattern.) - REVERB TYPE - DELAY TYPE - M-FX TYPE
- NOTE: - PC: - CC: - BEND: - P-AFT: - C-AFT: - SYS-EX: - TEMPO: - MUTE: - CC#0CC#127:
Notes in the specified range will be erased. Program changes will be erased. All control changes will be erased. Pitch bend will be erased. Polyphonic aftertouch will be erased. Channel aftertouch will be erased. System exclusive data messages will be erased. Tempo data (BPM data) will be erased. Mute data will be erased. Control changes of the selected controller number will be erased.
Erasing unwanted data while you record (Real-Time Erase)
This is a function used to erase data with the keyboard pads or knobs during realtime recording. Unwanted data can be efficiently erased using this function. Procedure First, specify the part on which Realtime Erase is to be executed. 1. Press the [PART SELECT] button. The PART buttons [R], [1] to [7] are used to select the parts. 2. Press the PART button corresponding to the part for which Realtime Erase is to be executed. The target part is specified. 3. Set the MC-307 to the Recording mode. (refer to Recording Your Music as You Play it (Realtime Recording) (p. 63).) 4. Press the [F3 (ERAS)] button. The MC-307 enters the Realtime Erase mode.

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 youve edited will be lost if the MC-307s 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).)
copied from the beginning of the portion of the pattern to be copied using the [VALUE] dial or the [INC/DEC] buttons. * If you selected SETUP in Step 9 and only want to copy the setup parameter, select - with FOR. 10. Move the cursor to STATUS by pressing the [CURSOR] buttons, and then select the data to be copied from the copy source data using the [VALUE] dial or the [INC/DEC] buttons. 11. Press the [F4 (OK)] button. The setup screen for the destination appears.
Copying a Portion of a Pattern (Copy)
A specific portion of a pattern can be copied to another pattern. Procedure First, select the original pattern to be copied. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the original pattern to be copied. Invoke the screen for executing Copy. 3. Press the [F3 (EDIT)] button. 4. Press the [F2 (TRACK EDIT)] button. The screen for selecting Pattern Edit appears. 5. Press the [CURSOR (left, right)] button to invoke the screen displaying COPY. 6. Press the [F1 (COPY)] button. The setup screen for the source appears.
Enter the settings for the copy destination pattern. 12. To select the copy destination part, press the relevant PART button, [R], [1] to [7] or [RHYTHM PART VIEW]. If you specified two or more parts as the copy source, this step is not required. (They will be copied to the same copy destination parts as the copy source parts.) * By pressing the [RHYTHM PART VIEW] button you can specify the MUTE CTRL PART. 13. Move the cursor to PTN by pressing the [CURSOR] buttons, and then select the pattern number to which the part is to be copied using the [VALUE] dial or the [INC/ DEC] buttons. 14. Move the cursor to MEAS by pressing the [CURSOR] buttons, and then select the measure number at the beginning of copy destination using the [VALUE] dial or the [INC/DEC] buttons. 15. Move the cursor to MODE by pressing the [CURSOR] buttons, and then select the copying mode using the [VALUE] dial or the [INC/DEC] buttons. To copy the portion of a pattern with the data written at the destination left intact, select MIX. To copy it with that data overwritten, select REPL. 16. Move the cursor to TIMES by pressing the [CURSOR] buttons, and then select the number of copying operations using the [VALUE] dial or the [INC/DEC] buttons. Now, execute copying. 17. Press the [F4 (OK)] button. A screen asking you whether or not you want to execute copying appears.

AMP: BIAS POINT LEVEL

6. Press the[F3 ( )]/[F4 ( parameter to be edited. )]buttons to select the Adjusts the slope of the volume change that will occur in the direction specified by Bias Direction. Range: -100 +100 With positive (+) settings, the slope of volume change will increase in the positive (+) direction. With negative (-) settings, the slope of volume change will increase in the negative (-) direction. * Even with positive (+) settings of this parameter, the volume
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. Parameters that can be set - AMP: TONE LEVEL, BIAS DIRECTION, BIAS POINT, BIAS POINT LEVEL, TONE PAN, PAN KEY FOLLOW, RANDOM PAN SW, ALT PAN DEPTH
cannot exceed the maximum level.
Bias Level + 0 C1 Bias Point G9 C1 Bias Point

AMP: RANDOM PAN SW UPR

Bias Level + 0 G9
This setting causes the stereo location to change randomly each time a note is played. All four indicators will be blinking, and the Random Pan Switch will be turned on. * The Tone Pan setting will be ignored by Tones for which the Random Pan Switch is turned on.

Bias Level + 0 C1

L&U

Bias Level + 0 -

Range: OFF, ON
AMP: ALT PAN DEPTH (ALTERNATE PAN DEPTH)
This parameter causes the stereo location of the sound to alternate between left and right each time a note is played. When this parameter is set in the L direction, the sound will alternate in the order of left -> right-> left-> right. When set in the R direction, the sound will alternate in the order of right -> left-> right-> left. Higher settings will cause greater change. By using two tones and setting the Alternate Pan Depth of one to L63 and of the other to R63, you can make the two tones switch places alternately. Range: L6363R

Bias Point

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.)

TONE1 T1 T2

Bias Dir LWR UPR Bias Point A4 E3 Bias Level -50 -50
By setting Bias Direction to L&U, you can create sounds that are heard only in a specific area of the keyboard.
A-ENV (AMP ENVELOPE) parameters
A-ENV: VELO CURVE (VELOCITY CURVE)
Select the curve at which the strength of your playing on the external MIDI keyboard will affect the depth of the amplifier envelope. Range: 17
C2 C3 C4 C5 C6 Bias Dir L&U Bias Point C4 Bias Level -50
A-ENV: VELO SENS (VELOCITY SENSE)

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. As this value is increased in the negative (-) direction, the waveform will be moved downward from the central value. Range: -100 +100

LFO1/2: PITCH DEPTH

The pitch level wavers cyclically, creating a vibrato effect. The wavering increases the further from 0 the value becomes, and the effect is reversed by switching the - and + signs. Range: -63 +63 * By giving two tones the same rate setting and setting their Pitch Depth to +30 and -30 respectively to apply opposite-phase LFO, you can create a vibrato effect in which the pitches change in opposite directions.

LFO1/2: FILTER DEPTH

The cutoff level wavers cyclically, creating wah effect. The wavering increases the further from 0 the value becomes, and the effect is reversed by switching the - and + signs. Range: -63 +63
5. Press [F1 (CMN)] button to edit parameters in the COMMON:. To edit parameters in the SOLO: or PORTAMENT, press [F2 (SOLO)] button. One of the editing screens appears.

LFO1/2: AMP DEPTH

The volume level wavers cyclically, creating a tremolo effect. The wavering increases the further from 0 the value becomes, and the effect is reversed by switching the - and + signs. Range: -63 +63 6. Press the[F3 ( )]/[F4 ( parameter to be edited.

LFO1/2: PAN DEPTH

Adjusts the effect that the LFO will have on pan (stereo location). As this value is increased in the positive (+) direction, the LFO will have a greater effect on pan. Negative (-) settings will invert the LFO waveform, causing the pan to change in the opposite direction. Range: -63 +63
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. Parameters that can be set - COMMON: STRUCT 1/2, 3/4, BOOSTER GAIN 1/2, 3/4, STRETCH TUNE, VOICE PRIORITY, KEY RANGE LOWER, KEY RANGE UPPER, VELO RANGE SW, VELO RANGE
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.
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.
modulates it with tone 2 (4), and mixes the result with the filtered sound of tone 2 (4). - TYPE 9: This type passes the filtered sound of each tone through a ring modulator to create new overtones. - TYPE 10: This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). * With TYPE 210 selected, turning off one of the paired tones will cause the other tone to sound as TYPE 1.

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).
COMMON: BOOSTER GAIN 1/2, 3/4
When a Structure Type of TYPE3 or TYPE4 is selected, you can adjust the depth of the booster. This can be set for the pair of tones 1 and 2 (Booster 1/2) and for the pair of tones 3 and 4 (Booster 3/ 4). Range: 0, +6, +12, +18 Higher settings will produce greater distortion.
Abbreviations shown for each type have the following meanings. W/P: AMP: B: R: Wave/Pitch Amplifier Booster Ring Modulator FILTER: Filter

Booster

The Booster is a function that increases the input signal in order to distort it.
Range: - TYPE 1: This is the most basic type. Tones 1 and 2 (3 and 4) are independent. Select this when you wish to utilize the waveform of each tone without change, or when you wish to layer tones to create a richer sound. - TYPE 2: This type combines the two filters to strengthen their characteristics. The AMP of tone 1 (3) will control the volume balance of the two tones. - TYPE 3: This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform. - TYPE 4: This type applies a booster to distort the waveform, and then combines the two filters. The AMP of tone 1 (3) adjusts the depth of the booster. - TYPE 5: This type uses a ring modulator to create new overtones, and combines the two filters. The AMP of tone 1 (3) adjusts the depth of ring modulation. - TYPE 6: This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. The AMP of tone 1 (3) adjusts the depth of ring modulation. - TYPE 7: This type applies a filter to tone 1 (3) and ringmodulates it with tone 2 (4) to create new overtones. - TYPE 8: This type applies a filter to tone 1 (3) and ringIn addition to using this for distortion, you can use the waveform of one of the tones as an LFO to shift the other waveform up and down, producing an effect similar to PWM (Pulse Width Modulation). This is even more effective when used in conjunction with the Wave Gain of the WAVE/FXM. -> WAVE GAIN (P. 89)

Ring Modulator

The ring modulator multiplies the waveforms of two tones to create many new overtones that were not present in either of the original waveforms (inharmonic overtones). This is suitable for creating unpitched metallic sounds such as bells.

COMMON: STRETCH TUNE

6. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. Range: OFF, ON This parameter is set to ON with the factory settings, enabling patches in the part selected on the MC-307 to be played back regardless of the transmission channels of the external MIDI keyboard. Set it to OFF to control the MC-307 from an external sequencer, as a multi-timbre sound generator with eight parts. Patches can be played back by part, according to the channel used for sending MIDI data from the external sequencer. You should also turn this setting OFF if you want Note messages that are received on the specified Arpeggio Control Channel or the RPS Control Channel to control arpeggios or RPS from an external device. - Specifying the Channel That Will Control Arpeggios, refer to Specifying the channel that will control arpeggios (ARPEGGIO CTRL CH) (p. 124). - Specifying the Channel That Will Control RPS, refer to Specifying the channel that will control RPS (RPS CTRL CH) (p. 124). 6. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. Range: 1732 Parameter Type: Backup parameters * The bulk dump message (one of the System Exclusive messages) is sent with the device ID number set up in the above procedure.
Re-transmitting messages received at MIDI IN from MIDI OUT (THRU)
When this function is ON, MIDI messages received at the MIDI IN connector will be re-transmitted from MIDI OUT without change. (The MIDI OUT connector can be used as the MIDI THRU connector.) 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 14. 3. Press the [F4 (MIDI)] button. 4. Press [CMMN] button. If the following screen is not displayed, use [F4 ( make it appear.
Parameter Type: Backup parameters - refer to Playing back arpeggio on the MC-307 using an external MIDI keyboard (p. 134). * If the Remote Keyboard Switch is ON, you can play arpeggios on the current part simply by turning the arpeggiator on.
5. Use the [CURSOR (up/down)] button to move the cursor to THRU.
Specifying the channel that will control RPS (RPS CTRL CH)

will automatically be converted to a control change inside the MC-307. * If you want the MC-307 to receive MIDI messages that were transmitted from the knobs/sliders to an external device (and then re-transmitted back to the MC-307), you must select the same EDIT TXRX with which the data was originally transmitted. If this setting is different, MIDI messages will not be received correctly. Parameter Type: Backup parameters
Setting up reception mode for each part (MIDI RX SW)
For each part R7, you can specify whether or not MIDI messages from MIDI IN will be received. 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 14.
3. Press the [F4 (MIDI)] button. 4. Press the [F2 (TXRX)] button. If the following screen is not displayed, use [F4 ( make it appear.
5. Use the [CURSOR (up/down)] button to move the cursor to EDIT TX/RX.
Use [PART SELECT] button and the PART buttons to select the part whose settings you wish to modify. 6. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. * If you would like to know the control number assignments for each knob/slider in MODE1 and MODE2. refer to RPS Pattern List (p. 176). Range: MODE1, MODE2 - MODE1: Knob/slider data will be transmitted and received as control changes and as system exclusive data. - MODE2: Knob/slider data will be transmitted and received as control changes. The amount of data will be smaller than for MODE1. * The REVERB section, DELAY section and M-FX section will also be transmitted as system exclusive messages, regardless of the mode. * With MODE1, some control changes will be automatically converted to a system exclusive message for transmission. Also, when such a converted exclusive message is received, it 7. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. The listing at the bottom of the display shows the settings for the respective parts. Parts R and 1 to 7 are listed from left to right in sequence, and + indicates the receiving mode while _ the non-receiving mode. Range: OFF ( _ ), ON (+) If this is OFF, the corresponding part cannot be played from an external MIDI device. Parameter Type: Backup parameters 5. Press [PART SELECT] button. 6. Press the part button, [R], [1] to [7], for the part for which the parameter is to be set up.
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. 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 14. 3. Press the [F4 (MIDI)] button. 4. Press the [F2 (TXRX)] button. If the following screen is not displayed, use [F3 ( ( )] to make it appear.

6. Use the [CURSOR (up/down)] buttons to select PATCH or PATTERN, then press [F4 (SEL)] button. The ARE YOU SURE? message appears. 7. Press [F4 (EXEC)] button. Initialization is performed.
Initializing rhythm tones.
Procedure 1. First, select the rhythm set containing the rhythm tone be initialized (P. 21). 2. Press the [SYSTEM] button. 3. Press the [F2 (UTIL)] button. 4. Press the [CURSOR (up)] button. The 1 INITIALIZE screen appears. 5. Press the [F1 (INIT)] button. The screen for selecting what to initialize appears. 6. Use the [CURSOR (up/down)] buttons to select RHYTHM. 7. Press the [OCT (-/+)] to set the key range, then Press one of the pads [1] to [16] to select the key to be initialized.
Saving Data on an External Sequencer (BULK DUMP)
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. If there is any pattern that has not been saved, be sure to save it before performing BULK DUMP. * The MC-307 is capable of receiving bulk dumps data from the MC-505. On the other hand, the MC-505 may fail to receive the bulk dumps from the MC-307 due to differences in the number of patches.
currently selected pattern will be transmitted. 8. Start real-time recording on the external sequencer. 9. Press the [F4 (SEL)] button. ARE YOU SURE? message is displayed. The system enters the BULK DUMP standby mode. 10. Press [F4 (EXEC)] button on the MC-307. The bulk data will be transmitted from MIDI OUT. After data transmission is completed, the display returns to the pattern play screen. 11. Stop recording on the external MIDI sequencer. * The bulk data are transmitted with the device ID number set up in the procedure for setting the device ID number (P. 123).
Restoring Pattern data from a MIDI sequencer to the MC-307
Follow the steps below to return the saved bulk data to the MC-307. First, connect the MIDI IN connector of the MC-307 to the MIDI OUT connector of the external MIDI sequencer via an MIDI cable. * Even when bulk data is received in this procedure, the data has not yet been saved on the MC-307. If you wish to keep the data (including the patches and rhythm sets used by the pattern), you must save it. * When you wish to receive data, press the [PATTERN] button to enter Pattern mode before executing the operation. Procedure 1. Press the [PTN] button. 2. Select the pattern using the [VALUE] dial or the [INC/ DEC] button. Data is returned to the pattern selected in this step. 3. Press the [SYSTEM] button, then the [F2 (UTIL)] button. 4. Press the [CURSOR (up)] button. The screen containing the 3 BULK DUMP screen appears. 5. Press the [F3 (BULK)] button. 6. Press the [F2 (RX)] button. The BULK DUMP screen appears. The MC-307 enters the bulk data reception mode. 7. Transmit bulk data from the external device. Data is received.

P: B03 TR-707&727 Optic Kick Lo-Fi Kick 1 TR808 Rim Whack Snare TR707 Clap Antigua Snr Deep Tom Closed Hat Deep Tom Pedal Hat 1 Deep Tom Open Hat TR707 Kick 1 TR707 Kick 2 TR707 Rim Real Snare TR707 Clap TR707 Snare TR707 Tom TR707 CHH TR707 Tom TR707 PHH TR707 Tom TR707 OHH TR707 Tom TR707 Tom NaturalCrash TR707 Tom Natural Ride NaturalCrash TR707 Ride Tambourine 3 DR220 Cym TR707Cowbell TR909 Crash TR808Cowbell TR606 Cym 1 TR727HiBongo TR727LoBongo TR626MtConga TR626OpConga TR626LoConga TR727 HiTimb TR727 LoTimb TR727 Agogo TR727 Agogo TR727 Cabasa TR727 Maracs ClassicHseHt Construct. 2 MG Zap 1 Space FX Swp Boing MG Sweep 6 TR727 Chime Sitar Gliss TR727Whistle TR727Whistle Siren 2 TR909 Clap 4 TR909 Kick10 TR808 Kick 1 TR808 Snr 1 Clap Snare 3
P: B04 Techno 4 HipHop Kick2 Wet Kick Jungle Snap TR626 Snr 2 Funk Clap Synth Snare Kick Tom TR606 CHH 1 Kick Tom Tight PHH Kick Tom DR110 OHH TR909 Kick 8 Plastic BD 4 MG Pink Nz CR78 Snare Funk Clap Sim Snare Deep Tom DR110 CHH Deep Tom Lil Hat Deep Tom Pop Hat Open Deep Tom Deep Tom TR909 Crash Deep Tom TR707 Ride TR909 Crash TR606 Cym 2 Tambourine 4 NaturalCrash CR78 Beat TR707 Ride CR78 Tamb Cup Cym Udu Pot1 Hi Udu Pot1 Acc Udu Pot 2 Udu Pot2 Mut Udu Pot2 Lng MG Zap 6 MG Zap 12 MG Sweep 5 P-Zing MG Sweep 2 MG Zap 7 Beam HiQ Jet Plane Air Blip Dolphin Lo Back Hit MetallicShot Metal Bang Construct. 2 Firebomb TR626 LoAgo Thunderbolt Jack Hammer JungleKick 2 Hip Kick Picc. rol Sn Picc. hrd Sn
P: B05 NU-NRG TR909 Kick 5 Plastic BD 3 Gate Rim TR909 SnClp2 TR909 Clap 4 TR909 DstSnr TR909 Tom TR909 CHH 3 TR909 Tom TR909 PHH 2 TR909 Tom TR909 OHH 2 TR909 Kick 8 TR909 Kick 9 Natural Rim Real Snare Claptail TR909 Snr 5 TR808 Tom TR909 PHH 1 TR808 Tom TR909 PHH 2 TR808 Tom TR909 DstOHH TR808 Tom TR808 Tom TR909 Crash TR808 Tom TR909 Ride TR909 Crash Cup Cym CR78 Tamb 16 Drk Crash TR808Cowbell DR220 Ride TR727Quijada TR626 CupCym HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR626 HiAgo TR626 LoAgo TR727 Cabasa TR727 Maracs Mute Cuica Dist Swish Bounce MG Sweep 3 MG Zap 15 MG Zap 9 Hoo! JP Hoover MG Big Lead Bull Scream Turbine Real Clap 2 TR909 Kick 9 TR909 Kick 3 Flange Snr Lo-Hard Snr

Group-C

No. 47 Name 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.Organ 3 Overdrive 1A Overdrive 1C Funk Gt Funk Gt Mute D.MuteGt mp Sitar 2 Bagpipe 2 Solo Tpt. A Solo Tpt. C Blow Sax A Blow Sax B Blow Sax C Tron Flute DIDGERI MENU Didgeridoo 1 Didgeridoo 2 Didgeridoo 3 BERIMBA MENU Berimbau Opn Berimbau Up Berimbau Dn Berimbau Mut No. 94 Name Str Attack Lo-Fi RoomTp Smear Hit 1 Smear Hit 2 LoFi MinorHt ClassicHseHt OrchPrc Hit Sitar Gliss Thunderbolt Construct. 2 Jack Hammer Turbine Sawing 120:Steaming SteamWhistle Firebomb Metal Bang MetallicShot P-Zing Boing MG Zap MENU MG Zap 1 MG Zap 2 MG Zap 3 MG Zap 4 MG Zap 5 MG Zap 6 MG Zap 7 MG Zap 8 MG Zap 9 MG Zap 10 MG Zap 11 MG Zap 12 MG Zap 13 MG Zap 14 MG Zap 15 SWEEP MENU MG Sweep 1 MG Sweep 2 MG Sweep 3 MG Sweep 4 MG Sweep 5 MG Sweep 6 Space FX Swp Siren 2 VOICE MENU Bull Scream No. 141 Name Hoo! Hey! 2 Ho Yoh iYooh Dolphin Hi 1 Dolphin Hi 2 Dolphin Md Dolphin Lo TOM MENU 2 DR220 Tom TR505 Tom TR626 Tom PERCUS MENU3 PERCUS MENU4 TR505 HiCong TR505 LoCong TR626MtConga TR626OpConga TR626LoConga TR727HiBongo TR727LoBongo TR626 HiTimb TR626 LoTimb TR727 HiTimb TR727 LoTimb Bendir Timpani 2 TR505 Tabla TR626 Tamb TR505HiCwbel TR505LoCwbel TR626Cowbell TR626 Claves TR626 HiAgo TR626 LoAgo TR727 Maracs TR727 Cabasa TR727Whistle TR727 Chime TABLABY MENU TablaBaya 1 TablaBaya 2 TablaBaya 3 TablaBaya 4 TablaBaya 5 TablaBaya 6 No. 188 Name TablaBaya 7 TablaBaya 8 UDU POT MENU Udu Pot 1 Udu Pot 2 Udu Pot1 Lo Udu Pot1 Hi Udu Pot1 Slp Udu Pot1 Acc Udu Pot2 Lng Udu Pot2 Mut JAPAN MENU Wadaiko Wadaiko Rim Shimedaiko 2 Tsuzumi 2 p Tsuzumi 2 mf Tsuzumi 2 Hi Ohkawa 2 Mokugyo 1 Mokugyo 2 Kane Wind Bell RIM MENU 2 DR220 Rim TR505 Rim TR626 Rim HIHAT MENU 2 DR110 CHH DR220 CHH TR505 CHH TR626 CHH TR909 CHH 3 Lil Hat HipHop Hat 1 HipHop Hat 2 DR110 OHH DR220 OHH TR505 OHH TR626 OHH CYNBAL MENU2 DR110 Cym DR220 Cym TR626 Crash 16 Drk Crash DR220 Ride TR626 Ride No. Name TR626 China TR626 CupCym ASIAGNG MENU Asian Gong 1 Asian Gong 2 Asian Gong 3 Asian Gong 4 Asian Gong 5 Asian Gong 6 Asian Gong 7 CLAP MENU 3 DR110 Clap DR220 Clap TR505 Clap TR909 Clap 3 TR909 Clap 4 TR909 SnClp1 TR909 SnClp2 Afro Clap SNR MENU 7 DR110 Snr DR220 Snr TR505 Snr TR626 Snr 2 TR626 Snr 3 TR909 Snr 8 Funk Snr 1 Picc. hrd Sn Picc. rol Sn PurePhat Snr Slamn Snr KICK MENU 4 KICK MENU 5 DR110 Kick DR220 Kick TR505 Kick TR626 Kick 1 TR626 Kick 2 TR909 Kick 6 TR909 Kick 7 TR909 Kick 8 TR909 Kick 9 TR909 Kick10 HipHop Kick1 JungleKick 2 HipHop Kick2 HipHop Kick3 Hall Kick 2

Just intonation (tonic of C)
The primary triads sound more beautiful in just intonation than in equal temperament. However, this applies only in one key, and chords will be discordant if you play in a different key. The settings here are for a tonic of C.

Arabian-type scale

The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the Arabian scales. Setting examples Note C C# D Eb E F F# G G# A Bb B Equal Temp. Just (in C) 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian-type scale -6 +45 -2 -12 -51 -8 +43 -4 +-10 -49
The values in the above table are in units of 1 cent. Convert these values to hexadecimal, and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an Arabian-type scale, transmit the following data. F3A 6D 3E 34 0D 38 6B 3C 6F 0F 76 F7
groovebox Model MC-307 Sound Generator section

Date : Oct. 27, 1999

MIDI Implementation Chart

Transmitted Recognized

Version : 1.00

Remarks

Function Basic Channel Default Changed Default Messages Altered X X X X **************** 0127 **************** O O X O O
0, 5 6, 16, 18, 71-75, 77 80-91, 94 98, 99 100, 101 O O O O O O O O O O O O O O O O O X O *1
17, 10 17, 10 Mode 3 Mode 3, 4 (M=1)
Note Number : Velocity After Touch Pitch Bend
True Voice Note ON Note OFF Key s Ch s

O O O O O

O O O O O O O O O O O O O O O O O X O

*1 *1 *1

*1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 Bank Select Modulation Portamento time Data entry Volume Panpot Expression
General purpose Controller1, 3, 4

Control Change

Hold 1 Portamento Sostenuto Soft Hold 2 Sound controller2-6, 8 General purpose Controller5-8 Portamento Control General purpose effect1, 4 NRPN LSB, MSB RPN LSB, MSB
Prog Change System Exclusive System Common System Real Time Aux Message

: True #

O **************** O X X X X X