From ddg@execpc.com Mon Oct 28 18:35:01 1996 28 Oct 96 21:34:42 +0500 28 Oct 96 21:34:11 +0500 Comments: Authenticated sender is 28 Oct 96 19:33:59 +0500 Date: Tue, 29 Oct 1996 06:00:10 -0500 From: ddg@execpc.com (Darwin Grosse) Subject: Darwin's Big MC-303 Review Cc: ddg@execpc.com {Note: This is sent to analogue heaven, given the discussion about its merits vs. the TR/TB series. Feel free to forward to any non-commercial list/site if you think it is of any worth.} Roland MC-303 Review by Darwin Grosse INTRODUCTION I have been, and I'm sure you've been, disappointed with the current spate of reviews of the new Roland MC-303 'Groovebox'. It is just too difficult to make a buying decision based on one large picture, and eight paragraphs about its cool sound. I received an MC-303 a few weeks ago, and have spent a significant amount of time working with it. I've used it for recording, live performance and as a MIDI driver for other boxes. This is the most detailed and extensive review I've seen anywhere, and I hope you find it useful. For what it's worth, I've got very little invested in the MC-303. I got it as part of a barter deal, so I have very little money invested in it. I also don't see making a lot of money with it, so I have little economic interest either. I say this because of some other synths that I've talked-about/defended in the past (like that VAST machine so many of you love...). If you haven't seen one, the MC-303 is an attempt by Roland to capitalize on the current excitement for old Roland 'x0x' boxes. This 303 is a multitimbral synth, with built in sequencer (with both real-time and step-time programming modes), arpeggiator and effects processor. It also has a few 'special' features, such as real-time filter control and the RPS - a real-time phrase playback mechanism. I will format this review in the same way that I learned the machine - by comparing various features against other devices I've used. This review will also be somewhat time-locked, since Roland is expected to update the operating system as bugs are found and fixed. The scope of this instrument is pretty wide, and therefore difficult to review in detail. I hope that you will forgive the length of the review in exchange for some measure of completeness. Also, since they are irrelevant to me, I'll spend zero time reviewing the internal patterns and sequences -- if you want to hear them, check them out at a local music shop. Roland MC-303, Groovebox, TR-909, TB-303 and others are either trademarks of Roland, or their lawyers ought to get off their asses and get something done. Woody McBride's and Richie Hawtin's names are used without permission -- sorry for the inconvenience, guys. 2Unlimited's name is simply used without permission. If I've angered anyone else, sue me -- you can have my car payments! This document is copyright 1997 by Darwin Grosse. All rights are reserved, as if anyone wanted them... MC-303 AS DRUM MACHINE (the 909 factor) Upon receiving the MC-303, I immediately dove into the drum programming. I really appreciated the TR-909's drum pattern programming system, and have recently been using some computer models (Logic Environments and MAX programs) to simulate this functionality. I was very curious as to the effectiveness of the MC-303 for this type of percussion programming. Like the 909, the MC-303 features a number of buttons with embedded LED's. These lights are used for two purposes - to show the currently playing beat, and to show drum hits that have been programmed in step-time. On the MC-303, the step-time programming paradigm is kept pretty intact. You select a drum instrument and hit the keys representing the step where it should sound. Given that the MC-303 is a digital, sample-based system, you have access to many more sounds than the TR-909 makes available - 108 sound are available on the rhythm programming channel. 108 sounds are a bonanza, but there is a very dark secret here - and one that I will often repeat. The sounds, and their layout on the virtual keyboard, are not editable without some fancy-pants computer editor. Even then, a number of parameters simply cannot be permanently changed. No way to replace that over-used laughter sample (MIDI note #101 on all of the internal rhythm sets) to something more useful. No way to tune the kick to the rest of the song. No way to down-sample the snare into a death-marching-drum. A large issue for anyone looking to use the MC-303 for extensive recording! The sounds of the supplied kits are good, if somewhat dated. The 909 and CR-78 sounds (especially with the additional sounds at the lower end of the key range) are very useful, and the Jungle kit makes the whole thing sound, well, correct. Accenting on the MC-303 is very different from the TR-909's system. With the 909, you could accent (when available) a single beat by hitting that button a second time. There was also an accent 'instrument' which would affect all instruments on a specific beat. On the MC-303, there is no equivalent of the accent 'instrument'. However, for individual beats, there are four velocity levels available. By selecting the appropriate accent level, it's easy to create a snare roll with a groove, or punch up a hi-hat pattern. However, the lack of overall accent makes "back-beat push" a more tedious process. The step -time programmer suffers from a significant load-time issue. The TR-909 had, for lack of a better term, an 'on-the-fly' character. When I used the 909, I generally stayed in WRITE mode, and made adjustments to a pattern close to real-time. I'd groove along with a pattern, then quickly add or remove drum hits as I chose. The MC-303 seems to use a different process. Each time the MC-303 is about to begin playing a measure, it appears to 'snapshot' it into memory, and will then play back that 'image' of that measure. Hence, if I'm adding a snare roll to the end of a measure while that measure is loaded into memory, only those drum hits that existed at the time of the 'snapshot' will be played back. This is much less 'organic' than the 909, and proves to be disturbing when trying to play the 303 as a real-time drum programming device. Unfortunately, there are other reasons that will probably preclude me from ever using the 303 as a real-time, write-mode device. Basically, the rest of the synthesizer is 'turned off' when you are doing step-time recording. The means that you cannot change kits, adjust effects or filters or change muting. Since all of these options would be very necessary for write-mode performance, the MC-303 loses major points as a live creativity tool. On the other hand, as a straight rhythm programmer, the MC-303 has a number of excellent extensions to the TR-909 interface. A rhythm pattern can be up to 32 measures in length. These patterns can be in 2/4, 3/4 or 4/4 time, and can have up to a two measure count-in (for real-time entry). There is also a real-time option that will wait for a note to be pressed to start pattern entry. The MC-303 also has a very nice muting system. Rhythm programming is available only on the 'Rhythm Part'. However, when you use this 'Rhythm Part', you have access to a second tier of mutes -- allowing you to interactively mute/unmute any one of eight 'type' of sound (kicks, snares, hats, claps, cymbals, toms/percussion, hits and 'other'). When using a stored pattern during live performance, this muting function is great modifying the rhythm dynamics. The individual rhythm pattern mutes can be stored with a pattern, or can be manipulated in real-time. As with many functions, if the mutes are done in real-time (i.e., if you are not recording when you make the mutes), the mute changes will be lost when you change patterns. Real-time (non-step-entry) mode turns out to be very important for programming rhythms on the MC-303. First, during step-time programming, you are unable to change mutes, effects levels, volume levels or filter settings. These can all be set (and recorded) when running in real-time record mode. In this way, a jungle-y filter sweep can be pre-programmed in a pattern, giving you one less knob to turn at performance time. During the performance of a pattern, all of the stored settings can be overridden by simply adjusting the appropriate function's controller. Once you've modified a function, the MC-303 turns over control to you, in essence eliminating the internal stored function changes. You maintain control of that function until you change patterns. So, how did I fare with the MC-303 as a rhythm programmer? The load-time issue really ticked me off initially. It still does. I was hoping that the MC-303 could be a real-time creativity device in the same way that the TR-909 was. No such luck. However, the good MIDI control (basically, grid control of 108 MIDI notes), the four velocity levels and the real-time adjustment are enjoyable, and I find myself writing pretty good percussion tracks with the MC-303 as the controller. Score: 5 1/2-out-of-10 Richie Hawtins (minus 2 for the real-time problems, minus two for lack of programmability, minus 1/2 for some static digital sounds) MC-303 AS A BASS SYNTHESIZER (the 303 factor) Given the numbering scheme chosen for this box, the obvious question is whether this can be used as a replacement for the ubiquitous Bassline. The short answer -- no. And I'm not going to do the purest thing, OK? As stated above, the MC-303 is strictly a digital sample-playback box. In order to make the 303 "acid-y", a real-time control of filter cutoff and filter resonance was added. Although these are welcome on any synth, it's a bit too little in this case. You are given a number of TB samples to manipulate, and pretty much have to do with those. Your mileage may vary, but I found the majority of them to simply be too tame. The resonance does not have a high degree of "squelch", there is only a single lowpass filter option and the cutoff cannot be forced to key-follow. Hence, a filter setting appropriate for one set of notes may not be applicable for the entire range of a pattern. A quick scan of the MIDI implementation verifies that there is neither a key-follow, nor any filter option other than lowpass. Again, there is little opportunity to modify the sound chosen, although there are more options than with drum instruments. The sequencer/programmer is excellent. It is quite similar to the TB-303/MC-202 style of programming, with entry of individual steps, rests and ties, octave select buttons and the works. As with the rhythm parts, you can choose between four velocity settings for each note; in addition, there are four gate times available for each note (a la MC-202). Very flexible, and opens the door for some interesting programming. Sadly, and again like the rhythm programmer, you cannot enter real-time function changes while in step time. This really becomes crucial with TB-like acid line containing slides and filter changes. If you wish to enter slides, you can try it in real-time mode. The slide function is really a portamento (again, like the MC-202). If you want to program slides/portamento/filter-sweeps into your pattern, you simply record the changes using the real-time recorder function. While the pattern plays, you can hit the portamento button or change the filter setting, and the control movements will be recorded. The only caveat -- there seems to be an operating system glitch that will mute notes that appear too close to a portamento button it. I believe that this is related to the Portamento button's dual use -- when portamento is on for a channel, that channel becomes a monophonic channel. When it is switched off, the channel is polyphonic. This mode change may explain the glitches that occurred when severely exercising the portamento button. The solution is to record the portamento changes at a _very_ slow tempo, giving plenty of room around surrounding notes (if possible). Filter changes, and other real-time controls, do not seem to affect the sounding of notes. The other problem I have with the pattern sequencer: it's too difficult to change information in a pattern. Frankly, it has proven to be easier to either live with a less-than-perfect pattern/track, or to completely re-record it. As a dedicated computer-sequencer user, you can bet I'm not too happy about that. Especially given the joyous big-chicklet keyboard on the MC-303! Pattern editing functions include: Pattern and part copy (smallest unit - one measure), pattern and part erase (again, smallest unit is one measure), blank measure insert, key transpose (either the whole 'part' -- all notes in one channel -- or a range of notes within a single 'part'), velocity change (entire part - no changes for individual notes!) , gate time (again, only the entire part), time shifting (entire part, again), data thinning (no control over which functions get thinned -- all controllers for a part are thinned!) and part quantize. Grrrr. This grew tiresome, and proved to limit the complexity of part that I built into a pattern. The other sequencing problem occurs with the MIDI implementation. Simply put, the MC-303 will not transmit anything beyond the MIDI note and velocity information. Why is this so important, you ask? Well, here's my situation. I don't like the MC-303's internal TB-303 emulation. I want to use the Will System's MAB-303 I have. The MAB uses the Portamento controller to signal slides, and velocity changes to signal accents. The MC-303 will transmit the notes, and the velocity of each note. That's great. However, the all-important slides (even when programmed into the MC-303 as portamento controller changes) will not be transmitted! Therefore, no slides on the MAB-303! Since a number of 'boxes' are appearing that will support MIDI controller messages (BassStation, MAB, Pulse, etc.), the total lack of controller transmission means that the MC-303 often cannot be used as a bass sequencer for live techno. Troubling, since it would appear that is exactly what the MC-303 was created for... Finally, the output configuration comes into play here. Two outputs for a machine with drums, bass lines and pads is simply too few. Even for live performance. Without the ability to manipulate the individual instruments externally (with delays, filters or whatever), a lot of the flexibility seems to be gone. Score: 4 out of 10 Woody McBrides (minus 2 for the sounds, minus four for the sequencer limitations) MC-303 AS A SEQUENCE PLAYBACK TOOL (the MMT-8 factor) Given the above griping about the sequencer limitations, the lack of full MIDI record and transmit, and the dichotomy between step-time and real-time recording methods, you can bet I'm not expecting you to sell your MMT-8. However, there are a few real positive things to say, here. First, the mute functionality really excels. Have the ability to mute individual percussion sections (as stated in the DRUM PROGRAMMER section) really puts the MC-303 a step above the MMT-8 for this type of programming. Also, the inclusion of a serious quantize function really makes this thing shine. The quantize function allows you to 'dial in' the amount of quantize to apply, and provides three types of quantize -- grid, shuffle or 'groove'. As you might expect, used in moderation these quantize function can spice up an otherwise sleepy track, and the templates available for the groove quantize exceed those that are available in any of the software sequencers I've been using. Of course, there is no way to quantize one track to another's contents, but that is a function that only recently has been available in software tools. In addition to 'dialing in' the amount of timing effect, you can also 'dial in' the amount of velocity adjustment that a groove quantize function will provide. My only concern with the quantize functions has to do with the internal timing of the MC-303. The 303 is based on 96ppq timing, and it sometime feels as though the quantize function 'steps' a bit too much. My assumption is that the granularity of the internal timing is adversely affecting the smoothness of the quantize functionality. I may be wrong, and I've done no timing studies to verify this, but I can 'feel' the quantize function jerk around the timing in an uncomfortable way. The MC-303 includes an arpeggiator, and some of these functions are just great. The output of the arpeggiator can be recorded to the sequencer, and can follow a number of internal templates. Some of these templates are excellent. There are a number of arpeggiator templates that simulate guitar picking and such. However, I found that the "Sequence" options are the best, especially if you make appropriate adjustments to the 'Accent Rate' control. If nothing else, these arpeggiators are incredible fun, and could (perhaps) be used to spur some creative moments. One final note on the sequencer functions. There has been a lot of discussion about the limited number of user patterns (50), and the large number of preset rhythms. All true, but I've not run into many problems in this area. First, in addition to the 50 user patterns, you can enter 300 'Variation' patterns. This is basically a pattern (either preset or user) with alternate mute settings. This may not seem that impressive, but it provide incredible functionality when creating songs. A song, on the MC-303, is a string of patterns, each of which has one rhythm and seven synth parts. The way you end up programming a song is by creating patterns that are 'chuck full' of tracks, then creating variations that mutes combinations of tracks. Using this paradigm, you can create 5 very full patterns, then use mute variations to 'thin' the patterns into a song with an appropriate structure. All-in-all, this actually works fine for me... In addition to the sequencer and arpeggiator, there is an additional playback function -- the RPS, or Real-time Phrase Sequence. The RPS system allows you to assign parts (single tracks from a pattern) to a key, and trigger that part at any time using the MC-303 keyboard. Big fun! The RPS can use parts from either preset or user patterns, and this really broadens what can happen during a live gig. For example, last week I played a fun little mini-gig. I played MC-303, a friend played tape deck and noise boxes, and some Goth Gal screaming somewhere along with us. Like I said -- fun. No rehearsals, no pressure. I set up a real simple user pattern with a bass part and a rhythm part. I also set up a comprehensive set of RPS keys to provide guitar wacka-wacka, breakbeats, synth turnarounds and other fun stuff. I had a blast, my friend thought it was a hoot, and (since I was playing the works through someone's bass amp) no one got hurt. This really work similar to Studio Vision's MIDI Keys, and really can be used to spice up a live set. Well recommended! One bug was found here -- if you do some odd combination of keystrokes (I think that you have to select a new RPS set while the sequencer is running, and is about to load another pattern, or something) the whole works crashes. It will either play some arbitrary pile of notes, or will simply freeze. When this happens (and, in the heat of the gig, it will), keep nodding your head, smile at your S.O., and reboot! I expect this to be fixed in the next rev... Score: 7 out of 10 Orbitals (minus four, again, for the poor MIDI record and transmit, minus 1/2 for the perceived timebase problem, plus an additional 1/2 for the variety of arpeggiations and grooves, plus an additional 1 for the way-cool RPS function.) MC-303 AS TECHNO SYNTH (the legendary General Techno [tm] factor) Well, it's a bunch of samples. A pile of them are old-hat orchestral hits that nobody outside of Ibiza would use. Some of them are funky and nice. A few of them transcend into the "gotta-use-'em" set. The drums are excellent sample sets. However, tone modification is a bit of a bitch. The following is a list of the modifications that you can make to the sounds: LEVEL PAN (including RANDOM PAN) PORTAMENTO ON/OFF and PORTAMENTO TIME LFO RATE, SHAPE, AMOUNT and DESTINATION(PITCH, FILTER and AMP) FILTER CUTOFF and RESONANCE AMPLITUDE ENVELOPE ATTACK, DECAY and RELEASE BEND RANGE Does something seem to be missing? Does A LOT seem to be missing? Damn right! How about a high-pass filter? How about an envelope for the filter? LFO delay? Man, this is just depressing... Perhaps I've not gotten comfortable with SoundCanvas style synthesizer, but I doubt I will ever get comfortable with exceedingly limited functionality. Frankly, one thing that Roland, and other manufacturers making dance music modules, must remember is the transient nature of the sound. A sweeping pad that is hot today will be anathema in three weeks. No one significant has user _that_ orchestra hit in five years. My feeling is this -- over the course of a few years, the MC-303 will be used as a driver for external synthesizers, and the internal sounds (save for the drum kits) will seldom be heard. Given that, are there enough sounds to play with? I guess. The MC-303 has become the box that I play with while I'm vegging in front of the television. Given that, I can find enough sounds to write with. They get replaced once I'm in the studio, but I can at least use them to get started. There is a special mode (called Sound Module Mode) in which the MC-303 becomes a 16-channel multitimbral sound module. In this mode, the MC-303 responds to a number of MIDI controllers, and can generally be used to good effect (given the limitations of the sample set and the single pair of outputs). Frankly, I tried this out, but will probably never use it in this way... Score: 4 out of 10 2Unlimiteds (minus 3 for the dated sounds, minus 3 for the limited programming options) MC-303 AS ITSELF (the how-I-use-it factor) So, you want to know how I've been using the beast, huh? As I've said, I've installed it as the watching-TV-productively tools of choice. It works fine for that. I use it extensively as a drum programmer, and occasionally for a step-time programmer that gets dumped to Logic Audio. Some of the sounds are good enough that they get used in recorded tracks. I took it to a live gig, and had fun with it (minus the crash...). It makes 14-year-olds I know very jealous. Most of the net-news I've seen (including most of this one) is attempting to compare the MC-303 to old Roland boxes, or even as the Great Hope (or Satan) of techno. I've got a totally different read on this. The MC-303 has replaced one synth in my life -- the Yamaha QY-20. I've not had the QY-20 for long, but I no longer use it, choosing to use the 303 instead. It is reasonably portable (although not battery powered, yet), easy to program in a variety of ways and pretty good sounding. I generally use it as a seed-bed, creating ideas which will eventually get moved to a more serious sequencing or performance rig. It's unfortunate that the MC-303 cannot be the be-all techno-box. Perhaps an MC-303 Pro should be made -- with more user patterns (i.e., no preset patterns), complete MIDI handling by the sequencer, more editing and synthesis functions, non-volatile sample memory and a higher timebase. It would probably cost $400 more to produce such a thing, but it would solve a good number of my complaints with the MC-303 as it currently stands. Worth the money? I don't know. Read the reviews, and read this little ol' article. If you think you can live with the limitation, you should probably take one home. Work with it for a few weeks, then decide. If you no longer want it, I'm sure there are a number of kiddies out there in net-land just waiting to buy your used techno-box... My own, personal score: 4 1/2 out of 10 Darwins. Good enough to keep around for a while, fun and occasionally useful, just not the majick I had been hpoing for. {And, in case you are wondering, I am in no way implicating that I exist in the same stratosphere as Richie, Woody or even 2Unlimited...}