ROLAND GROOVEBOX MC-307 (01) PDF MANUAL


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PDF Content Summary: 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. 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. REFERENCE MANUAL 2 USIUsed for instructions intended to alert The the user to the risk of death or severe NG injury should the unit be used improperly. THE UNIT SAFELY 001 • Before using this unit, make sure to read the instructions below, and the Owner’s Manual. .......................................................................................................... 002c • Do not open (or modify in any way) the unit or its AC adaptor. .......................................................................................................... 003 • Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page. .......................................................................................................... 004 • Never use or store the unit in places that are: • Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are • Damp (e.g., baths, washrooms, on wet floors); or are • Humid; or are • Exposed to rain; or are • Dusty; or are • Subject to high levels of vibration. .......................................................................................................... 007 • Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces. .......................................................................................................... 008c • 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. .......................................................................................................... symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it * Material damage refers to damage or means that the unit must never be disassembled. other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets. The q symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power- cord plug must be unplugged from the outlet. 009 • Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged. .......................................................................................................... 010 • This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist. .......................................................................................................... 011 • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. .......................................................................................................... 012b • Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page when: • The AC adaptor, the power-supply cord, or the plug has been damaged; or • Objects have fallen into, or liquid has been spilled onto the unit; or • The unit has been exposed to rain (or otherwise has become wet); or • The unit does not appear to operate normally or exhibits a marked change in performance. ..........................................................................................................

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!) .......................................................................................................... 015 • Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. .......................................................................................................... 016 • Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page. .......................................................................................................... 101b • The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation. .......................................................................................................... 102c • Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 103b • Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor. .......................................................................................................... 104 • Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children. .......................................................................................................... 106 • Never climb on top of, nor place heavy objects on the unit. .......................................................................................................... 107c • Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 108b • Before moving the unit, disconnect the AC adaptor and all cords coming from external devices. .......................................................................................................... 109b • Before cleaning the unit, turn off the power and

unplug the AC adaptor from the outlet (Quick Start p. 2). .......................................................................................................... 110b • Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet. .......................................................................................................... 3 4 Contents IMPORTANT NOTES ...............................................................................8 Features of the MC-307 ..........................................................................9 Front and Rear Panels..........................................................................10 Top Panel ................................................................................................................................................... 10 Rear Panel .................................................................................................................................................. 12 Chapter 1 Introducing the MC-307 ......................................................13 Basic structure of the MC-307................................................................................................................. 13 The sequencer section................................................................................................................... 13 The sound generator section ....................................................................................................... 13 The controller section ................................................................................................................... 14 Saving Settings.......................................................................................................................................... 14 Basic Operations Common to General MC-307 Functions................................................................. 14 Changing Values ........................................................................................................................... 14 About the upper part of the display screen .............................................................................. 14 Canceling the Previous Operation (Undo/Redo) .................................................................... 15 Confirming Performance of Rhythm Part (Rhythm Part View)............................................. 15 Metronome Settings...................................................................................................................... 16 Restoring the Factory Settings (FACTORY RESET) ............................................................................ 16 Chapter 2 Basic of Pattern Playback ..................................................17 Basic Functions of Patterns ..................................................................................................................... 17 Playing Back Patterns ................................................................................................................... 17 Changing BPM (Tempo) .............................................................................................................. 18 Muting Parts and Rhythm Tones................................................................................................ 19 Transposing During Playback..................................................................................................... 20 Selecting sounds ....................................................................................................................................... 21 Selecting Patch/Rhythm Set........................................................................................................ 21 Selecting a Patch by Category ..................................................................................................... 21 Changing the settings of each part......................................................................................................... 22 Saving a Pattern ........................................................................................................................................ 23 Chapter 3 Giving Variation to Pattern Playback ................................24 Playing Back with Keyboard Pads......................................................................................................... 24 Shifting the Keyboard Range in One-Octave Steps (Octave Shift) ........................................ 24 Using with Turntable(Turntable Emulation) ....................................................................................... 25 What is the Turntable Emulation?.............................................................................................. 25 Synchronizing the Turntable and the BPM ............................................................................... 25 Use the slider control to synchronize the MC-307’s BPM setting with the turntable. ........ 25 Changing the Tone with the Knobs during Playback (REALTIME MODIFY) ............................... 26 Selecting a Part Subject to Modification .................................................................................... 26 Changing Brightness of the Tone (CUTOFF)............................................................................ 26 Adding Character to the Sound (RESONANCE) ..................................................................... 27 Applying Cyclic Changes to the Sound (LFO 1) ...................................................................... 27 Changing Other Parameters (Assignable Knobs) .................................................................... 28 Playing Back in Arpeggio (Arpeggiator) .............................................................................................. 31 What is an Arpeggiator? .............................................................................................................. 31 Using the Arpeggiator.................................................................................................................. 31 Selecting the Arpeggio Style........................................................................................................ 31 Making More Detailed Settings .................................................................................................. 32 Saving Arpeggio Settings (Arpeggio Write) ............................................................................. 34 Modifying the Groove of a Pattern (Play Quantize) ........................................................................... 34 Correcting Inaccuracies in Rhythm (Grid Quantize)............................................................... 34 Adding Swing to the Rhythm (Shuffle Quantize).................................................................... 35 Giving a Groove to the Rhythm (Groove Quantize)................................................................ 35 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 ...................................................................................................................... 38 Playing Back Phrases from the Keyboard Pads (RPS) ........................................................................ 38 What is RPS (Real-time Phrase Sequencing)? ........................................................................... 38 Using the Keyboard Pads to Play Back Patterns ...................................................................... 38 Registering Phrases in Keyboard Pads ...................................................................................... 39 Setting up a Part for RPS.............................................................................................................. 40 Saving the Settings of an RPS Set................................................................................................ 41 Chapter 4 Setting Effects .....................................................................42 Reverb ........................................................................................................................................................ 42 Switching Reverb On/Off............................................................................................................ 42 Adjusting the Reverb Volume for Each Part (Part Reverb Level).......................................... 42 Making Detailed Settings............................................................................................................. 42 Delay (Add echoes to the sound) ........................................................................................................... 44 Switching Delay On/Off.............................................................................................................. 44 Adjusts the Delay Volume for Each Part (Part Delay Level) .................................................. 44 Making Detailed Settings............................................................................................................. 44 Multi-Effects (M-FX) ................................................................................................................................ 46 Switching Multi-Effects On/Off ................................................................................................. 46 Applying Multi-Effects for Each Part (Part M-FX Switch)...................................................... 46 Selecting the Multi-Effects Type ................................................................................................. 47 Defining Parameters in Detail ..................................................................................................... 48 Switching an Effect Function On and Off in Real Time (How to use the GRAB switch) .............. 62 What is the GRAB Switch?........................................................................................................... 62 GRAB switch positions................................................................................................................. 62 How to Use the GRAB Switch to Set an Effect Function......................................................... 62 Chapter 5 Creating Your Own Patterns and Songs ...........................63 Creating Your Own Patterns .................................................................................................................. 63 Recording Your Music as You Play it (Realtime Recording).................................................. 63 Selecting a patch ............................................................................................................................ 64 Recording changes in BPM .......................................................................................................... 67 Recording Data Entered in Sequence......................................................................................... 68 Individually Editing Performance Data (Micro Edit) ......................................................................... 72 Basic Operation.............................................................................................................................. 72 Musical Data Handled in Microscope Mode ............................................................................ 72 Modifying Performance Data Values......................................................................................... 74 Inserting Musical Data (Insert Event) ........................................................................................ 74 Deleting Musical Data (Delete Event)........................................................................................ 75 Moving Musical Data(Move Event) ........................................................................................... 75 Viewing Desired Performance Data Only (View Filter).......................................................... 75 Editing Patterns (Pattern Edit) ............................................................................................................... 76 Copying a Portion of a Pattern (Copy) ...................................................................................... 76 Erasing Unwanted Data (Erase).................................................................................................. 77 Deleting Unwanted Measures (Delete Measure) ..................................................................... 78 Inserting Blank Measures (Insert Measure) .............................................................................. 79 Transposing the Pitch (Transpose) ............................................................................................. 79 Modifying the Strength of Notes (Change Velocity) ............................................................... 80 Modifying the Note Length (Change Gate Time) .................................................................... 80 Shifting the Timing Slightly (Shift Clock).................................................................................. 81 Thinning Out Unneeded Data (Data Thin) ............................................................................... 82 Creating a Quantized Pattern (Edit Quantize) ......................................................................... 82 Converting the Note Timing of a Pattern (Reclock)................................................................. 83 Saving the Pattern ......................................................................................................................... 83 5 6ContentsPlaying and Recording Songs................................................................................................................. 84 Playing Back a Song...................................................................................................................... 84 Return to the beginning of the song and play it back.............................................................. 84 Recording a Song .......................................................................................................................... 85 Editing Songs (Song Edit)........................................................................................................................ 86 Clearing All Steps (Clear All Steps)............................................................................................ 86 Deleting Unwanted Steps(Step Delete)...................................................................................... 86 Copying a Song (Song Copy) ...................................................................................................... 86 Saving the Song ............................................................................................................................. 87 Chapter 6 Making Original Patches.....................................................88 Editing Patches ......................................................................................................................................... 88 Changing the Basic Waveform of the Sound (WAVE/FXM) ................................................. 88 Changing the Pitch (PITCH and ENVELOPE) ......................................................................... 89 Changing the Brightness of Sounds (FILTER and ENVELOPE)............................................ 91 Changing the Volume Level and Localization (AMP and ENVELOPE) .............................. 95 Applying Cyclic Changes to the Sound (LFO 1/2).................................................................. 97 Defining Parameters Affecting the Entire Patch(COMMON/SOLO, PORTA)................... 99 Setting up Controllers (CONTROL MOD, BEND and AFT) ................................................ 102 Saving a Patch.............................................................................................................................. 104 Editing Rhythm Sets .............................................................................................................................. 105 Selecting the Basic Tone of the rhythm (WAVE and KEY) ................................................... 105 Changing the Pitch (PITCH and ENVELOPE) ....................................................................... 106 Changing the Brightness of Sounds (FILTER and ENVELOPE).......................................... 107 Changing the Volume Level and Localization (AMP and ENVELOPE) ............................ 110 Changing the Rate of the Pitch Change (BEND) .................................................................... 111 Adjusting the Effects for Each Rhythm Tone (SEND LEVEL) ............................................. 112 Saving a Rhythm Set................................................................................................................... 113 Copying and Initializing Settings ........................................................................................................ 113 Copying a Patch or Rhythm Set ................................................................................................ 113 Copying a Patch Tone or a Rhythm Tone................................................................................ 113 Initializing a Patch or a Rhythm Tone ..................................................................................... 113 Chapter 7 Environment Configuration and Application with MIDI .114 Saving system settings........................................................................................................................... 114 Configuration (System) ......................................................................................................................... 114 Tuning and Sound Generator Related Settings ...................................................................... 114 Settings Concerning the Display and Controllers.................................................................. 117 Sequencer-Related Settings........................................................................................................ 119 MIDI-Related Settings ................................................................................................................ 123 Arpeggiator Settings ................................................................................................................... 127 Settings for RPS Sets ................................................................................................................... 127 Setting for Play Quantize ........................................................................................................... 127 Useful Functions (Utilities) ................................................................................................................... 128 Initializing Patches, Rhythm Tones and Patterns (INITIALIZE) ......................................... 128 Initializing rhythm tones............................................................................................................ 128 Copying Patch Tones and Rhythm Tone (COPY) .................................................................. 128 Saving Data on an External Sequencer (BULK DUMP) ........................................................ 129 Recording the data of all MC-307 data on an external sequencer........................................ 130 Restoring data for all MC-307 data from a MIDI sequencer back to the MC-307.............. 130 Checking the amount of unused internal memory(MEMORY INFORMATION) ............ 130 Restoring the Factory Settings (FACTORY RESET)............................................................... 131 Writing Patches and Patterns in the Memory (WRITE).................................................................... 131 Canceling Execution of Editing and Recording (Undo/Redo)........................................................ 131 Advanced Operation Using MIDI........................................................................................................ 132 About MIDI.................................................................................................................................. 132 Using with an External MIDI Device ....................................................................................... 133 Contents Synchronization with an External MIDI Device..................................................................... 136 Appendices..........................................................................................139 Troubleshooting..................................................................................140 Error Message List..............................................................................142 Parameter List .....................................................................................143 Preset Patch List.................................................................................155 STYLE/MOTIF/BEAT PATTERN Correspondence Chart .................158 Preset Rhythm Set List.......................................................................159 Waveform List .....................................................................................167 Preset Pattern List ..............................................................................170 RPS Pattern List..................................................................................176 RPS Set List.........................................................................................186 Transmit/Receive Setting List............................................................192 Main Specifications ............................................................................193 MIDI Implementation...........................................................................194 Index.....................................................................................................210 7 8IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following: Power Supply 301 • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). 302 • The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern. 307 • Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices. Placement 352 • This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers. 354a • Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit. 355 • To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture. Maintenance 401a • For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. 402 • Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation. Additional Precautions 551 • Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer). 552 • 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. 553 • Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions. 554 • Never strike or apply strong pressure to the display. 556 • When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements. 558a • To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night). 559 • When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials. 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. Latest Patterns 240types of preset patterns ready to be used and 470types of patterns for RPS materials (one track of data extracted from preset patterns) are on board. Since the patterns cover a wide range, from techno to reggae, this instrument provides everything you need for most situations. Leading-edge Patch Sets The MC-307’s carefully selected 800 sounds and 40 rhythm sets are just what you need for today’s dance scene, and include great sounds from vintage instruments such as the TB-303, JUNO, JUPITER and TR-808/909. From the day you purchase the MC-307, you will be enjoying cutting-edge sounds that cannot be obtained on any other synthesizer. Original sounds that you create can also be stored in internal memory for immediate access. Three Digital Effect Units High-performance DSP (digital signal processing) technology provides you with a wide range of effects. Three multi-effect units are provided: Reverb adds reverberation, Delay adds echo-like effects, and M-FX (general-purpose multi-effect unit) provides 25 types of effect that have been optimized for dance music. Isolator and GRAB Switch Offers a “GRAB switch,” which gained wide acclaim after it appeared on the Roland DJ-2000/DJ-1000 DJ mixer. Used in conjunction with the powerful isolator, the switch enables real-time on/off operation. Enhanced Real-time Operation Features Four “assignable knobs” are provided for assigning desired functions. The user can assign desired parameters to enhance expressivity for real-time performance. Use the Arpeggiator to Create Phrases You can play arpeggios simply by pressing the keyboard pads. By changing the settings, you can perform a variety of different phrases. RPS (Real-time Phrase Sequencing) for On-the-spot Addition of Phrases A phrase can be played back simply by pressing a keyboard pad. This operation can be used to add phrases to a pattern, to give performance with RPS alone, and for many other purposes. Function Equivalent to that of a Turntable A “Turntable Emulation Block” is installed. You can synchronize with other sound modules simply with turntable-like action. Easy Creation of Original Patterns “Real-time recording” capability for recording ordinary keyboard performances and a “TR-REC” function for creating patterns with graphically arranged phrases are incorporated. The TR-REC function is enhanced with a scale editing function, providing a more convenient means of creating bass lines and melodies. 9 10Front and Rear Panels Top Panel 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. Knob Assignment Button Determines which functions should be assigned to “assignable knobs 1 to 4.” Instead of the functions listed on the panel, four optional functions can be assigned. 6. Assignable Knobs 1 to 4 Change such parameters as tones and effects in real time. 10 1 23 12 13 11 14 15 16 17 282930 21 9 18 19 20 22 23 24 25 26 27 7. LFO 1 Button/Knob Used to cyclically change musical intervals, the volume level and the filter. 8. MIDI/SLAVE Indicator The MIDI indicator will light when MIDI messages are received from the MIDI IN connector. The Slave indicator will light when the MC-307 is set to the Slave setting (P. 119 ). 9. GRAB Switch This switch can be used for real-time on/off operation of the reverb, delay and Multi-effect (M-FX) functions. (P. 62 ) 10. FILTER Button/Knob Used for real-time operation of CUTOFF (P. 26 ) and RESONANCE (P. 27 ). 11. VALUE Dial Used to set/change the settings on the display. This is convenient for making large changes in values. (If you want to make even larger changes in a value, hold down [INC] or [DEC] button and rotate this dial.) 4 5 6 7 8

Front and Rear Panels 12. EXIT Button 24. HOLD Button Mainly used to return to the previous screen. 13. ENTER Button Use this to execute an operation. 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. 16. PART MUTE Button Press this button to use the part mute function. 17. RHYTHM MUTE Button Press this button to use the rhythm mute function. 18. R and 1 through 7 Buttons Used to select a part, to mute a part and to mute a rhythm. 19. RHYTHM PART VIEW Button Provides graphic display for confirming the data configuration of the rhythm part. (P. 15 ) 20. SEQUENCER Button ( ) Used for various operations including Reset, rewinding, fast-forwarding, stopping, Playing, and Recording of patterns and songs. 21. SCALE Button Used to select note assignments for the TR-REC mode (P. 68 ). 22. OCT - / + Buttons This is used for transposing the octave of the keyboard pad. 23. TRANSPOSE Button Transposing the sound source.(The rhythm part is not subject to transposition.) Pressing this button is equivalent to pressing and holding down a keyboard pad, except you can release the pad. 25. Keyboard Pads Normally, these pads are used as keyboard keys, but they can also be used as buttons to start phrases (RPS: P. 38 ) and for setting the TR-REC timing scale (P. 68 ). 26. PAD SELECT Button (TR REC, ARP, PTN CALL, RPS) Determines how the keyboard pads are to used. 27. TAP Button Allows you to change the BPM to the timing you’ve used to tap this button. 28. PITCH and BPM Buttons Used to select a slider and HOLD/PUSH function. Lighting the PITCH button enables musical intervals to be changed, while lighting the BPM button enables playback velocity to be changed. Turning both functions on implements a function similar to the pitch controller of the slider and turntable. 29. HOLD and PUSH Buttons These emulate the acitions of pushing and holding a turntable to change its rotational speed. 30. TURNTABLE EMULATION Slider Normally, this function is equivalent to increasing or decreasing the speed of the turntable. Used in conjunction with the PITCH/BPM button, it can be used for changing solely the pitch or the playback velocity. 11

12Front and Rear Panels Rear Panel 1 2 3 4 1. POWER Switch 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. MIDI OUT Connector This transmits MIDI messages from the MC-307 to external MIDI devices. In addition, if still at the factory settings, data arriving at MIDI IN is also transmitted. 4. MIDI IN Connector This connector receives MIDI messages that are transmitted from external MIDI devices. 5. PEDAL SW Connector By connecting an optional pedal switch (such as the DP- 2) to this connector, you can use the pedal to perform operations on the MC-307. 6. OUTPUT L(MONO)/R Jacks Provide output of the audio signals. Connect them to your keyboard amp, audio system, or mixer etc. Use audio cables (sold separately) to make connections. 7. PHONES Jack Accepts connection of headphones. 5 6 7

Chapter 1 Introducing the MC-307 Basic structure of 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. The sequencer section A sequencer is a device that records musical performance data, and can play back the performance data that was recorded. Recording/playing a performance The MC-307 comes with 240 previously prepared patterns (preset patterns). These preset patterns can be played back easily. You can also create your own original patterns, either by modifying preset patterns or by creating a pattern from scratch. Simultaneous playback of multiple parts The MC-307 is able to play multiple sounds (patches) simultaneously. For example, with the following part configuration, you can simultaneously play drums, bass, piano and guitar; and the resulting performance will sound like a band. Editing performance data Unlike a cassette tape or MD, a sequencer records a performance as musical data (not as sound). It’s easy to edit the performance data to create your own original patterns. 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. Performance data from an external MIDI device can also play the sound generator. The sound generator of the MC-307 is able to produce up to 64 SOUND MODULE SEQUENCER Section PLAY Section notes simultaneously, more than enough for playing multiple parts at once. Keyboard Pad Play Recording Patches A patch is analogous to a particular instrument, such as 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 a piano or guitar. The MC-307 contains 800 preset patches, and you can enjoy virtually any type of sound Controller (Keyboard Pad, Knob) simply by selecting one of these patches. Rhythm Sets A rhythm set allows you to play a different instrument from each note of the keyboard. The instruments will not sound the pitches of the scale. 40 preset rhythm sets are provided. (Example) 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 KICK Parts A part is analogous to an individual musician in a band or orchestra. There are eight parts, [R], [1]... [7], allowing you to use seven patches and one rhythm set to play a total of up to eight performances simultaneously. Effects The MC-307 provides three effect processors that can be used to apply various tonal effects to a patch or rhythm set: Reverb (reverberation), Delay (echo-like effects), and Multi-effects (choose from 25 effects such as equalizer or compressor). All three effect processors can be used simultaneously. Patch editing The sound of a preset patch or rhythm set can be modified to your liking. (For details refer to "Patch editing," p. 92.) SNARE HI-HAT CRASH TOM Part R Rhythm (Drum) Set Part 1 Bass Part 2 Piano Part 3 Guitar 13

14Chapter 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. Turntable emulation These are sliders and buttons that allow you to perform in real time synchronization with sound sources such as a turntable. They make it easy for you to enjoy DJ performance. (P. 25) GRAB switch This switch allows you to turn reverb, delay, and multi- effects on/off in real time. (P. 62) Keyboard pads These perform the same function as a keyboard. They can also be used for RPS (P. 38) and arpeggiator (P. 31) performance. Saving Settings Perform the save procedure to retain the results of setting changes and recording performances. Turning the power off without saving results in the loss of the settings or recordings. - Patch refer to Saving a Patch (p. 104). - Rhythm set refer to Saving a Rhythm Set (p. 113). - Pattern refer to Saving a Pattern (p. 23). - Song refer to Saving the Song (p. 87). - Arpeggiator refer to Saving Arpeggio Settings (Arpeggio Write) (p. 34). - Pattern set refer to Saving a Pattern Set (p. 38). - RPS set refer to Saving the Settings of an RPS Set (p. 41). Basic Operations Common to General MC-307 Functions You can efficiently operate the MC-307 by using the controls appropriate for the goal you have in mind. Refer to the following descriptions of the various operations and try to keep them in mind. Changing Values Use [VALUE] dial for making major value changes and [INC] or [DEC] button for incrementing or decrementing values by one. To change the value, use the display field in a black frame with characters displayed in white. This is called “cursor.” To change more than one value on the display, move the cursor with [CURSOR] buttons to the relevant area. (If you want to mato even larger changes in a value, hold down [INC] or [DEC] button and rotate this dial.) About the upper part of the display screen The upper part of the display screen shows the pattern number (P. 17) / song number, RPS set number (P. 38), patch number (P. 21), and the currently selected part number. These items will always be shown, regardless of what is shown in the lower part of the display, so that you will always have the most important information at a glance. Cursor

Chapter 1 Introducing the MC-307 Canceling the Previous Operation (Undo/Redo) For songs and patterns, editing (track and microscopic editing) and recording operations can be canceled. Procedure 1. Press [SYSTEM] button. 2. Press [F4 (UNDO)] button. The item subject to UNDO is displayed. For example, “UNDO MICROSCOPE” appears for undoing microscopic editing. 3. Press [F4 (EXEC)] button to execute this function, or press [EXIT] button to cancel. Upon completion, a “COMPLETED!” message appears on the display and the screen returns to the initial screen that appears upon power up. . Confirming Performance of Rhythm Part (Rhythm Part View) 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 Before Recording/Editing configured. Procedure Recording/Editing REDO UNDO 1. Press [RHYTHM PART VIEW] button. 2. From the part buttons, [BD]–[OTHERS], select and press the button associated with the rhythm tone that you want to confirm. After Recording/Editing Either one of the rhythm tones appeared at the left or right section of the display can be selected for viewing. For example, the rhythm buttons [BD] and [CYM] button can be switched by pressing the appropriate button. 3. Press [ ] or [ ] button to select the location you want to be displayed. The display shows groups of numerals, such as "1-1-00," indicating "Measure-Beat-Clock." The following marks are displayed. : Data exists - : Data does not exist * While this screen is displayed, pressing [SCALE] button changes the unit of one “ .” * For operations (a) and (c) below, press [ ] or [ ] UNDO can be executed for Pattern (track editing, button to switch the display between the first half and the microscope editing and recording) or Song (editing, second half of one measure. recording). - a. Displays half the length of one measure in sixteenth triplet. REDO is an operation of restoring the initial contents - b. Displays the length of one measure in eighth triplet. before executing UNDO. Repeating the steps above - c. Displays half of the length of one measure in thirty- after executing UNDO executes REDO second notes. - d. Displays the length of one measure in sixteenth notes. * This function cannot be used if the System setting “RHY VIEW” (P. 122) is set to “MUTE CTRL.”Switch the setting to “NORMAL” before you use this. 15

16Chapter 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) 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.” 4. Set up the mode using [VALUE] button dial or [INC/ DEC] buttons. Procedure (Realtime Recording screen) 1. Press [PTN] button. 2. Press [REC] button. 3. Press [F2 (REALTIME)] button. 4. Press [PLAY] button. Realtime Recording starts. 5. Press [F4 (BPM)] button. 6. [CURSOR (Up/Down)] button to move cursor over to “METRONOME.“ 7. Set up the mode using [VALUE] button dial or [INC/ DEC] buttons. Available Settings - OFF: The metronome does not play, regardless of the operation of the MC-307. - ON: The metronome plays, regardless of the operation of the MC-307. - REC ONLY: The metronome plays only during recording. - PLAY&REC: Sounds during playback and recording. * You can also set the volume of the metronome. For the procedure, refer to Setting up the volume level of the metronome (METRONOME LEVEL) (p. 119). Restoring the Factory Settings (FACTORY RESET) This operation can restore the settings of the MC-307 to their factory settings. When Factory Reset is executed, the data in the MC-307’s memory is lost. If there is any data in the MC-307 that you do not want to delete, use the Bulk Dump operation (P. 129) to save the data to an external MIDI sequencer or similar device. Procedure 1. Press [SYSTEM] button. The menu screen for system set-up appears. 2. Press [F2 (UTIL)] button. 3. Press [CURSOR (down)] button. Go to the screen where “FACTORY RESET” appears. 4. Press [F1 (FACT)] button. The “FACTORY RESET” screen appears and an “ARE YOU SURE?” message appears. 5. Press [F4 (EXEC)] button to execute factory reset. After 6 minutes, factory reset is completed and the “COMPLETED!” message appears. After a short while, the screen displayed immediately after startup appears.

Chapter 2 Basic of Pattern Playback Basic Functions of 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. Playing Back Patterns The MC-307 is a sequencer that plays back patterns and adds changes to the playback method. This type of sequencer is referred to as a pattern sequencer. * buttons can also be used while playback is in progress. Playing back patterns continuously 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. This technique is used to keep playing back patterns in sequence. The BPM (tempo) of the performance is determined by the tempo of the first Pattern that is played back. Procedure 1. Press [PTN] button. The pattern playback screen appears. 2. Press [PLAY] button to begin playback. The pattern play screen appears. Return to the previous measure. Go to the beginning of the song. Advance to the next measure. 3. Select the pattern using [VALUE] dial or [INC/DEC] STOP PLAY REC buttons. After playback of the current pattern is completed, the pattern selected in step 3 is played back. * Immediately before playback of a pattern is completed, [PTN] Stop the Sequencer. Use in recording. button blinking. At this term, the pattern cannot be changed; Play Back. the MC-307 is already prepared to proceed to the next pattern. Range: - P: 001 – P: 240 - P: 241 – P: 710(RPS Pattern) - U: 001 – U: 200 You can press [PTN] button that appears in the screen in "Step 2" of the procedure to switch to the screen that also shows the name of the selected Pattern. * Pressing [PTN] button when this screen is displayed returns you to the screen in Step2. 17

18Chapter 2 Basic of Pattern Playback Playing Back at the Tempo Set for the 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. Procedure 1. Press [STOP] button to stop playback. 2. Press [PTN] button. This appears the screen for playing patterns. 3. Use [VALUE] dial or [INC/DEC] button to select the pattern. 4. Press [PLAY] button. Playback begins. Range: - P: 001 – P: 240 - P: 241 – P: 710 (RPS Pattern) - U: 001 – U: 200 On-the spot playback of the next pattern It is also possible to play back the next pattern upon pressing of the button.This operation is useful for searching for a target pattern by checking patterns one by one. Procedure 1. Press [PTN] button. The pattern playback screen appears. 2. Press [PLAY] button to begin playback. The pattern is played back. 3. Press [CURSOR (left/right)] buttons. The pattern immediately before or after the current one is played back right away. * When playback is stopped, you can use the [CURSOR (left, right)] buttons to select patterns by categories such as "techno," "house," and so on. Range: - P: 001 – P: 240 - P: 241 – P: 710(RPS Pattern) - U: 001 – U: 200 Viewing the number of measures in a pattern The measure number and the rhythm can be indicated on the display. This operation is useful when the BPM (tempo) cannot be easily measured due to muting of the rhythm part. Procedure 1. Press [PTN] button. 2. Press [F4 (BPM)] button. A window appears and displays the measure number (MEAS) and the beat (BEAT) currently played back. Press [EXIT] or [F4] button to close the window. Changing BPM (Tempo) With some Preset Patterns, raising the BPM too high can cause sluggish performance. Changing BPM with the Value Dial A BPM value is specified for playback. This operation is useful when you have a BPM value for playback in mind. Procedure 1. Press [PTN] button. 2. Press [F4 (BPM)] button. A window appears. 3. Use [CURSOR (up/down)] buttons to move the cursor over to the BPM value. 4. Change the BPM value using [VALUE] dial or [INC/ DEC] buttons. After completing the settings, press [EXIT] or [F4] button to close the window. Range: 20.0–240.0 Changing BPM with the TAP button You can establish the BPM by tapping on the TAP button at the desired rhythm. This allows you to set the tempo using Current Measure - Beat Pattern length 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. This timing is adopted as the BPM used for playback. * You can also set the BPM by pressing the TAP button using 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). eighth-note timing. refer to Changing the resolution of the tap tempo (TAP RESOLUTION) (p. 122). Range BPM: 20.0–240.0 Muting Parts and Rhythm Tones Muting parts Part R and Parts 1 to 7 can be muted individually. Procedure 1. Press [PART MUTE] button. The part buttons, [R], [1] to [7], function as buttons for the part muting function. 2. Press the part button, [R], [1] to [7], for the part to be muted. The tone of that part is muted. Press the button for the muted part again to cancel the muting function. The part button indicator operates as follows: - Lit: The part can be played back. - Blinking: The part is muted. - Extinguished: No performance is recorded in the part. (The indicator will come on after some data are entered through recording.) * Part 1 of Preset Pattern P: 001 to P: 240 does not contain any performance data. This part is useful for performances using the keyboard pads or the arpeggiator. (P. 31)(P. 38) * Preset Pattern for RPS P: 241 to P: 710 contains performance only in Part 1 (or Part R) to be used for RPS. * You can change the mute status of each part, and save the setting in a user pattern. (P. 23) Procedure 1. Press [RHYTHM MUTE] button. The [R], [1] to [7] PAD buttons change to the Rhythm Tone Mute function buttons ([BD]-[OTHERS]). 2. Press the part button, [BD]–[OTHERS], for the rhythm group to be muted. The sound from that rhythm tone is muted. Press the button for the muted part again to cancel the mute. The part button indicator operates as follows: Rhythm group. (The indicator will come on after some data are entered through recording.) Association of rhythm groups and buttons for muting them - BD: Bass Drum - SD: Snare Drum - HH: Hi-Hat - CLP: Hand Claps - CYM: Cymbal - TOM/PERC: TomTom/Percussion - HIT: hit such as a one-shot SFX sound. - OTHERS: Other instruments muting a particular rhythm group? ... refer to Preset Rhythm Set List (p. 159). * Using the part muting function to mute Part R mute all rhythm tones regardless of the settings for respective rhythm tones.

- Lit: The Rhythm group can be played back. - Blinking: The Rhythm group is muted. - Extinguished: No performance is recorded in the * If you would like to know which tone is muted by 19 20Chapter 2 Basic of Pattern Playback Muting all parts in a single step 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. All parts will be muted. * Then [PART MUTE] button’s indicator blinks. * Repeat step 1 to restore the state before muting. Setting a single part to the playback mode Just one of the parts associated with [R], [1] to [7] part buttons is set to the playback mode. Procedure 1. While holding down [PART MUTE] button, press the part button, [R], [1] to [7], for the part you want to play. All the other parts will be muted. Inverting the part being muted and that being played back This function is used to set the part currently being played back to the muting mode and the part being muted to the playback mode. Procedure 1. While holding down [PART MUTE] button, press [PART SELECT] button. This sets the part being muted to the playback mode and the part being played back to the muting mode. Using the muting mode for the next pattern (Mute Remain) This operation is used to maintain the muting mode for playing back the next part. It is useful, for example, to play back the next pattern with the rhythm track muted by maintaining the current setting. Procedure 1. Press [PTN] button. The pattern playback screen appears. 2. Press [PLAY] button to begin playback. The pattern is played back. 3. Press [PLAY] button again during playback. "MR" is displayed in the center of the screen. 4. Select a pattern using [VALUE] dial or [INC/DEC] buttons. After a while, the selected pattern is played back with the previous PART MUTE setting maintained. * Pressing the blinking [PLAY] button again cancels this function. Transposing During Playback This operation changes the key by semitones. Using [VALUE] dial or [INC/DEC] buttons Procedure 1. Specify the transposition value by operating [VALUE] dial or [INC/DEC] buttons while holding down [TRANSPOSE] button. The “REALTIME TRANSPOSE” screen is displayed while this button is held down. 2. Release [TRANSPOSE] button when the playback position reaches the point where transposition is desired. Then, the subsequent section is played back in transposed keys. * Press [TRANSPOSE] button to reset the transposed keys to the initial keys. The indicator of the button goes off and the state is switched to the mode without transposition. Range: -12– +12 (semitones)

Chapter 2 Basic of Pattern Playback Using the keyboard pads 5. Press [PRESET] button or [USER] button to make 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. The transpose value can be set in a range of -12– +12 semitones, above and below the C4 key (which will be keyboard pad [2] if Octave Shift is “0”). 3. The transposition will be applied from the moment that you press the keyboard pad. To return to the original key, press [TRANSPOSE] button once again to make the button indicator go dark. - “Shifting the Keyboard Range in One-Octave Steps (Octave Shift)” (P. 24) Selecting sounds Selecting Patch/Rhythm Set The MC-307’s Patterns are composed of up to eight Parts, and different Patches (Part1 - 7: Patches, Part R = Rhythm set)can be selected for each Part. To change tones, first select the desired Part. Procedure First, select the part in which a patch is to be selected. 1. Press [PTN] button. 2. Press [F1 (PACH)] button. The names of the patches in the currently selected part are displayed. 3. Press [PART SELECT] button. The part buttons, [R], [1] to [7], function as the part selection buttons. 4. Press the part button, [R], [1] to [7], for the part containing the patch that you want to transpose. The part associated with the button pressed is selected and its name appears in the top right-hand corner. Next select a patch. selection between preset patches and user patches. 6. Select a patch using [VALUE] dial or [INC/DEC] buttons. Range: - Patches Preset P: A001 - 128 P: B001 - 128 P: C001 - 128 P: D001 - 128 P: E001 - 128 P: F001 - 128 P: G001 - 032 User U: A001 - 128 U: B001 - 128 - Rhythm sets Preset P: A01 - 26 P: B01 - 14 User U 01 - 20 Selecting a Patch by Category Patches can be selected by category such as piano, organ, etc. (Part 1 - 7 only.) Procedure 1. Press [PTN] button. The names of the patches in the currently selected part are displayed. 3. Press [F2 (CATG)] button. The category selection screen appears. 4. Select a category using [VALUE] dial or [INC/DEC] If you would like to know what patches/rhythm sets are available? - “Preset Patch List” (P. 155) - “Preset Rhythm Set List” (P. 159)

The pattern playback screen appears. 2. Press [F1 (PACH)] button. buttons. 21 22Chapter 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. 64) Range: CATEGORY: PIANO, KEYS&ORGAN, GUITAR, BASS, ORCHESTRAL, BRASS, SYNTH, PAD, ETHNIC, RHYTHM&SFX, USER 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 ( )] buttons to select the item you wish to set. 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: 0–127 - PAN (Part Pan) Set the left/right position of the part. Range: L64–0–63R - KEY SHIFT (Part Key Shift) Set the transposition of the part. Range: -48–0– +48 - REVERB (Part Reverb Level) Set the amount of reverb for the part. Range: 0–127 - DELAY (Part Delay Level) Set the amount of delay for the part. Range: 0–127 - 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. 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. - EXT: Output to the MIDI OUT connector. - BOTH: Output to both of the above simultaneously. 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. 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. On the MC-307, the following parameters are saved for each pattern. These parameters are collectively referred to as the The pattern is saved under the pattern number selected “Setup parameters.” here. Care is needed when selecting an appropriate pattern number since the pattern previously saved under - Standard Tempo (P. 18) that name is deleted. - Patch/Rhythm Set Number * (P. 21) 4. Press [F4 (WR)] button. - LEVEL * (P. 22) The pattern naming screen appears. - PAN * (P. 22) - KEY SHIFT* (P. 22) 5. Use [VALUE]dial or [INC/DEC]button to specify characters. - REVERB LEVEL * (P. 22) The following characters are available. - DELAY LEVEL * (P. 22) space, A–Z, a–z, 0–9,! “ # $ % & ‘ ( ) * +, - . / : ; < = > ? @ - M-FX SWITCH * (P. 22) [ \ ] ^ _ ` { | } - SEQ OUT * (P. 23) - REVERB settings (P. 42) 6. After characters have been specified, press [F4 (OK)] button.An “ARE YOU SURE?” message appears. - DELAY settings (P. 44) - M-FX settings (P. 46) 7. Press [F4 (EXEC)] button. - Part Mute status * (P. 19) SAVE operation is executed. - Rhythm Mute status (P. 19) * In step 5 above, upper-case or lower-case versions of the selected characters can be specified by pressing [CURSOR The “*” indicates parameters that are set (up/down)] buttons. independently for each part. * In step 5, [F1] and [F2] buttons can be conveniently used for editing the name. - [F1 (INS)]: Press to insert a character at the cursor position. - [F2 (DEL)]: Press to delete the character at the cursor position. 23 24Chapter 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. 2. Press [PART SELECT] button. 3. Press the PART button [R], [1] to [7] for the part that you wish to play. * The part selected by the PART SELECT button and PART buttons is referred to as the Current Part. 4. Play the keyboard pads, and you will hear the sound of that part. <HOLD function> Pressing the [HOLD] button to turn on the indicator enables the sound to be played back even after the Keyboard pad is released. Pressing the [HOLD] button again turns the indicator and the function off. <Checking the parts that are sounding> When the [PART SELECT] button indicator is lit, the part indicators [R], [1] to [7] will light at the timing at which keyboard pads are played or notes of the pattern are played. This is convenient when you wish to know which parts are currently sounding. * When connecting an external MIDI keyboard, refer to "Using an external MIDI keyboard in place of the keyboard pads (REMOTE KEYBOARD) "(p. 123). 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. This lets you shift the range of the keyboard pads to the most convenient range for playing. Normally when you press keyboard 2, the pitch of the C4 note (middle C) will sound. (Both OCT buttons dark.) Procedure 1. Use [OCT - /+] button to shift the pitch range. The keyboard will be shifted in the - / + direction, and the button indicator will light. 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 Range: -4 – +4 * When operating the [OCT] button, pressing and holding it down for a moment displays the amount of current octave shift. * Each time you press [OCT +] button, the range will be shifted upward by one octave. Each time you press [OCT -] button. * Pressing the [OCT -] button and [OCT +] buttons at the same time resets octave shift to “0.” Chapter 3 Giving Variation to Pattern Using with Turntable (Turntable Emulation) 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.They enable start and tempo alignment during turntable playback. Synchronizing the Turntable and the BPM Use the slider control to synchronize the MC-307’s BPM setting with the turntable. Set-up/operating procedure 1. Begin playback with the turntable. 2. Begin playback with the MC-307. 3. Confirm that both the [PITCH/BPM] buttons above the slider are lit. If not lit, press one or both buttons to turn the functions, lighting one or both buttons. 4. Move the TURNTABLE EMULATION slider. Moving the slider up reduces the BPM (slows down the tempo). Moving the slider down increases the BPM (speeds up the tempo). At the center point of the slider a “click” (where the slider catches slightly) can be felt. At this position, the BPM will be at its original value. In Step 3, if only the [PITCH] button is pressed and lit, then only the pitch is changed. If only [BPM] is pressed and lit, only the BPM changes. 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. Procedure 1. Begin playback with the turntable. 2. Begin playback of the MC-307’s Pattern (p. 5). 3. Confirm that both the [PITCH/BPM] buttons above the slider are lit. If not lit, press one or both buttons to turn the function, lighting the button or buttons. Decreases the BPM 4. If the MC-307’s playback is running slower than the turntable’s, press the [PUSH] button to speed up the performance. 5. If the MC-307’s playback is running ahead of the turntable’s, press the [HOLD] button to hold back the performance. In Step 3, if only the [PITCH] button is pressed and lit, then only the pitch is changed. If only [BPM] is pressed and lit, only the BPM changes. Increases the BPM 25 26Chapter 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. - Movement of the controls does not result in any effect unless the controls are adjusted beyond a certain range (a value of about 2 or 3). - If Realtime Modify is used to change the parameters in a Pattern, then the Pattern reverts to its initial settings when you switch to the next Pattern. Selecting a Part Subject to Modification Select a part from Part R and Parts 1 to 7 for modifying the tone. Procedure 1. Press the [PTN] button. 2. Press the [F1 (PACH)] button. The name of the patch in the currently selected part is displayed. 3. Press the [PART SELECT] button. The part buttons, [R], [1] to [7], function as the part selection buttons. 4. Press the part button, [R], [1] to [7], for the part containing the patch that you want to modify. The part number of the selected part is displayed in the “PART” field in the top right-hand corner of the display. Changing Brightness of the Tone (CUTOFF) Sound consists of a large number of overtones at various frequencies. By using a filter, you can cause only a specific range of overtones to be passed or attenuated, thus modifying the brightness. The FILTER section lets you make settings that affect the brightness of the sound in this way. Turning the CUTOFF knob clockwise produces a brilliant tone, while turning it counterclockwise produces a smoother, more rounded tone. Another effective use of this knob is to operate it during playback to add changes according to the BPM. 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. For details, see “Range“ described later. 3. Turn the [CUTOFF] knob. Turning it clockwise produces a brilliant tone, while turning it counterclockwise produces a smoother, more rounded tone. 2 Range: - LPF (Low Pass Filter) Rotating the knob clockwise will cause the sound to become brighter, approaching the original waveform. Rotating it counterclockwise will cut more of the high frequency overtones, making the sound darker. * For some waveforms, you may not be able to hear any sound if you lower the value too far. - BPF (Band Pass Filter) Rotating the knob clockwise will raise the frequency area that is heard. Rotating the knob counterclockwise will cause only a progressively lower frequency area to be heard. - HPF (High Pass Filter) When the knob is turned clockwise, the low frequency range will be cut more greatly, making the sound sharper. As the knob is rotated toward the left, the original sound of the waveform will be heard. * For some waveforms, you may hear no sound if this value is closed to maximum. - PKG (Peaking Filter) When the knob is turned clockwise, the frequency area that is emphasized will rise. Rotating the knob counterclockwise will lower the frequency area that is emphasized. 3 Chapter 3 Giving Variation to Pattern This procedure is equivalent to the CUTOFF operation of the Patch Edit function. (P. 92) In addition, operating the knob with RESONANCE set to a greater value enhances the effect of the RESONANCE function on the tone. Adding Character to the Sound (RESONANCE) This setting emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. This is one of the tone modifications highlighting the characteristics of the synthesizer sounds. Procedure 1. Select a part, following the procedure described in “Selecting a part subject to modification.” 2. Turn the [RESONANCE] knob. Turning it clockwise produces adds resonance to the tone. This procedure is equivalent to the RESONANCE operation of the Patch Edit function. (P. 93) Depending on the CUTOFF setting, increasing the RESONANCE setting may not achieve the intended effect. To make the effect more conspicuous, modify the CUTOFF When using the filter functions, be careful not to raise the setting as well and confirm the effect. 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. Applying Cyclic Changes to the Sound (LFO 1) Please use caution. The LFO (Low Frequency Oscillator) applies cyclic change to the sound. Effects such as vibrato, wow and tremolo can be added by changing the pitch, cutoff frequency and volume level cyclically. Procedure 1. Select a part, following the procedure described in “Selecting a part subject to modification.” (P. 26) Select a parameter subject to modification. 2. With the [LFO1] button held down, set a value using the [VALUE] dial or the [INC/DEC] buttons. While it is held down, the “LFO 1 ASSIGN” screen appears. When you have finished making your selection, release the button. * Select from PITCH, FILTER and AMP. For details, see Range of settings described later. Next, determine the oscillation of LFO. 3. Press the [LFO1] button. An LFO waveform can be selected each time this button is pressed. For details, see Range of settings described later. Using the MC-307 with the Resonance Limiter settings (P. 115) value too high may cause output at excessively high volume levels. 4. Turn the [DEPTH] knob under the [LFO1] button. Some settings may damage your hearing, or your speakers. Turning it enhances the LFO effect. Please use caution. (When the knob is in the center position, the LFO will have no effect.) Range of settings: Items subject to modification with [LFO] - PITCH: Changes note intervals. 27 28Chapter 3 Giving Variation to Pattern - FILTER: Changes the cutoff frequency of the filter. - AMP: 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. - SIN (sine wave): The sound will be modulated smoothly. - SAW (sawtooth wave): When the sound reaches the upper value, it will return to the original position and begin rising again. - RND (random): This setting causes the sound to change unpredictably, and is suitable for creating sound effects. - S&H (sample & hold): This setting causes the sound to change unpredictably, and is suitable for creating sound effects. - SQR (square wave): The sound will be modulated as if it were being switched between two positions. This procedure is equivalent to the [LFO1] operation of the Patch Edit function. With the Patch Edit function, the two waveforms shown below can also be selected. - TRP (trapezoid wave): The sound will be modulated as if it were being switched between two positions. The curve at the transitions differs from square wave. - CHS (chaos): This setting causes the sound to change unpredictably without regard to frequency, and is suitable for creating sound effects. Changing Other Parameters (Assignable Knobs) You can assign any parameter you wish to the assignable knobs. In this case, the settings for Knobs 1-4 are saved as a single set. This is referred to as a User set, with ten such User sets available for your use. Using the parameters listed on the panel On the panel, parameters are listed above the respective assignable knobs, allowing you to make selection. Procedure 1. Press the button to the left of the assignable knobs. Each time you press it, “>” in the figure comes on in sequence. Thus, you can select from the functions listed on the display. The available functions are listed in the column with “>” on. 2. Operate the knobs while playing back sounds. Parameters for the respective knobs - REVERB TIME: Changes reverb time. refer to "Adjusting the length of reverberation (TIME) "(p. 43). - REVERB HF: Changes the tone of the reverb. refer to "Adjusting the tone of the reverberation (HF DAMP) "(p. 43). - DELAY TIME: Changes delay time. refer to "Adjusting the delay interval (TIME) "(p. 45). - DELAY FB: Changes delay feedback. refer to "Adjusting the number of repeats (FEEDBACK) "(p. 45). - M-FX CTRL 1: Changes the CTRL1 parameter of Multi-effect. refer to "Defining Parameters in Detail "(p. 48). - M-FX CTRL 2: Changes the CTRL2 parameter of Multi-effect. - M-FX CTRL 3: Changes the CTRL3 parameter of Multi-effect. - PAN: Changes Panpot (sound localization). refer to "Changing the settings of each part "(p. 22). - QZT TIME: Specifies the strength of Quantize with timing. refer to "Modifying the Groove of a Pattern (Play Quantize) "(p. 34). - ARP RANGE: Changes the key range of the arpeggiator by octave. refer to "Adding expression to the arpeggio (ACCENT RATE) "(p. 34). - ENV ATTACK: Changes attack of Envelope. (TIME1).refer to "A-ENV (AMP ENVELOPE) parameters "(p. 96). - ENV RELEASE: Changes release of Envelope. (TIME4).refer to "A-ENV (AMP ENVELOPE) parameters "(p. 96).

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 function of the selected parameter is assigned to the knob. * The assignable knobs can be used for user-defined settings while the arrow shown in the figure below is lit. For user- defined settings, desired parameters can be assigned to the knobs, allowing operation with the knobs. For details, see “Assigning and using desired parameters” described in the next section. Assigning and using desired parameters It is also possible to assign and use other parameters to assignable knobs as you desire. Procedure 1. Press the button to the left of the assignable knobs, then select a user (one of the indicators above the knobs comes on.) 2. Press [KNOB ASSIGN] button. The “KNOB ASSIGN” screen appears. 3. Rotate the [VALUE] dial or press [INC/DEC] to select the User set to which the settings are to be assigned. 4. For the selected User set, the functions currently assigned to each knob will be shown. 5. Press the F1 - F4 button above the knob to be set up. The “KNOB 1 (2 - 4)ASSIGN PARAM” screen appears. 6. Select a group of functions to be assigned using the [VALUE] dial or the [INC/DEC] buttons. 7. Press [ENTER] button. Or, press the [F] button below the group name. The parameters for that function group are displayed. For details of the groups that can be selected, see “Range of settings” at the end of this section. You can work on the parameter by operating the knob. Range of settings: Groups that can be selected in step 5 and parameters that can be selected in step 5. STUP (SETUP) Group • LV (LEVEL) • R-LV (REVERB LEVEL) DLY (DELAY) Group • TYPE (TYPE) • TIME (TIME) • FB (FEEDBACK) • HF (HF DAMP) • OUT (OUTPUT) • FX->D(M-FX TO DLY LEVEL) • D-LV (DELAY LEVEL) M-FX (MULTI-FX) Group: • C1 - C11 (CONTROL 1 - 11) Parameters for C1-C11 of M-FX will differ depending on the selected multi-effect. For details on the parameters, refer to P. 45. ARP (ARPEGGIO) Group: • STYL (STYLE) • MTIF (MOTIF) • PTN (BEAT PATTERN) • SHUF (SHUFFLE RATE) • OCT (OCTAVE RANGE) QTZ (QUANTIZE) Group: • TYPE (TYPE) • TMPL (TEMPLATE)

• PAN (PAN) • KSFT (KEY SHIFT) • R-LV (REVERB LEVEL) • D-LV (DELAY LEVEL) • FXSW (M-FX SW) REV (REVERB) Group • TYPE (TYPE) • TIME (TIME) • HF (HF DAMP) • FX->R(M-FX TO REV LEVEL) • ACNT (ACCENT RATE) • TIME (TIMING) 29 30Chapter 3 Giving Variation to Pattern • VELO (VELOCITY) * *Before operating "QTZ Group" parameters or "ARP Group" parameters,turn on the Quantize or Arpeggiator functions respectively. ENV (ENVELOPE) Group: PITCH ENVELOPE • P[A] (Attack Time = TIME1) • P[D] (Decay Time = TIME3) • P[S] (Sustain Level = LEVEL3) • P[R] (Release Time = TIME4) • P-DP (PITCH ENVELOPE DEPTH) FILTER ENVELOPE • F[A] (Attack Time = TIME1) • F[D] (Decay Time = TIME3) • F[S] (Sustain Level = LEVEL3) • F[R] ([Release Time = TIME4) • F-DP (FILTER ENVELOPE DEPTH) AMP ENVELOPE • A[A] (Attack Time = TIME1) • A[D] (Decay Time = TIME3) • A[S] (Sustain Level = LEVEL3) • A[R] (Release Time = TIME4) * The above TIME1, TIME3, LEVEL3, and TIME4 are envelope parameters. For example, “P[A]” controls “TIME1” of the pitch envelope. What are A, D, S, and R of the ENVELOPE? These are parameters that determine time-variant changes in the PITCH, FILTER, and AMP. As shown in the diagram below, you can specify how change will occur, from the time a key is pressed until it is released. Level +Attack Decay Release 0 Sustain Time Key On Key Release Chapter 6 "Creating original sounds" provides more details on how to make envelope settings. For details refer to pp. 89, 91, 94, and 104. PTCH (PITCH) Group: • CRSE (COARSE TUNE) • FINE (FINE TUNE) AMP (AMP) Group: • LV (TONE LEVEL) • PAN (TONE PAN) • RND (RANDOM PAN SW) PRTA (PORTAMENT) Group: • SW (SWITCH) • TIME (TIME) • SOLO (SOLO) LFO 1 Group: RATE (LFO 1 RATE) This is the procedure for restoring the settings of Patterns as they were when called up after the knobs have been used to change parameters with Realtime Modify. - During playback: After selecting a different Pattern number, again select the number for the Pattern currently being played back. Doing this returns the performance back to the beginning of the Pattern, restoring the settings present at the time the Pattern was called up. • When stopped: After selecting a different Pattern number, select the number for the Pattern you started with; the Pattern’s previous settings are restored. Saving Assignable Knob settings When you press the [EXIT] button in the “KNOB ASSIGN” screen to close the screen, the contents that you set in “Assigning and using parameters” will automatically be saved in the user set of the number displayed in the screen. (While the data is being saved, the display will indicate “WRITING...”) * An asterisk "*" will be displayed before the number of a set that has not been saved. * The data will not be saved if you close the “KNOB ASSIGN” screen while a song or pattern is playing. Stop playback before you perform the operation.

Chapter 3 Giving Variation to Pattern Playing Back in Arpeggio (Arpeggiator) What is an Arpeggiator? Available Settings (Arpeggio style list): This is a function that lets you play arpeggios merely by continuing to press a keyboard pad. 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. 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.” 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. STYLE Description 1/4 The rhythm will be divided in quarter notes. 1/6 The rhythm will be divided in quarter note triplets. 1/8 The rhythm will be divided in eighth notes. 1/12 The rhythm will be divided in eighth note triplets. 1/16 The rhythm will be divided in 16th notes. 1/32 The rhythm will be divided in 32nd notes. PORTAMENTO A, B A style using the portamento effect. A style using the portamento effect. GLISSANDO A glissando style. SEQUENCE A - D Styles for sequenced patterns. Styles for sequenced patterns. ECHO An echo-like style. SYNTH BASS HEAVY SLAP LIGHT SLAP WALK BASS Styles appropriate for bass playing. Styles appropriate for bass playing. RHYTHM GTR 1 - 5 Styles for guitar cutting. Styles 2–5 are effective when 3–4 notes are held. Styles for guitar cutting. Styles 2–5 are effective when 3–4 notes are held. 3 FINGER Three-finger guitar style. STRUMMING GTR A style simulating a guitar chord strummed upward (downward). Effec- tive when 5–6 notes are held. A style simulating a guitar chord strummed upward (downward). Effec- tive when 5–6 notes are held. A style simulating a guitar chord strummed upward (downward). Effec- tive when 5–6 notes are held. PIANO BACK- ING, CLAVI CHORD Styles for keyboard instrument back- ing. Styles for keyboard instrument back- ing. WALTZ, SWING WALTZ Styles in triple meter. Styles in triple meter. REGGAE A reggae-type style. Effective when 3 notes are held. PERCUSSION A style suitable for percussive instru- ment sounds.

HARP The playing style of a harp. SHAMISEN The playing style of a Shamisen. 31 32Chapter 3 Giving Variation to Pattern STYLE Description Making More Detailed Settings Set up more refined settings items for the selected style. First, BOUND BALL A style suggestive of a bouncing ball. select a style as instructed in the previous section, “Selecting RANDOM A style in which the notes sound in Arpeggiator style,” then follow the set-up procedure below. random order. Procedure BOSSA NOVA A style with bossanova guitar cutting. Hold 3–4 notes for best results. You 1. Press the [SYSTEM] button. can increase the BPM and use this as 2. Press the [F1 (SYS)] button. a Samba. 3. Press the [CURSOR (down)] button to access the screen SALSA Typical salsa style. Hold 3–4 notes for best results. for items 5 – 8. MAMBO Typical mambo style. Hold 3–4 notes for best results. 4. Press [F1 (ARP)] button. The “SYSTEM: ARPREGGIATOR” screen appears. LATIN 5. Press the [F3 ( )] or [F4 ( )] button to select the PERCUSSION window containing the parameter you want to set. 6. Press the [CURSOR (up/down)] buttons to move the cursor to the desired setting item. 7. Set a value using the [VALUE] dial or the [INC/DEC] buttons. * For details of the respective settings, see the instructions below. A rhythm style with Latin percussion instruments such as Claves, Cowbell, Clap, Bongo, Conga, Agogo etc. SAMBA Typical samba style. Use for rhythm patterns or bass lines. TANGO Typical tango rhythm style. Hold the root, 3rd and 5th of a triad etc. for best results. HOUSE A style for house piano backing. Hold 3–4 notes for best results. LIMITLESS The settings of all parameters can be freely combined without restriction. USER STYLE 1 - 10 Arpeggio settings can be modified and saved in one of these user styles. Chapter 3 Giving Variation to Pattern Sequence of the notes in the chord (MOTIF) MOTIF Description Specifies the order in which the notes of the chord will be sounded. BASS+CHORD The lowest of the notes you play will 1–5 sound, and the remaining notes will sound as a chord. * The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for BASS+UP 1–8 The lowest of the notes you play will sound, and the remaining notes will be each style, refer to "STYLE/MOTIF/BEAT PATTERN arpeggiated. Correspondence Chart "(p. 158). BASS+RND The lowest of the notes you play will Available Settings: 1–3 sound, and the remaining notes will sound in random order. MOTIF Description TOP+UP The highest of the notes you play will 1–6 sound, and the remaining notes will be SINGLE UP Notes you press will be sounded individu- arpeggiated. ally, beginning from low to high. BASS+UP+ The highest and the lowest of the notes SINGLE Notes you press will be sounded DOWN TOP you play will sound, and the remaining notes will be arpeggiated. SINGLE UP&DW Beat pattern This allows you to select the Beat Pattern. It will affect the accent location and note length, causing the beat (rhythm) to change. * 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). Range: 1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 1–11, PORTA-B 1–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1, 2, SEQ- D 1–8, ECHO 1–3, MUTE 1–16, STRUM 1–8, REGGAE 1, 2, REF 1, 2, PERC 1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO 1–4, HOUSE 1, 2 * If “PORTA-A 1–11, PORTA-B 1–15” is selected as the Beat Pattern, the Patch parameter Portamento Time (P. 102) will control the speed of portamento. Adjust the portamento time as appropriate for the playback BPM. (It is not necessary to turn portamento on.) Timing (SHUFFLE RATE) This setting lets you modify the note timing to create shuffle rhythms. The range of settings is 50–90%. With a setting of 50%, notes will be spaced equally. As the value is increased, notes will become increasingly like dotted notes. Range: 50–90 (%) * With the beat pattern setting of 1/4, there will be no shuffle effect even if the Shuffle Rate value is increased. Notes you press will be sounded individu- ally, from low to high, and then back down from high to low. SINGLE RANDOM Notes you press will be sounded individu- ally, in random order. DUAL UP Notes you press will be sounded two at a time, beginning from low to high. DUAL DOWN Notes you press will be sounded two at a time, beginning from high to low. DUAL UP&DW Notes you press will be sounded two at a time, from low to high, and then back down from high to low. DUAL RANDOM Notes you press will be sounded two at a time, in random order. TRIPLE UP Notes you press will sound three at a time, from low to high. TRIPLE DOWN Notes you press will sound three at a time, from high to low. TRIPLE UP&DOWN Notes you press will sound three at a time, from low to high and then back down from high to low. TRIPLE RANDOM Notes you press will sound three at a time, in random order. NOTE ORDER Notes you press will be sounded in the order in which you pressed them. By press- ing the notes in the appropriate order you can produce melody lines. Up to 32 notes will be remembered. GLISSANDO Each chromatic step between the highest and lowest notes you press will sound in succession, repeating upward and down- ward. Press only the lowest and the high- est notes. CHORD All notes you press will sound simulta- neously. 33 34Chapter 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. Changing the octave range for playback in arpeggio style (OCTAVE RANGE) You can specify the pitch range in which the arpeggio will be developed, in steps of one octave. Range: -3– +3 Setting a value greater than zero causes playback to be performed in the range above the key range where the chord is being played. Setting a value below zero causes playback to be performed in the range below the key range in which the chord is being played. * If you want the arpeggio to consist only of the notes you hold, set this to 0. Saving Arpeggio Settings (Arpeggio Write) Once an arpeggio style is created and saved, you can readily use it next time on by simply invoking it. First, create an arpeggio style, referring to the previous section, “Defining more refined settings.” Procedure Bring up the set-up screen for Arpeggiator. 1. Press the [SYSTEM] button. 2. Press the [F3 (WR)] button. 3. Select the screen with “5 ARPEGGIATOR” using the [CURSOR (up/down)] buttons. 4. Press the [F1 (ARP)] button. The “ARPEGIATOR WRITE” screen appears. 5. Select the destination user style in which the created style is to be saved using the [VALUE] dial or the [INC/DEC] buttons. Up to ten styles can be saved using USER STYLES 1 to 10. 6. Press the [F4 (OK)] button. An “ARE YOU SURE?” message appears. 7. Press [F4 (EXEC)] button. SAVE operation is executed. Arpeggiator can also be played from an external MIDI keyboard, as well as from the keyboard pads. - refer to "Playing back arpeggio on the MC-307 using an external MIDI keyboard "(p. 134). Modifying the Groove of a Pattern (Play Quantize) What is a Play Quantize? This function modifies the groove of the pattern playback data. With this function, you can change the play timings and velocities (volume) of playback data in the pattern to create a performance with a groove different from that of the original pattern. The MC-307 provides three types of quantization (Grid, Shuffle, Groove), which you can use as appropriate for your situation. You can apply Play Quantize to a specified part while a pattern plays back, and make detailed timing adjustments in real time while you listen to the playback. Correcting Inaccuracies in Rhythm (Grid Quantize) Grid Quantize corrects notes according to the template with the playback timing of the pattern specified. You can correct timings alone to eliminate playing discord and to play back the pattern with accurate timing. Procedure 1. Press the [SYSTEM] button. The menu screen for system setting appears. 2. Press the [F1 (SYS)] button. 3. Press the [CURSOR (up/down)] buttons to select the screen with “7 PLAY QUANTIZE” displayed. 4. Press [F3 (QTZ)] button.

Chapter 3 Giving Variation to Pattern The setting screen for Quantize appears. Procedure 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. 6. Press [F2 (GRID)] button. Parameters of Grid Quantize appear in the lower part of the display. 7. Press the [CURSOR (up/down)] buttons to move the cursor to “TIMING.” 8. Set up the degree of correction using the [VALUE] dial or the [INC/DEC] buttons. A “0” value indicates no correction while “100” indicates that the notes are corrected according to the notes set up with RESOLUTION described below. The farther away from “0” and the closer to “100” the setting value is, the more accurate the timing. 9. Press the [CURSOR (up/down)] buttons to move the cursor to “TEMPLATE.” 10.Select the note that is used as the reference note for correction using the [VALUE] dial or the [INC/DEC] buttons. The pattern is played back according to the corrections made in the Grid Quantize operation. * The note value unit to which quantization will adjust the timing is called the Resolution. The timing of notes will be adjusted to the nearest grid interval of the note value you specify here. Set this to the length of the smallest note value that occurs in the pattern. Range: TIMING: 0–100 TEMPLATE: Adding Swing to the Rhythm (Shuffle Quantize) By applying Shuffle Quantize, you can adjust the timing of the backbeats of the pattern to create “bouncy” rhythms such as shuffle or swing. 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. Parameters of shuffle quantize appear in the display. 3. Press the [CURSOR (up/down)] buttons to move the using the [VALUE] dial or the [INC/DEC] buttons. A setting value of “50” indicates no bouncing (equivalent to using grid quantize). Generally, values around 60% to 66% achieve comfortable shuffling. 5. Press the [CURSOR (up/down)] buttons to move the cursor to “TEMPLATE.” 6. Select the note that is used as the reference note for correction using the [VALUE] dial or the [INC/DEC] buttons. The pattern is played back according to the corrections made in the shuffle quantize operation. * The note value unit to which quantization will adjust the timing is called the Resolution. The timing of notes will be adjusted to the nearest grid interval of the note value you specify here. Set this to the length of the smallest note value that occurs in the pattern. Range: TIMING: 0 – 100 TEMPLATE: , Giving a Groove to the Rhythm (Groove Quantize) Groove Quantize lets you select a template by which the playback timing and the velocity will be quantized. Simply by selecting a different template, you can give a variety of different-feeling grooves to a pattern. The MC-307 contains 71 different types of quantization templates, each of which contains a different set of playback timing and velocity (dynamics) data. * The templates are for use with 4/4 time signatures. They will not produce the desired result when applied to other time signatures.

cursor to “TIMING.” 4. Set up the degree to which the backbeats will bounce Procedure 35 36Chapter 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. The closer to 100% the value is, the closer to the template timing the playback timing becomes. 5. Press the [CURSOR (up/down)] buttons to move the cursor to “TMPL.” 6. Select a template using the [VALUE] dial or the [INC/ DEC] buttons. Seventy-one types of templates are available, varying in category and rhythm. See “Template List” appearing later for details. 7. Press the [CURSOR (up/down)] buttons to move the cursor to “VELOCITY.” A “0” value indicates playback according to the original. The closer to 100% the value is, the closer to the template velocity the playback velocity becomes. The pattern is played back according to the corrections made in the Play Quantize operation. Range: - TIMING: 0 - 100 - VELOCITY: 0 - 100 - TMPL: (Refer to next page) The Play Quantize function only corrects note messages. It does not correct other messages. This means that if a pattern contains messages (such as pitch bend) that apply real-time change to the sound, quantization settings may cause the timing of these messages to no longer match the timing of the note messages, so that playback will be incorrect. When applying quantization, it is best to use a pattern which does not contain messages that apply real-time change to the sound. Settings Range: 16 Beat Dance type 01: DANCE-NM-L.AC exact/low dynamics 02: DANCE-NM-H.AC exact/high dynamics 03: DANCE-NM-L.SW exact/light swing 04: DANCE-NM-H.SW exact/strong swing 05: DANCE-HV-L.AC dragging/low dynamics 06: DANCE-HV-H.AC dragging/high dynamics 07: DANCE-HV-L.SW dragging/light swing 08: DANCE-HV-H.SW dragging/strong swing 09: DANCE-PS-L.AC rushing/low dynamics 10: DANCE-PS-H.AC rushing/high dynamics 11: DANCE-PS-L.SW rushing/light swing 12: DANCE-PS-H.SW rushing/strong swing 16 Beat Fusion type 13: FUSON-NM-L.AC exact/low dynamics 14: FUSON-NM-H.AC exact/high dynamics 15: FUSON-NM-L.SW exact/light swing 16: FUSON-NM-H.SW exact/strong swing 17: FUSON-HV-L.AC dragging/low dynamics 18: FUSON-HV-H.AC dragging/high dynamics 19: FUSON-HV-L.SW dragging/light swing 20: FUSON-HV-H.SW dragging/strong swing 21: FUSON-PS-L.AC rushing/low dynamics 22: FUSON-PS-H.AC rushing/high dynamics 23: FUSON-PS-L.SW rushing/light swing 24: FUSON-PS-H.SW rushing/strong swing 16 Beat Reggae type 25: REGGE-NM-L.AC exact/low dynamics 26: REGGE-NM-H.AC exact/high dynamics 27: REGGE-NM-L.SW exact/light swing 28: REGGE-NM-H.SW exact/strong swing 29: REGGE-HV-L.AC dragging/low dynamics 30: REGGE-HV-H.AC dragging/high dynamics 31: REGGE-HV-L.SW dragging/light swing 32: REGGE-HV-H.SW dragging/strong swing 33: REGGE-PS-L.AC rushing/low dynamics 34: REGGE-PS-H.AC rushing/high dynamics 35: REGGE-PS-L.SW rushing/light swing 36: REGGE-PS-H.SW rushing/strong swing

Chapter 3 Giving Variation to Pattern 8 Beat Pops type 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.SW rushing/light swing 48: POPS-PS-H.SW rushing/strong swing 8 Beat Rhumba type 49: RHUMB-NM-L.AC exact/low dynamics 50: RHUMB-NM-H.AC exact/high dynamics 51: RHUMB-NM-L.SW exact/light swing 52: RHUMB-NM-H.SW exact/strong swing 53: RHUMB-HV-L.AC dragging/low dynamics 54: RHUMB-HV-H.AC dragging/high dynamics 55: RHUMB-HV-L.SW dragging/light swing 56: RHUMB-HV-H.SW dragging/strong swing 57: RHUMB-PS-L.AC rushing/low dynamics 58: RHUMB-PS-H.AC rushing/high dynamics 59: RHUMB-PS-L.SW rushing/light swing 60: RHUMB-PS-H.SW rushing/strong swing Others 61: SAMBA 1 samba (pandero) 62: SAMBA 2 samba (surdo and timba) 63: AXE 1 axe (caixa) 64: AXE 2 axe (surdo) 65: SALSA 1 salsa (cascara) 66: SALSA 2 salsa (conga) 67: TRIPLETS triplets 68: QUITUPLETS quintuplets 69: SEXTUPLETS sextuplets 70: 7 AGAINST 2 seven notes played over two beats 71: LAGGING TRI lagging triplets The keyboard pads can be used as buttons for selecting patterns rather than keys. This function is referred to as Pattern Call. A set of 16 keyboard pads associated with patterns is referred to as a Pattern Set, and up to 30 sets can be created. Using the Pattern Call function After creating a pattern set, register patterns in the pattern set for use. Procedure 1. Press [PTN] button. 2. With the [PTN CALL] button held down, select a PTN SET using the [VALUE] dial or the [INC/DEC] buttons. * While it is held down, the “SYSTEM: PTN SET” screen appears. 3. Press the pad to which the desired pattern is assigned. The pattern name appears. * This function can be used even during playback. Registering a Pattern Set First, assign the patterns you want to use to keyboard pads. A set of 16 keyboard pads is referred to as a pattern set. As up to 30 pattern sets can be created, it is possible to select a pattern set that is suitable for the contents to be played back. 1. Press the [PTN] button. 2. Select the pattern you want to assign to the pad using the [VALUE] dial or the [INC/DEC] buttons. 3. While holding down the [PTN CALL] button, press the keyboard pad to which you want the Pattern assigned. The assignment is set when “COMPLETED!” appears in the display.

Procedure 37 38Chapter 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. Press the [F3 (WR)] button. 4. Select the screen with “6 PATTERN SET” using the [CURSOR (up/down)] buttons. 5. Press the [F2 (PSET)] button. * The pattern set naming screen appears. (Pattern sets whose numbers are prefixed with an asterisk (*) are those which have not been saved after editing.) 6. Specify characters using the [VALUE] dial or the [INC/ DEC] buttons. The following characters can be selected: space, A–Z, a–z, 0–9,! “ # $ % & ‘ ( ) * +, - . / : ; < = > ? @ [ \ ] ^ _ ` { | } . 7. After characters have been specified, press [F4 (OK)] button. An “ARE YOU SURE?” message appears. 8. Press [F4 (EXEC)] button. SAVE operation is executed. * In step 6 above, upper- or lower-case versions of the selected characters can be specified by pressing the [CURSOR (up/ down)] buttons. * In step 6, the [F1] and [F2] buttons can be conveniently used for editing the name. [F1 (INS)]: Press to insert a character at the cursor position. [F2 (DEL)]: Press to delete the character at the cursor position. Playing Back Phrases from the Keyboard Pads (RPS) What is RPS (Real-time Phrase Sequencing)? This function lets you immediately perform the Pattern assigned to the keyboard pad. The Pattern can be played continuously as long as the keyboard pad is held down. You can play different phrases simply by pressing different notes. Since you can play back RPS patterns while a pattern is playing, this function is especially convenient during a live performance. For example, if a drum fill-in pattern used by one pattern is assigned as an RPS, you can play back another pattern without a fill-in, and then add the fill-in simply by pressing a keyboard pad. Using the Keyboard Pads to Play Back Patterns On the MC-307, phrases assigned to each of the 16 keyboard pads are handled as one “RPS Set.” You are free to re-assign the contents of an RPS set, and 60 sets can be stored. You can switch RPS sets even while a pattern is playing back. refer to "Registering Phrases in Keyboard Pads "(p. 39). Procedure First, select an RPS set. 1. With the [RPS] button held down, select a RPS set using the [VALUE] dial or the [INC/DEC] buttons. * While it is held down, the “SYSTEM: RPS SET” screen appears. 2. Press the keyboard pad to which a desired pattern is registered. The pattern is played back. * This function can be used even during playback. RPS Hold If while playing back RPS you press [HOLD] button to make the indicator light, you can cause the RPS to continue playing even after you take your finger off the keyboard pad. An RPS which is pressed after [HOLD] button is lit will stop when you release your finger from

Chapter 3 Giving Variation to Pattern the keyboard pad. If you connect a pedal switch (optional: DP-2, DP-6, FS- 5U 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 Registering Phrases in Keyboard Pads The phrases that are assigned to an RPS set can be re- assigned whenever you wish. You will find it convenient to assign your favorite or frequently-used phrases in one RPS set. 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. RPS playback timing If you use RPS while a pattern is playing back, the phrase will start in synchronization with the beat of the pattern. By changing the RPS TRIG QTZ setting, you can modify the timing at which the RPS will play back. refer to "Specifying the timing for RPS playback (RPS TRIGGER QTZ) "(p. 121). Maximum simultaneous RPS playback Even while a pattern is playing back, the MC-307 can play back up to 8 phrases simultaneously. However, if phrases with large amounts of data are played back simultaneously, the timing may lag behind or notes may be interrupted. If this occurs, decease the number of phrases that you play simultaneously. * RPS can also be played from an external MIDI keyboard, as well as from the keyboard pads. refer to "Specifying the channel that will control RPS (RPS CTRL CH) "(p. 124). Procedure 1. Press the [PTN] button. Select the pattern you want to assign to the pad using the [VALUE] dial or the [INC/DEC] buttons. 2. All parts other than the one played using RPS are muted with the MUTE button. Next we must select the RPS set in which we will assign the phrase. 3. With the [RPS] button held down, select a RPS set using the [VALUE] dial or the [INC/DEC] buttons. Assign patterns to keyboard pads. 4. Hold down[RPS] button, and press Keyboard pad you want to assign a pattern. This completes keyboard pad and pattern assignment. * P: 241–P: 710 contain patterns which are prepared specifically for use with RPS. You might find it convenient to assign phrases from these patterns to use as fill-ins, or for other situations. Cautions when assigning an RPS * It is not possible to assign phrases of two or more parts to a

single keyboard pad. You must mute all but one of the parts, the one with the desired phrase, before assigning it. If any of the extra parts have been left unmuted when you make your assignment, the “CANNOT ASSIGN!” message will appear in the display. * If after assigning a phrase from a user pattern as an RPS, you then modify the playback data of the pattern which contains that phrase, be aware that any change to the phrase will also be reflected in the way it is played back by RPS. For example, if you delete the musical data of the pattern which contains the phrase that you assigned, there will be no sound when you attempt to play back that phrase by RPS. * Even if you assign the phrase of a part that has a setting of “EXT” for its SEQ OUT (P. 23) parameter, the musical data of that phrase will not be transmitted from MIDI OUT. * If you assign a phrase from a part that uses M-FX, the RPS 39 40Chapter 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. * Each phrase is played back by a special RPS part 1–16 which corresponds to each keyboard pad, but phrases assigned from a rhythm part will be played back using the rhythm part of the currently-selected pattern. For this reason, a different rhythm set than that of the registered pattern may sound in some cases. If the pattern changes so that a different rhythm set is selected, the sounds of the rhythm set which will play the RPS will also change. Setting up a Part for RPS Unlike ordinary pattern playback, RPS is played back using RPS parts that are specially set up for RPS. Patterns assigned to the pads [1] to [16] are used to play back the [1] to [16] RPS parts. The settings for these RPS parts can be altered. * See the following sections for descriptions of the respective parameters. Procedure Bring up the RPS setup screen. 1. Press the [SYSTEM] button. 2. Press the [F1 (SYS)] button. 3. Select the screen with “6 RPS PART” using the [CURSOR (up/down)] buttons. 4. Press the [F2 (RPS)] button. The “RPS PART” screen appears. (Example1: PATCH screen) (Example2: LEVEL screen) 5. Press the [F1 ( )] or [F2 ( )] buttons to select the screen to be edited. 6. Press a keyboard pad to select the RPS part to be edited. 7. Specify a value using the [VALUE] dial or the [INC/ DEC] buttons. PATCH (RPS Part Patch) Select the Patch of the part. Range: - Patches Preset P: A001 - 128 P: B001 - 128 P: C001 - 128 P: D001 - 128 P: E001 - 128 P: F001 - 128 P: G001 - 032 User U: A001 - 128 U: B001 - 128 - Rhythm sets Preset P: A01 - 26 P: B01 - 14 User U: 01 - 20 LEVEL (RPS Part Level) Sets up the volume level of the part. Range: 0–127 PAN (RPS Part Pan) Sets up localization of the part. Range: L64–0–63R KEY SHIFT (RPS Part Key Shift) Sets up transposition of the part. Range: -12–0– +12 REV LEVEL (RPS Part Reverb Level) Sets up the reverb strength of the part. Range: 0–127 DLY LEVEL (RPS Part Delay Level) Sets up the delay strength of the part. Range: 0–127 M-FX SW (RPS M-FX switch) Specifies whether the Multi-effect function is to be used in the part. Range: OFF, ON, RHY * RHY can only be used for RPS parts using a rhythm set. If a part is set to RHY, M-FX effects are applied according to the settings of the respective tones in the rhythm set. Activating M-FX for a rhythm part causes the function to be applied to all tones. 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. 3. Press the [F3 (WR)] button. 4. Select the screen with “7 RPS SET” using the [CURSOR (up/down)] buttons. 5. Press the [F3 (RPS)] button. The RPS set naming screen appears. * RPS sets whose numbers are prefixed with an asterisk (*) are those which have not been saved after editing. 6. Specify characters using the [VALUE] dial or the [INC/ DEC] buttons. The following characters are available. space, A–Z, a–z, 0–9,! “ # $ % & ‘ ( ) * +, - . / : ; < = > ? @ [ \ ] ^ _ ` { | } 7. After characters have been specified, press [F4 (OK)] button. An “ARE YOU SURE?” message appears. 8. Press [F4 (EXEC)] button. SAVE operation is executed. * In step 6, above, upper- or lower-case versions of the selected characters can be specified by pressing the [CURSOR (up/ down)] buttons. * In step 6, the [F1] and [F2] buttons can be conveniently used for editing the name. [F1 (INS)]: Adds a character at the cursor position. [F2 (DEL)]: Deletes a character at the cursor position. 41 42Chapter 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. Procedure 1. Press the [SYSTEM] button. The System Parameter menu screen appears. 2. Press the [F1 (SYS)] button. 3. Press the [CURSOR (up)] button to access the screen for items 1–4. 4. Press the [F1 (SND)] button. The “SYSTEM: SOUND” screen appears. 5. Use the [CURSOR (up/down)] buttons to move the cursor to “REVERB SW.” 6. Set ON/OFF using the [VALUE] dial or the [INC/DEC] buttons. Range: OFF, ON Adjusting the Reverb Volume for Each Part (Part Reverb Level) Procedure 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 [F1 (PART)] button. 4. Use [F1 (Down)] and [F2 (Up)] buttons to select the “PART MIXER: REV LEVEL” screen. 5. Press the [PART SELECT] button, then press the part button ([R], [1] to[7]) for the part you want to set. * Instead, you can select the part with the [CURSOR (right/ left)] buttons. 6. Set a value using the [VALUE] dial or the [INC/DEC] buttons. Range: 0 – 127 About Rhythm Tone Reverb SW - refer to "Applying Multi-Effects for Each Part (Part M-FX Switch)" (p. 46) About Rhythm Tone Reverb level - refer to "SEND: REV SEND LEVEL" (p. 112) Making Detailed Settings Defines the settings for using reverb at a specific level. Procedure There are a number of places where settings can be made that 1. Press the [PTN] button. affect the reverb level and related switches. If the effect does The screen for playing patterns appears. not work with the above settings, check whether: - The effect is not applied when the GRAB switch is 2. Press the [F2 (STUP] button. positioned at OFF if the MC-307 has been set to use The Setup Menu screen appears. the GRAB switch. To always make the effect take 3. Press the [F2 (REV] button. effect, put the GRAB switch at ON. (P. 62) - After confirming that the value set for “REVERB: REVERB LEVEL” is not too low, proceed with making the setting. (P. 43) - Confirm that the “Reverb Volume for Each Part” in the next item is not set too low.

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). 5. Use the [CURSOR (up/down)] buttons to move the cursor to the parameter you want to set. 6. Set the parameter using the [VALUE] dial or the [INC/ DEC] buttons. Selecting the type (TYPE) Available Settings: - ROOM1: Reverb with short decay and high density. - ROOM2: Reverb with short decay and low density. - STAGE1: Reverb with much lingering reverberation. - STAGE2: Reverb with strong early reflections. - HALL1: Clear-sounding reverb. - HALL2: Rich-sounding reverb. Adjusting the length of reverberation (TIME) You can adjust the time over which the reverberation will continue. Range: 0–127 Adjusting the tone of the reverberation (HF DAMP) Specifies the frequency at which the high frequency portions of the reverberation will be cut. * Lowering this setting will cause more of the upper frequency content to be cut, making the reverberation more muted.If this "BYPASS" is selected, the high frequency range will not be cut. Range: 200–8000 (Hz), BYPASS Range: 0–127 Specifies the volume of the reverb that will be applied to the Multi-effect sound. Applies reverb equally to each of the parts with Multi-effects set at ON regardless of the Part Reverb Level for each part. Range: 0–127 effects switch (refer to "Applying Multi-Effects for Each Part (Part M-FX Switch)" (p. 46)) turned off. CAUTION for applying Reverb for Each Rhythm tone. * When the Rhythm Part’s “PART MIXER: M-FX SW” setting (P. 22)is set to “OFF” or “ON,” then raising the PART MIXER: REV LEVEL setting applies reverb to each Rhythm Part evenly. When set to “RHY,” the reverb is applied according to the reverb level settings for each individual Rhythm Tone. * When using reverb settings for each Rhythm Tone individually, make sure that no settings value is set too low. If the value is set too low, then no reverb will be audible, even when the Rhythm Part’s reverb level is raised.refer to "SEND: REV SEND LEVEL" (p. 112)

Applying reverb Multi-effects sound (M-FX TO REV LEVEL) * This setting does not have any effect on a part with the Multi- 43 44Chapter 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. Switching Delay On/Off Procedure 1. Press the [SYSTEM] button. The System Parameter Menu screen appears. 2. Press the [F1 (SYS)] button. 3. Press the [CURSOR (up)] button to access the screen for items 1–4. 4. Press the [F1 (SND)] button. The “SYSTEM: SOUND” screen appears. 5. Place the cursor at “DELAY SW”. 6. Set ON/OFF using the [VALUE] dial or the [INC/DEC] buttons. Range: OFF, ON There are a number of places where settings can be made that affect the Delay level and related switches. If the effect does not work with the above settings, check whether: - The effect is not applied when the GRAB switch is positioned at OFF if the MC-307 has been set to use the GRAB switch. To always make the effect take effect, put the GRAB switch at ON. (P. 62) - After confirming that the value set for “DELAY: DELAY LEVEL” is not too low, proceed with making the setting. (P. 44) - Confirm that the “DELAY Volume for Each Part” in the next item is not set too low. 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. 3. Press the [F3 (PART)] button. 4. Use the [F1 ( )] and [F2 ( )] buttons to select the “PART MIXER: DLY LEVEL” screen. 5. Press the [PART SELECT] button, then press the part button ([R], [1] to [7]) for the part you want to set. * Instead, you can select the part with the [CURSOR (right/ left)] buttons. 6. Set a value using the [VALUE] dial or the [INC/DEC] buttons. Range: 0–127 Making Detailed Settings Defines the settings for using Delay at a specific level. Procedure 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 [F3 (DLY)] button. 4. Use the [F3 ( )] and [F4 ( )] button to select the screen containing the following parameters you want to set. 5. Using the [CURSOR (up/down)] buttons, move the cursor to the parameter you want to set.

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) 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. Adjusting the delay interval (TIME) Adjusts the time from the original sound until when the delayed sound is heard (the interval between repeats). Range: TIME: - When “TYPE” is SHORT: 0.1–275 - When “TYPE” is LONG: 200–1000, * On the MC-307, it is not possible to set a delay time longer than 1000 ms (1 second). When the delay time is synchronized to the BPM, selecting a note value which would make the delay time exceed 1000 ms will cause the delay time to be halved, and the delay sound will be heard at 1/2 the specified interval. In addition, even if 1/2 the length would exceed 1000 ms, the delay time will be shortened to 1/4 the length. Adjusting the number of repeats (FEEDBACK) Sets the amount of delayed sound to be repeated, as a proportion of the original sound. Range: 0– +98 (%) Adjusting the tone of the delay (HF DAMP) Specifies the frequency at which the high frequency portions of the reverberation will be cut. Lowering this setting will cause more of the upper frequency content to be cut, making the reverberation more muted in tone.If this "BYPASS" is selected, the high frequency range will not be cut. Range: 200–8000 (Hz), BYPASS Setting the output destination for the post-reverb sound (OUTPUT) Allows you to select a destination for the sound after reverb has been applied.Selecting LINE outputs the sound to the Range: LINE, REV, LINE+REV Adjusting the overall delay volume (DELAY OUTPUT LEVEL) This adjusts the volume of the delay sound for all eight parts (the rhythm part and parts 1–7). Range: 0–127 Applying delay to the Multi-effects sound (M-FX TO DLY LEVEL) Applies the Delay equally to each of the parts with Multi- effects set at ON regardless of the Part Delay Level for each part. Range: 0–127 * This setting does not have any effect on a part with the Multi- effects switch (refer to "Applying Multi-Effects for Each Part (Part M-FX Switch)" (p. 46)) turned off. CAUTION for applying Reverb for Each Rhythm tone. * When the Rhythm Part’s “PART MIXER: M-FX SW” setting (P. 22)is set to “OFF” or “ON,” then raising the PART MIXER: REV LEVEL setting applies reverb to each Rhythm Part evenly. When set to “RHY,” the reverb is applied according to the reverb level settings for each individual Rhythm Tone. * When using reverb settings for each Rhythm Tone individually, make sure that no settings value is set too low. If the value is set too low, then no reverb will be audible, even when the Rhythm Part’s reverb level is raised.refer to "SEND: REV SEND LEVEL" (p. 112) 45

46Chapter 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. Switching Multi-Effects On/Off Procedure 1. Press the [SYSTEM] button. The System Parameter Menu screen appears. 2. Press the [F1 (SYS)] button. 3. Press the [CURSOR (up)] button to access the screen for items 1-–4. 4. Press the [F1 (SND)] button. 5. Use [F3 ( )] and [F4 ( )] buttons to select the following screen. 6. Move the cursor to the “M-FX SW.” 7. Use the [VALUE] dial or the [INC/DEC] buttons to set a parameter. 8. Select the part you want to use Multi-effects on. For info on how that’s done, see the subsequent section, “Applying Multi-Effects for Each Part (Part M-FX Switch).” Range: OFF, ON There are a number of places where settings can be made that affect the M-FX level and related switches. If the effect does not work with the above settings, check whether: - If the M-FX OUTPUT LEVEL setting is low (P. 48 - P. 61), the sound of the patch/rhythm set to which M-FX is applied will not be heard. - The effect is not applied when the GRAB switch is positioned at OFF if the MC-307 has been set to use the GRAB switch (P. 34). To always make the effect take effect, put the GRAB switch at ON. - Confirm that the “DELAY Volume for Each Part” in the next item is not set too low. Applying Multi-Effects for Each Part (Part M-FX Switch) Specifies whether to switch the M-FX on and off for each part. Procedure 1. Press the [PTN] button. The screen for playing patterns appears. 2. Press the [F2 (STUP] button. 3. Press the [F1 (PART)] button. 4. Use [F1 ( )] and [F2 ( )] buttons to select the “PART MIXER: M-FX SW” screen. 5. Press the [PART SELECT] button, then press the part button ([R], [1] to [7]) for the part you want to set. * Instead, you can select the part with the [CURSOR (right/ left)] buttons. 6. Use the [VALUE] dial or the [INC/DEC] buttons to set a parameter. Range: - OFF: Switches Multi-effect off. - ON: Switches Multi-effect on. - RHY: Specify this to apply Multi-effect to each rhythm tone. You can select RHY for the rhythm parts only. To turn M-FX on/off for individual rhythm tones. (refer to "SEND: M-FX SW" (p. 112)) Chapter 4 Setting Effects Selecting the Multi-Effects Type Available Settings: Procedure 1. Press the [PTN] button. The screen for playing patterns appears. 2. Press the [F2 (STUP] button. 3. Press the [F4 (M-FX)] button. The screen for selecting the types of Multi-effects appears. 4. Use the [VALUE] dial or the [INC/DEC] buttons to select the type of Multi-effects. 5. Upon selection, press the [EXIT] button to return to the 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 TUNING 9 PHONO- GRAPH simulate an old record simulate an old record screen for playing the patterns. 10 COMPRES- SOR make the volume level more con- sistent make the volume level more con- sistent

6 LO-FI simulate a “low-fidelity” sound 7 NOISE add various types of noise

8 RADIO simulate a radio being tuned

11 LIMITER smooth out irregularities in volume 12 SLICER apply successive cuts to the sound 13 TREMOLO cyclic changes in volume 14 PHASER modulate the sound 15 CHORUS add spaciousness and depthto the sound 16 SPACE-D add transparent depth

17 TETRA CHORUS layer chorus sounds to add spa- ciousness

18 FLANGER add metallic resonance to the sound

19 STEP FLANGER add metallic resonance to the sound while changing the pitch in steps 20 SHORT DELAY add echoes to the sound

21 AUTO PAN automatically move the stereo location

22 FB PITCH SHIFTER skew the pitch

23 REVERB add reverberation

24 GATE REVERB sharply cut the reverberation

25 ISOLATOR Cuts off a specific range 47 48Chapter 4 Setting Effects Defining Parameters in Detail Defines the Multi-effects settings and their parameters in detail. Procedure The following procedure is common to all types of Multi- effects. 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. Use the [VALUE] dial or the [INC/DEC] buttons to select the type of Multi-effects. 5. Press the [F4 (PRM)] button. The screen for playing patterns appears. 6. Use the [CURSOR (up/down)] buttons to move the cursor to the parameter you want to set. 7. Set the parameter using the [VALUE] dial or the [INC/ DEC] buttons. Information such as [CTRL1] printed at the right of each parameter name in the following explanation are the names of the settings used when using the assignable knobs (P. 28) to operate these parameters.For example if you are using the "4 band EQ," and would like to use the assignable knobs to operate "LOW GAIN," assign "CTRL 2" to the knob. 1. 4 Band EQ (Modify the tone) This is a 4 band (high, midrange x 2, low) stereo equalizer. Available Settings: - LOW FREQ (LOW Frequency) [CTRL 1] Determines the frequency of the low range. Range: 200, 400 (Hz) - LOW GAIN [CTRL 2] Adjusts the volume of the low frequency range. Range:-15– +15 - HIGH FREQ (HIGH Frequency) [CTRL 3] Determines the frequency of the high range. Range:4000, 8000 (Hz) - HIGH GAIN [CTRL 4] Adjusts the volume of the high frequency range. Range: -15– +15 - PEAK1 FREQ (Peaking 1 Frequency) [CTRL 5] Determines the frequency of midrange 1. Range: 200–8000 (Hz) - PEAK1 Q (Peaking 1Q) [CTRL 6] Specifies the width of the frequency range affected by midrange 1. As this setting is increased, the affected area will become narrower. Range: 0.5–8.0 - PEAK1 GAIN (Peaking 1 GAIN) [CTRL 7] Adjusts the volume of midrange 1. Range: -15– +15 - PEAK2 FREQ (Peaking 2 Frequency) [CTRL 8] Determines the frequency of midrange 2. Range: 200–8000 (Hz) - PEAK2 Q (Peaking 2Q) [CTRL 9] Specifies the width of the frequency range affected by midrange 2. As this setting is increased, the affected area will become narrower. Range: 0.5–8.0 - PEAK2 GAIN (Peaking 2 GAIN) [CTRL 10] Adjusts the volume of midrange 2. Range: -15– +15 - OUTPUT LEVEL [CTRL 11] Adjusts the output level from the 4 band EQ. Range: 0–127

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. Available Settings: - LOW-HIGH GAIN [CTRL 1] Specifies the volume change at 500 Hz and 8000 Hz. Range: -15– +15 - MIDDLE GAIN [CTRL 2] Specifies the volume change at 1250 Hz. Range: -15– +15 - BAND WIDTH [CTRL 3] Specifies the width of the bands in which the volume will be adjusted. Range: 1–5 - OUTPUT PAN [CTRL 4] Specifies the panning of the sound that is output from the Spectrum effect. Range: L64–63R - OUTPUT LEVEL [CTRL 5] Specifies the volume that is output from the Spectrum effect. Range: 0–127 By controlling the overtones of the high frequency range, this effect adds sparkle to the sound, giving it more definition. Use this effect when you want to make a specific sound stand out from the rest of the ensemble, or to give it greater definition. Available Settings: - SENS (Sensitivity) [CTRL 1] Adjusts the depth of the enhancer effect. Range: 0–127 - MIX (Mix Level) [CTRL 2] Determines the proportion at which the overtones generated by the enhancer will be mixed with the original sound. Range: 0–127 - LOW GAIN [CTRL 3] Adjusts the volume of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 4] Adjusts the volume of the high frequency range. Range: -15– +15 - OUTPUT LEVEL [CTRL 5] Specifies the volume of the output from the Enhancer effect. Range: 0–127 49

50Chapter 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. Available Settings: - INPUT LEVEL [CTRL 1] Adjusts the level of the input signal. Range: 0–127 - DRIVE [CTRL 2] Adjusts the depth of distortion. This will also affect the volume. Range: 0–127 - AMP TYPE [CTRL 3] Selection for the type of guitar amp. Range SMALL:small amp BUILTIN:built-in type amp 2STACK:large double amp stack 3STACK:large triple amp stack - OUTPUT PAN [CTRL 4] Specifies the stereo location of the sound that is output from the Overdrive effect. Range: L64–63R - OUTPUT LEVEL [CTRL 5] Specifies the output volume from the Overdrive effect. Range: 0–127 5. Distortion (Distort the Sound Severely) This effect produces a more severe distortion than the Overdrive effect. It also contains an amp simulator, and produces the natural sound of a guitar amp. Available Settings: - INPUT LEVEL [CTRL 1] Adjusts the level of the input signal. Range: 0–127 - DRIVE [CTRL 2] Adjusts the depth of distortion. This will also affect the volume. Range: 0–127 - AMP TYPE [CTRL 3] Determines the type of guitar amp. SMALL:small amp BUILTIN:built-in type amp 2STACK:large double amp stack 3STACK:large triple amp stack - OUTPUT PAN [CTRL 4] Specifies the stereo location of the sound that is output from the Distortion effect. Range: L64–63R - OUTPUT LEVEL [CTRL 5] Specifies the output volume from the Distortion effect. Range: 0–127 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. Available Settings: - BIT DOWN [CTRL 1] This setting lowers the audio quality. Range: 0–7 The audio quality will worsen as this setting is increased. - SAMPLE RATE DOWN [CTRL 2] This coarsens the output signal. Range: 32, 16, 8, 4 The sound will become coarser as this setting is lowered. - POST GAIN [CTRL 3] Adjusts the output signal. Range: 0, +6, +12, +18 - LOW GAIN [CTRL 4] Adjusts the boost or cut applied to the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 5] Adjusts the boost or cut applied to the high frequency range. Range: -15– +15 - OUTPUT [CTRL 6] Specifies how the sound will be output. Range: MONO, STEREO With a setting of “MONO,” the output sound will be monaural. - OUTPUT LEVEL [CTRL 7] Specifies the output volume from the Lo-Fi effect. Range: 0–127 In addition to a Lo-Fi effect, this effect also generates various types of noise such as hum, pink noise, and disk noise. Available Settings: - NOISE TYPE [CTRL 1] Determines the type of noise(s) that will be generated. Range: 1–18 - NOISE LEVEL [CTRL 2] Specifies the volume of the noise. Range: 0–127 - NOISE FILTER [CTRL 3] Adjusts the tone of the noise. Range: 200–8000 (Hz), BYPASS If you do not wish to filter the noise, select “BYPASS.” - LO-FI LEVEL [CTRL 4] Increasing this setting will make the original sound rougher. Range: 0–127 - OUTPUT PAN [CTRL 5] Specifies the stereo location of the sound output from the Noise Generator. Range: L64–63R - OUTPUT LEVEL [CTRL 6] Specifies the output volume of the Noise Generator effect. Range: 0–127 51

52Chapter 4 Setting Effects Noise Type Table Hum Hum (50Hz) (60Hz) Pink Disc EP Disc For each setting, the type(s) of noise marked by “O” will be generated. - Hum (50 Hz): hum noise (50 Hz) - Hum (60 Hz): hum noise (60 Hz) - Pink: pink noise - Disc EP: disc noise (45 RPM) - Disc LP: disc noise (33 RPM) - RND Disc: disc noise generated at random RND LP Disc 1 O 2 O 3 O O 4 O O O 5 O O 6 O O O 7 O 8 O O 9 O O O 10 O O O O 11 O O O 12 O O O O 13 O 14 O O 15 O O O 16 O O O O 17 O O O 18 O O O O 8. Radio Tuning (Simulate a Radio Being Tuned) This effect simulates the sound of a radio being tuned. Available Settings: - RADIO DETUNE [CTRL 1] Specifies the frequency being tuned. Range: 0–127 - NOISE LEVEL [CTRL 2] Specifies the volume of the tuning noise. Range: 0–127 - LOW GAIN [CTRL 3] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 4] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - OUTPUT [CTRL 5] Specifies how the sound will be output. Range: MONO, STEREO With a setting of “MONO,” the output sound will be monaural. - OUTPUT LEVEL [CTRL 6] Specifies the output volume of the Radio Tuning effect. Range: 0–127 When you assign the “RADIO DETUNE” parameter to the Assignable knob (P. 29) and then control it, the MC- 307 successfully simulates radio tuning. 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. Available Settings: - DISC TYPE [CTRL 1] 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: Determines the type of disc noise. Range: LP: 33 RPM record EP: 45 RPM record SP: 78 RPM record - DISC NOISE LEVEL [CTRL 2] Specifies the volume of the disc noise. Range: 0–127 - DEPTH [CTRL 3] Adjusts the tone. Range: 0– +20 As this value is increased, the high range and low range will be cut, and the mid range will be emphasized. - OUTPUT PAN [CTRL 4] Specifies the stereo location of the output from the Phonograph effect. Range: L64–63R - OUTPUT LEVEL [CTRL 5] Specifies the output volume from the Phonograph effect. Range: 0–127 - ATTACK [CTRL 1] Specifies the duration of the attack when sound is input. Range: 0–127 - SUSTAIN [CTRL 2] Specifies the time over which low-level sounds will be boosted to reach the specified volume. Range: 0–127 - POST GAIN [CTRL 3] Adjusts the output signal. Range: 0, +6, +12, +18 - LOW GAIN [CTRL 4] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 5] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - OUTPUT LEVEL [CTRL 6] Specifies the output volume from the Compressor effect. Range: 0–127 53

54Chapter 4 Setting Effects 11. Limiter (Smooth Out Irregularities in Volume) This effect compresses the sound when it exceeds a specified volume level, thus preventing distortion. Available Settings: - THRESHOLD (Threshold Level) [CTRL 1] Specifies the volume level at which compression will begin. Range: 0–127 - RATIO (Compression Ratio) [CTRL 2] Specifies the ratio of compression. Range: 1.5:1, 2:1, 4:1, 100:1 - RELEASE [CTRL 3] Specifies the time from when the volume drops below the Threshold Level until compression is no longer applied. Range: 0–127 - POST GAIN [CTRL 4] Adjusts the output signal. Range: 0, +6, +12, +18 - OUTPUT PAN [CTRL 5] Specifies the stereo location of the output from the Limiter effect. Range: L64–63R - OUTPUT LEVEL [CTRL 6] Specifies the output volume of the Limiter effect. Range: 0–127 12. Slicer (Apply Successive Cuts to the Sound) 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. Available Settings: - TIMING PATTERN [CTRL1] Select a pattern to specify the timing at which the sound will be cut. Range: 34 types - ACCENT PATTERN [CTRL 3] Specifies the location of the accents. Range: 16 types - ACCENT LEVEL [CTRL 4] Adjusts the volume of the accents. Range: 0–127 As this setting is increased, the accent will be more pronounced. - ATTACK [CTRL 5] Adjusts the attack speed of the sound. Range: 1–10 As this setting is increased, the attack will become faster. - OUTPUT LEVEL [CTRL 6] Adjusts the output volume from the Slicer effect. Range: 0–127 - RATE [CTRL 2] Determines the note value unit which will be cut. Available Settings: Chapter 4 Setting Effects 13. Tremolo 14. Phaser (Modulate the Sound) (Cyclic Changes in Volume) This effect cyclically modulates the volume to create tremolo. Available Settings: - LFO TYPE [CTRL 1] 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. Range: 0–127 - LOW GAIN [CTRL 3] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - RATE [CTRL 4] Specifies the frequency of modulation. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES * If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. - HIGH GAIN [CTRL 5] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - OUTPUT LEVEL [CTRL 6] Specifies the output volume of the Tremolo effect. Range: 0–127 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: - MANUAL [CTRL 1] Specifies the center frequency at which the sound will be modulated. Range: 100–8000 (Hz) - DEPTH [CTRL 2] Specifies the depth of modulation. Range: 0–127 - RESONANCE [CTRL 3] This setting emphasizes the frequency range in the vicinity of the center frequency. Range: 0–127 - RATE [CTRL 4] Specifies the frequency of modulation. If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - MIX (Mix Level) [CTRL 4] Adjusts the proportion of the original sound that will be combined with the phase-shifted sound. Range: 0–127 - OUTPUT PAN [CTRL 5]

Specifies the stereo location of the output from the Phaser effect. Range: L64–63R - OUTPUT LEVEL [CTRL 6] Specifies the output volume of the Phaser effect. Range: 0–127 55 56Chapter 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. Available Settings: - PRE DELAY (Pre Delay Time) [CTRL 1] Specifies the time from the original sound until when the chorus sound is heard. Range: 0.0–100 - DEPTH [CTRL 2] Specifies the depth of modulation. Range: 0–127 - PHASE [CTRL 3] Adjusts the spaciousness of the sound.As this setting is increased, the sound will spread more toward left and right. Range: 0–180 - RATE [CTRL 4] Specifies the rate of modulation. If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2 MES 3MES 4MES 8MES 16MES - FILTER TYPE [CTRL 5] Determines the type of filter that will be applied to the chorus sound. 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 6] Specifies the cutoff frequency of the filter. Range: 200–8000 (Hz) - BALANCE (Effect Balance) [CTRL 7] Adjusts the volume balance between the original sound and the chorus sound.With a setting of “D100:0W,” no chorus sound will be output. 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. Available Settings: - PRE DELAY (Pre Delay Time) [CTRL 1] Specifies the time from the original sound until the chorus sound is heard. Range: 0.0–100 - DEPTH [CTRL 2] Specifies the depth of modulation. Range: 0–127 - PHASE [CTRL 3] Adjusts the spread of the sound.As this value is increased, the sound will have a broader left/right spread. Range: 0–180 - RATE [CTRL 4] Specifies the rate of modulation. If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - LOW GAIN [CTRL 5] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 6] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - BALANCE (Effect Balance) [CTRL 7] Adjusts the volume balance between the original sound and the chorus sound.With a setting of “D100:0W” the chorus sound will not be heard. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 8]

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) - OUTPUT LEVEL [CTRL 8] Specifies the output volume from the Tetra Chorus effect. Range: 0–127 This effect layers four chorus sounds to produce even more depth and spaciousness than a conventional chorus. Available Settings: - PRE DELAY (Pre Delay Time) [CTRL 1] Specifies the time from the original sound until when the chorus sound is heard. Range: 0.0–100 - DEPTH [CTRL 2] Specifies the depth of modulation. Range: 0–127 - PRE DELAY DEVI (Pre Delay Deviation) [CTRL 3] Adjusts the difference in pre delay between each of the chorus sounds. Range: 0–20 - RATE [CTRL 4] Specifies the rate of modulation. If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - DEPTH DEVI (Depth Deviation) [CTRL 5] Adjusts the difference in modulation depth between each of the chorus sounds. Range: -20– +20 - PAN DEVI [CTRL 6] Adjusts the pan difference between each chorus sound.As this value is increased, the sound will have a greater left/right spread. Range: 0–20 - BALANCE (Effect Balance) [CTRL 7] Specifies the volume balance between the original sound and the chorus sound.With a setting of “D100:0W,” no chorus sound will be output. Range: D100:0W–D0:100W 18. Flanger (Add Metallic Resonance to the Sound) This creates a sharper and more mechanical sound than the phaser. It can add a metallic resonance to the sound, or produce an effect that sounds like an jet airplane taking off and landing. Available Settings: - PRE DELAY (Pre Delay Time) [CTRL 1] Specifies the time from the original sound until the flanger sound is heard. Range: 0.0–100 - DEPTH [CTRL 2] Specifies the depth of modulation. Range: 0–127 - FEEDBACK (Feedback Level) [CTRL 3] Specifies the proportion of the flanger sound that is fed back into the input. Range: 0– +98 (%) Specifies the rate of modulation. If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - PHASE [CTRL 5] Adjusts the width of the sound. Range: 0–180 As this setting is increased, the left/right spread of the sound will increase. - FILTER TYPE [CTRL 6] Determines the type of filter that will be applied to the flanger sound.

- RATE [CTRL 4] 57 58Chapter 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. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 9] Specifies the output volume from the stereo flanger. Range: 0–127 19. Step Flanger (Add Metallic Resonance to the Sound While Changing the Pitch in Steps) This is a flanger that changes the pitch of the sound in steps. The frequency of pitch change can also be synchronized to the BPM. Available Settings: - PRE DELAY (Pre Delay Time) [CTRL 1] Specifies the time from the original sound until the flanger sound is heard. Range: 0.0–100 - DEPTH [CTRL 3] Specifies the depth of modulation. Range: 0–127 - FEEDBACK (Feedback Level) [CTRL 4] Specifies the proportion of the flanger sound that is fed back into the input. Range: 0– +98 (%) - RATE [CTRL 2] Specifies the frequency of modulation.If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - PHASE [CTRL 5] Adjusts the spread of the sound.As this value is increased, the left/right spread of the sound will increase. Range: 0–180 - BALANCE (Effect Balance) [CTRL 7] Adjusts the volume balance between the original sound and the flanger sound.With a setting of “D100:0W,” no flanger sound will be output. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 8] Specifies the output volume of the Step Flanger effect. Range: 0–127 - STEP RATE [CTRL 6] Specifies the rate at which the pitch will change.If a note value is selected as the value of this parameter, the Step Rate will synchronize with the BPM of the pattern at intervals of the specified note value. Range:0.05–10.0 (Hz),

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. Available Settings: - TIME L (Delay Time Left) [CTRL 1] Specifies the time from the original sound until the left delay sound is heard. Range: 0.1–190 - TIME R (Delay Time Right) [CTRL 2] Specifies the time from the original sound until the right delay sound is heard. Range: 0.1–190 - HF DAMP [CTRL 3] Determines the frequency at which the high frequency portions of the delay sound will be cut. Range: 200–8000 (Hz), BYPASS As this parameter is set to a lower frequency, more of the high range will be cut, making the delay sound more muted in tone.If you do not wish to cut the high frequency range, select “BYPASS.” - FEEDBACK (Feedback Level) [CTRL 4] Adjusts the number of delay repeats. Range: 0– +98 (%) - LOW GAIN [CTRL 5] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 6] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - BALANCE (Effect Balance) [CTRL 7] Adjusts the volume balance between the original sound and the delay sound. Range: D100:0W–D0:100W With a setting of “D100:0W” no delay sound will be output. - AUTO PAN [CTRL 8] This setting causes the panning of the delay sound to move in synchronization with the BPM. Range: OFF, 2MES, 3MES, 4MES, 8MES, 16MES - OUTPUT LEVEL [CTRL 9] Specifies the output volume from the Short Delay effect. Range: 0–127 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. Available Settings: - LFO TYPE [CTRL 1] Determines the waveform that will be used to pan the sound to left and right. Range: TRI, TRP, SIN, SAW1, SAW2, SQR - BASS SENS [CTRL 2] Make this setting when you wish to shift the panning at the timing of the bass notes. Range OFF: The panning will change at the speed specified by Rate. MODE1: The Rate value will increase at the timing of the bass notes. MODE2: The panning will change at the timing of the bass notes. - DEPTH [CTRL 4] Specifies the depth of panning. Range: 0–127 - RATE [CTRL 2] Specifies the rate at which the pan will be moved.If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the tempo of the pattern at intervals of the specified note value or measure. Range: 0.1–10.0, 2MES 3MES 4MES 8MES 16MES - LOW GAIN [CTRL 5] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 6] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - OUTPUT LEVEL [CTRL 7] Specifies the output volume of the AUTO PAN effect. Range: 0–127 * When the Bass Sensitivity parameter is set to “MODE2,” the Rate setting will be ignored. 59

60Chapter 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 pitch- shifted with the original sound to create a chorus effect. Available Settings: - COARSE (Coarse Pitch) [CTRL 1] Specifies the amount of pitch shift relative to the original sound, in semitone steps. Range: -24– +12 - FINE (Fine Pitch) [CTRL 2] Adjusts the amount of pitch shift in 2-cent steps. Range: -100– +100 - OUTPUT PAN [CTRL 3] Determines the stereo location of the pitch-shifted sound. Range: L64–63R - PRE DELAY (Pre Delay Time) [CTRL 4] Specifies the time from the original sound until the pitch- shifted sound is heard. Range: 0.0–100 - MODE (Pitch Shifter Mode) [CTRL 5] Specifies how the pitch will be shifted.As this setting is increased, the response will be slower, but the sound will be more stable. Range: 1–5 - FEEDBACK (Feedback Level) [CTRL 6] Specifies the proportion of the pitch-shifted sound that will be fed back into the input. Range: 0– +98 (%) - LOW GAIN [CTRL 7] Adjusts the boost or cut of the low frequency range. Range: -15– +15 - HIGH GAIN [CTRL 8] Adjusts the boost or cut of the high frequency range. Range: -15– +15 - BALANCE (Effect Balance) [CTRL 9] Specifies the volume balance between the original sound and the pitch-shifted sound. When the setting is “D100:0W” the pitch-shifted sound will not be output. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 10] Specifies the output volume of the Feedback Pitch Shifter effect. Range: 0–127 23. Reverb (Add Reverberation) This effect adds reverberation and ambiance to the sound, creating spatial depth. Available Settings: - TYPE (Reverb Type) [CTRL 1] You can select one of the following six basic types of reverb. Available Settings: ROOM1: Reverb with short decay and high density. ROOM2: Reverb with short decay and low density. STAGE1: Reverb with much subsequent reverberation. STAGE2: Reverb with strong early reflections. HALL1: Clear-sounding reverb. HALL2: Rich-sounding reverb. - TIME (Reverb Time) [CTRL 2] Specifies the duration of the reverberation. Range: 0–127 - HF DAMP [CTRL 3] Determines the frequency at which the high frequency portions of the reverberation will be cut. As this parameter is set to a lower frequency, more of the high range will be cut, making the delay sound more muted in tone. If this “BYPASS” is selected, the high frequency range will not be cut. Range: 200–8000 (Hz), BYPASS - BALANCE (Effect Balance) [CTRL 4] Specifies the volume balance between the original sound and the reverberation.With a setting of “D100:0W” no reverb sound will be output. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 5] Specifies the output volume from the reverb effect. Range: 0–127 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. Available Settings: - TYPE (Gate Reverb Type) [CTRL 1] 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. Select one of the following four basic types of gated reverb. Available Settings: NORMAL: Normal gated reverb REVERSE: Reverse-playback reverb SWEEP1: The reverberation will sweep from right to left. SWEEP2: The reverberation will sweep from left to right. - TIME (Gate Reverb Time) [CTRL 2] Specifies the time from when the reverberation begins until it ends. Range: 5–330 - BALANCE (Effect Balance) [CTRL 3] Specifies the volume balance between the original sound and the reverberation. With a setting of “D100:0W” no reverb sound will be output. Range: D100:0W–D0:100W - OUTPUT LEVEL [CTRL 4] Specifies the output volume of the Gate Reverb effect. Range: 0–127 The Isolator parameters are, in general, effective when applied to the following musical instruments. - LOW: Bass drums and basses - MID: Vocals and the like - HIGH: High-pitched musical instruments such as cymbals A combination of the Isolator and the GRAB switch provides an instantaneous rhythm beating effect. GRAB switch: refer to "How to Use the GRAB Switch to Set an Effect Function" (p. 62) Available Settings: - LOW GAIN [CTRL 1] Specifies the amount of low-frequency range to be cut. Range: 0–127 - MID GAIN [CTRL 2] Specifies the amount of mid-range to be cut. Range: 0–127 - HIGH GAIN [CTRL 3]

Specifies the amount of high-frequency range to be cut. Range: 0–127 - PAN [CTRL 4] Specifies the stereo position of the sound output from the Isolator. Range: L64–0–63R - LEVEL [CTRL 5] Determines the loudness output from the Isolator. Range: 0–127 61 62Chapter 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 Multi- Effects, 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. GRAB switch positions The GRAB switch is set to one of the following three positions. - ON: Switches the effect on. - OFF: Switches the effect off. - GRAB: Switches the effect on while the switch is set at this position. When you release it, it returns to the OFF position. Thus, set it to this position in time with the performance. How to Use the GRAB Switch to Set an Effect Function The GRAB switch setting determines which of the Reverb, Delay and Multi-effects functions is to be switched on and off. Procedure 1. Press the [SYSTEM] button. 2. Press the [F1 (SYS)] button. 3. Press the [F2 (LCD)] button. 4. Press the [F3 (GRAB)] button. The “SYSTEM: GRAB” screen appears. 5. Pressing the [CURSOR (up/down)] buttons, move the cursor to the effect name you want to control. 6. Set ON/OFF using the [VALUE] dial or the [INC/DEC] buttons. To enable the GRAB switch, set it to ON. To disable it, set it to OFF. 7. Press the [EXIT] button to close the screen. The effect you selected is switched on and off when you control the [GRAB] switch. This setting determines whether or not the effect is turned on or off with the GRAB switch, but it does not turn on and off the effect itself. To switch the actual effects on or off, refer to the following. (Refer to P. 42, P. 44, P. 46) The effect does not take effect with the GRAB switch set at ON or GRAB if you switched off the effect in the operation step described in “Switching Multi-Effects On/Off”. SYSTEM: SOUND GRAB SW REVERB SW DELAY SW M-FX SW SYSTEM: GRAB REVERB DELAY Sound M-FXGenerater OUTPUT jack Chapter 5 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 1. Press the [PTN] button. The “PATTERN PLAY” screen appears. 2. Use the [VALUE] dial or the [INC/DEC] buttons to select the pattern number you want to record. * If you want to record your performance with an empty pattern, execute Pattern Initialize here. (P. 128) 3. Press [PART SELECT] button. 4. Press the Part button for the part ([R], [1], ..., [7]) you want to record. Select the part to be recorded. 5. Press [F1 (PATCH)] button. 6. With the [VALUE] dial or [INC/DEC] button, select the Patch (Part “R” is the rhythm.) 7. Press the [REC] button. The “REC MODE SELECT” screen appears. 8. Press the [F2 (REALTIME)] button. The “REALTIME REC STANDBY” screen appears. Use this screen to enter the settings for recording. 9. Use the [CURSOR (up/down)] buttons to move the cursor to the position next to the function you want to set. 10.Set your preferences using the [VALUE] dial or the [INC/DEC] buttons. Setting Range The preferences you are to set in Step 10 and the range of settings are as shown below. BEAT: Range:2/4–7/4, 5/8–7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 * Only blank Patterns can be selected. - MEASURE LENGTH: Specifies the length of the pattern. Range: 1–32 * Although Patterns can be lengthened after they have been recorded, the settings cannot be used to shorten Patterns. Select recording pattern (To shorten a pattern, use the DELETE command under TRACK EDIT (p. 78) to delete one or more measures.) - BPM: Specifies the initial setting of the BPM. (To modify this setting later on, change the playback BPM (P. 18) and save the pattern.) Range: 20.0–240.0 - COUNT IN: Determines the number of counts to be sounded before starting recording. If you set Count In to Select recording part and patch WAIT NOTE, recording starts when you press a keypad the first time. Range: OFF, 1MEAS, 2MEAS, WAIT NOTE - METRONOME: The METRONOME MODE can be set to automatic on/off according to the operating mode of the MC-307. Range: OFF: The metronome does not play, regardless of the operation of the MC-307. ON: The metronome plays, regardless of the Get Ready for recording operation of the MC-307. REC ONLY: The metronome plays only during recording. PLAY&REC: Sounds during playback and recording. - LOOP REST: When set to On, one blank measure will be inserted before the MC-307 returns to the beginning of pattern.This is a useful for preventing the phrase at the end of the last measure from being recorded. Range: OFF, ON - INPUT QTZ TIMING: This specifies the Input Quantize timing. The effect diminishes the closer to 0% you set the value. When set to 100%, the timing conforms exactly to the position of the beat set in the INPUT QTZ TEMPLATE. Range: 0–100 (%) - INPUT QTZ TMPL: Adjusts the recording results to the precise rhythm. Specifies the smallest beat of your music by note. Range: OFF, 63

64Chapter 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. 11.Press the [PLAY] button. Recording starts. Now, play on the keyboard pads or external MIDI keyboard. * When you reach the last measure, the material is recorded again, starting from Measure 1. Further performance data is added as recording is repeated. 12.When recording is finished, press the [STOP] button. Selecting a patch a. Selecting a patch to use from all lists Using the Recording screen, carry out the following operations. 1. Press the [F1 (PACH)] button. 2. Press the [F1 (LIST)] button. The “PATCH SELECT” screen appears. 3. Select a patch using the [VALUE] dial or the [INC/DEC] buttons. 4. Upon selection, press [ENTER] button to return to the screen you selected in Step 1. b. Selecting a patch to use by category Using the Recording screen, carry out the following operations. 1. Press the [F1 (PACH)] button. 2. Press the [F2 (CATG)] button. The “CATETORY GROUP SELECT” screen appears. 3. Use the [VALUE] dial or the [INC/DEC] buttons to select the category of the patch you want to select. 4. Press the [F1]–[F4] buttons below the category you selected. A list of patches included in that category appears. 5. Select a patch using the [VALUE] dial or the [INC/DEC] Perform Recording buttons. 6. Upon selection, press [ENTER] button to return to the PATCH screen. Part and effect settings in the Recording screen You can make part and effect settings without stopping realtime recording. 1. Begin realtime recording. (P. 63) 2. Press the [F2 (STUP)] button. In this screen, you can choose whether to make part settings or effect settings. For details refer to the respective explanations. - [F1 (PART)]: Set part parameters. (P. 22) - [F2 (REV)] Set reverb parameters. (P. 42) - [F3 (DLY)] Set delay parameters. (P. 44) - [F4 (M-FX)] Set M-FX parameters. (P. 46) * When you operate these parameters while recording, your operations will be recorded in real time. (Changes in the "TYPE" of REVERB, DELAY, or M-FX cannot be recorded.) * If you simply wish to make part settings, without recording these parameters, refer to the following “Rehearsal function,” and operate the parameters in rehearsal mode.

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. During recording, press [REC] button. The [REC] indicator flashes to indicate that the MC-307 is in the Rehearsal mode. Now, play a phrase to rehearse your music before recording. 3. After you finish trial playing, press [REC] button again. The MC-307 returns to the Recording mode. 4. Record your play. Changing the recording part while you record When recording multiple parts, you can record the performances of different parts without having to stop between each one. When creating Patterns, this allows you to keep recording one part after another, with no break in the flow. Procedure 1. Start Realtime Recording. - refer to Recording Your Music as You Play it (Realtime Recording) (p. 63). 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. Recording an arpeggio performance You can turn on the arpeggiator and record its phrases in a part. Before you perform the following procedure, turn ARPEGGIO SYNC (p. 120) "ON." If you fail to do this, it will not be possible to record in sync with the sequencer. Procedure 1. Press the [ARP] button to turn on the arpeggiator so that you can play the desired phrases. (refer to Playing Back in Arpeggio (Arpeggiator) (p. 31).) 2. Press the [HOLD] button. 3. Press a chord (or a single key) with the keyboard pads. When you release the keyboard pads, the arpeggiator continues playing. The MC-307 enters the Recording Standby mode. The arpeggiator now stops playing. 5. Press the [F2 (REALTIME)] button. 6. Press the [PLAY] button. Recording starts. The arpeggiator starts playing at the beginning of measure 1 and is recorded in the part. 7. When recording is completed, press [STOP] button. 8. Press [ARP] button to turn off the arpeggiator. 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. 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. Press [REC] button. 2. Press the PART button, [R], [1] to [7], for the part for 4. Move the knobs to your music. The actions of controlling the knobs are recorded. 65 66Chapter 5 Creating Your Own Patterns and 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 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. 5. Select the type of data you want to erase using the [VALUE] dial or the [INC/DEC] buttons. * To erase the data on the knobs or part mixer, use the relevant knobs on the panel to specify it. * For more information on the types of data that can be selected, refer to “Range of Settings” at the end of this section. 6. Data is deleted as long as the [REC] button is pressed. 7. To return to recording mode, press [F3 (EXIT)] or [EXIT]. Available Settings: Parameters you can specify in Step 5. - ALL: All musical data in the recording part will be erased. - 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. - P-AFT: Polyphonic aftertouch will be erased. - C-AFT: Channel aftertouch will be erased. - SYS-EX: System exclusive data messages will be erased. - TEMPO: Tempo data (BPM data) will be erased. - MUTE: Mute data will be erased. - CC#0–CC#127: Control changes of the selected controller number will be erased. * If you specify NOTE, all note data that occurs while you hold down the [REC] button will be erased. If you wish to erase note data for specific notes, hold down keyboard pads to indicate the range of data that you wish to erase. For example, if you hold down the C2 and G2 keys, all data in the range of C2–G2 will be erased while you hold down the keyboard pads. Parameters you can specify using the knobs in Step 5 The parameters you can erase are those which you entered using the [FILTER CUTOFF] knob, [FILTER RESONANCE] knob, [FILTER] button, [LF01 DEPTH], [LFO1] button (wave select) or Assignable knobs [1] through [4]. Turning these knobs in Step 5 allows you to specify the parameters used with them to be erased. * For the parameters you can assign to the Assignable knobs, see P. 28. Recording the mute controls The action of turning the MUTE CTRL button on and off while you are playing can be recorded in real time. Such actions are recorded on a special track called the Mute Control Part. Procedure The MUTE data is recorded in the mute control part. The [RHYTHM PART VIEW] button can be used as the mute control part button through the following setting. To do so, switch the MUTE CTRL BUTTON on by following the procedure below. 1. Press the [SYSTEM] button. 2. Press the [F1 (SYS)] button. 3. Press the [F3 (SEQ] button.

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. 6. Set "MUTE CTRL” using the [VALUE] dial or the [INC/ DEC] buttons. 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. Press the [F2 (REALTIME)] button. The display changes to the Realtime Recording Standby screen. 10.Press the [PART SELECT] button. 11.Press the [RHYTHM PART VIEW] button. (Since this button has been set to be used as the MUTE CTRL button, the MUTE CTRL part is recorded. 12.Press the [PLAY] button. Recording starts. 13.Press [PART MUTE] button. 14.Pressing the [PART] buttons [R], [1] to [7], record the muting operations. 15.When you have finished recording, press [STOP] button. * To restore the original function of the [RHYTHM PART VIEW] button, repeat Steps 1 through 4 and set it to “NORMAL” in Step 6. You can record the operations used to change the BPM while playing music. Procedure Since a change in the BPM is recorded in the MUTE CTRL part, the operating procedure is identical to the previous one, “Recording the Mute Settings.”When you started recording, record changes in the BPM using the [VALUE] dial, the [INC/DEC] buttons or the [TAP] button. * The BPM is set to its setup parameter (i.e., the BPM is effective just after pattern selection) in “Recording your music as you play it on the keyboard pads (Realtime Recording)” (P. 63). Tempo changes made in Turntable Emulation are not recorded. BPM changes are recorded as "TEMPO Data" in the MICROSCOPE window (P. 72). 67

68Chapter 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. TR-REC for Rhythm Parts Procedure First, Select Part R and choose the Rhythm Set to be played. 1. Press the [PART SELECT] button. 2. Press the [R] Part button. Part R is selected. 3. Press the [F1 (PATCH)] button. 4. Rotate the [VALUE] dial or press [INC/DEC] to select the Rhythm Set. Make the preparations for recording 5. Press the [PTN] button. 6. Press the [REC] button. The “REC MODE SELECT” screen appears. 7. Press the [F3 (TR-REC] button. The “TR-REC STANDBY” screen appears. 8. Using the [CURSOR (up/down)] buttons, move the cursor to the position next to the function you want to set. 9. Set your preference using the [VALUE] dial or the [INC/ DEC] buttons. Available Settings - Beat: Range:2/4–7/4, 5/8–7/8, 9/8, 12/8, 9/16, 11/16, 13/16, 15/16, 17/16, 19/16 * Only blank Patterns can be selected. - Measure Length: Determines the length of the pattern. Range: 1–32 * Although Patterns can be lengthened after they have been recorded, the settings cannot be used to shorten Patterns. (To shorten a pattern, use the DELETE command under TRACK EDIT (p. 78) to delete one or more measures.) - BPM: Specifies the initial setting of the BPM. (To modify this setting later on, change the BPM for playing (P. 18) before saving the pattern.) Range: 20.0–240.0 .If you want to select a patch for a recording part here, see the subsequent “Selecting a patch from all lists” If you do not want to do so, proceed to step 6. 10.Press the [PLAY] button. The “TR-REC” screen appears. The MC-307 is ready for recording. You can play back your music in a loop. 11.Press [SCALE] to select the scale. Each time you press the button, you will cycle through the available scales. Make the indicator light for the desired scale. The recording input area is determined by the scale that you select. 1 2 3 4 5 6 7 8 9 1111 1212 Range: - :Keyboard pads [1]–[16] will correspond to a recording input area of one measure, and can be used to enter 16th notes. - :Keyboard pads [1]–[16] will correspond to a recording input area of two beats, and can be used to enter 32nd notes. - 3:Keyboard pads [1]–[12] will correspond to a recording input area of 1 measure, and can be used to enter 8th note triplets. - 3 :Keyboard pads [1]–[12] will correspond to a recording input area of two beats, and can be used to enter 16th note triplets. 3 1 2 3 4 5 6 7 8 9 1010 1111 1212 SCALE 31 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 Now, start recording.

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). 13.By pressing the relevant keyboard pads, select the rhythm tones you want to enter. * By pressing the [OCT (-/+)] button, you can use Rhythm tones other than those of the octave for the keyboard pads currently being played. * For more on the correspondence between each Rhythm tone and Mute button, refer to P. 159. 14.Upon selection of rhythm tones, press the [TR-REC] button second time to return the MC-307 to the Recording mode. (Now, the keyboard pads have been switched back to the mode in which you set the note input timing.) 15.Using Assignable knob [3], determine the type of note for the note message to be entered. Available Settings: 16.Using Assignable knob [4], determine the gate time (length of sound) for the note message to be entered. You determine this value in proportion to the gate time and the length of note appearing on the display. For example, if you want 80%, enter the note message whose length is 80% of the note you selected in Step 9. Available Settings: 5 - 200% 17.Using Assignable knob [2], determine the velocity (loudness) for the note message to be entered. The higher the value, the louder the sound. Available Settings: 1 - 127 18.Press the button corresponding to the timing at which you want to enter the note message to illuminate its indicator and then enter the data.To erase the data, press the button to turn off its indicator. * Use the [ ] or [ ] buttons to shift the position of the measure (or the position in the measure) to be recorded. &YBNQMF 0$5"7& 4)*'5 When a rhythm divided into sixteenth notes or eighth note triplet has been selected with the [SCALE] button, SNARE HI-HAT CRASH one press of the [ ] or [ ] button causes the 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 position of the measure to shift one measure. When a rhythm divided into 32nd notes or sixteenth note triplet has been selected with the [SCALE] button, KICK TOM one press of the [ ] or [ ] buttons causes the position of the measure to shift half a measure. 19.When recording has finished, press the [STOP] button. Procedure for selecting rhythm set Using the Recording screen, carry out the following operations. Procedure 1. Press the [PACH] button. The “RHYTHM” screen appears. 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 2. Select a rhythm set using the [VALUE] dial or the [INC/ DEC] buttons. 3. Upon selection, press the [EXIT] button to return to the Recording screen. 69

70Chapter 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. 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. Begin recording. 2. Press the [PLAY] button. The “TR-REC” screen appears. The MC-307 is now enabled for recording. Simultaneously, looped playback of the performance being input can be heard. 3. Press [SCALE] to select the scale. The scale is switched each time the button is pressed. Press the button until the indicator for the scale you want to use is lit. The recording input range is determined according to the scale selected. Next, set the pitch, duration, and volume for the sounds being input. 4. Press the [TR-REC] button, turning off the button light. The function of the keyboard pads is switched, so they now can be used to specify keyboard scales (instead of input timing). 5. Press the keyboard pads to select the pitches for the sounds being input. * By pressing the [OCT (-/+)] button, you can input pitches other than those in the octave for the keyboard pads currently being played. 6. Upon selection of note, press the [TR-REC] button second time to return the MC-307 to the Recording mode. (Now, the keyboard pads have been switched back to the mode in which you set the note input timing.) 7. Using Assignable knob [3], determine the type of note for the note message to be entered. 8. Using Assignable knob [4], determine the gate time (length of sound) for the note message to be entered. 9. Using Assignable knob [2], determine the velocity (loudness) for the note message to be entered. 10.Press the button corresponding to the timing at which you want to enter the note message to illuminate its indicator and then enter the data. To erase the data, press the button to turn off its indicator. * Use the [ ] or [ ] buttons to shift the position of the measure (or the position in the measure) to be recorded. When a rhythm divided into sixteenth notes or eighth note triplet has been selected with the [SCALE] button, one press of the [ ] or [ ] button causes the position of the measure to shift one measure. When a rhythm divided into 32nd notes or sixteenth note triplet has been selected with the [SCALE] button, one press of the [ ] or [ ] buttons causes the position of the measure to shift half a measure. 11.When recording has finished, press the [STOP] button. This completes input of the note rhythm. Next up is editing of the pitch. 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616

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. 2. Press the [F3 (TR-REC)] button. The “TR-REC STANDBY” screen will appear. 3. Press the [PLAY] button. The “TR-REC” screen will appear. 4. You can use assignable knob [3] to specify the note type of the note message that will be input, assignable knob [4] to specify its gate time (duration), and assignable knob [2] to specify the velocity (volume). * For the setting values in step 4, refer to P. 68. Until this point, the keyboard pads act as a scale to specify the timing of the notes. .Next, specify the timing of the note that you wish to change. 5. Hold down the [F3 (VIEW)] button, and specify the note using keyboard pads [1]–[16]. The “CHORD INPUT” screen will appear. A screen will appear in which you can input a pitch or chord for the specified note. The selected location will be displayed in the screen. The keyboard pads now provide a pitch input function. Next, specify the pitch or input the chord. In the “CHORD INPUT” screen, the keyboard pads are used to specify pitches. 6. Use the [OCT (-/+)] buttons to find the keyboard pad that is lit. This is the note that you input in “Inputting only the rhythm at a single pitch.” 7. Press the button that you found in step 9, getting the light to go out. 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. A note message at the pitch that is lit will be input. The screen will show the note message that you input 9. When you are finished inputting, press the [EXIT] button to return to the “TR-REC” screen. Specify the note type, duration, and velocity. * By pressing [CURSOR (right)] in step 12, you can move to the next location where a note has been input. By pressing [CURSOR (left)], you can move to the previous location where a note has been input. 10.Repeat steps 5–12 to edit note messages that are at different timings. 11.When you are finished with all editing, press the [STOP] button. Specify the note you entered in "Inputting only the timing at a single pitch," the pitch of which you wish to change. C2A#1 G1 Example: If you input this phrase..... C2 C2 A#1 G1 it will be displayed as follows. After inputting note data, you can select a pitch in the screen of step 3 to check the timing at which notes of that pitch were input. The input timing of notes at other pitches can be checked by changing the value at the location shown in the illustration. 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 1 2 3 4 5 6 7 8 9 1010 1111 1212 1313 1414 1515 1616 : lit 71

72Chapter 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).) Basic Operation Invoke the microscope screen. You will find a list of performance data on it. To check it, scroll using the [VALUE] button, [INC/DEC] button and [CURSOR (up/down)] buttons. 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. Use this screen to view or edit the data. Press the [CURSOR (left)] button several times until the entire line looks like a black band. Using the [VALUE] dial or the [INC/DEC] buttons, display the data in the order in which it was entered. Musical Data Handled in Microscope Mode The Microscope lets you view and edit the following 9 types of musical data (MIDI message). NOTE Data that plays a sound. Available Settings: - Note name: C-1–G9 - Velocity: 1–127 - Gate time: 0-1 – 99-0 * You can also input NOTE and VELO by playing an external MIDI keyboard. Move the cursor to each setting, and use an external MIDI keyboard to play the desired note or velocity. CC (Control Change) These MIDI messages correspond to various control numbers, and are used apply effects such as modulation or portamento. These are used mainly to operate knobs and the part mixer. * If you would like to know more about the function of each controller number... - “Transmit/Receive Setting List” (P. 192) * If you want to know which control change the MC-307 sound generator can receive? - “MIDI Implementation” (P. 194) (Example) Microscope screen Range: - CC#: 0–127 (Controller Number) - VALUE: 0–127 PC (Program Change) These MIDI messages are used to select sounds (patches). The sound corresponding to the program number will be selected. If you want to know the patch numbers corresponding to the program numbers, refer to Preset Patch List (p. 155). Range: - PC#: 1–128 (Program Number) P-BEND (Pitch Bend) MIDI messages which change the pitch while you are playing. Range: -8192– +8191 Note name Velocity Position Gate time (Measure - Beat - Clock) (Beat - Clock) Chapter 5 Creating Your Own Patterns and P-AFT (Polyphonic Aftertouch) These MIDI messages apply aftertouch to individual notes. Range: - NOTE: C-1 – G9 (Note) - VALUE: 0 – 127 The display changes to the System Exclusive input screen. 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. Range: 20.0 – 240.0 MUTE This is Mute data for each part and rhythm group. It is used only in the Mute Control part. * In the Microscope, mute data is displayed as "*". Range: Part Group: PART-R, PART-1 – PART-7, BD, SD, HH, CLP, CYM, TOM/PERC, HIT, OTHERS Value: OFF, ON SYS-EX (System Exclusive) These are MIDI messages unique to the MC-307. Part of the beginning of the data appears in the microscope. For a complete view of the data, press the [CURSOR (right)] button. System Exclusive messages begin with an F0 and end with an F7 and the data is expressed in hexadecimal (00–7F) form. * The System Exclusive messages in the MC-307 except for some of the parameters are compatible with those in the MC- 505 and JX-305. Of the messages contained in the MIDI implementation, those common to the MC-505 and JX-305 can interchange data with the MC-307. * The MC-307 is capable of receiving bulk dumps 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. Procedure 1. Invoke the microscope screen (P. 72) and using the [VALUE] dial, position the cursor at the System Exclusive message you want to change. 2. Press the [CURSOR (left)] button several times. 3. Use the [CURSOR (left/right)] buttons to the cursor to the position you want to change. 4. Change the value using the [VALUE] dial or the [INC/ DEC] buttons. At this time, you can use the keyboard pads to enter a hexadecimal number. The hexadecimal digit entered by each pad is as follows. 1 2 3 4 5 6 7 8 9 0 A B C D E F 5. Pressing [F4 (OK)] button finalizes the edited data. When the settings have been finalized, you will return to the normal Microscope display.If you do not want to finalize it, press the [EXIT] button. * It is not possible to change the F0 that begins the message or the F7 that ends it. * By pressing [F2 (INS)] button you can add the data at the cursor location. * Instead, you can add data by positioning the cursor at F7 and entering a value from the keyboard pad. * By pressing [F3 (DEL)] button you can delete the data at the cursor location. To cancel the operation without changing the data, press [EXIT] button. About the checksum When inputting a Roland Type IV exclusive message, you must input a checksum immediately before the F7. Since the MC-307 will calculate the checksum automatically, there is no need for you to modify the checksum value. When you input a new exclusive message, you can simply input an arbitrary number immediately before F7, and the MC-307 will calculate the correct number automatically. * If you do not want the checksum to be calculated automatically, set the AUTO CHECKSUM setting (p. 119) to "OFF."

73 74Chapter 5 Creating Your Own Patterns and Modifying Performance Data Values 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. 5. Use the [CURSOR (up/down)] buttons to select the data whose setting is to be modified. 6. Use the [CURSOR (left/right)] buttons to move the cursor to a setting as shown below. 7. Change a value using the [VALUE] dial or the [INC/ DEC] buttons. Inserting Musical Data (Insert Event) Specify the position at which you want to insert data and select the type of data to add. 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 (MICROSCOPE)] button. The “MICROSCOPE” screen appears. 5. Pressing the [CURSOR (left/right)] buttons, position the cursor at the measure, beat or clock. 6. Determine the insertion position using the [VALUE] dial or the [INC/DEC] buttons. 7. Press the [F1 (INS)] button. The screen for selecting the types of data to be inserted appears. Example1: R, 1 - 7 Part Example2: MUTE CTRL part 8. Select the type of data using the [VALUE] dial or the [INC/DEC] buttons. * For the types of data you can enter, see “Setting Range” at the end of this section. 9. Upon selection, press the [F4 (OK)] button. * When you have selected SYS-EX (System Exclusive), the following message appears. Using the same procedure as the one for Change Event, enter hexadecimal numbers by pressing the keyboard pad and [ENTER] button in turn. Available Settings: Invoke the microscope screen. When the microscope is in the range from [R], [1] to [7]: - NOTE: Note - PC: Program Change - CC: Control Change - BEND: Pitch Bend - P-AFT: Polyphonic Aftertouch - C-AFT: Channel Aftertouch - When the microscope is MUTE CTRL: Specify the position at which data is to be inserted. When the microscope is in the “MUTE CTRL:” - SYS-EX: System exclusive - TEMPO: Tempo change message - MUTE: Mute message Insert the data.

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. 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 (MICROSCOPE)] button. The “MICROSCOPE” screen appears. 5. Using the [CURSOR (up/down)] buttons, select the data to be deleted. 6. Press the [F2 (DEL)] button. The “DELETE EVENT” message appears and the performance data is deleted. Moving Musical Data (Move Event) Specify the data to be moved and determine the destination before executing Move Event. 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 (MICROSCOPE)] button. The “MICROSCOPE” screen appears. 5. Using the [CURSOR (up/down)] buttons, select the data to be moved. 6. Press the [F3 (MOVE)] button. The “MOVE EVENT” screen appears. 7. Using the [CURSOR (left/right)] buttons, determine the measure, beat and clock for the destination. then, Using the [CURSOR (up/down)] buttons, set the value. 8. Pressing the [F4 (EXEC)] button. Move Event is executed. With this function, you can view specific data to facilitate searching for the desired performance data. Procedure 1. Press the [PTN] button. 2. Press the [F3 (EDIT] button. The “PATTERN EDIT” screen appears. 3. Press the [F3 (MICROSCOPE)] button. The “MICROSCOPE” screen appears. 4. Press the [F4 (VIEW)] button. 5. Use the [CURSOR (up/down)] buttons to move the cursor to the data you want to set. * For the types of data you can specify, see “Setting Range” at the end of this section. 6. Use the [VALUE] dial or the [INC/DEC] buttons to set the data to On and off. 7. When you finish setting, press the [EXIT] button. The data you turned off does not display in the “MICROSCOPE” screen. Available Settings: - NOTE - PROGRAM CHANGE - CONTROL CHANGE - PITCH BEND - POLY AFTER: Polyphonic Aftertouch - CHANNEL AFTER: Channel Aftertouch - SYS-EX: System Exclusive - TEMPO - MUTE 75

76Chapter 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).) 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. Specify the pattern range to be copied. 7. Select the part to be copied by pressing the relevant PART button, [R], [1] to [7]. 8. Move the cursor to “FROM” by pressing the [CURSOR] buttons, and then select the measure at the beginning of the portion of the pattern to be copied using the [VALUE] dial or the [INC/DEC] buttons. * If SETUP is selected, the setup parameter for the pattern is also copied. 9. Move the cursor to “FOR” by pressing the [CURSOR] buttons, and then specify the number of measures to be 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. 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. Chapter 5 Creating Your Own Patterns and 18.Press the [F4 (EXEC)] button. Erasing Unwanted Data (Erase) Copying is executed and, upon completion, the normal display reappears. Available Settings: SOURCE FROM: SETUP, 1 – 32 (Maximum) FOR: 1 – 31 (Maximum), ALL DESTINATION PTN: P:001–P:710, U:001–U:200 MEAS: 1 – 31 (Maximum), END STATUS: - ALL All musical data - NOTE Note - PC Program Change - CC Control Change - BEND Pitch Bend - P-AFT Polyphonic Aftertouch - C-AFT Channel Aftertouch - SYS-EX System Exclusive - TEMPO Tempo (BPM) - MUTE Mute MODE: REPL, MIX TIMES: 1 – 32 (Maximum) NOTES * It is not possible to specify a number of measures that would cause the length of the pattern to exceed 32 measures when the Copy was executed. * If more than one part was selected as the copy source, the data will automatically be copied to the same parts as the copy source. * If [MUTE CTRL] was selected as the copy source part, only [MUTE CTRL] can be selected as the copy destination part. * It is not possible to copy between patterns that have different time signatures. Erases part (or all) of a pattern. Procedure Select a pattern for which Erase is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which Erase is to be executed. Invoke the screen for executing Erase. 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 “ERASE.” 6. Press the [F2 (ERAS)] button. The screen for editing Erase appears. 7. Select the part to be edited using the relevant PART button, [R], [1] to [7] or [RHYTHM PART VIEW]. * By pressing the [RHYTHM PART VIEW] button you can specify the MUTE CTRL PART. 8. Move the cursor to “FROM” by pressing the [CURSOR] buttons, and then select the measure at the beginning of the portion of the pattern to be erased using the [VALUE] dial or the [INC/DEC] buttons. 9. Move the cursor to “FOR” by pressing the [CURSOR] buttons, and then specify the number of measures to be erased from the beginning of the portion of the pattern using the [VALUE] dial or the [INC/DEC] buttons. 10.Move the cursor to “STATUS” by pressing the [CURSOR] buttons, and then select the data to be erased from the portion of the pattern using the [VALUE] dial or the [INC/DEC] buttons.

Now, execute erasing. 11.Press the [F4 (OK)] button. A screen asking you whether to not you want to execute erasing appears. 12.Press the [F4 (EXEC)] button. The Erase operation is carried out, and the normal display reappears. * If you selected “STATUS” in Step 10, you can specify the range of note numbers to be erased. 77 78Chapter 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. * *** Available Settings: FROM: F1–the last measure number FOR: 1–ALL (ALL ... All measures) STATUS: - ALL All musical data - NOTE Note - PC Program Change - CC Control Change - BEND Pitch Bend - P-AFT Polyphonic Aftertouch - C-AFT Channel Aftertouch - SYS-EX System Exclusive - TEMPO Tempo (BPM) - MUTE Mute 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. If all parts were specified for the delete operation, the pattern itself will become shorter. Procedure Select the pattern for which Delete is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern on which Delete is to be executed. Invoke the screen for executing Delete. 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 “DELETE.” 6. Press the [F3 (DEL)] button. The screen for editing Delete appears. 7. Select the part to be edited using the relevant PART button, [R], [1] to [7] or [RHYTHM PART VIEW]. * By pressing the [RHYTHM PART VIEW] button you can specify the MUTE CTRL PART. 8. Move the cursor to “FROM” by pressing the [CURSOR] buttons, and then select the measure at the beginning of the portion of the pattern to be deleted using the [VALUE] dial or the [INC/DEC] buttons. 9. Move the cursor to “FOR” by pressing the [CURSOR] buttons, and then specify the number of measures to be deleted from the beginning of the portion of the pattern using the [VALUE] dial or the [INC/DEC] buttons. Now, execute delete. 10.Press the [F4 (OK)] button. A screen asking you whether or not you want to execute delete appears. 11.Press the [F4 (EXEC)] button. Delete is executed and, upon completion, the normal display reappears. Available Settings: FROM: 1–32 (Maximum) FOR: 1–32 (Maximum), ALL 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. Procedure Select a pattern for which Insert is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which Insert is to be executed. Invoke the screen for executing Insert. 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 “INSERT.” 6. Press the [F4 (INS)] button. The screen for editing Insert appears. 7. Select the part to be edited using the relevant PART button, [R], [1] to [7] or [RHYTHM PART VIEW]. * By pressing the [RHYTHM PART VIEW] button you can specify the MUTE CTRL PART. 8. Move the cursor to “FROM” by pressing the [CURSOR] buttons, and then select the measure at the beginning of the measures to be inserted using the [VALUE] dial or the [INC/DEC] buttons. 9. Move the cursor to “FOR” by pressing the [CURSOR] buttons, and then specify the number of measures to be inserted from the beginning of the measures using the [VALUE] dial or the [INC/DEC] buttons. Now, execute insert. 10.Press the [F4 (OK)] button. A screen asking you whether or not you want to execute insert appears. 11.Press the [F4 (EXEC)] button. Insert operation is executed and, upon completion, the normal display will reappear. Available Settings: FROM: 1–32 (Maximum) FOR: 1–32 (Maximum) Transposing the Pitch (Transpose) Transposes the note number (pitch) for each part in a pattern. You can specify a transposition of up to +/-2 octaves. Procedure Select a pattern for which Transpose is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which Insert is to be executed. Invoke the screen for executing Transpose. 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)] button to invoke the screen displaying “TRANSPOS.” 6. Press the [F1 (TRNS)] button. The screen for editing Transpose appears. 7. Select the part to be edited using the relevant PART 8. Press the [CURSOR (up)] button to move the cursor to “VALUE.” 9. Using the [VALUE] dial or the [INC/DEC] buttons, specify the amount of transposition.As the value is increased (or decreased) by one, the amount increases (decreases) by a semitone. * You can also specify this by pressing a keyboard pad. 10.Press the [CURSOR (down)] button to move the cursor to “NOTE RANGE.” 11.Using the [VALUE] dial or the [INC/DEC] buttons, specify the range of the note messages to be transposed. Now, execute Transpose. 12.Press the [F4 (OK)] button. A screen asking you whether or not you want to execute Transpose appears. Transpose is executed and, upon completion, the normal display reappears. Range: VALUE: -24–0– +24 NOTE RANGE: C -1–G 9

button, [R], [1] to [7]. 13.Press the [F4 (EXEC)] button. 79 80Chapter 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 Selects a pattern for which Change Velocity is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern on which Change Velocity is to be executed. Invoke the screen for executing Change Velocity. 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)] button to invoke the screen displaying “VELOCITY.” 6. Press the [F2 (VELO)] button. The screen for editing Change Velocity appears. 7. Select the part to be edited using the relevant PART button, [R], [1] to [7]. 8. Press the [CURSOR (up)] button to move the cursor to “VALUE.” 9. Using the [VALUE] dial or the [INC/DEC] buttons, specify the amount by which velocity is to be changed. 10.Press the [CURSOR (up)] button to move the cursor to “NOTE RANGE.” 11.Using the [VALUE] dial or the [INC/DEC] buttons, specify the range of the note messages to be changed velocity. * You can also specify this by pressing a keyboard pad. Now, execute change velocity. 12.Press the [F4 (OK)] button. A screen asking you whether or not you want to execute Transpose appears. 13.Press the [F4 (EXEC)] button. Change Velocity is executed and, upon completion, the normal display reappears. Range: 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). * If you wish to change velocity only a specific range of notes, press the keyboard pad to specify the desired range. If you do not specify the note range, all notes will be transposed. Modifying the Note Length (Change Gate Time) This operation modifies the gate time (duration) of the notes recorded in the pattern. This can be used to make the overall performance more staccato or tenuto. Procedure Select the pattern for which Change Gate Time is to be executed. 1. Press the [PTN] button. 2. Using the [VALUE] dial or the [INC/DEC] buttons, select the pattern for which Change Gate Time is to be executed. Invoke the screen for executing Change Gate Time. 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)] button to invoke the screen displaying “GATETIME.” 6. Press the [F3 (GATE)] button. The screen for editing Change Gate Time appears. 7. Select the part to be edited using the relevant PART button, [R], [1] to [7]. 8. Press the [CURSOR (up)] button to move the cursor to “VALUE.” 9. Using the [VALUE] dial or the [INC/DEC] buttons, specify the amount by which gate time is to be changed. 10.Press the [CURSOR (down)] button to move the cursor to “NOTE RANGE.” 11.Using the [VALUE] dial or the [INC/DEC] buttons, specify the range of the note messages to be changed Gate Time. * You can also specify this by pressing a keyboard pad. Now, execute Change Gate Time.


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