Roland MC-4 Microcomposer

Last updated
Roland MC-4 MicroComposer Roland-mc4b-3.jpg
Roland MC-4 MicroComposer

The Roland MC-4 MicroComposer was an early microprocessor-based music sequencer released by Roland Corporation. It could be programmed using the ten key numeric keyboard or a synthesizer keyboard using the keyboard's control voltage and gate outputs. It was released in 1981 with a list price of US$3,295(equivalent to $10,600 in 2022) (¥430,000 JPY) and was the successor to the MC-8, which in 1977 was the first microprocessor-based digital sequencer. [1] Like its predecessor, the MC-4 is a polyphonic CV/Gate sequencer. [2] [3]

Contents

Information

This sequencer was released before the advent of MIDI, and viewed by some composers to have more accurate timing. The MC-4 has an output patchbay to the right of the control panel, allowing you to patch the MC-4 to a synthesizer using 3.5mm patch cords. There are four channels of outputs containing CV-1, CV-2, Gate and MPX (multiplex) to control four separate synthesizers. [4] To the left of the output patchbay there are two switches and a control knob. The control knob alters the tempo of the sequencer. The first switch is for cycle mode (which allows the programmed sequence to repeat continuously until the sequencer is stopped), the second switch is for sync control. The MC-4 can be synced to other Roland equipment such as a drum machine or another MC-4 MicroComposer (offering eight separate channels of sequencing). [5]

In the centre of the control panel is the numeric keypad and enter button. To the right of this are two blue keys for moving forward or backwards through a programmed sequence. Below the two advance keys there is another blue button used to tell the MC-4 that you have finished programming a single measure, for example a one bar phrase of notes. To the left of the numeric keypad are six more buttons. These buttons are used for editing the sequence that has been programmed; they include insert, delete, copy-transpose and repeat. The bottom two buttons are for moving the cursor on the screen from left to right. [6]

Concepts in programming

The MC-4 can be programmed with the input of number values, using the control panel numeric keypad. When programming a sequence of notes into the MC-4 numerical values are entered. These correspond to the musical notes on a piano keyboard; Middle C would have the value of 24, increasing upwards for higher notes and downwards for lower notes. [4] Note, however, that Middle C as the value 24 is relative to whatever settings one has set on the synthesizer to be sequenced.

The second concept in programming the MC-4 are time values. The step time values determine the time interval between each musical note, or pitch. To set the time values, one must first set a time base, typically 120. This means that a quarter note = 120, a sixteenth note = 30, an eighth note = 60, etc. Esoteric timings can be programmed by entering any number against whatever time base is entered. The third programming concept is the gate time. This gate time refers to the actual sounded value; whether the phrasing is legato, staccato, semi detached etc. [7]

Alternatively, the MC-4 can record live playing from a monophonic keyboard.

Syncing to MIDI

The MC-4 can be synched to MIDI using a clock to DIN converter. When the MC-4 is powered up, the display will show the TB (time base) default of 120. This is the number of clock pulses per bar; this was the standard before DIN and MIDI clock came into being. If a sequence is programmed while the MC-4 is set to the default TB, it will never sync correctly to DIN or MIDI clock. To sync correctly, the MC-4 TB needs to be set as 48/12/6, this sets the MC-4 for DIN sync and defaults the step time to 16ths (12 clocks) and the gate length to 32nds (6 clocks).

Cassette Storage

After a sequence has been programmed it must be saved, as the memory is volatile: when the power is switched off, memory contents are lost. An optional digital cassette recorder, the Roland MTR-100 was available for this purpose. The owners manual shows that a programmed sequence could also be saved to a standard cassette deck. [8] This is good news as the MTR-100 is quite rare to find.

When saving or loading programs, the CMT (Cassette Memory Transfer) mode must be selected. Programs are saved using program numbers for identification. [9]

Computer-based sequencer programming

In 2011, Defective Records Software released MC-4 Hack, a software application that enables programming of the MC-4's sequencer on computer. It works by creating audio that is routed into the MC-4's cassette input port. This eliminates the need to use the MC-4 calculator-style keypad to enter sequence information.

Roland MC-4 additional options

The Roland MC-4 MicroComposer was able to be used as a stand-alone CV/Gate sequencer, but as the system advanced various additional options were made available for owners needing to use the MC-4 with new tasks and procedures. These involved things like memory expansion, cassette tape media and synthesizer interfaces. Below is a list of additional options that were made available by Roland. [10]

Roland MTR-100

The Roland MTR-100 was a digital tape recorder used for storing sequence programmes for the Roland MC-4 MicroComposer. It was offered as an optional accessory for faster data transfer than a standard audio cassette player. [11] When using a Roland MTR-100, the Roland MC-4 MicroComposer needed to be fitted with the additional memory option known as the OM-4. The MTR-100 used digital computer cassettes, Roland endorsed the use of TEAC Computer Tape CT-300 or Maxell Data Cassette Tape CT-300 or M-90. [12]

Notable users

Vince Clarke

Vince Clarke began using the MC-4 on Yazoo's debut album Upstairs at Eric's in 1982. After a good friend noticed that his later albums had changed in sound, Clarke realised this had been due to his having changed from using a Roland MC-4 MicroComposer to using MIDI sequencers. So in 1991 he returned to using MC-4 sequencers for the recording of the Erasure album Chorus . After writing the tracks for the album, they were programmed into a BBC Micro computer, running a UMI sequencing program, to get the arrangements right. The UMI software sequencer was then synced to the MC-4 and all the parts were programmed into the MC-4. The whole theory behind programming with the MC-4 was better timing. Clarke believed at the time that MIDI had timing problems due to data bottlenecks, and CV had much tighter timing. The whole sound of Chorus is due to the MC-4 not being able to program chords; the limitation of only having four channels of sequencing also contributed. At this time he envisaged touring using the MC-4 sequencer. [18] Clarke was later quoted as saying that he bullied the spares department at Roland UK to supply the micro-cassettes needed for data transfer and later described the MC-4 as being "a pig to program but well worth it".

After the recording of the Chorus album Erasure went on tour. He took on the challenge of using a Roland MC-4 as the main sequencer to control various synthesizers live. The synthesizers controlled by the MC-4 included a Minimoog, Roland Juno 60, Sequential Circuits Prophet-5, Oberheim Xpander and a Roland Jupiter 8. For the drums the MC-4 was synced to an Akai MPC60II. [19] Before the tour Clarke's collection of MC-4 sequencers were 'road hardened' by having the chips removed from their sockets and soldered directly to the circuit boards. [18]

Eight MC-4 sequencers were obtained for the tour as back up units, but they were not needed. [19]

Related Research Articles

<span class="mw-page-title-main">MIDI</span> Electronic musical instrument connection standard

MIDI is a technical standard that describes a communication protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.

A music sequencer is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.

<span class="mw-page-title-main">CV/gate</span> Analogue method of electronic sound production

CV/gate is an analog method of controlling synthesizers, drum machines, and similar equipment with external sequencers. The control voltage typically controls pitch and the gate signal controls note on-off.

<span class="mw-page-title-main">Roland JX-3P</span> Analog synthesizer

The Roland JX-3P is a synthesizer produced by Roland Corporation of Japan from 1983–1985. The "3P" in its name refers to "Programmable Preset Polyphonic". It is notable as one of the company's first synthesizers to incorporate a MIDI interface.

<span class="mw-page-title-main">Roland MC-8 Microcomposer</span> Music sequencer

The Roland MC-8 MicroComposer by the Roland Corporation was introduced in early 1977 at a list price of US$4,795. It was one of the earliest stand-alone microprocessor-driven CV/Gate music sequencers, following EMS Sequencer 256 in 1971 and New England Digital's ABLE computer (microprocessor) in 1975. Roland called the MC-8 a "computer music composer" and it was considered revolutionary at the time, introducing features such as a keypad to enter note information and 16 kilobytes of random access memory which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8-16 step sequencers at the time. It also allowed the user to allocate multiple pitch CVs to a single Gate channel, creating polyphonic parts within the overall sequence. Due to the high price, only 200 units were sold worldwide, but it represented a huge leap forward in music technology.

<span class="mw-page-title-main">Ensoniq ESQ-1</span> Synthesizer

Ensoniq ESQ-1 is a 61-key, velocity sensitive, eight-note polyphonic and multitimbral synthesizer released by Ensoniq in 1985. It was marketed as a "digital wave synthesizer" but was an early Music Workstation. Although its voice generation is typically subtractive in much the same fashion as most analog synthesizers that preceded it, its oscillators are neither voltage nor "digitally controlled", but true digital oscillators, provided by a custom Ensoniq wavetable chip. The signal path includes analog resonant low-pass filters and an analog amplifier.

The Yamaha AN1x is a DSP-based analog modeling synthesizer, produced by Yamaha Corporation from 1997 to 1998, and was marketed as an "analog physical modelling control synthesizer".

<span class="mw-page-title-main">Roland Jupiter-8</span> Synthesizer made by Roland in the 1980s

The Jupiter-8, or JP-8, is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland Corporation in early 1981.

<span class="mw-page-title-main">MIDI controller</span> Device that produces MIDI data

A MIDI controller is any hardware or software that generates and transmits Musical Instrument Digital Interface (MIDI) data to MIDI-enabled devices, typically to trigger sounds and control parameters of an electronic music performance. They most often use a musical keyboard to send data about the pitch of notes to play, although a MIDI controller may trigger lighting and other effects. A wind controller has a sensor that converts breath pressure to volume information and lip pressure to control pitch. Controllers for percussion and stringed instruments exist, as well as specialized and experimental devices. Some MIDI controllers are used in association with specific digital audio workstation software. The original MIDI specification has been extended to include a greater range of control features.

Doepfer Musikelektronik GmbH is a German manufacturer of audio hardware, mostly synthesizer modules, based in Gräfelfing, Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment.

<span class="mw-page-title-main">Roland MC-202</span>

The Roland MC-202 (MicroComposer) is a monophonic analog synthesizer and music sequencer released by Roland in 1983. It was the first groovebox. Its synth is similar to the TB-303 bass synth and the SH-101 synthesizer, featuring one voltage-controlled oscillator with simultaneous saw and square/pulse-width waveforms. It is a successor to the Microcomposer family of sequencers, including the MC-8 and MC-4. The unit is portable and can be operated from batteries or an external power supply.

<span class="mw-page-title-main">Nord Modular</span> Line of synthesizers

The Nord Modular series is a line of synthesizers produced by Clavia, a Swedish digital synthesizer manufacturer. The Nord Modular series, in common with their sister range the Nord Lead series, are analogue modelling synthesizers, producing sounds that approximate those produced by conventional analogue synths by using DSP chips to digitally model analogue circuitry.

<span class="mw-page-title-main">Digital Control Bus</span>

DCB was a proprietary data interchange interface by Roland Corporation, developed in 1981 and introduced in 1982 in their Roland Juno-60 and Roland Jupiter-8 products. DCB functions were basically the same as MIDI, but unlike MIDI, DCB could provide note on/off, program change and VCF/VCA control only. DCB-to-MIDI adapters were produced for a number of early Roland products. The DCB interface was made in 2 variants, the earlier one used 20-pin sockets and cables, later switching to the 14-pin Amphenol DDK connector vaguely resembling a parallel port.

<span class="mw-page-title-main">Doepfer A-100</span> Modular synthesizer, introduced the Eurorack standard

The Doepfer A-100 is an analog modular synthesizer system introduced by German audio manufacturer Doepfer in 1995. Although there were only 10 module types at time of release, it currently has more than 120 modules plus several different enclosures and accessories.

<span class="mw-page-title-main">Roland XP-50</span> Music workstation

The Roland XP-50 is a music workstation that combines the synthesizer engine of Roland's JV-1080 sound module with the sequencing capabilities of their MRC-Pro sequencer and a 61-note keyboard. First released in 1995, the XP-50 and the Roland XP-10 were the first two Roland XP-series products, later joined by the XP-80 and XP-30.

<span class="mw-page-title-main">Evolver (synthesizer)</span> Hybrid analog-digital synthesizer

The Evolver is an analog-digital hybrid synthesizer designed by Dave Smith and manufactured by Dave Smith Instruments. It was first released as a desktop version in 2002, then later a 37-key keyboard bearing the same synth engine as the Evolver desktop was also released. A polyphonic version of the Evolver, dubbed the Poly Evolver, was released in 2004 as a rackmount version, then a 61-key keyboard version of the Poly Evolver was released in 2005. The Evolvers were replaced by new high end models, the Prophet 12 and the Pro 2.

The Roland MC-307 is a combination of MIDI music sequencer, synthesizer, drum machine and control surface produced by the Roland Corporation. This combination is commonly referred to by Roland as a 'Groovebox'.

The Roland OP-8 interface was designed to control Roland polyphonic synthesizers that were equipped with a DCB interface via the Roland MC-4 Microcomposer. The OP-8 and synthesizer were connected together using a DCB cable. The OP-8 and MC-4 Microcomposer were then patched together using patchcords via each of their patchbays. The transpose control on the OP-8 was able to transpose the synthesizer up or down by one octave.

<span class="mw-page-title-main">Akai AX80</span> Analogue synthesizer

The AX80 is a polyphonic analogue keyboard synthesizer manufactured by Akai Professional in 1984. It was Akai's first venture into the professional electronic musical instrument market. The AX80 used digitally controlled oscillators (DCO) and filter circuitry based on the Curtis Electronics CEM 3372 integrated circuit. It was marketed as part of a line of project studio equipment called the Akai Music Studio System, which included the S612 digital sampler the MR16 drum machine, the MS08 sequencer, and the MG1212 multitrack tape recorder, at a price of $1,695 US.

References

  1. Gordon Reid (Nov 2004). "The History Of Roland Part 1: 1930-1978". Sound on Sound . Retrieved 2011-06-19.
  2. Roland TR-606 Owner's Manual
  3. Chris Carter, ROLAND MC8 MICROCOMPOSER, Sound on Sound , Vol.12, No.5, March 1997
  4. 1 2 page 1, Roland Microcomposer MC-4 Operation Manual
  5. page 7, Roland Microcomposer MC-4 Operation Manual
  6. page 8, Roland Microcomposer MC-4 Operation Manual
  7. page 5, Roland Microcomposer MC-4 Operation Manual
  8. page 16, Roland Microcomposer MC-4 Operation Manual
  9. page 18, Roland Microcomposer MC-4 Operation Manual
  10. Roland MicroComposer MC-4 Operation Manual and Roland OP-8 Operation Manual
  11. page 91, Roland MicroComposer MC-4 Operation Manual
  12. page 92, Roland MicroComposer MC-4 Operation Manual
  13. Noyze, Dave (2014-11-03). "Aphex Twin SYROBONKERS! Interview Part 1". Noyzelab. Archived from the original on 2014-11-03.
  14. db: The Sound Engineering Magazine, July 1972, page 28
  15. Ireson, Paul (December 1991). "Sold on the 3-Minute Song". Sound On Sound. United Kingdom. pp. 52–56. Retrieved 2020-01-09.
  16. Rudi Esch, Electri_City: The Düsseldorf School of Electronic Music, Omnibus Press
  17. "Rational Youth's Brave New World".
  18. 1 2 SOS Magazine, December 1991
  19. 1 2 Music Technology Magazine, August 1992