street priceThe Roland MC-80 Micro Composer represented in late 90s a significant evolution in hardware MIDI sequencing, arriving nine years after Roland's previous dedicated sequencer release. This professional-grade machine bridges traditional hardware sequencing with contemporary groove machine features, combining the methodical approach of the venerable Microcomposer line with real-time performance capabilities borrowed from Roland's MC-303/ MC-505 groove boxes and XP workstation series.
Finished in sophisticated matte black, the MC-80 presents a clean, uncluttered control surface with generous proportions. The unit features a large, nicely angled backlit LCD accompanied by six soft keys, employing a computer-style interface with menus leading to editing and utility windows with graphics support. Sixteen Track buttons dominate the upper panel, flanked by six additional buttons accessing features including the Arpeggiator and Real-time Phrase Sequencing (RPS). The control surface is logically divided into distinct functional areas: transport controls, Mode selection (Sequencer/Chain Play), Song controls (Transpose, Tempo, Song Select), and Mark/Jump navigation. Additional controls include a cursor-key array, alpha-numeric keypad for naming and note input, Value dial, Tap tempo button, and Repeat button for user-definable playback loops. A Shift key provides access to secondary functions including Undo/Redo and instant fade-out.
The rear panel hosts an impressive connectivity array with two MIDI Ins, two MIDI Outs, and one MIDI Thru for 32-channel operation. Additional connections include a dual footswitch socket (configurable for start/stop, punch in/out, or Mark/Jump duplication), metronome volume control, SCSI option panel, stereo audio output, and headphone output for use with the optional sound board. The unit features a built-in power supply, eliminating external PSU requirements.
The MC80 employs an innovative track structure that maximizes MIDI channel utilization. While providing 16 physical Track buttons, the sequencer can handle up to 32 MIDI channels simultaneously through its dual MIDI outputs. This is achieved by recording parts with different MIDI channels on individual tracks or merging multiple parts onto single tracks. Eight tracks containing 16 MIDI channels of data can be routed to each MIDI output, enabling 32 independent, fully editable parts. The compromise is that merged parts on a single track cannot be independently muted using the Track buttons, though an Extract operation allows easy demerging of combined data.
The MC80 offers three comprehensive recording approaches. Real-time recording supports loop recording with on-the-fly MIDI channel changes, Mix or Replace modes, and two quantization options: conventional Grid quantize and Shuffle quantize (adding triplet feel), both with adjustable strength percentage for loose application. Real-time erase functionality allows note deletion without stopping recording.
Step-time recording provides precise note placement through clearly displayed note values chosen via keypad, with configurable gate-time and velocity parameters. Notes can be input from an attached keyboard with velocity derived from keystrokes, or laboriously via Shift button and keypad combinations. The system supports chord entry, tied notes, rests, and Pattern Call event insertion.
Pattern-based sequencing offers 100 Patterns per Song, each capable of containing any material from single-bar drum loops to 16-bar multi-part arrangements of any length. All Song mode recording and editing options apply to Patterns. Patterns can be assigned to Song tracks via Pattern Call events (ghosted to save memory), assigned to MIDI keyboard keys for real-time triggering, or physically copied to Song tracks and vice versa.
Two editing paradigms serve different needs. Track Edit handles whole-track or sectional parameters (as small as one bar) including transposition and post-recording quantization. Fifteen comprehensive editing options each open dedicated parameter screens. The Change Velocity screen exemplifies the system's sophistication, offering track/MIDI channel specification, measure and note range definition, and velocity curve adjustment with animated graphing.
Microscope Edit provides event-by-event access to all track data, enabling precise control over individual note value, position, velocity, and gate time. All MIDI data types — program changes, control changes, SysEx strings, and notes — can be inserted. Multi-MIDI channel tracks are easily edited on a per-channel basis through channel masking. This text-heavy mode resembles software sequencer event lists and serves as the exclusive interface for selecting and editing optional sound board voices.
The MC-80's quantization rivals professional software sequencers. Beyond basic grid and shuffle methods, detailed Groove facilities provide 71 rhythmic feel templates spanning Dance, Fusion, Reggae, Pop, Rhumba, Samba, and Salsa genres, plus 16 user templates. A strength parameter (0-100 percent) allows subtle application of specific grooves. A preview facility enables template audition before commitment.
The sophisticated arpeggiator features 41 Styles ranging from traditional chord arpeggiation to pattern-like effects including synth patterns, slap-bass lines, rhythm guitar emulations, and Latin rhythms. Configuration includes 38 Motif options (controlling note order), approximately 90 Beat Pattern options (varying accent and note length), plus accent rate, shuffle rate, octave range, and key velocity parameters. Each Style accesses Roland-curated suitable options for Motif and Beat Pattern, while the Limitless Style enables full configurability. Arpeggiations record directly into Songs, though a slight recording start jump can be mitigated by allowing an empty opening bar or playing chords during metronome count-in.
The MC80 revolutionizes Microcomposer storage capabilities. Standard equipment includes a high-density 3.5-inch floppy drive, but the unit accommodates internal laptop IDE hard drives or Iomega Zip drives, plus external Zip drive connection via SCSI option. This massive storage potential supports live performance by eliminating mid-gig disk swapping. The Disk Quick Play feature enables direct playback of native and MIDI Files from disk, providing access to as many Songs as storage media can hold. The trade-off is single Song memory on the sequencer itself, mitigated by hard or Zip disk functioning as near-instant virtual memory.
Large drive support introduces computer-like logical folder-based file structure and requires three-button shutdown procedure at session end. The MC-80 loads files from previous Microcomposer family members and XP-series workstations, though such files cannot be edited or accessed via Disk Quick Play without first loading and re-saving in MC-80 format.
The user-installable VE-GS Pro sound card, derived from the SC-88 Pro General MIDI/GS sound module, provides over 1100 patches, 42 rhythm sets, two global and one insertion effects, 32-part multitimbrality, and 64-voice polyphony. The MC-80 can route data to all 32 sound board parts, 16 sound board plus 16 external parts, or all 32 external parts — the sound board does not add multitimbrality.
Sound source integration presents limitations. Direct sound editing is impossible, and no dedicated sound-mixer window exists for level, pan, and effects setup. All patch selection, parameter adjustment, effects configuration, and sound tweaking requires manual data insertion via Microscope Edit using controller numbers (comprehensively listed in documentation, though full effects parameter access requires separate MIDI Implementation document). A scrollable GM/XG patch list facilitates program change event creation. While an external hardware controller would ease operation, the sound quality represents the pinnacle of General MIDI standards.
Hardware sequencers excel in live contexts, and the MC80 specifically targets stage use. Real-time Phrase Sequencing (RPS) enables Pattern triggering from MIDI keyboards. Chain Play defines and plays song lists from disk without intervention—ideal for complete set backing tracks. A Wait soft key finishes the current song and pauses until Play is pressed. Track mute buttons support on-the-fly remixing during playback, though mute recording is not available.
Four Mark/Jump buttons labeled Verse, Chorus, Break, and Ending create instant markers when pressed during playback, enabling real-time song rearrangement. Shift clears old markers for on-the-fly set reconstruction. Shift + End/Fade Out initiates song fade-out over user-definable intervals. Music Minus One mode facilitates soloing along with backing tracks, though this essentially duplicates simple track muting.
The MC80 operates at 480 pulses per quarter note (ppqn) resolution, substantially increased from the MC50 MkII's 96ppqn to match leading computer sequencers. MIDI Time Code (MTC) enables recorder synchronization while MIDI Machine Control (MMC) provides recorder transport control. The MC50's built-in FSK-based sync-code generator has been eliminated.
The 120,000-note onboard sequence memory provides substantial working space. Tempo and Time Signature tracks offer dynamic song structure control. Single-level Undo/Redo functionality provides safety net for editing operations. On-line Help files, though sometimes simply reiterating function definitions in occasionally garbled English, include a soft-key option for immediate navigation to described operations or modes—particularly helpful for newcomers.
The MC-80 comprehensively improves upon the MC-50 across virtually all operational aspects. Navigation benefits from six LCD function keys, alpha dial, and cursor keys versus MC-50 shifted key combinations. The large LCD enables multiple simultaneous MIDI event viewing versus single-event display on MC-50's two-line screen. Storage advances dramatically: the MC-80 accepts standard 1.44MB HD floppies versus MC-50's 720K DD disks, plus optional internal hard drive or Zip drive versus MC-50's bit-by-bit memory-based disk backup requiring multiple swaps.
Additional MC-80 advantages include extra MIDI In, 16 versus eight tracks, and internal PSU. The singular MC-50 feature absent from MC-80 is the step-time grid programming interface similar to TR-808/909 drum machines, where rhythm events place into quantized grid slots for each drum. Experienced users could build complex patterns by entering number values without audition. This omission affects those relying on this method for drum programming but doesn't impact MIDI file loop importers or external drum machine users.
Certain operational aspects require multiple button presses — saving a Song demands four pushes, while shutdown requires three. The manual quality disappoints, though MIDI Implementation documentation comprehensively covers sound board parameters. Only one Song resides in memory simultaneously, addressed by Disk Quick Play virtual memory approach. The absence of dedicated mini-keyboard (like MC-303/ MC-505 and Yamaha QY300/ QY700) prevents fully self-contained composition capability. Real-time control knobs or sliders for sound tweaks and MIDI/mixer data generation would enhance functionality, as would graphic sound and effect editing interface. The 1991 MV-30 provided MC-style sequencing, RPS, built-in editable sound source, and hardware mixer section — possibly avoided to prevent MC-80/MC-505 feature overlap.
The MC-80 competes with Yamaha's QY300/ QY700. The QY700 features mini-keyboard, huge squarish LCD with sophisticated graphics, mixer page, software-like XG sound source and effects editing, non-volatile RAM storing up to 20 songs, floppy drive but no mass storage option, and up to 48 sequencer tracks if 16 trigger internal sounds. While lacking the MC-80's sophisticated arpeggiator, the QY700 offers comprehensive auto-accompaniment facilities. QY300 is a cheaper alternative with similar functionality, smaller size and smaller display, but very potent too.
The MC-80 delivers deluxe hardware sequencing without computer expense, desk space, or fan noise, with obvious portability advantages. Composition creation proves straightforward and quick across three recording methods. Editing features demonstrate logical, well-considered design with numerous shortcuts and effective large display utilization. The machine matches MC-50 usability while feeling considerably faster, destined to become as steadfast a companion to owners as its predecessor.
Country of origin / production: Japan
Recommend product to a friend| Usage area | |
|---|---|
| Sound Module/ Tone Generator | |
| Groovebox/ MPC | |
| Usage Design/ Form Factor | |
| Without Keys, Desktop | |
| Archetype | |
| Digital (D) | |
| Production start | 1999 |
| Production ended | |
The Yamaha QY700 is a music production workstation released by Yamaha in 1997. It is a powerful and versatile MIDI sequencer and sound module that allows users to compose, arrange, and record music. It features a built-in 16-track sequencer, a variety of...
