Roland Groovebox MC-505 Betriebsanleitung

It all started with the MC-303 in 1996. Then, in 1998,

the MC-505 Groove Box exploded on the scene and

added a whole new dimension to the word "Groove."

With over 500 sounds, 64-voice polyphony, a large

sequencer capacity, extensive MIDI implementation, and

an infrared D-Beam* controller, the MC-505 is all you

need to make professional sounding grooves. The pur-

pose of this document is to help the intermediate to

advanced user probe the depths of the MC-505. We will

assume that you already have a good grasp of the basic

operations including selecting and muting patterns, as

well as writing and recording your own patterns and

songs. If you are new to the MC-505 or need to review

these basic concepts, follow along with the Quick Start

(included with your MC-505). Another good source of

basic information is the MC-505 TurboStart, which is

available from our FaxBack system (document #20070)

or from our Website (www.rolandus.com).

We will cover the following topics in this document:

I. Selecting and assigning effects on the MC-505.

II. Using the Mute function.

III. Pattern Sets and the Pattern Call function.

IV. Assigning and using the individual outputs.

V. Creating reverse drum sounds on the fly.

VI. Copying RPS patterns for additional editing.

VII. D-Beam tricks.

VII. Internet resources for MC-505 users.

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SN90 v1.0

October 20th, 1998

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*D-Beam controller technology has been licensed from

Interactive Light Inc.

IInnddeexx

I. Effects

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

Effects can significantly change a sound or a whole

groove. The same pattern can be made to sound very

different when an effect is applied. The MC-505 has 3

separate effects processors that can be assigned to any

Part or rhythm instrument. These effects are an impor-

tant part of creating an interesting and satisfying pattern

or song. The effects in the MC-505 include:

· Reverb - 6 types

· Delay - 2 types

· Insert - 23 effects

The Insert effects range from common effects such as

overdrive and flanger, to unique effects such as Lo-Fi,

Phonograph, Radio Tuning, and Slicer. Use the following

procedure to add some record noise to one of your

grooves:

1) Hold EFFECTS SELECT (the [*] button) and press

CARD/*EFX so it is lit.

2) Continue to hold EFFECTS SELECT, and use the

VALUE dial to select "PHONO."

3) Press EFFECT SELECT to light the EFX OUTPUT

LEVEL indicator.

4) Rotate the EFX knob all the way clockwise.

5) Press TEMPO/MIXER then press MIXER SELECT to

light the EFX/OUT indicator.

6) Use the mixer sliders to turn on/off the phonograph

effect for the desired Parts.

7) Press PLAY. Hold EFFECTS SELECT and use the

VALUE dial to select different effects.

These new effects settings can be saved in a pattern.

Use the following procedure:

1) Press PNT/SONG.

2) Press WRITE and use the VALUE dial to select the

desired destination pattern.

3) Press ENTER twice.

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II. Power Muting

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Sequencing

You may have already mastered the concept of muting

individual Parts of a pattern. But what if you need to

mute out several Parts (or all Parts) of a pattern at the

same time? Use the following procedure (called All

Mute) to mute all the Parts simultaneously:

1) Select Pattern P:049 and press PLAY.

2) While holding PART MUTE, press RHYTHM MUTE.

All Parts are muted.

3) Hold PART MUTE and press RHYTHM MUTE again to

toggle between All Mute and All Play.

Now, use Solo Mute to break down the pattern to just

one Part:

4) While holding PART MUTE, press the Part R select

button to solo the Rhythm Part.

Suppose we want to hear everything except the drums.

Since we currently are hearing only the Rhythm Part, we

can use Mute Exchange to quickly invert the status of

our mutes:

5) While holding PART MUTE, press PART SELECT. The

Rhythm Part will be muted, but all other Parts will

play.

Another feature of the MC-505 allows the mute status

of the current pattern to be held over for the next pat-

tern. This technique is referred to as Mute Remain:

6) Continue to play back Pattern P:049 and mute out

everything except for Parts R and 2.

7) While the pattern is playing back, press PLAY again

(so it begins to flash).

8) Press the INC button to select the next consecutive

pattern. The next pattern will play back using the

mute status of the previous pattern.

As you can see, the MC-505 allows you to alter pat-

terns in several ways quickly and easily in realtime.

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III. Pattern Call

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

Many performing DJs dont compose a song ahead of

time. Instead, they improvise various grooves and pat-

terns on the fly. This can be accomplished by using the

MC-505s Pattern Call feature, which lets you have a

specific collection of patterns assigned to the KEY PAD

buttons. You can select a pattern with a KEY PAD

which will continue to play back until you select a differ-

ent pattern. A collection of up to 16 patterns (one

assigned to each KEY PAD) is referred to as a Pattern

Set. For our example, lets assign a few patterns

(P:031, P:009, P:003, P:197, P:009, and U:001) to a

Pattern Set:

1) Press PTN SET and use the VALUE dial to select the

first User Pattern Set "U:01 Techno 1."

2) Press PTN/SONG and use the VALUE dial to select

the first pattern "P:031 NU-NRG 4."

3) While holding PTN/CALL, press KEY PAD 1, the LCD

display will briefly indicate "Complete!"

4) Use the VALUE dial to select our next pattern

"P:009 Psy Trance 9."

5) While holding PTN/CALL, press KEY PAD 2, again,

the LCD display will briefly indicate "Complete!"

6) Repeat steps 4-5 to continue to register the

remaining patterns (P:003, P:197, P:009, and U:001)

to KEY PADs 3, 4, 5, and 6.

Now lets use the Pattern Call function to play the

Pattern Set weve just made:

1) Press PTN/CALL so it is lit

2) Press KEY PAD 1. The first pattern weve registered

(P:031) should appear in the LED display.

3) Press PLAY to begin playback of the pattern.

4) Use the KEY PAD 2-6 buttons to select other

patterns. As soon as the current pattern has finished,

the next pattern will play.

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Pattern Call (continued)

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

Now lets assign a footswitch to cycle through the

Pattern Set weve created:

1) Connect a Roland DP-2 or BOSS FS-5U footswitch to

the PEDAL input on the rear of the MC-505.

2) Hold SHIFT and press KEY PAD 10.

3) Use the PAGE < / > buttons to select

"Pdl Assign =HOLD."

4) Use the VALUE dial to select "Pdl Assign=PTN-I."

5) Press EXIT and wait until the "ProcessingKeep

Power ON!" message disappears.

6) Press PTN/SONG then press PTN CALL so it is lit.

7) Press KEY PAD 1 to recall the first pattern weve

assigned (P:031).

8) Press PLAY to begin playback of the pattern.

9) Press the footswitch once. When the current pattern

has finished, each press of the footswitch will

advance to the next assigned pattern in the pattern

set.

Using the footswitch to select patterns can free up your

hands to play another instrument, use the D-Beam, the

realtime controls, and the mixer section of the MC-505.

IV. Using Direct Outputs

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

In most recording studios and many live performance

setups, it is preferable to use individual outputs to send

specific Parts or instruments to a mixer for processing or

to give more control to the engineer. The MC-505 is

normally set to use the LEFT/RIGHT MIX outputs.

However, it is possible to send any Part of a pattern to

the DIRECT 1 and DIRECT 2

outputs on the rear of the

MC-505. Use the following

procedure to utilize the

DIRECT 1/DIRECT 2 out-

puts:

1) Connect the desired outputs of the MC-505 to the

appropriate inputs of your external device.

2) Press PTN/SONG and use the VALUE dial to select

the desired pattern.

3) Press MIXER SELECT to light the EFX/OUT indicator.

4) Press TEMPO/MIXER in the DISPLAY section.

5) Hold SHIFT and use the PART MIXER slider for each

Part to select the desired output destination, DRY,

EFX, DIR1, or DIR2. Consult Figure 5 to determine

the routing assignments:

6) Press PLAY to listen to the pattern now utilizing the

DIRECT outputs.

You can use the PAN controls to move a Part to just

one output if you would like to have several mono out-

puts. Use the following procedure to set Part 2 to play

only from the left DIRECT 1 output:

1) Assign Part 2 to the DIRECT 1 output destination (as

previously described).

2) Press MIXER SELECT to light the PAN indicator.

3) Use the PART MIXER slider for Part 2 to select

"L64."

DRY: Signal is sent to LEFT/RIGHT MIX outputs and not routed through the EFX processor.

EFX: Signal is sent to LEFT/RIGHT MIX outputs and routed through the EFX processor.

DIR1:Signal is sent to DIRECT 1 outputs.

DIR2:Signal is sent to DIRECT 2 outputs.

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V. Reverse Drum Hits

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

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Just as a DJ has the ability to spin a record backwards,

you can use the KEY SHIFT function in the Part Mixer to

simulate reverse drum hits when applied to the Rhythm

Part. Use the following procedure to simulate the effect

of backwards grooves:

1) Select Pattern P:143 HipHop West 1, and press

PLAY.

2) Press MIXER SELECT to light the KEY SHIFT

indicator, then press TEMPO/MIXER.

3) Quickly move the PART MIXER slider for PART R all

the way up for a reversed drum effect.

4) Move the PART MIXER slider for PART R to the

middle position to turn the reverse effect off.

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VII. D-Beam Tricks

VI. Copying RPS Phrases

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

The MC-505 contains 60 RPS sets covering a wide vari-

ety of styles. Each RPS set contains up to 16 RPS

phrases. Perhaps you have found an RPS key that con-

tains a part you might want to include in one of your

own patterns. RPS phrases do not actually contain pat-

tern data (they simply "point" to an existing pattern).

Because of this, you can easily copy the source pattern

of the RPS phrase to your User pattern for further edit-

ing. Use the following procedure to locate the source for

a RPS phrase and copy it to a new pattern:

1) Hold the desired RPS phrase on one of the KEY

PADs, then press and hold PTN/SONG. The LCD will

display the source pattern and Part for the RPS

phrase.

2) Release all buttons and use the VALUE dial to select

the pattern indicated in the display from step 1.

3) Hold EDIT and press KEY PAD 1.

4) Use the PART SELECT buttons (just below the Part

Mixer Sliders) to select the Part you wish to copy.

5) Use the VALUE dial to select "From=1." Press

ENTER and use the VALUE dial to select

"For=ALL."

6) Press ENTER and use the VALUE dial to select the

destination pattern.

7) Press ENTER twice and use the VALUE dial to select

"Status=ALL."

8) Press ENTER and use the VALUE dial to select

"Mode=REPLACE."

9) Press ENTER and use the VALUE dial to select

"Times=1."

10) Press ENTER twice.

The infrared D-Beam controller is just one of the many

impressive features of the MC-505. From the default

settings, the D-Beam allows you to select either

Turntable, Cutoff + Resonance or Ad Lib effects allow-

ing you to physically interact with your patterns and

sounds. There are 28 additional control types available

for use by the D-Beam.

Assigning the D-Beam

Use the following procedure to assign the D-Beam con-

troller to any of the 28 available control types:

1) Hold the D-BEAM CONTROLLER SELECT button and

use the VALUE dial to select one of the 28 D-Beam

control types.

2) Press the D-BEAM CONTROLLER ON/OFF button so

it is lit to activate the D-Beam.

Using the Adlib Function

The D-Beam can be made to emulate to sound of a

Theramin (a unique instrument that is played by waving

your hands near two metal antennas) by using the Adlib

control type. Use the following procedure:

1) Press PATCH in the DISPLAY section.

2) Press PART SELECT and use the PART SELECT but

tons to select Part 1.

3) Use the VALUE dial to select Patch "P:A054 Sine

Tone."

4) Hold the D-BEAM CONTROLLER SELECT button and

use the VALUE dial to select "26:Note+Bend [A4]."

5) Press the D-BEAM CONTROLLER ON/OFF button so

it is lit. This will activate the D-Beam.

6) Move your hand at various distances over the

D-Beam Controller to utilize the Note+Bend effect.

Next, we will improve the sound of our Theramin by

increasing the range of the pitch change:

7) Hold EDIT and press KEY PAD 14.

8) Use the PAGE < / > buttons to select "BEND: Bend

Down."

D-Beam Tricks (continued)

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

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D-Beam Tricks (continued)

®ÂØÒÅÎ Supplemental Notes MC-505 Advanced Programming

9) Use the VALUE dial to set the bend down range to

"-48."

10) If desired, press WRITE and save the edited Patch to

an empty USER Patch location.

Now, the D-Beam will smoothly change the pitch of Part

1 over a range of five octaves.

Using the D-Beam to Trigger External Devices

We can make a few modifications in the above steps to

trigger an external MIDI sampler, sound module, or key-

board. Needless to say, waving your hand in mid air to

trigger a sound or phrase can be very cool. Use the fol-

lowing procedure to trigger a sample from the Boss SP-

202 Dr. Sample using the D-Beam:

1) Connect audio cables from the L/R LINE OUT jacks of

the SP-202 into the corresponding inputs of your

external mixer, amplifier, or receiver.

2) Connect a MIDI cable from the MIDI OUT jack of the

MC-505 to the MIDI IN jack of the SP-202.

3) Power on the SP-202 while holding PAD 1 to set it

to receive on MIDI channel 1.

4) Verify that a sample has been recorded and assigned

to PAD 1 of your SP-202.

5) On the MC-505, press PART SELECT and use the

PART SELECT buttons to select Part 1.

6) Use the OCTAVE - and + buttons to select

"OCT -2" in the LED display.

7) Verify that KEY PAD 2 on the MC-505 triggers the

sample assigned to PAD 1 on the SP-202.

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