Roland MC-303 Review by Darwin Grosse.

INTRODUCTION

I have been, and I'm sure you've been, disappointed with the current spate
of reviews of the new Roland MC-303 'Groovebox'. It is just too difficult
to make a buying decision based on one large picture, and eight paragraphs
about its cool sound. I received an MC-303 a few weeks ago, and have spent
a significant amount of time working with it. I've used it for recording,
live performance and as a MIDI driver for other boxes. This is the most
detailed and extensive review I've seen anywhere, and I hope you find it
useful.

For what it's worth, I've got very little invested in the MC-303. I got it
as part of a barter deal, so I have very little money invested in it. I
also don't see making a lot of money with it, so I have little economic
interest either. I say this because of some other synths that I've
talked-about/defended in the past (like that VAST machine so many of you
love...).

If you haven't seen one, the MC-303 is an attempt by Roland to capitalize
on the current excitement for old Roland 'x0x' boxes. This 303 is a
multitimbral synth, with built in sequencer (with both real-time and
step-time programming modes), arpeggiator and effects processor. It also
has a few 'special' features, such as real-time filter control and the RPS
- a real-time phrase playback mechanism.

I will format this review in the same way that I learned the machine - by
comparing various features against other devices I've used. This review
will also be somewhat time-locked, since Roland is expected to update the
operating system as bugs are found and fixed. The scope of this instrument
is pretty wide, and therefore difficult to review in detail. I hope that
you will forgive the length of the review in exchange for some measure of
completeness. Also, since they are irrelevant to me, I'll spend zero time
reviewing the internal patterns and sequences -- if you want to hear them,
check them out at a local music shop.

Roland MC-303, Groovebox, TR-909, TB-303 and others are either trademarks
of Roland, or their lawyers ought to get off their asses and get something
done. Woody McBride's and Richie Hawtin's names are used without
permission -- sorry for the inconvenience, guys. 2Unlimited's name is
simply used without permission. If I've angered anyone else, sue me -- you
can have my car payments! This document is copyright 1997 by Darwin
Grosse. All rights are reserved, as if anyone wanted them...


MC-303 AS DRUM MACHINE (the 909 factor)

Upon receiving the MC-303, I immediately dove into the drum programming. I
really appreciated the TR-909's drum pattern programming system, and have
recently been using some computer models (Logic Environments and MAX
programs) to simulate this functionality. I was very curious as to the
effectiveness of the MC-303 for this type of percussion programming.

Like the 909, the MC-303 features a number of buttons with embedded LED's.
These lights are used for two purposes - to show the currently playing
beat, and to show drum hits that have been programmed in step-time. On the
MC-303, the step-time programming paradigm is kept pretty intact. You
select a drum instrument and hit the keys representing the step where it
should sound. Given that the MC-303 is a digital, sample-based system, you
have access to many more sounds than the TR-909 makes available - 108 sound
are available on the rhythm programming channel.

108 sounds are a bonanza, but there is a very dark secret here - and one
that I will often repeat. The sounds, and their layout on the virtual
keyboard, are not editable without some fancy-pants computer editor. Even
then, a number of parameters simply cannot be permanently changed. No way
to replace that over-used laughter sample (MIDI note #101 on all of the
internal rhythm sets) to something more useful. No way to tune the kick to
the rest of the song. No way to down-sample the snare into a
death-marching-drum. A large issue for anyone looking to use the MC-303
for extensive recording!

The sounds of the supplied kits are good, if somewhat dated. The 909 and
CR-78 sounds (especially with the additional sounds at the lower end of the
key range) are very useful, and the Jungle kit makes the whole thing sound,
well, correct.

Accenting on the MC-303 is very different from the TR-909's system. With
the 909, you could accent (when available) a single beat by hitting that
button a second time. There was also an accent 'instrument' which would
affect all instruments on a specific beat. On the MC-303, there is no
equivalent of the accent 'instrument'. However, for individual beats,
there are four velocity levels available. By selecting the appropriate
accent level, it's easy to create a snare roll with a groove, or punch up a
hi-hat pattern. However, the lack of overall accent makes "back-beat push"
a more tedious process.

The step -time programmer suffers from a significant load-time issue. The
TR-909 had, for lack of a better term, an 'on-the-fly' character. When I
used the 909, I generally stayed in WRITE mode, and made adjustments to a
pattern close to real-time. I'd groove along with a pattern, then quickly
add or remove drum hits as I chose. The MC-303 seems to use a different
process. Each time the MC-303 is about to begin playing a measure, it
appears to 'snapshot' it into memory, and will then play back that 'image'
of that measure. Hence, if I'm adding a snare roll to the end of a measure
while that measure is loaded into memory, only those drum hits that existed
at the time of the 'snapshot' will be played back. This is much less
'organic' than the 909, and proves to be disturbing when trying to play the
303 as a real-time drum programming device.

Unfortunately, there are other reasons that will probably preclude me from
ever using the 303 as a real-time, write-mode device. Basically, the rest
of the synthesizer is 'turned off' when you are doing step-time recording.
The means that you cannot change kits, adjust effects or filters or change
muting. Since all of these options would be very necessary for write-mode
performance, the MC-303 loses major points as a live creativity tool.

On the other hand, as a straight rhythm programmer, the MC-303 has a number
of excellent extensions to the TR-909 interface. A rhythm pattern can be
up to 32 measures in length. These patterns can be in 2/4, 3/4 or 4/4
time, and can have up to a two measure count-in (for real-time entry).
There is also a real-time option that will wait for a note to be pressed to
start pattern entry.

The MC-303 also has a very nice muting system. Rhythm programming is
available only on the 'Rhythm Part'. However, when you use this 'Rhythm
Part', you have access to a second tier of mutes -- allowing you to
interactively mute/unmute any one of eight 'type' of sound (kicks, snares,
hats, claps, cymbals, toms/percussion, hits and 'other'). When using a
stored pattern during live performance, this muting function is great
modifying the rhythm dynamics. The individual rhythm pattern mutes can be
stored with a pattern, or can be manipulated in real-time. As with many
functions, if the mutes are done in real-time (i.e., if you are not
recording when you make the mutes), the mute changes will be lost when you
change patterns.

Real-time (non-step-entry) mode turns out to be very important for
programming rhythms on the MC-303. First, during step-time programming,
you are unable to change mutes, effects levels, volume levels or filter
settings. These can all be set (and recorded) when running in real-time
record mode. In this way, a jungle-y filter sweep can be pre-programmed in
a pattern, giving you one less knob to turn at performance time. During
the performance of a pattern, all of the stored settings can be overridden
by simply adjusting the appropriate function's controller. Once you've
modified a function, the MC-303 turns over control to you, in essence
eliminating the internal stored function changes. You maintain control of
that function until you change patterns.

So, how did I fare with the MC-303 as a rhythm programmer? The load-time
issue really ticked me off initially. It still does. I was hoping that
the MC-303 could be a real-time creativity device in the same way that the
TR-909 was. No such luck. However, the good MIDI control (basically, grid
control of 108 MIDI notes), the four velocity levels and the real-time
adjustment are enjoyable, and I find myself writing pretty good percussion
tracks with the MC-303 as the controller.

Score: 5 1/2-out-of-10 Richie Hawtins (minus 2 for the real-time
problems, minus two for lack of programmability, minus 1/2 for some static
digital sounds)


MC-303 AS A BASS SYNTHESIZER (the 303 factor)

Given the numbering scheme chosen for this box, the obvious question is
whether this can be used as a replacement for the ubiquitous Bassline. The
short answer -- no. And I'm not going to do the purest thing, OK?

As stated above, the MC-303 is strictly a digital sample-playback box. In
order to make the 303 "acid-y", a real-time control of filter cutoff and
filter resonance was added. Although these are welcome on any synth, it's
a bit too little in this case. You are given a number of TB samples to
manipulate, and pretty much have to do with those. Your mileage may vary,
but I found the majority of them to simply be too tame. The resonance does
not have a high degree of "squelch", there is only a single lowpass filter
option and the cutoff cannot be forced to key-follow. Hence, a filter
setting appropriate for one set of notes may not be applicable for the
entire range of a pattern. A quick scan of the MIDI implementation
verifies that there is neither a key-follow, nor any filter option other
than lowpass. Again, there is little opportunity to modify the sound
chosen, although there are more options than with drum instruments.

The sequencer/programmer is excellent. It is quite similar to the
TB-303/MC-202 style of programming, with entry of individual steps, rests
and ties, octave select buttons and the works. As with the rhythm parts,
you can choose between four velocity settings for each note; in addition,
there are four gate times available for each note (a la MC-202). Very
flexible, and opens the door for some interesting programming. Sadly, and
again like the rhythm programmer, you cannot enter real-time function
changes while in step time. This really becomes crucial with TB-like acid
line containing slides and filter changes.

If you wish to enter slides, you can try it in real-time mode. The slide
function is really a portamento (again, like the MC-202). If you want to
program slides/portamento/filter-sweeps into your pattern, you simply
record the changes using the real-time recorder function. While the
pattern plays, you can hit the portamento button or change the filter
setting, and the control movements will be recorded. The only caveat --
there seems to be an operating system glitch that will mute notes that
appear too close to a portamento button it. I believe that this is related
to the Portamento button's dual use -- when portamento is on for a channel,
that channel becomes a monophonic channel. When it is switched off, the
channel is polyphonic. This mode change may explain the glitches that
occurred when severely exercising the portamento button. The solution is
to record the portamento changes at a _very_ slow tempo, giving plenty of
room around surrounding notes (if possible). Filter changes, and other
real-time controls, do not seem to affect the sounding of notes.

The other problem I have with the pattern sequencer: it's too difficult to
change information in a pattern. Frankly, it has proven to be easier to
either live with a less-than-perfect pattern/track, or to completely
re-record it. As a dedicated computer-sequencer user, you can bet I'm not
too happy about that. Especially given the joyous big-chicklet keyboard on
the MC-303!

Pattern editing functions include: Pattern and part copy (smallest unit -
one measure), pattern and part erase (again, smallest unit is one measure),
blank measure insert, key transpose (either the whole 'part' -- all notes
in one channel -- or a range of notes within a single 'part'), velocity
change (entire part - no changes for individual notes!) , gate time (again,
only the entire part), time shifting (entire part, again), data thinning
(no control over which functions get thinned -- all controllers for a part
are thinned!) and part quantize. Grrrr. This grew tiresome, and proved to
limit the complexity of part that I built into a pattern.

The other sequencing problem occurs with the MIDI implementation. Simply
put, the MC-303 will not transmit anything beyond the MIDI note and
velocity information. Why is this so important, you ask? Well, here's my
situation. I don't like the MC-303's internal TB-303 emulation. I want to
use the Will System's MAB-303 I have. The MAB uses the Portamento
controller to signal slides, and velocity changes to signal accents. The
MC-303 will transmit the notes, and the velocity of each note. That's
great. However, the all-important slides (even when programmed into the
MC-303 as portamento controller changes) will not be transmitted!
Therefore, no slides on the MAB-303! Since a number of 'boxes' are
appearing that will support MIDI controller messages (BassStation, MAB,
Pulse, etc.), the total lack of controller transmission means that the
MC-303 often cannot be used as a bass sequencer for live techno.
Troubling, since it would appear that is exactly what the MC-303 was
created for...

Finally, the output configuration comes into play here. Two outputs for a
machine with drums, bass lines and pads is simply too few. Even for live
performance. Without the ability to manipulate the individual instruments
externally (with delays, filters or whatever), a lot of the flexibility
seems to be gone.

Score: 4 out of 10 Woody McBrides (minus 2 for the sounds, minus four for
the sequencer limitations)


MC-303 AS A SEQUENCE PLAYBACK TOOL (the MMT-8 factor)

Given the above griping about the sequencer limitations, the lack of full
MIDI record and transmit, and the dichotomy between step-time and real-time
recording methods, you can bet I'm not expecting you to sell your MMT-8.
However, there are a few real positive things to say, here.

First, the mute functionality really excels. Have the ability to mute
individual percussion sections (as stated in the DRUM PROGRAMMER section)
really puts the MC-303 a step above the MMT-8 for this type of programming.
Also, the inclusion of a serious quantize function really makes this thing
shine. The quantize function allows you to 'dial in' the amount of
quantize to apply, and provides three types of quantize -- grid, shuffle or
'groove'. As you might expect, used in moderation these quantize function
can spice up an otherwise sleepy track, and the templates available for the
groove quantize exceed those that are available in any of the software
sequencers I've been using. Of course, there is no way to quantize one
track to another's contents, but that is a function that only recently has
been available in software tools. In addition to 'dialing in' the amount
of timing effect, you can also 'dial in' the amount of velocity adjustment
that a groove quantize function will provide.

My only concern with the quantize functions has to do with the internal
timing of the MC-303. The 303 is based on 96ppq timing, and it sometime
feels as though the quantize function 'steps' a bit too much. My
assumption is that the granularity of the internal timing is adversely
affecting the smoothness of the quantize functionality. I may be wrong,
and I've done no timing studies to verify this, but I can 'feel' the
quantize function jerk around the timing in an uncomfortable way.

The MC-303 includes an arpeggiator, and some of these functions are just
great. The output of the arpeggiator can be recorded to the sequencer, and
can follow a number of internal templates. Some of these templates are
excellent. There are a number of arpeggiator templates that simulate
guitar picking and such. However, I found that the "Sequence" options are
the best, especially if you make appropriate adjustments to the 'Accent
Rate' control. If nothing else, these arpeggiators are incredible fun, and
could (perhaps) be used to spur some creative moments.

One final note on the sequencer functions. There has been a lot of
discussion about the limited number of user patterns (50), and the large
number of preset rhythms. All true, but I've not run into many problems in
this area. First, in addition to the 50 user patterns, you can enter 300
'Variation' patterns. This is basically a pattern (either preset or user)
with alternate mute settings. This may not seem that impressive, but it
provide incredible functionality when creating songs. A song, on the
MC-303, is a string of patterns, each of which has one rhythm and seven
synth parts. The way you end up programming a song is by creating patterns
that are 'chuck full' of tracks, then creating variations that mutes
combinations of tracks. Using this paradigm, you can create 5 very full
patterns, then use mute variations to 'thin' the patterns into a song with
an appropriate structure. All-in-all, this actually works fine for me...

In addition to the sequencer and arpeggiator, there is an additional
playback function -- the RPS, or Real-time Phrase Sequence. The RPS system
allows you to assign parts (single tracks from a pattern) to a key, and
trigger that part at any time using the MC-303 keyboard. Big fun! The RPS
can use parts from either preset or user patterns, and this really broadens
what can happen during a live gig. For example, last week I played a fun
little mini-gig. I played MC-303, a friend played tape deck and noise
boxes, and some Goth Gal screaming somewhere along with us. Like I said --
fun. No rehearsals, no pressure. I set up a real simple user pattern with
a bass part and a rhythm part. I also set up a comprehensive set of RPS
keys to provide guitar wacka-wacka, breakbeats, synth turnarounds and other
fun stuff. I had a blast, my friend thought it was a hoot, and (since I
was playing the works through someone's bass amp) no one got hurt. This
really work similar to Studio Vision's MIDI Keys, and really can be used to
spice up a live set. Well recommended!

One bug was found here -- if you do some odd combination of keystrokes (I
think that you have to select a new RPS set while the sequencer is running,
and is about to load another pattern, or something) the whole works
crashes. It will either play some arbitrary pile of notes, or will simply
freeze. When this happens (and, in the heat of the gig, it will), keep
nodding your head, smile at your S.O., and reboot! I expect this to be
fixed in the next rev...

Score: 7 out of 10 Orbitals (minus four, again, for the poor MIDI record
and transmit, minus 1/2 for the perceived timebase problem, plus an
additional 1/2 for the variety of arpeggiations and grooves, plus an
additional 1 for the way-cool RPS function.)


MC-303 AS TECHNO SYNTH (the legendary General Techno [tm] factor)

Well, it's a bunch of samples. A pile of them are old-hat orchestral hits
that nobody outside of Ibiza would use. Some of them are funky and nice.
A few of them transcend into the "gotta-use-'em" set. The drums are
excellent sample sets. However, tone modification is a bit of a bitch.
The following is a list of the modifications that you can make to the
sounds:

LEVEL
PAN (including RANDOM PAN)
PORTAMENTO ON/OFF and PORTAMENTO TIME
LFO RATE, SHAPE, AMOUNT and DESTINATION(PITCH, FILTER and AMP)
FILTER CUTOFF and RESONANCE
AMPLITUDE ENVELOPE ATTACK, DECAY and RELEASE
BEND RANGE

Does something seem to be missing? Does A LOT seem to be missing? Damn
right! How about a high-pass filter? How about an envelope for the
filter? LFO delay? Man, this is just depressing... Perhaps I've not
gotten comfortable with SoundCanvas style synthesizer, but I doubt I will
ever get comfortable with exceedingly limited functionality.

Frankly, one thing that Roland, and other manufacturers making dance music
modules, must remember is the transient nature of the sound. A sweeping
pad that is hot today will be anathema in three weeks. No one significant
has user _that_ orchestra hit in five years. My feeling is this -- over
the course of a few years, the MC-303 will be used as a driver for external
synthesizers, and the internal sounds (save for the drum kits) will seldom
be heard.

Given that, are there enough sounds to play with? I guess. The MC-303 has
become the box that I play with while I'm vegging in front of the
television. Given that, I can find enough sounds to write with. They get
replaced once I'm in the studio, but I can at least use them to get
started.

There is a special mode (called Sound Module Mode) in which the MC-303
becomes a 16-channel multitimbral sound module. In this mode, the MC-303
responds to a number of MIDI controllers, and can generally be used to good
effect (given the limitations of the sample set and the single pair of
outputs). Frankly, I tried this out, but will probably never use it in
this way...

Score: 4 out of 10 2Unlimiteds (minus 3 for the dated sounds, minus 3 for
the limited programming options)


MC-303 AS ITSELF (the how-I-use-it factor)

So, you want to know how I've been using the beast, huh? As I've said,
I've installed it as the watching-TV-productively tools of choice. It
works fine for that. I use it extensively as a drum programmer, and
occasionally for a step-time programmer that gets dumped to Logic Audio.
Some of the sounds are good enough that they get used in recorded tracks.
I took it to a live gig, and had fun with it (minus the crash...). It
makes 14-year-olds I know very jealous.

Most of the net-news I've seen (including most of this one) is attempting
to compare the MC-303 to old Roland boxes, or even as the Great Hope (or
Satan) of techno. I've got a totally different read on this. The MC-303
has replaced one synth in my life -- the Yamaha QY-20. I've not had the
QY-20 for long, but I no longer use it, choosing to use the 303 instead.
It is reasonably portable (although not battery powered, yet), easy to
program in a variety of ways and pretty good sounding. I generally use it
as a seed-bed, creating ideas which will eventually get moved to a more
serious sequencing or performance rig.

It's unfortunate that the MC-303 cannot be the be-all techno-box. Perhaps
an MC-303 Pro should be made -- with more user patterns (i.e., no preset
patterns), complete MIDI handling by the sequencer, more editing and
synthesis functions, non-volatile sample memory and a higher timebase. It
would probably cost $400 more to produce such a thing, but it would solve a
good number of my complaints with the MC-303 as it currently stands.

Worth the money? I don't know. Read the reviews, and read this little ol'
article. If you think you can live with the limitation, you should
probably take one home. Work with it for a few weeks, then decide. If you
no longer want it, I'm sure there are a number of kiddies out there in
net-land just waiting to buy your used techno-box...

My own, personal score: 4 1/2 out of 10 Darwins. Good enough to keep
around for a while, fun and occasionally useful, just not the majick I had
been hpoing for.

{And, in case you are wondering, I am in no way implicating that I exist in
the same stratosphere as Richie, Woody or even 2Unlimited...}

ROLAND MC-303 TEST

The unit is about the same height and weight as a TR-707, and all
knobs and switches are made in plastic (the knobs and keyboard are
even a bit weak, but it's my own taste ...) and the box itself is
metalic.

First you have 5 modes on this machines :

* 1. Tempo mode : easy to figure it out, once you are in this mode
you can change the internal tempo; here you learn that this
machine is dedicaced to all the djs because you have the main
tempo divided in 10, for exemple 148bpm starts at 148.0 and end at
148.9, so you can easily find the right and precise tempo to a mix
your tune with a running vynil of CD.
* 2. PTN set mode : here you can assign a pattern number to any of
the 16 keys of the keyboard, with this mode it's easy to jump from
pattern A01 to L35 in one click.
* 3. PTN/SONG mode : the main mode of the machine, I only checked
the pattern mode as far as the song mode is only a chain of
various patterns. First let me tell you that you have a *LOT* of
preset patterns, in various style bank (mainly goa-trance, house
and jungle), and furthermore you have full featured patterns (with
drum, bass, strings, melody and so on ..) and some pattern only
with the drum, bass or strings parts. The built-in pattern aren't
really exceptional, except a few jungle. Too much 'cliche'.
Every pattern is at least 1 measure of 16 steps long and could be
maximum 8 measure long. Once a pattern is played ("current" on the
display) the "next" one blink on the display then it's played. You
can switch from a pattern to another with the large "data" knob.
When the pattern is playing you have access to the most impressive
and valuable feature of this unit : the realtime operations on
muting parts, filter and effects.
+ PART MUTE : you can mute part 1 to 7 in realtime (it also
mute the assigned midi channel) and for the rhythmic part you
can even select which instrument you want to mute : Bass,
Snare, Claps, Hits, Hats ... Very strong and effective for
live sets !
+ FILTERS : you can apply filter settings to all parts
including rhythm ! You just select the part to be affected
and tweak the resonance and frequency cut off knobs to apply
the filter on the part. Of Course it's digital and you wont
get any insane screams out of this box, but it's still
enjoyable with some sounds and very cool with the rhythm part
(anyway you cant apply filter on separate rhythm instuments,
but on the whole track at once). The filter doesn't sound
like on a JV-1080 or XP-serie, but it's still better than on
a Vintage Keys or a Quasar !. A nice feature.
+ ENVELOPE : you can setup the value for attack, decay and
release for each parts, including rhythm. On parts 1-7 it
works like a standard EG, the most impressive effect is on
rhythm again : you can switch to something really minimal if
you tweak both decay and release to zero amount.
+ LFO : lfo could modulate both pitch, filter and amplitude.
You have the choice between sine, random, square, triangle
waves and you can set the amplitude and speed for each
modulation's target. It's usefull for effects, but it cant
really act like an auto-filter modulation (like a SH-101 /
MC-202) because it isn't slow enough.
+ ARPEGGIO : cool feature, you have a *lot* of different
templates, you can adjust the gate time (called 'accent' !?)
and the amount of octaves.
+ EFFECTS : you can have 2 effects for each parts, selectable
DELAY or REVERB and CHORUS or FLANGER. Realtime operation are
based on effect level and time/rate. With a large level you
can get some strange distorted sounds (try FLANGER + very
quick DELAY together !). Digital noiseless effects, nice
feature too !
+ PLAY QUANTIZE : another cool tool to create some nice
variations with the rhythm part, I didnt check it too much
but it seems to works well... Except that the machine need 1
bar to switch from a quantization to another, it isn't
immediate ...
+ PART MIXER : here you can adjust the stereo position for each
parts, and the volume of each parts as well. You can also set
a 'random pan' for cool stereo effects. You can realtime
transpose a running pattern.
* 4. RPS SET mode : here you can assign a partial pattern to any of
the 16 keys of the mini-keyboard, and by playing on it, you can
launch a pattern at the same BPM; but warning : the pattern doesnt
sync together, so you need to practice a bit before getting good
results (and on the unit I check I got a small delay between the
time I pushed the key and the time the pattern started, maybe a
bug ..?). Interesting mode for adding some parts in a DJ set ...
but a bit boring after a while ...
* 5. TONE mode : In this mode you can check all sounds of the unit
on the small keyboard, you switch the sound with the data wheel
and you play, simple !
All rhythm intruments are played like a normal tonme, except if
you choose a drum kit, where all samples are mapped to another
key. Just usefull for checking the sounds.

About the sounds :

Well, I can say that the rhythm samples are cool and wide in sound
character : jungle sub-bass, techno hats, distorted kicks, wide enough
to use this box as a good drum machine ! The synth sounds aren't
really impressive, all the TB sounds are weak and not really usable as
TB-303 emulation (it reminds me more like a Novation BassStation than
a damn TB !), bass sounds like Moog or SH samples are cool enough for
those fat trance bass lines, some juno's and jupiter's as well, a few
pads, lot of effects, scartch, hits and so on. Just like a General
Midi for all techno users !

The quality itselfs is OK, no noise, all sample were (I think)
compressed, and the 'low boost' knob at the rear of the unit add a
cool bass kick to you productions (but I'm sure that everyone will use
the machine with low boost at it's maximum everytime !). Effects
sounds are clean as well as filters.

Midi implementation is cool, if you use this box a a live sequencer :
you can assign any part to any midi channel, but you have no midi THRU
! It sends the midi clock as well. You can even use the unit as a 16
midi channels expander module, but you need to switch to expander
module mode at the boot-up of the machine, and you lost all the
realtime controls, so it's a bit useless, as far as you dont have
multi-audio outputs.

Conclusion

It's a very nice toy, to compose some demo-tunes, for a cool sequencer
tool, to use as a drum machine. It's excellent for all djs who want to
add a bit of personal touch in their set due to the very precise tempo
and simple stereo outputs that you can easily plug to a dj mixer.

I THINK IT'S NOT A STUDIO TOOL ! Real musicians who have access to
high quality music modules and synthesizers could be very disapointed
with the unit !

The big minus for a toy like this : you can't use it with battery like
a 707, 303, 202, 101 and so on ... So dont even think to compose your
tune lying on a beach under the sun !!!