The Order Of The Universe
Much can be made of the MC3000's programmability, especially by using the facility for generating SysEx messages, but there are one or two ways of getting yourself into a real muddle if you're not careful. I set up a Program which sent a 'GM Mode On' message with zone A, but hadn't realised that this message would be sent after the program change and controller messages — hence they were all negated following my sound module's response to the GM reset! There doesn't seem to be any way to determine the order of such events, although using lower‑lettered zones is one, albeit inelegant, way around it. The kind of power offered by the MC3000 is a two‑edged sword — knowing your way around MIDI messages is essential to making full use of its MIDI capabilities.
Several useful features lurk in Utility mode. MIDI bulk dumps are performed from here, ensuring that precious data can be stored to an external device for safekeeping. Various dump options permit the storage of specific data types, or you can make a simple dump of everything. A very flexible MIDI monitor is included, and this could save hours of frustration in complex MIDI rigs. The MC3000 allows for selection of individual ports and even provides filtering to remove control, SysEx, or program change messages from the displayed data.
Utility mode also hosts pages where velocity and aftertouch curves are edited, Program name and port name tables are created, and tables of user‑defined SysEx messages are built. A special Tools page enables checking of battery power and memory usage, and even includes an option to change mouse 'sensibility'. Try turning it down to zero and see if it asks you to turn on Blind Date...
I've often criticised master keyboards for not providing the user with sufficient visual feedback, and I was pleased to see that the MC3000's screen display has been carefully crafted to provide clear, consistent information.
I've often criticised master keyboards for not providing the user with sufficient visual feedback, and I was pleased to see that the MC3000's screen display has been carefully crafted to provide clear, consistent information. Things arguably go awry, though, in the use of rather cryptic abbreviations, which are sometimes necessary if everything is to be crammed into a screen of this size. Where space is at less of a premium the programmers have made good use of bold, informative text. The top Play page, for instance, displays the current Program number and name in large, clear characters, while also leaving room for 24 characters of descriptive (or memory jogging!) comment text underneath.
I do feel that there could have been more use of graphic diagrams on the MC3000's screen, to show routings and connections. The MIDI patchbay screen takes a little time to get to grips with, and it would be nice to see a screen dedicated to showing output activity, along with port names and visual clues to velocity, last message type, and other such useful information. It is possible to collate all of this data by visiting various screens, but the MC3000 fails to pull it all together. I'm being a little cruel here, since I'm not aware of any other manufacturer having achieved this, at least to my satisfaction. As it is, the screen is reasonably helpful in showing the status of, and activity at, each of the eight output ports.
As a whole, the MC3000 package holds together very well. I managed to get myself confused long before this keyboard ran out of possibilities, which says a lot about the depth of control on offer — or maybe about my state of mind!
I might have wished for the ability to load and replay MIDI song files, and a floppy drive would have meant that the keyboard was self‑sufficient in terms of storage and backup facilities. Dedicated sequencer controls would have been the icing on the cake. But I recognise that these are all features which add to manufacturing cost, and the current price seems reasonable for what is on offer.
Conclusion
The power and flexibility offered by the MC3000 is capable of making it a favourite of professional live performers. On stage I'd be more than happy to have this machine in my corner; its abundance of connections and Program memories should be enough to allow anyone to get through a gig with capacity to spare. The ability to split, layer and crossfade is standard fare for a master controller, but the wide range of velocity and aftertouch curves, and the sheer number of available MIDI channels, put this machine into a higher league. I was quickly and easily able to define some truly gargantuan patches, featuring quite complex dynamics processing, that would have been a major undertaking to achieve by programming the individual instruments.
The MC2000 has one delightful little surprise up its sleeve — a Waveblaster header port ready to receive a Waveblaster‑compatible daughterboard.
If there's one aspect of this instrument likely to put off the semi‑professional user, that is surely its weight. Although it is possible for one person to lift the MC3000, there's very little to get hold of that provides a reasonable grip. A couple of handles recessed into the underside would go a long way towards addressing this issue. The MC3000 is ideally suited to live performance in every other way, but once it was flightcased you'd certainly need a little help from your friends to get it out of the van and into the venue!
The MC3000 couldn't really be described as flash, pretty, or particularly exciting, but it does a solid job for a reasonable price. I can see professional players getting a lot from it, particularly those who do live work. If you've ever considered a master controller yourself, and you have a large MIDI rig, you really should check this one out.
Features List
| MC3000 | MC2000 |
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MC2000 & OP1 Expansion Board
The MC3000's sibling, the MC2000 controller keyboard, appears at first glance to be simply a cut‑down version of its larger brother, and this is largely the case. While its internal workings remain substantially the same as the MC3000's, and it still has 88 keys, there is a reduction in the number of MIDI outputs, physical control sliders and pedal inputs — from eight to four in each case. There's no provision for a mouse, and no mouse mat, though a large, flat area remains where you could affix your own if required. The number of Program memories is reduced to 256 and there are just 16 programmable SysEx and Program‑name tables. The MC2000 does not offer customisable aftertouch and velocity curves, and its LCD is reduced in size, making it a little too fiddly for my taste. It's arguable how much time anyone would spend editing Programs compared to how much time they'd spend playing the instrument, but with the MC2000 I found myself paging around far more, to make even simple changes, than I did with the MC3000. Finally, the MIDI patchbay functions have disappeared, presumably since this is less likely to be a requirement with a maximum of four MIDI outputs.
All is not lost, though, since the MC2000 has one delightful little surprise up its sleeve — or on its motherboard, to be precise. Here we find a Waveblaster header port ready to receive a Waveblaster‑compatible daughterboard. This is a clever move, since there's a wide range of daughterboards on the market. The MC2000 has specific support for XG (Yamaha), SCD (Roland's Sound Canvas Daughterboards), Viscount and Sound Dream‑based cards. Alternatively, a standard GM card can be defined. All of the onboard card's sounds find their way to a pair of left/right output jacks on the rear of the MC2000.
| OP1 Soundcard Programs | |
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The review model came fitted with Viscount's own OP1 daughterboard. This card treated me to the bittersweet experience of excellent sound quality coupled with a severely restricted sound palette. There are a mere 25 timbres to play with, all placed in their respective GM positions and ready to be pushed through the 11 modulation and 13 ambience treatments built into the card. The sounds themselves are generally very good indeed, but if you find the full GM sound set restrictive, the OP1 will be like taking up permanent residence in a cell in Alcatraz. And no, there are no drum sets, though the OP1 can, at least, manage a modicum of multitimbrality, with three‑part playback. Even this has its restrictions, in that part three is only capable of playing one of the three bass timbres!
Anyone interested in the OP1 will probably be primarily concerned with the quality of the patches, and if all you require of onboard material is a solid collection of basic keyboard sounds, the quality of those held in the OP1 will certainly not disappoint. To start with, the pianos are very good indeed — not quite on a par with the likes of Korg's SG sounds, perhaps, but certainly better than most soundcard offerings. The electric pianos are simply superb, and feature the smooth change‑over from soft to hard timbres that I have badgered manufacturers about for years. The nylon guitar is extremely well rendered — one of the best I've heard. The organs have a dirty 'realness' that should do for most tasks, and the strings are beautiful across most of the keyboard, only really running out of steam in the highest two octaves. But I'd advise Viscount to check out a vintage Oberheim analogue synth before they try to come up with another Synth Horn patch!
Pros
- Powerful controller features.
- Good weighted key action.
- Healthy number of MIDI ports/channels.
- Generous supply of pedal inputs.
- Chain facility for live performance.
- Can store and replay SysEx strings.
- Onboard fader bank.
Cons
- Patience and time required to get to grips with some of the more advanced features.
- No dedicated sequencer controls.
- No onboard backup facilities.
- Heavy.
- Lacks the MC2000's ability to add a daughterboard.
Summary
An accomplished, well‑specified device with a depth of features that would satisfy home and professional users alike. With so many MIDI channels available and eight pedal inputs it would take a seriously large MIDI rack to outgrow this keyboard. At the price it must be considered an excellent buy.