To look at, the RolandMV-8000 gives theimpression that it’s a

hi-tech sampling drum machine.However, those drum pads don’t tellthe whole story, because the MV-8000 strives to be a completemusic-production tool. Unlike therival AKAI MPC models, it enableshard disk recording of eight stereoaudio tracks and comes with a40GB drive and 128MB of RAM asstandard. The MV-8000 has theequivalent of a Roland S-seriessampler built-in and readilyconsumes program data from CD-ROM for both Roland samplersand AKAI MPC models, too. A broadrange of Roland samples are on thehard disk and the supplied CD-ROMs.These aren’t just for assignment tothe pads, as the MV-8000 willfunction as a conventional sampler,loading up complete instrumentpatches for recording and playbackon the 128-track MIDI sequencer viaa MIDI keyboard.

The MV-8000 commands quite alot of desk space, but when youconsider what a monitor, QWERTYkeyboard and mouse mat requires, itmeasures up quite well. The frontpanel houses both a floppy drive (forMIDI file transfer) and a CD-R/W.

Round the back there’s an IECmains socket and rocker switch,alongside a sizeable fan. Above thetwo MIDI outputs and MIDI input is ablanking panel for the VGA/mouseadaptor. Fitting this option removesthe limitations of the LCD screenand prod-and-twirl navigation. Thisoption was also a feature ofRoland’s S-series samplers.

A USB connector enables theunit to connect to a host computerand transfer sample data. Thefootswitch can perform a variety offunctions, including tap tempo,damper pedal and, of course, punchin/out. There are two digital outputs(optical and coaxial), a headphonesoutput and balanced master outputson TRS 1/4-inch jacks. Theanalogue inputs are also on TRSjacks (accepting mic or line levels)with an additional phono input pairand earthing terminal for use with aturntable. Below this array ofconnectivity is another panel for theoptional expansion board thatdelivers six multi outputs, opticaland coaxial digital inputs and RolandR-Bus interfacing.

Silver screenAt the centre of the smokey silvercontrol surface is the 320 x 240-dotbacklit LCD screen with contrastcontrol. To the left is theheadphones level knob andindependent gain controls for thetwo mic/line inputs. Below the mainscreen are five function keys thatcorrelate directly with tabbed menuson-screen, with additional Menu andExit keys helping out at either end.Beneath are eight data entry sliders

that control various aspects of theMV-8000 depending on the mode,with mixing being a primary function.Three rotary controllers on the leftcan, likewise, be assigned todifferent functions, such as effectsparameters. Adjacent to them is theEffects button, with the Sampling andImport keys above. It has to be said,that while the MV-8000 endeavoursnot to hide access to its featureswithin lengthy on-screen menus,many functions with dedicated keysappear to be randomly spreadaround the front panel.

Better organised are the 16velocity-sensitive rubber pads withthree buttons above: Multilevel (thesame sample spread across pads atvarying levels); Fixed Velocity (padsensitivity is constant); and EventErase (pressing a pad deletes notesduring recording). Buttons to the leftperform a variety of tasks related toeither the samples allocated to thepads or programming sequencesfrom the pads.

To the right of the pads are thetransport controls, complete withMarker, Navigation and Loopbuttons. The BPM Tap button canset the tempo and flashes brightlyall the time, even when playback ishalted (it soon becomes extremelyannoying, especially when theUndo/Redo and Enter buttons areflashing at the same time). Analpha-numeric keypad helps speedup data entry. The Shift key altersparameters such as Roll Timing (inthe aforementioned pads column)and with the cursor keys, Shiftchanges the zoom value inSequence and Sample Edit modes.

ROLAND MV-8000

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MV-8000Manufacturer RolandPrice £1,799 Contact Roland UK01792 702701www.roland.co.uk

ROLAND

MV-8000An all-in-one production solutionthat doesn’t need a mouse, keyboardand virus protection? Bob Dormonchecks out the Roland MV-8000.

With the VGA option, theMV-8000 screen

expands considerably. Here theChop function lines up beatsfrom a loop for slicing andallocating to the drum pads.

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An alpha dial is available fordata entry and above it is the maincontrol section, featuring dedicatedkeys for Mixer (on-screen faders etal), Project (save, load, back-up andoptimise), Song (sequence andsetup options), System(configuration preferences),Mastering (record to disk or CD withDSP extras) and Disk/USB(computer transfer and diskutilities). Under the heading Samplerare two critical keys: Instrumentsand Audio Phrases. The choice youmake here is significant to theoverall operation of the MV-8000.

Turn of phraseThe Audio Phrases option ties inwith the hard disk recordingcapability of the MV-8000. Whethersampling or importing data, if AudioPhrases is chosen then sequencingwith those samples will end up onan audio track. If Instruments isselected, then the samples end upwithin Roland’s sampler instrumenthierarchy. This enables multi-layeringof up to four samples within aPartial, featuring the full gamut ofsynthesis options, includingamplifier envelope, resonantfiltering, LFO, individual pan andlevel control of the sample, plusmulti-output assignments to bussesor separate outputs (if available).Sampler Instruments use MIDItracks for recording and are muchmore versatile than the AudioPhrases, as the MIDI sequencer onthe MV-8000 offers greater flexibilitythan its Audio Tracks alternative.

Getting to fully appreciate thedifference between SamplerInstruments and Audio Phrases iscritical when embarking on any MV-8000 project. The two modesare interchangeable in somerespects, but going through themotions soon makes clear what thedifferences are.

During tests, the MV-8000 washooked up to a PowerBook via USB.The MV-8000 hard disk appeared onthe Mac’s Desktop and GarageBandAIFF loops and Steinberg LM-4 .WAVfiles copied over to the User folder.Incidentally, all the MV-8000 datahas the same date (March 2003)and can’t be corrected.

The MV-8000 Import option hasAudio Phrase, Patch, Sample (orSong) as data destinations. An AIFFloop was loaded as an Audio Phraseand mapped to one of the pads.The sample’s start, end and looppoints can be altered using theQuick Edit key. Other on-screen

too can be edited as an AudioPhrase. Just select the region ofaudio on the sequencer using QuickRegion (or in and out points formore specific areas) and then usethe Quick Edit key, which assignsthe audio to a pad. This way you getto edit it as described earlier.There’s another function within theAudio Phrase sample editing thatmakes this worthwhile. Chop isRoland’s name for beat slicing, andit can be done manually orautomatically based on level ortiming intervals. The slices are thenassigned to pads, but this time thesamples are transferred to theInstrument Sampler domain. Hence,they can be replayed as MIDIsequences and edited easily.

The LM-4 samples wereassigned using Instrument mode,which is straightforward enough.Partial Edit has two sends, enablingthe main chorus/delay and reverbto be accessed individually by eachsample. So, you could put morereverb on the snare and keep thehi-hats dry. For more elaborateindividual treatments using theCOSM multi effects, route thePartial to a separate aux bus andapply effects from the aux return onthe mixer.

Pain, no gainRegarding sampling in general, theinput didn’t seem to haveparticularly high gain for use with adynamic mic and struggled toattain a decent level with a close-mic’ed acoustic guitar. Therecording level is also determinedby the virtual mixer’s input channelfader, so be sure to check this.

Also, if the right input gain was upand only the left channel was inuse and set for mono recording,noise from the right channel wouldbe recorded. With nothing pluggedin and both up high, a good deal ofnoise could be heard, even duringmixing. Mute the Input channel andall will be quiet.

Editing MIDI sequences isn’texactly thrilling on such a screenand the VGA/mouse option reallydoes expand things. However, theLCD is quite useable as piano rolland list-edit options are provided.They take a bit of getting used to

functions include tuning, level,velocity control and BPM sync that,together with the BPM Base Notevalues, enables real-time tempochanges. For more conventionaltasks, the Command function bringsup Emphasis (high or low EQ tweak),Normalise (gain boost), Time Stretch(duration change) and Truncate(length edit). There’s no panningfunction here, but that can be donefrom the mixer and various filteringand dynamics options can beachieved with the COSM effects.

Event horizonRecording in Audio Phases using thepads soon reveals the limitations ofthe Audio Track editor. Now, you’vejust knocked out a few loops orbrought in some vocal samples andyou realise the timing is out. So,why not move it a bit? All this ispossible, but it takes time becausethere’s no detailed display or ajog/shuttle option. The secret is toset things up right before you start

recording the Audio Phrases to thesequencer. When you’re in SequenceMode with an Audio track armed, hitthe Record button only and theRecording Parameter windowappears. Here you choose theRecord Mode, which is Direct Monoor Stereo for external sources, butin this case we want Event. Thisactivates the option to record withquantize, which sorts out any timingissues when Audio Phrases arerecorded from the pads.

If you’ve sampled somethingsuch as vocals or vinyl by recordingit directly to an audio track, then it

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RELATEDTECHNOLOGYBEAT BOXDELUXEThe concept of adedicated productionworkstation is anenduring one thatbegan with thesampling drummachine. The userdefined the sounds andthe sequences withnone of the restrictionsof preset palettes. Thisinstant sampling mademodels such as the E-mu SP1200 a firmfavourite on the hiphop scene. The ideawas soon extended toincorporate multitrackMIDI sequencing, withground-breakingproducts such as theStudio 440 fromSequential Circuitssetting the tone. Nearly20 years on and verylittle has changed interms of concepts.Sonic quality andstorage capacities haveimproved and samplelooping has gonebeyond just sustaininga sound. Still, today’sstate-of-the-artworkstations from AKAIas well as Roland’s MV-8000, remainadorned with familiarrows of drum pads.

The MV-8000 blendshardware audio

recording capabilities withsoftware sequencing.

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You get a high-quality sampler, padinput, beat slicing, real-time tempochanging and a built-in CD burner.

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because you need to swap between them for specific tasks.Step recording is available too, andis accessed by pressing Shift andRecord together. The note valuesappearing in white on the numerickeypad are used in conjunction withthe pads to define note length,pitch and velocity.

Mix and matchThe eight faders use a tabbed menuto switch between eight audio tracksand 16 MIDI channels, plus theadditional aux and Input Sourcetracks. So, while you can have 128MIDI tracks running, you get only 16faders to play with. Those faderscan seem a bit flaky as they are notmotorised and need ‘waking up’ towork on tracks as you flip throughthe mixer sections. The faderbehaviour can be set to Null,Relative or Jump from the Systempanel. It’s worth trying out thesedifferent modes if you’re confusedby the default Null mode, whichrequires you to physically match thefader’s position to the virtual fader’svalue before changes take place.

over ten years, with more recenteffects plumbed in and an audiorecorder bolted on with editingfeatures that are not much betterthan a MiniDisc recorder’s. Thetracks have no decent EQ, theEmphasis/De-Emphasis option (likea high-boost/cut tone control) waspretty ineffectual and the resonantfiltering of the partials is tooinflexible as an EQ alternative.Some effects patches have EQ, butrouting to a single effect is notgoing to sort out multiple tracks.The lack of main output metering iscrude and unhelpful and will likelylead to some very quiet ordistorted CDs. Also, if you don’tturn down the input controls (andthe input mixer channel) you’ll getnoise on everything, including themain mixdown.

That said, you do get a high-quality sampler, pad playerinput, beat slicing, real-time tempochanging, three effects engines anda built-in CD burner, plus thecapability to hook up to a Mac orPC. A hybrid indeed, but thismarriage of new and old conceptshas overlooked a few basics.Metering and EQ, anyone? MTM

Absent from all of the virtualmixing options is a master faderwith output metering. There is amain output/volume control knoband, apparently, that does it all, withRoland suggesting you turn it up fullwhen it comes to mastering. Yetlevels-wise, this means you’reworking in the dark.

Mastering mode has severalstages. First, record a stereo mixand apply the Mastering tools. Thereare numerous options, among themEQ, three-band compressor, limiter,expander, enhancer and masteringoutput dithering at 8-, 16- or 24-bit.Some of the mastering presets are abit harsh, but do seem to improve clarity. Once the master has been recorded, it can be burntto CD-R/W drive using the internalCD-R/W. It’s a bit long-winded as themixdown and mastering stageshappen in real time.

Old, new, borrowed EQ?The MV-8000 is curious hybrid,utilising Roland’s professionalsampler technology that dates back

SUMMARY

VERDICTThe MV-8000 is worth considering forthe sampler alone, but the conceptneeds refining.

! ! ! ! ! ! ! !!!

KEY FEATURES•16 velocity-sensitive pads•64-note polyphonic sampler•16-bit/44.1kHz sampling, 24-bit

signal processing•Stereo 8-track recorder•128-track MIDI sequencer•40GB hard disk •Three separate effects devices plus

mastering effects•Built-in CD-R/W

WHY BUY•Excellent sampler with

extensive library•AKAI MPC sample data support•Convenient all-in-one solution•Sample beat slicing and real-time

tempo changes•Turntable input and digital outputs•Hooks up with Macs or PCs via USB

WALK ON BY•No EQ on channels•No main metering•Noisy mic input•Insufficient mic input gain•Limited linear audio

track-editing features•Expensive expansion options

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METHOD SPOTCOSMix manComposite ObjectSound Modelling(COSM) is thetechnology behindmany Roland effectsalgorithms and isfeatured on the MV-8000. COSMeffects appear onRoland’s VG-8 guitarsynth, emulating thetonal characteristics ofthe instrument. Themodelling technique isalso used to re-createthe response ofpopular microphonesand loudspeakers.

The MV-8000 will function as a conventionalsampler, loading up complete instrumentpatches for recording and playback.

Back-panel interfacingfor MIDI and audio,including turntablephono inputs anddigital outputs.

LCD screen withfunction keys belowthat match up withtabbed menus.

The master volume knob governsboth the main control roomoutput and the mix output.

Three assignableknobs andsliders cancontrol specificparameters.Fader functionschangeaccording to thescreen menu.

Main control section foraccess to Mixer, Project,

Sequencer and Sampler functions.

Quick Access buttons topad functions andsequence-editing tasks.

16 velocity-sensitive pads with multi-layered banks for liveor sequenced performances.

Main transport,navigation and

data-entry section.

Floppy disk drive for MIDI files and CD-R/W for

back-up, CD masteringand reading CD-ROM

sampler disks.

The MV-8000 control panelYour at-a-glance guide to the MV-8000 interface.

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