Roland CM-300 User manual

Roland
GS
GS SOUND MOUULE
CM-300
OWNER'S MANUAL
GS SOUNDS MOJULE
Roland
CM-300
Кашы
°
|

For the U.K.
IMPORTANT:
THE
WIRES
IN
THIS
MAINS
LEAD
ARE
COLOURED
IN
ACCORDANCE
WITH
THE
FOLLOWING
CODE.
BLUE : NEUTRAL
BROWN : LIVE
As
the
colours
of
the
wires
in
the
mains
lead
of
this
apparatus
may
not
correspond
with
the
coloured
markings
identifying
the
terminals
in
your
plug
proceed
as
follows:
The
wire
which
is
coloured
BLUE
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N
or
coloured
BLACK.
The
wire
which
is
coloured
BROWN
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
L
or
coloured
RED.
For Germany
Bescheinigung
des
Herstellers/Importeurs
Hiermit
wird
bescheinigt.
daß
der
die:
das
in
Ubereinstimmung
mit
den
Bestimmungen
der
GS
SOUND
MODULE
CM-300
—
Amisbl.
Vig
1046/1984
(бега:
Тур
Bezeichnungi
iAmtsblattvertugung)
funk-entstórt ist
Der
Deutschen
Bundespost
wurde
das
Inverkehrbringen
dieses
Gerätes
angezeigt
und
die
Berechtigung
zur
Uberprüfung
der
Serie
auf
Einhaltung
der
Bestimmungen
eingeräumt.
Roland
Corporation
Osaka/Japan
Name des Herstellers;Importeurs
For the USA
RADIO
AND
TELEVISION
INTERFERENCE
WARNING
--
Тһе
equipmert
has
been
venteg
t0
comply
with
the
limits
tor
a
Class
B
compuung
device.
pursuant
tc
Sutpart
J
of
Part
15
of
FCC
rules
Operation
with
hon-certilied
or
non-zenheg
equipment
:s
перу
со
result
зп
,uenerence
to
radio
and
TY
reception
Тһе
equipment
described
n
tis
manual
generates
anc
uses
radio
frequency
energy
11i
is
not
installed
and
used
properly
that
is
in
strict
accordance
with
our
instructions
t
may
cause
interterence
with
radio
and
television
Tecephon
This
equipment
Баз
сееп
teste
and
found
to
comply
with
the
limits
for
a
Ciass
3
computing
device
in
accordance
мил
tne
speciications
in
Subpart
J.
cl
Pan
15
of
FCC
Ruies
These
ruies
аге
designed
10
provide
reasonabie
protection
against
such
a
interference
m
a
rasidential
installation
However
here
.s
no
guarantee
that
ine
interference
will
nor
эсси
in
à
ратсшаг
installation
if
‘nis
equipment
does
cause
interference
10
radio
or
television
reception.
which
can
бе
determined
by
turning
rre
equipment
on
ага
of
the
user
is
encouraged
to
try
to
Correct
ine
interference
by
the
following
measure
*
Disconnect
other
devices
ana
their
"nputcutgut
abies
one
at
з
time
If
tre
interference
SIODS
415
Caused
by
either
the
other
device
or
its
!
O
cabie
These
devices
usually
require
Aciand
Gesignated
shieided
!
O
cables
For
Roland
devices
you
can
obtain
the
proper
ѕте!деа
cable
from
your
dealer
For
ron
Всіала
devices.
contact
те
manulacturer
or
dealer
for
assistance
Н
your
equipment
2065
cause
wnterterence
to
faQ
or
television
receplion.
уси
can
try
to
correct
ine
ЧМепегегсе
Әу
using
one
or
more
of
Ihe
following
measures
Turn
the
TY
cr
radio
antenna
until
the
interference
staps
Move
the
equipment
to
one
side
or
the
other
st
the
Ту
OF
radio
Move
the
equipment
farther
away
"от
те
Ту
5r
radio
Plug
те
equipment
into
an
outlet
that
is
оп
a
afferent
circuit
бап
те
TV
or
ramo
(That
is.
make
certain
the
equipment
аға
ihe
radio
or
television
set
are
on
circuits
CON-
trollea
by
differen!
circuit
breakers
ог
fuses
)
*
Consider
instaling
а
rooftop
television
antenna
with
Coaxial
саше
iead-«n
between
the
antenna
and
TV
i
necessary
yOu
shoula
consul!
your
deater
or
an
expenenced
fadiotelevision
tecnnician
for
addtional
suggestions
You
may
find
періш
the
following
bcokiet
prepared
Dy
the
Federal
Communications
Commission
How
10
!centify
and
Rescive
Radio
—
TV
Inteñerence
Probiems
This
booklet
s
available
пот
me
US
Government
Printing
Chce
Washington
D
С.
20402.
Stock
No
004-000-00245-4
For Canada
ER NONE
CLASSB
NOTICE
This
digital
apparatus
does
not
exceed
the
Class
B
limits
for
radio
noise
emissions
set
out
in
the
Radio
interference
Regulations
of
the
Canadian
Depariment
of
Communications.
CLASSE
B
AVIS
Cet
appareil
numérique
ne
dépasse
pas
les
limites
de
la
classe
B
au
niveau
des
émissions
de
bruits
radioelectriques
fixés
dans
le
Réglement
des
signaux
parasites
par
le
ministére
canadien
des
Communications.

Ш Before You Begin
Thank you for purchasing the Roland CM-300 Sound Module. The CM-300 contains a
variety of quality GS sounds which can be used to enhance any MIDI music system. In
order to realize the full potential of the CM-300, and to ensure years of trouble-free service,
please read this manual in its entirety.
B Main Features
@ The CM.300 contains a GS sound source, Roland's newly implemented sound-
arrangement format.
The GS Format was created so that sound modules would respond in a somewhat
uniform manner to incoming MIDI message. Song data written specifically for a
GS-compatible sound module should play back in roughly the same way on any other
GS-compatible sound module.
€ The CM-300 is capable of producing up to 24 voices at any one time. With the
availability of such a variety of sounds, it is very easy to achieve any number of unique
ensemble textures.
@ The CM-300 also comes equipped with reverb and chorus effects that can further
enhance any sound.
Copyright (С: 1991 by Roland Corporation
All rights reserved. No part of this publication may be reproduced in any form without
the written permission of Roland Corporation.

B Contents
ll
Important
Моіев----------............-е-е-ее-
3
1.
Part
Names
mE
RHET
PES
5
2.
Making
The
Connection
сызы
а
ca aa
ав
OP
Rech
ааа
eU
ORA
al
EORR
AR
7
3.
Turning
On
The
Power
S
Ie
SA
ee
КЕРТУ
К
SLE
A
SUI
Ee
Ree
9
4,
About
The
GS
Format
Бак
oed
е
v
Ole
E
LR
X
EUR
ERU
RA
10
(1)
Parts
азан
Ne
NE
RIED
EE
CLE
T
PET
TIRE
ES
IE
QUE
10
(2) Number of Sounds That Can Be Played At The Same Time
(Maximum Polyphony) ааа чс ПЕ ТЕКТІК CRP ТІГІ ааа re A AVIS RV T er < orn ees 10
(3) How to Change Tones чечет 11
(4) Alternate Voicings—
No Matter What GS Sound Source You Use, The Song Remains The Same: : 12
(5) General Use Areas and Special Use Areas sn 14
(6) Chorus and Reverb Еа 14
(7) A Part for Drums: Anh pos no RT EIE СТІ ЕТТЕ Vidas vi dtm wise AINE cuia 15
(8 Changing Between Drum Sets «emen 15
5. Parts and Voices rere Eia os ate QE еселе rhe ie ioe re ID ЛКК ОККО ООС 16
(1) Relationship Between The Number of Voices and Parts: 16
(2) What Happens When You Try To Play Too Many Notes 7 16
Ш Problems? Please Check A Few Things First ----------- 17
Bl About МІПІ-----------------------------. --.. еее. 18
m Tone Table HOA ITERE LAAFE EENAA NYERE атаа КККК КК КҮСКҮ. 23
m Drum Set Table w sra a elim алега ЕСЕДА ЫЕ love ЄК EALA EETAS EE СТЕ Т КҮНІГЕ 28
m MIDI Implementation SIS Nae viele Vu RENT Aare a ae CERTE a УОИ eared АЛТАУ ҮГҮТТҮ 30
@ Checksum of Exclusive Messages eer 28
m Block Diagram алача кане e wP aN v RU ao ЕЛЕК оаа ате Ұл en ee ay аа ee OO UD 39
m Specifications аааз ааа а UAE ADMIN NAA аланы ааа ын 40

B Important Notes
Be sure to use only the adaptor supplied with the unit. Use of any other power adaptor
could result in damage, malfunction, or electric shock.
[Power Supply |
[Placement |
| Maintenance |
When making any connections with other devices, always turn off the power to all
equipment first; this will help prevent damage or malfunction.
Do not use this unit on the same power circuit with any device that will generate line
noise, such as a motor or variable lighting system.
The power supply required for this unit is shown on its nameplate. Ensure that the line
voltage of your installation meets this requirement.
Avoid damaging the power cord; do not step on it, place heavy objects on it ete.
When disconnecting the AC adaptor from the outlet, grasp the plug itself; never pull on
the cord.
H the unit is to remain unused for a long period of time, unplug the power cord.
Do not subject the unit to temperature extremes (eg. direct sunlight in an enclosed
vehicle). Avoid using or storing the unit in dusty or humid areas or areas that are
subject to high vibration levels.
Using the unit near power amplifiers (or other equipment containing large trans-
formers) may induce hum.
This unit may interfere with radio and television reception. Do not use this unit in the
vicinity of such receivers.
Do not expose this unit to temperature extremes (eg. direct sunlight in an enclosed
vehicle can deform or discolor the unit) or install it near devices that radiate heat.
For everyday cleaning wipe the unit with a soft, dry cloth (or one that has been slightly
dampened with water) To remove stubborn dirt, use a mild neutral detergent.
Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.
Never use benzene, thinners, alcohol or solvents of any kind, to avoid the risk of
discoloration and/or deformation.

[Additional Precautions |
Q Protect the unit from strong impact.
@ Do not allow objects or liquids of any kind to penetrate the unit. In the event of such
an occurrence, discontinue use immediately. Contact qualified service personnel as
soon as possible.
© ^ small amount of heat will radiate from the unit, and thus should be considered normal.
@ Before using the unit in a foreign country, consult with qualified service personnel.
@ Should a malfunction occur (or if you suspect there is a problem) discontinue use
immediately. Contact qualified service personnel as soon as possible.
Q To prevent the risk of electric shock, do not open the unit or its AC adaptor.

1. Part Names
@ Front Panel
@ VOLUME (Volume Control Knob)
This adjusts the overall volume which is the output from the Output Jacks or Headphone
Jack. Rotating the knob clockwise will increase the volume, and rotating it counter-
clockwise will decrease it.
* The volume balance of the individual Part can be controlled with the MIDI Volume
(Control Change) messages.
€ AUDIO (Audio Signal Indicator Light)
Regardless of where the volume knob is set, this lights to indicate that a signal (above
the threshold level) is being output.
Roland CM-300 <%
= SOUND MODULE
«€ POWER SWITCH
Turns the power on and off.
ж This unit is equipped with a circuit protection device. А brief interval after power up
is required before the unit will operate.
% POWER (Power Indicator Light)
Indicates that the power is on.

@ Rear Panel
@ INPUT (Audio ins)
La Connect these inputs to the OUTPUT jacks of an MT-32 or CM-series sound module.
a
@ PHONES (Headphone Jack)
Connect headphones here. Signals will still be output from the Audio Outs even though
headphones are connected.
@ OUTPUT (Audio Outs)
The CM-300's audio signals are output in stereo (L/R). Mono is also possible by using
the L (MONO) jack only.
{MONO}
‹ \
ППІП OC IN 9м THRU OUT [
IN
USE ROLAND АСВ ACK B3 MOSS
L
INPUT PHONES
OUTPUT
CM-300
@ MIDI IN/OUT/THRU (MIDI Connectors)
MIDI data is exchanged with other MIDI devices through these ports. For more infor-
mation about MIDI, see the explanation on page 18.
€ DC IN (AC Adaptor Jack)
Connect the AC adaptor to this inlet.

2.
Making
The
Connection
@ MID! Cable Connections
Connect your CM-300 to computers and MIDI sequencers using the included MIDI cable.
MIDI OUT
@ Plug one end of the cable into the MIDI IN port of the CM-300.
(2)
Plug
the
other
end
of
the
cable
into
the
MIDI
OUT
port
of
your
computer
or
sequencer.
@ Audio Cable Connections
Connect keyboard amplifiers, stereos, portable radio/cassette players, etc., to the CM-300's
Audio Outs using standard audio cables.
Stereo System
MA-12C
Monitor Speaker
(amplifire)
(1) Plug the cables into the CM-300's Audio Outs.
Connect the quarter-inch plugs to the CM-300's Audio Out jacks.

@ Plug the other ends of the cables into the external input jacks (AUX IN or LINE IN)
of the audio device you're using. If the audio device inputs use RCA connectors,
remove the quarter-inch adaptors from the ends of the cables.
Be sure to match the L and R outputs of the CM-300 with the L and R inputs of the
audio device.
Under no circumstances should you connect the cables to the MIC IN or PHONES
jack of your audio equipment damage could result to the equipment or speaker
systems.
@ Using Headphones
Use headphones that have an impedance between 8 and 150 ohms. Connecting head-
phones will have no effect on the signal output from the CM-300's Audio Outs.

3.
Turning
On
The
Power
@ Before turning on the CM-300, check the following:
Is the CM-300 correctly connected to all peripheral devices?
Is the amp volume turned down to minimum?
@) Press the power switch.
Adjust the volume level on the amp.
Note:
Setting
the
volume
too
high
can
damage
your
speakers.
This
is
because
general
audio
speakers
are
not
as
rugged
as
those
designed
for
use
with
instruments
and
the
higher
signal
levels
they
output.
€ Turning The Power Off
Make sure that the amp volume is turned down before turning the CM-300 off.
@
Default
Settings
(Preset
When
The
CM-300
Is
First
Turned
On)
Any
changes
that
you
make
to
the
settings
are
in
effect
only
while
the
CM-300
is
on.
<Part Settings >
MIDI Channel/Part g 1-9, 11-16 10(Drum Par) |
Tone Eú | Piano 16 1) Standard Set |
Е Part Volume 100 T 100
Pan = 64 I i 64 |
Reverb Send 40 » i 40 i
| Chorus Send 1 _ | _ 0 T 0 =
Bend Sens. Е 2 (d 2
| Voice Reserve j a» 200 ERA ER 6
< Overall Part Settings >
Master
|
|
КеуегЬ
Е
=.
_
Chorus
Е
Key
Volume
|
Type
Level
Time
Type
|
Depth
Rate
|
Shift
| 127 | Hall2
64 | 61 |Сһогив2 64 64 0 |

4. About The GS Format
(1) Parts
The primary advantage of the GS Format is that song data written for one GS Format
sound source can be reproduced almost exactly on any other GS Format sound source.
We'll be explaining more about the GS Format and MIDI later, but even if you're not
familiar with these things, it’s still possible to use the GS Format sound source to create
your own music.
A sound module (or sound source) that can handle GS Format data will have the GS
trademark on it. We'll call them "GS sound sources" from now on.
The GS Sound Source can play 16 "parts". Part number 10 is for playing the rhythm
instrument. A part is something like an orchestral part; think of it as a group of musicians
all playing a particular instrument. The big difference from a regular orchestra is that
you are completely free to decide what kind of instrument they will be playing. In
addition, you can change that instrument midway through a song (as many times as you
want) for every different part. You could think of this group as being made up of
incredible multi-instrumentalists who can play any instrument you give them.
There are many different kinds of performance data in MIDI, but probably the most basic
is the note message determining which key to play, how hard, for how long, and when to
start. Every part has its own MIDI "channel" over which it receives performance data
and, unless you reset it for some reason, the channel number is the same as the part number.
Each part plays by following the instructions in the performance data on its own channel,
and pays no attention to the data in other channels intended for other parts. So thanks to
this MIDI channel scheme, you can play each part completely independently of the others,
like on multitrack recorder.
(2) Number of Sounds That Can Be Played At The
Same Time (Maximum Polyphony) `
10
Just as there are limits to the number of people in an orchestra, there are limits to the
number of sounds that can be played at the same time on a GS sound source. If note
message is received asking for more notes than are possible, some parts are going to lose
their note.
With the GS Format, you can count on a certain minimum number of voices always being
available. These should be used for the most important parts in your music (like the
melody line) so that they don’t accidentally lose their note when some less important part
comes in later. If you rank your parts ahead of time in “Part Sounding Priority" order.
the GS sound source will know what the most important parts are. Then, if you try to send
data for more notes than can be played at one time, the lower priority parts will be the first
to lose their note.
Dart Sounding Priority is set up as follows:

A
2
2252-2000
22222-22
a
|
Part Priority ranking Part No.
| 10(Drum Set)
— ә
2 |
3 2
4 3
5 4
6 5
7 6
a ]
8 7
9 8
10 9
lI lI
J
12 12
13 13
14 14
15 15
16 16
(3) How to Change Tones
The basic design of a GS sound source lets you select among a maximum of 16,384
different sounds (“tones”) upon command of an external MIDI device (actually, right now
there is no sound source that has all of 16,384 different tones).
In conventional MIDI devices, tones are identified by a “Program Change” number
between 1 and 128, which means that you have a maximum of only 128 different tones to
choose from. This is hardly enough for the wide variety of sounds you would want to have
in a library for even the most basic uses.
The GS Format, however, combines the Program Change number with what is called the
“Bank Select” numbers* (of which there are 128) in MIDI, greatly increasing the range of
selectable tones.
(GS bank select number
ол
| E:
E
E E E a a
a
a
Value of control number 0
ЖЖ ИП Ей ШШ ШШ as
123456 7 8 910 ---128
Program change number

* Tone numbering is a combination of Bank Select and Program Change message.
Although Bank Select messages in MIDI standard consist of Control Change message
addresses 0 (MSB) and 32 (LSB), in the GS format it was decided that only the number
of 0 (GS Bank Select number) would be used. When a tone is to be changed, the GS
Bank Select number is sent first, followed by the Program Change message, when this
message is received the tone is changed.
(4) Alternate Voicings —No Matter What GS Sound
12
Source You Use, The Song Remains The Same
In the GS Format, tones are organized (roughly by what kind of sound they are) into
something called a "tone map". By arranging the tones this way, a song written for one
GS sound source will also playback with the same kind of sounds on a different GS sound
source.
However, this does not mean that all the spots in the tone map have tones allocated to
them; it depends on the sound source. Imagine a situation in which a GS sound source, call
it D, is used to play song data that was written for a different GS sound source, A.
Suddenly the song data tells B to change to a spot in the tone map that in A was assigned
to some neat tone, but where it so happens B has nothing. No sound.
Here is where the GS Format steps in to say "if that particular tone can't make the
performance, give us something that is as close as possible".
Let's Meet the Alternate for the Part.
Variants of Sub-Capital (16)
Sub-Capital (16)
Variants of Sub-Capital (8)
Sub-Capital (8)
Value of control number 0
(GS bank select number)
Variants of Capital
Capital
...
234567
Program change number
Similar instruments are arranged in the columns of the tone map, and similar kinds of tones
are arranged in the horizontal rows. Meanwhile, you'll find the most basic kind of tones
are located at GS Bank Select number 0: these are called "Capitals". Whatever the GS
sound source, some kind of tone will be assigned to every Capital.
Capitals, similar instruments and similar kinds of tones, can be further subdivided into
groups based on "nuance". "The representative sounds for this group are found starting at

a
ES
22-2
нина
Bar
OE
рр
EE
ED
222574
GS Bank Select number 8, and then at every eighth spot in the map. These are called
"Sub-Capitals". Any other sounds are placed on the map above the nuance closest to the
Sub-Capital or a Capital as variants of these.
So
what
happens
if
we
run
into
the
situation
described
above
where
tone
changing
message
(GS
Bank Select
number
plus
Program
Change
number)
calls
for
a
spot
on
the
tone
map
that
has
no
tone
assigned
to
it?
For
example,
let's
send
GS
Bank
Select
18/Program
Change
4.
If
there
is
a
tone
at
18/
4
in
the
receiving
sound
module,
of
course
it
plays
that
sound.
But
if
there is
no
tone
assigned
there
already,
the
module
goes
to
the
next-in-line
Sub-Capital
at
16/4
and
plays
using
that
sound.
Or,
if
there
is
no
tone
assigned
there
either,
it
moves
all
the
way
down
to
the
Capital
at 0/4
and
plays
that
sound
(remember,
all
GS
sound
sources
have
tones
at
the
Capitals).
Using
this
rule,
no
matter
what
tone
number
gets
sent,
you
will
always
get
something
that,
like
an
alternate
for
a
part,
at
least
sounds
similar.
The
problem
we
had
with
disappearing
tones
between
the
A
and
B
sources
is
solved.
Check out the diagram below to see how this scheme is related to the GS Bank Select
number.
-. -Г =
N _
о —À A
N ° N
са № № №
w N
m
№
о ғә A
= Пп ** Variants
[T] ©
— [D
Hi
—
Capital
If there is no tone assigned at the indicated location, run down the chart through the
Sub-Capitals to the Capitals until you find one that will play. So even if the very same
tone is not on the sound source, it will use Alternate Voicing to play the part using a tone
with a similar instrument and same kind of sound.

(5) General Use Areas and Special Use Areas
The lower half of the tone map (GS Bank Select numbers 0-63) is a general use area, and
the upper half (GS Bank Select numbers 64-127) is a special use area. The special use
area is for entering sounds that you concoct yourself, or for special tones on a particular
device. A variety of special-effects sounds are also assigned to the general use area, in the
range of Program Change numbers from 121 to 128.
127
o ® Alternate voicing Special use area
8 Е does't operate
8 x 63% N
3 9 Ç General-use area
Alternate voicing operate
|
шшш
|--
128
Program change number
Since the contents of the special use area can be so different from one device to the next,
even among GS sound sources, the Alternate Voicing rules we talked about don't apply
here. That is, if the indicated tone location happens to be empty, no sound is played.
The GS Format also includes a place in the general use area for special effects sounds
(SFX). From one spot to another in the tone map there is an incredible variety of sounds.
This means of course that, if we tried to use Alternate Voicing here, we might get a dog
barking where we asked for a cat meowing - not at all similar sounds! And so Alternate
Voicing doesn't operate here either.
(6) Chorus and Reverb
Every part in a GS sound source can have chorus and reverb effects added to it, and the
depth of effects can be controlled in real time using Control Change message*. The
Control Change number used for this is standardized in the GS Format, so that no matter
what GS sound source you're using, the right kind of effect will turn on or off.
* Control Change 91 controls the depth of Reverb, and 93 controls the depth of Chorus.
14

(7) A Part for Drums
Part
10
is
for
playing
drums.
1n
the
drum
part,
you
use
the
tones
of
a
drum
set.
Drum
sets
are
not
like
ordinary
tones
in
that
a
different
sound
is
assigned
to
each
key.
That
is,
no
matter
what
key
you
press
in
a
violin
tone,
you
get
a
violin
sound;
it
may
be
a
different
pitch
but
it's
still
a
violin
sound.
However,
each
key
in
a
drum
set
tone
plays
a
different
instrumental
sound:
kick,
snare,
hi-hat,
etc.
Since
percussion
instruments
don't
generally
carry
the
melody
and
so
have
little
variation
in
pitch,
we
can
handle
them
all on just one channel.
€ Select from the 16,384 (128 x 128) different tones.
Usual parts
@ Every key sounds the same tone.
@ Select from the 128 different drum sets.
Drum part
@ ^ different sound is assigned to each key .
Roland
drum
machines
and
percussion
sound
modules
all
send
and
receive
MIDI
data
on
MIDI
channel
10
asa
standard.
Likewise,
GS
sound
sources
power
up
with
MIDI
channel
10 as the default channel for drum parts.
(8) Changing Between Drum Sets
The
GS
Format
has
been
designed
to
allow
changing
between
128
different
drum
sets
for
playing
drum
(actually,
there
are
no
modules
yet
that
have
128
different
drum
sets).
Drum
sets
can
be
changed
using
program
change
numbers.
Drum set
1234567 .-:: 128
Program
change
number
In
the
GS
Format,
drum
sets
are
ranked
by
Program
Change
numbers
roughly
the
same
way
as
in
tone
maps.
In
addition,
the
kind
of
sound
assigned
to
a
particular
key
has
also
been
standardized.
With
the
sounds
arranged
this
way,
a
song
will
play
back
pretty
much
the same every time, no matter what GS sound source you're using.

5. Parts and Voices
(1) Relationship Between The Number of Voices and Parts
There are 24 tone-generating circuits, called oscillators or voices, in the CM-300. That
means 24 notes are available at any one time.
Jut since there are tones that use two voices, the actual number of notes that you can play
at any one time is going to be less than that. Which means, for tones that require exactly
two voices, you can play a maximum of 12 notes. And when it comes to rhythm parts, the
number of voices depends on what rhythm sounds are being played at any one instant, so
the total number of voices used will vary widely from one moment to the next.
It is the total number of voices in all parts which is important, so you could conceivably use
all the available voices in just one part if you wanted. That means one part could use up
to 24 voices. Check with the Tone Table (page 23) or Drum Set Table (page 28) to find
out exactly how many voices are used by each tone.
(2) What Happens When You Try To Play Too Many Notes
If you try to play more than 24 voices, some parts are going to lose their voice; and if these
are important parts like the melody, things are going to sound funny. To prevent the
occurrence of such a situation, the CM-300 provides the Part Sounding Priority and Voice
Reserve functions.
@ Assign A Higher Priority To The Most Important Parts -Part Sounding Priority
If you try to play more than 24 GS voices at once, the new notes will be played by taking
away voices from notes that are already playing the ones which are lowest on the GS
Format's Part Sounding Priority numerical ranking system.
So when writing a song, give some thought to what the most important parts are.
@ Make Sure The Most Important Parts Have The Voices They Need Voice
Reserve
'The Voice Reserve function guarantees each part a certain number of voices in advance.
For example. Part 10 is assigned a Voice Reserve of 6, meaning that, even if the
24.voice limit is exceeded, Part 10 is assured of getting 6 of the remaining voices. In
“
other words, if Part 10 uses 6 voices or less, there is no way that voices can be “stolen"
from it. regardless of how Part Sounding Priority is set.
Part 1-9 22
Part 10(Drum Part) 16
Part 11-16 s

Ш Problems? Please Check A Few Things First
If
the
CM-300
is
not
working
as
expected,
go
through
this
checklist
first:
the
trouble
may
be
something
quite
simple.
If
you
can't
solve
the
problem,
however,
contact
your
dealer
or
nearest
Roland
Service
Station.
@ No Sound
* Are all connected devices turned on?
* Are all devices connected properly?
*
If
there
is
an
input
selector
on
your
audio
device,
is
it
set
for
the
AUX
IN
or
LINE
IN
that
you're
plugged
into?
* Is the volume turned up on the audio device?
Ж
Is
there
a
volume
setting
on
any
software
vou
might
be
using?
Is
it
turned
down
or
set
to
zero?
€ Sounds Don't Sound Right
ж
Have
you
changed
MIDI
cable
connections?
If
the
cables
are
changed
in
the
middle
of
play-back,
it
can
cause
parts
to
play
with
the
wrong
sounds.

B About MIDI
MIDI stands for Musical Instrument Digital Interface, a world-wide standard for exchang-
ing performance data among computers and electronic musical instruments. An instru-
ment conforming to the MIDI standard, no matter what kind or who made it, can send and
receive performance data. This MIDI data is not music itself, but rather a way of handling
a variety of digitally-encoded messages telling the instrument what to do.
@ MIDI data Exchange
MIDI data exchange is not that difficult to understand.
@ MIDI Connections
MIDI data exchange is acheived through three connectors. MIDI cables are used to
connect these connectors in whatever arrangement you need for a particular job.
MIDI IN: MIDI data is received from other devices.
MIDI OUT: Data is sent to other devices.
MIDI THRU: The data sent to MIDI IN is sent back
out, unchanged.
ж You can use the MIDI THRU connector to “daisy chain" several MIDI devices together
so that they all receive the same MIDI data stream.
connected this way is about the limit.
However, four or five devices
Time delays and signal degradation increase with
the addition of more devices, causing "glitches" and data transmission errors.
@ MIDI Channels
Data for a number of different MIDI devices can be sent over the same MIDI cable. This
is the result of the MIDI Channel concept.
A MIDI Channel is a lot like a TV Channel. As you switch channels, you see completely
different programs; but this information is only received when the channel on your TV
is set to the same channel that the TV station is broadcasting on.
Broadcast Television signals of many broadcast stations pass through the cable
Station A
from the antenna,
Гоавоапаввв га)
= 7
Only the program of the selected channel will be seen.
MIDI has channels numbered 1-16, and MIDI data on any one channel is sent to all
instruments set to receive on that same channel. For example, playing a keyboard with
the MIDI channel set like the following will play only sound source B.