Was the MT-32 sold solely as a PC gaming device?

[jharris01]

Hi guys. I hope this hasn't been discussed before.

I was just watching Rocky IV on hulu.com (not trying to plug anything, I swear  ) and noticed the Roland-like synth sounds coming from the movie soundtrack. What was the name of that rock group, Survivor? Anyway, my question is: was the MT-32 used professionally in TV/movies or was it sold solely as a PC gaming device? I assume there probably were many more expensive Roland equipment for musicians based on MT technology, though I am curious about the MT-32 specifically.

Cheers

EDIT: I know about the CM series, but I was wondering about the way the MT-32 model was marketed at the time.

[Caliburn]

Actually, I think the MT-32 was originally designed to expand the sounds available when hooked up to a keyboard (the musical instrument, not a computer keyboard).  My understanding is it wasn't especially successfully sales-wise for this purpose, and it was Sierra that realized the potential for the MT-32 to be used for games, since there already existed MPU-401 cards that could be used to connect an external sound module to a PC (such cards presumably being meant for musicians, not gamers).  Sierra then made a deal with Roland to market and sell MT-32s, and the MT-32 earned a new purpose in life as other companies also began supporting it.

Most professional synths that are used in recordings have either built-in keyboards or are rack mountable sound modules, which basically means they have metal on the side so that they can be screwed into a rack, like shelves.  Since the MT-32 was just designed to sit on a keyboard, or later a computer desk, it hasn't held that much appeal for professional recording musicians.  It is also seen as more of a casual device, I think, with less sophisticated tech than its rack-mountable brethren.

In particular, the MT-32 does have a synth keyboard cousin called the D-50, which was a very popular device with musicians as I understand it, and although I don't know anything about Rocky IV or its soundtrack, it is possible that this, or something similar, is what you are hearing.  The rack mountable version of the D-50 was the D-550.

The D-50 isn't 100% MT-32 compatible, so it can't be used for games the way the LAPC-I, CM-32L, CM-500, or MT-100 can.  But it does use the Linear Arithmetic technology that the MT-32 employs, so they would have similar sound characteristics.

Hope that helps!  Someone else here may be able to peg the precise device used in the Rocky IV soundtrack, or correct any inaccuracies in what I've written.

EDIT: Here's a forum post where one of our members, Cloudschatze, shares a scanned ad where you can see how Roland first marketed the MT-32:
http://queststudios.com/smf/index.php/topic,2633.msg28347.html#msg28347

I forgot that the emphasis was more on digital pianos than keyboards, but that does make sense, because digital pianos at the time would have had more space on which to set the MT-32, few if any alternate sounds of their own, and would benefit from the MT-32s accompanying instruments.  Hence the "miniature orchestra" tag, and the default channels of 2-10 as Cloudschatze points out, leaving channel 1 free for the piano.

I also have a Roland User Group magazine lying around somewhere.  Basically a catalog advertising this era of devices: D-50, MT-32, PR-100, etc.  Though as I recall the info in it is extremely basic, just specs and things, so I don't imagine anything useful can be gleaned from it.

-Luke

[jharris01]

My understanding is it wasn't especially successfully sales-wise for this purpose, and it was Sierra that realized the potential for the MT-32 to be used for games... Sierra then made a deal with Roland to market and sell MT-32s, and the MT-32 earned a new purpose in life as other companies also began supporting it.

I bet Roland never thought Sierra would grow to be so successful. Sierra practically handed them a new and untapped source of revenue. I remember Sierra advertising the MT-32, but I also remember it was prohibitly expensive.

Most professional synths that are used in recordings have either built-in keyboards or are rack mountable sound modules, which basically means they have metal on the side so that they can be screwed into a rack, like shelves.  Since the MT-32 was just designed to sit on a keyboard, or later a computer desk, it hasn't held that much appeal for professional recording musicians.  It is also seen as more of a casual device, I think, with less sophisticated tech than its rack-mountable brethren.

Last month I saw on Ebay a rack mountable MT-32 on sale. The auction had some nice pictures showing the MT-32 attached to a metal plate like what you explained. The frontal panel didn't look slanted (I am not sure). It also had two pairs of 1/4 inch jacks. Maybe the plate was custom made?

I forgot that the emphasis was more on digital pianos than keyboards, but that does make sense, because digital pianos at the time would have had more space on which to set the MT-32... Here's a forum post where one of our members...shares a scanned ad where you can see how Roland first marketed the MT-32:

So that's where it got started. The photo on the ad is very telling. I bet the guys at Sierra looked at that and thought about the top of a big desktop 486 PC. It also explains the slanted frontal panel design. That is so 80s yet today the look somehow still looks pleasing to the eye (at least for me).

Anyway thanks for the reply. That was a very interesting read!

[Dustin]

That MT-32 with the four extra output jacks has most likely had some modifications done by a company called Real World Interfaces. My MT-32 looks exactly the same. I can't remember the full extent of the modifications, I'll have to dig out the documentation that came with mine. A lot was done to greatly improve upon the original MT-32 design.

 After using this modified example, I could never go back to using a stock MT-32. These modifications should have been part of the design all along.

[mratzloff]

If anyone's interested, the Roland MT-32 was first mentioned in Computer Gaming World #49 (July 1988) in the following article:

The Sound of Music

Although software publishers are aware of the fact that the home market requires quality graphics and sound, most are not ready to deal with the dearth of sound support on the current crop of MS-DOS machines. CGW editor, Russell Sipe, asked a panel of CEOs whose companies have strong entertainment emphases if they were doing anything about this. Three-Sixty's Tom Frisina answered, "If the IBM is to be the home machine, it needs better sound, but a sound board must be priced at a $49-$79 price point and it must do more than the current boards." The consensus of the panel seemed to be that when the hardware was there with a sufficient user base, they would support it.

Sierra moved into this area with their usual driving force of setting standards in the MS-DOS environment rather than waiting for them. The company which pushed for graphics enhancement with their early support of EGA, VGA, and MCGA products and which pioneered in packaging MS-DOS products in both 5.25" and 3.5" formats is now pressing the envelope in sound quality. As John Williams, Sierra marketing spokesman, verbally throws down the gauntlet, "Now that an IBM graphics standard has been established, we're ready to go into sound." Sierra products will soon support three different music cards. These include the: AdLib music card, IBM music feature, and Roland MT-32. Prices range from a low of $195 for the AdLib card to a high of $600 for the top-of-the-line Roland card. In addition to supporting the cards, Sierra has hired television and motion picture composer, William Goldstein, and Bob Siebenberg, drummer for the rock band "Supertramp," to compose soundtracks for King's Quest IV and Space Quest III respectively.

Sierra founder, Ken Williams, insists, "We see this as critical to mass consumer acceptance of our new form of home entertainment." Noting that sound is already more important in the Japanese market (where Sierra is not only selling their products successfully, but where they discovered quality arcade titles like Thexder and Silpheed to license from Japan) than it has been in the U. S. to this point, Roberta Williams stated, "The Japanese have influenced us a lot. Not just in music, but in very nice introductions to the games."

Japanese gamers even buy cassette tape soundtracks of the music used in computer games. For example, the CGW staff was given a pre-release copy of Koei's Romance of the Three Kingdoms soundtrack. We were told that the Japanese market was so anxiously awaiting this soundtrack that the prerelease copy could easily bring $500 on the Japanese blackmarket [sic].

Now, Sierra's emphasis on quality music in the MS-DOS world combined with Cinemaware's excellent soundtracks in the Amiga world may lead to soundtrack records, tapes, and compact discs in the U.S. In addition, Interplay Productions' forthcoming Neuromancer will feature an original song by DEVO. The song, Some Things Never Change, was originally written for the computer program, but may well become the hit single from the group's latest album. We expect the trend of entertainment crossover between films, recording, literature, and computer games to continue.