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MTLC-16
Music Tutor Lab Controller
Owner’s Manual
and User’s Guide
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Copyright © 2001 ROLAND CORPORATION
Roland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles CA 90040-2936 All rights reserved. No part of this publication may be reproduced in any form without
the written permission of ROLAND CORPORATION.
www.rolandus.com 2944US
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Educator’s Foreword Welcome to the Roland family! We want to thank you for making the Roland MTLC-16 Lab Communication Console a vital part of your classroom environment. As educators in the 21st-century, we are faced with ever-growing competition for our students’ time and focus. Listening to CDs and MP3s, watching movies and videos, and interacting with computers and the Internet, are all examples of activities that are replacing the time students used to spend learning musical instruments. Be
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MTLC-16 Features What Is It? The MTLC-16 is an integrated stereo hardware/software lab teaching system that includes animated music notation, an electronic gradebook, and drag ‘n’ drop classroom management tools. It consists of several integrated components. The MTLC-16 is a “break-out” product for group piano teaching. It features stereo sound, computerized record-keep- ing, and most important—visual display of all music lessons and literature. The MTLC-16 provides research-class tech- nology
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MTLC-16 Features What Is Included? The MTLC-16 Music Tutor Lab Controller is accompanied by a complete package of hardware, software, cables, and headphone/microphones, and comprehensive print materials—everything you need, whether you are a veteran group piano pedagogue, or a college/university teaching assistant conducting your very first class. Particularly important are the print materials, written by experienced keyboard educators. Included are the Owner’s Manual with step-by-step instructi
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MTLC-16 Features What Are the Options? There are several options to optimize your teaching lab. You may use standard recording technologies like cassette and CD-players, or add a hard-disk recorder for even more advanced functions. However, while the Monitor section below lists options, please consider the visual monitors carefully—since students will be following these visual displays very closely in each class. Whether you select an S-video TV monitor, sleek LCD panels, a large gas plasma dis
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Contents Educator’s Foreword .....................................................................................1 MTLC-16 Features..........................................................................................2 What Is It?....................................................................................................................................................................2 What Is Included?..................................................................................
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Names of Things and What They Do students can listen to, talk to, and play for (or along with) 1 [Tape In] Button the other selected students (page 21). Broadcasts audio from any external audio source (e.g. tape player, CD player, or rhythm machine) to all head- 5 Student [1-16] Buttons phones. When this button is engaged, each student can Establish two-way communication between teacher and listen to and play along with the audio material. Pressing student(s). When one (or several) of these b
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Names of Things and What They Do teacher’s microphone (page 21). 17 [Power Jack] Connects the MTLC-16 to the supplied AC power adapter. 8 [Mute] Button Silences all student instruments. When this button is 18 [Mon. Out] Jacks engaged, students can only listen to the teacher’s instru- Connect the MTLC-16 to an external speaker system (e.g. ment and microphone, or external audio material via stereo power-amp with speakers) (page 10). “Tape In” or “Aux In” (page 25). 19 [Rec. Out] Jacks 9 [Mic] Bu
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Music Lab Installation Guide Music Lab Installation Room Preparation When preparing a music teaching lab, there are many factors to consider. For example, the size and shape of the room, the availability of lighting and power outlets, as well as a room’s ventilation and temperature control need to be addressed. Please consider the following physical and electrical requirements before installing your music teaching lab. Physical Space Requirements Make sure there is sufficient space for all musi
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Music Lab Installation Guide MTLC-16 Lab Communication Console .........................................................................................................(1) MTLC-16 AC Adapter .......................................................................................................................................(1) MTLC-1 Student Communication Boxes........................................................................................................(16) RJ-45 Telephone-Type Connec
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Music Lab Installation Guide Set the “Master On/Off” button on the MTLC-16 to the “On” (“Master”) position. • Connect the optional computer to the “To Computer” jack on the MTLC-16 using the supplied 9-pin serial cable. If • sound from the computer (i.e. SMF playback) needs to be broadcast to the class, connect the computer’s head- phone output to the “Aux. In” jack on the MTLC-16 using the appropriate cable (e.g. 1/8” to RCA cable.) Connect the 9-pin “To Computer” jack on the optional second MT
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Music Lab Installation Guide • External Playback/Recording Device(s) • Visual Monitor(s) • Computer • MTLC-16 • Audio Monitor(s) Test the Teacher’s Station A) Set the output level on the teacher’s instrument to maximum (this gives the best signal-to-noise response.) B) Set the “Mic”, “Inst”, and “Phones” sliders on the MTLC-16 to their maximum setting. C) Put on the teacher’s headset and play a few notes on the teacher’s instrument. You should hear what you are playing. If you do not hear anythi
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Chap. 1–The Visual Music Tutor Advantage Developing Solid Reading Skills To pass a school’s piano proficiency exam, one typically needs to play the Star-Spangled Banner, demonstrate basic har- monization and improvisation skills, and perform two-handed keyboard pieces. All these tasks require two basic skills: READING and RESPONDING accurately, in time. It is suggested that development of eye-hand coordination is the critical skill in basic keyboard reading, and today has been made achievable li
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The Visual Music Tutor Advantage Making Reading More Successful—A Few Tips It is beyond the scope of this brief text to outline everything involved in developing sightreading technique, but here are a few pointers that can be practically implemented in every MTLC-equipped piano lab, as well as being used in every computer- or disk-assisted rehearsal session. PREVIEW playing If you look before you leap, you will not be surprised. A mental “read-through” will locate familiar and trouble- some part
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The Visual Music Tutor Advantage PARALLEL SIGHTREADING methods—The Best Readers are Frequent Readers Good reading habits will be strengthened further by using the following two strategies: 1) insisting that the class methods and materials have correlating disks, and 2) have students read through other parallel methods with visual/SMF guidance. Possible parallel methods/materials could be: 1) If the class text is Alfred's Piano Course for Adults, then one might use the chapters in PDM: Piano for
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Chap. 2–Surviving Your First Class Survival Checklist–Before the Class Two months before: Order your texts and disks. As stated in the previous chapter, it is imperative that you use the ❏ basic technology of an SMF-accompanied text. Several publishers' texts with accompanying disks are listed below. • Alfred Basic Group Piano Course, Books 1-4 Group Piano for Adults, Books 1-2 Piano 101, Books 1-2 Piano 101, The Short Course • Stipes Keyboard Musicianship, 7th edition, Books I & II, • Wadswort
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Surviving Your First Class The Class Make certain you have the following materials conveniently located. A) Printed materials: teacher’s books and disks, and all relevant handouts B) Verify that students have all their materials 1) Text with interactive disks 2) V-MT1 3) Additional SMFs/Books per syllabus Talking to the class: To survive the first round of teacher-class communication, press ALL and the Microphone button; now the student can hear both your instrument and your voice. If this is yo
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Surviving Your First Class C) When the actual playing begins, the eyes have read the score several times, and the fingers have been “itching” to play D) Using various tempi & track configurations 1) SLOWLY, without SMF, either hands separately or together 2) Increase tempo gradually as skill permits 3) Add rhythm track (Track R) a) Slow R.H. b) Slow L.H. 4) Add orchestra track (Track 2) a) Slow R.H. b) Slow L.H. 5) Mute piano parts 6) Find difficult spots & use Markers a) Set Marker A b) Set Ma
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Surviving Your First Class 6) Find difficult spots & use Markers a) Set Marker A b) Set Marker B c) Turn on Repeat or “loop” button, and practice this spot until it is polished d) Turn Repeat button off, and continue playing e) Clear Markers A & B F) Play a tempo 1) Since you are near-perfection now, congratulate yourself, or 2) Locate remaining difficult spots and user Markers A & B for additional spot practice 18
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Chap. 3–Operating the MTLC-16 The Lab Communication Console is the heart of the MTLC-16 Music Lab. It provides routing capabilities similar to those of a telephone switchboard. For example, when a teacher needs to hear a particular student, or group of students, he or she can do so from the MTLC-16. When a teacher needs to arrange the class into four groups of four for quartet- style playing, he or she can do so from the MTLC-16. While rewiring a music lab for alternate configurations seems dif-
