Roland C7100, VM-C7200 User Manual

VM-C7200/C7100

Owner’s Manual

Notation used in this Owner’s Manual

To make operation procedures easy to understand, the following notation system is
adopted:

• Characters and numbers in square brackets [ ] indicate buttons on the front panel. For
example, [LEVEL METER] represents the LEVEL METER button.

• Notes in the right margin of sections marked include information requiring your
attention. Be sure to read these notes.

• Notes in the right margin of sections marked include information you may find
convenient to know. Read these as necessary.

• indicates that the paragraph marked contains information related to an operation.

• Items marked indicate terms that are useful to know. Read these as necessary.

• If you come across a term in this manual that you don't understand, look it up in the

“Glossary”

(p. 264).

• If the volume decreases, or if the unit does not operate properly, read

“Troubleshooting”

* All product names mentioned in this document are trademarks or registered trademarks of their

respective owners.

Copyright © 1999 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the

written permission of ROLAND CORPORATION.

(p. 232). For answers to questions about the V-Mixing System, read

(p. 261).

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (Owner’s manual p. 2), “USING THE UNIT SAFELY” (Owner’s
manual p. 3), and “IMPORTANT NOTES” (Owner’s manual p. 4). These sections
provide important information concerning the proper operation of the unit. Additionally,
in order to feel assured that you have gained a good grasp of every feature provided
by your new unit, Owner’s manual should be read in its entirety. The manual should
be saved and kept on hand as a convenient reference.

“Q & A”

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

Read all the instructions before using the product.

1.
Do not use this product near water — for example, near a

2.
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.
This product should be used only with a cart or stand that is

3.
recommended by the manufacturer.
This product, either alone or in combination with an amplifier

4.
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an
audiologist.
The product should be located so that its location or position

5.
does not interfere with its proper ventilation.
The product should be located away from heat sources such

6.
as radiators, heat registers, or other products that produce
heat.
The product should be connected to a power supply only of

7.
the type described in the operating instructions or as marked
on the product.

8.

The power-supply cord of the product should be unplugged
from the outlet when left unused for a long period of time.

9.

Care should be taken so that objects do not fall and liquids
are not spilled into the enclosure through openings.

10.

The product should be serviced by qualified service
personnel when:
A.

The power-supply cord or the plug has been damaged; or

B.

Objects have fallen, or liquid has been spilled into the
product; or

C.

The product has been exposed to rain; or

D.

The product does not appear to operate normally or
exhibits a marked change in performance; or

E.

The product has been dropped, or the enclosure
damaged.

11.

Do not attempt to service the product beyond that described
in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.

For the USA

GROUNDING INSTRUCTIONS

This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for

electric current to reduce the risk of electric shock.

This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be

plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances.
DANGER: Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Check with a

qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded.
Do not modify the plug provided with the product — if it will not fit the outlet, have a proper outlet installed by a qualified
electrician.

For the U.K.

WARNING:
IMPORTANT:

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 GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the

letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.

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.

The product which is equipped with a THREE WIRE GROUNDING TYPE LINE PLUG must be grounded.

THIS APPARATUS MUST BE EARTHED
THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE

Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.

Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.

* Material damage refers to damage or

other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.

The symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be

carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power­cord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instruc­tions below, and the Owner’s Manual.

.............................................................................................................

002a

• Do not open or perform any internal modifications
on the unit.

.............................................................................................................

007

• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.

.............................................................................................................

009

• Avoid damaging the power cord. Do not bend it
excessively, step on it, place heavy objects on it, etc.
A damaged cord can easily become a shock or fire
hazard. Never use a power cord after it has been
damaged.

.............................................................................................................

013

• In households with small children, an adult should
provide supervision until the child is capable of
following all the rules essential for the safe
operation of the unit.

.............................................................................................................

014

• Protect the unit from strong impact.

(Do not drop it!)

.............................................................................................................

015

• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using extension
cords—the total power used by all devices you have
connected to the extension cord’s outlet must never
exceed the power rating (watts/amperes) for the
extension cord. Excessive loads can cause the
insulation on the cord to heat up and eventually
melt through.

.............................................................................................................

016

• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.

.............................................................................................................

020

• Keep lithium batteries out of reach of small
children. If a child has accidentally swallowed a
battery, see a doctor immediately.

.............................................................................................................

021

• Lithium batteries must never be recharged, heated,
taken apart, or thrown into a fire or water.

102b

• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.

............................................................................................................

104

• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.

............................................................................................................

106

• Never climb on top of, nor place heavy objects on
the unit.

............................................................................................................

107b

• Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from, an
outlet or this unit.

............................................................................................................

108a

• Before moving the unit, disconnect the power plug
from the outlet, and pull out all cords from external
devices.

............................................................................................................

109a

• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 24).

............................................................................................................

110a

• Whenever you suspect the possibility of lightning in
your area, pull the plug on the power cord out of
the outlet.

............................................................................................................

113

• Use only the specified type (model no. CR-2032) of
lithium battery (p. 26). Be sure to insert it as directed
(to ensure correct polarity).

............................................................................................................

114

• Used lithium batteries must be disposed of in
compliance with whatever regulations for their safe
disposal that may be observed in the region in
which you live.

............................................................................................................

3

Important Notes

In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2
and 3, please read and observe the following:

Power supply

• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).

• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.

Placement

• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit; or
move it farther away from the source of interference.

• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.

• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.

Maintenance

• 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 cloth impregnated with a mild,
non-abrasive detergent. Afterwards, be sure to wipe the
unit thoroughly with a soft, dry cloth.

• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.

Repairs and data

• Please be aware that all data contained in the unit’s
memory may be lost when the unit is sent for repairs.
Important data should always be backed up on a memory
card, or written down on paper (when possible). During
repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry related
to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no
liability concerning such loss of data.

Memory backup

• This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” page.

“Checking BATTERY ... NG.”

• Unfortunately, it may be impossible to restore the contents

of data that was stored on a memory card once it has been
lost. Roland Corporation assumes no liability concerning
such loss of data.

• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.

• Never strike or apply strong pressure to the display.

• When connecting / disconnecting all cables, grasp the

connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s internal
elements.

• A small amount of heat will radiate from the unit during
normal operation.

• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).

• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.

• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.

•

Some connection cables contain resistors. Do not use cables
that incorporate resistors for connecting to this unit. The
use of such cables can cause the sound level to be
extremely low, or impossible to hear. For information on
cable specifications, contact the manufacturer of the cable.

• The explanations in this manual include illustrations that
depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match what appears in the manual.

Before using cards

Using memory cards

• Carefully insert the memory card all the way in—until it is
firmly in place.

Additional precautions

• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that you
periodically save a backup copy of important data you
have stored in the unit’s memory on a memory card.

4

• Never touch the terminals of the memory card. Also, avoid
getting the terminals dirty.

Table of Contents

Chapter 1 Introduction .........................................................................10

Main Features............................................................................................................................................ 10

Names of Things and What They Do.................................................................................................... 11

A: Display area ..............................................................................................................................12

B: Monitor area.............................................................................................................................. 13

C: Memory/Recall area................................................................................................................15

D: Transport area .......................................................................................................................... 16

E: Fader parameter/Section select area .....................................................................................17

F: Channel fader (button) area ....................................................................................................19

Rear panel....................................................................................................................................... 20

Before Operation.......................................................................................................................................21

Connections....................................................................................................................................21

Turning the power on/off ........................................................................................................... 24

Adjusting the display’s contrast ................................................................................................. 25

Adjusting internal clock............................................................................................................... 25

If you get lost .................................................................................................................................28

Preparing a memory card ............................................................................................................28

Internal Signal Flow................................................................................................................................. 29

About Digital Connections and the Master Clock...............................................................................31

Digital sound device and master clock...................................................................................... 31

DIGITAL A and B terminals and reception of word clocks....................................................32

Word clock connector...................................................................................................................32

Checking the overall system........................................................................................................ 32

Restoring the Original Factory Settings (Factory Reset).....................................................................33

Factory reset procedure................................................................................................................ 33

Table of Contents

Chapter 2 Basic Operations and Their Settings

(System/Project)....................................................................................34

Basic Operations....................................................................................................................................... 34

Screen descriptions .......................................................................................................................34

Setting parameters ........................................................................................................................35

Level Meter Settings................................................................................................................................. 36

Settings for the Panel (Knobs and Display)..........................................................................................37

Connection Setting of Processor and Console...................................................................................... 39

Checking the overall system........................................................................................................ 39

When using two consoles ............................................................................................................ 40

Settings related to cascade connection.......................................................................................41

Chapter 3 Data Storage and Retrieval.................................................43

Copying Libraries Containing Various Settings..................................................................................44

Calling up and saving a library screen ...................................................................................... 44

Storing a Mixing State (Scene)................................................................................................................47

Storing/recalling/erasing a scene..............................................................................................47

Selecting which parameters will be recalled.............................................................................48

Storing and Recalling All Mixer Settings (Project)..............................................................................50

Preparing a memory card for project storage........................................................................... 51

Storing a project............................................................................................................................. 52

Re-naming/erase-protecting a project.......................................................................................53

Selecting a project.......................................................................................................................... 54

Copying a project.......................................................................................................................... 55

Erasing a project from a memory card....................................................................................... 55

Copying Data to/from a Memory Card................................................................................................56

Moving and returning a set of libraries in a console to and from a memory card..............56

Backing up a memory card..........................................................................................................57

5

Table of Contents

Chapter 4 Useful Functions .................................................................58

Storing Frequently Used Screens (Macro Function)............................................................................58

Storing a screen as a macro.......................................................................................................... 58

Recalling a screen (macro) ...........................................................................................................58

Clearing a stored macro...............................................................................................................58

Calling Up Stored Connections (EZ Routing)......................................................................................59

Routing template...........................................................................................................................59

Virtual patchbay............................................................................................................................60

Directly Calling Up a Screen for Each Channel (Quick Channel Edit).............................................62

Directly jumping to a parameter’s screen (Quick channel edit)............................................. 63

Simultaneously Setting Several Channels’ Parameters (Parameter View on Fader)......................64

Chapter 5 Mixing Procedure 1 (Input Channel)..................................67

Basic Settings by Input Channel............................................................................................................. 67

Selecting an input channel’s signal source................................................................................67

Gain, Phantom Power Supply, Phase and Attenuator ............................................................68

Correcting a signal’s time delay (PHASE DELAY)..................................................................69

Setting up ON/OFF, SEND LEVEL and PAN for a Channel............................................................ 70

SEND LEVEL and PAN to the main mix and the cue bus......................................................70

Setting a channel’s send level and send point to Flex Buses ..................................................72

PAN and DEPTH for using SURROUND................................................................................. 73

Setting up direct-output channels .............................................................................................. 75

Switching the Status of a Channel ......................................................................................................... 77

Muting a channel (MUTE)........................................................................................................... 77

Listen to a channel by itself (SOLO)...........................................................................................78

Adjusting Various Channel Settings (Equalizer, etc.).........................................................................78

Adjusting frequency characteristics (channel equalizer) ........................................................78

Cutting unwanted low frequencies (HIGH PASS FILTER)....................................................81

Adding an delay-based echo (Feedback Delay) .......................................................................81

Naming input channels................................................................................................................83

Chapter 6 Mixing Procedure 2 (Output and Monitor) ........................84

Setting Master Mix Levels and Stereo Balance.....................................................................................84

Setting the master levels for the MAIN OUTs and cue bus....................................................84

Reducing signal distortion (attenuator).....................................................................................85

A Flex Bus and Its Output.......................................................................................................................86

Outputting signals directly from a Flex Bus .............................................................................86

Sending Flex Bus signals to internal destinations.................................................................... 87

Naming a Flex Bus channel .........................................................................................................89

Routing a Flex Bus to a surround system output.....................................................................89

Surround Output......................................................................................................................................91

Enabling the surround function and selecting the desired mode.......................................... 91

Routing Signals to MULTI OUTs and ASSIGNABLE OUT Jacks.....................................................93

Selecting an output’s signal source ............................................................................................ 93

Naming each output channel......................................................................................................94

Setting an output’s level............................................................................................................... 94

Digital connection output processing (dithering).................................................................... 94

Setting Up Monitor Sends For Studio Or Stage (STUDIO 1 or 2)......................................................95

Setting Up a Monitor For the Mixing Engineer ................................................................................... 96

Turning the monitor send to each output jack on or off ......................................................... 97

Calling up stored level and monitor output presets................................................................97

Specifying a signal to monitor (source select)........................................................................... 98

Setting the monitor volume (line, headphones, digital).......................................................... 98

To instantaneously lower the monitoring volume (DIM).......................................................99

Setting the monitor stereo balance ............................................................................................. 99

Monitoring in mono...................................................................................................................... 99

Talkback and Slate to Player.................................................................................................................100

6

Table of Contents

Selecting a talkback/slate microphone....................................................................................100

Turning talkback/slate on and adjusting its volume ............................................................100

Turning the talkback and slate features on and off independently..................................... 101

Chapter 7 Mixing Procedure 3

(Settings Common to Input and Output) ..........................................102

Simultaneously Controlling the Signals of Multiple Channels (Link and Group)....................... 102

Pairing one channel with another (stereo linking).................................................................102

Muting several channels (mute group).................................................................................... 103

Simultaneously changing multiple channels’ levels (fader-group master)........................ 104

Mute- and Solo-Related Settings..........................................................................................................107

Solo volume and setting the channel signal-flow location to be soloed.............................107

Linking stereo-link-to destination ............................................................................................108

Chapter 8 Using the Internal Effects.................................................109

How the Internal Effects Are Organized ............................................................................................ 109

Using the Speaker Modeling function ..................................................................................... 109

Operation for Producing an Effect.......................................................................................................110

Determining the effect position.................................................................................................110

Setting input/output levels....................................................................................................... 113

Selecting the effect library.......................................................................................................... 113

Editing Effects......................................................................................................................................... 115

Determining the Algorithm.......................................................................................................115

Editing effects ..............................................................................................................................115

Saving an Effect State (Effect Library).................................................................................................117

Naming effects libraries .............................................................................................................118

Algorithm List......................................................................................................................................... 119

Table of Contents

Chapter 9 Using the Spectrum Analyzer ..........................................184

Basic Configuration and Operation..................................................................................................... 184

Specifying an effect to used by the analyzer...........................................................................185

Selecting a signal to analyze......................................................................................................185

Changing the analyzer display format (peak-hold, etc.)....................................................... 185

Using a test signal (generator/oscillator)................................................................................186

Specifying the bus to which reference signals are sent ......................................................... 187

Checking the Frequency Characteristics of a Hall or a Signal.........................................................187

Checking the frequency characteristics of a signal ................................................................ 187

Measuring and correcting the characteristics of an acoustic space ..................................... 187

Measuring outputs using the talkback microphone.............................................................. 189

Chapter 10 Combining Recorders.....................................................190

Remotely Controlling a Recorder.........................................................................................................190

Preparations for remote control (MMC settings) ...................................................................191

Playing or stopping recorders...................................................................................................191

Changing track status (Audio status).......................................................................................192

Registering/canceling points in a song (Locate).................................................................... 192

Naming a locate point ................................................................................................................193

Editing a locate point and pre-rolling......................................................................................193

Specifying a point by direct entry of time...............................................................................194

Loop and auto punch in/out..................................................................................................... 195

7

Table of Contents

Chapter 11 Recording/Playing Back Fader or Knob Actions

(Automix) .............................................................................................196

Setup for Synchronized Operation with Recorder............................................................................ 196

Selecting the outgoing MIDI sync signals ...............................................................................196

MIDI clock and tempo, metronome .........................................................................................196

Recording Mixing Operations as the Song Develops (Automix Function) ................................... 197

What is the automix function? ..................................................................................................197

Settings (data types) that can be recorded/played back.......................................................198

Setting up the automix function (SET UP) ..............................................................................200

Automix and channel statuses..................................................................................................201

Recording Auto-mixing.........................................................................................................................203

Clearing the memory (CLEAR)................................................................................................. 203

Recording auto-mixing for the first time/recording by overwriting

(ABSOLUTE REC)....................................................................................................................... 204

Recording to modify (RELATIVE REC)...................................................................................205

Re-recording the specified section (PUNCH IN) ................................................................... 206

Playing Back Auto-mixing.................................................................................................................... 207

Editing Auto-mixing.............................................................................................................................. 208

Confirming data (VIEW)............................................................................................................208

Changing data one by one (MICRO EDIT) ............................................................................. 211

Defining the region subject to editing......................................................................................211

Copying (COPY)..........................................................................................................................212

Moving (MOVE).......................................................................................................................... 214

Erasing a section no longer needed (ERASE)..........................................................................216

Erasing an unneeded portion—bringing forward what follows (CUT) .............................217

Gradually shifting values in a specified region (GRADATION).........................................218

Add dynamics (EXPAND)......................................................................................................... 220

Chapter 12 Using with MIDI Devices.................................................222

Settings Related to MIDI ....................................................................................................................... 222

Settings for MIDI transmission/reception and Level Meter Bridge (MB-24) ....................222

Settings related to tempo/metronome.....................................................................................223

Settings related to synchronization.......................................................................................... 224

Receiving or transmitting level/pan using fader or knobs .................................................. 225

Example of Connections........................................................................................................................225

To synchronize with an external MIDI device (the console is used as a slave)................. 225

To make an external MIDI device synchronize with the console

(when the console is used as the master)................................................................................. 226

Controlling a MIDI device from the console........................................................................... 228

Controlling the console from a MIDI device........................................................................... 230

Glossary...............................................................................................232

Parameter List.....................................................................................248

Troubleshooting..................................................................................261

Overall operations....................................................................................................................... 261

The internal effects......................................................................................................................262

MIDI-related problems............................................................................................................... 262

Others............................................................................................................................................ 263

8

Table of Contents

Q & A....................................................................................................264

Basic setup and structure........................................................................................................... 264

Hardware ..................................................................................................................................... 266

Effects............................................................................................................................................267

Connecting with other devices.................................................................................................. 268

Other matters...............................................................................................................................269

MIDI Implementation...........................................................................270

Specifications......................................................................................302

VM-C7200: 94 ch V-MIXING CONSOLE............................................................................................302

VM-C7100: 94 ch V-MIXING CONSOLE............................................................................................303

Index.....................................................................................................304

Table of Contents

9

Chapter 1 Introduction

Main Features

This multi-function, high-quality all-digital audio mixing system features the
followings:

• All-digital mixing of up to 94 input channels (*).

* When two VM-7200 systems are cascaded together using a VM-24C

Cascade Kit.

• Component design with an independent mixing control surface and mixing

processor. These components are connected using two AES/EBU digital
audio cables, eliminating the need to run an expensive, heavy-duty multi­channel, audio cable from a studio or stage to a mixer. The digital cabling
helps preserve the quality of audio signals that might otherwise degrade
over distance.

• The VM consoles are equipped with silent motorized faders.

• Many parameters, including analog input gain, can be controlled or recalled.

• Equipped with multi-purpose Flex buses and a virtual patchbay that enables

user-configurable connections between channels, inputs and outputs.

• Up to eight internal stereo multi-effects processors, plus a stereo insert effect

on the main mix outputs.

• Multiple effect algorithms include a speaker modeling function that

emulates an assortment of popular studio and consumer speakers. Also
included is a microphone simulator that allows signals to sound as if they’ve
been sourced using a variety of popular and classic studio microphones.

• 5.1 Surround mixing capability.

• EZ Routing allows users to quickly recall one of many pre-defined mixer

setting templates. Each EZ Routing template can invoke settings for a
particular situation—recording, live PA, etc. —or musical genre.

• Built-in spectrum analyzer for measuring the frequency characteristics of

input signals, including those produced by users’ monitors. By combining
the system with the built-in noise generator or oscillator, the characteristics
of a monitoring or stage speaker system can be tuned for use in a control
room or performance space.

• By combining separately-sold VM-24E and DIF-AT, up to six multi-track

tape recorders (48 channels) can be digitally connected to this system as a
whole(*).

* Both ADAT and TASCAM TDIF formats are available.

• Equipped with an assortment of powerful features such as Scene memory,

auto-mixing, 24 fader groups, dual channel delays, 4 bands of parametric
equalization per channel and per-channel high-pass filtering.

10

Chapter 1 Introduction

Names of Things and What They Do

The front panel consists of the following areas:

* To learn about items on the mixing processor (VM-7200/7100), refer to “Names

and Functions of Each Part” in the operation manual attached to the processor.

fig.01-1e

A. Display area (p. 12) B. Monitor area (p. 13)

This area contains buttons and knobs that are used to adjust the content
shown in the display. It contains buttons to access the system screen
where overall settings are made and to access the EZ routing function.
Other buttons access the spectrum analyzer, speaker modeling, and
effect functions.

B

In this area you can make monitor-related
settings and adjustments for the person
who is operating the console, or for the
performers in the studio or on stage.

C. Memory recall area

(p. 15)

This area contains the buttons
that are used to numerically
store and recall scenes, mute
groups, or locate points etc.

Chapter 1 Introduction

A

F

You may find it convenient to affix a strip of clear
tape (that can be easily peeled off later) to this
area, and use a felt-tipped marker to make a note
of the input sources (instruments or connected
devices) handled by each channel.

D. Transport area (p. 16)

When a digital multitrack
recorder is connected, these
buttons are used to remotely

C

E

D

F. Channel fader area (p. 19)

This area consists of the faders for each channel that adjust
the input level etc., and buttons for each channel (status
button / channel edit button).

control the recorder. These
buttons are also used to record
and playback auto-mix data.
Here also are buttons that let
you undo/redo operations and
copy data.

E. Fader parameter/
section select area

(p. 17)

In this area you can specify the
parameter that will be modified
by each fader, or select the
object (section) that will be
edited by panel operations.
This area also contains the
[SHIFT] button that temporarily
changes the function of the
other buttons.

11

Chapter 1 Introduction

■

A: Display area

fig.01-2

2

1

3

12

1...

CONTRAST knob

Sets the density (brightness) of the display. Turn the knob to
optimize the display’s visibility for your viewing angle.

2...

DISPLAY (LCD)

Shows a level-meter screen after system is turned on.
Contents of the display change to reflect the current mixing
operation.

V1–V6 knobs

3...

The V1–V6 knobs set/Adjuxt the values of the currently
selected parameters. The function of each knob depends on
the currently displayed screen.

LEVEL METER button

4...

Press this button to display the level meter for each channel.

4 6 7

5

8910111314

9...

FADER UTILITY button

Calls up a screen for linking pairs of channel faders in stereo.

CURSOR buttons

10...

Use these buttons to move the cursor up, down, left or right
on the screen to select a parameter—the currently selected
parameters are outlined on the display. The [LEFT] or
[RIGHT] button changes to a TIME CURSOR button when
[SHIFT] is pressed, allowing you to select the time field to
be altered using the TIME/VALUE dial.

11...

PAGE buttons

Press these buttons while the page list is visible in the upper
right area of the display to change pages. Press [PAGE
DOWN] to go to the next page or [PAGE UP] to return to the
previous page.

ANALYZER/OSC/GEN button

5...

Calls up a screen for setting the attributes of the spectrum
analyzer and its attached oscillator and noise generator.

SP MODELING (MASTER FX) button

6...

Calls up a screen for setting the master effect, the insert
effect dedicated to the stereo signal fed to the MAIN OUT
and MONITOR OUT. In addition to speaker modeling, a 10­band parametric equalizer or 3-band dynamics processor is
also available.

EFFECTS 1–8 button

7...

Calls up the main effects screen.

8...

EXT SYNC button

Press this button to synchronize the Automix function to an
external time code source.

12

F1–F6 buttons

12...

Each of these six buttons is associated with a displayed
parameter, and is used for the adjustment of the parameter’s
value. The purpose of each button depends on the parameters
presented in the currently displayed screen. Indicators of
these buttons which are assigned any functions will light.

EZ ROUTING button

13...

Calls up an EZ Routing screen menu that allows you to
select or save signal routing templates. When this button is
pressed in conjunction with [SHIFT], the PATCHBAY
screen appears—this screen allows you to view and change
connections between input and output jacks and channels.

PROJECT button

14...

Calls up a screen menu for saving, selecting or newly
creating a project that stores all current mixer settings. Press
this button together with [SHIFT] to call up a screen menu
of system-wide parameters (SYSTEM menu).

Chapter 1 Introduction

■

B: Monitor area

fig.01-3

1

32

4

65

7

15 14 13 12 11

Chapter 1 Introduction

8

9

10

1...SOURCE/STUDIO2 button

Calls up a screen for selecting the source of the STUDIO 1/2 output that typically
feeds studio or stage monitors. Since no knob is provided for STUDIO 2, its level is
also adjusted from the screen.

* The STUDIO 1 and 2 outputs are monitor signals intended for performers in a

studio or on a stage. The STUDIO 1 signals are output in stereo to
ASSIGNABLE OUTs 1 and 2 of the mixing processor, while STUDIO 2’s stereo
signal is sent to ASSIGNABLE OUTs 3 and 4.

2...

STUDIO 1 LEVEL knob

Adjusts the level of the STUDIO 1 outputs. (Since the same setting can be changed
using a V knob when the source select screen of STUDIO 1 is displayed, the physical
position of this knob may differ from the actual STUDIO 1 setting.)

DIGITAL (MASTER) level knob

3...

Master knob for changing the level of signals to be sent to the CONTROL ROOM
monitor output of the console. When this knob is moved, the volume of audio
transmitted via the DIGITAL OUT is also changed.

4...LINE OUT LEVEL knob

Level knob (analog volume) for the LINE OUT jacks on the rear of the console.

5...

PHONES LEVEL knob

Volume knob for headphones connected to the PHONES 1 and/or 2 jacks. The
volume of the two headphone jacks cannot be adjusted independently.

MIC LEVEL knob

6...

Knob for adjusting the level of the talkback system. The knob also functions as a gain
control for any connected talkback microphone.

13

Chapter 1 Introduction

b

7...

INPUT SELECT switch

Selects the microphone input to be used for talkback. According to the position of the
switch, the microphone built into the panel (MIC 1) or an external microphone (MIC

2) can be selected. Set the switch to “48V ON” only when phantom power is required
for an external talkback microphone.

MIC 1 (internal microphone)

8...

Small microphone built into the panel used for talkback communication with
performers.

9...

PHONES (headphone jacks)

Two jacks for connecting stereo headphones. The two jacks share a common stereo
signal.

10...

MIC 2 (external microphone connector)

Connector for an external microphone to be used for talkback. You can purchase a
commercially available flexible gooseneck microphone holder for this microphone.

Send to ANALYZER button

11...

Press this button to send the talkback microphone signal to the internal spectrum
analyzer. When the button is pressed, [ANALYZER/OSC/GEN] also lights and the
display changes to the analyzer screen.
This feature presumes that an external talkback microphone uses Channel 24. The
built-in talkback microphone’s signal will automatically be routed to the analyzer
via channel 24.

12...

TALKBACK/SLATE button

Activates or de-activates the talkback function, according to the setting of the
TALKBACK BUTTON system parameter. This parameter can be set to
MOMENTARY—talkback is on only while [TALKBACK/SLATE] is depressed—or
to LATCH, where talkback is switched on with one [TALKBACK/SLATE] button­press, and off with another. When talkback is activated, audio from the designated
talkback microphone is injected into the selected bus.

DIM button

13...

Dim on/off button lowers the monitor volume to a pre-defined level.

14...

OUTPUT PRESET A/B/C button

Selects any of three user-definable CONTROL ROOM monitor setups—each setup
contains a collection of CONTROL ROOM monitor parameter settings. Every press
of the A/B/C button toggles between setups A and B—to select Setup C, press the
SHIFT button and the A/B/C button.

15...

(CONTROL ROOM) SOURCE SELECT button

Calls up a screen from which you can select the source of the signal to be fed to the
CONTROL ROOM monitor output.
Press this button together with [SHIFT] to display the detailed setting screen
associated with the three CONTROL ROOM monitor setups described in “14”
above.

While [TALKBACK/
SLATE] is turned on,
Channel 24 is presumed to

e controlling an external
talkback microphone and is
thus unavailable for other
purposes. This does not,
however, reset the source
setting for Channel 24
shown on the PATCHBAY
screen (p. 60).

14

Chapter 1 Introduction

■

C: Memory/Recall area

fig.01-4

1

2

3

MUTE GROUP, SCENE and LOCATE buttons

1...

Press MUTE GROUP, SCENE or LOCATE to set the operating mode of the ten-key
numeric keypad. One of the three buttons is typically lit to indicate the keypad’s
current operating mode—this may not be the case, however, during certain
operations, such as character entry. Depending on which of the three buttons is
active, you can use the keypad to control mute groups, or save and recall Scenes or
Locate points. Press any of the three buttons together with [SHIFT] to call up the
corresponding detailed setting screen.

Chapter 1 Introduction

4

0–9 (ten-key keypad)

2...

When [MUTE GROUP] is active, the numeric keypad buttons function as master
mute buttons for the corresponding mute groups. When [SCENE] or [LOCATE] is
active, use these buttons to specify a Scene or Locate point to be stored or recalled.
While [SHIFT] is pressed, the keypad buttons function as macro buttons. The
currently displayed screen, including the current position of the cursor, can be
stored as a numbered macro by pressing any unlit keypad button. Hold [SHIFT] and
press any stored macro’s lit numeric keypad button to jump instantly back to the
screen it invokes.
When entering characters, you can enter numeric values using the keypad buttons.

3...

CLEAR button

Clears a stored Scene or Locate point. After pressing Scene or Locate, press [CLEAR]
and then enter the desired number on the ten-key keypad to clear the stored item. To
clear a macro, hold down [SHIFT] and [CLEAR] and enter the macro’s number on
the keypad.

ENTER button

4...

Press this button together with [SHIFT] to call up the Time Code Locate (TC
LOCATE) screen. When this screen is displayed, select a locate point using the ten­key numeric keypad and press [ENTER] to move to the location.

15

Chapter 1 Introduction

■

D: Transport area

fig.01-5

1 2

5

4

7

8

4...

ZERO button

3

6

Sets the current system time to zero (00:00:00:00).
While [SHIFT] is pressed, this button functions as a LOOP
button that turns loop play on and off. When loop play is
turned on, a connected remote device—such as a multi­track recorder—will repeatedly play and rewind a
specified section of the project.

REW/PREV button

5...

Moves the current system time backward. (“PREV” is
reserved for future implementation.)

FF/NEXT button

6...

Moves the current system time forward. (“NEXT” is
reserved for future implementation.)

9

STOP button

7...

Stops the Automix function, operation of a remote
recorder, etc.

10

COPY/LIBRARY button

1...

Calls up the copy/library screen. When [SHIFT] is
depressed, pressing the button alternately turns automatic
punch-in/out on and off.

2...

UNDO/REDO button

UNDO/REDO button for Automix. This button causes the
last operation to be undone, or a just-undone operation to
be redone. The following actions can be undone/redone:

• Real-time recording of Automix data

• COPY, MOVE, ERASE, CUT, GRADATION, EXPAND

and CLEAR Commands

• Changing of an event’s time

3...

AUTO-MIX button

Switches the operating mode of the Automix function.
Each time this button is pressed, the Automix mode
changes from playback (green) to relative recording
(orange), absolute recording (red), to OFF (off), in that
order.
While [SHIFT] is pressed, press [AUTO-MIX] to call up the
Automix set/edit screen.

PLAY button

8...

Starts the Automix function, operation of a remote
recorder, etc.

REC button

9...

Controls recording functions in a remote recorder. When
the recorder is stopped, press this button once to activate
the recorder’s record-standby (REC button will be
blinking) mode. Press the button again in turn to initiate
recording (REC button lights solidly). You can also initiate
recording by pressing [REC] and [PLAY] simultaneously.

10...

TIME/VALUE

Turn this dial to change the current time value. This value
is used by the Automix function, and will also be
referenced by any connected remote device, such as a
multi-track recorder. You can use the dial to change any
area within the time readout—the area to be affected is
indicated by the cursor in the current time display. Turn
this dial while pressing [SHIFT] to change the time
quickly.
(“VALUE” is reserved for future implementation.)

16

Chapter 1 Introduction

■

E: Fader parameter/Section select area

fig.01-6

6

7

1

8

2...

3...

9

10

2

11

4...(

12

13

3

14

4

5

5...(MAIN)

Chapter 1 Introduction

FLEX BUS 1–6/7–12 buttons

Press any of the FLEX BUS 1–6 buttons to display and
adjust each Flex Bus’s settings that correspond to the
currently selected parameter section. To access the
parameters for Flex buses 7 through 12, hold down
[SHIFT] and press the desired 7–12 FLEX BUS button.

PREAMP GAIN button

Press this button to set the input preamplifier gain for each
channel using its fader.
After this button is pressed together with [SHIFT], the
depth for the Surround output of each channel can be set
using the fader or on the display.

MAIN) CH PAN button

Press this button to activate the adjustment of each
channel’s fixed pan position, according to the currently
selected section button. Press this button together with
[SHIFT] use the fader or display to set the pan of the
signals to be sent to the Cue bus.

CH LEVEL button

Press this button to activate the adjustment of each
channel’s level, according to the currently selected section
button. Press this button together with [SHIFT] to activate
each channel’s fader, or the display, for setting the level of
the channel’s signal being fed to the Cue bus.

PARAM VIEW on Fader buttons

1...

These buttons determine the type of parameters—such as
Input, Multi In, Flex Bus, or Multi Out parameters—to be
displayed. The displayed parameters’ values can be set
using the faders and/or a variety of other methods.
Press [OTHER PARAMETERS] to present the settings of a
specific parameter for all channels simultaneously. For
example, you can display and adjust the EQ HI GAIN
parameters values for all 24 input channels at the same
time. When active, the OTHER PARAMETERS button will
light in red. When you press [OTHER PARAMETERS], a
selection of parameters appropriate to the currently
selected section will be displayed. You can use the cursor
to select the parameter you wish to display. Press [OTHER
PARAMETERS] together with [SHIFT] to view a second
display containing the same parameters—you can select
another parameter here and toggle the display between
the two selected parameters by pressing [OTHER
PARAMETERS] or [OTHER PARAMETERS] and [SHIFT].

* These features are available only with certain

parameter sections.

6...

On Display button

When [On Display] is pressed—so that it lights up—the
channel faders are locked into controlling the currently
selected parameter. As long as [On Display] remains lit,
the faders will continue to control this parameter. When
the display is changed to another screen, [V1] to [V6] can
adjust the value of any newly selected parameter. This
allows you to adjust one parameter with the faders and
another with the V knobs.

7–14...

7...

SECTION buttons

These buttons determine the type of parameters to be
displayed, and the values that can be changed.

2nd UNIT select button

Press this button to activate control of the cascaded (23)
second mixing processor. This button can be turned on in
conjunction with another section-selecting button in order
to display the desired set of parameters on the second
processor.

* The on/off state of this button identifies the processor

whose parameter values are currently being adjusted—
“1st UNIT” refers to the processor connected to the
console via the VM link, while “2nd UNIT” refers to
the processor cascading from it.

17

Chapter 1 Introduction

8...

MULTI OUT 1–24 button

Press this button to control the level of the 24 (eight channels times three) digital
multi-outputs using the channel faders or from the display. Press this button
together with [SHIFT] to call up the MIDI control screen.

FLEX BUS MASTER 1–12 button

9...

Press this button to control the output level of the 12 Flex buses (p. 86) using channel
faders or from the display.

10...

FADER GROUP MASTER 1–24 button

Press this button to control the master level of each of the 24 fader groups (p. 104)
using the channel faders or on the display.

11...

MULTI IN CH 1–24 button

Press this button to control the 24 (eight channels times three) MULTI IN digital
multi-inputs on the processor.

INPUT CH 1–24 button

12...

Press this button to control the 24 INPUT channels—typically used as analog
inputs—on the processor.

13...

CH 13–24 button

→

Available on the VM-C7100 only.
Press this button to activate control of the latter 12 channels (Channels 13 to 24).
This button is not available on the VM-C7200 since it has 24 channel faders.

13...

CH FLIP button

→

Available on the VM-C7200 only.
When [ON DISPLAY] is active and the faders are controlling input channels, press
[FLIP] to assign the faders to the control of the multi-in channels. If [ON DISPLAY]
is lit and the faders are controlling multi-in channels, pressing [FLIP] will assign
them to the input channels. The VM-C7100 has no button for this function.

SHIFT button

14...

When [SHIFT] is held down, buttons with dual functions—as shown in green
typeface—perform their secondary function.

18

Chapter 1 Introduction

j

■

F: Channel fader (button) area

fig.01-7

Chapter 1 Introduction

21

3

4

5

STATUS buttons

1...

Set of buttons for displaying and selecting the state (mute, solo, audio or Automix)
of each input channel. Every time a button is pressed, the state of the item selected
in [MODE] (“2” below) changes.

2...

MODE select buttons

These buttons determine the items to be changed using the set of STATUS buttons
(“1” above). Press one of the four buttons—“MUTE”, “SOLO”, “AUDIO” and
“AUTO-MIX”—to select the desired state. Press one of these buttons together with
[SHIFT] to call up each state’s view screen for checking and changing states of
multiple channels simultaneously.

CH EDIT (1–24, MASTER) buttons

3...

These buttons call up the screens for editing various settings (e.g., level and
equalizer) of the selected channel. Press another channel’s button to display its
screen.

Channel faders

4...

Set multiple values for each channel such as the input level and the amount of signal
sent to the Flex Bus. When a new parameter is selected, a Scene is recalled or the
Automix function is used, the knob is moved to the position of the parameter’s current
value by its internal motor. As a result, the faders function as a current setting indicator.

5...

Master fader

Sets the overall master level or stereo balance after each channel has been
individually adjusted. As with the channel faders, its internal motor moves it to
reflect the currently selected level or pan parameter’s setting when the parameter is
first selected or when a new Scene is recalled.

You can use [CH EDIT] to

ump to a particular
parameter’s page on the
channel-edit screen. To do
this, press a state button
labeled with a function
name—such as “PREAMP
GAIN”—while holding
down the channel’s CH
EDIT button.

19

Chapter 1 Introduction

■

Rear panel

fig.01-8

1 2 3 4 6 7 8 95

1...CONSOLE INPUTs MIC/LINE L and
MIC/LINE R

Jacks for inputting a pair of analog audio signals to the
console. These TRS jacks—available for both balanced and
unbalanced signals—support a wide range of signals, from
a microphone level to line level. Typically, these are
connected internally to INPUT Channels 23 and 24, though
they can be re-patched. When the talkback system is in use,
the right channel “R” (the both L and R channels when
stereo linking) is used exclusively for an external talkback
microphone and is thus not available for other purposes.

MONITOR LINE OUTs L and R

2...

Jacks for outputting analog stereo signals for studio
monitoring. You can adjust the jacks’ output level using the
DIGITAL/MASTER knob or the LINE OUT LEVEL knob on
the front panel.

3...

MONITOR DIGITAL OUTs 1 and 2

Jacks for outputting digital stereo signals for studio
monitoring. Signals at these jacks are nominally the same as
at the analog LINE OUTs. Their output level can be changed
using the DIGITAL/MASTER knob on the front panel. (The
level of the MONITOR DIGITAL OUTs 1 and 2 is not be
changed using the front-panel LINE OUT LEVEL knob.)

EXT SW jack

4...

Generally connected to a foot switch. Two BOSS FS-5U foot
switches can be connected using a branch cable. The
functions of both switches can be selected on the FADER/
SW screen. GPI jack-switching (38) is also available.

5...MEMORY CARD slot

Slot for a “SmartMedia”-format memory card onto which
you can store various types of mix data. The SmartMedia
format is the same one used by many digital cameras. A
memory card must be inserted to use the Scene or Auto­mixing features.

* One memory card is included.

6...

MIDI/METER BRIDGE connectors

Allow for the connection of MIDI devices or the optional
MB-24 meter bridge (sold separately). IN (for inputting)
receives MIDI data. The OUT/THRU/METER jack can be
switched between OUT—for MIDI data generated by the
console—and THRU, which passes on received MIDI data
unchanged.
Level information for an MB-24 meter bridge can also be
transmitted from the OUT/THRU/METER connector.
When the jack is switched to THRU, output of level
information to the meter bridge is de-activated.

7...VM-LINK connector

Connects the mixing console to the processor. Two AES/
EBU digital audio cables (3-pin, XLR connectors) are
utilized for a two-way connection. Can also be used to daisy
chain multiple consoles.

AC IN

8...

Accommodates the power cable that supplies AC power to
the console.

POWER switch

9...

Turns the entire system on.

20

Chapter 1 Introduction

Before Operation

■

Connections

Connect up the necessary equipment after referring to the connection diagrams on
the next page.

Precautions on connection

Be sure to follow the precautions below. Otherwise, you risk causing malfunction or
damage.

• To prevent malfunction and/or damage to speakers or other devices, always
turn down the volume, and turn off the power on all devices before making
any connections.

• The pin assignment for the XLR type connectors is as shown below. Before
making any connections, make sure that this pin assignment is compatible
with that of all your other devices.

fig.01-10a

Chapter 1 Introduction

• To connect this console to the processor, use the VM link cable (AES/EBU
digital audio cable) supplied with the processor.

• R-BUS is the same standard as RMDB2 or RMDBII. Even if “RMDB2” or
“RMDBII” is indicated on your DIF-AT, it can be used without any

problems.

• When connecting a digital multitrack tape recorder like an ADAT or
TASCAM, install the VM-24E beforehand. For details, refer to the operation
manual of the processor (VM-7200/7100).

• When connecting the processor in cascade, install the VM-24C beforehand.
For details, refer to the operation manual for the processor (VM-7200/7100).

• Howling could be produced depending on the location of microphones
relative to speakers. This can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels.

When connecting various
components to the
processor, be sure to refer
to the processor’s owner’s
manual.

21

Chapter 1 Introduction

fig.01-10e

Synthesizer,
Sound Module, etc

Channel Insert (Effects Processor)

Monitor Speaker

345 6

123

Microphone

4

5678

Front Panel on the Processor
Rear Panel on the console

Microphone, Sub Mixer,
MD/CD Player

Branch Cable
(e.g. PCS-31)

Monitor in the

Control Room

Monitor Amp,
Headphone Amp
for players

Digital
Audio

Input/Output

AES/EBU jack

on pro audio device

Speaker

Amp

Digital
Powered
Speaker

(Roland DS-90 etc.)

Use two AES/EBU
Digital Audio Cables.
(max. 200 m)

AC

outlet

22

Chapter 1 Introduction

fig.01-11e

Digital Multi-track Tape Recorder

(TASCAM/ADAT)

Rear Panel
on the Processor

MB-24 (Option)

AC

power supply

8 ch

Main

Output

Roland DIF-AT
(Interface Box)

R-BUS
Cable

Word Clock connector on

digital recorder or similar device

Chapter 1 Introduction

To R-BUS compatible
device

VM-24E
(Option)

VM-24C
(Option)

Cable supplied
with the VM-24C

Power Amp

PA Speaker

Digital Input/Output

the Processor Processor

to be connected in cascade

(VM-7200/7100)

DAT/MD Recorder, etc.

Analog Input

Tape Recorder,
MD Recorder, etc.

23

Chapter 1 Introduction

■

Turning the power on/off

Turn each device on in the following sequence. After all devices are turned on, adjust
the volume of each.

Precautions on turning the power on

• Once the connections have been completed (21), turn on power to your
various devices in the order specified. By turning on devices in the wrong
order, you risk causing malfunction and/or damage to speakers and other
devices.

• This unit is equipped with a protection circuit. A brief interval (a few
seconds) after power up is required before the unit will operate normally.

• Turn the power on after lowering the volumes of the console and the
connected audio equipment. If the volumes are raised, the audio equipment
may malfunction due to current overload the instant the power is turned on.

• Even with the volume lowered, a slight amount of sound may be heard
when the power is turned on. This should not be a cause for concern.

1.

Digital multitrack tape recorder

2.

Processor

The CTRL indicator blinks during startup. After the startup process is completed,
the indicator comes on.

3.

Console

After the confirmation message appears, press [F2] (START) to begin the startup
process.

4.

Digital-connected equipment (e.g., DAT, MD recorder or hard disk
recorder)

5.

Analog-connected equipment (e.g., musical instruments, sound modules,
effects, microphone, CD player, MD player or tape recorder)

6.

Audio equipment such as amplifiers and speakers

Turning the power off

Turn each equipment off in the opposite sequence in which it was turned on.

Points to check before turning the power off

Turn the console on after
making sure that the CTRL
indicator has come on.

In order to turn the power
of the entire system on,
press [F4] (ON)
(highlighted) to
automatically start the
console startup process in
60 seconds.

24

• Make sure that Automix has been stored in the memory card.

→ Although Automix is stored in the console memory, it is, however, lost
after the power is turned off.

• The volumes of the console and the connected audio equipment are at
the lowest level.

→ If the volumes are raised, the audio equipment may malfunction due to
current overload the instant the power is turned off.

Chapter 1 Introduction

■

Adjusting the display’s contrast

fig.01-12

CONTRAST

The display may be blurred immediately after the power is turned on, after a long
period of operation, or depending on the setup location. In this case, turn the
CONTRAST knob on the lower left of the display to adjust it.

Chapter 1 Introduction

■

Adjusting internal clock

This system has a built-in clock. When a project is stored, information on when
operation has been performed (time stamp) is also written automatically. When
turning the power on for the first time after purchase, adjust this internal clock.

1.

While holding down [SHIFT], press [PROJECT].

2.

Press CURSOR [UP] to move the cursor upward.

3.

Press [F5] (DATE).

The internal clock setting screen appears.

fig.01-13

4.

Press CURSOR [DOWN] to move the cursor to [ADJUST DATE/ADJUST
TIME].

25

Chapter 1 Introduction

b

5.

Set the year, month and date.

After setting the year, month and date using the V1 (YEAR), V2 (MONTH) and V3
(DATE) knobs, press [F1] (SET) to confirm them.

6.

Adjust the time.

After setting the hour, minute and second using the V4 (HOUR), V5 (MIN) and V6
(SEC) knobs, press [F4] (SET) to confirm them.

7.

This completes the internal clock setting. After the above setting, adjust the
time as necessary.

Press CURSOR [UP] to move the cursor to [CLOCK ON DISPLAY/DATE
FORMAT].

• Display the clock at the upper right of the screen: Press [F1] (ON) to
highlight it.

• Change the date display format: Turn the V2 (DATE FORMAT) knob to
select a desired format.

8.

Press [LEVEL METER] to call the initial screen.

How to replace the

A

lithium battery

the power for maintaining information about certain parameters. Once this battery
gets weak, the unit may no longer be able to reliably perform the time management
functions for data, or return to the state it was in before power was turned off. If you
suspect that the battery has worn down, try switching the console’s power off, then
on again. If you see a message warning that the battery is depleted, promptly change
the battery, following the procedure below.

battery

inside the unit powers its time-keeping functions, and provides

When the clock is
displayed, the current
position of the time code
cannot be checked.

Since the internal clock are

attery powered, the above
operation is not required
each time the system is
turned on. If the internal
clock gains or loses for
some reason, however,
adjust the time by referring
to the above procedure.

fig.01-14

fig.01-15

1.

Store the current settings onto a memory card (52).

2.

Turn the power off, and unplug the power cable from the outlet.

3.

Turn the console upside down, and locate the battery cover.

4.

Remove the battery cover as shown below.

A CR2032 lithium battery is
used for the console. This
type of battery is available
at an electric appliance, or
similar store.

26

fig.01-16

fig.01-17

5.

The battery should now be visible, as shown in the following.

6.

Replace the old battery with a new one.

Chapter 1 Introduction

Chapter 1 Introduction

7.

8.

9.

fig.01-17a

Put the battery cover back on.
Turn the power on and set the time for the internal clock (25).
Using the memory card you used for backup in step 1, restore the previous

state (54).

IMPORTANT

Following message may appear in the display, for instanse, when you turn on the
console after replacing the battery.

This message is NOT for warning any malfunction or breakdown. In this case, you
need to initialize the internal memory. Please execute the "Factory Reset"
procedure (p. 33).
Implementing factory reset deletes all user settings on the console. Please store the
necessary data (such as user-customized libraries) in the memory card beforhand
(p. 44).

27

Chapter 1 Introduction

■

If you get lost

If an unfamiliar screen appears, or you forget to which step you have proceeded,
press [LEVEL METER]. This calls the initial screen. Try again from the beginning on
this screen.

fig.01-18

■

Preparing a memory card

Before any operation, be sure to create a new project on the memory card. If no
project is prepared beforehand, scenes, Automix or libraries are not stored. Before
using a new memory card or one that has already been used for other purposes, be
sure to format it.

Formatting a memory card

1. While holding down [SHIFT], press [PROJECT].

2. Press CURSOR [DOWN] to move the cursor downward.

3. Press [F6] (MEMORY CARD) and [F2] (FORMAT), in that order.

4. Press [F5] (OK).

5. After the confirmation message appears, press [F5] again.

6. After formatting is completed, press [F6] (EXIT).

Creating new project

1. Press [PROJECT].

2. Press CURSOR [DOWN] to move the cursor downward.

3. Press [F2] (NEW).

4. Press [F2] (CREATE), followed by [F5] (OK).

5. After creation is completed, press [F6] (EXIT).

28

Chapter 1 Introduction

Internal Signal Flow

The diagram below provides an overview of the audio signal flow. For details, refer
to the “Block Diagram” attached to the processor (VM-7200/7100).

fig.01-9e

Effect

INPUT

ATT

Analog Input

Digital Input A, B

(R-BUS Input)

Patchbay

Phase

normal/invert

Insert

Phase

Delay

Feedback

Delay

HPF

Effect

Insert

4-band

EQ

Mute

Input Cannel 1–24

(Multi In Channel 1–24)

Channel

Level

to Main Out Bus

Main

Pan

SW

to Cue and Flex Bus

Main Out L, R

Chapter 1 Introduction

Flex Bus 1–12

Input channels

● INPUT...1–24

The following input jacks can be assigned to input channels:

• Twenty analog input jacks on the VM-7200 mixing processor (10 on VM-

7100)

• Stereo digital IN on the mixing processor (a choice of A and B stereo inputs)

• Two analog input jacks on the console

● MULTI IN...1–24

Multi-channel audio signals can be input from external equipment—such as multi­track recorders—via these channels. The correspondence between input signal
channel numbers and MULTI IN channels can be re-patched internally.

* In order to use MULTI IN channels, a VM-24E (sold separately) must be

connected to the mixing processor in order to add an R-BUS connector I/O
terminal.

From Flex Bus 1–8 to Cue and Flex Bus 1–12

Cue L, R

MIX

Assignable Out
Digital Out A, B

Multi Out (R-BUS) *

Flex Bus Out 5–12 **

Monitor Out **

* This is not available for the MULTI IN channel.
** Only VM-7200

29

Chapter 1 Introduction

Buses/

output routes

● MAIN OUT

Output of the overall stereo mix containing all desired channels, to be sent to the
master recorder or the main PA amplifier.
Signals can be sent from all input channels and Flex buses.
In addition to the dedicated output terminals (MAIN OUT and REC OUT), signals
can be directed to any ASSIGNABLE OUT, DIGITAL OUTs A and B and/or any
MULTI OUT.

● Flex Buses 1–12

A Flex Bus is a multi-purpose bus through which signals can be sent to another bus,
to internal effects processors or to external devices. Flex buses are capable of sending
signals from all input channels as well as Flex buses 1 through 8. Any ASSIGNABLE
OUT, DIGITAL OUTs A and B, and MULTI OUT can be selected for outputting Flex
Bus signals to external destinations. In the case of the VM-7200 processor, dedicated
output jacks are also available for Flex buses 5 through 12.

● Cue

Stereo bus used mainly for monitoring. Signals can be sent to the cue bus from all
input channels and Flex buses.
Cue signals can be output from MONITOR OUT and PHONES jacks to external
monitoring amplification equipment. They can also be routed to any ASSIGNABLE
OUT, DIGITAL OUTs A and B, or any MULTI OUT.

The MONITOR OUT
terminal can output a
variety of different signals.

30

Effects

Internal effects can be inserted into input channels, MULTI IN signals, Flex buses,
the MAIN OUT and MONITOR OUT. Input channels can also send signals to the
internal effects via Flex buses; the outputs of the effects can be routed into the main
mix or to available input channels. For more information, refer to p. 110.

General-purpose effects

A mixing processor is factory-equipped with two stereo effect systems, enabling the
use of 39 types of effect algorithms. Up to three VS8F-2 effect expansion boards (sold
separately) can be added to the system—providing as many as eight stereo effects
processors.

Master effect

One effect processor is provided exclusively for MAIN OUT and MONITOR OUT
insertion. This processor enables the use of three types of effect algorithms, and is
useful for final mastering effects or for speaker modeling.

The insertion point is
determined by the effect
type (p. 110). When the
send/return method is
used, the Flex Bus that
corresponds numerically to
the effect is used to send
signals to the effect. For
detailed effects
information, refer to the
descriptions starting on p.

112.