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 products 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 units 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 units 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 units 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 itselfnever pull on the cable. This way you will avoid causing shorts, or damage to the cables internal elements.
A small amount of heat will radiate from the unit during normal operation.
To avoid disturbing your neighbors, try to keep the units 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 inuntil 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 units 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 displays 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 parameters 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 channels signal source................................................................................67
Gain, Phantom Power Supply, Phase and Attenuator ............................................................68
Correcting a signals 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 channels 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 outputs signal source ............................................................................................ 93
Naming each output channel......................................................................................................94
Setting an outputs 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 portionbringing 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 situationrecording, 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 displays 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 parameterthe 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 parameters 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 appearsthis 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 microphones 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 MOMENTARYtalkback is on only while [TALKBACK/SLATE] is depressedor 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 setupseach setup contains a collection of CONTROL ROOM monitor parameter settings. Every press of the A/B/C button toggles between setups A and Bto 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 keypads current operating modethis 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 macros 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 macros 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 devicesuch as a multi­track recorderwill 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 events 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 recorders 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 readoutthe 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 channels 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 channels level, according to the currently selected section button. Press this button together with [SHIFT] to activate each channels fader, or the display, for setting the level of the channels signal being fed to the Cue bus.
PARAM VIEW on Fader buttons
1...
These buttons determine the type of parameterssuch as Input, Multi In, Flex Bus, or Multi Out parametersto 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 parametersyou 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 pressedso that it lights upthe 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 channelstypically used as analog inputson 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 functionsas shown in green typefaceperform 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 states 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 channels 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 parameters 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 parameters setting when the parameter is first selected or when a new Scene is recalled.
You can use [CH EDIT] to
ump to a particular parameters page on the channel-edit screen. To do this, press a state button labeled with a function namesuch as PREAMP GAIN”—while holding down the channels 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 jacksavailable for both balanced and unbalanced signalssupport 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 OUTfor MIDI data generated by the consoleand 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 processors owners 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 displays 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 consoles 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).
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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 equipmentsuch as multi­track recordersvia 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 systemproviding 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.
Chapter 1 Introduction
b

About Digital Connections and the Master Clock

Digital sound device and master clock

To share digital audio signals between this system and any external digital device, a common master clock signal (word clock) must be used.
Master clock (word clock)
Digital sound devices such as this system, CDs, DAT recorders and digital multi­track recorders, generally operate based on internal master clock signals called word clocks. To exchange digital audio signals between digital devices, word clocks from one of the devices must be used as the timing foundation of all other connected digital devices. When a device is successfully receiving timing information from word clocks generated by another device, it is referred to as being locked to (or synchronized with) external word clocks. Word clocks are supplied via a digital audio I/O or dedicated word clock terminal.
* Note: If digital devices are not synchronized properly, undesirable digital noise
and/or intermittent unwanted sound may result, preventing the digital audio signals from being exchanged successfully.
Chapter 1 Introduction
The following seven word-clock sources are available:
INTERNAL... Internal clock of the first mixing processor (1st UNIT). MULTI 1–8... Equipment to which the 1st connector (1 to 8) of the R-BUS
is connected.
MULTI 916... Equipment to which the 2nd connector (9 to 16) of the R-
BUS is connected.
MULTI 1724... Equipment to which the 3rd connector (17 to 24) of the R-
BUS is connected.
CASCADE... Second mixing processor (2nd UNIT) connected in cascade. WORD CLOCK IN... Clock supplied from the WORD CLOCK IN terminal. DIGITAL IN... Equipment connected to the IN terminal of DIGITAL A or
B.
INTERNAL word clock is selected by default. This setting can be changed on the digital I/O screen ([SHIFT] + [PROJECT] CURSOR [DOWN] [F1]). For details, refer to 32.
The R-BUS connector is added by installing a VM­24E (sold separately). To use two processors, a cascade connector (VM-24C sold separately) is required.
VM link (p. 247), R-BUS (p. 243), Cascade (p. 233)
The console is always supplied with word clocks
y the first mixing processor. When the processor is synchronized to word clocks of another device, the console is also supplied with these clocks via the VM link.
31
Chapter 1 Introduction
DIGITAL A and B terminals and reception of
word clocks
DIGITAL Insthe DIGITAL A connector on the rear of the processor and DIGITAL B jack on its frontcan receive digital audio signals from digital equipment to which they are connected, even when some other device is the source of the systems word clocks. When the systems timing is based on word clocks received, for example, from a multi-track recorder to which the R-BUS jack is connected, additional digital audio can still be received at the DIGITAL IN terminal. In such a casewhen the IN terminal of DIGITAL A or B is used for digital audio only—“DIGITAL IN need not be selected as the word clock source.

Word clock connector

When a word clock output connector is available, it is recommended that the word clock connector on the rear of the processor be used. Although word clocks can be supplied from R-BUS or DIGITAL IN A or B via a digital audio cable, audio signals are more stable when word clocks are supplied directly from the source.

Checking the overall system

Apart from the aforementioned word clock, there are some important settings related to digital input/output. When handling audio signals via digital connection with other devices, make the necessary changes.
For this reason, sample rate converters are built into the DIGITAL A and B terminals. If the digital audio at these inputs is a different sample rate than the system word clocks, the difference will be accommodated for by these converters, leaving the digital audio signals free from noise or dropouts.
Settings on the digital I/O screen
1. While holding down [SHIFT], press [PROJECT].
2. Press cursor [DOWN], then [F1] (DIGITAL I/O).
This calls up the digital I/O setting screen.
fig.01-101
1
... Digital input connector selection
Select either DIGITAL A IN (coaxial) on the rear of the processor, or DIGITAL B IN (XLR connector) on the front. Place the cursor, select with the V1 knob and enter with [F1] (SET).
32
2
... Type 1/2 and copy protect switches
MODE specifies whether the digital audio signal to be output is and AES/EBU broadcasting studio (TYPE 1), or a consumer-use digital audio device (TYPE 2). Place the cursor, select with the V3 knob and enter with [F3] (SET). Turning the COPY PROTECT on turns on the SCMS, thereby blocking digital copying of the output signal. Place the cursor and turn the switch on or off with [F4].
3
... Word clock source
Specifies the reference device of the word clock (32). Place the cursor, select with the V1 knob and enter with [F1] (SET).
4
... Word clock in terminator
This switch needs to be turned on if the system is at the end of the word clock, so that the word clock is transmitted correctly. Place the cursor and turn the switch on or off with [F3].
5
... Internal sampling rate
Sets the sampling rate (sampling frequency) internally. Sampling rates of 48 kHz,
44.1 kHz, and 32 kHz can be selected. Place the cursor, select with the V1 knob and enter with [F1] (SET). After operation, some time may be required to finish changing the settings.
Chapter 1 Introduction
Chapter 1 Introduction
The SCMS (Serial Copy Management System) is a copyright protection function for home digital audio devices, such as MD recorders. It prohibits second generation and after copying with digital connections.

Restoring the Original Factory Settings (Factory Reset)

Factory reset procedure

Implement the following procedures to return all the parameter values to those set prior to shipping. Note that implementing factory reset deletes all user settings on the console.
1. Turn off the consoles power.
2. While holding down [PROJECT] and [F1], turn the power on again.
3. When the factory reset screen is displayed, press [F1].
All the parameter values will be returned to those set prior to shipping.
The volume of connected amplifiers must be lowered or amplifier power turned off.
33

Chapter 2 Basic Operations and Their Settings (System/Project)

b

Basic Operations

Screen descriptions

fig.02-01
1 2 3 4 5 6
7
1
Screen Title
2
Processor currently targeted
3
Number of the effect library used
4
Screen subtitle
5
Current position (time code)
6
Number of scene currently selected
7
Parameter display section
(displayed only on the effect setting screen)
Subtitle shows the section, or the name of the effect algorithm used, depending on the screen displayed.
Current position can also
e shown in terms of measure, beat, and clock. Set the TIME DISPLAY MODE on the DISPLAY screen of the system to MEASURE/BEAT. The current time can also be shown instead of current position. Turn on the CLOCK ON DISPLAY on the DATE screen of the system.
34

Setting parameters

To set parameter values, move the cursor to the target parameter, then set the parameter values using the V1 to V6 knobs/fader/[F1] to [F6].
Moving the cursor
The cursor is used for grouping some parameters together as modification targets. To move the cursor, press either CURSOR [UP], [DOWN], [LEFT] or [RIGHT].
fig.02-02
Chapter 2 Basic Operations and Their Settings (System/Project)
Pressing CURSOR [LEFT] or [RIGHT] while holding down [SHIFT] changes the unit (hour, minute, second, or rate) for changing the current position.
Chapter 2 Basic Operations and
Their Settings (System/Project)
Changing values
The method of changing values varies depending on the parameter. The following rules apply, so keep them in mind.
The value of parameters marked can be changed by turning the V1 to V6 knobs.
The value of parameters marked can be changed by switching the [F1] to [F6] on (highlighted) or off (normal indication).
The value of parameters marked can be set by turning either of the V1 to V6 knobs to select the value and pressing either of the [F1] (SET) to [F6] (SET) having the same number to determine it. (You can directly modify some parameters with [F1] to [F6] (SET).)
The value of parameters with a fader indicated can be changed by the fader. When the cursor is placed at the fader, the value can also be changed by turning the V1 to V6 knobs.
35
Chapter 2 Basic Operations and Their Settings (System/Project)

Level Meter Settings

The level meter is a screen for checking the level of the input or output signal at each point. Since this screen always appears right after powering-on, it also functions as a general screen. If any unfamiliar screen appears or you get lost, press the [LEVEL METER] to return to the level meter screen and start the operation over again.
fig.02-04
1
2
3
1
Level meter 1
Checks level specified at and of each channel if the specified level is applied.
2
Level meter 2
Level of the cue and main buses can be checked by MONITOR and MAIN, respectively.
3
SOURCE
Selects the section (Input, Multi In or Flex Bus) of which the level is checked.
4
x1/2 switch
Normally, level changes can be checked within the range of 0 to -40 dB (0 to -64 dB for Main). Turning this switch on narrows the range by half, enabling level changes to be checked more precisely. It is just like a zoom-in function.
5
POSITION
Determines the point (original sound, sound before or after being passed through the fader) at which the level is checked.
6
OVER RANGE
In order to prevent sound deterioration, an OVER warning indication appears if the specified value is exceeded. This determines the value.
7
PEAK HOLD
Determines the time (1 to 7 seconds) during which the peak status of the sound level is continuously indicated when the sound level reaches the maximum value (peak). To keep the peak status indicated until the sound level reaches the next peak, set this to CONTINUE. With some fast tempo music, the peaks are missed, or cannot be indicated on time. In such cases, set a larger value or set it to CONTINUE.
4 5 6 7
3 5
When using the MB-24 (level meter bridge), its indication also follows the setting of this switch.
OVER is not displayed when PEAK HOLD is set to 0.
36
Chapter 2 Basic Operations and Their Settings (System/Project)

Settings for the Panel (Knobs and Display)

Here, you can use the buttons or foot switch to make settings affecting the operation of the unit.
1. While holding down [SHIFT], press [PROJECT].
2. Press CURSOR [UP], then press [F3] (FADER/BUTTON).
The SYSTEM FADER/SW screen shown below is displayed.
fig.02-05
2 3
1
4
7
Chapter 2 Basic Operations and
Their Settings (System/Project)
8
1
PAN CURVE TYPE
Depending on the sound location, the volume may be unstable. This setting is used to correct such unstable sound volumes. Normally, it is set at -3 dB. When it is set at 0 dB, no sound volume adjustment is performed.
fig.02-06
2
PREAMP GAIN ADJUST MODE
LEVEL
0dB
To ensure high quality sound, input gain is adjusted in this system using an electronic relay method rather than VCA.
NOISELESS: Volume is controlled, and noise in relay switching is reduced.
CONTINUOUS: No special processing is carried out when relays are switched,
3
FADER MOTION DEMO
Performs demonstration to check the fader motion.
5 6
LEVEL
-3dB 0dB
RIGHTCENTERLEFT
0dB
thus preventing interruption of the sound.
RIGHTCENTERLEFT
Depending on the connected device, direct current voltage may be contained in the signal, which may result in noise during gain switching. In such cases, set the system to NOISELESS.
4
SHIFT LOCK
Normally, the [SHIFT] button only functions while it is being pressed. When it is set to LOCK, the [SHIFT] button keeps functioning while the [SHIFT] indicator is on. To release this function, press the [SHIFT] button again to turn the indicator off. When you frequently need to use [SHIFT], the LOCK setting is very convenient.
37
Chapter 2 Basic Operations and Their Settings (System/Project)
5
TALKBACK BUTTON
Determines how the [TALKBACK/SLATE] works. To set it so that it only functions while the button is held down, and is turned off when the button is released, set it to MOMENTARY. To set it so that it is turned on by pressing the button, and is turned off by pressing the button again, set it to LATCH.
6
LED TYPE
Normally, the channel status and [STOP] auto-mixing indicators light in green. However, it is sometimes difficult to see these green indicators outdoors or in bright locations. In this case, set the LED TYPE to “TYPE2.” By setting it to “TYPE2,” a red indicator blinks instead.
7 8
, EXT SW1/2 (External switch 1/2)
By using the foot switch or GPI connected to the EXT SW jack on the rear panel, play/stop of Automix, scene changing and talkback can be controlled.
TYPE: Determines whether to use the foot switch or the GPI. As for the foot
switch, use a Roland DP-2 (pedal switch) or a BOSS FS-5U. Also, the use of a branch cable (PCS-31; sold separately) enables two functions to be controlled.
The EXT SW1 controls the TIP settings, and the EXT SW2 controls the RING settings.
fig.02-07e
White (TIP)
Branch Cable:
PCS-31 (sold separately)
Red (RING)
What is GPI?
GPI (General Purpose Interface) is a control connector provided on professional/ consumer-use video peripheral equipment, such as editing machines and titling devices. By connecting a device that supports GPI, the same function as the foot switch can be controlled from the external device.
FUNCTION: Determines which function to control with the foot switch.
When using a BOSS FS-5U, set the polarity switch as follows.
38
PLAY/STOP: Starts or stops synchronization.
PLAY/TO TOP: Starts or returns to the beginning of
synchronization.
PUNCH I/O (REC): Manual punch-in recording of Automix.
NEXT SCENE: Switches you to the next scene.
PREV SCENE: Switches you to the previous scene.
NEXT LOCATE: Selects the next locate number.
PREV LOCATE: Selects the previous locate number.
TALKBACK/SLATE: Performs talkback or slate.
Chapter 2 Basic Operations and Their Settings (System/Project)

Connection Setting of Processor and Console

Up to two processors and two consoles can be connected to this system. The following screens are for checking and setting the overall system.

Checking the overall system

1. While holding down [SHIFT], press [PROJECT].
2. Press CURSOR [UP], then [F1] (SYSTEM CONFIG).
The System Configuration Screen appears.
fig.x-x1
Chapter 2 Basic Operations and
Their Settings (System/Project)
1
Connection status of the console itself
CONSOLE x1 Number of consoles being used by the entire system (1 to 2) PROCESSOR x1 Number of processors being used by the entire system (0 to 2) This CONSOLE: Operation of the console (MASTER/SLAVE) CASCADE: Existence of cascade kits (VM-24C)
(Connected! (present)/Nothing (not present))
VM-LINK: Connection status to the VM link In of the console
(Connected!/Unconnect)
2
1st UNIT... Connection status of the first processor
R-BUS BOARD VM-24E installed/not installed (checked when present) MULTI 1–8 MULTI 9–16 Existence of devices connected to the second R-BUS (checked when
MULTI 17–24 Existence of devices connected to the third R-BUS (checked when
VS8F-2 (A) Effect expansion (A) installed/not installed (checked when present) VS8F-2 (B) Effect expansion (B) installed/not installed (checked when present) VS8F-2 (C) Effect expansion (C) installed/not installed (checked when present)
3
2nd UNIT... Connection status of the second processor
Same as the 1st UNIT.
Existence of devices connected to the first R-BUS (checked when present)
present)
present)
4
1st UNIT... [F1] MASTER (SET)
Button for setting the console as the master (see next section). The connection status of the console, processors and optional devices are displayed on this screen. It is checked when the console is turned on. It is also re-checked when
[F1] is pressed on the above screen.
4
39
Chapter 2 Basic Operations and Their Settings (System/Project)

When using two consoles

Up to two consoles can be used simultaneously by ring connecting the VM link. Using two consoles enables simultaneous control from two locations, such as a seat in the audience and stage side.
fig.x-x2
VM-7200/7100 VM-7200/7100
CASCADE
OUTIN
VM-LINK
OUT IN OUT IN
VM-C7200/
VM-C7100
When using two consoles, one is used as the Master Console with full functions, and the other is used as the Slave Console which follows the master. On the slave console, some functions, such as selection of the level meter source and setting of synchronization-related parameters are blocked. The Function is Blocked. (This is a slave console.) message appears when operations are blocked and they cannot be performed.
Basically, the console that is turned on after the other console is the master. When the master console is turned on, it informs the other console that it is the master, and also transfers all the mixer settings belonging to the master console to the other console and the processors. The other console on receiving such information functions as the slave. To re-select the master console, press [F1] MASTER (SET) on the system configuration screen mentioned earlier. The same console turning-on operation is performed, and the console becomes the master.
VM-C7200/
VM-C7100
VM link (p. 247)
This Master and Slave are not related to the Master and Slave settings for synchronization (time code and MIDI clock) or remote control (MMC).
40
Audio through function of the console
Audio signals for console-in or talkback are sent via from the console the VM link line. Generally, with ring connection of the two consoles, such audio signals are stopped at the first connected device and do not reach the next one. Therefore, problems such as talkback sound stops at the second console and does not reach the processor. To prevent such problems from occurring, consoles are provided with a function to pass the sound coming through the VM link line to the next connection target (VM link audio through function). In case of a ring connection, set this function to THRU when necessary. The switch for this is on the screen for settings related to cascade connection, explained in the next Settings related to cascade connection” section.
Chapter 2 Basic Operations and Their Settings (System/Project)
Settings related to cascade connection
The second processor (2nd UNIT) is cascade connected to the first processor, enabling the number of input channels to be greatly increased. To control the second processor from the console, press [2nd UNIT] on the panel to turn it on.
For cascade connection, a VM-24C (sold separately) needs to be installed on the processor. For installation, see the manual for the processor (VM-7200/7100).
Chapter 2 Basic Operations and
Their Settings (System/Project)
Settings related to cascade connection can be made on the following screen.

Settings related to cascade connection

1. While holding down [SHIFT], press [PROJECT].
2. Press CURSOR [UP], then [F1] (SYSTEM CONFIG).
3. Press [PAGE DOWN].
fig.x-x3
When the VM link is ring connected, a second processor cannot be added.
1
... VM link audio through
With two consoles ring connected, the signals of console-in and talkback are stopped at the first device and do not reach the next one. This switch is used for passing the sound signal to the next connected device. With ring connection, set this switch to THRU when necessary. Place the cursor, select with the V1 knob and enter with [F1].
2 3
, ... Cascade switch/attenuator
This switch is used for uni-directional flow (2nd UNIT to 1st UNIT) for each cascade connected bus. Switch
3
for setting the 1 to 12 Flex Buses. Place the cursor and turn the switch on or off with [F1] to [F6]. The V1 to V6 knobs are for setting the attenuator level of each bus. If sound deterioration occurs on the 1st UNIT bus as a result of cascade connection, these knobs can be used to suppress the sound level.
4
... Cascade delay correct
In the case of cascade connection, the 2nd UNIT signal delays for some sample time from the 1st UNIT signal. Turning this switch on corrects it by also delaying the 1st UNIT signal for the same amount of time. Place the cursor and turn the switch on or
2
is used for setting the cue and main buses, and switch
The same switch for the second console must not be set to THRU if this one is already. Otherwise,
a signal loop occurs resulting in abnormal sounds.
41
Chapter 2 Basic Operations and Their Settings (System/Project)
off with [F3].
Cautions on cascade connection
The signal from the 2nd UNIT is output after passing the level setting (fader).
With cascade connection, normally set the level of the cue, main and Flex Buses of the 2nd UNIT at 100 (0 dB).
The cue from the 2nd UNIT is sent to the 1st UNIT via the monitor signal line.
Select CUE as the monitor source of the 2nd UNIT.
42

Chapter 3 Data Storage and Retrieval

Data inside this system is controlled as shown in the figure below.
fig.03-01
Internal Memory of the VM-C7200/C7100
PROJECT
(Current Settings)
SYSTEM SETTING
MIXER SETTING
SCENE
AUTO-MIX DATA
Auto-mix data is erased after the power is turned off.
Auto-mix data is not recorded in the console but recorded directly into project data stored on the memory card.
Memory Card (2–16 MB)
PROJECT
(Backup)
SYSTEM SETTING
MIXER SETTING
SCENE 00-99
(only USER)
SAVE
COPY LOAD
STORE
LIBRARY (USER)
EQ LIBRARY 00 - 99 DELAY LIBRARY 00 - 99 CH LIBRARY 00 - 99 EFFECT LIBRARY 00 - 199
EZ Routing TEMPLATE (USER)
00 - 29
(Backup)
LIBRARY (USER)
EQ LIBRARY 00 - 99 DELAY LIBRARY 00 - 99 CH LIBRARY 00 - 99 EFFECT LIBRARY 00 - 199
LIBRARY (PRESET)
EQ LIBRARY 00 - 49 DELAY LIBRARY 00 - 19
EFFECT LIBRARY 00 - 199
EZ Routing TEMPLATE (PRESET)
00 - 09
SELECT
Chapter 3 Data Storage
and Retrieval
AUTO-MIX DATA
EZ Routing TEMPLATE (USER)
00 - 19
The number of storable projects differs depending on the capacity of the memory card
Current project
SCENE 00-49 when two processors are in use.
The memory of the console is classified as follows:
Library/EZ Routing template
A library contains the settings of each input channel, equalizer, delay or effect. Every library is named and can be reused as desired.
Project
Combines all settings of the VM system except the library. This also includes auto-mixing data.
(each project consumes approximately 2MB).
Even if you use an over 16 MB memory card, you cannot save the data more than 16 MB.
43
Chapter 3 Data Storage and Retrieval

Copying Libraries Containing Various Settings

Four types of libraries are available as follows: Channel library: Combines major parameter settings of one input channel (user
library only). Channel delay library: Combines phase delay (p. 69) and feedback delay (p. 81) of each input channel. Channel equalizer library: Combines the settings of the parametric equalizer provided for each input channel. Effect library: Combines the settings of internal effects 1 to 8 and master effect (p.
113).

Calling up and saving a library screen

Typically, use [COPY/LIBRARY] beneath the ten-key keypad to select a library and copy the current settings. Press [COPY/LIBRARY] when the channel edit screen of each item is recalled to call up the copy/library screen.
Copying a library to each channel
In the following descriptions, the delay library is used as an example. (Since Step 2 differs for the equalizer or channel library, refer to the column on next page.)
The following input­channel information is not included in a channel library: input source, channel link parameters, pan link parameters, status of auto-mixing and solo, assignment of insert effect, connection from input channel to MULTI OUT, preamplifier gain of input channel and setting of phantom power supply
When you copy the effect library, use the effect library screen (p. 113) instead of [COPY/ LIBRARY].
1. Make sure that [INPUT] or [MULTI IN] is selected under SECTION.
2. Call up the delay channel edit screen.
While holding down [CH EDIT] of the channel whose library is to be copied or saved, press the status button marked [PREAMP GAIN] or [DELAY].
3. Press [COPY/LIBRARY].
This opens the channel delay library screen.
fig.03-02
4. Select one of the libraries and check the effect.
First, turn the V1 knob (SELECT GROUP) to select U (“User”) or P (“Preset”). Then turn the V2 knob (SELECT NUMBER) to select the number corresponding to the desired library name on the display. The actual effect can be heard by pressing [F1] (PREVIEW) (highlighted in black). To initialize the channel delay, turn the button off.
In this example, the quick channel edit function (p. 63) calls up the screen.
44
Chapter 3 Data Storage and Retrieval
b
5. Confirm selection.
After selection, press [F2] (CP/LOAD) to copy the contents of the library to the channel delay. After this operation, the settings cannot be returned to their state prior to copying.
How to call up the copy/save screen for each library
The following library screens can be called up by pressing [COPY/LIBRARY] in Steps 2 and 3 on the previous page (press a desired channel in place of [CH EDIT]):
Channel library
Press STATUS [CH VIEW] while holding down [CH EDIT].
Channel delay library
Press STATUS [PREAMP GAIN] while holding down [CH EDIT]. Press STATUS [DELAY] while holding down [CH EDIT].
Channel equalizer library
Press STATUS [EQ GAIN] while holding down [CH EDIT]. Press STATUS [HPF/LO] while holding down [CH EDIT]. Press STATUS [LO-MID] while holding down [CH EDIT]. Press STATUS [HI-MID/HI] while holding down [CH EDIT].
In Step 4, INPUT or MULTI IN can be selected instead of U or P, and the V2 knob can be used to select the channel (1 to 24). Proceeding to Step 5 (CP/ LOAD) in this state enables the settings of the library to
e copied from the selected channel to channel whose [CH EDIT] is turned on.
Chapter 3 Data Storage
and Retrieval
Screen operations are the same for all libraries.
Saving the current settings into a library
In the following descriptions, the delay library is again used as an example. (Since Step 2 differs for the equalizer or channel library, refer to the column above.)
1. Make sure that [INPUT] or [MULTI IN] is selected under SECTION.
2. Call up the delay channel edit screen.
While holding down [CH EDIT] of the channel whose library is to be copied or saved, press the status button marked [PREAMP GAIN] or [DELAY].
3. Press [COPY/LIBRARY].
This opens the channel delay library.
fig.03-02
45
Chapter 3 Data Storage and Retrieval
4. Select the number of the library to which you want to save the settings.
First, turn the V1 knob (SELECT GROUP) to select U (“User”). Then turn the V2 knob (SELECT NUMBER) to select the number corresponding to the desired library name on the display. To audition a library before it is overwritten (or erased), press [F1] (PREVIEW) (highlighted in black) to hear the library. To initialize the channel delay, turn the button off.
5. After selection, press [F3] (SAVE).
This opens the screen for saving the library. You can name the library on this screen if necessary (see the next section).
6. Press [F5] (SAVE) to save the current settings.
After a confirming message appears, press [F5] (ENTER). The delay settings of the channel are then copied to the selected library. This erases any existing data in the selected library
Naming a library as it is saved
While saving (see the preceding section), each library can be named using up to 12 characters – this allows is to be easily identified.
1. Open the save screen of each library (Step 3 in the previous section).
fig.03-03
(Example: a delay library)
1. Select the character position (digit).
Turn the V1 knob (CURSOR POS) to move the cursor to the desired character position.
2. Use the following knobs to enter a character:
Upper-case alphabet (A to Z): V2 knob Lower-case alphabet (a to z): V3 knob Values and symbols (1, 2, 3, !, #, etc.): V4 knob
Functions of [F2] to [F4]
[F2] (DELETE): Deletes the character at the cursor position and moves the
following characters back to fill the newly created space.
[F3] (INSERT): Inserts a space at the cursor position and pushes the following
characters forward to make room for the new characters.
[F4] (SPACE): Replaces the character at the cursor position with a space.
Press [F1] (ASCII) (highlighted in black) to enable the entering of characters using buttons. With this function, characters printed to the left of various buttons on the panel – CH EDIT, STATUS, ten-key pad, etc. – can be entered by pressing each button.
46

Storing a Mixing State (Scene)

A Scene is a complete set of mixer settings that can be stored at any given point during work on a project. One hundred Scenes (numbered 00 to 99) can be stored per project.
Many items are stored in a Scene, including level and pan settings of input and multi-in channels, the main channel, Cue and Flex Buses, as well as equalizer and delay settings and internal patch connections. You can specify or limit the parameters to be recalled in a Scene (p. 48).
IMPORTANT
The Scene memory function requires the presence of a formatted memory card on which a project has been created or selected.
Chapter 3 Data Storage and Retrieval
When the project utilizes two mixing processors, the number of storable Scenes decreases to 50.
The parameters stored in a Scene are the same as those saved in an EZ Routing template.
Chapter 3 Data Storage
and Retrieval

Storing/recalling/erasing a scene

Storing and recalling a scene
1. Press [SCENE] – the ten-key keypad begins to blink.
This indicates that the system is waiting for the first digit of a Scene number to be entered.
2. Press one of [0] to [9] buttons on the ten-key keypad to enter the first digit.
The selected number is stored as the first digit of the Scene number, and the keypad stops blinking. The Scene number is indicated as SCENE 0_ or SCENE 3_ in the upper right­hand corner of the display.
3. Press a currently unlit key on the ten-key keypad.
The button turns on, registering the state of the mixer as a Scene.
4. Press free buttons one by one to store Scenes.
* After all buttons have turned on, return to Step 2 to select a new first digit.
5. After changing the mixer settings, press a lit key on the keypad.
In approximately two seconds, the stored Scene is recalled.
Clearing a scene
With [SCENE] on:
With [SCENE] on, press a key on the ten-key keypad to designate the second Scene-number digit. To store Scene 53, for example, press [SCENE], [5] and [3], in that order. If [SCENE] and [3] remain lit after this procedure, the storing of Scene 53 has been successfully completed. (If [3] is already lit after pressing [SCENE] and [5], however, location 53 is already in use. In this case, select another second digit.)
1. Press a currently lit key on the ten-key keypad while holding down
[CLEAR].
This clears the Scene information stored at that location.
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Chapter 3 Data Storage and Retrieval

Selecting which parameters will be recalled

Hold [SHIFT] and press [SCENE] (this is the same as pressing [EDIT]) to open a screen for detailed Scene-related settings. Every time [PAGE DOWN] is pressed, screens change as shown below, allowing you to select the parameters to be recalled with the Scene switching.
SCENE SELECT/ACTIVE PARAMETER page
fig.03-04
Positioning the cursor on the upper section of the screen enables a Scene for recalling ([F1]), clearing ([F2]) or storing ([F3]). The Scene number can be selected while checking the name (explained below) using the V1 knob (SELECT).
Positioning the cursor on the lower section of the screen enables you to access the active parameters using [F1] to [F6] (black highlight indicates that the Scene is valid).
SCENE ACTIVE CHANNEL page
fig.03-05
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Chapter 3 Data Storage and Retrieval
b
fig.03-06
Positioning the cursor on each section of the screen enables a channel whose settings change according to the Scene selected using [F1] to [F6] (black highlight indicates that the Scene is valid).
Chapter 3 Data Storage
and Retrieval
CURRENT SCENE NAME EDIT page
fig.03-07
A Scene name (12 characters max.) selected from the list on the top page (SCENE SELECT/ACTIVE PARAMETER) can be changed. The change will be reflected in the list. Screen operations are similar to those for naming an input channel. For details, refer to Naming input channels (p. 83). The differences between them are as follows:
No short names (3 characters) can be used.
The EZ naming function is not available.
Assignments of the V1 to V6 knob functions (except common knobs).
Functions added to [F6] (write-protect on/off).
The write-protect (on or off) state is also indicated by the letter P (checked or unchecked) in the list on the top page of this operation (SCENE SELECT/ACTIVE PARAMETER).
When [F6] (PROTECT) is highlighted in black on the display, the Scene whose name is being changed is erase-protected, thus preventing the Scene from
eing cleared. When [F6] (PROTECT) is turned off, clearing is enabled.
When a project is erased from a memory card, the Scenes contained within it are also erased, even if theyre erase-protected.
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Chapter 3 Data Storage and Retrieval

Storing and Recalling All Mixer Settings (Project)

A memory card may be able to hold more than one project.
IMPORTANT... Please read the following notices:
In order to successfully save a project on a card, the following steps are required before starting a new operation. Otherwise, a project cannot be stored.
1. Prepare a formatted memory card (p. 51). 2a.Create a new project on the card (p. 52).
Or,
2b.Select a project on the card whose contents are to be changed (p. 52).
Since projects are updated by overwriting them, your current settings cannot be stored in more than one project. To store several states of a project, use the Scene-memory function (p. 47).
Once the project-storing operation has started, do not select another project without completing the storage procedure. After a project is selected (p. 55), the current project is changed to the new one and the old projects current settings are will be lost.
About the write protect function of the memory card
The Write Protect function protects data stored on the memory card from accidental erasure. You should affix a supplied Write Protect Sticker onto the Write Protect Area whenever you do not intend to write data on the memory card.
fig.3-0001
Write Protect Area
The number of storable projects differs depending on the card used. For example, only one project can be stored on a 2 MB card.
A memory card to use with this system is SmartMedia used for the digital camera as well and so on.
* When affixing the sticker, make sure that it is properly positioned over the Write
Protect Area.
* Affix it securely, so it will not come off. Should they come loose inside the slot,
the card could get stuck.
* Do not use any stickers other than the supplied ones. * If the sticker is dirty, the Write Protect function may not work properly. When
the sticker gets dirty, clean it with a soft dry cloth.
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Chapter 3 Data Storage and Retrieval
b

Preparing a memory card for project storage

Before using a new memory card or one that has been used for another purpose, be sure to format it.
Formatting a memory card
1.
Hold [SHIFT] and press [PROJECT] – this is the same as pressing [SYSTEM].
After the menu appears, press CURSOR [DOWN] to display the following screen.
fig.03-08
2. Press [F6] (MEMORY CARD) and [F2] (FORMAT), in that order.
fig.03-09
After formatting, all data on the card is erased.
If you press [F6] (MEMORY CARD), [F3] starts functioning as the SCAN button. You can update a project list on the screen by inserting another card and pressing this
utton when the screen is
open.
Chapter 3 Data Storage
and Retrieval
3. Press [F5] (OK) by following the displayed directions.
4. After the confirmation message appears, press [F5] again.
Formatting starts. After it is completed, press [F6] (EXIT).
In order to store a project on a formatted memory card, a new project must be created on the card before starting the storage operation.
The numbers (00, 01, 02, etc.) listed after formatting show you the number of projects the card can hold.
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b
Creating a new project
1. Press [PROJECT].
After a menu appears, press CURSOR [DOWN] to display the following screen.
fig.03-10
2. Press [F2] (NEW).
fig.03-11
3. Press [F2] (CREATE) and then [F5] (OK).
After the creation process is completed, press [F6] (EXIT).

Storing a project

The current state of the console can be stored at any time by overwriting and updating the new project already created on a card.
Updating (storing) a project
1. Press [PROJECT].
After a menu appears, press CURSOR [DOWN] to display the following screen.
fig.03-10
Pressing [UNDO/REDO]
eneath the ten-key keypad
while holding down
2. Press [F1] (STORE) and then [F2] (STORE).
3. Press [F5] (OK) and then [F6] (EXIT) after storing is completed.
[SHIFT] allows you to proceed to Step 3 from any screen.
52

Re-naming/erase-protecting a project

b
A project can be re-named using up to 12 characters as follows:
Name the current project on the project-naming screen.
When a memory card is used, store the same project on the card to overwrite
and update it.
Naming and adding comments to a project
1. Press [PROJECT] and CURSOR [DOWN], in that order.
2. Press [F3] (NAME/PROTECT).
The project-naming screen appears.
fig.03-12
The following operation is similar to naming an input channel. For details, refer to Naming input channels (p. 83). The differences between them are as follows:
A comment (32 characters) can be attached instead of a short name (3 characters).
The EZ naming function is not available.
Assignments of the V1 to V6 knob functions (the contents are the same).
Functions added to [F6] (write-protect on/off).
Chapter 3 Data Storage and Retrieval
On this screen, comments of up to 32 characters can
e added to a project, allowing you to store relevant notes within the project. This screen also allows you to store a project with PROTECT activated, thus prohibiting the project from being inadvertently overwritten or erased accidentally.
Chapter 3 Data Storage
and Retrieval
Erase-protecting a project
A project selected on a memory card can be protected from erasure (p. 56). This also prohibits the accidental overwriting/updating of the project.
When more than one project exists on a card, only the currently selected project is protected.
Erase-protecting a project
From the project-naming screen:
Formatting (p. 51) can be performed even if a protected project exists on a memory card. After formatting, all data on the memory card is erased.
1. Press [PROJECT], CURSOR [DOWN] and [F3] (NAME/PROTECT), in this
sequence.
2. Turn [F6] (PROTECT) on to highlight it in black.
3. Open the storing screen.
Press [UNDO/REDO] (STORE) under the ten-key keypad while holding down [SHIFT].
fig.03-13
4. Press [F6] (OK) to store the project.
After storing is completed, press [F6] (EXIT) on the screen.
Resetting project erase-protection
To reset card protection, follow the above operations in Erase-protecting a project,
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Chapter 3 Data Storage and Retrieval
but turn [F6] (PROTECT) off so that its not highlighted in Step 2.
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Chapter 3 Data Storage and Retrieval
Selecting a project
More than one project may be stored on a memory card, allowing you to store completely different console settings for each project. Select and switch projects by following the procedure below. After a project is selected, the console settings are replaced with that of the selected project, removing the prior settings. Before switching to a new project, make sure to store the current project on the card if you wish to retain it.

Selecting a project

1. Press [PROJECT], CURSOR [UP] and [F1] (SELECT), in that order.
This calls up the project select screen.
2. Select a project using the V1 knob (SELECT NUMBER).
3. Press [F2] (SELECT).
4. Press [F5] (OK) and then [F6] (EXIT) after selection is completed.
The following information can be referred to on the project list.
fig.03-14
NAME: Project name (12 characters max. See p. 53.) UPDATE: Date of update (according to internal clock at time of storing) T: Type (number of consoles used by the project, 1 or 2) P: Protect (protected from accidental erasure when the letter is checked.
See p. 53.)
T is automatically determined by the number of consoles connected when the project is created. For a Type 2 project, the number of storable Scenes decreases by half (50).
Chapter 3 Data Storage
and Retrieval
55
Chapter 3 Data Storage and Retrieval
b
Copying a project
A copy of a project can be created on the same card that contains the original. This is useful when you want to start mixing from default console settings of your own design. Since the currently selected project will be overwritten when a storage operation is performed, its recommended that you create a copy of the default project on the card and select the copy to ensure that you dont accidentally overwrite the original.

Copying a project

1. Select a the project you want to copy.
Refer to Selecting a project above.
2. Press [PROJECT], CURSOR [DOWN] and [F4] (COPY), in that order.
This calls up the project-copy screen.
3. Select a project number as a destination for your new copy using the V1
knob (SELECT NUMBER).
4. Press [F2] (COPY) and [F5] (OK).
After a message appears, press [F5] (OK) again.
5. After copying is completed, press [F6] (EXIT).

Erasing a project from a memory card

Since the number of projects storable on one card is limited (8 max. on a 16MB card), existing projects can be erased as necessary.
Erasing a project
1. Press [PROJECT], CURSOR [UP] and [F2] (ERASE), in this sequence.
This calls the project-erase screen.
2. Select a project using the V1 knob (SELECT NUMBER).
3. Press [F2] (ERASE).
4. Press [F5] (OK) and then [F6] (EXIT) after erasure is complete.
A confirmation message appears if you attempt to overwrite existing data to ensure that this is really what you intend to do.
The number of processors available for an existing project – Type 1 or 2, as indicated on the list – however, it cannot be changed. To change a project’s type, turn off the power. Then turn on the power again and restore the project.
The current project cannot
e erased.
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Chapter 3 Data Storage and Retrieval
b

Copying Data to/from a Memory Card

In this system, the project currently selected on a memory card is designed to reflect the project on the console. This means that a memory card should always be installed and should be considered a part of the consoles internal memory that can be removed and transported to another system. For this purpose, one memory card is attached to the console (both VM-C7200 and C7100) at the time of purchase.
The method for storing a project on a card is explained in detail in this chapter. The procedure is important and it is recommended that you review it – see p. 52.
To use the Scene function, a memory card – which has
een formatted (p. 51) and on which a project has been created– must be installed. Since auto-mix settings are saved when a project is stored, a card must be prepared and a new project created before starting console operation.
Moving and returning a set of libraries in a console to
and from a memory card
A memory card can not only store projects, but also back up libraries and EZ Routing templates of a consoles channels and effects.
Copying a set of libraries from/to a card
From the SYSTEM menu:
1. Hold [SHIFT] and press [PROJECT] (same as pressing [SYSTEM]).
2. Open the LIBRARY page on the memory card.
Press CURSOR [DOWN], [F6] (MEMORY CARD) and [PAGE DOWN], in that order.
fig.03-15
A set of libraries above includes EZ Routing templates as well.
When a set of libraries stored on a card is loaded into the console, it replaces the current user libraries in the console. Only one set of user libraries can be stored on a memory card. This means that two or more memory cards are required for backing-up multiple user libraries.
Chapter 3 Data Storage
and Retrieval
3. Determine what you wish to transfer to/from the card.
Select [LOAD/SAVE TARGET] – LIBRARY or TEMPLATE – on the upper section using
CURSOR [UP] or [DOWN] and turn [F2] to [F5] on (highlighted in black) or
off. Only the items that are turned on will be saved, loaded, or exchanged.
4. Select [COMMAND] using CURSOR [DOWN].
5. Perform the function.
Select and press either [F5] (LOAD) or [F6] (SAVE). After the confirmation screen appears, press [F5] (OK) to perform the selected function.
Loading of library data means copying it from the card to the console, overwriting the consoles current library. Saving refers to overwriting data from the console to the card.
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Chapter 3 Data Storage and Retrieval
b
b
Backing up a memory card
A memory card can be backed up using following procedure. For backing up, a formatted (p. 51) memory card for copying to (the destination card) must be prepared in addition to the memory card to be copied from (the source card).
IMPORTANT
The consoles auto-mixing memory is used during the memory-card backing-up process. Therefore, all auto-mixing information which is currently held in the consoles memory is erased during the back-up process. For this reason, be sure to save the current project before you begin the back-up procedure.
Prepare a destination card of at least the same capacity as the source card. If the capacity of the destination card is smaller than that of the source, backing up may
e halted before all of the source cards data can be copied.

Backing up a memory card

1. Open the SYSTEM menu.
Hold [SHIFT] and press [PROJECT] (same as pressing [SYSTEM]).
2. Open the UTILITY page on the memory card.
Press CURSOR [DOWN] and [F6] (MEMORY CARD), in that order.
fig.03-16
3. Press [F1] (BACKUP).
After a message requesting the source card appears, make sure that the source card has been inserted, and then press [F5] (OK). The back-up procedure will begin.
4. After a message requesting the destination card appears, remove the source
card, insert the destination card and press [F5] (OK). Data writing starts. After writing is completed, return to Step 3 and repeat the above procedure. Backing up is finished when the “Completed” message appears.
Format (p. 51)
The number of repetitions of Steps 3 and 4 will differ depending on the amount of data to be backed up.
To cancel the process, press [F6] (CANCEL). Once
acking up has begun, data previously stored on the destination card cannot be restored even if the back­up process is cancelled.
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Chapter 4 Useful Functions

b

Storing Frequently Used Screens (Macro Function)

When switching back and forth between screens to compare and adjust settings (when editing effect algorithms, for example), various steps must be performed over and over. In this case, any of the screens can be stored as a “macro” so that you can jump to the screen simply by pressing a single button. Since the screen and the current cursor position are both stored in a macro, theres no need to move the cursor button after recalling it.

Storing a screen as a macro

1. Call-up the desired screen.
Move the cursor to a frequently used parameter.
2. Press one of the macro buttons – [MACRO 1] to [MACRO 9] while
holding down [SHIFT].
The LED of the selected button lights to show that a macro has been stored there.
fig.04-01
You cannot overwrite a
utton which a macro has already been registered. In this case, clear the macro and register a new one.

Recalling a screen (macro)

1. Press one of [MACRO 1] to [MACRO 9] while holding down [SHIFT].
The screen stored in the macro appears.

Clearing a stored macro

1. While holding down [SHIFT] and [CLEAR], press one of [MACRO 1] to
[MACRO 9].
The indicator of the button of which a macro has been cleared goes out.
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Chapter 4 Useful Functions
b

Calling Up Stored Connections (EZ Routing)

The EZ Routing function allows you to quickly establish a set of saved connections. EZ Routing can be a connection template or a virtual patchbay setup.

Routing template

This type of EZ Routing instantaneously calls up one of the pre-defined internal connection templates, each of which is designed to serve a particular purpose. When shipped, 9 EZ Routing template presets are stored in the console. The console can also store up to 30 user-defined EZ Routing templates. The data saved in a template is the same as that saved in a Scene on a memory card.
Selecting a template
1. Press [EZ ROUTING] and [F1] (TEMPLATE), in that order.
This calls up the template select/save screen.
2. Select the desired template.
Turn the V1 knob (SELECT GROUP) to select P (“Preset”) or U (“User”). Then turn the V2 knob (SELECT NUMBER) to select a number – P000 to P009 or U000 to U029 – corresponding to the desired template’s name.
3. Press [F2] (COPY).
This activates the templates settings, changing the current settings.
Press [F1] (PREVIEW) so that its highlighted in
lack to temporarily change the internal connections to those in the selected template; this allows you to preview the new connections. Turn [F1] off to restore the current settings.
The original connections cannot be restored after this step, unless they are saved as a template or Scene.
Chapter 4 Useful Functions
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Chapter 4 Useful Functions
b
Saving the current connections as a
template
1. Press [EZ ROUTING] and [F1] (TEMPLATE), in that order.
This calls up the template select/save screen.
2. Select a user template location in which to save the current connections.
Turn the V1 knob (SELECT GROUP) to select U (User). Then turn the V2 knob (SELECT NUMBER) to select a number (000 to 029) corresponding to the desired template name on the display.
3. Save the template.
After selecting the template location to which youll be saving the current settings, press [F3] (SAVE) and then [F5] (ENTER) to execute the procedure. The locations previously saved settings are overwritten and cannot be recalled.
fig.04-03
Press [F1] (PREVIEW) so that its highlighted in
lack to temporarily preview the selected templates internal connections. Turn [F1] off to restore the current settings you wish to save.
To cancel saving, press [F6] (EXIT) in Step 3.

Virtual patchbay

The virtual patchbay allows you to make connections between input jacks and assignable output jacks by connecting virtual cables between them on the display. Since the virtual patchbay also allows you to establish the routing of signals from R­BUS and multi-in channels, the correspondence between the digitally connected multi-track recorder tracks (up to 24, 8 tracks x three recorders) and multi-in channels 1 to 24 can be set up as your needs dictate.
Changing connections using the virtual patchbay
1. Press [EZ ROUTING] to call up the menu screen.
2. Press [F2] (PATCHBAY).
This calls up the input channel patchbay screen.
3. Select the connection to set.
Select input channels or output terminals in six pairs using CURSOR [UP], [DOWN], [LEFT] or [RIGHT].
4. Set the desired connection.
Turn the V1 to V6 knobs to change the patchbay connection.
R-BUS (p. 243)
60
ig.04-04
fig.04-05
Chapter 4 Useful Functions
Press [PAGE DOWN] to call the multi-in channel patchbay screen. On this screen, the assignments from multi-in inputs (each input to R-BUS) to multi-in channels can be changed.
fig.04-06e
* For internal connections using the virtual patchbay, signals can also be assigned
to several destinations. Multiple signals, however, cannot be simultaneously assigned to a single destination.
Possible
IN 1 OUT 1 IN 2 OUT 2 IN 3 OUT 3 IN 4 OUT 4
Impossible
IN 1 OUT 1 IN 2 OUT 2 IN 3 OUT 3 IN 4 OUT 4
Chapter 4 Useful Functions
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Chapter 4 Useful Functions

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

Channel edit (CH EDIT) refers to the displaying of each input (1–24), multi-in or Flex Bus channels parameters on the screen and the changing of their settings. It allows you to focus your attention on a single channel.
CH EDIT operation
fig.04-07
Select a channel – one of the C7200’s 24 vertical columns, or one of the C7100’s 12 – and control the parameters for it using the V1 to V6 knobs or [F1] to [F6].
1. Press [CH EDIT] of the desired channel to change any of its settings.
This calls one of the channels parameter screens.
2. Press [PAGE UP] or [PAGE DOWN] to call up the desired parameters
screen.
3. Press the cursor button to move the cursor to the target parameter set.
4. Set a value by turning the V1 to V6 knob or pressing [F1] to [F6].
62
Directly jumping to a parameters screen
(Quick channel edit)
Using [PAGE UP] or [PAGE DOWN] to move through numerous parameter screens in order to reach a desired parameters screen can be time-consuming. To save time, you can jump directly to certain parameters using the status buttons of channels 13 to 24. While holding down [CH EDIT] on the channel youre working with, press one of the status buttons to display the desired parameter screen.
fig.04-08
Channel Parameter setting screen
13 (1) Preamplifier-related setting 14 (2) Delay-related setting 15 (3) EQ (gain)-related setting 16 (4) EQ (low-range, high-pass filter)-related setting 17 (5) EQ (mid-range)-related setting 18 (6) EQ (high-range)-related setting 19 (7) Setting of signals to be sent to Flex Buses 1 to 6 20 (8) Setting of signals to be sent to Flex Buses 7 to 12 21 (9) MULTI OUT-related setting 22 (10) Surround depth-related setting 23 (10) Setting of signals to be sent to main/Cue buses 24 (12) General channel parameter list screen
Chapter 4 Useful Functions
Chapter 4 Useful Functions
* A bracketed channel number indicates that the VM-C7100 console is used.
Example: [CH EDIT] + [CH VIEW]
fig.04-ChView
The CH EDIT VIEW screen allows you to set all the channel parameters including the transmission level to the respective output channels, pre-amp, and feedback delay simultaneously.
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Chapter 4 Useful Functions

Simultaneously Setting Several Channels Parameters (Parameter View on Fader)

When parameters such as levels, pans and the amount of signal sent to the Flex Buses are to be set, these parameters values for all channels can be displayed at the same time. This display is called the parameter view on fader. This view is helpful when the parameter settings of multiple channels need to be adjusted at the same time.
Operation of [PARAM VIEW on Fader]
fig.04-09
Allows you to view parameter settings for all channels simultaneously, controlling their value primarily by using the consoles channel faders.
Determining a parameter setting to change
Press any of the numbered buttons under [PARM VIEW on Fader] to view its corresponding parameter in the currently selected parameter section. Since the types of parameters differ in each section, the screen may not change when a numbered button is pressed.
fig.04-10e
Parameter Setting under PARAM VIEW on Fader
SECTION
(Signal Line)
INPUT YES
MULTI IN FADER GROUP FLEX BUS 1–12
MIDI
MULTI OUT
[OTHER PARAMETERS A]/[OTHER PARAMETERS B]
Sets the equalizer or delay. To select a parameter, move the cursor to the bottom of the screen, turn the [V1] knob to select the target parameter and press [F1] (SET).
CH
LEV
YES YES YES YES YES --- --- --- --- --- ---
CH
PAN YES YES
--­YES YES
CUE LEV
YES YES
---
YES
---
CUE
PAN YES YES
---
YES
---
PREAMP
GAIN YES
---
---
---
---
SURROUND
DEPTH
YES YES
---
YES
---
FLEX BUS
send to 1–12
YES YES
---
YES
---
OTHER
PARAMETERS
YES YES
--­YES YES
---
64
[FLEX BUS 1 to 6]/[FLEX BUS 7 to 12]
b
Sets signals to be sent to Flex Buses 1 to 12.
PAN: Fixed sound position
LEVEL
BUS SEND: Activates/de-activates sending of signal to a Flex Bus.
Chapter 4 Useful Functions
Pan control is inactive when no Flex Buses are linked. To learn about Flex Bus linking, refer to p. 102.
[PREAMP GAIN]
Sets the preamplifier.
GAIN: Analog preamplifier gain
PHANTOM: Supplies/does not supply phantom power to the microphone.
[CH PAN]/[CH LEVEL]
Sets signals to be sent to the main stereo bus.
PAN: Fixed sound position
LEVEL
MAIN SEND: Sends/does not send signals to the main stereo bus.
[SURROUND DEPTH]
Sets surround depth.
PAN: Direction of sound (right/left)
DEPTH: Direction of sound (up/down)
MAIN SEND: Sends/does not send signals to the main channel.
[CUE PAN]/[CUE LEVEL]
Sets signals to be sent to the Cue bus.
PAN: Fixed sound position
LEVEL
CUE SEND: Sends/does not send signals to the Cue bus.
When Flex Buses are linked, changing the parameter setting of one also changes the parameter setting of the other.
The same screen appears after either [CH PAN] or [CH LEVEL] is pressed. After [CH PAN] is pressed, however, the pan value can
e set using a fader.
Chapter 4 Useful Functions
The same screen appears after either [CUE PAN] or [CUE LEVEL] is pressed. After [CUE PAN] is pressed, however, the Cue pan can be set using a fader.
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Chapter 4 Useful Functions
How to set parameters
fig.04-11e
[V1]–[V6] knobs
Fader / [V1]–[V6] knobs
[F1]–[F6]
In most cases, the cursor is moved to the desired parameter and the [V1] to [V6] knobs are used to change the setting of the selected parameter. In addition to this, parameters can be set using faders in the parameter view on fader screens so that several channels parameters can be adjusted at the same time. To set switches such as BUS SEND and MAIN SEND, the cursor is moved to the target parameter and [F1] to [F6] is pressed.
Separating screen from fader state
When screens are switched, the fader settings typically change as well. When simultaneously adjusting the levels of both analog and digital signals received via the R-BUS, screens may need to be switched repeatedly, since both screens cannot be displayed at the same time. To solve this problem, turn [on Display] on to separate the screen state from the fader state. This allows the state of screens to be switched with the state of the faders when [on Display] is turned on. This also allows you to adjust the analog input levels using the [V1] to [V6] knobs on the screen, and the digital input levels using the fader.
The fader states of MULTI IN and INPUT can be flipped using [FLIP] (only when the VM-C7200 console is used).
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Chapter 5 Mixing Procedure 1 (Input Channel)

b
There are two different types of channels for bringing audio into the system:
INPUT channels handle standard microphone, line and digital audio signals.
MULTI IN channels handle audio from digital multi-track devices connected to
an optional R-BUS connector. The VM-24E I/O Expansion board, purchased separately, adds 24 channels of digital R-BUS inputs and outputs to your system.
Press [INPUT] or [MULTI IN] to select the type of inputs you want to edit. The general editing procedure and channel setup screen is similar for both types of input.

Basic Settings by Input Channel

To set up an input channel, press the channels [CH EDIT]. When you press a channels [CH EDIT], its setup screen is displayed.
Selecting an input channels signal source
You can select the source of an input channels signal from a range of appropriate options.
Selecting a channels input source
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
channel you want to set up.
2. Press the desired channels [CH EDIT].
3. Press [PAGE UP]/[PAGE DOWN] to display the channels PREAMP page.
fig.05-01
4. You can select the desired source by turning the V1 (SOURCE SELECT)
knob.
For input channels, you can select:
MIC or LINE INPUTs 1 to 20 on a VM-7200 processor, or INPUTs 1 to 10 on a VM-7100 processor.
DIGITAL A/B. To choose DIGITAL IN A or DIGITAL IN B, follow the procedure on p. 32.
CONSOLE INPUT, L or R. These are the input jacks on the rear of the console.
You can jump directly to this screen by pressing the PREAMP GAIN STATUS
utton while holding down
the channels [CH EDIT].
Chapter 5 Mixing Procedure 1
(Input Channel)
For multi-in channels, you can select:
R-BUS inputs 1 to 24. These choices become available only with an installed VM­24E, purchased separately.
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Chapter 5 Mixing Procedure 1 (Input Channel)
b b

Gain, Phantom Power Supply, Phase and Attenuator

Various settings are available for the analog pre-amplifier at each channels input section. These include:
Gain (not available when DIGITAL A/B is selected as the input source)
Phantom power supply (not available when DIGITAL A/B is selected as the
input source)
Phase inversion
Digital attenuation level
Setting up an input channels analog pre-amplifier
1. Press [INPUT] in the SECTION area.
2. Press [CH EDIT] for the desired channel.
3. Select the PREAMP page using the PAGE UP/PAGE DOWN buttons.
fig.05-01
Phase (p. 242) Phantom power (p. 242) Attenuator (p. 232)
You can jump directly to this screen by pressing the PREAMP GAIN STATUS
utton while holding down
the channels [CH EDIT].
4. Adjust the settings as desired.
GAIN: Turn the V2 (GAIN) knob to match the pre-amp’s input gain to
the output level of the connected microphone or other audio­producing device. (+4 to -64 dB)
PHASE: Press [F3] to switch the phase inversion function on or off, as
desired. When phase inversion is active, the PHASE parameter is highlighted on the display.
PHANTOM POWER SUPPLY: Press F2 (48V) to switch between on (highlighted) and off. A
channels phantom power supply should only be turned on when the channel is handling a signal from a device that requires phantom power.
ATTENUATOR: Turn the V3 (ATT) knob to set the input attenuation level, from
+6 to -24 dB. Attenuation is the lowering of a signals level. Start by setting the attenuator to 0 dB, for no attenuation. If distortion occurs as you boost frequencies in the signal during equalization, adjust the ATTENUATOR setting to reduce the signals level until the distortion is eliminated.
You can also access these parameters by pressing [CH VIEW] with [CH EDIT] (p. 63).
Setting preamp gain and phantom power in PARAM VIEW on Fader mode
1. Press [PREAMP GAIN] in the PARAM VIEW on Fader area.
2. Set each channels preamp gain using its fader. You can also set the preamp
gain for six channels at a time using the cursor and the V1 to V6 knobs.
There are a couple of reasons you might want to invert the phase of a channels signal. You might want to do this when the signals from two microphones used on the same instrument are canceling each other out in such a case, youll want to invert the phase of one of the signals. You may also want to correct the phase of a signal that has already
een phase-inverted due to
an error in cabling.
3. Cursor to the desired channel and activate or de-activate its phantom
power using [F1] to [F6]. When a channels phantom power is turned on, the parameter is highlighted.
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Chapter 5 Mixing Procedure 1 (Input Channel)
b
Correcting a signals time delay (PHASE DELAY)
A channels input can be delayed to correct phasing problems between the its signal and the signals of other channels. When you use more than one microphone on an instrument (or other sound source), there may be a difference in the amount of time it takes for the sound to reach each microphoneit takes roughly 3 ms (milliseconds) for sound to travel the distance of a meter from an instrument to a microphone. When you mix the signals from the microphones, you may experience the loss of various frequencies in the resulting signal due to phase differences between the microphones. You can fix such problems by delaying the signals from those microphones placed closer to the instrument so that they match the delay in signals from microphones placed further away.
Setting up a channels PHASE DELAY
1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the
type of input you want to set up.
2. Press [CH EDIT] for the desired channel.
3. Select the PREAMP page using [PAGE UP]/[PAGE DOWN].
When the PHASE DELAY feature is used, the original, un-delayed sound is not heardonly the delayed signal is used.
You can jump directly to this screen by pressing the PREAMP GAIN STATUS
utton while holding down
the channels [CH EDIT].
fig.05-01
4. Turn PHASE DELAY on to activate an input delay. Press [F4] (ON). When
PHASE DELAY is turned on, the parameter is highlighted.
Set the desired delay using the V4 knob. PHASE DELAY is measured in samples, the smallest unit of time in the system. When the current sample rate is:
48 kHz, one sample equals about 0.021 ms.
44.1 kHz, one sample equals about 0.023 ms.
Chapter 5 Mixing Procedure 1
(Input Channel)
Sample rate (p. 244)
* The PHASE DELAY parameter works in conjunction with the FEEDBACK
DELAY parameter, which also allows you to delay a channel’s signal. Together, their delay times cannot exceed 14,400 samples in total.
The current setting is displayed as a DISTANCE in meters from the sound source. The setting is also displayed in TIME as milliseconds based on the current sample rate.
DISTANCE is calculated on a basis of the travel velocity of sound at one normal atmosphere and 20 degrees Centigrade. You can turn [V4] while holding down [SHIFT] to move quickly through the full range of delay values. You can also access the PHASE DELAY parameter by pressing [CH VIEW] with the channels [CH EDIT] (p. 63).
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Chapter 5 Mixing Procedure 1 (Input Channel)

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

Signals can be sent from each channel to the main stereo mix or to the cue bus. You can view the SEND LEVEL and PAN settings for all channels at the same time and use the faders or the V1 to V6 knobs to adjust them. Signals sent from channels to Flex Buses can be set in the same manner. To view and change the ON/OFF, SEND LEVEL and PAN values of multiple channels at the same time, use PARAM VIEW on Fader. To set a channels SEND LEVEL or PAN to the main mix, for example, follow these steps:
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input you want to set up.
2. Press the [CH LEVEL] (or [CH PAN]) in the PARAM VIEW on Fader area.
3. Use each channels fader to set the SEND LEVEL (or PAN) of the channels
signal being sent to the main stereo mix.
Other buttonspressed together with [SHIFT] in some casesin the PARAM VIEW on Fader area select and display different channel parameters that you can adjust using the faders.
If you prefer, you can use CHANNEL EDIT mode to display and adjust multiple parameters for a single channel, including send ON/OFF, SEND LEVEL, PAN and other parameters. The following section describes how to set a channels parameters using CHANNEL EDIT mode.
See p. 64 to learn more about PARAM VIEW on Fader.
PAN (p. 241)
SEND LEVEL and PAN to the main mix and the cue
bus.
Setting a channels SEND LEVEL and PAN in CHANNEL EDIT mode:
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input you want to set up.
2. Press the desired channels [CH EDIT].
3. Select the MAIN/CUE page using [PAGE UP]/[PAGE DOWN].
fig.05-02
You can jump directly to this screen by pressing the MAIN/CUE status button while holding down the channels [CH EDIT].
4. If the screen you see is not the same as shown in the figure above, scroll to
the screen shown above using the UP/DOWN buttons.
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Chapter 5 Mixing Procedure 1 (Input Channel)
5. Set the channels SEND LEVEL and PAN to the main mix by adjusting:
SEND LEVEL using the V1 (MAIN LEVEL) knob. SEND LEVEL can be set anywhere from - to +6 dB.
PAN using the V2 (MAIN PAN) knob. PAN can be set from L63 (far left) to R63 (far right).
While in CHANNEL EDIT mode, you can also set two other parameters that affect sending the channels signal to the main mix:
SEND ON/OFFThis sets whether or not the channels signal is sent to the main mix. Press [F1] (ON)when the channels signal is being sent to the main mix, the parameter is highlighted.
PAN LINKAdjacent channels can be stereo-linked in odd/even pairs Channels 1 and 2, Channel 3 and 4, Channels 5 and 6, and so on. When channels are pan-linked, theyre locked together at their current pan positions into a single stereo image. If you lower or raise either channels PAN setting, the entire stereo image will be shifted left or right accordingly. To pan-link two channels, press F2 (PANLINK). When PAN LINK is active, the parameter will be highlighted.
6. Set the channel’s SEND LEVEL and PAN to the cue bus by adjusting:
SEND LEVEL using the V3 (CUE LEVEL) knob. Cue SEND LEVEL can be set
from - to +6 dB.
PAN using the V4 (CUE PAN) knob. This can be set from L63 to R63.
You can also set two other parameters that affect sending the channels signal to the cue bus:
SEND ON/OFFThis sets whether or not the channels signal is sent to the cue bus. Press [F3] (ON)when the channels signal is being sent to the cue bus, the parameter is highlighted.
PAN SLAVEWhen this parameter is onhighlightedthe PAN setting for the cue bus is automatically set to the same value as the PAN setting for the main mix. Press [F4] CUE PAN SLAVE To MAIN to switch pan slaving on or off.
Switching the send point to the cue bus
You can select the point in the channels signal flow from which its signal will be sent to the cue bus. To do this, return to Step 6 above, press CURSOR [UP] and select the middle parameter group. Turn the V3 (CUE SEND POSI) knob and [F3] (SET) to choose from among a selection of locations in the channel signal flow.
fig.05-04
As you turn the V3 (CUE SEND POSI) knob, the setting is switched from PreEQ (PRE EQ) to PreFD (PRE FADER) and to PstFD (POST FADER). When youve chosen the desired point, press [F3] (SET) to confirm your selection.
fig.05-05
Channel Input
ATT
FX FX
DELAY
HPF
PRE FADER
PRE EQ
EQ
POST FADER
MUTE
CUE BUS
FADER
MAIN
Chapter 5 Mixing Procedure 1
(Input Channel)
SW
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Chapter 5 Mixing Procedure 1 (Input Channel)
b

Setting a channels send level and send point to Flex Buses

Preparing to adjust Flex Bus send levels using PARAM VIEW on Fader
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input you want to set up.
2. Press one of the FLEX BUS 1 to 6 buttons in PARAM VIEW on Fader to
choose the Flex Bus to which you want to send signal from one or more channels. To select from Flex Buses 7–12, press FLEX BUS [1] to [6] while holding down [SHIFT].
fig.05-06
3. Use each channels fader to send the desired amount of signal from the
channel to the displayed Flex Bus. If you dont want to send a channels signal to the displayed Flex Bus, turn its send all the way down.
Preparing to set Flex Bus sends using CHANNEL EDIT mode
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input you want to set up.
PARAM VIEW on Fader allows you to view and set the send levels to a particular Flex Bus from all of the channels at the same time.
If you prefer, you can use CH EDIT to set a single channels send level to all of the Flex Busesand select a place within the channel signal flow from which the signal will be sentat the same time.
You can jump to this screen by holding down the channels [CH EDIT] and pressing the [FLEX BUS] (STATUS button).
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the FLEX BUS screen.
fig.05-07
4. Using CURSOR [UP]/[DOWN], select the first set of six Flex Buses, as
shown in figure on the left (Flex Buses 1 to 6).
5. Turn on the channels SEND to any of the first six Flex Buses by pressing
[F1] to [F6]. This toggles the Flex Bus sends on and offwhen a send is on, B1, B2... is highlighted.
6. Set the channels send level to each Flex Bus by turning its corresponding
V1 to V6 knob.
In this screenshot, Flex Buses 5 and 6 are stereo-linked, so that they comprise a single stereo Flex Bus send. When Flex Buses are stereo-linked, the V knob associated with the higher-numbered Flex Busin this case, [V6] for Flex Bus 6acts as a PAN knob that sets the overall panning of the pair of Flex Buses from L63 to R63. If you wish, you can set the panning of the Flex Buses to
e the same as the panning of the channels send to the main stereo mix. To do this, activate the pan-slaving feature by pressing the linked Flex Buses higher­numbered F buttonin the screenshot, this would be [F6] for Flex Bus 6. When the panning of the pair of Flex Buses follows the channels main mix panning, SLAVE is highlighted.
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Chapter 5 Mixing Procedure 1 (Input Channel)
7. Choose the point from within the channels signal flow from which signal
will be sent to the Flex Buses.
Use CURSOR [UP] to select the region shown in the figure on the right, and then use the [V1] to [V6] knobs to select the desired points. You can choose PreEQ, PreFD (Pre Fader) or PstFD (Post Fader). Confirm your choices using [F1] to [F6] (SET).
fig.05-08
Channel Input
ATT
FX FX
HPF
EQ
PRE FADER
DELAY
PRE EQ
MUTE
POST FADER
FADER
MAIN
SW
FLEX BUS 1 (...12)

PAN and DEPTH for using SURROUND

This system supports surround sound in thee formats: 2+2, 3+1 and 3+2+1. Surround sound allows signals to be positioned within a two-dimensional, left/ right/rear/front field. You can set each channels surround location, or surround panning.
To adjust the sends for Flex Buses 7–12, select the second set of Flex Buses in Step 4 above.
To set up surround panning, begin by activating the surround function on the SYSTEM SURROUND screen (p. 91) and select a surround format or mode.
Setting up surround panning using PARAM VIEW on Fader
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input you want to set up.
2. Press [CH PAN] in PARAM VIEW on Fader.
fig.05-09
Using PARAM VIEW on Fader, you can set multiple channels surround PAN (right-left position) and DEPTH (rear-front position) using a Fader or the V1 to V6 knobs.
When SURROUND PAN SLAVE is switched off on the SYSTEM SURROUND screen (p. 91), [CH PAN] cannot be used for setting surround panning.
Chapter 5 Mixing Procedure 1
(Input Channel)
3. Set the left/right position for each channel using its fader.
4. Press [PREAMP GAIN] in PARAM VIEW on Fader while holding down
[SHIFT] and select SURROUND DEPTH.
5. Set the rear/front position for each channel using its fader.
You can view a graphic display of your surround pan settings from the SURROUND page in CHANNEL EDIT mode (p. 74).
On the SURROUND page in CHANNEL EDIT mode, you can view each channels surround panning in graphs. You can also set up each channels surround panning in conjunction with its adjacent channel, and fine­tune its output level from this screen.
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Chapter 5 Mixing Procedure 1 (Input Channel)
b
Setting surround panning in CHANNEL EDIT mode
* The figure on the screen shot below shows an example of surround with the
3+2+1 system selected. If the 2+2 or 3+1 system is selected, blank space is displayed for output channels (Flex Buses) not being used.
1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the
type of input you want to set up.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the SURROUND page.
4. Using CURSOR [UP]/[DOWN], select the region in the figure
(SURROUND PAN and STEREO LINK).
fig.05-10
You can quickly jump to this screen by pressing the SURROUND STATUS
utton while holding down
the channels [CH EDIT].
In the displayed graph, the surround position for the channel is shown as a white circle. As new settings for PAN and DEPTH cause the white circle to move, a shadow of its original position remains on the screen. To erase the shadow, press CURSOR [UP] and then [F1] (REFRESH).
5. Set the channels right/left position using the V1 (PAN) knob, and rear/
front position with the V2 (DEPTH) knob.
6. Set up the desired balance between your surround systems front speakers
(center: left and right) using the V3 (LR: C) knob.
You can set the balanceexpressed as a percentagebetween the right and left speakers in your surround system in 3+1 or 3+2+1 mode. When using surround, adjacent odd/even input channels can be linked and handled as a stereo pair.
fig.05-11
In the displayed graph, the position of the channel to which the currently selected channel is linked is shown as a black circle.
74
Chapter 5 Mixing Procedure 1 (Input Channel)
j
Linking a channel to its adjacent odd/even partner
1. Move the cursor to STEREO LINK on the screen.
Follow Steps 1 to 4 in the previous section, Setting surround panning in CHANNEL EDIT mode to move the cursor to STEREO LINK.
2. Use the V4 knob to select the desired linking method.
OFF: No linking. PARALLEL: Position of the linked pair is set while preserving the
relative positions of the two channels in relation to each other.
LINE SYMMETRY: Linked channels are positioned in line symmetry against
the vertical center line.
POINT SYMMETRY: Linked channels are localized in point symmetry against
the center point.
You can set the output level of a Flex Bus used for surround output independently from the surround PAN and DEPTH settings. This allows you to make final fine adjustments.
Fine adjustment of surround output level balance
1. Call up the SURROUND page in CHANNEL EDIT mode.
Follow the Steps 1 through 3 for Setting surround panning in CHANNEL EDIT mode” (p. 74) to display the SURROUND screen.
2. Use CURSOR [DOWN] to select the FRONT, REAR and SUBWOOFER.
3. Make the desired fine adjustment to the level using the V1 through V6 knobs.
The display shows each knobs associated Flex Bus number and speaker.
* You can temporarily turn off the output of a Flex Bus by pressing the
corresponding F1 through F6 button.
Turning the V1 through V6 knobs can cause the surround positioning to disagree with the settings in the SURROUND PAN section of the display (PAN, DEPTH and LR:C) and the displayed surround graph. If this occurs, ACTIVE in the screen is automatically switched off.
Use CURSOR [UP] to select SURROUND PAN, and then press [F1] (ACTIVE) to turn surround on again. This cancels any problematic fine adjustments made to the Flex Bus so that the actual surround sound once again matches the displayed values.
When you activate MIDI JOYSTICK CONTROL on the SYSTEM SURROUND screen (p. 91), and you can perform surround panning using a MIDI joystick. The joystick will control the channel for which [CH EDIT] was most recently pressed. You can use the joystick even when a screen other than the SURROUND screen is being displayed.

Setting up direct-output channels

Input channel signals 1 through 24 can be sent directly to the corresponding multi­out channels. When this is the case, signals sent to multi-out Channels 17 through 24 are also sent to ASSIGNABLE OUT jacks 1 through 8, respectively. This makes it possible to directly access analog signals from the input channels.
Its also possible to send an input channels signal to a number of multi-out channels at the same time. Note, however, that multiple input signals cannot be directly sent to a single multi-out channel. Each already-in-use channel is displayed as a broken line. The direct connection of multi-in channels to multi-out channels is not possible.
The system supports the use of the MCS PANNER
oystick from J. L. Cooper, which can be connected to the console's MIDI IN jack.
The signals sent to multi­out Channels 21 and 22 are also sent to DIGITAL OUTPUT A (L, R). The signals sent to multi-out Channels 23 and 24 are also sent to DIGITAL OUPUT B (L, R).
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Chapter 5 Mixing Procedure 1
(Input Channel)
Chapter 5 Mixing Procedure 1 (Input Channel)
Preparing to send input channels to multi-outs in CHANNEL EDIT mode
1. Press [INPUT] in the SECTION area.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the MAIN/CUE page.
You can jump to this screen by pressing the [MAIN/CUE] STATUS button while holding down the desired channels [CH EDIT].
4. Use CURSOR [UP] to select the parameters in the upper section.
fig.05-13
The following settings can also be accessed for all channels at once by pressing [MULTI OUT] in the SECTION area and pressing [CH EDIT] for the multi-out channel you want to set up (p. 93).
5. Select the output channel to which you want to send the input channels
signal.
Select the desired MULTI-OUT with the V1 (MULTI OUT SEL) knob, then press [F3] (SET) to confirm your choice.
Setting the send level and point to a MULTI OUT
To set up SEND LEVEL to MULTI OUT using the V5 (LEVEL) knob, follow Step 5 above and press CURSOR [DOWN] to select the parameters in the middle section. This allows you to select a point from within the channels signal flow from which its signal will be sent to the selected MULTI OUT.
fig.05-14
You can press [F3] again to cancel your output selection, if you wish.
fig.05-15
76
Turn the [V4] (SEND POSI) knob to select PreEQ, PreFD (Pre Fader) or PstFD (Post Fader). Press [F4] (SET) to confirm your selection.
Channel Input
ATT
FX FX
DELAY
PRE EQ
EQ
HPF
PRE FADER
MUTE
POST FADER
FADER
MAIN
SW
MULTI OUT 1–24
Chapter 5 Mixing Procedure 1 (Input Channel)
b
b

Switching the Status of a Channel

The STATUS button above each fader switches the status of the corresponding input channel. The STATUS button can change the following four items:
Mute: When on, silences the channels signal. Solo: When on, isolates the channels signal, silencing other
channels.
Audio: Switches the track status of connected external recording
devices.
Auto-mix: Activates or de-activates automation recording of channel-
setting changes.
Press the MODE buttons in the CH STATUS area[MUTE], [SOLO], [AUDIO] or [AUTO-MIX]to select the item you want to set using the STATUS button.
fig.05-16
This section describes the operation of the MUTE and SOLO buttons.

Muting a channel (MUTE)

Signals on input channelsboth input and multi-in channelscan be muted using the STATUS button.
Muting with the STATUS button
1. Press the [MUTE] in the CH STATUS MODE areathe button will light
when muting is activated.
2. Select either [INPUT] or [MULTI IN], depending on the type of channel
you want to mute.
3. Press the desired channels STATUS button so that it lights.
Any channels selected with SECTION buttons can be muted using the same procedure, including [FADER GROUP] (Group 1–24), [FLEX BUS] (Flex Buses 1 –12) and [MULTI OUT] (Multi Out 1–24).
fig.05-17
Audio Status (p. 192) Auto-mix Status (p. 201)
Muting signals on input and multi-in channels causes all of their signals to
e muted, including those
sent to Flex Buses and cue
usses, unless their send points are set to Pre EQ. (For details, see the attached block diagram with the processor.)
If you wish, you can also switch the MUTE function on or off from the VIEW page on the MUTE GROUP SETUP screen (p. 103). You can also mute a channel by setting MUTE on CH EDITs MAIN/CUE page.
Chapter 5 Mixing Procedure 1
(Input Channel)
Call up the screen by pressing the MAIN/CUE STATUS button while holding down the desired channels [CH EDIT]. To mute the channel, press [F6] (MUTE)the channels MUTE indicator in the displayed graph will be shown as a reversed image.
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Chapter 5 Mixing Procedure 1 (Input Channel)

Listen to a channel by itself (SOLO)

Channel signalsboth input and multi-incan be set to SOLO mode in which all the other channels are temporarily muted, allowing you to listen to the channel alone (SOLO). SOLO mode sends the soloed channels signal to the following outputs:
The mixing processors MONITOR OUT jack
The consoles MONITOR LINE OUT jack
Headphones connected to the consoles PHONES jack
Using the STATUS button to enter SOLO mode
1. Press the [SOLO] in the CH STATUS MODE area so that the button lights.
2. Select either [INPUT] or [MULTI IN], depending on the type of channel
you want to solo.
3. Press the desired channels STATUS button so that the button lightsall
other channels are silenced so that you can listen to the selected channel by itself.
4. If you want to solo additional channels, press their STATUS buttons.
Press [STATUS] again to un-solo a channelthe buttons light turns off. When all soloed channels have been un-soloed, the SOLO function is switched off.
If IN PLACE (Solo In Place) is selected on the SOLO screen (p. 68), signals are heard as they are in the main mix, with their main-mix panning preserved, for example. Otherwise, if PRE EQ or PEL (Pre Fader Listen) is selected, the cue bus is used for soloed signals.
When IN PLACE is selected, all other signals in the main mix are muted except for soloed channels. Therefore, when IN PLACE is selected, do not use the SOLO function during the recording of a mix, when sending the MAIN OUTs to a stage speaker system or when broadcasting from the MAIN OUTs.
In this case, do not use the cue bus for purposes other than monitoring.
IN PLACE (p. 238) PFL (p. 242)

Adjusting Various Channel Settings (Equalizer, etc.)

All input and multi-in channels are equipped with parametric equalizers and HPF (high-pass-filter) equalizers that allow you to alter the change the frequency characteristics of the channels signal. Each channel also contains a feedback delay function that allows you to generate echo and comb-filter effects.

Adjusting frequency characteristics (channel equalizer)

How the channel equalizer works The channel equalizers (EQ) incorporated in this system parametric equalizers in which switching between 4-band and 3-band + 1-filter modes is possible. High- and low-frequency EQ bands are shelving EQs, while the high-middle and low-middle bands are peaking EQs.
fig.05-18
Peaking type
Shelving type (p. 244) Peaking type (p. 242)
Level
LO
LO
MIDHIMID
Shelving type
HI
78
0dB
FREQ
GAIN
Frequency
Chapter 5 Mixing Procedure 1 (Input Channel)
b
Setting up equalizers by band
1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the
desired type of input.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the [EQ BAND] page.
fig.05-19
4. Press CURSOR [UP]/[DOWN] to select a frequency band.
You can choose HI (high-frequency band), HI-MID (high-middle frequency band), LO-MID (low-middle frequency band) or LO (low-frequency band). In the example shown in the figure, LO-MID (low-middle frequency band) is selected.
You can quickly jump to this screen by pressing the [HPF/LO], [LO-MID] or [HI-MID/HI] STATUS
utton, as desired, while holding down [CH EDIT] for the channel you want to edit.
5. Adjust the settings for the selected band.
* [V6] (ATT LEVEL) adjusts the EQ input attenuation level in the same manner
as [V3] on the input channel PREAMP screen.
GAIN: Use [V2] (GAIN) to set the level of the bands selected
frequency. (-15.0 to +15.0 dB)
(central frequency
FREQ Q: Use [V4] (Q or FREQ) to set the bands bandwidth (Q), the
Type: Set using [V5] (TYPE). Available only for the LO-MID
):Use [V3] (FREQ) to select a frequency.
range of frequencies to be affected above and below the central frequency. By increasing the value for Q (0.36 to 16), a narrower range of frequencies is selected. Q is available only for the HI-MID and LO-MID bands. When the LO band is being edited, [V4] sets the HPF frequency; see p. 81.
band.
* If LPF, BPF, HPF or NOTCH is selected as the EQ type, the V4 knob controls
RESO (resonance), with settings from 0 to 27. Resonance boosts frequencies around the filter cutoff frequency—the frequency selected with the FREQ parameter—adding a edgy, whistle-like character to a signal. When NOTCH is selected, the range of frequencies boosted using resonance is further narrowed.
The frequency widths for the EQ bands are as follows: HI: 1 k to 20 kHz HI-MID: 400 Hz to 20 kHz LO-MID: 20 to 8 kHz LO: 20 to 2 kHz
Chapter 5 Mixing Procedure 1
(Input Channel)
79
Chapter 5 Mixing Procedure 1 (Input Channel)
b
b
b
TYPE provides a variety of configuration choices for the LO-MID band:
OFF: Disables the LO-MID band altogether for simpler, three-
band EQ.
LPF: Acts as a low-pass filter (to cut off higher frequencies) BPF: Acts as a band-pass filter (to cut off all frequencies other
than the selected frequency).
HPF: Acts as a high-pass filter (to cut off lower frequencies) NOTCH: Acts as a notch filter (to sharply cut off the specified
frequencies)
PEAK: Acts as an ordinary peaking-type equalizer
fig.05-20
Level
Level
When you configure LO­MID as LPF, BPF, HPF or NOTCH, the channels equalizer is set up in a 3-
and + 1-filter configuration. The added filter can aid in the creation of extreme equalization effects.
The slope of these filters is -12 dB/octave.
Frequency
LPF
Frequency Frequency
HPF
LevelLevel
Frequency
BPF NOTCH
Setting up equalizers (gain adjustment for all 4 bands at a time)
1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the
type of channel you want to edit.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the EQ GAIN page.
4. Setting up parameters for equalizers
Use CURSOR [UP]/[DOWN] to select the parameters you want to adjust, and use [V1] to [V6] to change their settings.
Slope (p. 245)
From this screen, you can use [F1] (EQ ON) to switch the entire equalizer for a channel on and offwhen the EQs on, its highlighted. Press [F3] (RESET) to reset the channels equalizer to its
asic settings, where no frequency-boosting or ­cutting is in effect.
Refer to Setting up equalizers (by band) in the previous section.
You can jump to this screen can be displayed by pressing the [EQ GAIN] STATUS button while holding down the channels [CH EDIT].
For example, if the cursor is placed on the figure on the left, GAIN for the four bands can be adjusted at the same time using the V1 (LO GAIN), V2 (LO-MID GAIN), V3 (HI-MID GAIN) and V6 (HI GAIN) knobs. If the cursor is placed on the figure on the right, the attenuation level can be adjusted with the V6 (ATT LEVEL) knob.
* The attenuator on this screen operates in the same manner as [V3] on the input
The parameters below operate in the same manner as their counterparts in Setting up equalizers (by
and).
channel PREAMP screen.
* These settings can also be accessed from the CH EDIT VIEW screen (p. 63).
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Chapter 5 Mixing Procedure 1 (Input Channel)

Cutting unwanted low frequencies (HIGH PASS FILTER)

HPF (HIGH PASS FILTER) reduces the level of frequencies below a selected cutoff frequency. Each channel contains a high-pass filter as device separate from the channels EQ. An HPF has only two settings: ON/OFF and Cutoff Frequency.
Setting up a high-pass filter
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
input channel you want to work with.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the EQ BAND page.
4. Turn the high-pass filter on or off.
Press [F2] (HPF ON) to switch between ON and OFF. The function is on if its label is highlighted in black.
5. Move the cursor to the bottom of the screen, then set the cutoff frequency
for the high-pass filter using [V4].
You can jump to this screen by pressing the HPF/LO or HI-MID/HI STATUS button while holding down the channels [CH EDIT].
You can select a cutoff frequency from 20 Hz to 2 kHz.
* You can accomplish a similar effect with channel EQ, as described on p. 79. Use
CURSOR [DOWN] to move the cursor on the bottom section, and then establish the desired setting using the V4 knob.

Adding an delay-based echo (Feedback Delay)

Each channel offers a feedback delay inserted before the equalizer in the channels signal flow. This delay is a monaural and provides various types of delay effects, including an echo effect.
Setting up a channels feedback delay
1. Press and select [INPUT] or [MULTI IN] in the SECTION area to choose the
type of channel you want to work with.
2. Press the desired channels [CH EDIT].
3. Use [PAGE UP]/[PAGE DOWN] to select the DELAY page.
fig.05-21
The slope of this HPF is -6 dB/octave. (see p. 245.)
Chapter 5 Mixing Procedure 1
(Input Channel)
4. Turn the feedback delay on or off.
Press [F1] (DLY ON) to switch CHANNEL DELAY between on and offwhen its
You can jump to this screen can be displayed by pressing the [DELAY] STATUS button while holding down the desired channels [CH EDIT].
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Chapter 5 Mixing Procedure 1 (Input Channel)
b
on, DLY ON is highlighted in black.
5. Press CURSOR [DOWN] to access up the parameters in the bottom section
of the display:
Level of the direct sound: Turn [V1] (DIRECT) from 0 to 127 to set the amount
of the original, un-delayed signal to be heard.
DELAY TIME: Turn [V4] (TIME) to select an amount of delay from
0 to 14,400 samples.
* DELAY TIME defines the length of the delay and the time interval of repeats. * “Sample” is the smallest unit of time on this system. One sample represent a time
duration of about 0.021 ms at 48 kHz, or about 0.023 ms at 44.1 kHz.
The current setting is displayed as a DISTANCE in meters from the sound source. The setting is also displayed in TIME as milliseconds based on the current sample rate. In DISTANCE on the screen, the setting is displayed as converted into a distance from the sound source (in meters). In TIME, the setting is displayed as converted into time (in ms = 1/1000 second) based on the current sample rate.
Level of delay sound: Turn [V2] (DLYLEVEL) from 0 to 127 to set the level
of the delayed signal.
Feedback level: Turn [V2] (F-B LEVEL) from 0 to 127.
* Feedback level determines how many times the delay sound is to be repeated.
6. Press CURSOR [UP] to access the parameters in the top section of the
display.
To set the amount of attenuation below the selected LO DAMP FREQ, turn [V1] (LO DAMP GAIN) from -30.0 to +6 dB.
To select the frequency below which attenuation will occur, turn [V2] (LO DAMP FREQ). You can select any frequency from 20 Hz to 2 kHz.
To set the amount of attenuation above the selected HI DAMP FREQ, turn [V3] (HI DAMP GAIN) from -30.0 to +6 dB.
To select the frequency above which attenuation will occur, turn [V4] (HI DAMP FREQ). You can select any frequency from 200 Hz to 20 kHz.
The DELAY TIME parameter works in conjunction with the PHASE DELAY parameter, which also allows you to delay a channels signal by small increments to correct phasing problems (p. 69). Together, their delay times cannot exceed 14,400 samples in total.
The high (low) frequency damping function allows you to attenuate the level of delayed sounds above or
elow a specified frequency. This can help produce a natural­sounding echo effect (p.
238).
With the proper settings, the feedback delay function can also be used as a comb filter (p. 233).
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Chapter 5 Mixing Procedure 1 (Input Channel)
b
b

Naming input channels

You can assign a name to each input channel and multi-in channelthis can make it easier to identify your individual signals as you work. You can use short names, such as Vo3, with up to 3 characters, and long names, such as Vocal 03, with up to 12 characters.
Creating channel names
1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of
channel you want to name.
2. Press the desired channels [CH EDIT] so that the button lights.
3. Use [PAGE UP]/[PAGE DOWN] to select the NAME page
fig.05-22
Long names are displayed in the top section on the channel-related screens. Short names are displayed on screens such as the LEVEL METER screen (p.
36).
4. Spell out the channels name by selecting each character position and
assigning it the desired character.
Turn [V3] (CURSOR POS) to select the each character position you want to edit.
5. When youve selected the character position, enter the desired character
using the following knobs.
upper-case letters (AZ) by turning [V4] (ABC).
lower-case letters (az) by turning [V5] (abc).
numbers and symbols (1, 2, 3, !, , #) by turning [V6].
[F2] to [F5] provide additional naming shortcuts:
[F2] (DELETE): Deletes the character at the currently selected position and
moves the following characters forward.
[F3] (INSERT): Inserts a space at the currently selected position and pushes
the following characters back.
[F4] (SPACE): Replaces the character at the currently selected position
with a space.
[F5] (REVERT): Discards names previously created to restore the initial
characters.
EZ naming function
Names for the respective channels can be selected from a list of category names permanently stored in the systems memory at the factory. This function is referred to as easy naming (EZ NAMING). Youll find the list on the NAME page. Use [V1] (CATEGORY) and [V2] (NUMBER) to select and enter the desired name.
Select a category name from the list using [V1] (CATEGORY).
Select a number to be attached to the end of the name using [V2] (NUMBER).
Press [F1] (ASCII) to enable the entering of characters using buttons when name-editing is active, ASCII is highlighted in black. You can press the
uttons on the front panel that are labeled with individual letters[CH EDIT]s, STATUS buttons, ten-key pad, etc.to enter those letters. You can also enter:
Channel names are stored in the systems memory using the SAVE function along with other channel parameters such as LEVEL and PAN.
Turn [V2] to alternate
etween changing the number at the end of the channels long and short names.
Chapter 5 Mixing Procedure 1
(Input Channel)
83

Chapter 6 Mixing Procedure 2 (Output and Monitor)

This system provides a variety of output types: MAIN OUTs, MONITOR OUTs, ASSIGNABLE OUTs and two stereo digital audio outputs. In addition, when a VM­24E (purchased separately) is installed, 24 MULTI OUT connectionsutilizing three R-BUS terminalsbecome available. The VM-7200 mixing processor adds an additional eight independent Flex Bus outputs. This chapter describes using these outputs.

Setting Master Mix Levels and Stereo Balance

Each input and multi-in channel can be routed into the main mix, which sends its audio out of the system through the MAIN OUT outputs. You can adjust the channels send into the main mix, as well as its stereo pan position within the mix. You can also send the desired amount of signal from each channel to the cue bus.
Setting the master levels for the MAIN OUTs and cue
bus
The master MAIN OUT and cue bus level and stereo balance controls affect the overall level and balance of all signals sent to the main mix or cue bus from input or multi-in channels. They can be set using the master faderthe fader with the red handle.
To learn how to establish proper output connections, refer to the block diagram attached to the mixing processor.
Setting the MAIN OUT master level and stereo balance
1. Press [INPUT] or [MULTI IN] in the SECTION area.
2. Call up the MAIN OUT level setting by pressing [CH LEVEL] in the
PARAM VIEW on Fader area so that the button turns red.
3. Use the master fader to set the MAIN OUT master level.
fig.06-01
4. Call up the MAIN OUT stereo balance setting by pressing [CH PAN] in the
PARAM VIEW on Fader area so that the button turns red.
5. Use the master fader to set the MAIN OUT master stereo balance.
Setting the master level of the cue bus
1. Press [INPUT] or [MULTI IN] in the SECTION area.
The master fader controls the MAIN OUT left/right stereo level balance when [CH PAN] is pressed.
2. Call up the cue bus master level setting by pressing [CH LEVEL] (CUE
LEVEL) beneath the master fader while holding down [SHIFT].
The CH LEVEL button turns green.
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
3. Use the master fader to set the cue bus master level.
fig.06-02
4. Call up the cue bus master stereo balance by pressing [CH PAN] (CUE
PAN) in the PARAM VIEW on Fader area while holding down [SHIFT]. The CH PAN button turns green.
5. Use the master fader to set the cue bus master stereo balance.

Reducing signal distortion (attenuator)

Press the master faders [CH EDIT] to set the master attenuators. These attenuators help control the combined level of all of the signals coming into the main mix and cue bus.
fig.06-03
The master fader controls the cue buss stereo balance when [CH PAN] (CUE PAN) is pressed. As a result, it cannot be used for setting levels while in this operating mode.
Setting the MAIN OUT attenuator
1. Press [INPUT] or [MULTI IN] in the SECTION area.
2. Press the master faders [CH EDIT] and CURSOR [UP], in that order.
3. Turn [V1] (MAIN BUS ATT LEVEL) to set the MAIN OUT attenuator.
Setting the cue bus attenuator
1. Press [INPUT] or [MULTI IN] in the SECTION area.
2. Press the master faders [CH EDIT] and CURSOR [UP], in that order.
3. Turn [V3] (CUE BUS ATT LEVEL) to set the cue bus attenuator.
Chapter 6 Mixing Procedure 2
(Output and Monitor)
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
b

A Flex Bus and Its Output

A bus is a pathway down which one or more signals can travel to a common destination. A bus can be routed to an internal effect, an external device or to another bus.
This system is equipped with Flex Buses and cue buses. (When this book uses the simple term bus, it refers to a Flex Bus.)
Refer to the bus diagram in Internal Signal Flow (p.
29).
What is a Flex Bus?
A Flex Bus is a powerful, general-purpose bus. Each VM mixing processor offers 12 Flex Buses. Flex Buses can be used for various purposes such as sending signal to external equipment, sending a group of channel signals to internal effects, and sending audio to separate monitors on a stage.

Outputting signals directly from a Flex Bus

A Flex Buss signal can exit the system through an ASSIGNABLE OUT. On the VM­7200 processor, you can also use the output jacks dedicated to Flex Buses 5 to 12 (FLEX BUS OUT). When an optional VM-24E, purchased separately, is installed, Flex Bus signals can be routed to digital MULTI OUT connections.
To route a Flex Bus to an output, you must set its mode to EXT, for external output.
Setting Flex Bus 1 to 8 to external output mode
1. Press [FLEX BUS] MASTER 1–12 in the SECTION area to configure the
channel strips for the control of Flex Buses.
2. Press the desired Flex Bus channels [CH EDIT].
Flex Buses 1 to 8 behave in a slightly different manner than Flex Buses 9 to 12. For details, refer to the block diagram attached to the processor.
FLEX BUS OUTs 7 to 12 are equipped with XLR connectors as well.
Since Flex Buses 9 to 12 have their own dedicated output jacks, they dont require an EXT setting.
3. Use [PAGE UP] or [PAGE DOWN] to select the [MAIN/CUE] page.
fig.06-05
4. Set the bus mode.
Navigate to the above screen using CURSOR [UP] or [DOWN] and select use [V2] (BUS MODE) to select EXT. Press [F2] (SET) to confirm the selection.
86
You can jump to this screen by pressing the MAIN/CUE STATUS
utton while holding down the Flex Bus channels [CH EDIT].
Pressing [F1] (CHANNEL LINK) in the Step 4 above turns stereo linking (p. 102) to the adjacent Flex Bus on or off. When linking is on, the parameter is highlighted in black on the display.
Chapter 6 Mixing Procedure 2 (Output and Monitor)
j
b
The Flex Bus is now set to use an external output. To use the VM-7100which does not provide FLEX BUS OUT jacksor output signals from Flex Buses 1 to 4, select a MULTI OUT or ASSIGNABLE OUT as follows:
Selecting a Flex Buss output
1. Call up a Flex Buss MAIN/CUE page as described in Step 3 in the
previous section.
2. Press CURSOR [UP] to select a parameter in the upper area of the display.
3. Select the desired MULTI OUT using the V3 knob (MULTI OUT SEL) and
press [F3] (SET) to confirm your selection.
fig.06-06
You can also access this setting from a multi-out channel. To do this, press [MULTI OUT] in the SECTION area to configure the channel strips as multi­out channels and press the desired multi-out channel’s [CH EDIT] (p. 93).
To reset the MULTI OUT selection, press [F3] (SET) again.
Any signals sent to MULTI OUTs 17 to 24 are also routed to ASSIGNABLE OUTs 1 to 8, respectively. To route a Flex Buss signal to one of the analog ASSIGNABLE OUTs, select the corresponding MULTI OUT (17 to 24).

Sending Flex Bus signals to internal destinations

To send a Flex Buss signal to another Flex Bus, the main mix or to the cue bus, set the Flex Buss mode to INT, for internal destination.
Setting up Flex Bus 1 to 8 for internal use
1. Press [FLEX BUS] MASTER 1–12 in the SECTION area.
2. Press the desired Flex Bus channels [CH EDIT].
3. Use [PAGE UP] or [PAGE DOWN] to select the [MAIN/CUE] page.
4. Set the bus mode.
Use CURSOR [UP] or [DOWN] to select the displays middle section and use [V2] (BUS MODE) to select INT. Press [F2] (SET) to confirm the selection.
When the set of parameters located in the middle section of the display is selected, you can set the Flex Buss output level using the V5 knob (LEVEL).
Since Flex Buses 9 to 12 are always routed to their respective FLEX BUS OUT
acks, they cannot be routed
to internal destinations.
You can jump to this screen by pressing the MAIN/CUE STATUS
utton while holding down the Flex Bus channels [CH EDIT].
Chapter 6 Mixing Procedure 2
(Output and Monitor)
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
Sending signals to MAIN OUT or cue bus
Flex Bus levels or panning can also be set from this screen.
1. Follow step 4 in the previous section, and use CURSOR [DOWN] to select
the parameters in the lower section of the display.
fig.06-08
They can also be set on the PARAM VIEW on Fader screen (p. 64).
2. Set the Flex Buss send level and pan to the MAIN OUT jacks:
Flex Bus send to the main mix Use the V1 knob (MAIN LEVEL) to select
the desired level from infinity to +6 dB.
Flex Bus panning in the main mix Use the V2 knob (MAIN PAN) to choose
the desired pan position, from L63 to R63.
The following parameters can also be set from this display:
On/off switch for sending the Flex Bus to the main mix
Press [F1] (ON) to enable or disable the send. When the send is active, its highlighted.
Pan-linking Set this parameter by pressing [F2] (PANLINK). When Flex
Bus pan-linking is active, its highlighted on the display. When pan-linking is in effect, the V2 knob affects the stereo placement of both linked Flex Buses in the main mix.
3. Set the cue bus send level and panning.
Flex Bus send to the cue bus Turn the V3 knob (CUE LEVEL) to set the Flex
Buss send to the cue bus, from infinity to +6 dB.
Flex Bus pan to the cue bus Turn the V4 knob (CUE PAN) to select the desired
pan position for the Flex Bus, from L63 to R63.
The following parameters can also be set from this display:
On/off switch for sending the Flex Bus to the cue bus
Press [F3] (ON) to activate or de-activate the send to the cue bus. When the send is active, its highlighted on the display.
Pan slave Press [F4] CUE PAN SLAVE To MAIN (ON) to activate
pan-slaving; when its on, its highlighted on the display. Pan slaving sets the Flex Buss panning in the cue bus to be the same as it is in the main mix.
When the level for MAIN OUT feeding of the same flex bus is the minimum, feeding to a cue bus is not outputted too. (Refer to the block diagram attached to the processor.)
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
b

Naming a Flex Bus channel

Each Flex Bus channel can be named. This helps you quickly identify the purpose of each Flex Bus. Long names (up to 12 characters) such as Ext.Reverb and short names (up to 3 characters) such as Rev can be set for each channel.
Calling up the Flex Bus channel name screen
1. Press [FLEX BUS] MASTER 1–12 in the SECTION area.
2. Press the desired Flex Bus channels [CH EDIT].
3. Use [PAGE DOWN] to select the [NAME] page.
4. Use [F1] to [F5] and the V1 to V6 knobs to enter a name.
The remainder of the operation is exactly the same as the procedure for naming an input channel. For details, refer to Creating channel names on p. 73.

Routing a Flex Bus to a surround system output

Signals in Flex Buses 1 to 6 can be used in a multi-speaker surround system, just as an signals from input channels can.
To use the surround-panning function, enable the surround function on the system surround screen (p. 91) and select a surround mode.
Setting surround PAN and DEPTH using PARAM VIEW on Fader
1. Press [FLEX BUS] MASTER 1–12 in the SECTION area.
2. Press [CH PAN] in the PARAM VIEW on Fader area.
fig.06-10
Surround-panning refers to the positioning of each Flex Buss signal within two front/rear and right/ left dimensions.
The PARAM VIEW on Fader feature allows you to change the surround PAN and DEPTH parameter for multiple channels at the same time using their faders of the V1 to V6 knobs.
When the SURROUND PAN SLAVE feature is turned off on the system surround screen (p. 91), the left/right positioning of signals is not determined
y their individual main mix pan settings.
Chapter 6 Mixing Procedure 2
3. Change each channels right/left position using its fader.
(Output and Monitor)
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
4. While holding down [SHIFT], press [PREAMP GAIN] in the PARAM
VIEW on Fader area to select SURROUND DEPTH.
fig.06-11
5. Change the front/rear position of each channel using its fader.
A Flex Bus can also be surround-panned on CHANNEL EDIT modes SURROUND page on the while viewing each channels surround settings graphically. You can also set surround-panning for linked channels, and fine tune surround output levels.
Calling up the CHANNEL EDIT mode screen
1. Press [FLEX BUS] MASTER 1–12 in the SECTION area.
2. Press the desired Flex Bus channels [CH EDIT].
3. Use [PAGE UP] or [PAGE DOWN] to select the [SURROUND] page.
fig.06-12
The following operations and screens are the same as those for surround-panning of an input channel. For details, refer to p. 74.
The screen on the left shows a situation is which the 3+2+1 surround mode is selected. When either the 2+2 or 3+1 mode is selected, the unused Flex Bus output is left blank on the display.
You can jump to this screen can be called by pressing the [SURROUND] STATUS button while holding down the Flex Bus channels [CH EDIT].
90

Surround Output

Chapter 6 Mixing Procedure 2 (Output and Monitor)
The system supports the use of multi-speaker surround sound. This section gives an overview of how it works and explains how to use surround outputs.
The surround function
While a stereo system plays sounds through two speakers positioned right and left in front of the listener, a surround system creates the illusion of a two-dimensional sound space with the listener located in the middle. Surround uses three to six speakers positioned in front of and behind the listener. There are several surround modes, depending on the number and position of the speakers. This system supports the following three most commonly used surround modes.
2+2: 4 speakers: front right, front left, rear right and rear left 3+1: 4 speakers: front right, front left, front center and rear center 3+2+1: 6 speakers: front right, front left, front center, rear right, rear left, and
Surround system playing environment
Surround sound utilizes a multi-channel amplifier and speaker system. Such a system requires the number of speakers required for the selected surround mode, as well as an amplifier capable of playing the required number of channels. You can purchase a surround-type amplifier or several stereo amplifiers for this purpose.
Surround-output connections
When surround is enabled, some FLEX BUS OUTs become dedicated surround output jacks. The selected surround mode determines the output configuration. The correspondence between surround speaker positions and FLEX BUS OUT jacks is as follows:
fig.06-13
For how to surround-pan each input channel, refer to p. 74.
The 3+2+1 mode is also called 5.1 surround.
a sub-woofer)
You can record or play multi-channel surround sounds from two channels, using a commercially­available surround encoder/decoder.
2+2
Connect these outputs to the appropriate input of your surround amplifier.
3+1
3+2+1
Enabling the surround function and selecting the
desired mode
The surround function can be enabled or disabled and its mode selected using the procedure below. You can also use this procedure to select whether surround panning will follow channel pan settings or be set using a joystick, purchased separately.
Chapter 6 Mixing Procedure 2
(Output and Monitor)
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
j
Setting up surround outputs
1. Press [PROJECT] ([SYSTEM) while holding down [SHIFT].
This calls up the system menu screen.
fig.06-14
2. Press CURSOR [UP] and then [F2], and select SURROUND.
fig.06-15
3. Turn on the surround master switch.
Use CURSOR [UP] to select a parameter in the upper section of the display. Press [F1] (ON) and select [SURROUND CONTROL MASTER SW] on the screenwhen surround is turned on, its highlighted in black.
4. Set whether to use a joystick for surround panning, or not.
To control surround pan using an optional MIDI joystick, press [F2] (MIDI JOYSTICK CONTROL).
5. Set whether or not surround panning will follow channel panning.
A signals left/right surround position (PAN) usually follows its channel pan setting. Press [F3] (SURROUND PAN SLAVE) to disable this behaviorwhen surround pan-slaving is turned off, its not highlighted on the display.
6. Select the desired surround mode.
Select a parameter in the lower section using CURSOR [DOWN] and press [F1] (2+2), [F3] (3+1) or [F5] (3+2+1).
Surround panning
In a surround system, each channels signal can be separately positioned in two dimensions, front/rear and right/left. This is called surround panning. The signals position is controlled using two parameters, PAN for left/right positioning and DEPTH for front/rear positioning.
To set surround panning while viewing each channels position graphically, call up the CHANNEL EDIT mode surround page (p. 74).
To control the surround panning of multiple channels at the same time using their faders, use PARAM VIEW on Fader (p. 74).
The joystick will control surround panning for the channel whose [CH EDIT] was most recently pressed. The system is compatible with J. L. Coopers MCS PANNER. Connect the
oystick to the consoles
MIDI IN jack.
Surround panning is available for Flex Buses 1 to 6 (p. 89).
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Chapter 6 Mixing Procedure 2 (Output and Monitor)

Routing Signals to MULTI OUTs and ASSIGNABLE OUT Jacks

You can select the signal to be sent out of the system through each MULTI OUT connection and ASSIGNABLE OUT jack.
MULTI OUTs 1 to 24
ASSIGNABLE OUTs 1 to 8
DIGITAL OUTs A and B
The following (e.g. source and level) can be set for the above outputs.
Selecting an outputs signal source
One of the following can be selected as the source of the signal to be sent to each output: Input channels 1 to 24, Flex Buses 1 to 12, cue buses L and R, monitors buses L and R, and main mix buses L and R. You can set an input or Flex Bus channels output from its CHANNEL EDIT screen (p. 67 and p. 87), or set the output routing for multiple channels at the same time from the MULTI OUT CHANNEL EDIT screen.
MULTI OUT CHANNEL EDIT screen
1. Press [MULTI OUT] in the SECTION area.
2. Press the desired multi-out channels [CH EDIT].
This calls up the multi-out channels editing screen.
3. Use [PAGE UP] to select the [SOURCE] page.
fig.06-16
To use MULTI OUTs, a VM-24E (purchased separately) must be installed in the system. A MULTI OUT is a digital output connection made using a Roland R-BUS connector.
A source thats selected for MULTI OUTs 17 to 24 will also be sent to a corresponding ASSIGNABLE OUT, and, in some cases, a DIGITAL OUT. A signal sent to:
MULTI OUTs 17 to 20 will also be sent to ASSIGNABLE OUTs 1 to 4, respectively.
MULTI OUTs 21 and 22 will also be sent to ASSIGNABLE OUTs 5 and 6, respectively, and to L and R of DIGITAL OUT A
MULTI OUTs 23 and 24 will also be sent to ASSIGNABLE OUTs 7 and 8, respectively, and to L and R of DIGITAL OUT B
4. Select a source for the MULTI OUT output using the V1 knob (SOURCE
SELECT).
Straight lines show the connection of I/O channels on the screen.
Chapter 6 Mixing Procedure 2
(Output and Monitor)
The output level can be set using the V2 knob (LEVEL) if necessary.
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Chapter 6 Mixing Procedure 2 (Output and Monitor)

Naming each output channel

Each MULTI OUT (ASSIGNABLE and DIGITAL OUT) channel can be named so that you can easily identify its purpose. Both long names (up to 12 characters) such as ADAT Tr1 and short names (up to 3 characters) such as Tr1 can be set.
Calling up the multi-out channel name screen
1. Press [MULTI OUT] in the SECTION area.
2. Press the desired multi-out channels [CH EDIT].
This calls up the multi-out channel EDIT screen.
3. Select the [NAME] page using [PAGE DOWN].
4. Use [F1] to [F5] and the V1 to V6 knobs to enter a name.
The remainder of the operation is exactly the same as the procedure for naming an input channel. For details, refer to Naming input channels (p. 83).
Setting an outputs level
1. Press [MULTI OUT] in the SECTION area.
2. Use each multi-out channels fader to set its overall output level.

Digital connection output processing (dithering)

MULTI OUT digital signals can be dithered.
What is dithering?
When digital audio signals are sent from one device (or computer program) to another, some of the lower data bits will discarded if the bit resolution of the receiving device is lower than that of the sending device. Dithering is a form of digital processing that adds low-level noise to the signal to mask and reduce any deterioration in the signal resulting from the lost bits. To enable dithering, the word (bit) lengthalso called its bit depth”—of the sender must be adjusted to that of the receiver. When a 20-bit input digital multi-track recorder is to be connected to MULTI OUT, set the word length to 20 on the VM dither screen. Since dithering changes sound quality slightly, if the results are not satisfactory, you can disable dithering for the affected channel.
Setting up dithering
1. Press [PROJECT] (SYSTEM) while holding down [SHIFT].
This calls up the system menu screen.
fig.06-14
To use MULTI OUTs, a VM-24E (purchased separately) must be installed.
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2. Press CURSOR [DOWN] and then [F2], and select DITHER.
This calls up the dither-setting screen.
fig.06-20
3. Select the set of multi-out channels that contains the one you want to set.
Use CURSOR [UP], [DOWN], [LEFT] or [RIGHT] to select 1 to 6, 7 to 12, 13 to 18 or 19 to 24.
4. Enable or disable dithering and set the word length.
Press [F1] to [F6] (ON) in accordance with the directions on the screen to enable ditheringwhen its on, its highlighted in black. Turn [V1] to [V6] (WORD LENGTH) to sets the word length.

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

ASSIGNABLE OUTs 1 to 4 can send signal to studio monitors used by a performer in another room. You can set up two independent studio-monitor systems: STUDIO 1 and STUDIO 2. ASSIGNABLE OUTs 1 and 2 are used as the output jacks for STUDIO 1 left and right, respectively, and ASSIGNABLE OUTs 3 and 4 for are used for STUDIO 2.
Connect a studio headphone or monitor speaker amplifier input, or the equivalent, to each STUDIO output jack. Each monitor mix can be tailored to the needs of the performer listening to it. STUDIO 1 has a dedicated level knob. If, for example, STUDIO 1 being used for the monitoring of vocals on a stage, you can use the knob to quickly lower its level should the unpleasant howling of feedback occur.
MONITOR OUT jack of VM-7200 processor
The VM-7200s MONITOR OUT jack can send the signal heard in the CONTROL ROOM monitors to a studio or stage. It can also be used in conjunction with STUDIO 1 and 2 outputs (ASSIGNABLE OUT jacks 1 to 4) when necessary, as discussed in the next section.
Select the word length
that matches the receiving devices input word length, or bit depth, from 16 to 24
its.
When you require a mix
in the cue bus thats different from the main mix, you can create an new, independent mix using Flex Buses.
The STUDIO 1 and 2 settings affect the MULTI OUTs and DIGITAL OUT that are receiving the same signalsfor example, the left side of STUDIO 1 receives the same signal as MULTI OUT 17 and the left side of stereo DIGITAL OUT A. Therefore, when changing STUDIO 1 or 2 settings, take care that your new settings also work for the corresponding MULTI and DIGITAL OUTs if theyre also being used.
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Chapter 6 Mixing Procedure 2 (Output and Monitor)
Selecting the STUDIO 1 or 2 source signal (source select)
1. Press [SOURCE/STUDIO2].
The STUDIO1/2 screen appears.
fig.06-21
2. Select STUDIO 1 or 2 using [PAGE UP] or [PAGE DOWN].
3. Select the desired source signal for STUDIO 1 or 2.
Turn [V1] (SOURCE SELECT) to select one of the following:
INPUT CHs 1 to 24
Flex Buses 1 to 12
Cue buses L and R
Monitors L and R
Mains L and R
Setting the STUDIO 1 and 2 send level
1. Press [SOURCE/STUDIO2].
The STUDIO1/2 screen appears.
2. Select STUDIO 1 or 2 using [PAGE UP] or [PAGE DOWN].
3. Turn [V2] (LEVEL) to set the desired send level.

Setting Up a Monitor For the Mixing Engineer

A mixing engineer can monitor the system using a MONITOR jack on the console: DIGITAL OUTs 1 and 2, or LINE OUT. The same signals can be heard through headphones connected to the PHONES jack. They can also be sent to the MONITOR OUT jack of the VM-7200 processor.
You can insert certain effectssuch as equalization or speaker modelingin the monitor output signal path (p. 110).
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Turning the monitor send to each output jack on or off

You can independently activate or de-activate the sending of monitor signals to the following three jacks:
MONITOR DIGITAL OUTs 1 and 2 on the console
MONITOR LINE OUTs L and R on the console
MONITOR OUT on the VM-7200 processor
Turning monitor signal send on or off
1. Press MONITOR/PHONES [SOURCE SELECT] while holding down
[SHIFT].
This calls up the monitor screen.
2. Use CURSOR [UP] to select the display area shown below.
fig.06-22
Monitor signal is always sent to the PHONES jack. To avoid hearing the signal, turn down the [PHONES LEVEL] on the console.
You can store three presets containing monitor output assignments and levels in a project. To create the three presets, labeled A, B and C, select each set in turn and set its output assignments and levels. To select Preset A or B, press OUTPUT PRESET [A/B/C] this toggles between the two presets. To select C, press OUTPUT PRESET [A/B/C] while holding down [SHIFT].
The same signals are sent to
3. Select a jack and turn its receipt of the monitor send on or off.
Turn the V4 knob (SEND SW) to select MONITOR on the processor, DIGITAL on the console or LINE OUT on the console. Press [F4] (SET) to turn the selected monitor output on (highlighted) or off.

Calling up stored level and monitor output presets

You can store three sets of monitor send assignments and levelsas described in the previous sectionin a project. Pressing the panel OUTPUT PRESET [A/B/C] to turn the output target equipment on or off restores A, B, and C to the same status as that obtained by returning each to its original position. In this case, the state of the DIGITAL MASTER level on the display is also stored and recalled when setting A to C, respectively.
fig.06-23
oth MONITOR DIGITAL OUTs 1 and 2 on the rear of the console. You can monitor directly from one of these jacks by connecting the system to two Roland DS-90 digital monitor speakers arranged in a series, and setting the speakers rear ASSIGN switches to LEFT and RIGHT, respectively.
Chapter 6 Mixing Procedure 2
(Output and Monitor)
To recall Preset A or B, press OUTPUT PRESET [A/B/C]. Each press of [A/ B/C] toggles between Preset A and Preset B. To recall Preset C, press [A/B/ C] together with [SHIFT].
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Chapter 6 Mixing Procedure 2 (Output and Monitor)

Specifying a signal to monitor (source select)

The following types of signal can be selected for monitored: MAIN OUT (the main mix), cue bus, input channels 15 to 24 and Flex Buses 1 to 12.
Selecting a monitor source, Method 1
1. Press MONITOR/PHONES [SOURCE SELECT].
2. Use [V1] (SELECT) to select the desired signal to monitor using the V1 knob
(SELECT), choosing from INs 15 to 24, FBUSes (1 to 12) MAIN and CUE.
3. Press [F6] (EXIT) to recall the initial screen and to confirm your selection.
Selecting a monitor source, Method 2: checking the current selection
1. Press MONITOR/PHONES [SOURCE SELECT] while holding down
[SHIFT].
This calls up the monitor screen.
2. Use CURSOR [UP] or [DOWN] to select the area of the display containing
MONITOR SOURCE.
fig.06-24
Input channels and Flex Buses are usually monitored in mono, positioned in the center of the stereo image. When they are stereo-linked, however, the odd linked channel is heard on the left and the even channel on the rightselecting one of the linked channels automatically selects the other as well.
In the above figure, Flex Buses 7 to 12 are selected as source options.
3. Select the desired monitor source using [F1] to [F6].
The selected source is highlighted in black.

Setting the monitor volume (line, headphones, digital)

Use the LINE OUT LEVEL knob to can set the MONITOR LINE OUT level. The headphone (PHONES) volume can be set using the PHONES LEVEL knob. Use the DIGITAL/MASTER knob to set the level for MONITOR DIGITAL OUTs 1 and 2.
fig.06-25
The letter shown on the screen button indicates each channels short name (p. 94).
The MONITOR LINE OUT and PHONES jacks employ analog circuitry their settings are therefore not stored in a project.
The DIGITAL/MASTER knob affects all monitor outputs, including the PHONES jack. Unless theres a specific need to do otherwise, set [DIGITAL/ MASTER LEVEL] to 0 dB and adjust the input levels of any connected equipment as necessary; use [PHONES LEVEL] to adjust your headphone listening level.
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To instantaneously lower the monitoring volume (DIM)

Press [DIM] to instantly lower the monitor volume to a pre-set level. Press the button again to turn dimming off and return the monitoring volume to its normal level.
Pre-setting the dim level
1. Press MONITOR/PHONES [SOURCE SELECT] while holding down
[SHIFT].
This calls up the monitor screen.
2. Use CURSOR [UP] to select DIM/BALANCE/MONO.
fig.06-27
3. Use the V1 (DIM LEVEL) knob to set the level to which monitoring will
drop when dimming is activated.
With a setting of 100, dimming will leave the listening volume as is. Select a lower number to cause the volume to be reduced when dimming is engaged. Dimming can also be turned on or off by pressing [F1] (DIM).
Setting the monitor stereo balance
You can set the stereo left/right balance of the monitor signal.

Setting the monitor stereo balance

1. Press MONITOR/PHONES [SOURCE SELECT] while holding down
[SHIFT].
This calls up the monitor screen.
2. Use CURSOR [UP] to select DIM/BALANCE/MONO in the top section of
the display.
3. Set the monitor stereo balance using the V2 knob (BAL).
The stereo balance can be set from L63 to C to R63. A setting of L63 or R63 silences the signal in the opposing channel.

Monitoring in mono

There are times when it can be useful to monitor in mono. Press [F2] (MONO) in Step 2 in Setting the monitor stereo balance above to mix the left and right sides of the monitor signal equally into a single monaural signal.
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