Roland EC2-YF-NK, M-10DX, RAM-4206 User Manual

Product Guide
All of the advantages of a digital mixer in a compact unit. The new EDIROL M series, delivering high-quality mixing environments.
The true role of an audio mixer is to
faithfully capture sound and allow you to make it even better.
The features of the EDIROL M series are aimed at fulfilling two goals:
perform serious mixing, and to provide high audio quality
and full functionality to satisfy the professional.
Completely digital
From audio input to audio output, all processing is fully digital,
with 24-bit 96 kHz support for ultra-high quality.
Creating the optimal
mixing environment
The newly developed Room Acoustic Auto Control feature analyzes
the acoustic response of your home studio,
and automatically optimizes the output signal accordingly.
Analog-like operability
Operation is as intuitive as it is with an analog mixer
—you can directly control the sound of each channel using
physical controls such as the dedicated three-band EQ knobs.
Your actions appear on the graphic LCD display.
A new style of 16-channel digital
mixer with separate Mix controller
and I/O module
The EDIROL M series is a new concept that brings together proprietary
Roland/EDIROL know-how and cutting-edge digital technology that
will bring your home studio to a new level.
A compact all-in-one 10-channel
digital mixer that can be operated
on batteries, yet inherits the major
functionality of the M-16DX
A 10-channel analog mixer with
digital output that can be
operated on batteries and is ideal
for mobile use
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FINALIZ E
DIGITAL
USB
A/D
INPUT
MAIN OUT
PHONES/ CONTROL R OOM
ALT OUT
AUX SEND
D/A
D/A
D/A
D/A
ROOM ACOUSTIC CONTROL
FX
AUX2
ALT
LEVEL
LEVEL
SOLO
(Post-fader)
AUX1(Pre-fader)
In order to bring out the full poten­tial of an instrument, quality is demanded of an audio mixer. It must reproduce the full range of fre­quencies from low to high without faltering, and needs dynamic range that can express everything from a subtle whisper to a powerful roar.
The M-16DX/M-10DX use cutting­edge digital technology to fulfill these exacting requirements. We have also included numerous original ideas derived from Roland/ EDIROL’s years of experience in mak­ing audio mixers. Experience the enjoyment of mixing with the kind of sparkling fidelity available only with a digital mixer.
“Full digital”—the key to spectacular hi-fidelity sound The astounding presence delivered by 24-bit/96 kHz audio raises the quality of your sound to a new level
Bit depth/Sampling frequency
An analog audio wave is generally represented by a continuous line called a “waveform.” By measuring its level at regular intervals of time and recording these values as a set of vertical gradations, we get a shape that represents the digital audio signal. The horizontal inter val is the sampling frequency (expressed in Hz), and the vertical inter vals are determined by the bit depth (the number of bits used to quantize each sample). Using higher sampling frequencies and a greater number of bits will allow the recorded digital signal to more faithfully represent the or iginal
Signal Flow
Glossary
BUS
A bus is a signal route that combines the signals of multiple channels within the mixer, and sends the combined signal to a common destination output. The M -16DX has four buses: MAIN, ALT, AUX, and SOLO. (p.8 “Glossary ”)
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Pre-fader/Post-fader
“Pre-fader ” refers to the signal before it passes through the channel level control, and “post-fader ” refers to it the signal immediately after the channel level control. Since the pre-fader signal is not affected by pan or channel level, it is often used when sending the signal to a multi-track recorder or to the stage monitors.
COSM technology
COSM
(Composite Object Sound Modeling) This is proprietary Roland modeling technology that analyzes and simulates the effect that the electrical circuitry, structure, and materials of instruments or audio equipment have on a sound.
technology
waveform. Music CDs are recorded as 16-bit 44.1 kHz digital audio.
A completely new concept, separating I/O from controls
The M-16DX is a two-piece system consisting of the Mix controller (control desk) you use for mixing, and the I/O module (connector box) to which you connect your mics, instruments, and recording equipment. The compact I/O module can be mounted in a 1U rack space, allowing you to keep the cables together to maintain an uncluttered space around your mixer, providing you the freedom to work even if space is limited. The front panel of the I/O module provides frequently-used connectors such as XLR mic jacks and Hi-Z jacks for guitar/bass, making it easy to change your system as appropriate for the song or situation. A headphone jack and an input jack for portable audio devices are provided on the Mix controller. The entire system is designed with working efficiently in mind. Since the power supply is provided from the I/O module, you can be free to mix from any physical position without being concerned with wiring.
24-bit 96 kHz support for mixes of astounding realism
Full-digital 24-bit 96 kHz processing far exceeds CD quality. The much greater bit depth and sampling rate mean that you can apply effect processing and adjust the balance without impairing the quality of the input sound or introducing noise. The sound is the professional quality you expect from a digital mixer with DSP.
High-quality built-in effect processors to enhance your sound
Tighten up the sound, give it more power, make it sound great—whatever you need to do, the dedicated built-in effects are there to help. Operation is simple, but provides tremendous sound-creating freedom.
Insert effects
These are COSM technology powered effects dedicated specifically to vocals and narration, and can be applied to Channels 1 and
2. Five types are provided, including the “POWER
* Photo is for illustrative purposes only – only one I/O module per
M-16DX packge.
The convenient Scene Memory func­tion, available only on digital mixers
Mixer settings—including effect settings—can be stored as one of eight “scenes.” These scenes can be instantly recalled at any time for different songs or production styles.
COMP” that simulates the character of vacuum tubes to make your vocals more richly expressive, and the “VOC AL ENHANCER” that gives your voice brightness and presence. And even through the effects are aimed at vocal produc tion you can tr y them on any mic music– you will be amazed at the sounds produced.
Expand the potential of your mixer by linking with your computer
The I/O module provides a USB 2.0 connector. Simply use a USB cable to connect this to your computer, and audio signals from your computer can be processed by the M-16DX’s internal effects, or the sound mixed by the M-16DX can be sent to your computer for recording. The M-16DX is bundled with the Cakewalk SONAR LE music production DAW software, so you can immediately star t integrating your computer into your song production, recording, and live performances.
Example 1: Using the M-16DX as a Multi-Channel Audio Interface
The M-16DX’s 16 channels + two-channel master mix—a total of 18 channels—can be brought into your DAW sof tware a s ind ependent tracks. You can use the M­16DX as a mu lti-channel audio inter face that supports both Windows and Macintosh systems.
Example 2: Mix Sounds from Your DAW Software with a Live Performance
Backing tracks you created on your DAW software can be sent to the M-16DX via USB, and mixed with the live performance of your band. The final-mixed sound from the main output can then be reco rded directly i nto your DAW software as a live recording.
FX (Echo/Reverb)
This effect simulates the acoustic ambience of a real-world room or concer t hall. Five types of rever b and two types of echo are provided. You can use each channel’s AUX2/FX knob to adjust the depth of the effect, and the settings are remembered even when the power is turned off.
Finalize
This effect is applied to the final two­channel stereo mix in order to add the finishing touches to your sound. You can process the sound by boosting the overall loudness and/or making its dynamic variations and sonic character more consistent. * When connected via USB, the Finalize
effect is not available when the system is operating at the 96 kH z sampling frequency.
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Are the speakers you normally listen to at home really telling you the truth? In many cases, the answer is “no.” Everybody wants to listen to music as you like it to sound. But when you’re mixing, it’s very impor­tant for monitoring to be accurate, so that you’re hear­ing the sound as it really is. By using the Room Acoustic Auto Control system built into the M­16DX/M-10DX, you’ll be able to monitor your sound accurately simply by pressing a button.
Room Acoustic Auto Control — new technology that automatically compensates for the acoustic character of your home studio
New intelligent functions born from an uncompromising attitude toward sound
Most speakers have certain idiosyncrasies that are unique to that model of speaker. Unlike a professional studio that is designed for ideal acoustics, it is difficult to obtain an acoustically flat playback environment in a home studio. If you mix in a playback environment that is not flat, there will be changes to the sound caused by irregularities in the acoustics of the room. For example, you might find that a mix that sounded powerful with a good bottom end at home may sound weak when it is played back in a live venue. This problem is addressed by the new Room Acoustic Auto Control
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feature found in the M-16DX/ M-10DX. This will automatically measure the acoustic response of your private studio and apply compensation to the speaker sound that instantly allows you to obtain a flat mixing environment.
Three simple steps to obtaining
60°
a flat response
STEP1
Set your monitor speakers to the desired playback volume, and then press the [ROOM ACOUSTIC AUTO CONTROL] button.
[ROOM ACOUSTIC AUTO CONTROL] button
STEP2
Select the [FLAT1] response curve.
As the target response cur ves for compensation, you can choose from three types: FLAT, BUMPY, or WARMY. You can also create variations of these and save them.
Using curves other than FLAT to take advantage of the Room Acoustic Auto Control
Adjusting the compensated result to create the desired response: manual adjustment
Depending on the character of the room or the location in which the analysis is performed, the compensation result may not necessarily be ideal in some cases. Alternatively, a flat response may not produce a perceptually desirable sound. In such cases, you can manually adjust the compensation result in a range of 70—130% to create the sound you need. The results of your adjustments are saved even when the power is turned off, and can be recalled at any time.
Instantly create “scooped” or “warm” sounds: using this function as a preset EQ
By adjusting the response curve manually, you can obtain not only a flat playback environment but also a “scooped” response that boosts the low and high ranges (BUMPY 1—4) or a rich and deep response curve that boosts the mid range (WARMY 1—4). A total of twelve curve settings you create can be saved, meaning that you can use the Room Acoustic Auto Control as a 12-preset equalizer.
STEP3
Hold down the [ROOM ACOUSTIC AUTO CONTROL] button for one second or longer to start the detection process.
* You can also use the internal mic as the room acoustic sensor.
When the sensor inside the Mix controller detec ts the test signal, the L-channel and then the R-channel will be automatically analyzed, and the result will appear in the screen.
Tips for creating a better monitoring environment in your home studio
Place the left and right monitor speakers at the height of your ears, and position your listening point so that you are at the third corner of an equilateral triangle whose other two corners are the two speakers. This is the basic setup. However in actuality, the shape of your room and the material of the walls and floor will affect the sound you hear, so you may need to make fine adjustments to the height or angle of the speakers. If the left and right speakers are not very far apart, it will be easier to make distinctions in the high-frequency and low-frequency ranges. If you move the speakers farther apart, the left/right positioning of sounds will be clearer. When using Room Acoustic Auto Control, you will get the best results if the sensor is placed at the listening point.
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M-16DX
High-quality audio. Full digital processing. Sophisticated functionality. These pro­fessional specifications sought by everyone are no longer limited to advanced prac­titioners. Even if you’re using a digital mixer for the first time, you deserve to be able to control your sound intuitively and understandably. As a result of our pursuit of this goal, we’ve succeeded in joining the friendly usability of an analog mixer with the sophisticated functionality of digital processing. With their amazing quality and versatility, the M-16DX/M-10DX are powerful mixing tools for all musical creators.
LO CUT Switch
SENS Knob
3-band Knob
PAN Knob
AUX SEND Knob
SEL Button
FX/SOLO/ MUTE Switch
Analog-style control for a digital mixer.
Channel LEVEL Knob
Glossary
MAIN OUT
This outputs the final mixed sound.
ALT OUT
The post-fader signal of the channels whose MUTE (ALT) switch is on will be output from here.
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Advanced operability lets you quickly get the sound you want
AUX SEND 1,2
These are auxiliary output jacks that can be freely used as needed. They can be used as effect sends connected to external effect processors. AUX1 will output the pre-/ post-fader signal (selectable), and AUX2 will output the post-fader signal.
PHONES/ CONTROL ROOM
These are outputs used for monitoring. By turning a switch on or off, you can mix the signal from the ALT outputs or the sound processed by FX (echo/ reverb) with the signal of the main outputs that is sent out from these outputs. If you turn on the SOLO switch, the SOLO signal will be output from here.
Pre-fader/ Post-fader
(p.4 “Signal flow (conceptual diagram)”)
Graphic LCD display with superb view-
SOLO
CH1
CH2
CH3
OFF
OFF
PHONE/ CONTROL ROOM
MAIN OUT
SOLO
SOLO
CH1
CH2
CH3
OFF
OFF
PHONE/ CONTROL ROOM
MAIN OUT
ability to support detailed sound-creation
The M-16DX/M-10DX feature a 122 x 32 pixel backlit graphical LCD display that’s clearly visible even on a dark stage. Even beginners will be able to easily check the input levels or operate the effects. When you control the EQ, the EQ curve will automatically appear in the display when you turn a knob, providing a visual indication of the sonic response as you make adjustments.
Three bands of analog-like EQ for quickly getting the sound you want
Each channel provides three -band EQ to adjust its sound. The high and low EQ are shelving types, that allow you to specify the frequency at which a boost or cut will occur. The mid is a peak-type with adjustable frequency (FREQ) and bandwidth (Q: steepness). You can create a gentle, warm sound by softly boosting the entire mid-range, or cut a specific frequency with
High-quality mic preamps for
pinpoint accuracy.
pristine mic recordings (M-16DX)
Precisely because digital mixers are so hi-fi, the quality of the analog section has an enormous impact on the sound. Channels 1—4 of the M-16DX provide high­quality mic preamps with phantom power. This allows you to use not only dynamic mics but also condenser mics to create high-quality mic recordings.
Hi-Z connectors for guitar/bass are a necessity for home recording
Channels 1 and 2 (for the M-10DX, Channel 1) provide a Hi-Z switch that lets you directly connect a guitar/bass. Even if you’re at home late in the evening, you can play or record your guitar without cranking up your amp.
An array of input jacks give you the flexibility to meet any mixing challenge
The input section provides XLR, TRS phone, and RCA phono input jacks. You can connect a variety of equipment including mics, instruments, and audio equipment to meet the needs of home recording, studio work, or live PA situations.
The M-16DX provides a digital input jack as well as a stereo mini jack located on the MIX controller. This can be used to connect an MP3 player or other portable audio player so you can mix your favorite music with your own performance.
Take advantage of the M-16DX’s SOLO/MUTE (ALT) switch!
SOLO
If this is on, just the pre-fader signal of that channel will be monitored via headphone or control room outputs, without affecting the main output.
MUTE (ALT)
If this is on, the signal of that channel will be muted. However, by turning on the ALT switch provided for the main mix or for the headphone/control room knob, you can also mix or simply monitor this signal.
[ Example ] While you continue to mix normally, you can select a specific channel and monitor the state of its input signal for noise or level, etc. (p.13 “Tips for setting the input level”)
[ Example ] Turn on a click channel’s MUTE (ALT) switch and the headphone/control room ALT switch. In the headphones, you’ll be monitoring the click mixed with the sound of the other channels, but the click will be muted in the main output. (p.11 “Taking advantage of the ALT bus”)
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Keyboard
L
PAN PAN PAN
R
Bass
Drum
GtGt
Vo
Audio
recorder
Audio player
Digital powered
monitor speakers
Headphones
Multitrack recording using your PC
Home recording system
The M-series is the ideal choice for home studio recording using DAW software such as SONAR. In particular, the M-16DX has a separate I/O module and Mix controller, making it easy to reconnect your mic or instrument cables during the multi-track recording process, and letting you operate the Mix controller on an uncluttered desktop. Since there are Hi-Z jacks for connecting your guitar/bass, you can record your guitar at home via a direct line connection until you’re satisfied.
* The I/O Module is rack-mountable. Rack-mount adaptor is included in the M-16DX package.
By combining the M-16DX with a DAW recording system, you’ll be able to play back backing tracks created on your PC while recording your vocals or instrumental performance directly to the PC. Alternatively, you could back up your performance with sound from a karaoke CD, a rhythm machine, or a backing performance of drums that you recorded in stereo at an outside studio. The final sound processed by the Finalize func tion can be recorded to your PC, or you can use DAW software such as SONAR to perform multitrack recording of up to eighteen tracks (16 channels + two master channels).
Take advantage of the vocal effects!
Channels 1/2 let you apply a dedicated insert effec t spec if ically designe d for vocals and narration. “POWER COMP1–3” will apply the character of a vacuum tube amp used in professional recordings, giving your vocal greater presence. “VOCAL ENHANCER” will enhance the character of your voice, and you can use “NARRATION” to minimize unwanted sibilants (excessive “s” sounds) when recording spoken lines or narrations.
Use EQ to eliminate “mushy” sound!
To improve the clarity of each part, it’s important to use EQ boost and cut in appropriate ways. If you want to improve the definition of a vocal, you can give the voice more body by using the MID EQ to apply a wide (low Q) boost at 1 kHz, while cutting the sound below 100 Hz to eliminate muddiness. On the channels for guitar, bass, and snare, cut the frequency ranges that would conflict with each other s o that the most important element of each instrument is emphasized, thus ensuring that there is good separation between the sounds.
There are many sources of nois e when re cord in g at home, su ch as the refri gerator and air conditioner, or vib rations from passing vehicles. Normally we don’t pay attention to these sounds, but when recording, they can be a major factor that impairs the clarity of the recorded sound. If the sound from a mic is lacking in clarity, try turning on the LO C UT switches provided on cha nnels 1—4. Thi s is also a useful thing to do if the vibrations from your foot tapping the rhythm on the floor are being transmitted through the mic stand and are getting recorded.
When recording a vocal, you will find it much easier to sing if there’s just a bit of echo/reverb (FX) on your voice. However, recording the sound without the effect applied will make it easier at later stages of the mixing process. Turn the headphone/control room FX switch on. This will allow the unprocessed sound to be sent from the main out for recording while you apply echo/reverb just to the headphones for monitoring as you record.
Cutting household noise when you record with a mic!
Apply reverb only to the monitor sound!
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CH1
kick
CH1
snare
ALT OUT
INPUT 13 /14
L R
CH1 CH1
overtop
overtop
Recording a band in a single pass
Audio
recorder
Headphones
Digital
eector
Headphones
Monitor amplier
* Output the
CONTROL ROOM signal
Studio recording system
The M-16DX’s superb potential will shine par ticularly when you’re recording vocals or drums via mics in the studio. Phantom­powered channels 1–4 provide high-quality mic preamps, so you can make serious recordings with professional mics. By taking advantage of the headphone/control room, ALT, and AUX bus outputs, you can use the variety of outputs for recording or monitoring.
Whe n mic -record ing v ocals, gu itar am p, and dr ums in a stu dio, set ting t he MI X controller ’s function switch to “NA RROW” wil l allow you to adjust the SENS setting of each mic in greater detail. If you’re using a digital multi-effect unit, we recommend using a digital connection, since this will allow you to take full advantage of the effect processor. If you connect the main output to your large speakers and the AUX send to you r m onit or spe aker s, you can use the setup as a simple PA system.
Use the ALT bus for multi-track drum recording!
If you’re recording the drums with four mics—kick, snare, and stereo overhead— and you want to raise or lower the drum volume, you’ll need to move all four channel levels. However, if you turn the MUTE (ALT) switch on for these four channels to send them to the ALT bus, and then return the ALT bus in stereo to Channels 13/14 or 15/16, you’ll be able to use a single knob to adjust the entire drum kit’s volume while preserving the balance between its mics.
Add punch to the vocals and drums of an existing stereo mix!
By using the POWER COMP3 insert effect, you can improve the punchiness of the vocals and drums in a stereo mix that’s already been recorded. Start by setting BRIGHT and COMP to zero, and then use BRIGHT to adjust the clarity of the vocal. Then use COMP to improve the tonal character of the drums. This will boost the overall high-frequency range, so you’ll probably want to reduce BRIGHT a bit when you’re finished. Don’t go overboard—keeping it sounding natural is the key.
Use PAN to let each part be heard clearly!
PAN specifies the stereo position of a sound, and lets you create differentiation bet wee n part s in a way that would be difficult to achieve using just the volume balance or EQ. For example, if you want to emphasize guitar chords but don’t want to increase their volume, you can place them to one side in order to make them easier to hear. Even if you have two sou nds that you want to be heard in the center, panning one of them slightly away from the center will still create a sense of differentiation while giving the impression that they are both still in the center.
Take advantage of different outputs for stereo mixes and multi-track recording!
If you’re making a single-pass recording of your band, connect the main output or two-track output to your recorder, and record the mixed sound. On the other hand, if you’ll be using your DAW software to mix later, record the pre-fader signal from USB out. This will allow each part to be recorded at its optimal level, unaffected by any adjustments to the volume or panning that you might have made for convenience while performing. You can also use the ALT out and AUX send to record only specific parts on your recorder.
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Headphones
Headphones
Sequencer or Audio recorder
External eector
Monitor amplier
for click
Sub-mixer for a live stage performance
Live mixing system
Battery operation for a small footprint!
The M-10DX is a mere 20 cm—about the size of a B5 sheet of paper—wide making it an all-in-one mixer that won’t take up space on stage. Since it can be operated on batteries, it’s also a convenient choice for outdoor use. The backlit graphic LCD display and the illuminated buttons mean that you’ll always be able to check and adjust the channel settings even if the stage is dark.
Simple, yet multi-functional and highly mobile, the M-10DX is an ideal choice as a sub-mixer used for combining the outputs of your synthesizer, sound modules, and sequencer during a live performance. The M-10DX is also a great tool for creating unusual setups that might be difficult to manage in a live situation. For example, you can connect mics and external effect units to create processed vocals, and then send the completed sound to the main PA system. Since the M-10DX can be operated on batteries, it’s also convenient for use in street performances.
In addition to bringing together your keyboard, sequencer, audio player, and other audio sources, the M-10DX lets you create performances that use mics and external effect processors for additional impact. Even sophisticated setups that are difficult to achieve in a live situation can be created by using the M-10DX as a sub-mixer, allowing you to make your own adjustments to the sound, and then output the finished sub­mix to the PA.
Listen to a click while you record, or perform along with a synchro­nized backing!
The M-10DX also makes it simple to create a system for sending a click to the drummer. Input the click and backing to Channel s 1/2, and play them back. Raise the AUX send for both and send the AUX send to the monitor headphones or amp so that the drummer can play to both the click and the backing. In this setup, you can set the channel level of the click to zero so that only the backing is sent to the PA, and not the click.
Tune your backing sound to match the performance venue!
It is often the case that your carefully constructed back ing or synthe sizer soun d does n ot sound the same when it’s played through a PA at your live performance. In such cases, you c an use the Room Acoustic Auto Control feature to easily flatten the output signal or create a “scooped” sound that boosts the low and high frequencies. You can also create a favorite response curve ahead of time, and use it as one of sixteen preset EQ settings to get the best possible sound at your performance venue.
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Switch mixer set­tings for each song!
The to ne, leve l, and effe ct on /off settings of each audio source—such as each synthesizer, sampler, and sequencer—will ty pica lly need to be adjus ted for each song in a live performance. This is where you can take advantage of the Scene feature. You can store up to eight different sets of mixer settings, and then instantly switch the mixer settings simply by holding down the SCENE button for one second or lo ng er an d cho os ing a prog ra m number. This is a great feature that’s available only on a digital mixer.
Headphones
Headphones
Audio player
Audio player
Audio interface
Video etc.
(Plug-in power) Stereo electret condenser mic
Expanding the inputs of your audio interface
DAW recording system
The M-10MX is an analog mixer that packs analog inputs and digital output into a compact body. You can use it as an input expansion tool for EDIROL’s FA and UA series of audio inter faces, or on its own as a line mixer. Operation is simple and does not require specialized knowledge, making it a flexible solution for a variety of needs ranging from PC-less audio editing to a sub­mixer for a DAW recording system.
A
B
If your audio interface does not have a large number of input jacks, you can use the M-10MX as an expansion mixer so you won’t need to re-connect mics, synthesizers, and rhythm machines each time you record—just record directly to your PC when inspiration strikes. In addition to having the convenience of being able to directly control the volume balance of each instrument at your fingertips, the M -10MX also provides a high-quality digital output, in spite of its compact size. By digitally connecting this to your audio interface, you can enjoy the superb audio quality of 24-bit 96 kHz recording.
Input expansion for your audio
A B
interface (DAW recording system)
If you use the M-10MX as an expansion mixer for an audio interface that doesn’t have a large number of input, you can avoid having to disconnect and reconnect your mic, synthesizer, and rhythm machine each time you record a different track --- simply record onto your PC the moment that inspiration strikes you. In addition to the convenience of fingertip control over the volume balance of your equipment, the M-10MX provides a digital output in spite of its compact size, so you can digitally connect this to your audio interface for high-quality 24-bit 96 kHz recording.
The M-10MX is a handy tool for outdoor recording or when mixing audio for video. Since it provides five stereo inputs, you can connect your familiar video or audio device and microphones, and then connect the main output directly to your HDD or DVD recorder to mix background music and narration without needing to use a computer. Since the mic jack suppor ts plug-in power, you can use stereo electret condenser mics.
Computerless Mixing music and audio for video without a computer (Mobile recording system)
How to set the input levels
By setting the input level appropriately, you’ll be able to mix with minimal noise and without causing the original sound to distort.
[ On the M-16DX/M-10DX ]
Press the DISPLAY button, and the display will show each channel’s pre EQ input level (the le vel before passing t hro ugh EQ). Adjust the SENS knob for the channels you’re using, or the o utpu t of your external device, so that the top symbol of the level meter does not light when the maximum volume occurs.
*
On the M-16DX, you can use the following method to check a channel’s
input level while you’re mixing. 1: Turn the channel’s SOLO switch on. 2: Input the signal. 3: For Channels 1—4, adjust the channel’s SENS knob so that the orange
indicator (+10 dB) of the level meter located at the right edge of the panel lights briefly when the maximum volume occurs. For Channels 5/6—11/12, adjust the output level of the external device.
[ On the M-10MX ]
Set the MAIN level knob and the level knob of the channel whose input level you’re checking to the unity gain position. Lower the levels the other channels all the way. Adjust the SENS knob or the output of your external device so that the OVERLOAD indicator lights briefly when the maximum volume occurs.
* Unity gain: Thi s i s the positi on of the channel level knob marked by the “U” symbol (on the M-10MX, the area emphasized by t he bold white line), indicating the point at which the input signal is output at the same level.
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M-16DX Mix Controller
A high-level fusion of digital audio qual­ity and analog operability A new form of digital mixer featuring a separate system.
M-16DX I/O Module
Separate system with MIX controller and I/O module
This system separates the MIX controller containing the mixing control s and the I/O modu le to whi ch your inst rument s are connected. Cable connections are consolidated into the compact 1U rack-mountable I/O module, allowing highly flexible mixing on your desktop.
Newly-developed Room Acoustic Auto Control function automatically compensates for the fre­quency response of your studio
An internal sensor and sound generator are used to analyze the frequency response of your monitor speakers and room, and adjust the output in order to obtain the desired acoustic character. By letting you work with the ideal frequency response, this enables you to mix under stable and consistent conditions.
Full-digital processing at 24-bit 96 kHz quality with analog-like operability
24-bit 96 kHz processing gives you a level of audio quality that will satisfy the needs of even a professional recording setup. A full complement of controllers including 3-band EQ, PAN, AUX, SELEC T, SOLO/MUTE, and LEVEL lets you operate the system as easily as a familiar analog mixer.
USB2.0 provided for multi-channel recording into DAW software
By connecting the M-16DX to your computer via USB 2.0, you’ll be able to per form multi-track recording into your DAW software with up to 16 channels plus a two-channel master mix. The M-16DX can function as a multi-channel audio interface compatible with Windows or M ac.
High-performance options for wide-ranging music production support
AUDIO INTERFACES MONITOR SPEAKERS
UA-1EX <EDIROL>
24-bit/96 kHz high fidelity audio in a compact body
DS-8
DS-7 DS-5
DS-8/DS-7/DS-5 <Roland>
Superb sound quality with precise imaging and balanced energy output 24-bit digital input with sample-rate support for up to 192kHz
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UA-25 <EDIROL>
Compact, high per formance audio inter face at its best
MA-15DBK <EDIROL>
High performance desktop monitors in wooden cabinets
MA-7ABK <EDIROL>
Affordable desktop monitors in wooden cabinets
The advantages of a digital mixer in a compact package. An all-in-one model with excel­lent mobility.
Simple and easy to use. A portable analog mixer that’s ideal for the home studio
Rich functionality that inherits the M-16DX’s basic features
The M-10DX is an all-in-one digital mixer that provides the major functionality of the M-16DX, such as the Room Acoustic Auto Control function, the graphical LCD display, and effect processors.
Versatile input jacks to meet the needs of any situation
Ten input channels are provided, and Channels 1/2 have phantom-powered mic input jacks. Channel 1 also provides a Hi-Z switch so that mics, line-level instruments, or guitars/basses can be connected.
Uncompromising sound quality to satisfy the professional
The high-quality sound delivered by full the digital processing can be sent from the digital output with 24-bit 96 kHz suppor t. Main output, headphone/control room, and an AUX send are also provided.
Mobility for studio or live performance
In addition to providing all of the functionality required by an audio mixer, the M-10DX can be operated using either an AC adaptor or battery power. You can take advantage of its mobility not only for recording, but also for using it as a sub-mixer in live stage performances.
Ten inputs and two outputs meet a broad variety of needs
The M-10MX provides ten inputs (five stereo inputs) with phone and RCA phono jacks, and two output jacks. The front panel has a mini stereo jack that supplies plug-in power, allowing the use of an EDIROL CS-15 or other stereo mic.
Digital output for studio use
A digital output jack that supports 24-bit 96 kHz audio is provided. You can enjoy high­quality sound by connecting this directly to a set of monitor speakers that accepts a digital input, or use the M-10MX to expand the inputs of your audio inter face.
Compact design that won’t take up space on your desktop
With a compact size that can be used together with the EDIROL FA/UA series, the M­10MX can be used with your audio interface without cluttering your desktop.
Portable model allows battery operation for excellent mobility
Power can be supplied from an AC adaptor or from four AA batteries. By operating the unit on batter ies, you can use it anywhere, for outdoor video recording or any other situation.
DR-50 <Roland>
Hyper cardioid handheld dynamic microphone
MICROPHONES
DR-80C <Roland>
Large diaphragm studio condenser microphone (26 mm diameter) for high- quality sound
MICROPHONE STAND
ST-100MB <Roland>
Lightweight-yet-sturdy stand for mics, R-09, and More
DR-30 <Roland>
Cardioid handheld dynamic microphone with shock-absorption for reduced handling noise
CS-15 <EDIROL>
For when you need even more advanced recording than R-09’s built-in microphone
RH-A30 <Roland>
Contains a newly developed 45mm driver with neodymium magnet for a full dynamic range and stable output, even on large input surges
DX BUS CONNECTION CABLE
DXC-7 <EDIROL>
Optional 7 meter (23 feet) long connection cable for M-16DX
RH-300 <Roland>
Newly developed 45mm driver with neodymium magnet offers full dynamic range and stable output, even on large input surges
HEADPHONES
RH-200 <Roland>
Professional stereo headphones with exceptional clarity and accurac y
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Specificati ons M-16DX M-10DX M-10MX
Number of Input Channels
AD/DA Co nversion
Frequenc y Respons e
Residua l Noise Lev el (IHF-A, typ.)
Nominal Input Leve l
Input Impedance
Nominal Output Le vel
Output Impedance
Recomme nded Load Impeda nce
Display
Connect os
DSP pro cessing
Number of USB Aud io Record/ Playbac k Channels
Power Sup ply
Current Draw
Phantom Power
Accessor ies
Option
Size an d Weight
16 chan nels 10 chan nels 10 chan nels
Sample Rate: 44.1 /48.0/96.0 kHz Signal Processing: 24 bits
96.0 kH z: 20 Hz to 40 kHz (+3/-3 dB) , 48.0 kH z: 20 Hz t o 22 kHz (+3/-3 dB ), 44.1 kH z: 20 Hz t o 20 kHz (+3/-3 dB)
MAIN MI X LEVEL k nob = -∞, Channel LE VEL knobs =
-∞, MAI N MIX LEVE L knob = U, Channel L EVEL knob s =
-∞: -96 dBu, MAIN MIX LEVEL knob = U, Channel LE VEL knobs = U: -83 d Bu
MIC con nectors 1– 4: -60 to -10 dBu, LI NE IN jack s 1–4:
-40 to +10 dBu, * Maximum i nput level: Nominal i nput level + 22 dB, LIN E IN jacks 5–16: +0 dBu, LINE I N jacks 15–16 ( RCA pin t ype, Stereo miniature p hone type ):
-10 dBu , * Maximu m input le vel: Nomina l input le vel + 18 dB
MIC con nectors 1– 4: 1.5 kΩ , LINE IN j acks 1–4: 20 kΩ, LINE IN jacks 5–1 6: 20 kΩ, LINE IN ja cks 15–16 (Stereo miniatu re phone t ype): 14 k Ω
MAIN OU T jacks/ALT OUT jacks/AUX SEND jacks 1–2: +0 dBu, 2 TR ACK OUT jac ks L–R: -10 dBu, CONTRO L ROOM jacks: -6 dBu, * Maximum ou tput level: Nominal O utput Level + 22 dB
MAIN OU T jacks/ALT OUT jacks/AUX SEND jacks 1–2: 600 Ω, 2 TRACK OUT jacks L–R: 1 kΩ
10 kΩ o r greater 10 kΩ o r greater
Graphic LCD 122 x 3 2 dot (wit h back-ligh t) Graphic LCD 122 x 3 2 dot (wit h back-ligh t)
(I/O mo dule)
MIC con nectors 1– 4: XLR typ e (balance d / phantom power +4 8 V), LIN E IN jacks 1–14: 1/4 inch TRS ph one type ( balanced), * LINE IN jacks 1–2: supports use of hi-impe dance, LINE IN jacks 15–16: RCA pin type, MAIN OUT jac ks L–R: 1/4 inch TRS pho ne type (b alanced), ALT OUT jac k L–R: 1/4 i nch TRS phon e type (ba lanced), AU X SEND ja cks 1–2: 1 /4 inch TRS phone type (balanced ), 2 TRACK O UT jack L–R: RCA pin t ype, DIGITAL I NPUT jack/co nnector: Optical ty pe, Coaxial type, DIGI TAL OUTPUT jack/conne ctor: Opti cal type, Coaxial ty pe, USB Connect or, DX BUS Con nector: D -SUB 15 pi n
(MIX con troller)
LINE IN jacks 15– 16: 1/4 in ch phone t ype (unbal anced), Stereo m iniature ph one type, PHONES jac k: Stereo 1/4 inch ph one type, CONTROL ROO M jacks L–R: 1/4 inch phone t ype (Impe dance bala nced), DX BU S Connecto r: D-SUB 15 pin
Room Aco ustic Cont rol (Built- in Microph one), 16 B and Graphic EQ, Finalize : Enhancer/ Multi-band Compressor ­Limiter, I nsertion effects: Power compres sor/Vocal enhance r/Narratio n enhancer, Ec ho/Reverb: Short ec ho/ Echo/Ro om reverb/S mall hall reverb/Larg e hall reve rb
Record: 18 channel s, Playback : 2 chann els, Full dup lex, * When us ing the mi xer as a US B audio in terface, t he Finalize effects ar e not avail able in 96 kHz mode.
DC 9 V (AC adaptor) DC 9 V (AC adaptor), Alkaline dry batte ry LR6 (A A) type
1.4 A 950 mA, * Expecte d battery life under continuou s
+48 V/5 m A (each in put) +48 V/5 m A (each in put)
Owner ’s manual, Rea d this fir st/M-16DX d river install ation (dri ver install ation manu al), Contro ller cable (D-SUB 15 pin, 2 m), USB c able, Drive r CD-ROM, SONAR LE CD- ROM, AC Ada ptor, Rack-mo unt adaptor, Rubber feet (I /O module), Roland s oftware li cense agree ment
Controll er cable: DXC-7 (D-SUB 15 pin, 7 m)
(I/O mo dule)
280 ( W) x 21 9 (D) x 44 (H) mm 11-1/16 (W) x 8-5/8 (D ) x 1-3/4 (H) inches
1.6 kg, 3 lbs. 9 oz .
(MIX Con troller)
311 ( W) x 21 6 (D) x 46 (H) mm 12-1/4 (W) x 8-1/2 (D) x 1-13/16 (H) inches
1.2 kg, 2 lbs. 11 oz.
96.0 kH z: 20 Hz to 40 kHz (+3/-3 dB) , 48.0 kH z: 20 Hz t o 22 kHz (+3/-3 dB ), 44.1 kH z: 20 Hz t o 20 kHz (+3/-3 dB)
MAIN MI X LEVEL k nob = -∞, Channel LE VEL knobs =
-∞, MAI N MIX LEVE L knob = U, Channel L EVEL knob s =
-∞: -88 dBu, MAIN MIX LEVEL knob = U, Channel LE VEL knobs = U: -82 d Bu
MIC con nectors 1– 2: -60 to -10 dBu, LI NE IN jack s 1–2:
-40 to +10 dBu, * Maximum i nput level: Nominal i nput level + 22 dB, LIN E IN jacks 3–10: +0 dBu, LINE I N jacks 9–10 (R CA pin ty pe): -10 d Bu, * Maxi mum input l evel: Nominal input lev el + 18 dB
MIC con nectors 1– 2: 2.7 kΩ , LINE IN j acks 1–2: 28 kΩ, LINE IN jacks 3–8 : 20 kΩ, L INE IN jac ks 9–10 (R CA pin type): 20 kΩ
+0 dBu * Maxim um output level: Nom inal Outpu t Level + 2 2 dB
MIC con nectors 1– 2: XLR typ e (balance d / phantom power +4 8 V), LIN E IN jacks 1–10: 1/4 inch TRS ph one type ( balanced), * LINE IN jack 1: su pports us e of hi­impedan ce, LINE IN jacks 9–1 0: RCA pin type, MAI N OUT jac ks L–R: 1/4 inch TRS pho ne type (i mpedance balance d), AUX SEND jack: 1/ 4 inch TRS p hone type (impeda nce balance d), 2 TRACK OUT jacks L–R: RCA pin type, D IGITAL OUTPUT jack/conne ctor: Opt ical type, Coaxial type, PHON ES jack: Stereo 1/4 inch phone type, CTRL R OOM jacks L–R: 1/4 inc h phone t ype (imped ance balance d)
Room Aco ustic Cont rol (built- in micropho ne), Finali ze: Enhance r/Multi-ba nd Compress or-Limiter, I nsertion effects : Power comp ressor/Vocal enhancer/N arration enhance r, Echo/Rever b: Short echo/Echo/ Room reverb / Small h all reverb/ Large hall reverb
x 8 or Nickel me tal-hydride battery ( HR15/51) x 8
use: N ickel meta l-hydride: 3 hours, Al kaline: 1 .5–2 hours, The se figures will var y dependin g on the ac tual conditi ons of use.
Owner ’s manual, AC adaptor Owner ’s Manual, AC Adaptor, Ferrit e Core
199 ( W) x 26 2 (D) x 61 (H) mm 7-7/8 ( W) x 10-3/8 (D) x 2-7/16 (H) inches
1.3 kg, 2 lbs. 14 oz.
Sample Rate: 44.1 /48.0/96.0 kHz, Signal Processing: 24 bits
96.0 kH z: 20 Hz to 40 kHz (+1/-2 dB) , 48.0 kH z: 20 Hz t o 22 kHz (+1/-2 dB ), 44.1 kH z: 20 Hz t o 20 kHz (+1/-2 dB)
-86 dBu
Input Jacks 1–6: -50 to +4 dBu Input Jacks 1–2: -40 to +10 dBu Input Jacks 5–10 : -2 dBu * Maxim um input l evel: Nomi nal input level + 12 dB
-2 dBu * Maxim um output level: +10 dBu
Input Jacks 1–6: 1/4 inch p hone type, unbalance d, Input Jacks 1 –2: Stereo miniature t ype, plug- in powered) , Input Jacks 5–10 : RCA pin type, Main Output Ja cks L, R: 1 /4 inch TRS phone type (impedanc e balanced ), RCA pin type, Dig ital Outpu t Connecto rs: Optica l type, Coaxial type, Head phone Jack : Stereo m iniature ty pe, DC IN ( AC adaptor) Jack
DC 9 V (AC adaptor), Alkaline dry batte ry LR6 (A A) type x 4
250 mA * Expected battery life under continuous use: Alkali ne: 6 hour s (Power save mode: On) , 4 hours (Power save mod e: Off ), These fi gures will vary dep ending on the ac tual condit ions of us e.
181.2 ( W) x 107.5 (D) x 54.0 (H) mm 7-3/16 (W) x 4-1/4 (D) x 2-1/8 ( H) inches 393 g, 1 4 oz
M-16DX
System R equirements [Windows]
Operati ng System
Computer
CPU/Clo ck
Memory (RAM)
System R equirements [Macintosh ]
Operati ng System
Computer
Microso ft® Windows® XP Home Ed ition Ser vice Pack 2 , Microsof t® Windows® X P Profession al Servi ce Pack 2, M icrosoft® Windows Vista™ * This do es not work with the 64-bit Edi tion of Wind ows Vista™.
Windows XP or Windows Vista compat ible comput er with a USB connec tor that su pports US B Specific ation Revi sion 2.0 o r higher * Intel chipset i s recommend ed. * M-16DX ’s USB Audio I nterface may not pe rform to i ts full sp ecs when u sed with Ce leron or I ntel compat ible proces sors. * When us ing an add ed USB 2.0 interfac e card, suc h as a PCI card, “NEC PCI to USB Enh anced Host Controller ” is recommend ed.
Pentium 4 Processor / 1.6 GHz r higher, Pen tium M Proce ssor / 1.3 GHz or hi gher
512 MB or more * In case of Windows Vista, 1 GB RAM o r more is recommended.
Mac OS X v10.4.3 or later * The dri ver can wor k on both Intel proce ssors and PowerPC proce ssors (Uni versal Bin ary). * This wi ll not ope rate in the Classic e nvironment o f Mac OS X. When usin g this, the Classic e nvironment must not be running s imultaneou sly.
Apple M acintosh s eries comp uter with o n-board US B 2.0
Please contact EDIROL distributor in your country, or visit us online at www.EDIROL.net
* Please remember t hat multit rack
recordin g at highe r bit rate and samplin g frequenc ies may req uire large a mounts of f ree disk s pace and fas t hard dri ves.
* This pr oduct has been teste d on
represen tative comp uters that meet th e system re quirements, but we cannot gua rantee that it will op erate on ev ery compu ter that me ets these requirement s. Please be aware th at even und er the sam e conditio ns, differen ces in the operating environment may produce differences in process ing capabil ity.
All specifications and appearances are subject to change without change. All trademarks are the property of their respective companies.
Printed in Japan Apr. 2007 RAM-4206 EC 2-YF-NK
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