Roland VM-C7200, C7100 User Manual

Page 1

QUICK START

Thank you, and congratulations on your choice of the Roland

Console

. The documentation for the VM-7000 Series consists of the volumes as listed below.If you are using the VM-7000 for the first time, we recommend you to first start with the “Quick Start” (this volume) when using this system, to get a thorough grasp of its operation performance ability. The details to the use for every function can be found in the Console (C7200/C7100) section of the “Owner’s Manual”. Look up the function you are searching for on the index and read the chapter carefully.

For The Console

•

Quick Start (this volume):

•

VM-C7200/C7100 Owner’s Manual:

Parameter List, MIDI Implementation, etc.

•

VM-C7200/C7100 Libraries:

library

For The Processor

•

VM-7200/7100 Owner’s Manual:

devices, etc.

•

VM-7000 SERIES Block Diagram:

* adat® is a registered trademark of ALESIS Corporation.

* TASCAM® is a registered trademark of TEAC Corporation.

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

respective owners.

fig.0-03

Easy instructions for basic steps of operations.

Detailed instructions for each function, glossary, Q&As,

Internal connections templates, list of EQ and effects preset

Instructions for using the Processor, how to install optional

Block diagram of the whole system

VM-C7200 (VM-C7100) V-Mixing

Roland Website Roland US Website

http://www.roland.co.jp/ http://www.rolandus.com/

Page 2

Table of Contents

Getting Started........................................................................................4

How to Use The QUICK START...............................................................................................................4

Installing the VM-C7100/C7200 Digital Mixing System.......................................................................5

Connections..................................................................................................................................................7

Turning On the Power..............................................................................................................................10

To Adjust the Brightness of the Display................................................................................................12

If You’re Confused About What’s Being Displayed or What’s Going On .......................................12

Restoring the Original Factory Settings.................................................................................................13

Setting the Internal Clock.........................................................................................................................14

Preparing a Memory Card.......................................................................................................................16

To Format a Memory Card...........................................................................................................16

To Create a New Project ...............................................................................................................19

Turning Off the Power .............................................................................................................................20

Before Mixing Operations....................................................................22

Internal Signal Flow..................................................................................................................................22

1. Input Channels...........................................................................................................................22

2. Busses / Output Routes............................................................................................................23

How to Operate This System...................................................................................................................24

The Display (example)..................................................................................................................24

To Change Parameters..................................................................................................................25

Mixing Operations.................................................................................26

Setting the Input Gain ..............................................................................................................................26

Setting the Channel Levels and L/R Pans.............................................................................................28

Setting the Master Level and Master Stereo Balance...........................................................................30

Adjusting a Signal’s Tone (Equalizer)....................................................................................................32

Setting Up a Monitor................................................................................................................................34

Coupling Adjacent Channels ..................................................................................................................36

Muting a Channel .....................................................................................................................................38

Storing a Project.........................................................................................................................................39

Using Sub Outputs ...............................................................................40

Setting Up Monitor Sends for Studio or Stage......................................................................................40

To Select Signals for Studio Monitors.........................................................................................40

To Talk to Someone on a Stage or out in a Studio (Talkback).................................................42

Flex Bus.......................................................................................................................................................43

Flex Bus Output (MULTI OUT/ASSIGNABLE OUT).............................................................44

Flex Bus Output (Internal)............................................................................................................46

Sending Signals to a Flex Bus..................................................................................................................48

Using On-Board Effects .......................................................................50

Send-Return Loop Effect..........................................................................................................................51

Setting the Onboard Effect Position and Value....................................................................................54

Selecting the Effects ..................................................................................................................................58

Using a Channel’s Feedback Delay (Channel Delay) ..........................................................................60

Other Important Features.....................................................................62

Storing a Mixing State (Scene).................................................................................................................62

To Store a Scene .............................................................................................................................62

To Recall a Scene............................................................................................................................64

Setting Signal Routings on the Display (Virtual Patchbay)................................................................66

Simultaneously Adjusting the Levels of Multiple Channels..............................................................68

To Create a Group of Channel Faders (Fader Group Master) ................................................68

To Mute a Group of Multiple Channels (Mute Group) ...........................................................70

Page 3

Table of Contents

Some Special Features.........................................................................72

The Spectrum Analyzer...........................................................................................................................72

5.1 Surround..............................................................................................................................................73

Speaker Modeling..................................................................................................................................... 74

Using EZ Routing Templates...............................................................75

8 Track MDM With MIDI Sound Module Recording .........................................................................76

Live Jazz Ensemble With 8 Track Digital Recording .......................................................................... 82

Advanced Operations – 8 Track Analog Recording ................................................................86

Connection Samples ............................................................................88

Connection Samples Using the TASCAM DA Series.......................................................................... 88

48 Track Recording System (TASCAM DA-88 x 6)..................................................................88

48 Track Recording System (TASCAM DA-88 x 6 + RC-848)................................................. 89

24 Track Recording System (TASCAM DA-88 x 3)..................................................................90

8 Track Recording System (TASCAM DA-88 x 1)....................................................................91

Connection Samples Using the Alesis ADAT Series...........................................................................92

48 Track Recording System (Alesis ADAT x 6) ........................................................................92

48 Track Recording System (Alesis ADAT x 6 and BRC)........................................................93

24 Track Recording System (Alesis ADAT x 3) ........................................................................94

48 Track Recording System (Alesis ADAT x 1) ........................................................................95

Connection Sample Using Digidesign Protools...................................................................................96

Page 4

Getting Started

How to Use The QUICK START

The QUICK START basically explains the operations as follows:

Mixing Operations

Now let’s do some mixing. This chapter describes two-channel – stereo – mixing of connected sources that will be sent out from the system through its MAIN OUT jacks.

Setting the Input Gain

Let’s adjust the input gain levels of all of your connected instruments and so on. (If you are working on digital connected sources, you do not have to read this section.)

fig.107

Press [PREAMP GAIN].

[PREAMP GAIN] lights and the “PREAMP GAIN” display appears.

fig.206

Important notifications to prevent considerable damage to your equipment.

Owner’s Manual “Gain, Phantom Power Supply, Phase and Attenuator” (p.68)

Reference page for detailed information to this section.

As preset at the factory, all channel numbers on the console correspond to the input numbers on the processor. You may, however, change the channels’ connections or work on multiple channels at once (Owner’s Manual “Selecting an input channel’s signal source” p.67).

Other convenient setup operations.

If you selected DIGITAL IN A/B as your source input, these steps will not be necessary.

Additional suppllemental remarks.

Keys or knobs used in the corresponding Step number.

You can also set the gain level with the cursor and knobs on the display.

The display mainly used during the operation.

Step number in the setup procedure.

• For further information to operations or functions, read your console’s and processor’s Owner’s Manuals.

Page 5

Installing the VM-C7100/C7200 Digital Mixing System

Getting Started

The VM-C7100/C7200 Digital Mixing System consists of two units

–

the

mixing console and the mixing processor.

About the VM-C7100/C7200 Digital Mixing System

The Mixing Console

fig.001

All mixing activities take place on the mixing console, including the adjusting of faders, the assignment of signals to busses and the application of effects. Place the console in an area such as a control room. Then, connect your monitors, audio equipment, stereo mastering recorders and headphones to the corresponding jacks on the console.

Owner’s Manual “Names of Things and What They Do” (p.11)

You may attach an optional wooden panel and a level meter bridge (sold separately) to the console.

The Mixing Processor

fig.002

The mixing processor supplies the majority of the system’s input and output jacks. Place the processor at a convenient location near your performers, such as in a studio or on a stage. Next, connect instruments, microphones, amplifiers, multi-track recorders, effects processors, and monitors for the performers to the corresponding mixing processor jacks.

OWNER’S MANUAL for the Processor

Up to 2 processors can be connected to each console, which enables you to achieve 94 input channels (Owner’s Manual “Settings related to cascade connection” p.41, OWNER’S MANUAL for the Processor “Connecting Two Processors (Cascade Connection)” p.32 ).

Page 6

Getting Started

To Connect the VM-C7100/C7200 Digital Mixing System

Use a pair of AES/EBU digital audio cables to connect the mixing console and mixing processor. These cables are supplied as a set with the mixing console.

fig.003

Use the supplied pair of AES/EBU Digital Audio Cables.

Page 7

Connections

To avoid problems 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.

Basic Connections

Rear Panel of the Mixing Console

fig.004

Getting Started

Microphone, Sub Mixer, MD/CD Player

Mixing Processor

Monitor in the

Control Room

Speaker

Amp

Digital Powered Speaker

(Roland DS-90 etc.)

AC Power Supply

Page 8

Getting Started

Front Panel of the Mixing Processor

fig.005

123

Microphone

Synthesizer, Sound Module, etc

345 6

Channel Insert (Effects Processor)

5678

Branch Cable (e.g. PCS-31)

Digital

Audio

Input/Output

AES/EBU Jack

on Pro Audio Device

Monitor Speaker

Monitor Amp, Headphone Amp for Players

Mixing Console

Page 9

Rear Panel of the Mixing Processor

fig.006

Digital Multi-track Tape Recorder

(TASCAM/ADAT)

Getting Started

8 ch

AC Power Supply

MB-24 (Option)

Main

Output

Roland DIF-AT (Interface Box)

R-BUS Cable

Word Clock Connector on

Digital Recorder or similar device

Digital Input/Output

DAT/MD Recorder, etc.

Analog Input

To R-BUS Compatible Device

VM-24E (Option)

VM-24C (Option)

Cable supplied with the VM-24C

Mixing Processor to be

connected in cascade

(VM-7200/7100)

Power Amp

PA Speaker

Tape Recorder, MD Recorder, etc.

If you wish to connect the VM-C7100/C7200 to ADAT or TASCAM digital multi-track tape recorders, you must first install an optional VM-24E, sold separately (OWNER’S MANUAL for the Processor “Installing RBUS (RMDB2) Connectors (VM-24E)” p.14).

Page 10

Getting Started

Turning On the Power

After you have finished making connections (QUICK START: p.7), be sure to turn on all of your devices in the proper order, as described in the instructions below. Powering up in the wrong order may cause malfunctions and/or damage to speakers and the devices. Always make sure that each device’s volume level is turned down before turning on its power. You may hear a slight noise even with the volume turned down – this is normal, however, and does not indicate a malfunction.

fig.007

Turn on the power of any connected digital multi-track tape recorder.

It takes a while for the device to startup.

Turn on the power of any additional connected digital devices (DAT, MD recorder, hard disc recorder, etc.).

Turn on the power of any connected analog devices (instruments, sound modules, effects processors, microphones, CD players, MD players, tape recorders, etc.).

If an external device is to be the source of the system’s Word Clock (Owner’s

Manual: p.31), turn on the

power of that device first.

Page 11

Getting Started

Set [POWER] to ON on the front panel of the mixing processor.

The CTRL indicator blinks during startup. When startup is completed, the indicator lights in green.

After the CTRL indicator on the processor has turned green, set [POWER] to ON on the rear panel of the mixing console.

When the “Check SYSTEM CONFIGURATION” message appears on the display, press [F2](START) to execute the startup procedure.

The “LEVEL METER” display appears.

fig.201

When connected in cascade (Owner’s Manual “Settings related to cascade conection” p.41), turn on the power of the Slave processor (“2nd UNIT”) first.

It takes a short while for the system to start up. When you turn on the power, all connected external devices must be recognized by the system, and certain data must be loaded.

Turn on the power of connected audio equipment (amplifiers and speakers).

When you change settings on a digital connected device, a loud noise may occur. Always turn down the volumes to all speaker outputs to prevent serious damage to your equipment, before working on your digital devices.

Page 12

Getting Started

To Adjust the Brightness of the Display

You may wish to adjust the brightness of the display immediately after power-up, under unusual viewing conditions, or after the unit has been on for an extended period of time. Adjust the brightness of the screen using the [CONTRAST] knob on the left bottom of the display.

fig.008

If You’re Confused About What’s Being Displayed or What’s Going On

If you become confused about what you’re seeing on the display, or have lost your way during some procedure, press [LEVEL METER]. The display returns to the screen shown immediately after power-up. You can try the procedure you have been working on again from the beginning.

fig.201

LEVEL METER

If you find that your system functions differently than described in the QUICK START or the Owner’s Manual, read “Troubleshooting” (Owner’s Manual: p.261) for further information. If the above steps do not resolve your problem, contact a nearby Roland Service Center or an authorized Roland distributor, or the shop where you made your purchase.

Page 13

Restoring the Original Factory Settings

You can restore the system’s parameters to their original default settings using the following procedure.

• The Factory Reset function deletes all of your own settings.

• Be sure to turn off the power of all amplifiers and speakers before executing Factory Reset.

fig.103

1,2 3

Getting Started

1 2

Turn off the power of the mixing console.

Hold down [PROJECT] and [F1] while turning on the console’s power.

When the “FACTORY RESET” display appears, press [F1](OK).

To cancel, press [F6](Cancel). It takes a while to reset the system.

Press [F2](START) to startup the system.

The “LEVEL METER” display appears.

Page 14

Getting Started

Setting the Internal Clock

The mixing console unit contains an internal clock. When you store a Project, the current time, day, and month information is automatically stamped into the Project (Time Stamp). This makes the management of Projects easier, since you can sort them in day/time order. When you turn on the power for the first time after purchase, be sure to set your system’s date and time by following the instructions below.

fig.101

5672

1 2

15 63 4

Hold down [SHIFT] and press [PROJECT].

Press CURSOR [UP] to move the cursor to the upper field.

Page 15

Getting Started

Press [F5](DATE).

The “SYS DATE” display appears.

fig.202

Press CURSOR [DOWN] to move the cursor to the “ADJUST

DATE / ADJUST TIME” field.

Set the current date. Turn [V1](YEAR), [V2](MONTH), [V3](DATE) to select the current date, and then press [F1](SET) to confirm your selection.

Set the current time. Turn [V4](HOUR), [V5](MIN), [V6](SEC) to select the current time, and then press [F4](SET) to confirm. The time you set becomes effective immediately.

The date and time are set.

• To return to the original display (the “LEVEL METER” display), press [LEVEL METER].

The console contains a lithium battery that allows the system to retain the internal clock settings and certain other parameter values. When the battery becomes weak, malfunctions may occur – the system clock may not function correctly, or the unit may not properly recall your last settings at power-up. If such things occur, restart the mixing console. If a message indicating low battery power appears, change the battery (Owner’s Manual “How to replace the battery” p.26), and restore the original factory settings (QUICK START: p.13).

You can set the time on/off on the display, and select from various date display formats ( “Adjusting internal clock” p.25).

Owner’s Manual

Page 16

Getting Started

Preparing a Memory Card

You can store your current mixing settings on your console as a Project onto a memory card (SmartMedia). A Project is a group of parameter settings that the system memorizes. Such settings include Scenes (Owner’s Manual: p.244) and Automix data (Owner’s Manual: p.232). You can instantly store/ recover these settings at any time by overwriting/reloading the Project.

We recommend you always create a new Project at the beginning of a new mixing/recording session or live performance.

If a card is new, or if it has been used in another device, it must be formatted for use in the system. If you already have a formatted the memory card, proceed to “To Create a New Project” (p.19).

To Format a Memory Card

During formatting, all data on the card is erased. Therefore, be sure that the card you intend to format does not contain data you wish to preserve

fig.102

4,8

Owner’s Manual “Storing and Recalling All Mixer Settings (Project)” (p.50)

6,7

Page 17

Getting Started

Insert the memory card into the mixing console.

Insert the memory card with the golden terminal strip upside.

fig.009

Hold down [SHIFT] and press [PROJECT].

3 4

Press CURSOR [DOWN] to move the cursor to the lower field.

Press [F6](MEMORY CARD).

The “SYS M.CARD” display with the card information appears.

fig.203

Press [F2](FORMAT).

The “CONFIRM / Format Card, OK?” message appears on the display.

Page 18

Getting Started

Press [F5](OK).

To cancel, press [F6](CANCEL).

When the “CONFIRM / Really Sure?” message appears, press [F5](OK) again.

To cancel, press [F6](CANCEL). After the formatting is finished, the “MESSAGE / Completed” message

appears on the display.

Press [F6](EXIT).

• To return to the original display (the “LEVEL METER” display), press [LEVEL METER].

Page 19

To Create a New Project

fig.10

Getting Started

Owner’s Manual “Storing and Recalling All Mixer Setings (Project)” p.50

1 2

3 4 5 6

1 3,4

Press [PROJECT].

The “PROJECT” display appears.

Press CURSOR [DOWN] to move the cursor to the lower field.

Press [F2](NEW).

The “CREATE NEW PROJECT” message appears on the display.

Press [F2](CREATE).

The “CONFIRM / Create New Project, OK ?” message appears.

Press [F5](OK).

The “CONFIRM / Keep Current Mixer Setting ?” message appears.

Press [F4](YES) or [F5](NO).

• [F4]...The current settings are kept after a new Project is created.

You can name a Project by pressing [F3](NAME/ PROJECT) in Step 3 (Owner’s Manual “Renaming/erase-protecting a project” p.53).

• [F5]...The system will restore the original factory settings after a new

Project is created.

When the “MESSAGE / Completed” display appears, press [F6](EXIT).

A new Project has been created.

Page 20

Getting Started

Turning Off the Power

Points to check before turning the power off

• Have you stored your Automix data on a memory card?

Your current Automix data is stored in the console’s temporary memory – this memory is cleared when you turn off the power. Be sure to save any

Automix data you wish to preserve onto a card before powering down.

• Did you turn down the volumes of the mixing console and connected audio equipment?

If you leave the volume levels of your equipment turned up when you turn off the power, a loud noise may occur that can cause damage to your equipment.

fig.007

1 2

Store the current settings onto a memory card.

QUICK START “Storing a Project” (p.39)

Turn off the power of connected audio equipment (amplifiers and speakers).

Set [POWER] to OFF on the rear panel of the mixing console.

Page 21

Getting Started

Set [POWER] to OFF on the front panel of the mixing processor.

Turn off the power of connected analog devices (instruments, sound modules, effects processors, microphones, CD players, MD players, tape recorders, etc.).

Turn off the power of connected digital devices (DAT, MD recorder, hard disc recorder, etc.).

Turn off the power of any connected digital multi-track tape recorder.

Page 22

Before Mixing Operations

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.104

R-BUS

MULTI IN

1–24

INPUT

1–24

1. Input Channels

There are two input modes to this system – [INPUT] and [MULTI IN].

MULTI OUT

1–24

FLEX BUS MASTER

1–12

B U S

MAIN OUT

L/R

CUE OUT

L/R

INPUT...1-24

The following input jacks can be assigned to these channels:

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

• Stereo digital input jacks on the mixing processor (A or B)

• 2 analog input jacks on the mixing console (stereo L/R).

MULTI IN...1-24

Multi-channel audio signals can be input from external equipment – such as multi-track recorders – via these channels.

The correspondence between input signal channel numbers and Multi In channels can be re-patched internally.

7100).

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 (OWNER’S MANUAL for the Processor: p.14).

Page 23

2. Busses / Output Routes

MULTI OUT

A multiple output channel to which signals from any input channel and/or Flex Bus can be routed. Digital multi-track output to a digital multi-track recorder can be performed by installing an optional VM-24E (sold separately) in the system. You can also send analog track outputs from ASSIGNABLE OUT jacks.

FLEX BUSSES 1-12

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

Before Mixing Operations

MAIN OUT

CUE 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 Busses.

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.

Stereo bus used mainly for monitoring. Signals can be sent to the Cue bus from all input channels and Flex Busses.

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.

You can also output other

usses’ signals from

MONITOR OUT jacks.

Page 24

Before Mixing Operations

How to Operate This System

When operating this system, you’ll most frequently use the cursor, the knobs [V1]-[V6], and buttons [F1]-[F6] beneath the display.

This chapter explains the display, and how these knobs and buttons interact with the display.

fig.104

Display

Buttons F1-F6

Faders INPUT/MULTI IN buttons

The Display (example)

fig.204

Cursor buttons

Knobs V1-V6

Screen title Cursor

Processor currently targeted Current Section and Channel Name of Channel

Parameter icon Current time (Time Code) Current page Number of Scene currently selected

Page 25

To Change Parameters

To change the value of a parameter, move the cursor to select a parameter, and use the knobs [V1]-[V6], faders, and/or buttons [F1]-[F6] to change its value, as described below.

To Move the Cursor

Before Mixing Operations

The cursor – a bold rectangle on the display – selects a single parameter or group of parameters so that their values can be adjusted. To move the cursor, press CURSOR [UP] [DOWN] [LEFT] [RIGHT].

To Set the Values of Parameters

There are certain rules for setting parameters, as listed below. We recommend you keep them in mind.

• parameters are set by turning knobs [V1]-[V6]. Turn the knob below the parameter you wish to change.

• parameters are set by pressing buttons [F1]-[F6]. Press the button for ON – this highlights the parameter in black on the display – or OFF (not highlighted) below the parameter you wish to change.

ON OFF

• parameters are set by turning knobs [V1]-[V6] first, and then pressing buttons [F1]-[F6](SET) to confirm the changes. Use the knob and button below the parameter you wish to change. (Some parameters can be set by pressing [F1]-[F6](SET) only.)

• Parameters shown as faders are set using the console’s faders. If the fader indicated is selected by the cursor, you can also change its value by turning the corresponding knobs [V1]-[V6].

The cursor does not appear on a display where no cursor selection is needed.

If you want to display or change frequently used parameters, or the value of a single parameter on all of the channels at once, you can do this more easily by using the console’s faders (Owner’s Manual “Useful Functions” p.58).

To Operate on [INPUT] or [MULTI IN] channels

To set the input source’s gain level and the tone, such as using the equalizer and so on, press [INPUT] or [MULTI IN] to select the type of channel you wish to setup.

With the selected button lit in red, you can control the behavior of each source signal using the console’s faders or display controls.

Page 26

Mixing Operations

Now let’s do some mixing. This chapter describes two-channel – stereo – mixing of connected sources that will be sent out from the system through its MAIN OUT jacks.

Setting the Input Gain

Let’s adjust the input gain levels of all of your connected instruments and so on. (If you are working on digital connected sources, you do not have to read this section.)

fig.107

Owner’s Manual “Gain, Phantom Power Supply, Phase and Attenuator” (p.68)

Press [PREAMP GAIN].

[PREAMP GAIN] lights and the “PREAMP GAIN” display appears.

fig.206

If you selected DIGITAL IN A/B as your source input, these steps will not be necessary.

You can also set the gain level with the cursor and knobs on the display.

Page 27

Mixing Operations

Use the fader of each channel you wish to adjust to set the input gain level of its connected microphone/instrument/ audio device. (+4 to -64dB)

Do this by first turning up each instrument’s own output volume as much as possible so that it produces a strong, loud signal. Next, on the console, turn its channel’s input gain level as high as possible within the displayed level-meter range. If the input gain goes beyond OVER, appears on the level-meter.

fig.207

The fader, at this point, controls the input gain level of each channel. To send signals from the Main out, set the output level of each channel (go to next page).

If you are using a condenser microphone or any other similar equipment, activate their PHANTOM power.

You can also set each channel’s PHASE ON/OF, PHANTOM POWER ON/ OFF and ATTENUATOR if required by the input source.

When you have finished with these settings, you can set the channel levels and L/R stereo pans.

Page 28

Mixing Operations

Setting the Channel Levels and L/R Pans

Here you can set the output level and L/R pan of each channel in the Main out mix or the Cue bus. You can see each level and pan setting shown numerically on the display.

fig.108

Owner’s Manual “Setting up ON/OFF, SEND LEVEL and PAN for a Channel” (p.70)

3,5

Press [INPUT] or [MULTI IN] to select the type of channel you

2,3

4,5

SHIFT

wish to set up.

Page 29

Mixing Operations

Press [CH LEVEL].

[CH LEVEL] lights in red and the “CH LEV/PAN” display appears.

fig.208

Use the fader of the channel you wish to adjust to change its

output level.

To set the channel level at 0db (100), hold down [CH LEVEL] and press [CH EDIT] of the channel you wish to set at 0db.

Press [CH PAN]

[CH PAN] lights in red and the “CH LEV/PAN” display appears.

Use the fader of the channel you wish to adjust to change its stereo position.

Move the fader upwards for right (R) pan, downwards for left (L) pan. To set the pan to center, hold down [CH LEVEL] and press [CH EDIT] of the

channel you wish to set the pan to center.

To send signals to the Cue bus, hold down [SHIFT] when pressing [CH LEVEL] in Step 2, and when pressing [CH PAN] in Step 4. The buttons will light in green.

When you have finished with these settings, let’s set the master level and stereo balance.

Page 30

Mixing Operations

Setting the Master Level and Master Stereo Balance

Let’s now set the total output level and stereo balance for the Main out mix containing all Input and Multi In sources.

fig.109

Owner’s Manual “Setting Master Mix Levels and Stereo Balance” (p.84)

1 2

12,4

Press [CH LEVEL] to light [CH LEVEL] in red.

Use the [MASTER] fader to set the master level for the Main out.

Press [CH PAN] to light [CH PAN] in red.

Page 31

Mixing Operations

Use the [MASTER] fader to set the overall stereo balance of the Main out.

Move the fader upwards for right(R) pan, downwards for left(L) pan.

Page 32

Mixing Operations

Adjusting a Signal’s Tone (Equalizer)

You can set the desired tone quality of each signal by using an equalizer (EQ).

In this system, each channel provides a parametric EQ. You can select from a 4-band- or a 3-band-plus-1-effect-type EQ. The high-range and low-range bands are shelving type EQs. The middle-high-range and middle-low-range bands are peaking type EQs.

fig.110

Owner’s Manual “Adjusting Various

Channel Settings (Equalizer, etc.)” (p.78)

35 4

Press [INPUT] or [MULTI IN] to select the type of channel you

wish to set up.

Hold down [CH EDIT] of the channel controlling the signal whose tone you wish to adjust, and press [HI-MID/HI].

The “EQ BAND” editing page on the “CH EDIT” display appears.

Page 33

fig.209

Mixing Operations

Press [F1](EQ ON) to turn on the equalizer.

“EQ ON” highlights in black.

Press CURSOR [UP] [DOWN] to select the desired band.

HI (high-range), HI-MID (mid-high-range), LO-MID (middle-low-range), LO (low-range).

Adjust the settings for the selected band.

GAIN

Turn [V2](GAIN) to add (“boost”) or reduce (“cut”) gain (-15.0 to +15.0dB).

FREQUENCY

Turn [V3](FREQ) to adjust the center frequency.

Turn [V4](Q or RESO) to set the bandwidth.

To turn off the equalizer, press [F1] again. “EQ ON” returns to normal

When working with HI-MID and LO-MID bands, you can raise the volume of the frequencies at the center of the selected band by raising the Q level (0.36 to 16). (For the LO band, [V4] sets the HPF-FREQ bands.)

TYPE

Turn [V5](TYPE) to select the LO-MID band’s equalizer type. You can choose from a variety of filter types. The equalizer returns to its normal behavior when you select “TYPE PEAK”.

Page 34

Mixing Operations

Setting Up a Monitor

You can monitor the system through headphones connected to the PHONES jack, or through monitoring speakers connected to the MONITOR OUT jack. You will hear the same sound from both outputs. You can monitor the Cue bus, the Main out, or any Flex Bus by itself.

fig.113

Owner’s Manual “Mixing Procedure 2 (Output and Monitor)” (p.84)

Press [SOURCE SELECT].

The “MONITOR SOURCE” sub-window appears on the display.

fig.211

Page 35

Mixing Operations

2 3

Turn [V1](SELECT) to select the output you want to monitor.

Turn [DIGITAL(MASTER)] to adjust the monitor out level.

• If you have a device connected to the LINE OUT jack on the console, turn [LINE OUT LEVEL] to set the favorable line out level in advance.

• If you are using headphones, turn [PHONES LEVEL] to adjust the volume.

Press [F6](EXIT) to exit.

Page 36

Mixing Operations

Coupling Adjacent Channels

If you are editing a stereo source, you can couple adjacent odd- and evennumbered channels – changes you make to either channel will affect both.

fig.112

534

Owner’s Manual “Simultaneously

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

Press [FADER UTILITY].

The “FADER UTIL” display appears.

Press [F1](CHANNEL LINK).

fig.210

Page 37

Mixing Operations

Press [PAGE UP] [PAGE DOWN] to display the type of channels you want to link.

Select from “INPUT”, “MULTI IN”, or “FLEX BUS”.

Press CURSOR [UP] [DOWN] to select the group of six channels containing the channels you want to link.

Press [F1]-[F6] to turn ON (black highlight) the Channel Link of any pair you wish to couple.

To cancel Channel Link, press [F1]-[F6] again.

The following parameters cannot be linked.

• GAIN

• MAIN SEND PAN

• INPUT SOURCE

• SURROUND DEPTH

• SURROUND PAN

• MULTI OUT SEL

• 48V (PHANTOM) SW

• CH NAME

Page 38

Mixing Operations

Muting a Channel

You can mute a channel’s signal by using the [CH STATUS] buttons.

fig.111

Owner’s Manual “Muting a channel (MUTE)” (p.77)

2 3

123

Press [INPUT] or [MULTI IN] to select the type of channel you wish to mute.

Press [MUTE] to light [MUTE].

Press [STATUS] of the channel you wish to mute.

The muted channel’s [STATUS] button lights in red.

Page 39

Storing a Project

The current state of the console settings can be stored at any time by updating the Project created on a memory card in the beginning of the session. Let’s store the system’s current state as a Project.

fig.114

Mixing Operations

Owner’s Manual “Storing and Recalling All Mixer Settings (Project)” (p.50)

Hold down [SHIFT] and press [STORE].

The “CONFIRM / Store Current Project OK?” message appears.

Press [F5](OK), and then press [F6](EXIT) after storing is completed.

To cancel, press [F6](CANCEL).

You cannot store a Project without an inserted memory card that holds a Project created in advance (QUICK START: p.16).

Page 40

Using Sub Outputs

Signals can be sent from the system’s MAIN OUT to a mixdown recorder or a stage speaker system. They can also be sent to other destinations, such as studio monitors, or even to individual tracks of a multi-track recorder.

Setting Up Monitor Sends for Studio or Stage

The system’s ASSIGNABLE OUTs (Owner’s Manual “Routing Signals to MULTI

OUTs and ASSIGNABLE OUT Jacks” p.93)

a performer in another room –perhaps a studio – or on a stage. You can easily set up two such independent stereo monitoring systems: “STUDIO 1” and “STUDIO 2”. ASSIGNABLE OUTs 1 and 2 can be used as L and R outputs to “STUDIO 1”, and ASSIGNABLE OUTs 3 and 4 as L and R outputs to “STUDIO 2”.

1-4 can send signals to monitors for

Connect a stereo headphone or monitor speaker amplifier to the STUDIO output jacks.

Each monitor mix can be tailored to the needs of the performer listening to it. “STUDIO 1” has a dedicated level knob. This makes “STUDIO 1” handy for the monitoring of vocals on a stage – you can use this knob to quickly lower the “STUDIO 1” volume if the undesirable howling occurs.

To Select Signals for Studio Monitors

fig.115

432

STUDIO 1 level knob

Owner’s Manual “Setting Up Monitor Sends For Studio Or Stage (STUDIO 1 or 2)” (p.95)

Page 41

Using Sub Outputs

Press [SOURCE/STUDIO2].

The “STUDIO1/2” display appears.

fig.212

Press [PAGE UP] [PAGE DOWN] to go to the “STUDIO 1” or

“STUDIO 2” page.

Turn [V1](SOURCE SELECT) to select the type of source signal you wish to monitor.

The following can be selected.

• Input channel 1-24

• Flex Bus 1-12

• Cue bus L/R

• Monitor L/R

• Main out L/R

Turn [V2](LEVEL) to adjust the send level.

The source signals you selected in Step 3 can be heard from ASSIGNABLE OUTs 1 and 2 for “STUDIO 1” L/R, or ASSIGNABLE OUTs 3 and 4 for “STUDIO 2” L/R.

Page 42

Using Sub Outputs

To Talk to Someone on a Stage or out in a Studio (Talkback)

The Talkback feature allows you to talk to a performer or assistant on a stage or in a studio by speaking into the Talkback microphone built into the console. This microphone can be routed to a monitor speaker or other monitoring device.

fig.116

Owner’s Manual “Talkback and Slate to Player” (p.100)

MIC

11,2

Set [INPUT SELECT] to MIC 1.

Before switching the [INPUT SELECT], turn [MIC LEVEL] to turn the mic level to 0.

Hold down [TALKBACK/SLATE] while speaking into the microphone. Your voice is sent to the Main out and/or the Cue bus. The Talkback/Slate is normally active only when the button is held down (it lights in red).

To change the Talkback microphone’s volume, turn [MIC LEVEL].

To prevent howling, be sure to lower the volume of the monitor speakers first when using the Talkback function.

You can also send your voice to various other destinations, such as the ASSIGNABLE OUTs or Flex Busses.

Page 43

Flex Bus

Each mixing processor provides 12 unique multi-purpose busses– these are called “Flex Busses.” A bus – be it a Flex Bus or traditional recording, mixing or Aux bus – is a pathway down which multiple signals can be sent to a common destination. The signals assigned to a Flex Bus can be sent out of the system through various outputs, or can even be directed into another Flex Bus within the system. This allows you to send signals through external signal processors or internal effects, or to monitors for performers on the stage or in the studio.

Example 1

You may wish to use reverb on some channels before sending them to the Main out mix. Route them to a Flex Bus connected to the desired effect.

Example 2

Using Sub Outputs

You can record to individual tracks on an 8 track multi-track recorder by assigning your input channels to any of eight Flex Busses, and using the MULTI OUTs or ASSIGNABLE OUTs to send each Flex Bus to one of the eight tracks on the recorder.

Example 3

Since you can adjust each channel’s send level to a Flex Bus, you can create up to eight separate, fully controllable stage monitor mixes using eight Flex Busses routed to ASSIGNABLE OUTs 1-8.

Let’s start by assigning Flex Busses to outputs.

You may couple a pair of adjacent Flex Busses and use them as stereo Flex Busses (QUICK START: p.36).

Page 44

Using Sub Outputs

Flex Bus Output (MULTI OUT/ASSIGNABLE OUT)

Each of the Flex Bus signal can be routed to a MULTI OUT/ASSIGNABLE OUT. You can send its signal to multi-track recorders, external signal processors, or to stage monitors, for example.

The MULTI OUTs are primarily used for 24 channel digital recording outputs – which calls for an additional purchased VM-24E – but can also be routed to ASSIGNABLE OUT jacks for analog output.

fig.117

35 34

Owner’s Manual “Outputting signals

directly from a Flex Bus” (p.86), “Routing Signals to MULTI OUTs and ASSIGNABLE OUT Jacks” (p.93)

Press [FLEX BUS MASTER 1-12].

If you wish to edit Flex Busses 9-12, proceed to Step 4.

Hold down [CH EDIT] on the channel strip numerically corresponding to the Flex Bus you wish to edit, and press [MAIN/CUE].

The “MAIN/CUE” editing page on the “CH EDIT” display appears.

Page 45

fig.213

Using Sub Outputs

4 5

Press CURSOR [UP] [DOWN] to select the middle field. Turn [V2](BUS MODE) to select “EXT”, and then press [F2](SET) to confirm your choice. (Flex Busses 9-12 do not call for this step.)

The Flex Bus is now set to External.

Press CURSOR [UP] to move the cursor to the upper field.

Turn [V3](MULTI OUT SEL) to select the MULTI OUT number, and then press [F3](SET) to confirm.

The Flex Bus signals are normally sent out from the corresponding MULTI OUTs, but can also be routed to the following ASSIGNABLE OUT jacks for analog output.

• MULTI OUT 17 - ASSIGNABLE OUT 1

• MULTI OUT 18 - ASSIGNABLE OUT 2

• MULTI OUT 19 - ASSIGNABLE OUT 3

If an effect has been inserted on a Flex Bus, it may lose its effect when you switch from “INT” to “EXT”. When this happens, set the effect’s parameters again (QUICK START: p.54).

• MULTI OUT 20 - ASSIGNABLE OUT 4

• MULTI OUT 21 - ASSIGNABLE OUT 5

• MULTI OUT 22 - ASSIGNABLE OUT 6

• MULTI OUT 23 - ASSIGNABLE OUT 7

• MULTI OUT 24 - ASSIGNABLE OUT 8

Press [CH LEVEL].

The Flex Bus’ signals are now set to exit the system from the selected MULTI OUT or ASSIGNABLE OUT jacks.

Page 46

Using Sub Outputs

Flex Bus Output (Internal)

Flex Bus signals can also be routed into the Main out mix. This is convenient if you are planning to add internal effects to signals used in the main mix.

fig.118

Owner’s Manual “Sending Flex Bus signals to internal destinations” (p.87)

3534

Press [FLEX BUS MASTER 1-12].

If you wish to edit Flex Busses 9-12, proceed to Step 4.

Page 47

Using Sub Outputs

Hold down [CH EDIT] on the channel strip numerically corresponding to the Flex Bus you wish to edit, and press [MAIN/CUE].

The “MAIN/CUE” editing page on the “CH EDIT” display appears.

fig.213

4 5

Press CURSOR [UP] [DOWN] to select the middle field. Turn [V2](BUS MODE) to select “INT”, and then press [F2](SET) to confirm your choice.

The Flex Bus signals are now set to Internal.

Press CURSOR [DOWN] to move the cursor to the lower field.

Turn [V1](MAIN LEVEL) to adjust the Main out send level.

The Flex Bus’ signals are now routed into the Main out mix.

Page 48

Using Sub Outputs

Sending Signals to a Flex Bus

Now let’s assign some signals to a Flex Bus. You may wish to monitor a Flex Bus directly – this is possible only when the

Flex Bus is set to External (QUICK START: p.44). To monitor the Flex Bus’ signals, select “FBUS 1-12” at “Setting Up a Monitor” (QUICK START: p.34).

fig.119

Owner’s Manual “Setting a channel’s send level and send point to Flex Buses” (p.72)

2 1

63 24

Press [INPUT] or [MULTI IN] to select the type of channel signals you wish to send to a Flex Bus.

Page 49

Using Sub Outputs

Press FLEX BUS [1]-[6] (lights in red) – or hold down [SHIFT] to select [7]-[12] (lights in green) – to select the Flex Bus to which you want to send the signals.

The “FBUS SEND” display appears.

fig.214

4 5 6

Use the channel faders to adjust each channel’s send level to the Flex Bus.

Use the [MASTER] fader to adjust the Flex Bus’ overall level.

Repeat Steps 1-4 to assign signals to other Flex Busses.

Press [CH LEVEL].

Page 50

Using On-Board Effects

In this system, there are two internal effects available to the Input and Multi In channels, and an additional effect provided for the Main out and monitors. In addition, you can install optional VS8F-2 Effects Expansion Boards – sold separately – allowing the system to produce up to nine effects simultaneously from a single mixing processor (see list below).

• FX-1, FX-2 - Pre-installed

• FX-3, FX-4 - VS8F-2 (optional) installed to EFFECT A inside the

processor

• FX-5, FX-6 - VS8F-2 (optional) installed to EFFECT B inside the processor

• FX-7, FX-8 - VS8F-2 (optional) installed to EFFECT C inside the processor

• MASTER FX - Pre-installed. Only for MASTER OUT and monitors.

Read OWNER’S MANUAL for the Processor “Installing Effects Processors (VS8F-2)” (p.13) to learn about the installation of the VS8F-2.

On using the effects, the following steps will be necessary.

1. Make a decision as to where you wish to insert an effect.

You may insert the effect on a Flex Bus to create a send-return loop effect, or directly on an input channel.

2. To create a send-return loop effect, send the signals to which you wish to

apply the effect to a Flex Bus that is routed to the Main out.

3. Select the desired effect.

Each input also has its own feedback-type delay that produces a delay effect without using the on-board effect.

Now, let’s add some effects to your signals.

Page 51

Send-Return Loop Effect

Let’s try creating a send-return loop effect using the internal effects 1-8.

fig.120

6 2,5

Using On-Board Effects

Owner’s Manual “Determining the effect position” (p.110)

143

Press [EFFECTS 1-8].

The “EFFECTS MENU” display appears.

fig.215

Page 52

Using On-Board Effects

Press CURSOR [UP] [DOWN] to select the FX field.

FX-1-3 are located in the upper field, FX-4-6 in the middle, and FX-7-8 in the lower. If you have not installed an optional VS8F-2, you can only select FX1 or FX-2.

Press [F2], [F4], or [F6] to “EDIT” the effect.

The “EFFECT (1-8)” editing display appears.

Press [PAGE DOWN] to go to the “ASSIGN” page.

At this point, you set the insertion point of the effect.

fig.216

5 6

Flex Bus channel to which an effect is inserted. Flex Bus channel to which an effect is not inserted.

Press CURSOR [UP] [DOWN] to select L or R.

Turn [V4](SEND LEVEL) to adjust the level to be sent into the effect, and [V5](RETURN LEVEL) to adjust the effect’s output level.

The setting’s range is 0 to 127, with no boost or cut applied to the gain (0dB) at 100.

Turn [V2](POSITION) to select “SEND/RTN”

The effect is automatically assigned to its like-numbered Flex Bus.

Page 53

Using On-Board Effects

Set the Flex Bus’ output destination to the Main out.

1. Press [FLEX BUS MASTER 1-12].

2. Hold down [CH EDIT] numerically corresponding to the Flex Bus to

which you have inserted the effect, and press [MAIN/CUE].

3. Press CURSOR [UP] [DOWN] to select the middle field. Then turn

[V2](BUS MODE) to select “INT”, and then press [F2](SET) to confirm.

Route the input channels that hold the signals to which you wish to apply the effect to the selected Flex Bus.

1. Press [INPUT] or [MULTI IN] to select the type of channel signals you

wish to send to the Flex Bus.

2. Press FLEX BUS [1]-[6] (lights in red) – or hold down [SHIFT] to select [7]-

[12] (lights in green) – to select the Flex Bus to which you wish to send the signals.

3. Use the channel faders to adjust each channel’s send level to the Flex Bus.

4. Use the [MASTER] fader to adjust the Flex Bus’ overall level

Go to QUICK START : p.43 for Flex Bus setup instructions.

FLEX BUS MASTER 1-12

SHIFT

CH EDIT

knob

Faders

Cursor

UP/DOWN

MAIN/CUE

FLEX BUS [1] – [12]

[INPUT]

[MULTI IN]

Page 54

Using On-Board Effects

Setting the Onboard Effect Position and Value

You can insert an internal effect at any of several points along a signal’s path. Most effects are inserted on a Flex Bus or the Main out, but there are some effect types you may wish to insert directly into an Input or Multi In channel.

First, make a decision as to where you wish to insert an effect. Then adjust the appropriate send/return values.

fig.120

6 2,5

Owner’s Manual “Determining the effect position” (p.110)

143

Press [EFFECTS 1-8] to select FX-1-8, or [SP MODELING (MASTER FX)] for MASTER FX.

The “EFFECTS MENU” or “MST FX MENU” display appears.

fig.21

Page 55

Using On-Board Effects

Press CURSOR [UP] [DOWN] to select the FX field.

FX-1-3 are located in the upper field, FX-4-6 in the middle, and FX-7-8 in the lower (“MST FX MENU” does not call for this step).

If you do not have an optional VS8F-2 installed, you can only select FX-1 or FX-2.

Press [F2], [F4], [F6], or [F2] on “MST FX MENU” to “EDIT”.

The “EFFECT (1-8)” or “MASTER FX” display appears.

Press [PAGE DOWN] to go to the “ASSIGN” page.

At this point, you set the insertion point of the effect.

fig.216

Flex Bus channel to which an effect is inserted. Flex Bus channel to which an effect is not inserted.

Press CURSOR [UP] [DOWN] to select L or R.

(“MST FX MENU” does not call for this step.)

Turn [V4](SEND LEVEL) to adjust the level to be sent into the effect, and [V5](RETURN LEVEL) to adjust the effect’s output level.

The setting’s range is 0 to 127, with no boost or cut applied to the gain (0dB) at 100.

Page 56

Using On-Board Effects

Turn [V2](POSITION) to define the insertion point of the effect.

The insertion points are as listed below. (Turn [V1] for “MASTER FX” to select from the following: OFF, MAIN, MONITOR.)

• OFF - No effect

• INPUT PRE EQ - Insert before EQ on Input channels

• INPUT PRE FDR - Insert before fader on Input channels

• MULTI IN PRE EQ - Insert before EQ on Multi In channels

• MULTI IN PRE FDR - Insert before fader on Multi In channels

• SEND/RTN (INT) - Effect receives mono input from a Flex Bus and

produces a stereo effect that can be routed to Main out or Cue bus, etc. Signal is sent to each effect via its like-numbered Flex Bus.

• INT FBUS - Insert on Flex Bus (Internal mode)

• EXT FBUS - Insert on Flex Bus (External mode)

• MAIN - Insert on Main out

• MONITOR - Insert on Monitor out

The precise insertion point of the effects can be seen on the “Block Diagram” that is supplied with the processor.

examples

• When using an equalizer or compressor on an input signal itself, insert the effect directly on the Input or Multi In channel.

• When using a reverb for multiple channels, use SEND/RTN (INT) to create a mono-send/stereo-return loop effect, or insert the effect on a Flex Bus for a mono-send-return loop effect.

• When using the Total Compressor on your entire mix, insert it on the Main out.

Page 57

Using On-Board Effects

If you have inserted the effects on an Input or Multi In channel or a Flex Bus, turn [V1](CHANNEL SELECT) to select the intended channel/bus, and press [F1](SET).

The insertion point and the send/return values have been set.

Effects can be inserted on Flex Busses 1-8.

Page 58

Using On-Board Effects

Selecting the Effects

A selection of 200 Preset Libraries (P000 to P199) are provided for the effects. You can select a Library that suits your purpose, and copy it to an effect from 1 through 8, or the Master effect.

fig.121

Owner’s Manual “Selecting the effect library” (p.113)

4425

Press [EFFECTS 1-8] to select “FX-1-8”, or [SP MODELING (MASTER FX)] for “MASTER FX”.

The “EFFECTS MENU” or “MST FX MENU” display appears.

Press CURSOR [UP] [DOWN] to select the FX field.

FX-1-3 are located in the upper field, FX-4-6 in the middle, and FX-7-8 in the lower.

(“MST FX MENU” does not call for this step.)

Page 59

Using On-Board Effects

Press [F1], [F3], [F5], or [F1] on “MST FX MENU” to call up the “LIBRARY”.

The “COPY EFFECTS LIBRARY” sub-window opens on the display.

fig.217

First, turn [V1](SELECT GROUP) to select “U” (User’s) or “P”

(Preset) group. (As preset at the factory, the User’s group holds the same effects as the Preset group.) Next, turn [V2](SELECT NUMBER) to select the desired effect (000 to 199) (Owner’s Manual “Algorithm List” p.119).

Press [F1](PREVIEW) to try out the effect you have selected (“PREVIEW” highlights in black when turned on). To cancel the preview, press [F1] again.

The following algorithms require two circuits.

• Voice Transformer

• Vocoder2

• Mastering Tool Kit

• 31-Band Graphic Equalizer

Press [F2](CP/LOAD) to confirm your effect choice.

The selected effect has been set.

Page 60

Using On-Board Effects

Using a Channel’s Feedback Delay (Channel Delay)

Each channel input has its own delay effect positioned before the EQ in its signal path. The delay is a monaural in/out, and provides various delay effects, including a feedback echo.

fig.122

5 86

Owner’s Manual “Adding a delay-based echo (Feedback Delay)” (p.81)

Press [INPUT] or [MULTI IN] to select the type of channel you wish to set up.

Hold down [CH EDIT] of the channel you wish to apply the delay effect, and press [DELAY].

The “DELAY” page of the “CH EDIT” display appears.

Page 61

fig.218

Using On-Board Effects

4 5

Press [F1](DLY ON) to turn on the Channel Delay.

“DLY ON” highlights in black.

Press CURSOR [DOWN] to move the cursor to the lower field.

Turn [V1](DIRECT) to adjust the dry-out level– the original, un-delayed signal.

Turn [V4](DELAY TIME) to adjust the delay time.

The DELAY TIME sets both the basic delay (shown as TIME) and the spacing between the repeating feedback delays (shown as DISTANCE).

The selected delay time is also shown in samples.

Turn [V2](DLY LEV) to adjust the delay level.

Turn [V3](F-B LEV) to adjust the feedback level.

The feedback level determines the number of times the delay repeats on itself.

The channel’s signal is now being processed by the channel’s delay effect.

You can also use the channel delay as a Comb filter (Owner’s Manual: p.233).

Page 62

Other Important Features

Storing a Mixing State (Scene)

A Scene is a complete set of mixer settings that can be stored at any point during work on a Project. A Project can store 100 Scenes (00-99), that can easily be recalled.

Items Stored in a Scene

A Scene holds the level and pan settings of Input and Multi In channels, the Main out, Cue bus, and Flex Busses. It also stores the settings of all equalizers, delays, and internal patch connections.

To Store a Scene

fig.123

Owner’s Manual “Storing/ recalling/erasing a scene” (p.47)

Page 63

Other Important Features

Hold down [SHIFT] and press [SCENE].

The “SCENE” display appears.

Turn [V1] to select the Scene number you wish to store.

The Scene memory function requires an inserted memory card on which a Project has been created or selected.

The black highlighted field indicates the selected Scene.

Press [F3](REGIST).

The current settings are stored as a Scene.

You can also use the tenkey buttons to store/recall scenes.

Page 64

Other Important Features

To Recall a Scene

fig.124

Owner’s Manual “Storing/ recalling/erasing a scene” (p.47)

Hold down [SHIFT] and press [SCENE].

The “SCENE” display appears.

Page 65

Other Important Features

Turn [V1] to select the Scene number you wish to recall.

The black highlighted field indicates the selected Scene.

Press [F1](RECALL).

The selected Scene is recalled.

Page 66

Other Important Features

Setting Signal Routings on the Display (Virtual Patchbay)

You can establish the routing of signals by making connections between input jacks and ASSIGNABLE OUT jacks using virtual cables shown on the display.

fig.125

Owner’s Manual “Virtual patchbay” (p.60)

Hold down [SHIFT] and press [EZ ROUTING].

The “EZ ROUTING” display appears.

fig.219

Page 67

Other Important Features

Press CURSOR [UP] [DOWN] [LEFT] [RIGHT] to select a group of six input jacks or output jacks.

Turn [V1]-[V6] to change their connections.

• For internal connections using the Virtual Patchbay, signals can also be assigned to several destinations. Multiple signals, however, can not 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

The MULTI OUT connection thread can be cut off by turning the knob all the way to the left. You cannot, however, cut connections between PRE AMP and INPUT CH.

Page 68

Other Important Features

Simultaneously Adjusting the Levels of Multiple Channels

You can group multiple channels together, allowing you to control all of the channels simultaneously. You can use, for example, a single fader to boost or cut all of the grouped channels’ levels at once.

This can be convenient in situations where you want to maintain volume balances between a set of channels while raising or lowering their overall level, such as when working with multiple microphones on a drum kit.

To Create a Group of Channel Faders (Fader Group Master)

You can control the volume of multiple channels’ signals using a single Fader Group Master fader. By raising and lowering this fader, the levels of all channels registered in the group are raised and lowered simultaneously. You can set up as many as 24 Fader Groups.

The following channels can be grouped.

fig.126

Owner’s Manual “Simultaneously

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

• Input channels 1-24

• Multi In channels 1-24

• Flex Bus Masters 1-12

• MIDI faders 1-16

132

Page 69

Other Important Features

Press [FADER GROUP MASTER 1-24]

The “FADER GROUP” display appears – the faders now function as Fader Group Masters.

Press [CH EDIT] of the Fader Group you wish to edit.

The “CH EDIT” display appears with the Fader Group setting screen.

fig.220

In the lower right “GROUP VIEW” field of the screen, use CURSOR [UP] [DOWN] [LEFT] [RIGHT] to select a set of six channels containing the first channel you wish to include in the group.

Press [F1]-[F6] to turn ON (black highlight) / OFF (normal) the desired channel faders. Then repeat Steps 3-4 to register all of the desired channels in the Fader Group selected in Step 2.

If you want to register or change another Fader Group, start over from Step

To change the levels of channels registered in the group, press [FADER GROUP MASTER 1-24] to light [FADER GROUP MASTER 1-24], and use the group’s master fader.

You can also mute a Fader Group in the same way as a normal channel by pressing [MUTE] (QUICK START: p.38).

Page 70

Other Important Features

To Mute a Group of Multiple Channels (Mute Group)

You can also mute a group of multiple channels simultaneously by using the Mute Group function.

This system provides nine Mute Groups. By turning a Mute Group on or off, all channels registered in the group are muted or un-muted simultaneously.

The following channels can be grouped.

fig.127

• Input channels 1-24

• Multi In channels 1-24

• Flex Bus Masters 1-12

• Fader Group Masters 1-24



[1] ~ [9] buttons

Owner’s Manual “Simultaneously

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

342

Page 71

Other Important Features

Hold down [SHIFT] and press [MUTE GROUP].

The “MUTE GROUP” display appears.

fig.221

Press [PAGE UP] [PAGE DOWN] to select the Mute Group

you wish to set up.

For example, if you wish to set up Mute Goup 2, select “GRP 2”.

Press CURSOR [UP] [DOWN] [LEFT] [RIGHT] to select the set of six channels that contains the first channel you want to register in the Mute Group.

Press [F1]-[F6] to turn ON (black highlight) / OFF (normal) the Mute Group. Then repeat Steps 3-4 to register all of the desired channels to the Mute Group selected in Step 2.

If you want to register or change another Mute Group, start over from Step

To turn a Mute Group on or off, press [MUTE GROUP] to light [MUTE GROUP], then press the corresponding [1]-[9] button on the numeric keypad.

Page 72

Some Special Features

This chapter introduces some other special features. The instructions for their use can be found in the Owner’s Manual.

The Spectrum Analyzer

This system is equipped with a Spectrum Analyzer, with which you can measure the frequency characteristics of signals. This Spectrum Analyzer (referred to as “analyzer” for the remainder of this section) divides input signal frequencies into 31 narrow bands, and displays the momentary level of each band on a graph in real-time. This allows you to become visually acquainted with the frequency characteristics of your recorded work, the frequency response of a concert hall, or even to pinpoint problem frequency ranges when a howling occurs.

fig.222

Owner’s Manual “Using the Spectrum Analyzer” (p.184)

Some Examples of How to Use the Spectrum Analyzer

• To create a perfectly balanced mix, you can use the analyzer to view the distribution of frequencies in your material. This can help you determine what EQ is needed during the mixing process.

• Using the built-in noise generator, you can inspect the frequency response of a concert hall by analyzing microphone signals that capture a noise burst sounded in the hall.

• You may use a built-in 31-band graphic equalizer – the same number of bands as the analyzer – to monitor and adjust frequency balance problems in real time.

Page 73

5.1 Surround

This system supports multi-speaker surround sound.

Some Special Features

A normal stereo audio system consists of two speakers – left and right in front of the listener – for stereo playback. A surround system creates a threedimensional sound field with three to six speakers located in the front and rear, as well as to the left and right. You can create surround sound by positioning and adjusting the Flex Bus outputs on the “SURROUND” editing display.

fig.223

Owner’s Manual “PAN and DEPTH for using SURROUND” (p.73), “Surround Output” (p.91)

There are certain conventions for surround sound, according to the number and positions of the speakers. This system supports three of the most popular surround modes, as shown below.

fig.010

2+2 4 speakers

Front L

Rear L

Rear R

Front R

3+1 4 speakers

Front L

Rear

Front R

Center

3+2+1 6 speakers

Front L

Subwoofer

Center

Rear RRear L

Front R

Page 74

Some Special Features

Speaker Modeling

This system provides a powerful collection of exclusive Roland speaker modeling effects.

With Roland’s DS-90 Powered Monitors connected, you can simulate almost any speaker system, ranging from commonly used pro monitor speakers to those found on small TV sets and portable radios. This allows you to try out your mix on a variety of virtual speaker systems.

Speaker Modeling works best with digital speakers such as Roland’s DS-90 Powered Monitors – other speakers may not be able to attain the same degree of sonic accuracy.

With the provided library of speaker modeling effects, you can easily simulate a wide range of speakers, including bright-sounding powered monitors, compact full-range speakers that might be used in a recording studio, or the tiny speakers of a radio-cassette recorder.

Owner’s Manual “Using the Speaker Modeling function” (p.109), “Speaker Modeling” (p.170)

If you are using the following speakers on your PA system, you may find it easy to keep the frequency characteristics at a flat level.

• DS-90

• MS-50

• SST-151

• SST-251

• SSW-351

Page 75

Using EZ Routing Templates

The system provides nine preset EZ Routing templates that can help you quickly configure your console for a wide variety of applications. These templates cover a range of mixing tasks: studio and stage recording, mixing, live sound with stage monitors, and MIDI synchronization for working with bands that play along to MIDI sequencers, for example. They also suggest some of the many ways in which you can configure this highly flexible system.

The nine templates are as listed below.

• 8 Track MDM With MIDI Sound Module Recording

• 24 Track Digital Recording Session With a Rock Band

• 24 Track Mixing Session From Digital Tape

• 94 Channel Mixing Session

• Live Rock Band Concert Mix With 16 Track Digital Recording

• Live Jazz Ensemble With 8 Track Digital Recording

• Public Address, Large Meetings and Media Presentations

• Post Production Recording and Surround Sound Mixing

• Basic Mixer Setup Example

Now let’s try out some of the EZ Routing templates.

Page 76

Using EZ Routing Templates

8 Track MDM With MIDI Sound Module Recording

This EZ Routing template configures the system for recording live elements (vocal, guitar, etc.) along with sequenced MIDI backing tracks (synthesizers, rhythm-box, etc.) on an 8 track digital recorder. (VM-C7200/C7100 Libraries “8 TRACK MDM WITH MIDI SOUND MODULE RECORDING” p. 3)

See your Owner’s Manual for more details. .

Front Panel on the Processor

E.Bass

Syn.Bass

Sampler

Bass Drum

Snare Drum

Rhythm Module

E.Guitar

DI DI

12 13 14 15 16 17 18 19 20

2 3 4 5 6 87 9 10

Rhythm L/R

Rear Panel on the Console

Powered Speaker

in the Control Room

Piano L/R

E.Piano

A.Guitar

Strings L/R

Chorus

Synthesizer

Lead Vocal

Brass L/R

FLEX BUS OUT 9-12

Digital OUT

Digital IN

Monitor Speaker, Headphone for Players

To the Mixing Console

DAT/MD recorder

Amp

Monitor Speaker

Amp

INPUT channel

1 Rhythm module

(Bass Drum)

2 Rhythm module

(Snare Drum) 3 Rhythm module (L) 4 Rhythm module (R) 5 E. Piano (L) 6 E. Piano (R) 7 Strings (L) 8 Strings (R) 9 Brass (L) 10 Brass (R) 11 Sampler (L) 12 Sampler (R) 13 Syn. Bass 14 E. bass 15 E. Guitar 16 A.Guitar 17 Chorus 1 18 Chorus 2 19 Chorus 3 20 Vocal 22 DAT (L) 23 DAT (R) 24 Slate

MULTI-IN channel

1 E. bass 2 E. Guitar 3 A.Guitar 4 Chorus 1 5 Chorus 2 6 Chorus 3 7 Vocal 8 Vocal (additional)

Rear Panel on the Processor

Digital Multi-track Tape Recorder

(TASCAM/ADAT)

8 ch

To the Mixing Processor

Roland DIF-AT (Interface Box)

VM-24E (Option)



MIDI Connections

Connect the MIDI cable to the MIDI OUT socket on the MIDI sync device (sequencer), and to the MIDI IN socket on the sound module.

Page 77

Using EZ Routing Templates

Make your connections as shown on the left.

• Use MIDI cables to connect the system to your MIDI devices (sound module, sampler, digital multi-track recorder, etc.).

• You can set up as many as four monaural monitor outputs for your performers. Connect their headphones or monitor amplifiers to FLEX BUS OUTs 9-12.

• Route any guitar or electric bass through direct boxes or a compact effect processor connected to the system input.

Turn on the power to your devices in the following sequence.

1. Digital multi-track recorder

2. Digital devices (DAT, MD recorder, etc.)

3. Analog devices (instruments, sound modules, effects processors,

microphones, electric guitars, etc.)

4. Mixing processor

5. Mixing console

QUICK START “Turning On the Power” (p.10)

6. Audio equipment (amplifiers, speakers)

Select the EZ Routing template for 8 Track Recording With MIDI Sound Modules.

1. Press [EZ ROUTING], and then press [F1](TEMPLATE)

2. Turn [V1](SELECT GROUP) to select group “P”, and then turn

[V2](SELECT NUMBER) to select “P000: MIDI+8TrREC”.

3. Press [F2](CP/LOAD).

• The “MIDI+8TrREC” template has been recalled.

Configure your MIDI devices to be synchronized to the system.

• As set at the factory, the console is set to transmit MTC (MIDI Time Code) as the master timing reference. Set your external MIDI slave devices to sync to MTC.

• Consult your MIDI devices’ documentation to learn how to set them up for external MTC synchronization.

Owner’s Manual “Calling Up Stored Connections (EZ Routing)” (p.59)

Owner’s Manual “Using with MIDI Devices” (p.222)

Page 78

Using EZ Routing Templates

Set the input gain of each signal on the console.

1. Press [INPUT].

2. Press [PREAMP GAIN].

3. Use the faders to adjust the input gain level of each source.

• If you are using any condenser microphones, activate their PHANTOM power.

Adjust each EQ as necessary.

1. Press [CH EDIT] on the desired channel.

2. Press [PAGE UP] [PAGE DOWN] to select the “EQ BAND” page.

3. Use CURSOR [UP] [DOWN], [V1]-[V6] and [F1]-[F6] to set the EQ.

Set the channel levels.

1. Press [CH LEVEL].

2. Adjust each channel’s output level using its fader.

Owner’s Manual “Gain, Phantom Power Supply, Phase and Attenuator” (p.68)

Owner’s Manual “Adjusting Various Channel Settings (Equalizer, etc.)” (p.78)

Owner’s Manual “Setting up ON/OFF, SEND LEVEL and PAN for a Channel” (p.70)

Set up the monitors.

• Flex Bus 9-12 signals can be sent out of the system via the FLEX BUS OUT 9-12 jacks. You can send and balance the signals sent to FlexBusses 9-12 according to the performers’ needs.

• You can monitor the overall sound through the MONITOR OUT.

• The Talkback signal is assigned to Channel 24.

• You can also send a rough mix into a DAT or MD from the

MONITOR OUT.

• Adjust the live elements’ signals (E. Bass, E. Guitar, Acoustic Guitar, Choruses 1-3, Lead Vocal) at [MULTI IN] 1-8 Channels.

Owner’s Manual “Mixing Procedure 2 (Output and Monitor)” (p.84)

Page 79

Using EZ Routing Templates

)

Adjust the effects.

1. Press [EFFECTS 1-8].

2. Press CURSOR [UP] [DOWN] to navigate to the field showing the

desired effect’s name, and press [F2] [F4] or [F6] to select the effect.

• The following are the effects chosen by the “MIDI+8TrREC” template

in a system with three optional VS8F-2 Effects Expansion Boards (sold separately) installed. The number of available effects listed below will depend on the number of the VS8F-2s installed.

FX1: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for E. Bass (Ch 14). Its right side supplies compression for E. Guitar (Ch 15).

FX2: REVERB 1 (P048)

This effect is inserted on Flex Bus 2, to which channels 1-13 are routed. To add reverb to a channel’s signal, turn up the channel’s send level to Flex Bus 2 until the desired amount of reverb is applied.

FX3: REVERB 2 (P127)

This effect is inserted on Flex Bus 3. This is a general-purpose reverb that can be used on any channel. To add reverb to a channel’s signal, turn up the channel’s send level to Flex Bus 3 until the desired amount of reverb is applied.

Owner’s Manual “Using the Internal Effects” (p.109

FX4: CHORUS (P021)

This effect is inserted on Flex Bus 4. This is a chorus effect suitable for Chorus mics. To add chorusing to a channel’s signal, turn up the channel’s send level to Flex Bus 4 until the desired amount of chorusing is applied.

FX5: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for Chorus mic 1 (Ch 17). Its right side supplies compression for Chorus mic 2 (Ch 18).

FX6: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for Chorus mic 3 (Ch 19). Its right side supplies compression for Lead Vocal mic (Ch 20).

FX7: GUITAR MULTI (P009)

This effect is inserted on Flex Bus 7. This is a chain of effects that can add excitement to the E. Guitar. To add these effects to the channel’s guitar signal, turn up the channel’s send level to Flex Bus 7 until the desired amount of reverb is applied.

3. Use CURSOR [UP] [DOWN], [PAGE UP] [PAGE DOWN], [V1]-[V6] and

[F1]-[F6] to adjust the effects.

Page 80

Using EZ Routing Templates

About The Word Clock

To share digital audio signals between this system and any external digital device, you must first define the Word Clock Master/Slave to each device. The setting orders depend on the types of devices you are using.

Using ADAT types

1. Connect your ADAT to DIF-AT, using an ADAT optical cable and

SYNC cable. (Connect the SYNC cable to the SYNC IN socket on the ADAT.)

2. Hold down [SHIFT] and press [PROJECT] to call up the system menu.

3. Select “DIGITAL I/O” and check if “WORD CLOCK SOURCE” is set to

“INTERNAL”.

4. Repeat Step 2 and Select “SYSTEM CONFIG”.

5. Select the “R-BUS 1-3” page and check if “DIF-AT CONTROL

TARGET” is set to “ADAT”.

Owner’s Manual “About Digital Connections and the Master Clock” (p.31), “Combining Recorders” (p.190)

6. Repeat Step 2 and Select “SYNC CLOCK”.

7. Check if “SYNC MASTER” (Time Code Master) is set to “INT”

(console). If you want to use the recorder as master, you must change the settings.

(See Owner’s Manual “Settings related to synchronization” p. 224.)

8. Set the ADAT input mode to DIGITAL. (The setting orders differ depending on the types of devices. Read the

instructions in the manual of the recorder you are using.)

About ADAT SYNC IN / SYNC OUT sockets

The definition of the ADAT Master/Slave mode depends on whether the SYNC IN is connected or not. If the SYNC IN is connected to DIF-AT, the ADAT will automatically run as Slave. If there are no connections, the ADAT will become Master. When using as Master, make a choice from “MULTI 1-8”, “MULTI 9-16”, or “MULTI 17-24” in Step 3 above.

Page 81

Using TASCAM types

The basic steps are mostly the same as formerly mentioned (ADAT), but there are some exceptions.

• Use a TDIF-1 cable and SYNC cable to connect your TASCAM to DIF-AT.

(Connect the SYNC cable to the REMOTEIN/SYNC IN socket on the TASCAM.)

• In Step 3, set “WORD CLOCK SOURCE” to the TASCAM (“MULTI 1-8”, “MULTI 9-16”, or “MULTI 17-24”).

• In Step 5, set “DIF-AT CONTROL TARGET” to “DA-88”.

• As formerly mentioned, read the instructions in the manual of the

connected recorder. If you are planning to use several TASCAMs in synchronization, you must beforehand set the ID of each recorder.

To Send Signals to a FlexBus

Using EZ Routing Templates

1. Press FLEX BUS [1]-[6] – or hold down [SHIFT] to select [7]-[12] – to

select the Flex Bus to which you want to send the signals.

2. Use the channel faders to adjust each channel’s send level to the Flex

Bus.

3. Use the [MASTER] fader to adjust the Flex Bus’ overall level.

4. Repeat Steps 1-3 to assign signals to other Flex Busses.

8 Track Digital Recording

The 8 Track Digital Recording EZ Routing template sends your signals to Flex Busses routed to an R-BUS, a stream of digital data containing eight separate channels of digital audio. Each of these R-BUS channels is routed to the corresponding track of an R-BUS connected 8 track digital recorder.

R-BUS 1: Electric Bass (Ch 14) R-BUS 2: Lead Guitar (Ch 15) R-BUS 3: Acoustic Guitar (Ch 16) R-BUS 4: Chorus 1 (Ch 17)

Owner’s Manual “Setting a channel’s send level and send point to Flex Buses” (p.72)

R-BUS 5: Chorus 2 (Ch 18) R-BUS 6: Chorus 3 (Ch 19) R-BUS 7: Lead Vocal (Ch 20) R-BUS 8: Lead Vocal spare track (Ch 20)

The 8 Track Mixdown Procedure

During mixdown, you can use MTC to play back tracks recorded on your 8 track digital recorder while your MIDI sequencer runs in sync with the system. Control the MIDI-sequenced materials at [INPUT] channels, and the live elements on the digital recorder at [MULTI IN] channels.

Page 82

Using EZ Routing Templates

Live Jazz Ensemble With 8 Track Digital Recording

This EZ Routing template is designed for an acoustic, jazz-oriented concert or recording session. (VMC7200/C7100 Libraries “LIVE JAZZ ENSEMBLE WITH 8 TRACK DIGITAL RECORDING” (Page 9)

See your Owner’s Manual for more details.

Front Panel on the Processor

Brass section

High Tom

Lo Tom

Overhead Mic

Piano

Bass Drum

Snare Drum

Trumpet

Saxophone

12 13 14 15 16 17 18 19 20

2 3 4 5 6 87 910

Hi-Hat

Drum kit

Rear Panel on the Console

CD Player

INPUT channel

Room Mic

Chorus

Lead Vocal

To the Mixing Console

Amp

Bass

Monitor Speaker

E.Guitar

Powered Speaker

in the Control Room

1 Bass Drum 2 Snare Drum 3 Hi-Hat 4 High T om 5 Lo T om 6 Overhead Mic (L) 7 Overhead Mic (R) 8 E. Guitar 9 Bass 1 10 Bass 2 11 Piano (L) 12 Piano (R) 13 Saxophone 14 Trumpet 15 Brass section (L) 16 Brass section (R) 17 Room Mic (L) 18 Room Mic (R) 19 Chorus 20 Vocal 23 CD (L) 24 CD (R)

MULTI-IN channel

1 Bass 2 Vocal 3 Drum set (L) 4 Drum set (R) 5 Other instruments (L) 6 Other instruments (R) 7 Room Mic (L) 8 Room Mic (R)

Rear Panel on the Processor

Digital Multi-track Tape Recorder

(TASCAM/ADAT)

8 ch

To the Mixing Processor

Roland DIF-AT (Interface Box)

VM-24E (Option)

1-8

Page 83

Using EZ Routing Templates

Make your connections as shown on the left.

• Place monitor amplifier speakers on the stage and connect them to FLEX BUS OUTs 11 and 12 (for a single stereo monitor feed).

• Route any electric guitar or instrument with pickups through direct boxes or a compact effect processor connected to the system input.

Turn on the power of devices in the following sequence.

1. Digital multi-track recorder

2. Digital devices (CD player, etc.)

3. Analog devices (instruments, microphones, electric guitars, etc.)

4. Mixing processor

5. Mixing console

6. Audio equipment (amplifiers, speakers)

Select the EZ Routing template for 8 Track Recording of a Live Jazz Ensemble.

1. Press [EZ ROUTING], and then press [F1](TEMPLATE)

2. Turn [V1](SELECT GROUP) to select group “P”, and then turn

[V2](SELECT NUMBER) to select “P004: Live Jazz”.

QUICK START “Turning On the Power” (p.10)

Owner’s Manual “Calling Up Stored Connections (EZ Routing)” (p.59)

3. Press [F2](CP/LOAD).

• The “Live Jazz” template has been recalled.

Set the input gain of each signal on the console.

1. Press [INPUT].

2. Press [PREAMP GAIN].

3. Use the faders to adjust the input gain level of each source.

• If you are using any condenser microphones, activate their PHANTOM power.

Adjust each EQ as necessary.

1. Press [CH EDIT] on the desired channel.

2. Press [PAGE UP] [PAGE DOWN] to select the “EQ BAND” page.

3.Use CURSOR [UP] [DOWN], [V1]-[V6] and [F1]-[F6] to set the EQ.

Owner’s Manual “Gain, Phantom Power Supply, Phase and Attenuator” (p.68)

Owner’s Manual “Adjusting Various Channel Settings (Equalizer, etc.)” (p.78)

Page 84

Using EZ Routing Templates

Set the channel levels.

1. Press [CH LEVEL].

2. Adjust each channel’s output level using its fader.

Set up the monitors.

• The signals from Flex Busses 11 and 12 are sent to STUDIO 1 and 2. You can send and balance the signals to Flex Busses 11 and 12, according to the performers’ needs.

Adjust the effects.

1. Press [EFFECTS 1-8].

2. Press CURSOR [UP] [DOWN] to navigate to the field showing the

desired effect’s name, and press [F2] [F4] or [F6] to select the effect.

• The following are the effects chosen by the “Live Jazz” template in a

system with three optional VS8F-2 Effects Expansion Boards (sold separately) installed. The number of available effects listed below will depend on the number of the VS8F-2s installed.

FX1: GRAPHIC EQUALIZER (P036)

This effect is inserted on the Main out L/R signals. Use it in conjunction with the Spectrum Analyzer (Owner’s Manual “Using the Spectrum Analyzer” p.184) to tune the system to the frequency characteristics of the concert hall or club in which you are working.

Owner’s Manual “Setting up ON/OFF, SEND LEVEL and PAN for a Channel” (p.70)

Owner’s Manual “Mixing Procedure 2 (Output and Monitor)” (p.84)

Owner’s Manual “Using the Internal Effects” (p.109)

FX2: OFF FX3: REVERB (P000)

This is a general-purpose reverb inserted on Flex Bus 3, to which Channels 1-5, 8, 11-16, 19-20 are routed. To add reverb to a channel’s signal, turn up the channel’s send level to Flex Bus 3 until the desired amount of reverb is applied.

FX4: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for the Bass Drum (Ch 1). Its right side supplies compression for the Snare Drum (Ch 2).

FX5: OFF FX6: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for Vocal 1 (Ch 19). Its right side supplies compression for Vocal 2 (Ch 20).

FX7: COMPRESSOR (P038)

The left channel of this dual-mono compressor provides compression for Bass 1 (Ch 9). Its right side supplies compression for Bass 2 (Ch 10).

3. Use CURSOR [UP] [DOWN], [PAGE UP] [PAGE DOWN], [V1]-[V6] and

[F1]-[F6] to adjust the effects.

Page 85

To Send Signals to a Flex Bus

Press FLEX BUS [1]-[6] – or hold down [SHIFT] to select [7][12] – to select the Flex Bus to which you want to send the signals.

Using EZ Routing Templates

Owner’s Manual “Setting a channel’s send level and send point to Flex Buses” (p.72)

Use the channel faders to adjust each channel’s send level to the Flex Bus.

3 4

Use the [MASTER] fader to adjust the Flex Bus’ overall level.

Repeat Steps 1-3 to assign signals to other Flex Busses.

8 Track Digital Recording

The Live Jazz EZ Routing template sends your signals to Flex Busses routed to an R-BUS, a stream of digital data containing eight separate channels of digital audio. Each of these R-BUS channels is routed to the corresponding track of an R-BUS connected 8 track digital recorder.

FB 1 Assigned to Bass 1, 2 (Ch 9, 10) and sent to R-BUS 1. FB 2 Assigned to Vocals 1, 2 (Ch 19, 20) and sent to R-BUS 2. FB 5, 6 Assigned to the Drum kit: Kick (Ch 1). Snare (Ch 2), Hi Hat (Ch 3),

High Toms (Ch 4), Lo Toms (Ch 5), Overhead Mic L (Ch 6), Overhead Mic R (Ch 7). These signals are mixed in stereo and sent to R-BUS 3 (left), and R-BUS 4 (right).

FB 7, 8 Assigned to other instruments: Guitar (Ch 8), Piano L (Ch 11),

Piano R (Ch 12), Saxophone 1 (Ch 13), Trumpet (Ch 14), Brass Section 1 (Ch 15), Brass Section 2 (Ch 16). These signals are mixed in stereo and sent to R-BUS 5 (left), and R-BUS 6 (right).

FB 9, 10 Assigned to Room mic L (Ch 17), Room mic R (Ch 18). These

signals are mixed in stereo and sent forward to R-BUS 7 (left), and R-BUS 8 (right).

Page 86

Using EZ Routing Templates

Advanced Operations – 8 Track Analog Recording

The Live Jazz EZ Routing template described earlier can also be helpful when recording to an 8 track analog multi-track recorder.

Prepare for analog output to the recorder

In this template, Flex Busses 1, 2, 5-10 are designated as output busses to the 8 track recorder. Connect your recorder’s inputs to the output jacks to which these Flex Busses are routed.

Route the Flex Busses 1 and 2 to ASSIGNABLE OUTs 3 and 4 by following the steps below.

1. Press [EZ ROUTING], and then press [F2](PATCHBAY) to go to the

”PATCHBAY” display.

2. Move the cursor to select the “MULTI OUT 19-24” field.

3. Use [V1] and [V2] to change the internal connections as follows.

MULTI OUT 19 - FLEX BUS 1 MULTI OUT 20 - FLEX BUS 2

• Signals sent to MULTI OUTs 19 and 20 are now routed to ASSIGNABLE OUTs 3 and 4.

• If you are using a VM-7200, Flex Busses 5-10 have their own dedicated outputs. Connect your recorder’s track inputs 3-8 to the processor’s FLEX BUS OUT jacks 5-10. If you are using a VM-7100, repeat Steps 1-3 above to set up ASSIGNABLE OUTs 1-8.

Set the monitor-out from the multi-track recorder

To listen to the recorder, connect the recorder’s track outputs to any free INPUT channel.

Prepare the headphone monitors

If you are using a VM-7200, you can supply a monitor feed to the performers using Flex Busses 11 and 12, which are designated in this template as onstage monitor-speaker sends. If you are using a VM-7100, read the following instructions.

Page 87

Using EZ Routing Templates

Select the desired output for each input channel.

Make sure that each input channel sending a signal to a recorder track is not also sending the signal into the Main out mix.

1. Press [INPUT] to light [INPUT] in red.

2. Press [AUDIO].

When a channel is being routed into the Main out mix, its [STATUS] button is lit in green.

3. Press [STATUS] on each of the channels being sent to the recorder. This

will turn the channel’s [STATUS] light off to indicate that it is no longer being sent into the main mix. Since you will be listening to the recorder’s track outputs as you record, removing the original signals from the main mix will ensure that you won’t be hearing these signals as a double.

4. Press and light [STATUS] on the input channels handling the recorder’s

track outputs. This will allow you to hear what is coming into the recorder, and, therefore, what is being recorded. It will also allow you to play back your recording.

• The VM-7100 does not provide separate dedicated Flex Bus outputs. As a result, all of its ASSIGNABLE OUTs may be needed as outputs to your 8-track recorder, and you will not be able to use these jacks to provide headphone monitor outputs. There are, however, some other ways to provide monitor feeds. You can reduce the number of tracks to be recorded simultaneously, freeing up ASSIGNABLE OUTs for monitoring. As an alternative, you can create several MAIN OUT sends and use one as a monitor feed. (Owner’s Manual “Mixing Procedure 2 (Output and Monitor)” p.84)

• The 31-band EQ inserted on the Main out in the template may not be required during recording. You may consider using other effects (Owner’s Manual “Using the Internal Effects” p.109).

Page 88

Connection Samples

Here are some examples that might be helpful when connecting your equipments.

Connection Samples Using the TASCAM DA Series

48 Track Recording System (TASCAM DA-88 x 6)

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

DA-88 DA-88 DA-88

TDIF-1

SYNC

TDIF-1

DIF-AT DIF-AT DIF-AT

MULTI 1-8

I/O Expansion Board

VM-LINK

Console

VM-C7100/C7200

MIDI OUT

MIDI

Level Meter Bridge MB-24

TDIF-1

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII)

MULTI 9-16

VM-24E

Processor

VM-7200

TDIF-1

MULTI 17-24

Cascade Kit

VM-24C

(MASTER)

MIDI OUT

MIDI

Cascade Kit

VM-24C

(SLAVE)

SEQUENCER/PC

DA-88 DA-88 DA-88

TDIF-1

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

TDIF-1

VM-24E

Processor

VM-7200

TDIF-1

MULTI 17-24

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

• This is a 48 Track Recording System with six TASCAM DA Series recorders in use.

• You can record to individual tracks on 42 analog channels + 4 digital channels at once.

• You can mix 42 analog channels + 4 digital channels + 48 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [DA Series]–[VM Series] order.

• 50 Scenes can be stored per Project (because of cascade connection).

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• Connect the SYNC cable to DIF-AT connected MULTI 1-8 on the Master processor.

• The VM-7000 Series cannot be used as the Word Clock Master.

Page 89

Connection Samples

48 Track Recording System (TASCAM DA-88 x 6 + RC-848)

RC-848

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

SYNC

OUT

SYNC

OUT

SYNC

DA-88 DA-88 DA-88

TDIF-1

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-LINK

Console

VM-C7100/C7200

TDIF-1

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII)

VM-24E

Processor

VM-7200

SYNC

OUT

TDIF-1

MULTI 17-24

Cascade Kit

VM-24C

(MASTER)

MIDI OUT

MIDI

SYNC

Cascade Kit

VM-24C (SLAVE)

SEQUENCER/PC

SYNC

OUT

SYNC

OUT

SYNC

DA-88 DA-88 DA-88

TDIF-1

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

TDIF-1

VM-24E

Processor

VM-7200

TDIF-1

MULTI 17-24

SYNC

OUT

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

MIDI OUT

MIDI

Level Meter Bridge MB-24

• This is a 48 Track Recording System with six TASCAM DA Series recorders in use.

• These recorders are controlled by the RC-848.

• You can record to individual tracks on 42 analog channels + 4 digital channels at once.

• You can mix 42 analog channels + 4 digital channels + 48 tape channels at once.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [DA Series]–[VM Series] order.

• 50 Scenes can be stored per Project (because of cascade connection).

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• Connect the SYNC cable to DIF-AT connected MULTI 1-8 on the Master processor.

• The VM-7000 Series cannot be used as the Word Clock Master.

Page 90

Connection Samples

24 Track Recording System (TASCAM DA-88 x 3)

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

SYNC

OUT

SYNC

OUT

SYNC

DA-88 DA-88 DA-88

TDIF-1

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-LINK

Console

VM-C7100/C7200

MIDI OUT

TDIF-1

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII)

VM-24E

Processor

VM-7200

TDIF-1

MULTI 17-24

MIDI OUT

MIDI

SEQUENCER/PC

MIDI

Level Meter Bridge MB-24

• This is a 24 Track Recording System with three TASCAM DA Series recorders in use.

• You can record to individual tracks on 22 analog channels + 2 digital channels at once.

• You can mix 22 analog channels + 2 digital channels + 24 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [DA Series]–[VM Series] order.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• The VM-7000 Series cannot be used as the Word Clock Master.

Page 91

8 Track Recording System (TASCAM DA-88 x 1)

SYNC

DA-88

TDIF-1

Connection Samples

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

TDIF-1

DIF-AT

R-BUS(RMDBII)

MULTI 1-8

I/O Expansion Board

VM-24E

Processor

VM-7200

VM-LINK

Console

VM-C7100/C7200

MIDI OUT

MIDI

Level Meter Bridge MB-24

MIDI OUT

MIDI

SEQUENCER/PC

• This is an 8 Track Recording System with one TASCAM DA Series recorder in use.

• You can mix 22 analog channels + 2 digital channels + 8 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [DA Series]–[VM Series] order.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• The VM-7000 Series cannot be used as the Word Clock Master.

Page 92

Connection Samples

Connection Samples Using the Alesis ADAT Series

48 Track Recording System (Alesis ADAT x 6)

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

SYNC

OUT

SYNC

OUT

SYNC

ADAT ADAT ADAT

IN OUT

SYNC

OUT IN

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-LINK

Console

VM-C7100/C7200

MIDI OUT

IN OUT

OUT IN

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII)

VM-24E

Processor

VM-7200

SYNC

OUT

IN OUT

OUT IN

MULTI 17-24

Cascade Kit

VM-24C

(MASTER)

MIDI OUT

MIDI

SEQUENCER/PC

SYNC

OUT

SYNC

OUT

SYNC

ADAT ADAT ADAT

IN OUT

OUT IN

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

Cascade Kit

VM-24C

(SLAVE)

IN OUT

OUT IN

VM-24E

Processor

VM-7200

IN OUT

OUT IN

MULTI 17-24

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

MIDI

Level Meter Bridge MB-24

• This is a 48 Track Recording System with six Alesis ADAT Series recorders in use.

• You can record to individual tracks on 42 analog channels + 4 digital channels at once.

• You can mix 42 analog channels + 4 digital channels + 48 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”

• Turn the power on in the [ADAT Series]–[VM Series] order.

• 50 Scenes can be stored per Project (because of cascade connection).

• The Slave processor will not receive any signals from the Master processor.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• Connect the SYNC cable to DIF-AT connected MULTI 1-8 on the Master processor.

Page 93

Connection Samples

48 Track Recording System (Alesis ADAT x 6 and BRC)

MIDI OUT

BRC

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

OUT

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG

2 INPUTS

ADAT ADAT ADAT

IN OUT

OUT IN

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-LINK

MIDI

Console

VM-C7100/C7200

IN OUT

OUT IN

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII)

VM-24E

Processor

VM-7200

IN OUT

OUT IN

MULTI 17-24

Cascade Kit

VM-24C

(MASTER)

MIDI OUT

MIDI

ADAT ADAT ADAT

IN OUT

OUT IN

DIF-AT DIF-AT DIF-AT

Cascade Kit

VM-24C

(SLAVE)

SEQUENCER/PC

IN OUT

OUT IN

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-24E

Processor

VM-7200

IN OUT

OUT IN

MULTI 17-24

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

MIDI OUT

MIDI

Level Meter Bridge MB-24

• This is a 48 Track Recording System with six Alesis ADAT Series recorders in use.

• These recorders are controlled by the BRC.

• You can record to individual tracks on 42 analog channels + 4 digital channels at once.

• You can mix 42 analog channels + 4 digital channels + 48 tape channels at once.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [ADAT Series]–[VM Series] order.

• 50 Scenes can be stored per Project (because of cascade connection).

• The Slave processor will not receive any signals from the MASTER processor.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• On the VM, set “WORD CLOCK MASTER” to “MULTI 1-8”, and “SYNC MASTER” to “EXT/MTC”.

• To switch from Digital In to Analog In, and vise versa, do it on the ADAT, not on the BRC.

Page 94

Connection Samples

24 Track Recording System (Alesis ADAT x 3)

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

SYNC

OUT

SYNC

OUT

SYNC

ADAT ADAT ADAT

IN OUT

OUT IN

DIF-AT DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16

I/O Expansion Board

VM-LINK

Console

VM-C7100/C7200

MIDI OUT

IN OUT

OUT IN

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII)

VM-24E

Processor

VM-7200

IN OUT

OUT IN

MULTI 17-24

MIDI OUT

MIDI

SEQUENCER/PC

MIDI

Level Meter Bridge MB-24

• This is a 24 Track Recording System with three Alesis ADAT Series recorders in use.

• You can record to individual tracks on 22 analog channels + 2 digital channels at once.

• You can mix 22 analog channels + 2 digital channels + 24 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [ADAT Series]–[VM Series] order.

Page 95

48 Track Recording System (Alesis ADAT x 1)

SYNC

ADAT

IN OUT

Connection Samples

SYNC

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

ANALOG 2 INPUTS

OUT IN

DIF-AT

R-BUS(RMDBII)

MULTI 1-8

I/O Expansion Board

VM-24E

Processor

VM-7200

VM-LINK MTC

Console

VM-C7100/C7200

MIDI OUT

MIDI

Level Meter Bridge MB-24

MIDI OUT

MIDI

SEQUENCER/PC

• This is an 8 Track Recording System with one Alesis ADAT Series recorder in use.

• You can mix 22 analog channels + 2 digital channels + 8 tape channels at once.

• You can control the recorder’s Transport and the tracks’ REC switch on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the tape.

• You can also connect the sequencer to the MIDI THRU on the ”LEVEL METER”.

• To run the secuencer in sync with the MIDI CLOCK, connect it to the MIDI THRU on the ”LEVEL METER”.

• Turn the power on in the [ADAT Series]–[VM Series] order.

Page 96

Connection Samples

Connection Sample Using Digidesign Protools

MIDI OUT

MIDI

INTERFACE

Protools (PC)

ADAT Bridge I/O ADAT Bridge I/O

IN OUT

OUT

ININ OUT

MIDI OUT

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

MIDI

ANALOG 2 INPUTS

OUT IN

DIF-AT DIF-AT

MULTI 1-8 MULTI 9-16 MULTI 1-8 MULTI 9-16

I/O Expansion Board

Console

VM-C7100/C7200

MIDI OUT

MIDI

Level Meter Bridge MB-24

OUT IN

VM-24E

Processor

VM-7200

VM-LINK

OUT IN

DIF-AT DIF-AT

R-BUS(RMDBII)R-BUS(RMDBII) R-BUS(RMDBII) R-BUS(RMDBII)

I/O Expansion Board

VM-24E

Cascade Kit

VM-24C

(MASTER)

Cascade Kit

VM-24C

(SLAVE)

Processor

VM-7200

ANALOG

20 INPUTS

DIGITAL

2 INPUTS

• This is a sample for connections with a Protools device using two ADAT Bridge I/O.

• You can mix 42 analog channels + 4 digital channels + 32 Protools channels at once.

• You can control the Protools’ Transport on the VM mixing console.

• You can memorize 100 Location points, and also search a Location by entering Time Codes.

• You can sync Automix with the Protools.

• Turn the power on in the [Protools]–[VM Series] order.

• 50 Scenes can be stored per Project (because of cascade connection).

Page 97

..MEMO..

Connection Samples

Page 98

Connection Samples

..MEMO..

Page 99

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

AFRICA

EGYPT

Al Fanny Trading Office

P.O. Box 2904, El Horrieh Heliopolos, Cairo, EGYPT TEL: (02) 4185531

REUNION

Maison FO - YAM Marcel

25 Rue Jules MermanZL Chaudron - BP79 97491 Ste Clotilde REUNION TEL: 28 29 16

SOUTH AFRICA

That Other Music Shop (PTY) Ltd.

11 Melle Street (Cnr Melle and Juta Street) Braamfontein 2001 Republic of SOUTH AFRICA TEL: (011) 403 4105

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre Claremont 7700 Republic of SOUTH AFRICA

P.O. Box 23032 Claremont, Cape Town SOUTH AFRICA, 7735 TEL: (021) 64 4030

ASIA

CHINA

Beijing Xinghai Musical Instruments Co., Ltd.

6 Huangmuchang Chao Yang District, Beijing, CHINA TEL: (010) 6774 7491

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG TEL: 2415 0911

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 498 3079

INDONESIA

PT Citra Inti Rama

J1. Cideng Timur No. 15J-150 Jakarta Pusat INDONESIA TEL: (021) 6324170

KOREA

Cosmos Corporation Service Station

261 2nd Floor Nak-Won Arcade Jong-Ro ku, Seoul, KOREA TEL: (02) 742 8844

MALAYSIA

Bentley Music SDN BHD

140 & 142, Jalan Bukit Bintang

55100 Kuala Lumpur,MALAYSIA

TEL: (03) 2443333

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

SINGAPORE

Swee Lee Company

150 Sims Drive, SINGAPORE 387381 TEL: 748-1669

CRISTOFORI MUSIC PTE LTD

Blk 3014, Bedok Industrial Park E, #02-2148, SINGAPORE 489980 TEL: 243 9555

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2, Bangkok 10100, THAILAND TEL: (02) 2248821

VIETNAM

Saigon Music

138 Tran Quang Khai St., District 1 Ho Chi Minh City VIETNAM TEL: (08) 844-4068

AUSTRALIA/ NEW ZEALAND

AUSTRALIA

Roland Corporation Australia Pty., Ltd.

38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA TEL: (02) 9982 8266

NEW ZEALAND

Roland Corporation (NZ) Ltd.

97 Mt. Eden Road, Mt. Eden, Auckland 3, NEW ZEALAND TEL: (09) 3098 715

CENTRAL/LATIN AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Florida 656 2nd Floor Office Number 206A Buenos Aires ARGENTINA, CP1005 TEL: (54-11) 4- 393-6057

BRAZIL

Roland Brasil Ltda.

R. Coronel Octaviano da Silveira 203 05522-010 Sao Paulo BRAZIL TEL: (011) 3743 9377

CHILE

Comercial Fancy S.A.

Avenida Rancagua #0330 Providencia Santiago, CHILE TEL: 56-2-373-9100

EL SALVADOR

OMNI MUSIC

75 Avenida Notre y Alameda Juan Pablo 2 No. 4010 San Salvador, EL SALVADOR TEL: (503) 262-0788

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323 Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (525) 668 04 80

La Casa Wagner de Guadalajara s.a. de c.v.

Av. Corona No. 202 S.J. Guadalajara, Jalisco Mexico C.P.44100 MEXICO TEL: (3) 613 1414

PANAMA

Productos Superiores, S.A.

Apartado 655 - Panama 1 REP. DE PANAMA TEL: (507) 270-2200

URUGUAY

Todo Musica

Cuareim 1488, Montevideo, URUGUAY TEL: 5982-924-2335

VENEZUELA

Musicland Digital C.A.

Av. Francisco de Miranda, Centro Parque de Cristal, Nivel C2 Local 20 Caracas VENEZUELA TEL: (02) 285 9218

EUROPE

AUSTRIA

Roland Austria GES.M.B.H.

Siemensstrasse 4, P.O. Box 74, A-6063 RUM, AUSTRIA TEL: (0512) 26 44 260

BELGIUM/HOLLAND/ LUXEMBOURG

Roland Benelux N. V.

Houtstraat 3 B-2260 Oevel (Westerlo) BELGIUM TEL: (014) 575811

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880 DK-2100 Copenhagen DENMARK TEL: (039)16 6200

FRANCE

Roland France SA

4, Rue Paul Henri SPAAK Parc de l'Esplanade F 77 462 St. Thibault Lagny Cedex FRANCE TEL: 01 600 73 500

FINLAND

Roland Scandinavia As, Filial Finland

Lauttasaarentie 54 B Fin-00201 Helsinki, FINLAND TEL: (9) 682 4020

GERMANY

Roland Elektronische Musikinstrumente Handelsgesellschaft mbH.

Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

GREECE

STOLLAS S.A. Music Sound Light

155, New National Road 26422 Patras, GREECE TEL: 061-435400

HUNGARY

Intermusica Ltd.

Warehouse Area ‘DEPO’ Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011

IRELAND

Roland Ireland

Audio House, Belmont Court, Donnybrook, Dublin 4. Republic of IRELAND TEL: (01) 2603501

ITALY

Roland Italy S. p. A.

Viale delle Industrie, 8 20020 Arese Milano, ITALY TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 273 0074

POLAND

P. P. H. Brzostowicz

UL. Gibraltarska 4. PL-03664 Warszawa POLAND TEL: (022) 679 44 19

PORTUGAL

Tecnologias Musica e Audio, Roland Portugal, S.A.

RUA SANTA CATARINA 131 - 4000 Porto -PORTUGAL TEL: (02) 208 44 56

ROMANIA

FBS LINES

Plata Libertatii 1. RO-4200 Cheorgheni TEL: (066) 164-609

RUSSIA

Slami Music Company

Sadojava-Triumfalnaja st., 16 103006 Moscow, RUSSIA TEL: 095 209 2193

SPAIN

Roland Electronics de España, S. A.

Calle Bolivia 239 08020 Barcelona, SPAIN TEL: (93) 308 1000

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (08) 702 0020

SWITZERLAND

Roland (Switzerland) AG Musitronic AG

Gerberstrasse 5, CH-4410 Liestal, SWITZERLAND TEL: (061) 921 1615

UKRAINE

TIC-TAC

Mira Str. 19/108 P.O. Box 180 295400 Munkachevo, UKRAINE TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea Enterprise Park SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 700139

MIDDLE EAST

BAHRAIN

Moon Stores

Bab Al Bahrain Road, P.O. Box 20077 State of BAHRAIN TEL: 211 005

CYPRUS

Radex Sound Equipment Ltd.

17 Diagorou St., P.O. Box 2046, Nicosia CYPRUS TEL: (02) 453 426

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Fa'aliya Hashnya St. Tel-Aviv-Yaho ISRAEL TEL: (03) 6823666

JORDAN

AMMAN Trading Agency

Prince Mohammed St. P.O. Box 825 Amman 11118 JORDAN TEL: (06) 4641200

KUWAIT

Easa Husain Al-Yousifi

P.O. Box 126 Safat 13002 KUWAIT TEL: 5719499

LEBANON

A. Chahine & Fils

P.O. Box 16-5857 Gergi Zeidan St. Chahine Building, Achrafieh Beirut, LEBANON TEL: (01) 335799

OMAN

OHI Electronics & Trading Co. LLC

P.O. Box 889 Muscat Sultanate of OMAN TEL: 959085

QATAR

Badie Studio & Stores

P.O. Box 62, DOHA QATAR TEL: 423554

SAUDI ARABIA

aDawliah Universal Electronics APL

P.O. Box 2154 ALKHOBAR 31952, SAUDI ARABIA TEL: (03) 898 2081

SYRIA

Technical Light & Sound Center

Khaled Ibn Al Walid St. P.O. Box 13520 Damascus - SYRIA TEL: (011) 2235 384

TURKEY

Barkat Muzik aletleri ithalat ve ihracat limited ireketi

Siraselviler Cad. Billurcu Sok. Mucadelle Cikmeze No. 11-13 Taksim. Istanbul. TURKEY TEL: (0212) 2499324

U.A.E.

Zak Electronics & Musical Instruments Co.

Zabeel Road, Al Sherooq Bldg., No. 14, Grand Floor DUBAI U.A.E. P.O. Box 8050 DUBAI, U.A.E. TEL: (04) 360715

NORTH AMERICA

CANADA

Roland Canada Music Ltd. (Head Office)

5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (0604) 270 6626

Roland Canada Music Ltd. (Toronto Office)

Unit 2, 109 Woodbine Downs Blvd, Etobicoke, ON M9W 6Y1 CANADA TEL: (0416) 213 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

As of June 11, 1999

Page 100

02128867 ’99-12-B3-11N

Roland VM-C7200, C7100 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Getting Started

How to Use The QUICK START

Installing the VM-C7100/C7200 Digital Mixing System

About the VM-C7100/C7200 Digital Mixing System

To Connect the VM-C7100/C7200 Digital Mixing System

Connections

Basic Connections

Turning On the Power

To Adjust the Brightness of the Display

If You’re Confused About What’s Being Displayed or What’s Going On

Restoring the Original Factory Settings

Setting the Internal Clock

Preparing a Memory Card

To Format a Memory Card

To Create a New Project

Turning Off the Power

Before Mixing Operations

Internal Signal Flow

1. Input Channels

INPUT...1-24

2. Busses / Output Routes

MULTI OUT

FLEX BUSSES 1-12

MAIN OUT

CUE OUT

How to Operate This System

The Display (example)

To Change Parameters

Mixing Operations

Setting the Input Gain

Setting the Channel Levels and L/R Pans

Setting the Master Level and Master Stereo Balance

Adjusting a Signal’s Tone (Equalizer)

Setting Up a Monitor

Coupling Adjacent Channels

Muting a Channel

Storing a Project

Using Sub Outputs

Setting Up Monitor Sends for Studio or Stage

To Select Signals for Studio Monitors

To Talk to Someone on a Stage or out in a Studio (Talkback)

Flex Bus

Flex Bus Output (MULTI OUT/ASSIGNABLE OUT)

Flex Bus Output (Internal)

Sending Signals to a Flex Bus

Using On-Board Effects

Send-Return Loop Effect

Setting the Onboard Effect Position and Value

Selecting the Effects

Using a Channel’s Feedback Delay (Channel Delay)

Other Important Features

Storing a Mixing State (Scene)

To Store a Scene

To Recall a Scene

Setting Signal Routings on the Display (Virtual Patchbay)

Simultaneously Adjusting the Levels of Multiple Channels

To Create a Group of Channel Faders (Fader Group Master)

To Mute a Group of Multiple Channels (Mute Group)

Some Special Features

The Spectrum Analyzer

5.1 Surround

Speaker Modeling

Using EZ Routing Templates

8 Track MDM With MIDI Sound Module Recording

Live Jazz Ensemble With 8 Track Digital Recording

Advanced Operations – 8 Track Analog Recording

Connection Samples

Connection Samples Using the TASCAM DA Series

48 Track Recording System (TASCAM DA-88 x 6)

48 Track Recording System (TASCAM DA-88 x 6 + RC-848)

24 Track Recording System (TASCAM DA-88 x 3)

8 Track Recording System (TASCAM DA-88 x 1)

Connection Samples Using the Alesis ADAT Series

48 Track Recording System (Alesis ADAT x 6)

48 Track Recording System (Alesis ADAT x 6 and BRC)

24 Track Recording System (Alesis ADAT x 3)