Page 1 All product names mentioned in this document are trademarks or registered trademarks of their respective owners. Copyright © 1999 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Page 2: Important Safety Instructions
CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
Page 3 • Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.
Page 4: Important Notes
(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials. • Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.
Page 5: Table Of Contents
Table of Contents Chapter 1 Introduction ...10 Main Features... 10 Names of Things and What They Do ... 11 A: Display area ... 12 B: Monitor area ... 13 C: Memory/Recall area ... 15 D: Transport area ... 16 E: Fader parameter/Section select area ... 17 F: Channel fader (button) area ...
Page 6 Table of Contents Chapter 4 Useful Functions ...58 Storing Frequently Used Screens (Macro Function)... 58 Storing a screen as a macro... 58 Recalling a screen (macro) ... 58 Clearing a stored macro ... 58 Calling Up Stored Connections (EZ Routing) ... 59 Routing template...
Page 7 Selecting a talkback/slate microphone ... 100 Turning talkback/slate on and adjusting its volume ... 100 Turning the talkback and slate features on and off independently... 101 Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) ...102 Simultaneously Controlling the Signals of Multiple Channels (Link and Group) ... 102 Pairing one channel with another (stereo linking)...
Page 8 Table of Contents Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) ...196 Setup for Synchronized Operation with Recorder ... 196 Selecting the outgoing MIDI sync signals ... 196 MIDI clock and tempo, metronome ... 196 Recording Mixing Operations as the Song Develops (Automix Function) ... 197 What is the automix function? ...
Page 9 Q & A ...264 Basic setup and structure ... 264 Hardware ... 266 Effects... 267 Connecting with other devices... 268 Other matters ... 269 MIDI Implementation...270 Specifications...302 VM-C7200: 94 ch V-MIXING CONSOLE... 302 VM-C7100: 94 ch V-MIXING CONSOLE... 303 Index...304 Table of Contents...
Page 10: Chapter 1 Introduction
Chapter 1 Introduction Main Features This multi-function, high-quality all-digital audio mixing system features the followings: • All-digital mixing of up to 94 input channels (*). * When two VM-7200 systems are cascaded together using a VM-24C Cascade Kit. • Component design with an independent mixing control surface and mixing processor.
Page 11: Names Of Things And What They Do
Names of Things and What They Do The front panel consists of the following areas: * To learn about items on the mixing processor (VM-7200/7100), refer to “Names and Functions of Each Part” in the operation manual attached to the processor. fig.01-1e A.
Page 12: A: Display Area
Chapter 1 Introduction A: Display area fig.01-2 1...CONTRAST knob Sets the density (brightness) of the display. Turn the knob to optimize the display’s visibility for your viewing angle. 2...DISPLAY (LCD) Shows a level-meter screen after system is turned on. Contents of the display change to reflect the current mixing operation.
Page 13: B: Monitor Area
B: Monitor area fig.01-3 1...SOURCE/STUDIO2 button Calls up a screen for selecting the source of the STUDIO 1/2 output that typically feeds studio or stage monitors. Since no knob is provided for STUDIO 2, its level is also adjusted from the screen. * The STUDIO 1 and 2 outputs are monitor signals intended for performers in a studio or on a stage.
Page 14: Input Select Switch
Chapter 1 Introduction 7...INPUT SELECT switch Selects the microphone input to be used for talkback. According to the position of the switch, the microphone built into the panel (MIC 1) or an external microphone (MIC 2) can be selected. Set the switch to “48V ON” only when phantom power is required for an external talkback microphone.
Page 15: C: Memory/Recall Area
C: Memory/Recall area fig.01-4 1...MUTE GROUP, SCENE and LOCATE buttons Press MUTE GROUP, SCENE or LOCATE to set the operating mode of the ten-key numeric keypad. One of the three buttons is typically lit to indicate the keypad’s current operating mode—this may not be the case, however, during certain operations, such as character entry.
Page 16: D: Transport Area
Chapter 1 Introduction D: Transport area fig.01-5 1...COPY/LIBRARY button Calls up the copy/library screen. When [SHIFT] is depressed, pressing the button alternately turns automatic punch-in/out on and off. 2...UNDO/REDO button UNDO/REDO button for Automix. This button causes the last operation to be undone, or a just-undone operation to be redone.
Page 17: E: Fader Parameter/Section Select Area
E: Fader parameter/Section select area fig.01-6 1...PARAM VIEW on Fader buttons These buttons determine the type of parameters—such as Input, Multi In, Flex Bus, or Multi Out parameters—to be displayed. The displayed parameters’ values can be set using the faders and/or a variety of other methods. Press [OTHER PARAMETERS] to present the settings of a specific parameter for all channels simultaneously.
Page 18: Multi Out 1–24 Button
[FLIP] to assign the faders to the control of the multi-in channels. If [ON DISPLAY] is lit and the faders are controlling multi-in channels, pressing [FLIP] will assign them to the input channels. The VM-C7100 has no button for this function. 14...SHIFT button When [SHIFT] is held down, buttons with dual functions—as shown in green...
Page 19: F: Channel Fader (Button) Area
F: Channel fader (button) area fig.01-7 1...STATUS buttons Set of buttons for displaying and selecting the state (mute, solo, audio or Automix) of each input channel. Every time a button is pressed, the state of the item selected in [MODE] (“2” below) changes. 2...MODE select buttons These buttons determine the items to be changed using the set of STATUS buttons (“1”...
Page 20: Rear Panel
Chapter 1 Introduction Rear panel fig.01-8 1...CONSOLE INPUTs MIC/LINE L and MIC/LINE R Jacks for inputting a pair of analog audio signals to the console. These TRS jacks—available for both balanced and unbalanced signals—support a wide range of signals, from a microphone level to line level.
Page 21: Before Operation
Before Operation Connections Connect up the necessary equipment after referring to the connection diagrams on the next page. Precautions on connection Be sure to follow the precautions below. Otherwise, you risk causing malfunction or damage. • To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
Page 22 (e.g. PCS-31) Digital Audio Input/Output on pro audio device Monitor in the Control Room Speaker Monitor Speaker Monitor Amp, Headphone Amp for players AES/EBU jack Digital Powered Speaker (Roland DS-90 etc.) Use two AES/EBU Digital Audio Cables. (max. 200 m) outlet...
Page 23 Digital Multi-track Tape Recorder (TASCAM/ADAT) Rear Panel on the Processor power supply MB-24 (Option) Power Amp PA Speaker 8 ch Roland DIF-AT (Interface Box) R-BUS Cable Main Output Word Clock connector on digital recorder or similar device Digital Input/Output DAT/MD Recorder, etc.
Page 24: Turning The Power On/Off
Chapter 1 Introduction Turning the power on/off Turn each device on in the following sequence. After all devices are turned on, adjust the volume of each. Precautions on turning the power on • Once the connections have been completed (21), turn on power to your various devices in the order specified.
Page 25: Adjusting The Display's Contrast
Adjusting the display’s contrast fig.01-12 CONTRAST The display may be blurred immediately after the power is turned on, after a long period of operation, or depending on the setup location. In this case, turn the CONTRAST knob on the lower left of the display to adjust it. Adjusting internal clock This system has a built-in clock.
Page 26 Chapter 1 Introduction 5. Set the year, month and date. After setting the year, month and date using the V1 (YEAR), V2 (MONTH) and V3 (DATE) knobs, press [F1] (SET) to confirm them. 6. Adjust the time. After setting the hour, minute and second using the V4 (HOUR), V5 (MIN) and V6 (SEC) knobs, press [F4] (SET) to confirm them.
Page 27 5. The battery should now be visible, as shown in the following. fig.01-16 6. Replace the old battery with a new one. fig.01-17 7. Put the battery cover back on. 8. Turn the power on and set the time for the internal clock (25). 9.
Page 28: If You Get Lost
Chapter 1 Introduction If you get lost If an unfamiliar screen appears, or you forget to which step you have proceeded, press [LEVEL METER]. This calls the initial screen. Try again from the beginning on this screen. fig.01-18 Preparing a memory card Before any operation, be sure to create a new project on the memory card.
Page 29: Internal Signal Flow
Internal Signal Flow The diagram below provides an overview of the audio signal flow. For details, refer to the “Block Diagram” attached to the processor (VM-7200/7100). fig.01-9e Effect Insert INPUT Phase normal/invert Analog Input Digital Input A, B (R-BUS Input) Patchbay Flex Bus 1–12 From Flex Bus 1–8 to Cue and Flex Bus 1–12...
Page 30 Chapter 1 Introduction Buses/output routes MAIN OUT Output of the overall stereo mix containing all desired channels, to be sent to the master recorder or the main PA amplifier. Signals can be sent from all input channels and Flex buses. In addition to the dedicated output terminals (MAIN OUT and REC OUT), signals can be directed to any ASSIGNABLE OUT, DIGITAL OUTs A and B and/or any MULTI OUT.
Page 31: About Digital Connections And The Master Clock
About Digital Connections and the Master Clock Digital sound device and master clock To share digital audio signals between this system and any external digital device, a common master clock signal (word clock) must be used. Master clock (word clock) Digital sound devices such as this system, CDs, DAT recorders and digital multi- track recorders, generally operate based on internal master clock signals called “word clocks.”...
Page 32: Digital A And B Terminals And Reception Of Word Clocks
Chapter 1 Introduction DIGITAL A and B terminals and reception of word clocks DIGITAL Ins—the DIGITAL A connector on the rear of the processor and DIGITAL B jack on its front—can receive digital audio signals from digital equipment to which they are connected, even when some other device is the source of the system’s word clocks.
Page 33: Restoring The Original Factory Settings (Factory Reset)
... Type 1/2 and copy protect switches “MODE” specifies whether the digital audio signal to be output is and AES/EBU broadcasting studio (TYPE 1), or a consumer-use digital audio device (TYPE 2). Place the cursor, select with the V3 knob and enter with [F3] (SET). Turning the “COPY PROTECT”...
Page 34: Chapter 2 Basic Operations And Their Settings (System/Project)
Chapter 2 Basic Operations and Their Settings (System/Project) Basic Operations Screen descriptions fig.02-01 Screen Title Processor currently targeted Number of the effect library used (displayed only on the effect setting screen) Screen subtitle Current position (time code) Number of scene currently selected Parameter display section Subtitle shows the section, or the name of the effect...
Page 35: Setting Parameters
Chapter 2 Basic Operations and Their Settings (System/Project) Setting parameters To set parameter values, move the cursor to the target parameter, then set the parameter values using the V1 to V6 knobs/fader/[F1] to [F6]. Moving the cursor The cursor is used for grouping some parameters together as modification targets. To move the cursor, press either CURSOR [UP], [DOWN], [LEFT] or [RIGHT].
Page 36: Level Meter Settings
Chapter 2 Basic Operations and Their Settings (System/Project) Level Meter Settings The level meter is a screen for checking the level of the input or output signal at each point. Since this screen always appears right after powering-on, it also functions as a general screen.
Page 37: Settings For The Panel (Knobs And Display)
Chapter 2 Basic Operations and Their Settings (System/Project) Settings for the Panel (Knobs and Display) Here, you can use the buttons or foot switch to make settings affecting the operation of the unit. 1. While holding down [SHIFT], press [PROJECT]. 2.
Page 38 Determines whether to use the foot switch or the GPI. As for the foot switch, use a Roland DP-2 (pedal switch) or a BOSS FS-5U. Also, the use of a branch cable (PCS-31; sold separately) enables two functions to be controlled.
Page 39: Connection Setting Of Processor And Console
Chapter 2 Basic Operations and Their Settings (System/Project) Connection Setting of Processor and Console Up to two processors and two consoles can be connected to this system. The following screens are for checking and setting the overall system. Checking the overall system 1.
Page 40: When Using Two Consoles
VM-7200/7100 VM-LINK VM-C7200/ VM-C7100 When using two consoles, one is used as the Master Console with full functions, and the other is used as the Slave Console which follows the master. On the slave console, some functions, such as selection of the level meter source and setting of synchronization-related parameters are blocked.
Page 41: Settings Related To Cascade Connection
Chapter 2 Basic Operations and Their Settings (System/Project) Settings related to cascade connection The second processor (2nd UNIT) is cascade connected to the first processor, enabling the number of input channels to be greatly increased. To control the second processor from the console, press [2nd UNIT] on the panel to turn it on. Settings related to cascade connection can be made on the following screen.
Page 42 Chapter 2 Basic Operations and Their Settings (System/Project) off with [F3]. Cautions on cascade connection • The signal from the 2nd UNIT is output after passing the level setting (fader). With cascade connection, normally set the level of the cue, main and Flex Buses of the 2nd UNIT at 100 (0 dB).
Page 43: Chapter 3 Data Storage And Retrieval
Chapter 3 Data Storage and Retrieval Data inside this system is controlled as shown in the figure below. fig.03-01 Internal Memory of the VM-C7200/C7100 PROJECT (Current Settings) SYSTEM SETTING MIXER SETTING SCENE AUTO-MIX DATA Auto-mix data is erased after the power is turned off. Auto-mix data is not recorded in the console but recorded directly into project data stored on the memory card.
Page 44: Copying Libraries Containing Various Settings
Chapter 3 Data Storage and Retrieval Copying Libraries Containing Various Settings Four types of libraries are available as follows: Channel library: Combines major parameter settings of one input channel (user library only). Channel delay library: Combines phase delay (p. 69) and feedback delay (p. 81) of each input channel.
Page 45 5. Confirm selection. After selection, press [F2] (CP/LOAD) to copy the contents of the library to the channel delay. After this operation, the settings cannot be returned to their state prior to copying. How to call up the copy/save screen for each library The following library screens can be called up by pressing [COPY/LIBRARY] in Steps 2 and 3 on the previous page (press a desired channel in place of [CH EDIT]): •...
Page 46 Chapter 3 Data Storage and Retrieval 4. Select the number of the library to which you want to save the settings. First, turn the V1 knob (SELECT GROUP) to select U (“User”). Then turn the V2 knob (SELECT NUMBER) to select the number corresponding to the desired library name on the display.
Page 47: Storing A Mixing State (Scene)
Storing a Mixing State (Scene) A Scene is a complete set of mixer settings that can be stored at any given point during work on a project. One hundred Scenes (numbered 00 to 99) can be stored per project. Many items are stored in a Scene, including level and pan settings of input and multi-in channels, the main channel, Cue and Flex Buses, as well as equalizer and delay settings and internal patch connections.
Page 48: Selecting Which Parameters Will Be Recalled
Chapter 3 Data Storage and Retrieval Selecting which parameters will be recalled Hold [SHIFT] and press [SCENE] (this is the same as pressing [EDIT]) to open a screen for detailed Scene-related settings. Every time [PAGE DOWN] is pressed, screens change as shown below, allowing you to select the parameters to be recalled with the Scene switching.
Page 49 fig.03-06 • Positioning the cursor on each section of the screen enables a channel whose settings change according to the Scene selected using [F1] to [F6] (black highlight indicates that the Scene is valid). CURRENT SCENE NAME EDIT page fig.03-07 •...
Page 50: Storing And Recalling All Mixer Settings (Project)
Chapter 3 Data Storage and Retrieval Storing and Recalling All Mixer Settings (Project) A memory card may be able to hold more than one project. IMPORTANT... Please read the following notices: • In order to successfully save a project on a card, the following steps are required before starting a new operation.
Page 51: Preparing A Memory Card For Project Storage
Preparing a memory card for project storage Before using a new memory card or one that has been used for another purpose, be sure to format it. Formatting a memory card 1. Hold [SHIFT] and press [PROJECT] – this is the same as pressing [SYSTEM]. After the menu appears, press fig.03-08 2.
Page 52: Storing A Project
Chapter 3 Data Storage and Retrieval Creating a new project 1. Press [PROJECT]. After a menu appears, press fig.03-10 2. Press [F2] (NEW). fig.03-11 3. Press [F2] (CREATE) and then [F5] (OK). After the creation process is completed, press [F6] (EXIT). Storing a project The current state of the console can be stored at any time by overwriting and updating the new project already created on a card.
Page 53: Re-Naming/Erase-Protecting A Project
Re-naming/erase-protecting a project A project can be re-named using up to 12 characters as follows: • Name the current project on the project-naming screen. • When a memory card is used, store the same project on the card to overwrite and update it.
Page 54 Chapter 3 Data Storage and Retrieval but turn [F6] (PROTECT) off so that it’s not highlighted in Step 2.
Page 55: Selecting A Project
Selecting a project More than one project may be stored on a memory card, allowing you to store completely different console settings for each project. Select and switch projects by following the procedure below. After a project is selected, the console settings are replaced with that of the selected project, removing the prior settings.
Page 56: Copying A Project
Chapter 3 Data Storage and Retrieval Copying a project A copy of a project can be created on the same card that contains the original. This is useful when you want to start mixing from default console settings of your own design.
Page 57: Copying Data To/From A Memory Card
Copying Data to/from a Memory Card In this system, the project currently selected on a memory card is designed to reflect the project on the console. This means that a memory card should always be installed and should be considered a part of the console’s internal memory that can be removed and transported to another system.
Page 58: Backing Up A Memory Card
Chapter 3 Data Storage and Retrieval Backing up a memory card A memory card can be backed up using following procedure. For backing up, a formatted (p. 51) memory card for copying to (the destination card) must be prepared in addition to the memory card to be copied from (the source card).
Page 59: Chapter 4 Useful Functions
Chapter 4 Useful Functions Storing Frequently Used Screens (Macro Function) When switching back and forth between screens to compare and adjust settings (when editing effect algorithms, for example), various steps must be performed over and over. In this case, any of the screens can be stored as a “macro” so that you can jump to the screen simply by pressing a single button.
Page 60: Calling Up Stored Connections (Ez Routing)
Calling Up Stored Connections (EZ Routing) The EZ Routing function allows you to quickly establish a set of saved connections. EZ Routing can be a connection template or a virtual patchbay setup. Routing template This type of EZ Routing instantaneously calls up one of the pre-defined internal connection templates, each of which is designed to serve a particular purpose.
Page 61: Virtual Patchbay
Chapter 4 Useful Functions Saving the current connections as a template 1. Press [EZ ROUTING] and [F1] (TEMPLATE), in that order. This calls up the template select/save screen. 2. Select a user template location in which to save the current connections. Turn the V1 knob (SELECT GROUP) to select U (“User”).
Page 62 ig.04-04 Press [PAGE DOWN] to call the multi-in channel patchbay screen. On this screen, the assignments from multi-in inputs (each input to R-BUS) to multi-in channels can be changed. fig.04-05 * For internal connections using the virtual patchbay, signals can also be assigned to several destinations.
Page 63: Directly Calling Up A Screen For Each Channel (Quick Channel Edit)
Chapter 4 Useful Functions Directly Calling Up a Screen for Each Channel (Quick Channel Edit) “Channel edit” (CH EDIT) refers to the displaying of each input (1–24), multi-in or Flex Bus channel’s parameters on the screen and the changing of their settings. It allows you to focus your attention on a single channel.
Page 64: Directly Jumping To A Parameter's Screen (Quick Channel Edit)
23 (10) Setting of signals to be sent to main/Cue buses 24 (12) General channel parameter list screen * A bracketed channel number indicates that the VM-C7100 console is used. Example: [CH EDIT] + [CH VIEW] fig.04-ChView Chapter 4 Useful Functions...
Page 65: Simultaneously Setting Several Channels' Parameters (Parameter View On Fader)
Chapter 4 Useful Functions Simultaneously Setting Several Channels’ Parameters (Parameter View on Fader) When parameters such as levels, pans and the amount of signal sent to the Flex Buses are to be set, these parameters’ values for all channels can be displayed at the same time.
Page 66 [FLEX BUS 1 to 6]/[FLEX BUS 7 to 12] Sets signals to be sent to Flex Buses 1 to 12. • PAN: Fixed sound position • LEVEL • BUS SEND: Activates/de-activates sending of signal to a Flex Bus. [PREAMP GAIN] Sets the preamplifier.
Page 67 Chapter 4 Useful Functions How to set parameters fig.04-11e [V1]–[V6] knobs Fader / [V1]–[V6] knobs [F1]–[F6] In most cases, the cursor is moved to the desired parameter and the [V1] to [V6] knobs are used to change the setting of the selected parameter. In addition to this, parameters can be set using faders in the “parameter view on fader”...
Page 68: Chapter 5 Mixing Procedure 1 (Input Channel)
Chapter 5 Mixing Procedure 1 (Input Channel) There are two different types of channels for bringing audio into the system: • INPUT channels handle standard microphone, line and digital audio signals. • MULTI IN channels handle audio from digital multi-track devices connected to an optional R-BUS connector.
Page 69: Gain, Phantom Power Supply, Phase And Attenuator
Chapter 5 Mixing Procedure 1 (Input Channel) Gain, Phantom Power Supply, Phase and Attenuator Various settings are available for the analog pre-amplifier at each channel’s input section. These include: • Gain (not available when DIGITAL A/B is selected as the input source) •...
Page 70: Correcting A Signal's Time Delay (Phase Delay)
Correcting a signal’s time delay (PHASE DELAY) A channel’s input can be delayed to correct phasing problems between the its signal and the signals of other channels. When you use more than one microphone on an instrument (or other sound source), there may be a difference in the amount of time it takes for the sound to reach each microphone—it takes roughly 3 ms (milliseconds) for sound to travel the distance of a meter from an instrument to a microphone.
Page 71: Setting Up On/Off, Send Level And Pan For A Channel
Chapter 5 Mixing Procedure 1 (Input Channel) Setting up ON/OFF, SEND LEVEL and PAN for a Channel Signals can be sent from each channel to the main stereo mix or to the cue bus. You can view the SEND LEVEL and PAN settings for all channels at the same time and use the faders or the V1 to V6 knobs to adjust them.
Page 72 5. Set the channel’s SEND LEVEL and PAN to the main mix by adjusting: • SEND LEVEL using the V1 (MAIN LEVEL) knob. SEND LEVEL can be set anywhere from - to +6 dB. • PAN using the V2 (MAIN PAN) knob. PAN can be set from L63 (far left) to R63 (far right).
Page 73: Setting A Channel's Send Level And Send Point To Flex Buses
Chapter 5 Mixing Procedure 1 (Input Channel) Setting a channel’s send level and send point to Flex Buses Preparing to adjust Flex Bus send levels using PARAM VIEW on Fader 1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of input you want to set up.
Page 74: Pan And Depth For Using Surround
7. Choose the point from within the channel’s signal flow from which signal will be sent to the Flex Buses. Use CURSOR [UP] to select the region shown in the figure on the right, and then use the [V1] to [V6] knobs to select the desired points. You can choose PreEQ, PreFD (Pre Fader) or PstFD (Post Fader).
Page 75 Chapter 5 Mixing Procedure 1 (Input Channel) Setting surround panning in CHANNEL EDIT mode * The figure on the screen shot below shows an example of surround with the 3+2+1 system selected. If the 2+2 or 3+1 system is selected, blank space is displayed for output channels (Flex Buses) not being used.
Page 76: Setting Up Direct-Output Channels
Linking a channel to its adjacent odd/even partner 1. Move the cursor to STEREO LINK on the screen. Follow Steps 1 to 4 in the previous section, “Setting surround panning in CHANNEL EDIT mode” to move the cursor to STEREO LINK. 2.
Page 77 Chapter 5 Mixing Procedure 1 (Input Channel) Preparing to send input channels to multi-outs in CHANNEL EDIT mode 1. Press [INPUT] in the SECTION area. 2. Press the desired channel’s [CH EDIT]. 3. Use [PAGE UP]/[PAGE DOWN] to select the MAIN/CUE page. You can jump to this screen by pressing the [MAIN/CUE] STATUS button while holding down the desired channel’s [CH EDIT].
Page 78: Switching The Status Of A Channel
Switching the Status of a Channel The STATUS button above each fader switches the status of the corresponding input channel. The STATUS button can change the following four items: Mute: When on, silences the channel’s signal. Solo: When on, isolates the channel’s signal, silencing other channels.
Page 79: Listen To A Channel By Itself (Solo)
Chapter 5 Mixing Procedure 1 (Input Channel) Listen to a channel by itself (SOLO) Channel signals—both input and multi-in—can be set to SOLO mode in which all the other channels are temporarily muted, allowing you to listen to the channel alone (SOLO).
Page 80 Setting up equalizers by band 1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the desired type of input. 2. Press the desired channel’s [CH EDIT]. 3. Use [PAGE UP]/[PAGE DOWN] to select the [EQ BAND] page. fig.05-19 4.
Page 81 Chapter 5 Mixing Procedure 1 (Input Channel) TYPE provides a variety of configuration choices for the LO-MID band: OFF: Disables the LO-MID band altogether for simpler, three- band EQ. LPF: Acts as a low-pass filter (to cut off higher frequencies) Acts as a band-pass filter (to cut off all frequencies other BPF: than the selected frequency).
Page 82: Cutting Unwanted Low Frequencies (High Pass Filter)
Cutting unwanted low frequencies (HIGH PASS FILTER) HPF (HIGH PASS FILTER) reduces the level of frequencies below a selected cutoff frequency. Each channel contains a high-pass filter as device separate from the channel’s EQ. An HPF has only two settings: ON/OFF and Cutoff Frequency. Setting up a high-pass filter 1.
Page 83 Chapter 5 Mixing Procedure 1 (Input Channel) on, DLY ON is highlighted in black. 5. Press CURSOR [DOWN] to access up the parameters in the bottom section of the display: Level of the direct sound: Turn [V1] (DIRECT) from 0 to 127 to set the amount DELAY TIME: * DELAY TIME defines the length of the delay and the time interval of repeats.
Page 84: Naming Input Channels
Naming input channels You can assign a name to each input channel and multi-in channel—this can make it easier to identify your individual signals as you work. You can use short names, such as “Vo3,” with up to 3 characters, and long names, such as “Vocal 03,” with up to 12 characters.
Page 85: Chapter 6 Mixing Procedure 2 (Output And Monitor)
Chapter 6 Mixing Procedure 2 (Output and Monitor) This system provides a variety of output types: MAIN OUTs, MONITOR OUTs, ASSIGNABLE OUTs and two stereo digital audio outputs. In addition, when a VM- 24E (purchased separately) is installed, 24 MULTI OUT connections—utilizing three R-BUS terminals—become available.
Page 86: Reducing Signal Distortion (Attenuator)
3. Use the master fader to set the cue bus master level. fig.06-02 4. Call up the cue bus master stereo balance by pressing [CH PAN] (CUE PAN) in the PARAM VIEW on Fader area while holding down [SHIFT]. The CH PAN button turns green. 5.
Page 87: A Flex Bus And Its Output
Chapter 6 Mixing Procedure 2 (Output and Monitor) A Flex Bus and Its Output A bus is a pathway down which one or more signals can travel to a common destination. A bus can be routed to an internal effect, an external device or to another bus.
Page 88: Sending Flex Bus Signals To Internal Destinations
The Flex Bus is now set to use an external output. To use the VM-7100—which does not provide FLEX BUS OUT jacks—or output signals from Flex Buses 1 to 4, select a MULTI OUT or ASSIGNABLE OUT as follows: Selecting a Flex Bus’s output 1.
Page 89 Chapter 6 Mixing Procedure 2 (Output and Monitor) Sending signals to MAIN OUT or cue bus Flex Bus levels or panning can also be set from this screen. 1. Follow step 4 in the previous section, and use CURSOR [DOWN] to select the parameters in the lower section of the display.
Page 90: Naming A Flex Bus Channel
Naming a Flex Bus channel Each Flex Bus channel can be named. This helps you quickly identify the purpose of each Flex Bus. Long names (up to 12 characters) such as “Ext.Reverb” and short names (up to 3 characters) such as “Rev” can be set for each channel. Calling up the Flex Bus channel name screen 1.
Page 91 Chapter 6 Mixing Procedure 2 (Output and Monitor) 4. While holding down [SHIFT], press [PREAMP GAIN] in the PARAM VIEW on Fader area to select SURROUND DEPTH. fig.06-11 5. Change the front/rear position of each channel using its fader. Calling up the CHANNEL EDIT mode screen 1.
Page 92: Surround Output
Surround Output The system supports the use of multi-speaker surround sound. This section gives an overview of how it works and explains how to use surround outputs. The surround function While a stereo system plays sounds through two speakers positioned right and left in front of the listener, a surround system creates the illusion of a two-dimensional sound space with the listener located in the middle.
Page 93 Chapter 6 Mixing Procedure 2 (Output and Monitor) Setting up surround outputs 1. Press [PROJECT] ([SYSTEM) while holding down [SHIFT]. This calls up the system menu screen. fig.06-14 2. Press CURSOR [UP] and then [F2], and select SURROUND. fig.06-15 3. Turn on the surround master switch. Use CURSOR [UP] to select a parameter in the upper section of the display.
Page 94: Routing Signals To Multi Outs And Assignable Out Jacks
VM-24E (purchased separately) must be installed in the system. A MULTI OUT is a digital output connection made using a Roland R-BUS connector. A source that’s selected for MULTI OUTs 17 to 24 will also be sent to a corresponding...
Page 95: Naming Each Output Channel
Chapter 6 Mixing Procedure 2 (Output and Monitor) Naming each output channel Each MULTI OUT (ASSIGNABLE and DIGITAL OUT) channel can be named so that you can easily identify its purpose. Both long names (up to 12 characters) such as “ADAT Tr1”...
Page 96: Setting Up Monitor Sends For Studio Or Stage (Studio 1 Or 2)
2. Press CURSOR [DOWN] and then [F2], and select DITHER. This calls up the dither-setting screen. fig.06-20 3. Select the set of multi-out channels that contains the one you want to set. Use CURSOR [UP], [DOWN], [LEFT] or [RIGHT] to select 1 to 6, 7 to 12, 13 to 18 or 19 to 24.
Page 97: Setting Up A Monitor For The Mixing Engineer
Chapter 6 Mixing Procedure 2 (Output and Monitor) Selecting the STUDIO 1 or 2 source signal (source select) 1. Press [SOURCE/STUDIO2]. The STUDIO1/2 screen appears. fig.06-21 2. Select STUDIO 1 or 2 using [PAGE UP] or [PAGE DOWN]. 3. Select the desired source signal for STUDIO 1 or 2. Turn [V1] (SOURCE SELECT) to select one of the following: •...
Page 98: Turning The Monitor Send To Each Output Jack On Or Off
OUTs 1 and 2 on the rear of the console. You can monitor directly from one of these jacks by connecting the system to two Roland DS-90 digital monitor speakers arranged in a series, and setting the speakers’ rear ASSIGN switches to LEFT and RIGHT, respectively.
Page 99: Specifying A Signal To Monitor (Source Select)
Chapter 6 Mixing Procedure 2 (Output and Monitor) Specifying a signal to monitor (source select) The following types of signal can be selected for monitored: MAIN OUT (the main mix), cue bus, input channels 15 to 24 and Flex Buses 1 to 12. Selecting a monitor source, Method 1 1.
Page 100: To Instantaneously Lower The Monitoring Volume (Dim)
To instantaneously lower the monitoring volume (DIM) Press [DIM] to instantly lower the monitor volume to a pre-set level. Press the button again to turn dimming off and return the monitoring volume to its normal level. Pre-setting the dim level 1.
Page 101: Talkback And Slate To Player
Chapter 6 Mixing Procedure 2 (Output and Monitor) Talkback and Slate to Player The talkback feature allows you to communicate with a performer or assistant on a stage or in a studio by speaking into a microphone on the console that’s routed to a monitor speaker or similar device.
Page 102: Turning The Talkback And Slate Features On And Off Independently
Turning the talkback and slate features on and off independently You can select the talkback and slate destinations for the signal captured by the talkback microphone by setting the TALKBACK and SLATE parameters. Turning the talkback and slate features on and off independently 1.
Page 103: Chapter 7 Mixing Procedure 3 (Settings Common To Input And Output)
Chapter 7 Mixing Procedure 3 This chapter explains mixing operations, such as those common to inputs (e.g. input channels and multi-in channels) and outputs (e.g. Flex Buses, cue bus and multi-out channels). Simultaneously Controlling the Signals of Multiple Channels (Link and Group) The stereo-link and group functions (e.g.
Page 104: Muting Several Channels (Mute Group)
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Muting several channels (mute group) Each channel can be muted using [STATUS]. To mute several channels at the same time, use the mute-group function. This system provides nine mute groups. When a mute group is turned on or off, all channels registered in the group are muted or un-muted, respectively.
Page 105: Simultaneously Changing Multiple Channels' Levels (Fader-Group Master)
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) 3. Use CURSOR [UP], [DOWN], [LEFT] or [RIGHT] to select the desired set of six channels. In the above figure, Input Channels 13 to 18 are selected. 4. Changing a channel’s mute-group registration A channel can be registered in a mute group or deleted from a mute group using its corresponding F1 to F6 button—when the channel is registered, it’s highlighted on the display.
Page 106 Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Registering and deleting a fader group Each channel fader can be registered in a fader group as follows: 1. Press [FADER GROUP] MASTER 1-24 in the SECTION area. This calls up the fader group master screen and turns the channel strips into fader- group master channels.
Page 107 Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Controlling the mute/solo state of each fader-group master fader A fader-group master can be soloed or muted. This has the effect of soloing or muting all channel faders registered in the fader group. 1.
Page 108: Mute- And Solo-Related Settings
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Mute- and Solo-Related Settings Though mute (p. 77) and solo (p. 78) functions can be applied to individual channels, basic mute and solo behavior for all channels can be set for each project using the following method: Solo volume and setting the channel signal-flow location to be soloed...
Page 109: Linking Stereo-Link-To Destination
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Linking stereo-link-to destination When a stereo image is spread across two channels, you can use the stereo-link feature to solo or mute the two channels as a single entity, using a single SOLO or MUTE button.
Page 110: Chapter 8 Using The Internal Effects
Chapter 8 Using the Internal Effects How the Internal Effects Are Organized The system allows you to use the internal effects simultaneously for up to nine stereo channels per processor. Effects (FX) 3 to 8 require effects expansion boards (sold separately).
Page 111: Operation For Producing An Effect
Chapter 8 Using the Internal Effects Operation for Producing an Effect Determining the effect position You can assign effects to the signal paths shown in the block diagram on a separate sheet (provided with the processor). Note that the positions to which the effects are assigned are limited for each effects processor.
Page 112 Determining the effect position 1. Invoke the Effect screen menu. For effects 1 to 8, press [EFFECTS 1-8], or for the master effect, press [SP MODELING (MASTER FX)]. fig.08-002 2. Select the effect column to use with CURSOR [UP] and [DOWN]. The effects appear on the screen in the following order from top to bottom: 1 to 3, 4 to 6, and 7 to 8.
Page 113 Chapter 8 Using the Internal Effects 6. Specify the position to which the effect is to be assigned. Using the V2 knob (POSITION), select one of the following. (For the master effect, you can select OFF, MAIN or MONITOR with the V1 knob.) •...
Page 114: Setting Input/Output Levels
Setting input/output levels In the Assign Effect page, you can specify the input level for each effect unit and output levels from the effects. The levels are set with the V4 (SEND LEVEL) and V5 (RETURN LEVEL) knobs after selecting L or R with CURSOR [UP] and [DOWN]. (For the master effect, use the V3 and V4 knobs.
Page 115 Chapter 8 Using the Internal Effects 3. Open the effect library list. Press LIBRARY for the desired effect. ([F1], [F3] or [F5]. [F1] for the master effect.) The sub-window for the library list opens. fig.08-005 4. Select a library to check its effect. First, turn the V1 knob (SELECT GROUP) to select U (User) or P (Preset).
Page 116: Editing Effects
Editing Effects Determining the Algorithm The basic operation of each effect is based on the algorithm selected. When starting to set effects from the beginning, first select an algorithm. You can do this by choosing a prototype library having the same name as the algorithm from the preset effect library.
Page 117 Chapter 8 Using the Internal Effects 4. Select [PARAM-1] or [PARAM-2] with PAGE DOWN. The Edit Parameter page opens. (The Edit Parameter page may not contain the [PARAM-2] page.) The parameter pages vary from algorithm to algorithm. (The illustration below shows an example of Mic Simulator). For descriptions of the on- screen parameters, see Algorithm List on and after p.
Page 118: Saving An Effect State (Effect Library)
Saving an Effect State (Effect Library) You can save up to 200 edited effects in the main unit as user libraries (U000 to U199) (p. 43). To save the user libraries, use [F3] (SAVE) on the Select Library screen. Saving edited effects as user libraries (SAVE) 1.
Page 119: Naming Effects Libraries
Chapter 8 Using the Internal Effects Naming effects libraries You can also name the effect libraries. We suggest that you give them meaningful names which allow you to readily know their intended use or effect. Calling up the screen for setting effect library names (Steps marked * are not required for the master effect.) 1.
Page 120: Algorithm List
Algorithm List This section describes the effects associated with the respective algorithms and internal terminations. Read this section when you need to check the algorithms in the built-in library (pre-set library) or before creating a new library. To add reverbs (Reverb-related) Reverb ...
Page 121 Chapter 8 Using the Internal Effects Reverb This feature adds reverberation to the sound to simulate the size of space such as a hall and a room. fig.08-04 Input L 3BAND EQ Input R Sound types Sounds around us can be analyzed and categorized into three types: direct sounds, early reflections and reverberation.
Page 122 Parameter (full name) 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type)
Page 123 Chapter 8 Using the Internal Effects Delay Delay is a feature to add a delayed sound to the direct sound in order to add thickness to the sound or to yield a special effect. fig.08-08 Input L Input R Delay sounds and the spread of sound As a delay is output in the stereo mode, it sounds from the right and the left sides.
Page 124 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Output Level)
Page 125: Stdly-Chorus (Stereo Delay Chorus)
Chapter 8 Using the Internal Effects StDly-Chorus (Stereo Delay Chorus) Delay and Chorus can be combined to create spaciousness. fig.08-10 Input L Input R How feedback works for Delay and Chorus Feedback is the feature to return the effect sound to its input. The amount of feedback is set with Feedback Level (Feedback Level).
Page 126 Chorus: Adds spaciousness and depth to the sound. Sw (Switch) Rate (Rate) Depth (Depth) Feedback Level Lch (Lch Feedback Level) Feedback Level Rch1 (Rch Feedback Level) Pre-Delay (Pre-Delay) Effect Level (Effect Level) Direct Level (Direct Level) CrossFB Level Lch (Lch Cross-Feedback Level)-100–100 CrossFB Level Rch(Rch Cross-Feedback Level)-100–100 3 BAND EQ (Equalizer) Sw (Switch)
Page 127: Stps-Delay (Stereo Pitch Shifter Delay)
Chapter 8 Using the Internal Effects StPS-Delay (Stereo Pitch Shifter Delay) Changes the pitch of the direct sound. Corrects vocals out of tune or adds thickness to the sound by mixing the direct sound and a sound at a shifted pitch. fig.08-12 Input L Input R...
Page 128 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Output Level)
Page 129 Chapter 8 Using the Internal Effects Vocoder The vocoder creates “talking instrument” effects. To use Vocoder, input an instrumental sound into the left channel and a vocal sound into the right channel. The instrumental sound is split into ten frequency bands to be processed according to its frequency components.
Page 130: Ch Rss
What is RSS? It stands for Roland Sound Space. This is one of the Roland’s proprietary effect technologies that enables three- dimensional location of the sound source on the ordinary stereo system. Not only control on effect for the front and the sides of the audience, this technology provides controls on directions (azimuth) such as up, down and rear as well as control on distance to localize the sound source.
Page 131 Chapter 8 Using the Internal Effects Precautions for using RSS In order to obtain the maximum effect from the RSS, observe the following points. • Acoustically “dead” rooms are most suitable. • A single-way speaker is suited. However, a multi-way type will do if it incorporates the coaxial or virtual coaxial system.
Page 132: Delay Rss
Delay RSS The right-side, left-side and center Delay sounds can be set separately. As RSS is connected to both the right and left outputs, the sound image of the sound from the left-side channel is localized at 90˚ to the left and that of the sound from the right-side channel at 90˚...
Page 133: Chorus Rss
Chapter 8 Using the Internal Effects Chorus RSS RSS is connected to the Chorus output. The sound image is defined with the sound from the left-side channel located at left 90˚ and the sound from the right-side channel at right 90˚. fig.08-22 Input L Input R...
Page 134 GuitarMulti 1–3 These provide multi-effects for guitar sounds suited for rock. Guitar Multi 1 through 3 differ in the degree of sound distortion. Guitar Multi 1 provides the highest degree of distortion and Guitar-Multi 3 the lowest. fig.08-26 Input L Compressor Heavy Metal Input R...
Page 135 Chapter 8 Using the Internal Effects Parameter (full name) Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Output Level (Level) Sustain (Sustain) Attack (Attack) Tone (Tone) Heavy Metal/Distortion/Overdrive: Gives distortion to the sound. Sw (Switch) Output Level (Level) Gain (Gain)
Page 136 Flanger: Adds effects similar to ascending/descending sound of a jet. Sw (Switch) Rate (Rate) Depth (Depth) Manual (Manual) Reso (Resonance) Delay: Adds a delayed sound to the direct sound, adding depth to the sound or creating special effects. Sw (Switch) Time (Delay Time) Shift (Shift) Feedback Time (Feedback Delay Time)
Page 137: Vocal Multi
Chapter 8 Using the Internal Effects Vocal Multi This feature provides a multi-effect suited for vocals. fig.08-30 Input L Noise Limiter/ Suppressor De-esser Input R Cutting distortion in vocals Limiter can be used to suppress signals at a high level to prevent sound distortion. To do this, follow the steps below: Mode (Mode): Limiter Threshold (Thresh):...
Page 138 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Output Level)
Page 139: Guitarampsim (Guitar Amplifier Simulator)
Chapter 8 Using the Internal Effects Rotary Simulates a rotary speaker. Behaviors of high and low frequency band Roters can be set up separately, allowing realistic modeling of unique surging sensation. This effect is suited for organ sounds. fig.08-32 Input L Input R Parameter (full name) Noise Suppressor:...
Page 140 Simulates the pre-amplifier section of a guitar amplifier. 14 types of pre-amplifiers that can be simulated are listed below: The type can be set with pre-amplifier Type. JC-120: The sound of a Roland. Clean Twin: The sound of standard built-in type vacuum tube amplifier.
Page 141 Chapter 8 Using the Internal Effects Parameter (full name) Noise Suppressor: Mutes noise in the silent mode. Sw (Switch) Thresh (Threshold) Release (Release) G-Amp (Pre-Amplifier): Simulates the pre-amplifier section of a guitar amplifier. Sw (Switch) Volume (Volume) Master (Master) Gain (Gain) Type (Pre-amplifier type) Bass (Bass) Middle (Middle)
Page 142: Stereo Phaser
Stereo Phaser A phaser adds a phase-shifted sound to the direct sound, producing a twisting modulation that creates spaciousness and depth. fig.08-36 Input L Phaser L Phaser R Input R Phaser and Flanger The effects obtained with Phaser and Flanger are very similar. Both add twisting modulation effects to the sound, creating spaciousness and depth.
Page 143: Stereo Flanger
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q)
Page 144 Parameter (full name) Flanger: Adds effect similar to ascending/descending sound of a jet. Sw (Switch) Rate (Rate) Depth (Depth) Manual (Manual) Reso (Resonance) Effect level (Effect Level). Direct Level (Direct Level) CrossFB Level (Cross-Feedback Level) Polarity (Polarity) 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency)
Page 145: Dual Compressor/Limiter
Chapter 8 Using the Internal Effects Dual Compressor/Limiter Compressors suppress signals at high levels. Limiter is used to control excessive input. Each of the above is used to prevent sound distortion or to control dynamics. fig.08-40 Input A Input B Input A is input into the L-channel side of the effect.
Page 146 Parameter (full name) Compressor: Compresses the entire output signals when the input volume has exceeded a preset value. Limiter: Suppresses the volume of the section where the input volume has exceeded the preset value. Sw (Switch) Ratio (Ratio) Thresh (Threshold Level) Attack (Attack Time) Release (Release Time) Detect (Detect In)
Page 147 Chapter 8 Using the Internal Effects Gate Reverb This is a reverb in which the reverberation is muted during its decay. Its reverse mode can be used in conjunction with Accent sounds to obtain sounds like from reverse playback of a tape. fig.08-42 Input L Input R...
Page 148 Parameter (full name) Gate Reverb: Mutes the revert sound midway. Sw (Switch) Time (Gate Time) Pre-Delay (Pre-Delay) Thick (Thickness) Density (Density) Mode (Gate Mode) Effect Level (Effect Level). Direct Level (Direct Level) Accent Delay (Accent Delay Time) Accent Level (Accent Level) Accent Pan (Accent Pan) 3 BAND EQ (Equalizer) Sw (Switch)
Page 149: Multitapdly (Multi-Tap Delay)
Chapter 8 Using the Internal Effects MultiTapDly (Multi-Tap Delay) This is a Delay feature that can set 10 delay sounds separately. fig.08-45 Input L Input R Parameter (full name) Multi-Tap Delay: Issues 10 delay sounds separately. Time Ch1 - Ch10 (Delay Time 1 - 10) Level Ch1 - Ch10 (Delay Level 1 - 10) Pan Ch1 - Ch10 (Pan 1 - 10) Effect Level (Effect Level).
Page 150 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Output Level)
Page 151: Stereo Multi
Chapter 8 Using the Internal Effects Stereo Multi fig.08-47 Input L Suppressor Suppressor Input R Parameter (full name) Noise Suppressor: Mutes noise in the silent mode. Sw (Switch) Thresh (Threshold) Release (Release) Compressor: Compresses the entire output signals when the input volume exceeds a specified value.
Page 152 3 BAND EQ (Equalizer) Sw (Switch) Hi Gain (High Gain) Hi Freq (high frequency) Hi Q (High Q) Hi Type (High Type) Mid Gain (Middle Gain) Mid Freq (middle frequency) Mid Q (Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Output Level)
Page 153 Chapter 8 Using the Internal Effects Reverb 2 This gate reverb works in either of two modes of gate operation (Gate/Ducking). In the Gate mode, the gate opens when a certain volume (Threshold Level) is exceeded while in the Ducking mode, the gate opens when the volume becomes as low as or lower than Threshold Level.
Page 154 Parameter (full name) Reverb 2: Gate reverb with two modes of gate operation Sw (Switch) Type (Reverb Type) Time (Reverb Time) Pre-Delay (Pre-Delay) Density (Density) Effect Level (Effect Level). Direct Level (Direct Level) LoPass Freq (Low Pass Filter) HiPass Freq (High Pass Filter) Gate (Gate) Gate Thresh (Threshold) Gate Attack (Attack)
Page 155: Space Chorus
Chapter 8 Using the Internal Effects Space Chorus This is a chorus effect simulating Roland SDD-320. The effect to be changed can be reproduced by turning the four buttons 1 to 4 on or off. fig.08-51 Input L Space Chorus...
Page 156 Parameter (full name) Lo-Fi Processor: Creates lo-fi sounds. Sw (Switch) Effect Level (Effect Level). Direct Level (Direct Level) Rate (Rate) Bit (Bit) PreFilt (Pre Filter Switch) PstFilt (Post Filter Switch) Realtime Modify Filter: Creates sounds with a twist. Sw (Switch) Gain (Gain) Cutoff Freq (Cutoff Frequency) Reso (Resonance)
Page 157: Parametriceq (4-Band Parametric Equalizer)
Chapter 8 Using the Internal Effects ParametricEQ (4-Band Parametric Equalizer) This is an equalizer that can freely change the cutoff frequency or the band width (Q). With this equalizer, you can create sounds with subtlety. fig.08-55 Input A 4Band EQ A 4Band EQ B Input B Cutting noise.
Page 158: Graphic Eq (10-Band Graphic Equalizer)
*1: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shelv (Shelving Type),” the setting for Lo Q or High Q is invalid. Frequency (p. 237), Q (p. 243), Shelving Type (p. 244), Peaking Type (p. 242), Parametric Equalizer (p. 241) Graphic EQ (10-Band Graphic Equalizer) This Equalizer sets the boost/cut amount by each segment of the frequency divided into ten bands.
Page 159 Chapter 8 Using the Internal Effects Hum Canceler Eliminates annoying hum (or “surge” sounding “boon”). fig.08-59 Input A Hum Canceler Hum Canceler Input B Removing hum Hum is a noise with a certain low frequency. Hum is generated mostly due to ingression of part of alternating current into signals as alternating current is converted into direct current in the power circuit.
Page 160 Vocal Canceler When a stereo source is being input from CD or DAT and so on, this cancels the sound which is located in the stereo center, such as the vocal or bass. fig.08-61 Input L Vocal Canceler Input R Depending on the music source, sounds that you do not wish to be canceled may be canceled as well.
Page 161 Chapter 8 Using the Internal Effects *1: Setting to “Unlimit” means that the frequency that can be played back on this unit is the lower limit. *2: Setting to “Unlimit” means that the frequency that can be played back on this unit is the upper limit. *3: If Low Type (Lo Type) or High Type (Hi Type) is set to “Shelv (Shelving Type),”...
Page 162: Voice Transformer
Voice Transformer You can convert male voice into female voice, female voice into male voice, and human voice into mechanical voice to create sounds of various qualities by controlling the base pitch and the formant separately. fig.08-63 Input L Input R Voice Transformer can be used only with FX-1, FX-3, FX-5 and FX-7.
Page 163 Chapter 8 Using the Internal Effects Vocoder 2 (19) This is a 19-band vocoder. Provides clear sounds that used to be impossible with the previous vocoders. fig.08-65 Input L (Instrument) VOCODER Input R(Mic) Noise Suppressor • Instrumental sounds are input into the L channel side of Effect. Therefore, it is required to insert-connect “Lch” of Effect to the channel handling instrumental sounds.
Page 164 Parameter (full name) Vocoder: The pitch is specified as in the instrumental sound while the tone is output in the human voice. Character Ch1 - 19 (Voice Character Channels 1 - 19) SynInput level (Synthesizer In Level) MicSens (Microphone Sensitivity) Microphone Mix level (Microphone Mix) Microphone PAN (Microphone Pan) Microphone HPF Freq (Microphone HPF)
Page 165: Micsimulator (Microphone Simulator)
Input B Selecting the microphone used for recording. Input of Mic Converter selects the type of microphone to be used recording. DR-20: Roland DR-20 (dynamic microphone from Roland) SmlDy: Small Dynamic Microphone (dynamic microphone used for instruments and vocal) HedDy:...
Page 166 Parameter (full name) Link: Channel B follows the settings for Channel A. Link (Link Switch) Mic Converter A/B: Converts the characteristics of the low-end general-purpose microphone into the characteristics of the high-end microphone for studio application. Sw (Switch) Input (Input) Output (Output) Phase (Phase) BassCut A/ (Bass Cut Filter): Cuts off undesired low frequency band sounds such as pop noise.
Page 167: Bndisolater (3-Band Isolator)
Chapter 8 Using the Internal Effects 3BndIsolater (3-Band Isolator) Sharply cuts off components by frequency band to eliminate undesired sounds. Useful to eliminate undesired sounds and take out only specific sounds from a CD. Isolator can make sounds completely perish, unlike ordinary equalizers that leave some sounds even with the gains of the respective frequency bands set to the minimum.
Page 168 TapeEcho201 Simulates the tape echo section of the Roland RE-201 Space Echo. Capable of reproducing very subtle behavior at the measuring instrument level as well as adding subtle changes in pitch due to deterioration of the tape or inconsistency in tape rotation fig.08-71...
Page 169 Chapter 8 Using the Internal Effects AnalogFlnger (Analog Flanger) Simulates Roland SBF-325 Analog Flanger. Provides three types of flanger effects as well as chorus-like effect. fig.08-73 Input L Input R Types of Flanger Effect Analog Flanger provides a variety of flanger effects or chorus effects. Selecting the desired flanger effect type in Mode.
Page 170 AnalogPhaser Two units of analog phasers are placed in parallel to accommodate stereo sounds. Surges unique to Phaser is created by adding sounds with the phase shifted periodically. fig.08-75 Input L Analog Phaser L Analog Phaser R Input R Number of stages of Phaser As the number of sages of Phaser increases, the number of frequency points suppressed increases as well, generating sharper effect.
Page 171 BassCut Freq Input R Speaker Modeling is adjusted so that its optimal effect is achieved when a Roland Powered Monitor DS-90 is used in digital connection. Its effect may not be fully achieved with other types of speakers. Speaker types applicable for modeling The characteristics of the following types of speakers can be modeled.
Page 172 Parameter (full name) SP Modeling (Speaker Modeling): Selects the speaker subject to characteristics modeling. Model (Model) Output Speaker (Output Speaker) Phase (Phase) BassCut Freq (Bass Cut Filter): Cuts off undesired low sounds such as pop noise. Sw (Switch) Freq (Frequency) Lo Freq Trim (low frequency Trimmer): Adjusts the low frequency band sounds.
Page 173: Mastering Tool Kit
Chapter 8 Using the Internal Effects Mastering Tool Kit This Kit is a compressor that splits sounds into different frequency band to unify their volumes. With this feature, you can perform mastering at the optimized level when mixing down into an MD or a CD or when producing your original audio CD using the CD-R disk.
Page 174 Lo Mid Q (Low Middle Q) Lo Gain (Low Gain) Lo Freq (low frequency) Lo Q (Low Q) Lo Type (Low Type) Output Level (Level) BassCut (Bass Cut Filter): Cuts off undesired low frequency band sounds such as pop noise. Sw (Switch) Freq (Frequency) Enhancer:...
Page 175 Chapter 8 Using the Internal Effects Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Hi Thres (High Threshold) Hi Raito (High Ratio) Hi Atck (High Attack) Hi Rel (High Release) Mid Thres (Middle Threshold) Mid Ratio (Middle Ratio) Mid Atck (Middle Attack) Mid Rel (Middle Release)
Page 176: Band Graphic Equalizer
31 Band Graphic Equalizer This Graphic Equalizer allows setting at 31 points. Each point is a frequency of a multiple of 20, 25 or 31.5 within the range from 20 Hz to 20 kHz. fig.08-83 Input A BAS-CUT A BAS-CUT B Input B 31-Band Graphic Equalizer can be used only with FX-1, FX-3, FX-5 and FX-7.
Page 177: Stereo 2-Band Dynamics
Chapter 8 Using the Internal Effects Stereo 2-Band Dynamics Enhances signals to further reduce low-level signals such as noise and to further increase high-level signals by using Enhancer, Expander, Compressor and Limiter. Noise involved in recording in a tape is reduced while the dynamic range of tapes and wireless microphones is expanded.
Page 178 Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Hi Thres (High Threshold) Hi Raito (High Ratio) Hi Atck (High Attack) Hi Rel (High Release) Lo Thres (Low Threshold) Lo Ratio (Low Raito) Lo Atck (Low Attack) Lo Rel (Low Release) Mixer:...
Page 179: Dual Mono Dynamics
Chapter 8 Using the Internal Effects Dual Mono Dynamics Although its configuration is almost the same as that of Stereo 2-Band Dynamics, it is monaural, designed for channel insert. However, as the Link feature is provided, it can be used in the stereo mode with Link set On. fig.08-87 Input A Bass Cut...
Page 180 Expander: Expands the dynamic range at a certain ratio. Sw (Switch) Thres (Threshold) Ratio (Ratio) Attack (Attack) Release (Release) Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Level (Level) Thres (Threshold) Ratio (Ratio) Attack (Attack) Release (Release) Limiter:...
Page 181: Master Effect
Chapter 8 Using the Internal Effects Master Effect What is master effect? Besides ordinary FX-1 through FX-8 effects (FX-3 through FX-8 can be activated only when VS8F-2 is installed, which is sold separately), a stereo effect of a different category referred to as Master Effect, is available. This is an insertion effect specially developed for processing sounds output from MAIN OUT and MONITOR OUT of VM- 7100/7200 as well as for sounds output from PHONES (head set) of this equipment.
Page 182 EQ A/B (10-Band Parametric Equalizer) Sw (Switch) Input Level (Input Level) Band 1 - 10 Gain (Bands 1 - 10 Gain) Band 1 - 10 Freq (Bands 1 - 10 Frequency) Band 1 - 10 Q (Bands 1 - 10 Q) Output Level (Output Level) Expander: Expands the dynamic range at a certain ratio.
Page 183: Band Dynamics
Chapter 8 Using the Internal Effects 3-Band Dynamics With this, the frequency band can be split into three bands (low, middle and high frequency bands) and Compressor can be applied on these bands respectively (frequency-independent compressor). This makes it possible to achieve a variety of effects such as enhancing the low frequency band only and suppressing the high frequency band only.
Page 184 Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) Hi Thres (High Threshold) Hi Raito (High Ratio) Hi Atck (High Attack) Hi Rel (High Release) Mid Thres (Middle Threshold) Mid Ratio (Middle Ratio) Mid Atck (Middle Attack) Mid Rel (Middle Release) Lo Thres (Low Threshold)
Page 185: Chapter 9 Using The Spectrum Analyzer
Chapter 9 Using the Spectrum Analyzer This system provides a built-in spectrum analyzer with which you can measure the frequency content of audio signals. This spectrum analyzer—referred to simply as the “analyzer” for the remainder of this chapter—divides input signals into narrow frequency bands and displays the momentary level of each band on a graph in real time.
Page 186: Specifying An Effect To Used By The Analyzer
Specifying an effect to used by the analyzer 1. Press [ANALYZER/OSC/GEN]. This calls up the VIEW page of the ANALYZER screen. 2. Press [PAGE DOWN] to call up the SETUP page. 3. Using CURSOR [DOWN] to select FX UNIT FOR ANALYZER. 4.
Page 187: Using A Test Signal (Generator/Oscillator)
Chapter 9 Using the Spectrum Analyzer Using a test signal (generator/oscillator) By playing reference signals into an acoustic space—such as a concert hall or control room—and analyzing them, you can determine the frequency characteristics of the space. For this purpose, the built-in analyzer has a noise generator/test oscillator. You can select the type of waveform to be generated—pink noise, white noise, or sine wave at a specified frequency.
Page 188: Specifying The Bus To Which Reference Signals Are Sent
Specifying the bus to which reference signals are sent Reference generator/oscillator signals can be sent to one of the Flex Buses (1 to 12), Cues L or R, or MAIN OUT L or R. Specifying the output reference signal output 1.
Page 189 It’s recommended that you to use a commercially available monaural microphone designed especially for the measurement of frequency characteristics. A Roland DR-20 general-purpose dynamic microphone can also be used for this purpose. If you use a DR- 20, press [PAGE UP] or...
Page 190: Measuring Outputs Using The Talkback Microphone
• Equalizer band select Select a frequency band by turning [V3] (BAND) or using [F3] (BAND-) and [F4] (BAND+). The black triangle shows the currently selected frequency. • Equalizer gain Turn [V4] (GAIN) to boost or cut the level of the selected band. •...
Page 191: Chapter 10 Combining Recorders
Chapter 10 Combining Recorders Remotely Controlling a Recorder This system can be connected to digital multitrack recorders made by TEAC (TASCAM DA-98/88/38) and Alesis (ADAT series) via the R-BUS connector. When this connection is complete, you can control the recorders remotely using the Transport Area or the system’s status button.
Page 192: Preparations For Remote Control (Mmc Settings)
Note about time code Before implementing remote control of the multitrack recorder, you need to specify the device that will provide the time standard (time code master). When the built-in auto-mixing function is not used, this setting may not be compulsory. Depending on recorders, however, remote control may not be available if the parameter is not set.
Page 193: Changing Track Status (Audio Status)
Chapter 10 Combining Recorders Changing track status (Audio status) Track by track status of the multitrack recorder (recording, playing, mute, etc.) can be selected by switching the system’s audio status. If you turn SECTION [MULTI OUT 1-24] on, the same function as that of the remotely controlled recorder becomes available from the audio status button.
Page 194: Naming A Locate Point
Naming a locate point Call a naming screen for locate points 1. While holding down [SHIFT], press [LOCATE] (EDIT). A list of currently registered locate points will be displayed. 2. Select a point number you want to give a name. You can select the name using the V1 knob (SELECT NUMBER).
Page 195: Specifying A Point By Direct Entry Of Time
Chapter 10 Combining Recorders 2. Select a location number to be edited. You can select the number using the V1 knob (SELECT NUMBER). If you press [F1] (RECALL) at this time, the number will be located at the registered time. 3.
Page 196: Loop And Auto Punch In/Out
Loop and auto punch in/out Using the Loop Function, you can control connected recorders remotely so that it automatically repeats “Play This function also allows automatic execution of Punch In and Punch Out to be turned on during recording. As long as this operation continues, the system continuously sends play record running external recorder at a predetermined timing.
Page 197: Setup For Synchronized Operation With Recorder
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Setup for Synchronized Operation with Recorder Selecting the outgoing MIDI sync signals The Automix Function (p. 197) is used for saving time-based mixing operations done in the process of mixing down works of music, or when doing post-production work for videos.
Page 198: Recording Mixing Operations As The Song Develops (Automix Function)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Recording Mixing Operations as the Song Develops (Automix Function) What is the automix function? Automix refers to the function of recording sequential settings such as the volume with the faders or knobs, panning and channel on/off settings, to repeatedly play them back as in automatic performance of an instrument.
Page 199: Settings (Data Types) That Can Be Recorded/Played Back
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Settings (data types) that can be recorded/played back The respective settings composing Automix are referred to as “data.” With the Automix function, the following types of data can be recorded by using the faders or operating devices like the [V1] to [V6] knobs.
Page 200 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) CUE SEND (setting of signals sent to the cue bus) - Switch: Sends/does not send signals. - LEVEL: Level - PAN: Panning MAIN SEND (setting of signals sent to the main bus) - Switch: Sends/does not send signals.
Page 201: Setting Up The Automix Function (Set Up)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Setting up the automix function (SET UP) This operation is required before using the Automix function. fig.11-01 CURRENT PROJECT Here, you can check the name of the project currently selected. MEMORY REMAIN Here, you can check the remaining memory space that can be used for recording Automix.
Page 202: Automix And Channel Statuses
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 1. Press [AUTO-MIX] while holding down [SHIFT]. 2. Press [PAGE UP]/[PAGE DOWN] to display the SETUP screen. 3. Press CURSOR [DOWN] to move the cursor to the INITIAL SCENE/ REMOVE FOLLOW DATA section. 4.
Page 203 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Statuses of channels When the auto-mixing function is assigned to the status button of each channel (when CH STATUS MODE is set to [AUTO-MIX]), the channel status can be switched between the settings below. Use the status button of the channel to switch the states.
Page 204: Recording Auto-Mixing
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Recording Auto-mixing By recording auto-mixing, a variety of sequential settings can be recorded, including volume balance between channels, alignment of panning and fading in/out. To synchronize with external devices To operate this unit to music recorded in an external sequencer or on a multitrack recorder, refer to “Setup for Synchronized Operation with Recorder”...
Page 205 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Recording auto-mixing for the first time/recording by overwriting (ABSOLUTE REC) Absolute recording refers to recording of the operations of faders and knobs as they were actually operated. This method is used when recording auto-mixing for the first time or when recording by overwriting.
Page 206: Recording To Modify (Relative Rec)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Recording to modify (RELATIVE REC) To add changes such as increasing/reducing the level to a set of auto-mixings already recorded, perform relative recording (RELATIVE REC). 1. Press any of the buttons in SECTION to select one of the sections. 2.
Page 207: Re-Recording The Specified Section (Punch In)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Re-recording the specified section (PUNCH IN) To re-record part of existing auto-mixing, use the PUNCH IN function. Either absolute recording or relative recording can be used. Manually specify the region subject to re-recording (MANUAL PUNCH IN) The region subject to recording can be specified by switching the channel to the recording state while playing back auto-mixing.
Page 208: Playing Back Auto-Mixing
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 6. Turn the [V5] (END) knob to set up the recording finish position. To move the cursor on the hour, minute, second or frame, press [DOWN] /[UP] while holding down [SHIFT]. 7.
Page 209: Editing Auto-Mixing
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Editing Auto-mixing The respective auto-mixing settings are referred to as “data.” You can edit auto- mixing by overwriting these values. Confirming data (VIEW) You can confirm the data on the AUTO MIX VIEW screen. This is the base screen for editing auto-mixing.
Page 210 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) VIEW section Data to be displayed in the VIEWER area are specified in this section. SECTION: section 2ndUNIT: A second cascade-connected processor is selected. PARAM: data type ALL: Specify if all types of data should be/should not be displayed in the VIEWER area.
Page 211 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Changing the current position Use the TIME/VALUE dial to change the current position. The current position is shifted by either hour, minute, second or frame unit. To change the unit, press CURSOR [LEFT]/[RIGHT] Displaying scaled-up/down VIEWER area 1.
Page 212: Changing Data One By One (Micro Edit)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Changing data one by one (MICRO EDIT) Values such as those for the volume and panning can be changed one by one. MICRO EDIT is ideal for detailed editing. You can also use this function to move data one by one. However, if you are relocating data in a bundle, it is more convenient to use MOVE (p.
Page 213: Copying (Copy)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Copying (COPY) This function is used to copy data in a specified region to another time position or another channel. fig.11-04_70 IN/OUT These fields display the region of the data to be copied. The value of REGION SET (p.
Page 214 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 7. Check IN/OUT to confirm the region to be copied. To reset the region to be copied, reset REGION SET (p. 211). 8. Turn the TIME/VALUE dial to shift the current position to the reference point in the source data (FROM).
Page 215: Moving (Move)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Moving (MOVE) This function is used to move data in a specified region to another time position or another channel. fig.11-05_70 IN/OUT These fields display the region of data to be moved. The value of REGION SET (p. 211) indicates the region to be moved.
Page 216 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 8. Turn the TIME/VALUE dial to shift the current position to the reference point in the data to be moved (FROM). Turning the TIME/VALUE dial shifts the current position by either hour, minute, second or frame unit.
Page 217: Erasing A Section No Longer Needed (Erase)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Erasing a section no longer needed (ERASE) This function is used to erase data in a specified region. It replaces the region from which data is erased with a space. fig.11-06_70 FROM/TO These fields display the region of the data to be erased.
Page 218: Erasing An Unneeded Portion—Bringing Forward What Follows (Cut)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Erasing an unneeded portion—bringing forward what follows (CUT) Use CUT to erase data in a specified region. All data following the region that has been cut is shifted forward. fig.11-07_70 FROM/TO These fields display the data region to be cut.
Page 219: Gradually Shifting Values In A Specified Region (Gradation)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Gradually shifting values in a specified region (GRADATION) This function is used to overwrite data in a specified region so that the values transit seamlessly. It is convenient for FADE IN/OUT or to move panning bit by bit. fig.11-08_70 MARKER This field sets the reference value(s) for seamless transition.
Page 220 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 1. Check if the AUTO MIX VIEW screen is displayed (p. 208). 2. Press CURSOR [DOWN] to move the cursor over to the VIEW/SOURCE/ VALUE TRIM section. 3. Press [F6] (EDITMENU). The EDIT MENU dialog is displayed.
Page 221: Add Dynamics (Expand)
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) Add dynamics (EXPAND) Of all data existing in a specified region, that greater than a certain value (THRESHOLD) can be increased in value, and that smaller than it can be reduced in value to increase the variation.
Page 222 Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 6. Press CURSOR [DOWN] to move the cursor to the bottom section on the screen. 7. Turn the [V1] (SHIFT) knob to specify the increment for the value. 8. Turn the [V2] (RATE) knob to specify the rate at which EXPAND should be applied.
Page 223: Settings Related To Midi
Chapter 12 Using with MIDI Devices Settings Related to MIDI Settings for MIDI transmission/reception and Level Meter Bridge (MB-24) [SHIFT] + [PROJECT] CURSOR [DOWN] fig.12-10 PROGRAM CHANGE The following settings can be switched using Program Change messages sent from an external MIDI device.
Page 224: Settings Related To Tempo/Metronome
Settings related to tempo/metronome [SHIFT] + [PROJECT] CURSOR [DOWN] fig.12-11 TEMPO/BEAT TEMPO determines both the tempo at which the metronome sounds, and the tempo used when sending MIDI clock to an external device. BEAT determines the beat. MIDI METRONOME Settings for the metronome. MODE Determines when the metronome is to be sounded.
Page 225: Settings Related To Synchronization
Chapter 12 Using with MIDI Devices Settings related to synchronization [SHIFT] + [PROJECT] CURSOR [DOWN] fig.12-12 SYNC MASTER Set this parameter to run the console in synchronization with an external device. Set the parameter to “INT” to use the console as the master. To use the console as the slave, set the parameter to “EXT”...
Page 226: Receiving Or Transmitting Level/Pan Using Fader Or Knobs
Receiving or transmitting level/pan using fader or knobs Change to the following screen by pressing [MULTI OUT] while holding [SHIFT] down. Control Change messages are transmitted to an external device when you operate the fader or knobs on this screen. This allows you to control the volume of the MIDI device connected (LEVEL: Control Change Number 7) or panning (PAN: Control Change Number 10).
Page 227 Chapter 12 Using with MIDI Devices [SHIFT] + [PROJECT] CURSOR [DOWN] fig.12-02 • [EXT SYNC]: • SYNC MASTER: • SYNC OFFSET: • FRAME TYPE: • MMC CONTROL: • MMC MASTER: To make an external MIDI device synchronize with the console (when the console is used as the master) To make the external MIDI device synchronize with MTC or MIDI clock transmitted from the console, connect them as shown below, and set the required parameters.
Page 228 [SHIFT]+[PROJECT] CURSOR [DOWN] (TEMPO/METRONOME) fig.12-04 • [EXT SYNC]: • SYNC MASTER: • MIDI SYNC Tx SW: • SYNC OFFSET: • FRAME TYPE: • MMC CONTROL: • MMC MASTER: • MIDI THRU CONSOLE: • TEMPO: Chapter 12 Using with MIDI Devices [F3] (SYNC CLOCK)/[F4] (MIDI)/[F5] MTC or MIDI CLOCK Provides the time on both the console and other...
Page 229: Controlling A Midi Device From The Console
Chapter 12 Using with MIDI Devices Controlling a MIDI device from the console fig.12-03* Controlling volume or panning Change to the following screen by pressing [MULTI OUT] while holding [SHIFT] down. Control Change messages are transmitted to an external device when you operate the fader or knobs on this screen.
Page 230 [SHIFT]+[PROJECT] CURSOR [DOWN] fig.12-06 • MIDI THRU (CONSOLE): OUT Recording parameter settings on a sequencer Settings for the effect algorithms, equalizer, etc., can be sent to an external device in the form of System Exclusive messages. If you record these messages on a sequencer, you can add a variety of enhancements at the appropriate places in the music.
Page 231: Controlling The Console From A Midi Device
Chapter 12 Using with MIDI Devices Controlling the console from a MIDI device fig.12-01* Switching effect algorithms or scenes from an external MIDI device The following settings can be switched by transmitting Program Change messages from an external MIDI device. This allows you to change the tone when playing a keyboard, while switching to an effect algorithm which suits the change.
Page 232 Changing parameter settings from an external MIDI device You can change the effect algorithm or equalizer settings by transmitting System Exclusive messages from an external MIDI device. For instance, by recording the required System Exclusive messages in the sequencer, you can change the sound by simply playing it back.
Page 233: Glossary
Glossary 1st unit, 2nd unit On this system, these terms are used to distinguish between two processors (when two processors are used). The processor that is connected to the console via VM link is called the 1st unit, and the second processor that is cascaded is called the 2nd unit.
Page 234: Bulk Dump
Band pass filter (BPF) A filter that allows only a specific frequency band to pass. Bass cut filter A filter that cuts unwanted low-frequency sounds. It can be used to eliminate the “pop noise” that occurs when wind or breath is blown into a mic at close range.
Page 235: Condenser Microphone
An interface board (sold separately) that allows a digital multitrack recorder made by another manufacturer (Teac/TASCAM, Alesis ADAT) to be connected to the R-BUS connector of a Roland product. This allows multitrack audio and other signals to be transferred digitally.
Page 236: Effect Patch
When a separately sold VM-24E is installed, three 8-channel bi- directional digital I/O connectors (R-BUS connectors) will be added. This allows the system to be connected to Roland devices that have the same connector, or to digital multitrack recorders made by other companies, so that multi-channel digital audio data can be transferred.
Page 237: Feedback Delay
Glossary Effects Special processes that modify or enhance the sound in some way, such as causing it to distort, adding reverberation, or delaying it, etc. Also used to refer to the device or processor that produces the effect. On this system, effects may be abbreviated as FX. Enhancer An effect that adds sparkle to the sound by emphasizing the high- frequency overtones.
Page 238: Graphic Equalizer
The FOOT SW jack of this system (located on the rear panel of the console) allows up to two Boss FS-5U switches or one Roland DP-2 (pedal switch) to be connected. If you wish to connect two FS-5U switches, use a PCS-31 splitter cable.
Page 239: Guitar Amp Simulator
1–6 and 11–16 of the processor. The jacks are TRS type, and a splitter cable (such as the Roland PCS-31) is used to connect the external effect. This allows a single jack to both send and receive the signal.
Page 240: Master Effects
Locate On a recording device, video device, or MIDI sequencer etc., a function that allows a specific time (or location within a song) to be registered. On this system, up to 100 time locations can be registered as locate points. When remotely controlling a multitrack recorder or using automix, this allows you to move rapidly to a desired time location.
Page 241: Motor Faders
The distance between the mic and the sound source (proximity effect and time delay) can also be simulated. This system uses Roland’s proprietary Composite Object Sound Modeling (COSM) technology. COSM Micro edit The act of editing individual automix data events.
Page 242: Parametric Equalizer
Non-drop format One of the formats (frame rates) of SMPTE time code. This format is designed to preserve continuity of the time code at the expense of the discrepancy between SMPTE time and real (clock) time that is caused by the fact that the 30 frames/second NTSC format used in the United States and Japan is in reality playing back at a speed of 29.97 frames/second.
Page 243: Phantom Power
Shelving type Pedal sw, Pedal switch A switch-type foot pedal (such as the Roland DP-2), used for such things as sustaining notes on a keyboard or entering and exiting record mode on a recorder. Foot sw An abbreviation for Pre Fader Listen.
Page 244: Pre-Fader Listen
Shelving type R-BUS Roland’s digital communication specification developed to allow audio and control data to be exchanged between devices. Multi- channel audio signals, word clock, and MIDI-compatible operation data and synchronization signals can be exchanged. A single R- BUS connector allows simultaneous bi-directional transfer of eight channels of digital audio data.
Page 245: Sample Rate
An abbreviation for Roland Sound Space, which is proprietary Roland technology that allows a sound source to be localized at specific points within three-dimensional space, using only a conventional stereo system. Sound sources can be placed not only in front of or to the side of the listener, but also above, below, behind, far away, and close at hand.
Page 246: Stereo Link
On this mixer, more than one channel can be soloed simultaneously. Sound modeling Technology that simulates the structure or material etc. of an actually existing object by means of other methods. This system uses Roland’s proprietary Composite Object Sound Modeling (COSM) technology. COSM Source An audio signal that is recorded, played back, or mixed.
Page 247: Timing Clock
Glossary Surround A method for augmenting the playback by adding depth and spaciousness that cannot be expressed by two-channel stereo playback alone. In film or theater sound reinforcement, it is usual to use between four and six channels of speakers. This system also supports such applications, and allows you to choose from three types of speaker placement: 2 front + 2 rear, 3 front + 1 rear, or 3 front + 2 rear + 1 sub-woofer.
Page 248: Xlr Connector
Undo A function that allows an operation performed in error to be cancelled, returning to the state before that operation was performed. Redo is a function that “cancels the Undo operation.” This system provides an [UNDO/REDO] function that applies only to the Auto Mix functions.
Page 249: Parameter List
Parameter List PROJECT [PROJECT] CURRENT PROJECT PARAMETER NAME COMMENT PROTECT TYPE SYSTEM [SHIFT] + [PROJECT] DIGITAL I/O [SHIFT] + [PROJECT] PARAMETER DIGITAL IN DIGITAL OUT MODE DIGITAL OUT COPY PROTECT WORD CLOCK SOURCE WORD CLOCK IN TERMINATER SW INTERNAL AMPLING RATE DITHER [SHIFT] + [PROJECT] (MULTI OUT 1–24)
Page 250 TEMPO/METRONOME [SHIFT] + [PROJECT] TEMPO BEAT MIDI METRONOME MODE MIDI METRONOME NORMAL NOTE MIDI METRONOME NORMAL VELO MIDI METRONOME ACCENT NOTE MIDI METRONOME VELO MIDI METRONOME MIDI CH MEMORY CARD [SHIFT] + [PROJECT] SYSTEM CONFIG [SHIFT] + [PROJECT] CASCADE DELAY CORRECT SW CASCADE SW CUE CASCADE ATT CUE CASCADE SW MAIN...
Page 251 Parameter List EZ ROUTING [EZ ROUTING] TEMPLATE [EZ ROUTING] PATCHBAY [EZ ROUTING] STUDIO1/2 [SOURCE/STUDIO 2] PARAMETER SOURCE SELECT LEVEL MONITOR/PHONES(CONTROL ROOM) EDIT [SHIFT] + [SOURCE SELECT] DIM SW DIM LEVEL MONO SW OUTPUT PRESET PRESET A DIGITAL MASTER PRESET A SEND SW PROCESSOR MONITOR OUT PRESET A SEND SW CONSOLE DIGITAL OUT PRESET A SEND SW CONSOLE LINE OUT PRESET B DIGITAL MASTER...
Page 252 LEVEL METER [LEVEL METER] PARAMETER SOURCE POSITION x1/2 SW OVER RANGE PEAK HOLD ANALYZER/OSC/GEN PARAMETER ANALYZER SW ANALYZER LEVEL ANALYZER SOURCE ANALYZER PEAK HOLD ANALYZER AVERAGING SW ANALYZER AVERAGING TIMES ANALYZER AVERAGING TYPE ANALYZER CURVE ADJUST FX UNIT FOR ANALYZER GEN/OSC SW GEN/OSC WAVEFORM GEN/OSC SINE WAVE FREQ - BAND...
Page 253: Auto Punch
Parameter List SCENE [SHIFT] + [SCENE] PARAMETER SCENE ACTIVE PARAMETERS PREAMP SW SCENE ACTIVE PARAMETERS DELAY SW SCENE ACTIVE PARAMETERS EQ SW SCENE ACTIVE PARAMETERS MUTE SW SCENE ACTIVE PARAMETERS MAIN SW SCENE ACTIVE PARAMETERS CUE SW SCENE ACTIVE PARAMETERS BUSSEND SW SCENE ACTIVE PARAMETERS OTHERS SW SCENE ACTIVE CHANNEL INPUT 1–24 SCENE ACTIVE CHANNEL MULTI IN 1–24...
Page 254 AUTO-MIX [SHIFT] + [AUTO-MIX REC] PARAMETER VIEW UNIT SW VIEW SECTION VIEW PARAM VIEW PARAM ALL SW ZOOM TIME ZOOM CH REGION IN REGION OUT SYNC SW SOURCE SW CH 1–24 (COPY) (MOVE) (ERASE) (CUT) (GRADATION) (EXPAND) (CLEAR) PREAMP 1–20 PARAMETER 48V (PHANTOM) SW GAIN...
Page 255 Parameter List FEEDBACK DELAY SW FEEDBACK DELAY DELAY LEVEL FEEDBACK DELAY DIRECT LEVEL FEEDBACK DELAY TIME FEEDBACK DELAY FEEDBACK LEVEL FEEDBACK DELAY FEEDBACK PHASE FEEDBACK DELAY DELAY PHASE FEEDBACK DELAY HI DAMP GAIN FEEDBACK DELAY HI DAMP FREQ FEEDBACK DELAY LO DAMP GAIN FEEDBACK DELAY LO DAMP FREQ HPF SW HPF FREQ...
Page 256 FLEX BUS 10 SEND LEVEL FLEX BUS 10 SEND POSITION FLEX BUS 11 SEND SW FLEX BUS 11 SEND LEVEL FLEX BUS 11 SEND POSITION FLEX BUS 12 SEND SW FLEX BUS 12 SEND LEVEL FLEX BUS 12 SEND POSITION FLEX BUS 1/2 PAN FLEX BUS 1/2 PAN SLAVE TO MAIN FLEX BUS 3/4 PAN...
Page 257 Parameter List MULTI IN CH 1–24 PARAMETER INPUT SOURCE É” (PHASE) PHASE DELAY SW PHASE DELAY TIME FEEDBACK DELAY SW FEEDBACK DELAY DELAY LEVEL FEEDBACK DELAY DIRECT LEVEL FEEDBACK DELAY TIME FEEDBACK DELAY FEEDBACK LEVEL FEEDBACK DELAY FEEDBACK PHASE FEEDBACK DELAY DELAY PHASE FEEDBACK DELAY HI DAMP GAIN FEEDBACK DELAY HI DAMP FREQ FEEDBACK DELAY LO DAMP GAIN...
Page 258 FLEX BUS 7 SEND LEVEL FLEX BUS 7 SEND POSITION FLEX BUS 8 SEND SW FLEX BUS 8 SEND LEVEL FLEX BUS 8 SEND POSITION FLEX BUS 9 SEND SW FLEX BUS 9 SEND LEVEL FLEX BUS 9 SEND POSITION FLEX BUS 10 SEND SW FLEX BUS 10 SEND LEVEL FLEX BUS 10 SEND POSITION...
Page 259 Parameter List FLEX BUS MASTER 1–8 PARAMETER BUS ATT BUS MODE FLEX BUS 1 SEND SW FLEX BUS 1 SEND LEVEL FLEX BUS 2 SEND SW FLEX BUS 2 SEND LEVEL FLEX BUS 3 SEND SW FLEX BUS 3 SEND LEVEL FLEX BUS 4 SEND SW FLEX BUS 4 SEND LEVEL FLEX BUS 5 SEND SW...
Page 260 MUTE STATUS MUTE GROUP 1 SW MUTE GROUP 2 SW MUTE GROUP 3 SW MUTE GROUP 4 SW MUTE GROUP 5 SW MUTE GROUP 6 SW MUTE GROUP 7 SW MUTE GROUP 8 SW MUTE GROUP 9 SW SOLO STATUS Auto-Mix STATUS FLEX BUS MASTER 9–12 PARAMETER...
Page 261 Parameter List FADER GROUP MASTER 1–24 PARAMETER GROUP LEVEL MUTE STATUS MUTE GROUP 1 SW MUTE GROUP 2 SW MUTE GROUP 3 SW MUTE GROUP 4 SW MUTE GROUP 5 SW MUTE GROUP 6 SW MUTE GROUP 7 SW MUTE GROUP 8 SW MUTE GROUP 9 SW SOLO STATUS Auto-Mix STATUS...
Page 262: Overall Operations
Troubleshooting If a system malfunction occurs, the following solutions should be checked first. If the problem can still not be resolved, contact the nearest Roland Service Center, or your dealer. Overall operations No sounds are heard. Equipment power is not turned on.
Page 263: The Internal Effects
Troubleshooting Intended operation is not available from the fader. Stereo link is formed between adjacent channels. You cannot operate stereo-linked channels individually. The fader tries to operate MULTI-OUTs 17 and 18. MULTI-OUTs 17 and 18 can be varied using the STUDIO1 LEVEL knob alone, not by the fader itself.
Page 264: Others
Others The volume level of the instrument connected to analog output jacks/connectors is too low. Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor. Auto-mixing data have been lost. Power was turned off before storing the data.
Page 265: Basic Setup And Structure
Q & A This section presents frequently asked questions regarding the general use of the VM- 7200/7100 and VM-C7200/C7100 V-Mixing System, along with answers to these questions. This section can provide the user with a quick grasp of the mixer’s general operation—this will be particularly true for users who possess a level of mixing knowledge and experience.
Page 266 The VM-7100 is a lower-priced version of the VM-7200, featuring half the number of analog inputs and outputs. The digital section of both processors is identical. Q. What are the differences between the VM-C7200 and VM-C7100 consoles? The number of physical channel faders and their throw. While the more compact VM- C7100 features only twelve channel faders, it can be mounted in a 19-inch rack, so that it can be installed in ordinary commercially available racks.
Page 267: Hardware
Since R-BUS and RMDB2 (RMDB II) share the same specifications, they are completely compatible. Q. Is R-BUS compatible with the original RMDB on Roland’s DM-800 series? Q. What is the pin configuration on the analog input and output XLR connectors?
Page 268: Effects
Q. What kind of internal effects are included? The system features a total of 39 algorithms for general effects such as reverb, chorus, delay, and multi-effects for vocals, guitar, keyboards, and the like, as well as Roland’s exclusive RSS effects, Mic Simulation, and Speaker Modeling. Three algorithms, including an equalizer, can be used for the master effect.
Page 269: Connecting With Other Devices
Q & A Q. What if I want to apply a graphic equalizer to the main output in a live sound-reinforcement situation? The system provides a 10-band stereo equalizer as a master effect—you can also use one of the general-purpose 31-band EQs. If you want to use an external effect device, you can connect the console’s MONITOR line-out jacks to the device, and return its output to the console’s MIC/LINE jacks.
Page 270: Other Matters
This can also be used in creating sounds. • Equipped with multi-purpose Flex buses. • Adding Roland’s optional DS-90 bi-amped monitors allows you to use the Speaker Modeling function. • With the EZ Routing function, making the settings you need is a breeze.
Page 271: Midi Implementation
MIDI Implementation Model: VM-C7200, VM-C7100 Ver. 1.00 1. TRANSMITTED DATA AND RECOGNIZED RECEIVE DATA Channel Voice Message Note On/Off When the “MIDI Metronome Sw” system parameter is at anything other than “Off,” note messages are transmitted in accord with the relevant mode, using the MIDI channel number/note number/velocity specified for the metronome.
Page 272: Timing Clock
System Exclusive messages are not assigned to any particular MIDI channel. Instead, they have their own special control parameter called device ID. The Roland system exclusive messages use device IDs to specify multiple VM-C7200 or VM- 7100 units. The VM-C7200/C7100 will transmit system exclusive messages with a device ID of the value specified by “MIDI System Exclusive Device ID(*1),”...
Page 273 Identity Reply Manufacturer ID 1EH 01H Device Family Code nnH 00H Device Family Number (0:VM-3100), (1:VM-7100), 2:VM-C7100, (3:VM-7200), 4:VM-C7200 vvH 00H Available Option 0 0 0 0 - 0 0 x x | +—— C7100/C7200 +———— Console Master/Slave ssH ssH...
Page 274 The message is received under the following condition. If the device ID on the message is same as that of the receive device, and the address on the message correspond to the specified parameter base address, the received data are stored from the specified parameter base address.
Page 275 MIDI Implementation 1-1. VM-7x00 System Block +—————————————————————————————————————————————————————————————————+ | Offset adrs | Data Contents and remarks |==========+=========+============================================| | 00 00 00 | 0aaaaaaa| Software Revision Level (*1) | 00 00 01#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 02 | 00 - 3F | Option Available (*1) 0 0 x x - x x x x | +————————————...
Page 276 |——————————+—————————+————————————————————————————————————————————| | 00 00 13 | 04 - 54 | Input Feedback Delay LFD Freq (*1) |——————————+—————————+————————————————————————————————————————————| | 00 00 14 | 00 - 01 | Input HPF Sw |——————————+—————————+————————————————————————————————————————————| | 00 00 15 | 04 - 54 | Input HPF Cut Off Freq (*1) |——————————+—————————+————————————————————————————————————————————| | 00 00 16 | 00 - 01 | Input EQ Sw |——————————+—————————+————————————————————————————————————————————|...
Page 277 MIDI Implementation 2-5. VM-7x00 Talkback Parameter +—————————————————————————————————————————————————————————————————+ |Offset adrs | Data Contents and remarks |==========+=========+============================================| | 00 00 00 | 00 - 01 | Talk Back Sw |——————————+—————————+————————————————————————————————————————————| | 00 00 01 | 00 - 01 | Talk Back Function Select |——————————+—————————+————————————————————————————————————————————| | 00 00 02 | 00 - 7F | Talk Back Level |——————————+—————————+————————————————————————————————————————————|...
Page 278 2-11. VM-7x00 Effect Section Parameter +—————————————————————————————————————————————————————————————————+ |Offset adrs | Data Contents and remarks |==========+=========+============================================| | 00 00 00 | 00 | (Reserved) |——————————+—————————+————————————————————————————————————————————| | 00 00 01 | 00 - 7F | FX Lch Send Level |——————————+—————————+————————————————————————————————————————————| | 00 00 02 | 00 - 7F | FX Lch Return Level |——————————+—————————+————————————————————————————————————————————| | 00 00 03 | 00 - 09 | FX Lch Insert Location (MSB) Input PreEQ, Input PostEQ, |...
Page 279 MIDI Implementation 2-16. VM-7x00 Level Meter/Analyzer Parameter +—————————————————————————————————————————————————————————————————+ |Offset adrs | Data Contents and remarks |==========+=========+============================================| | 00 00 00 | 00 | (Reserved 16) | 00 00 0F | 00 +—————————————————————————————————————————————————————————————————+ 2-17. VM-7x00 Misc Parameter +—————————————————————————————————————————————————————————————————+ |Offset adrs | Data Contents and remarks |——————————+—————————+————————————————————————————————————————————|...
Page 280 33:Analog Phaser | (34:FFT 35:Speaker Modeling | (36:Mstering Tool Kit | (37:31Band Graphic Equalizer 38:Stero 2Band Dynamics 39:Dual Mono Dynamics |——————————+—————————+————————————————————————————————————————————| | 00 03 02 | 20 - 7E | FX - 4 Name -1 | 00 03 0D | 20 - 7E | FX - 4 Name -12 |——————————+—————————+————————————————————————————————————————————| | 00 03 0E | 20 - 7E | FX - 4 Parameter Area (See Below) | 00 03 7F | 20 - 7E |...
Page 281 MIDI Implementation A meaning of the parameter area changes correspond with the top of parameter of Effect Algorithm. See the following tables. If select the different Algorithm type from current one, all parameters will be copied from the preset patch data which selected Algorithm. Algorithm 0 Reverb |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| EQ SW...
Page 282 | 00 00 2B#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 2C | 0aaaaaaa| Chorus: Direct Level | 00 00 2D#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 2E | 0aaaaaaa| Chorus: Lch Feedback Level | 00 00 2F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 30 | 0aaaaaaa| Chorus: Rch Feedback Level | 00 00 31#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 32 | 0aaaaaaa| Chorus: Lch Cross Feedback Level...
Page 283 MIDI Implementation Algorithm 6 Delay RSS |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Delay RSS: Delay Time | 00 00 0F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| Delay RSS: Shift | 00 00 11#| 0bbbbbbb| -1200,,,1200 = L1200,,,R1200ms| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| Delay RSS: Center Delay Time | 00 00 13#| 0bbbbbbb|...
Page 284 Algorithm 11 Vocal Multi |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Noise Suppressor SW | 00 00 0F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| Limitter/De-esser SW | 00 00 11#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| Enhancer SW | 00 00 13#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 14 | 0aaaaaaa| EQ SW...
Page 285 MIDI Implementation | 00 00 2C | 0aaaaaaa| Speaker: MIC Setting | 00 00 2D#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 2E | 0aaaaaaa| Speaker: MIC Level | 00 00 2F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 30 | 0aaaaaaa| Speaker: Direct Level | 00 00 31#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 32 | 00...
Page 286 | 00 00 30 | 0aaaaaaa| Comp/Limit B: Release | 00 00 31#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 32 | 0aaaaaaa| Comp/Limit B: Ratio | 00 00 33#| 0bbbbbbb| 0,,,3 = 1.5:1, 2:1, 4:1, 100:1| |——————————+—————————+————————————————————————————————————————————| | 00 00 34 | 0aaaaaaa| Noise Suppressor B: Detect | 00 00 35#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 36 | 0aaaaaaa| Noise Suppressor B: Threshold...
Page 287 MIDI Implementation | 00 00 62 | 0aaaaaaa| EQ: High EQ Type | 00 00 63#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 64 | 0aaaaaaa| EQ: High EQ Gain | 00 00 65#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 66 | 0aaaaaaa| EQ: High EQ Frequency | 00 00 67#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 68 | 0aaaaaaa| EQ: High EQ Q...
Page 288 Algorithm 22 Lo-Fi Processor |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Lo-Fi Processor SW | 00 00 0F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| Realtime Modify Filter SW | 00 00 11#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| Lo-Fi Processor: Pre Filter SW | 00 00 13#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 14 | 0aaaaaaa| Lo-Fi Processor: Rate...
Page 289 MIDI Implementation | 00 00 36 | 0aaaaaaa| EQ Bch: 500Hz Gain | 00 00 37#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 38 | 0aaaaaaa| EQ Bch: 1.0kHz Gain | 00 00 39#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 3A | 0aaaaaaa| EQ Bch: 2.0kHz Gain | 00 00 3B#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 3C | 0aaaaaaa| EQ Bch: 4.0kHz Gain...
Page 290 | 00 00 2C | 0aaaaaaa| Vocoder: Voice Char Level 10 | 00 00 2D#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 2E | 0aaaaaaa| Vocoder: Voice Char Level 11 | 00 00 2F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 30 | 0aaaaaaa| Vocoder: Voice Char Level 12 | 00 00 31#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 32 | 0aaaaaaa| Vocoder: Voice Char Level 13...
Page 291 MIDI Implementation | 00 00 1E | 0aaaaaaa| Tape Echo Tape Head S Pan | 00 00 1F#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 20 | 0aaaaaaa| Tape Echo Tape Head M Pan | 00 00 21#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 22 | 0aaaaaaa| Tape Echo Tape Head L Pan | 00 00 23#| 0bbbbbbb| |——————————+—————————+————————————————————————————————————————————| | 00 00 24 | 0aaaaaaa| Tape Echo Tape Distortion...
Page 292 | 00 00 1F | 00 - 01 | EQ: High EQ Type 0, 1 = Shelving, Peaking| |——————————+—————————+————————————————————————————————————————————| | 00 00 20 | 22 - 5E | EQ: High EQ Gain (*2) |——————————+—————————+————————————————————————————————————————————| | 00 00 21 | 48 - 7C | EQ: High EQ Frequency (*1) |——————————+—————————+————————————————————————————————————————————| | 00 00 22 | 00 - 21 | EQ: High EQ Q (*3) |——————————+—————————+————————————————————————————————————————————|...
Page 293 MIDI Implementation |——————————+—————————+————————————————————————————————————————————| | 00 00 36 | 04 - 5E | Bch EQ Input Level |——————————+—————————+————————————————————————————————————————————| | 00 00 37 | 22 - 5E | Bch EQ Band1 Gain |——————————+—————————+————————————————————————————————————————————| | 00 00 38 | 22 - 5E | Bch EQ Band2 Gain |——————————+—————————+————————————————————————————————————————————| | 00 00 39 | 22 - 5E | Bch EQ Band3 Gain |——————————+—————————+————————————————————————————————————————————|...
Page 294 |——————————+—————————+————————————————————————————————————————————| | 00 00 1A | 00 - 64 | Ach Enhancer Sens |——————————+—————————+————————————————————————————————————————————| | 00 00 1B | 48 - 70 | Ach Enhancer Frequency (*1) |——————————+—————————+————————————————————————————————————————————| | 00 00 1C | 38 - 5C | Ach Enhancer Mix Level (0dB:80[50H]) -24,,,12dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 1D | 38 - 5C | Ach Input Gain...
Page 295 MIDI Implementation Master Effect Alogrithm 2 3Band Dynamics +—————————————————————————————————————————————————————————————————+ | 00 00 0E | 00 - 01 | Expander SW |——————————+—————————+————————————————————————————————————————————| | 00 00 0F | 00 - 01 | Compressor SW |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 00 - 01 | Limiter SW |——————————+—————————+————————————————————————————————————————————| | 00 00 11 | 38 - 5C | Input Gain |——————————+—————————+————————————————————————————————————————————|...
Page 296 | 00 00 3D | 00 - 04 | MMC Master |——————————+—————————+————————————————————————————————————————————| | 00 00 3E | 00 - 7F | Time Offset (mS) | 00 00 3F#| 00 - 7F | 56 66 48 01 = -86399999(mS) | 00 00 40#| 00 - 7F | 00 00 00 00 = | 00 00 41#| 00 - 7F | 29 19 37 7f = +86399999(mS)
Page 297 MIDI Implementation 5-3. VM-C7200/C7100 MIDI Control Project Sub Block +——————————+——————————————————————————————————————————————————————+ |Offset adrs | MIDI Control Project Sub Block |==========|======================================================| | 00 00 00 | MIDI Project Channel Param. -1 (Ch 1) | 00 00 78 | MIDI Project Channel Param. -16 (Ch 16) +—————————————————————————————————————————————————————————————————+ 5-4.
Page 298 5-14. VM-C7200/C7100 Unit Project Effect Parameter +—————————————————————————————————————————————————————————————————+ |Offset adrs | Data Contents and remarks |==========+=========+============================================| | 00 00 00 | 00 - 01 | Scene Recall Active |——————————+—————————+————————————————————————————————————————————| | 00 00 01 | 00 | (Reserved 3) | 00 00 03 | 00 +—————————————————————————————————————————————————————————————————+ 5-15.
Page 299: Midi Machine Control
MIDI Implementation | 00 00 24 | 00 - 7F | Surround LR:C Ratio |——————————+—————————+————————————————————————————————————————————| | 00 00 25 | 00 - 01 | Pan Link |——————————+—————————+————————————————————————————————————————————| | 00 00 26 | 00 | (Reserved 10) | 00 00 2F | 00 +—————————————————————————————————————————————————————————————————+ 6-7.
Page 300 DEFERRED PLAY (MCS) (Transmission and Reception) Status Data byte Status 7FH,Dev,06H,03H Byte Description Status of System Exclusive Message Universal System Exclusive Realtime Header Device ID (or 7FH) MMC Command Message DEFERRED PLAY(MCS) (End of Exclusive) This is the function of the [PLAY] button. RECORD STROBE (Transmission and Reception) Status Data byte...
Page 301 Example of system exclusive message and Checksum calculation On Roland system exclusive message (DT1), checksum is added at the end of transmitted data (in front of F7) to check the message is received correctly. Value of checksum is defined by address and data (or size) of the system exclusive message to be transmitted.
Page 302: Midi Implementation Chart
Chart Digital Mixing Controller Model VM-C7200/C7100 Function... Basic Default Channel Changed Default Mode Messages Altered Note True Voice Number : Note ON Velocity Note OFF After Key's Touch Ch's Pitch Bend 0–119 93, 94, 95 118, 119 Control Change Prog : True # Change System Exclusive...
Page 303: Specifications
Specifications VM-C7200: 94 ch V-MIXING CONSOLE Sample rate 48 kHz/ 44.1 kHz/ 32 kHz Signal processing AD Conversion: 24 bit linear, 64 times oversampling Internal processing: 32 bits DA Conversion: 24 bits, 128 times oversampling Frequency response Sample Rate 48 kHz: 10 Hz–20 kHz (±0.1dB)
Page 304: Vm-C7100: 94 Ch V-Mixing Console
Owner’s Manual VM Link Cable Memory Card (SmartMedia) (2 MByte) Options V-Mixing Processor: VM-7200/VM-7100 Level Meter Bridge: MB-24 Rack Mount Angle (for the VM-C7100):RO-C7100 Side Panel Kit (for the VM-C7100): VM-SP71 Memory Card (SmartMedia): S4M-5 Foot Switch: DP-2 or BOSS FS-5U...
Page 305: Index
Index Numerics 0–9 (ten-key keypad) ...15 10-Band Parametric Eqalizer ...180 1st UNIT ...39, 232 2ch RSS ...129 2nd UNIT ...41, 232 2nd UNIT select button ...17 31 Band Graphic Equalizer ...175, 188 3-Band Dynamics ...182 3BndIsolater (3-Band Isolator) ...166 Absolute recording ...201, 204, 232 AC IN ...20 Active sensing ...232 AD converter ...232...
Page 306 Master ...84 Cue bus ...234 Cursor Move ...35 CURSOR buttons ...12 Cut ...217, 234 Cutoff frequency ...234 DA converter ...234 Damp ...234 DAT ...234 Data entry ...234 De-esser ...234 Default ...234 Delay ...122, 234 Delay RSS ...131 DIF-AT ...10, 21, 234 DIGITAL (MASTER) level knob ...13 Digital I/O connector ...235 DIGITAL OUT...
Page 307 Index FLIP ...66 Foot sw ...237 Formant ...237 Format ...237 Memory card ...28 Frame ...237 Frame rate ...237 Frequency ...237 Frequency characteristics ...187 Frequency-independent compressor ...237 Gain ...17, 68 Preamp ...17 Gate Reverb ...146, 237 General-purpose effects ...30 Generator ...186, 237 Glossary ...232 Goose-neck microphone ...237 GPI ...38, 237...
Page 308 Mastering ...239 Mastering Tool Kit ...172 MB-24 ...222 Memory ...43 Memory card ...28, 56, 197, 239 Backup ...57 Format ...28, 51 MEMORY CARD slot ...20 Memory/Recall area ...15 Metal ...239 Meter bridge ...239 Metronome ...196, 223 MIC 1 ...14, 100 MIC 2 ...14, 100, 189 Mic Converter ...239 MIC LEVEL knob ...13...
Page 309 Index Pitch Shifter ...242 PLAY button ...16 Post-fader ...242 Post-production ...242 Power on/off ...24 Power source ...242 Power supply ...242 POWER switch ...20, 242 PRE ROLL ...194 Preamp ...243 PREAMP GAIN button ...17 Pre-EQ ...243 Pre-fader ...243 Pre-fader listen ...243 Processor ...39, 243 Program change ...243 Project ...43, 50, 197, 243...
Page 310 Status ...245 Status button ...202 STATUS buttons ...19 StDly-Chorus (Stereo Delay Chorus) ...124 Stereo 2-Band Dynamics ...176 Stereo balance ...85 Stereo Flanger ...142 Stereo link ...102, 245 Stereo Multi ...150 Stereo Phaser ...141 STOP button ...16 Store ...245 Project ...52 StPS-Delay (Stereo Pitch Shifter Delay) ...126 STUDIO 1 LEVEL knob ...13 STUDIO 1, 2 ...95...
Page 311 Apparatus containing Lithium batteries ADVARSEL! Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandøren. ADVARSEL Eksplosjonsfare ved feilaktig skifte av batteri. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten.
Page 312 01890990 ’99-11-AE2-31N...

This manual is also suitable for:

Vm-c7200

Roland VM-C7100 Owner's Manual

Chapter 1 Introduction

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

Chapter 3 Data Storage and Retrieval

Chapter 4 Useful Functions

Chapter 5 Mixing Procedure 1 (Input Channel)

Chapter 6 Mixing Procedure 2 (Output and Monitor)

Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output)

Chapter 8 Using the Internal Effects

Chapter 9 Using the Spectrum Analyzer

Chapter 10 Combining Recorders

Chapter 11 Recording/Playing Back Fader or Knob Actions

Chapter 12 Using with MIDI Devices

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Summary of Contents for Roland VM-C7100