Digital Consoles
Multi-Channel Recording
Live Mixing Console
Mixing Console
V-STUDIO 700
M-400
M-380
Powerful and Compact Digital Mixing System
48 Mixing Ch/18 Bus/8 Matrix, award-winning digital mixing
console.
Rack-mountable console with the same engine as
the M-400.
Ultimate recording solution for use with REAC
systems.
Roland Systems Group, a member of the worldwide group of Roland companies, is dedicated to the support of audio and video
professionals demanding excellence in both performance and system design. Through the development and support of video and audio
products, we endeavor to improve workflow and maximize creative possibilities.
V-LINK is a technology designed for realtime audio and video integration. Using V-LINK, musicians can “play” video from their electronic
instrument. Roland provides an integrated Audio and Visual solution.
Copyright 2010 Roland Corporation. All right reserved.
All specifications and appearances are subject to change without notice.
All trademarks and logos are the property of their respective companies.
Fugue ©1999-2010 Kyoto Software Research, Inc. All rights reserved.
Printed in Japan. JUN. 2010 RAM-20008 M-PD
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Active in a wide range of venues
The V-Mixing System Advantage
Pope Benedict XVI in Fátima, Portugal
There are reasons why sound professionals and venues
Pope Benedict XVI made a pilgrimage to this sanctuary in Fátima. Several ceremonies were held, which were
followed by more than 450,000 attendees as well as millions of people around the world through television, radio
and internet. All these events were mixed and split via 5 M-400 V-Mixers, and audio signals were distributed using
Digital Snake systems via cable CAT5e to different split points such as television, radio and internet. Choosing this
system was based on a previously successful experience during a 2007 visit of Pope Benedict XVI to Valencia
(Spain) where a large number of Digital Snakes were installed. Fátima Sanctuary has two V-Mixing Systems: one in
the control room of the sanctuary as a central point for audio monitoring and a second unit in the new Church of the
Holy Trinity with a capacity of 9000.
around the globe have chosen the V-Mixing System.
Covenant Family Worship Center, USA
At Covenant Family Worship Center (a multi-cultural, non-denominational church in Fredericksburg, Virginia),
technology and media department head Stephen W. Stafford uses the V-Mixing System including the Live
Personal Mixing system for regular Sunday services and other events. He finds that the V-Mixing System has
“allowed us to utilize volunteers with little or no previous audio engineering experience to effectively control the
audio system”. He reflects that the benefits of the personal monitoring system are twofold. “First, it relieves the
audio volunteers from the additional responsibility and concern for the monitor mix. Second, it allows each
musician to tailor their stage mix as needed on an individual basis.” Stafford acknowledges he enjoys the “store
and recall of settings, and signal integrity over Cat5. In total, I’ve experienced state-of-the-art audio production
on an unrivaled affordability scale.”
Trent FM Arena Nottingham, UK
The arena, which is based inside the National Ice Centre, holds many concerts/events for major acts with a
capacity of 10,000. Adam Timson facilities manager says “The brief we were working to was the seamless
replacement of our large 32 channel analog mixing desk ensuring there would be no loss of quality, features or
usability. We looked at quite a few different options but after consultation with Simon Taylor of One Big Star and
Andy Hague, our tame sound engineer, we decided the M-380 V-Mixer with Digital Snake best suited our needs
and budget. It has a 19" footprint which allows us to move it easily and the Digital Snake means we can plug it in
using just a single mains lead and single Cat5 cable. Since the M-380 was installed we have been happy with its
performance and find the menus easy to navigate. We are able to save specific set ups and still adjust on the fly
when we need to. The desk is as flexible as we are.”
Large Analog SR Console + Outboard Effects Racks
Simple and Flexible High-Quality Sound - REAC: Next Generation Audio Transmission Technology
From Analog Console to V-Mixing System
The foundation of the V-Mixing System is “REAC” (Roland Ethernet Audio Communication), the digital audio transmission technology developed by Roland. As a result of this technology, a
flexible V-Mixing System can be constructed to match any venue using the Digital Snake and other REAC components. REAC is an Ethernet based technology, allowing devices to be
connected easily with a standard CAT5e LAN cable. REAC can transmit up to 40x40 channels of uncompressed
Much more than just a console replacement.
Unlike other digital consoles, the V-Mixing System is not just a simple digital version of an analog
console. The V-Mixing System offers a total solution for audio input and output transmission/splitting,
personal mixing and multi-channel recording in a totally integrated system. As the centerpiece of the
system, the V-Mixer includes a built-in recording/playback function and effects, digital scene recall and
user customizations and level management. To replicate all the functions of the M-300 with an analog
console system, a vast array of equipment would be required. A 32ch analog console, 32 separate
compressors, 32 separate gates, 4 separate stereo multi-effect units, 15 separate 8-band parametric
EQs and delays, and a digital recorder. All that is built into the M-300 with the added ability for every
setup to be easily saved and recalled. More than a console - it's a complete system.
24bit digital audio data, volume level information, and various control data using a single cable.
By placing the preamps as close to the source as possible, sound quality deterioration during
transmission is minimized to the lowest possible level.
IN
In the past, multiple analog cables were used to transmit data at low gain levels, which caused problems such as
unwanted noise, sound quality deterioration, and crosstalk between channels. With REAC, those problems have
been eliminated since the pre-amp gain is set before the data is transmitted digitally. REAC technology not only
provides superb sound quality, but also enables easy setup and installation.
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Compact, Uncompromising Sound and Features
Impressive mixing capacity in a small package
Powerful Built-in Channel Effects
The M-300 V-Mixer is the ultimate solu-
tion for a variety of venues and applica-
Equalization of channels and dynamics are the foundation of any great mix.
The enhanced sound shaping abilities of the M-300 input channels include
4-band fully parametric EQ as well as gate and compression. A Key-In filter
can be used for the Gate/Compressor to enable more expressive mixing.
The 4 multi-effects processors can be set to use any of 11 different effects
types. In addition to Reverb and Delay, modulation effects such as Chorus
and Phaser are also available. The M-300’s busses are also equipped with
8 bands of fully Parametric EQ and Signal Delay on each Aux, Matrix and
Main output. The M-300 is fully equipped with all of the sound adjustment
tools built-in and ready to go.
tions. It provides a substantial mixing
capacity of 32 mixing channels, 8 aux
buses, 4 matrices, which represent the
Compact Size: 749 (W) × 626 (D) × 229 (H) mm Light Weight: 9.8kg
highest level in its class. The M-300
V-Mixer seamlessly integrates with
other REAC devices. The user can
directly operate the Digital Snake
preamp, control an M-48 Personal Mixer, and set up the I/O for the S-4000M
REAC Merge Unit. All of these features are contained in a very compact size
of 749mm width x 626mm depth x 229mm height, and at a weight of 9.8kg
(21 lbs 10 oz). The M-300 is the perfect choice for any venue with a limited
set-up area, as well as for mobile sound reinforcement. Optional rack rails
are also available.
Built-in 2 REAC ports allows flexible system configuration
4xXLR
40ch
40ch
4xTRS
A
4xRCA
32 Mixing Ch
L/C/R Outputs
4xXLR
4xTRS
40ch
40ch
8 AUX
4 Matrix
2xDigital
Phones
B
USB memory recorder/player
Advanced Control Surface Design
Record the output of the M-300 Main, assigned
AUX bus or MATRIX bus directly to a USB
memory drive connected to the built-in USB port.
A mix produced with the M-300 can be saved as
an uncompressed WAV file, without the need for
an external recorder. WAV files on the USB
memory drive can also be played back on the
M-300 and used for background music/tracks.
User settings and mixer data can also be saved
to a USB memory drive.
The M-380 and M-400 V-Mixers are highly regarded for their ease of use
and the M-300 continues this tradition starting with 17 x 100mm motorized
faders. Central to the M-300’s operation is a high-resolution 800x480 pixel
color display. Channel Parameters such as Gain, Pan, EQ and Dynamics
can be comfortably operated from the Channel Edit section located on the
left side of the display. All parameters can be instantly saved and recalled
from Scene Memory. The layers of faders can be easily switched with the
LAYER button. Faders can be accessed and arranged freely, and saved as
a User Layer.
Cutting Edge Features
The M-300 interfaces with a variety of devices
Control remotely using a wireless LAN
Control remotely from a PC
Multi-channel recording to a DAW
V-LINK - Audio and Visual Solution
The M-300 can be controlled remotely in real-time from a PC (Windows) connected via
the USB port. Mixing functions on the M-300 can be operated directly from a PC by
using the M-300RCS dedicated control software which has the same GUI as the M-300
color display. (The M-300RCS can be downloaded from the Roland Systems Group
website.) The M-300RCS can also be operated
By enabling Remote Desktop Connection on a local PC
directly connected to the M-300 via the USB, the
M-300 can be controlled remotely from another PC
using a wireless LAN. A tablet PC can be used to
control the M-300 from a remote location. For example,
you can be seated in the audience to adjust the house
mix during the rehearsal, or stand onstage to adjust the
monitor mix while consulting the stage performer. The
M-300 enables new mixing possibilities that you could
never achieve with an analog console.
Forty channels of 24-bit audio can be recorded directly to a PC (Windows) by
connecting a REAC port to the gigabit Ethernet port on the PC via a single Cat5e
cable. Audio is recorded as individual WAV files using Cakewalk SONAR and can be
mixed after recording using the
By connecting the MIDI input/output to the video switcher such as the V-1600HD,
V-LINK automatically synchronizes the audio of the M-300 with the visual images
allowing “audio follows video”.
powerful digital audio tools and
in offline mode, allowing data for various
effects in SONAR.
settings to be created in advance and saved to
a USB memory drive. When you get to the
venue, load the settings and jump right into
* To use this feature, the CW-RDK REAC driver
kit is required in addition to SONAR.
sound check and rehearsal.
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The variety of REAC products
open a world of possibilities.
Expandability and flexibility
bring many advantages
REAC MERGE UNIT
40CH I/O MODULAR RACK
S-4000M
Merge up to four REAC devices
supporting “REAC Embedded Power” (S-0808, M-48)
Power REAC devices
S-4000S-3208
32in/8out flagship I/O unit.
High quality preamp inputs
I/O configuration can be customized with different I/O (analog
or digital) cards Redundant REAC ports
STAGE UNIT
REAC OPTICAL CONVERTER
S-1608
S-OPT
40CH I/O MODULAR RACK
16in/8out I/O unit High quality preamp inputs
Optical digital output Rackmountable
Converts multi-channel REAC signal to a digital optical signal
S-4000S-0832
REAC MADI BRIDGE
8in/32out flagship I/O unit.
High quality preamp inputs
FOH UNIT
I/O configuration can be customized with different I/O (analog
or digital) cards Redundant REAC ports
NEW
REAC CABLE
S-MADI
S-0816
Bi-directional conversion between REAC and MADI
REAC SPLITTER & POWER DISTRIBUTOR
S-4000D
W100S-R
4-channel Analog
8in/16out I/O unit High quality preamp inputs
Optical digital output Rackmountable
Input Module
SI-AD4
100 meter Cat5e cable on reel for REAC
signal transmission
®
Crossover Ethernet
4-channel Analog
Output Module
cable with Neutrik Ethercon connectors on
both ends
SO-DA4
8x8 I/O UNIT
Live Personal Mixer
4-channel Digital
Equipped with 10 REAC ports including 8 ports of REAC
Embedded Power.
Input Module
SI-AES4
S-0808
M-48
4-channel Digital
8in/8out compact digital snake
High quality preamp inputs -
Also equipped with two TRS and
two Hi-Z inputs Supports REAC
embedded power and external
battery operation
Output Module
SO-AES4
Musician controls up to 40 channels
via 16 stereo groups. Built-in ambient
mic, reverb, EQ, line in, line out, etc. –
many functions for the best possible
stage monitoring solution.
SI-AD4 SO-DA4 SI-AES4 SO-AES4
S-1608
S-4000M
S-OPT
NEW S-MADI
S-0808
S-0816
S-4000S-3208
S-4000D
M-48
W100S-R
Basic system supports various applications. 2x S-1608s are used for I/O unit.
32 inputs can be selected for mixing from all inputs, and 26 channels can be output.
This expanded system has many advantages. 4x S-0808 are connected via the S-4000M Merge Unit allowing very flexible and distributable setup.
Each of the musician's M-48 Personal Mixers can also be managed from the M-300.
Basic System
Expanded System
Stage
Front of House
Stage
Front of House
POWER
8ch XLR
12Ch Inputs
12Ch Inputs
S-4000D
M-48
16ch XLR
16ch XLR
S-1608
S-1608
0Ch Outputs
Ch Outputs
S-0808
S-4000M
8ch XLR
8ch XLR
8ch XLR
8ch XLR
8ch XLR
8ch XLR
8ch XLR
8ch XLR
POWER
8ch XLR
M-300
M-300
* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.
* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.
This system enables both live stage production and broadcasting. REAC signal comes from the stage to the M-300
and is then split to another two locations. Multi-channel recording is also possible by connecting a PC.
This example shows a high input count shared between the stage and front of house.
With RS-232 control, the M-300 can be operated using a touch panel controller.
Broadcasting System
Audio Installation
Stage
Broadcast Room
Audio Player
40Ch/24-bit Multi-Channel Recording
12Ch Inputs
S-4000D
Wireless Mic Receiver
8ch XLR
RS-232C
12Ch Inputs
32ch XLR
Touch Panel Controller
16ch XLR
10Ch Outputs
32ch XLR
S-4000S-3208
S-0816
Broadcasting
S-1608
Driver Kit
S-4000S-3208
M-300
M-300
* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.
* 32 input channels must be selected from 60 physical inputs via the M-300 patchbay.
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V-Mixer M-300 SPECIFICATIONS
PROCESSING
CONSOLE INPUT jacks (1 to 4):
-65 to -10 dBu (Pad: OFF) or -45 to +10 dBu(Pad: ON)
CONSOLE INPUT jacks (5 to 12): -28 to +4 dBu
Nominal Input Level
(Variable)
32 mixing channels/11 buses/4 MATRIX buses/Up to 92 inputs and
90 outputs when using REAC Devices
Number of Channels
AD/DA Conversion
24-bit/48.0 kHz or 44.1 kHz
CONSOLE INPUT jacks (1 to 4): 14 k ohms
CONSOLE INPUT jacks (5 to 12): 10 k ohms
Input Impedance
2.8 mS (typ.) *1
Network Latency
* Total System Latency of audio signal from S-1608 inputs to outputs via M-300's REAC ports (A or B).
* Sample Rate: 48.0 kHz * Effects : No insert effects
CONSOLE INPUT jacks (1 to 4):
+8 dBu (Pad: OFF) or +28 dBu (Pad: ON)
CONSOLE INPUT jacks (5 to 12): +22 dBu
Non Clip Maximum
Input level
CONNECTORS
CONSOLE INPUT
jacks (1 to 4)
Nominal Output
Level
CONSOLE OUTPUT jacks (1 to 8):
+4 dBu (Load impedance: 10 k ohms)
XLR-3-31 type (balanced, phantom power)
1/4 inch Phone type (balanced)
RCA Pin type
CONSOLE INPUT
jacks (5 to 8)
CONSOLE OUTPUT jacks (1 to 8): 600 ohms
PHONES jack: 100 ohms
Output Impedance
CONSOLE INPUT
jacks (9 to 12)
Recommended
Load Impedance
CONSOLE OUTPUT jacks (1 to 8): 10 k ohms or greater
PHONES jack: 8 ohms or greater
CONSOLE OUTPUT
jacks (1 to 4)
CONSOLE OUTPUT jacks (1 to 8):
+22 dBu (1 kHz, 10 k ohms load)
PHONES jack: 150 mW + 150 mW (Typ., 1 kHz, 40 ohms load)
XLR-3-32 type (balanced)
Non Clip Maximum
Output level
CONSOLE OUTPUT
jacks (5 to 8)
1/4 inch Phone type (balanced)
Residual Noise
Level (IHF-A, typ.)
-88 dBu (All faders: Min)
PHONES jack
DIGITAL OUT jack
REAC port
Stereo 1/4 inch phone type
Optical type
Equivalent Input
Noise Level (E.I.N.)
-126 dBu (Main Fader: Unity, Channel faders: Unity only one
channel, Preamp gain: Max)
RJ-45 EtherCon type x 2
Type A x 1, Type B x 1
USB port
OTHERS
Display
800 x 480 dots Wide VGA TFT color screen with backlight
AC 115 V, 117 V, 220 V, 230 V, 240 V (50/60 Hz)
50 W
RS-232C connector: 9-pin D-sub type
MIDI connectors (OUT/THRU, IN): 5-pin DIN type
Remote Connectors
Other Connectors
Power Supply
Power Consumption
Grounding terminal
AC INPUT connector
470.0 (W) x 482.7 (D) x 194.9 (H) mm
18-1/2(W) x 19(D) x 7-1/4(H) inches
Dimensions
Weight
INPUT/OUTPUT CHARACTERUSTUCS
9.8 kg
21 lbs 10 oz
CONSOLE OUTPUT jacks (1 to 8):
-2 dB / +0 dB (20k ohms load, +4 dBu)
PHONES jack: -3 dB / +0 dB (40 ohms load, 150 mW)
Frequency
Response
(0dBu=0.775Vrms)
Total Harmonic
Distortion + Noise
CONSOLE OUTPUT jacks (1 to 8): 0.05 % (typ., +4 dBu)
PHONES jack: 0.05 % (typ., 40 ohms load, 150 mW)
* XLR type: 1 GND, 2 HOT, 3: COLD
* phantom power: DC+48V(unloaded maximum), 14mA(maximum load) (All XLR type inputs)
* When a REAC Splitter S-4000D or a switching hub is used in-line with REAC cables, the network latency will increase by the amount of
processing delay introduced by the splitting device itself. The actual delay is dependant upon the specifications of the splitting device, though
the maximum delay amount for a single splitting device should be about 200microseconds.
Dynamic Range
CONSOLE OUTPUT jacks (1 to 8): 105 dB (typ.)
CONSOLE INPUT jacks (1 to 4):
-80dB (Pad: ON, Input sens: +4 dBu, typ.)
CONSOLE INPUT jacks (5 to 12): -80dB (Input sens: +4 dBu, typ.)
CONSOLE OUTPUT jacks (1 to 8): -100 dB (typ.)
* Sampling frequency is 48 kHz or 44.1 kHz.
Crosstalk@ 1 kHz
V-Mixer M-300 Dimensions
OPTION
Unit: mm
470
Rackmount Angle
RA-10U
Rackmountable to 19-inch rack (EIA)
20
430
20
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