M 18 Digital Mixer - User’s Manual Date: Rev.: p/n: RCF spa 8 jan 2016 1.0.015 10399006 rev. A This document refers to: Firmware version 0182 or earlier iOS MixRemote app version 1.0.
RCF S.p.A. accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical specifications, appearances, and other information are subject to change without notice. All trademarks are the property of their respective owners. Summary The M series Digital Mixers by RCF ...............................................................................................................................
The M series Digital Mixers by RCF A new family of compact Digital Mixers have been designed by RCF, with the aim to address the requirements of modern performing musicians. The main goal is to allow the user to minimize the amount of equipment needed for a live act. Therefore, a significant effort has been spent to include all the main features to ensure a seamless performance.
This document is available to help you in exploring the various features of the M 18 Digital Mixer, and is arranged in different sections: M 18 Features An overview of the most interesting features of the M 18 Digital Mixer is presented, focusing on the unique aspects of the unit. It includes details on the internal high-quality digital reverb, on the MultiFX concept, on the Master Processor, and on the options to save and recall internal parameters.
M 18 features Overview The M 18 Digital Mixer is a feature-packed unit that includes several of the useful blocks required to arrange a goodsounding live act.
You can set the PHONES buss in one of two modes: - - PFL mode (pre-fader listen), in which the input channels put in SOLO mode are summed and sent to the PHONES output, through the EQ and PHONES fader; the PFL level is shown on the MAIN L and R VU meter. Please notice that the stereo PFL VU meter display reflects the PAN value, and of course, being pre-fader, is not affected by the fader level.
Internal Reverb The M18 Digital Reverb is a very intuitive and smooth sounding processor, and represents an essential ingredient of the final mix. Great care has been taken to provide the highest quality algorithms and presets. Based on 12 algorithms, it allows to easily find the perfect reverberation for every kind of application in a few clicks.
MultiFX The M series Digital Mixers offer an unprecedented level of integration by offering multiple internal effects that can be assigned to some of the inputs channels; these effects are additional and independent from the main effects which are connected to the internal effect busses. The aim of multieffect inclusion is to provide a new approach to effect processing, as effect settings can be effectively combined with mixing parameters.
Master Processor The M Series Master Processor is the last stage of processing, before the MAIN Graphic Equalizer, and represents a precious toolset to give a final touch to overall sound. The Master processor is composed of three individual processors in series: Valve Warmer, Xciter, Maximizer.
Storing and recalling parameters The mixer handles the many hundreds parameters available in a specific way that has been tailored to the needs of the performing musician.
Every group is detailed in the following table: Group Parameters Global Configuration SHOW related GEQ SNAPSHOT related Mix Bus MFX1 MFX2 MFX3 MFX4 RCF spa Notes NETWORK/LAN Settings NETWORK/WLAN AP Settings +48V Phantom Enable PHONES Mode (PFL/Personal Mix) MFX1, MFX2 Routing Footswitch Settings Outputs Routing Snapshot Settings (save of MFX patch numbers) Startup Setting MIDI settings PLAYER AUTO Mode ON/OFF INPUTS CH. PRE (GAIN, TRIM, PHASE, HPF, HiZ) INPUTS CH.
MixRemote iOS app The MixRemote app allows full control of the M 18 Digital Mixer, and links to the unit via a WiFi connection. Several enhancements are periodically added to the app, therefore we suggest to check periodically for updates on the iTunes Store. +Before downloading the updated app, please verify on the release notes if there is the requirement to upgrade the hardware unit via a firmware update before using the updated app.
FADERS > INPUTS view The first page you access is the FADERS INPUTS page, which shows on the top left the MIX REMOTE logo (1). It you tap on the MIX REMOTE logo, you will be directed to the main FADERS > INPUTS view; this is a sort of “Home” button that leads you always to the initial page with input faders. In the central area, on the upper side, there is a small text box with indications of the currently active session (2).
The left area, under the MIX REMOTE logo, enables the recall of the INPUTS tab, which is the default one. Below, there are FX1, FX2, and FX3 tabs in orange, as well as AUX1, AUX2, AUX3, AUX4, AUX5, and AUX6 tabs in green. At the bottom there is a double arrow allowing you to scroll down 8 inputs at a time, or more if some channel are stereo linked.
Inputs 01-08 The left part of the center column contains on the top left a BACK button (1) to allows you return to the INPUTS view, followed by the pan control which also shows fader value in dB when moved (2), the Mute (3) button, the channel editable name (4), the fader (5), the PFL (6) button and the non-editable number of the hardware input (7). The larger part of this page shows a rack containing RCF PRE, RCF GATE and RCF COMPRESSOR, above the latter two there is a box to recall presets.
Inputs 5-6 and 7-8 The left part of the center column contains on the top left a key (1) to return to INPUTS followed by the level of the individual fader in dB (2), the Mute (3) key, the name of the channel (4), the fader (5), the PFL (6) key and the non-editable number of the hardware input (7). The larger part of this page shows a rack containing RCF PRE, RCF GATE and RCF COMPRESSOR, above the latter two there is a box to recall presets.
Inputs 09-10 Hardware inputs 09 and 10 have line-level sensitivity, but also allows the direct connection of electric guitar and bass instruments, as they feature a Hi-Z option. These two channels offer additional capabilities to tailor your own sound, as they both feature a 5-effect MultiFX. Similarly to channels 5 to 8, the effects are displayed in pairs, and you can jump to the desired insert effect by touching the dedicate button on top right (see the red box here below).
By tapping the AMP stomp box, a new page shows up, with all the relevant parameters on a single view for maximum editing efficiency. Each Head AMP simulation has a preferred Cabinet combination, and every time you select a Head AMP, the matching Cabinet will show up. Then, you can vary the Cabinet model and experiment with unusual combinations. Each Head AMP has up to 6 parameters that accurately model the controls available on the original amplifiers.
Inputs 11-18 Hardware inputs from 11 to 18 have line connections, with the option to switch between -10dBV and +4 dBu sensitivity. INV and HPF other controls are identical to the other inputs, as you can see on the right. Stereo Player (from USB flash drive) TK USB inputs are managed as a stereo input by default, but you can always unlink them in SETTINGS > GLOBAL page. As the audio is directly generated in digital, there is no need for PRE or DYNAMICS.
Input channels: EQ section The 4-band EQ page is identical for all input channels - including TK channels. This page is characterized by the large Preset box, followed by Standard and Advanced boxes and ON switch. Great versatility is provided by allowing the selection of three different types of equalizer: Standard (a no-frills, precise EQ), Vintage (modeled after a UK classic EQ), Smooth (whose modeling was inspired by a modern US EQ).
FADERS > SEND view For each of the input channels, the SEND page allows the accurate settings of three FX and six AUX sends. FX sends are always post-fader, thus allowing the channel level to affect FX send levels, maintaining the desired balance. AUX1-AUX4 sends are always pre-fader, thus allowing to set the required level independently from channel level settings – this solution is ideal for stage monitoring. AUX5 and AUX6 can be set pre or post fader independently for each input channel.
EFFECTS view The EFFECTS tab contains two pages: SEND and MULTIFX. The left column shows the SEND and the MULTIFX select buttons; the right column shows usual the MAIN OUT controls. EFFECTS > SEND The SEND page shows the three rack mount effects units: FX1 for reverbs, FX2 for delays, and FX3 which can be assigned to one of four different types of delays and modulations effects. On the upper left side over each rack device there are small Preset boxes, to recall several factory presets.
The Digital Delay can be the chosen among Stereo, Vintage, Modern, Dual and ER.
OUTPUTS view This tab has one page only, which shows the six silver master faders for the AUX sends, the PHONES master level, as well as MAIN OUT master level on the rightmost column, as in most views.
PHONES view The way the PHONES output works depends on SETTINGS tab GLOBAL page selection. You can choose the operating mode between PFL (Pre-Fade Listen) or Personal Mix. In Personal Mix mode, the central column of the PHONES page includes a box indicating the level of the individual fader in dB or the pan-pot position, a small Mute button, a text box which by default is the number of the send, which can be renamed, and a blue fader for headphone level and the non-editable number of the hardware socket.
shows the current position within the file; you can grab the scroll bar and move to the desired position, either when in playback mode or stop mode. A drop-down selector (4) on the upper right corner allows the selection between different 4 USB flash drives; this is required in case multiple USB flash drives are connected through a USB hub. On the upper bar, on the right side, you can view (3) the file currently selected on the player.
METERS view This tab has just page, which provides an instant view of the levels of all INPUTS - including the PLAYER – and of three FX stereo returns (RTNS). The lower section shows the output levels of the three FX SENDS and the OUTS level of the six AUX sends. This view is very useful to quickly check which signals are actually active, and it is recommended to check this view every time you want to verify the mixer status.
LOAD/SAVE view This section features two pages: SNAPSHOT and SHOW Using these pages you can save up to 200 SNAPSHOT presets or 100 SHOW presets that you can recall later by pressing the load button after the selection of the desired snapshot/show number. SNAPSHOT The snapshot presets include all the settings but outputs.
SETTINGS view The SETTINGS view allows access to all of the global configuration parameters (see at page 10). Four tabs are available, on the left column. NETWORK Two sections are accessible from the NETWORK view: on the left side, for the wired LAN port; on the right side, for the internal Wireless LAN Access Point. LAN Settings: all network-related adjustments can be made, such as IP Address, Netmask, Gateway and DNS.
GLOBAL This page contains several settings affecting the operating mode of the mixer. The 48V Phantom Enable section allows the activation of 48V phantom power for microphone inputs in groups of 4, using Phantom 1-4 and Phantom 5-8 switches. The Phones Mode section sets the mode of the headphone output, allowing the selection between PFL (on FADERS INPUT page) and Personal Mix. The Input Stereo Links section allows you to link in stereo an odd channel with the next even channel.
MIDI This page manages allows the define which MIDI are associated with specific functions. You can also disable reception of MIDI commands.
SYSTEM This page contains system settings affecting the M 18 Digital Mixer operations. The Snapshot saves switches allow to save also the MFX patch numbers, independently for each MFX. In this way, you can associate saved patches of each MFX to the current Snapshot. The ONLINE and OFFLINE buttons allow a change of connection status. Immediately below, there's a text line indicating the status of the mixer (Mixer disconnected or Mixer connected).
Hardware Description Connectors All connectors are available on the rear panel, for maximum compactness. 1. MIC Input 1 to 6 – XLR Female Connect your Microphones to these remotely-controlled 60dB gain-range inputs. Red LEDs indicate the Phantom power status ON or OFF for MIC input groups 1 to 4 and 5 to 8. To obtain best performances from your microphones, use balanced XLR cables. 2.
show the signal presence on MAIN MIX channels independently for LEFT and RIGHT outputs. 4. External Wi-Fi Antenna connector M 18 includes an internal antenna and provisions for an external antenna. Attach the provided external antenna to this connector for optimal performance of the MixRemote app. 5. Power switch Turn On and Off your M 18 device. 6. Power cable inlet. Connect here the provided power cord. 7.
13. Headphones stereo output Connect your headphones here either for PFL, Personal Monitoring or the Main Mix listening. 14. LINE Input 11-18 Connect here your line level sources like keyboard, external audio device or other small analog consoles used for submix. These input are unbalanced, and their operating levels can be set to +4dBu or -10dBV. 15.
Restoring the unit If your unit is not reachable by the MixRemote app, you have some options to force the unit into an operating condition again. These option require that the reset button, on the rear panel, near the USB port, is pressed: 1) The unit is working, but you forgot WiFi and/or LAN password and settings When the unit is ON and working, press the reset button for no more than 10 seconds, and for at least 3 seconds.
M 18 Usage Secrets of mixing on a digital console The most important thing to keep in mind using a digital console is the Gain Structure.
Sound Shaping with M 18 A full array of processors is available on each M Series Mixer’s channel: HPF, Gate, Compressor, Insert, Equalizer, Three Fx Sends. They allow to tailor every kind of sound not only for correction but also with a creative approach. The Gate with its full set of controls allows to be optimized for every kind of incoming signal, even the most complex and difficult to tame. The Compressor can be at the same time super transparent but also very aggressive.
DRUMS Gate and Compressor are processors heavily used on drums and percussions. Among the various Equalizer options, the Vintage Type is for sure the most recommended if we are looking for a sound shape with character. The Standard Equalizer Type is still the first choice for surgical corrections and for transparent shaping. The Smooth Equalizer Type is for sure the best choice for soft sounds. Here are some examples and tips for each part of the drum kit.
TOM EQ HPF: 50 > 200 Hz Body: 150Hz>250Hz Resonance (Cut) : 250>600Hz Attack: 4>8 KHz COMP Attack: Med-Slow Release: Med-Fast Ratio: 4:1>8:1 TIP: 1) Usually, Tom microphones capture cymbals so it’s advisable to avoid extreme boost in the high-end frequency range; the Smooth Eq Shelving is perfect to cut some hi frequencies and gentle boost some mid-hi frequencies easily with a single pot! 2) The first Tom (typically positioned above the snare) usually captures a big part of the snare too; It is better to
BASS Typical processing of the bass input signal requires both Compressor and Equalizer. Due the versatility of the M Series Compressor, it can be used on bass for several purposes, from increasing the average volume – and limiting some pick – to adding some attack and aggressiveness to the overall sound. All the EQ types are also usable on bass, with excellent results depending on the sound we are looking for.
ELECTRIC GUITARS The approach to the Electric guitar processing changes a lot according to the original sound. The internal M Series guitar processor allows tons of tone possibilities that can be fine tuned also through EQ and Compressor. Of course, you can use the mixer miking a real amp and cabinet, and in this case the internal processors could be used more to fine tune the sound.
VOICE The Voice is a complex “instrument”, mainly because it can be emitted in several different ways. The main problems to handle, especially during live gigs, are first the control of the dynamic range and then the balance of the frequencies according to the dynamic. The M Series Compressor is absolutely transparent, and on voices it can be used to control the dynamic range also hardly without the classic pumping side effect.
A1 - Block Diagram INPUT PROCESSING DETAIL RCF spa M 18 Digital Mixer User’s Manual 44
SOLO PM details OUTPUT SECTION details RCF spa M 18 Digital Mixer User’s Manual 45
A2 – MIDI implementation chart ON GLOBAL CHANNEL (default = ch 10) MIDI message Number Assigned to Control Change Control Change Control Change Control Change Control Change Control Change Control Change Control Change Note On Note On Note On Note On PROGRAM CHANGE BANK SELECT (CC32) 1 2 3 4 5 6 7 8 18 19 21 22 1-100 0, 1 MAIN OUT LEVEL PHONES LEVEL AUX1 LEVEL AUX2 LEVEL AUX3 LEVEL AUX4 LEVEL AUX5 LEVEL AUX6 LEVEL PLAYER PREV PLAYER NEXT PLAYER STOP PLAYER PLAY SNAPSHOT LOAD SNAPSHOT BANK Transmitted
