VM-C7200/C7100 VM-C7200/C7100 Owner’s Manual Owner’s Manual Notation used in this Owner’s Manual To make operation procedures easy to understand, the following notation system is adopted: • Characters and numbers in square brackets [ ] indicate buttons on the front panel. For example, [LEVEL METER] represents the LEVEL METER button. • Notes in the right margin of sections marked attention. Be sure to read these notes.
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.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
Important Notes In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following: Power supply • Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). • Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Table of Contents Chapter 1 Introduction .........................................................................10 Table of Contents Main Features............................................................................................................................................ 10 Names of Things and What They Do .................................................................................................... 11 A: Display area ..................................................................
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) ..........................................................................................................
Table of Contents Table of Contents 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) ..........................................
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 .............................................
Table of Contents Q & A ....................................................................................................264 Table of Contents Basic setup and structure ........................................................................................................... 264 Hardware ..................................................................................................................................... 266 Effects........................................................................
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.
Chapter 1 Introduction Chapter 1 Introduction 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. Display area (p. 12) B. Monitor area (p. 13) This area contains buttons and knobs that are used to adjust the content shown in the display.
Chapter 1 Introduction ■ A: Display area fig.01-2 2 3 1 14 13 12 1...CONTRAST knob Sets the density (brightness) of the display. Turn the knob to optimize the display’s visibility for your viewing angle. 4 11 5 10 6 9 7 8 9...FADER UTILITY button Calls up a screen for linking pairs of channel faders in stereo. 10...CURSOR buttons 2...DISPLAY (LCD) Shows a level-meter screen after system is turned on. Contents of the display change to reflect the current mixing operation. 3...
Chapter 1 Introduction Chapter 1 Introduction ■ B: Monitor area fig.01-3 1 2 3 5 4 6 7 8 9 10 15 14 13 12 11 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.
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. 8...MIC 1 (internal microphone) Small microphone built into the panel used for talkback communication with performers. 9...
Chapter 1 Introduction Chapter 1 Introduction ■ C: Memory/Recall area fig.01-4 1 2 3 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.
Chapter 1 Introduction ■ D: Transport area 4...ZERO button fig.01-5 1 2 3 Sets the current system time to zero (00:00:00:00). While [SHIFT] is pressed, this button functions as a LOOP button that turns loop play on and off. When loop play is turned on, a connected remote device—such as a multitrack recorder—will repeatedly play and rewind a specified section of the project. 5...REW/PREV button Moves the current system time backward. (“PREV” is reserved for future implementation.) 5 4 6 6...
Chapter 1 Introduction 2...FLEX BUS 1–6/7–12 buttons fig.01-6 6 7 1 Press any of the FLEX BUS 1–6 buttons to display and adjust each Flex Bus’s settings that correspond to the currently selected parameter section. To access the parameters for Flex buses 7 through 12, hold down [SHIFT] and press the desired 7–12 FLEX BUS button. 8 3...PREAMP GAIN button 9 10 2 11 12 13 3 14 4 5 Press this button to set the input preamplifier gain for each channel using its fader.
Chapter 1 Introduction 8...MULTI OUT 1–24 button Press this button to control the level of the 24 (eight channels times three) digital multi-outputs using the channel faders or from the display. Press this button together with [SHIFT] to call up the MIDI control screen. 9...FLEX BUS MASTER 1–12 button Press this button to control the output level of the 12 Flex buses (p. 86) using channel faders or from the display. 10...
Chapter 1 Introduction Chapter 1 Introduction ■ F: Channel fader (button) area fig.01-7 1 2 3 4 5 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” above).
Chapter 1 Introduction ■ Rear panel fig.01-8 1 2 3 4 5 6 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. Typically, these are connected internally to INPUT Channels 23 and 24, though they can be re-patched.
Chapter 1 Introduction Chapter 1 Introduction 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.
Chapter 1 Introduction fig.01-10e Channel Insert (Effects Processor) Monitor Speaker Synthesizer, Sound Module, etc Branch Cable (e.g. PCS-31) 3 1 2 3 4 5 Monitor Amp, Headphone Amp for players 6 4 5 6 7 8 Microphone Digital Audio Input/Output AES/EBU jack on pro audio device Front Panel on the Processor Rear Panel on the console Microphone, Sub Mixer, MD/CD Player Monitor in the Control Room Speaker Amp Digital Powered Speaker (Roland DS-90 etc.) Use two AES/EBU Digital Audio Cables.
Chapter 1 Introduction fig.01-11e 8 ch To R-BUS compatible device Roland DIF-AT (Interface Box) R-BUS Cable VM-24E (Option) Rear Panel on the Processor AC power supply VM-24C (Option) Main Output Word Clock connector on digital recorder or similar device MB-24 (Option) Cable supplied with the VM-24C Digital Input/Output the Processor Processor to be connected in cascade (VM-7200/7100) DAT/MD Recorder, etc. Analog Input Power Amp Tape Recorder, MD Recorder, etc.
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. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices. • This unit is equipped with a protection circuit.
Chapter 1 Introduction Chapter 1 Introduction ■ 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. When a project is stored, information on when operation has been performed (time stamp) is also written automatically.
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. 7. This completes the internal clock setting. After the above setting, adjust the time as necessary. Press CURSOR [UP] to move the cursor to [CLOCK ON DISPLAY/DATE FORMAT].
Chapter 1 Introduction Chapter 1 Introduction 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. Using the memory card you used for backup in step 1, restore the previous state (54). IMPORTANT Following message may appear in the display, for instanse, when you turn on the console after replacing the battery. fig.
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. If no project is prepared beforehand, scenes, Automix or libraries are not stored.
Chapter 1 Introduction Chapter 1 Introduction 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.
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.
Chapter 1 Introduction Chapter 1 Introduction 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 multitrack recorders, generally operate based on internal master clock signals called “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.
Chapter 1 Introduction 2 3 ... Word clock source Specifies the reference device of the word clock (32). Place the cursor, select with the V1 knob and enter with [F1] (SET). 4 ... Word clock in terminator The “SCMS” (Serial Copy Management System) is a copyright protection function for home digital audio devices, such as MD recorders. It prohibits second generation and after copying with digital connections.
Chapter 2 Basic Operations and Their Settings (System/Project) Basic Operations ■ Screen descriptions fig.02-01 1 2 3 4 5 6 7 1 Screen Title 2 Processor currently targeted 3 Number of the effect library used (displayed only on the effect setting screen) 4 Screen subtitle 5 Current position (time code) 6 Number of scene currently selected 7 Parameter display section 34 Subtitle shows the section, or the name of the effect algorithm used, depending on the screen displayed.
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]. fig.02-02 Changing values The method of changing values varies depending on the parameter.
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. If any unfamiliar screen appears or you get lost, press the [LEVEL METER] to return to the level meter screen and start the operation over again. fig.
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. Press CURSOR [UP], then press [F3] (FADER/BUTTON). The SYSTEM FADER/SW screen shown below is displayed. fig.
Chapter 2 Basic Operations and Their Settings (System/Project) 5 TALKBACK BUTTON Determines how the [TALKBACK/SLATE] works. To set it so that it only functions while the button is held down, and is turned off when the button is released, set it to “MOMENTARY.” To set it so that it is turned on by pressing the button, and is turned off by pressing the button again, set it to “LATCH.” 6 LED TYPE Normally, the channel status and [STOP] auto-mixing indicators light in green.
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. While holding down [SHIFT], press [PROJECT]. Chapter 2 Basic Operations and Their Settings (System/Project) 2. Press CURSOR [UP], then [F1] (SYSTEM CONFIG). The System Configuration Screen appears. fig.
Chapter 2 Basic Operations and Their Settings (System/Project) ■ When using two consoles Up to two consoles can be used simultaneously by ring connecting the VM link. Using two consoles enables simultaneous control from two locations, such as a seat in the audience and stage side. fig.
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. When the VM link is ring connected, a second processor cannot be added. Settings related to cascade connection 1. While holding down [SHIFT], press [PROJECT]. 2.
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). • The cue from the 2nd UNIT is sent to the 1st UNIT via the monitor signal line. Select “CUE” as the monitor source of the 2nd UNIT.
Chapter 3 Data Storage and Retrieval Data inside this system is controlled as shown in the figure below. fig.
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. Channel equalizer library: Combines the settings of the parametric equalizer provided for each input channel.
Chapter 3 Data Storage and Retrieval 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.
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. To audition a library before it is overwritten (or erased), press [F1] (PREVIEW) (highlighted in black) to hear the library. To initialize the channel delay, turn the button off. 5. After selection, press [F3] (SAVE).
Chapter 3 Data Storage and Retrieval 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. When the project utilizes two mixing processors, the number of storable Scenes decreases to 50.
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. SCENE SELECT/ACTIVE PARAMETER page fig.
Chapter 3 Data Storage and Retrieval 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). Chapter 3 Data Storage and Retrieval CURRENT SCENE NAME EDIT page fig.03-07 • A Scene name (12 characters max.) selected from the list on the top page (SCENE SELECT/ACTIVE PARAMETER) can be changed. The change will be reflected in the list.
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. Otherwise, a project cannot be stored. 1. Prepare a formatted memory card (p. 51). 2a. Create a new project on the card (p. 52).
Chapter 3 Data Storage and Retrieval ■ 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 CURSOR [DOWN] to display the following screen. After formatting, all data on the card is erased. fig.03-08 2. Press [F6] (MEMORY CARD) and [F2] (FORMAT), in that order. fig.03-09 3.
Chapter 3 Data Storage and Retrieval Creating a new project 1. Press [PROJECT]. After a menu appears, press CURSOR [DOWN] to display the following screen. 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. Updating (storing) a project 1. Press [PROJECT].
Chapter 3 Data Storage and Retrieval ■ 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. Naming and adding comments to a project 1. Press [PROJECT] and CURSOR [DOWN], in that order. 2. Press [F3] (NAME/PROTECT). The project-naming screen appears. fig.
Chapter 3 Data Storage and Retrieval but turn [F6] (PROTECT) off so that it’s not highlighted in Step 2.
Chapter 3 Data Storage and Retrieval ■ 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. Before switching to a new project, make sure to store the current project on the card if you wish to retain it.
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. Since the currently selected project will be overwritten when a storage operation is performed, it’s recommended that you create a copy of the default project on the card and select the copy to ensure that you don’t accidentally overwrite the original. Copying a project 1.
Chapter 3 Data Storage and Retrieval 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. For this purpose, one memory card is attached to the console (both VM-C7200 and C7100) at the time of purchase.
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). IMPORTANT The console’s auto-mixing memory is used during the memory-card backing-up process.
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.
Chapter 4 Useful Functions 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. When shipped, 9 EZ Routing template presets are stored in the console.
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”). Then turn the V2 knob (SELECT NUMBER) to select a number (000 to 029) corresponding to the desired template name on the display. 3. Save the template.
Chapter 4 Useful Functions 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 Chapter 4 Useful Functions * For internal connections using the virtual patchbay, signals can also be assigned to several destinations. Multiple signals, however, cannot be simultaneously assigned to a single destination. fig.
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. CH EDIT operation fig.04-07 Select a channel – one of the C7200’s 24 vertical columns, or one of the C7100’s 12 – and control the parameters for it using the V1 to V6 knobs or [F1] to [F6].
Chapter 4 Useful Functions ■ Directly jumping to a parameter’s screen (Quick channel edit) Using [PAGE UP] or [PAGE DOWN] to move through numerous parameter screens in order to reach a desired parameter’s screen can be time-consuming. To save time, you can jump directly to certain parameters using the status buttons of channels 13 to 24. While holding down [CH EDIT] on the channel you’re working with, press one of the status buttons to display the desired parameter screen. fig.
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. This display is called the “parameter view on fader.” This view is helpful when the parameter settings of multiple channels need to be adjusted at the same time. Operation of [PARAM VIEW on Fader] fig.
Chapter 4 Useful Functions [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. • GAIN: Analog preamplifier gain • PHANTOM: Supplies/does not supply phantom power to the microphone. Pan control is inactive when no Flex Buses are linked. To learn about Flex Bus linking, refer to p. 102.
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” screens so that several channels’ parameters can be adjusted at the same time.
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. The VM-24E I/O Expansion board, purchased separately, adds 24 channels of digital R-BUS inputs and outputs to your system. Press [INPUT] or [MULTI IN] to select the type of inputs you want to edit.
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) • Phantom power supply (not available when DIGITAL A/B is selected as the input source) • Phase inversion • Digital attenuation level Phase (p. 242) Phantom power (p. 242) Attenuator (p.
Chapter 5 Mixing Procedure 1 (Input Channel) ■ 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.
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. Signals sent from channels to Flex Buses can be set in the same manner. To view and change the ON/OFF, SEND LEVEL and PAN values of multiple channels at the same time, use PARAM VIEW on Fader.
Chapter 5 Mixing Procedure 1 (Input Channel) 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). While in CHANNEL EDIT mode, you can also set two other parameters that affect sending the channel’s signal to the main mix: • SEND ON/OFF—This sets whether or not the channel’s signal is sent to the main mix.
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. 2. Press one of the FLEX BUS 1 to 6 buttons in PARAM VIEW on Fader to choose the Flex Bus to which you want to send signal from one or more channels. To select from Flex Buses 7–12, press FLEX BUS [1] to [6] while holding down [SHIFT].
Chapter 5 Mixing Procedure 1 (Input Channel) 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). Confirm your choices using [F1] to [F6] (SET). fig.
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. 1. Press and select [INPUT] or [MULTI IN] in the SECTION area to select the type of input you want to set up.
Chapter 5 Mixing Procedure 1 (Input Channel) 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. Use the V4 knob to select the desired linking method. No linking. Position of the linked pair is set while preserving the relative positions of the two channels in relation to each other.
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]. 4. Use CURSOR [UP] to select the parameters in the upper section. fig.
Chapter 5 Mixing Procedure 1 (Input 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: Solo: Audio: Auto-mix: When on, silences the channel’s signal. When on, isolates the channel’s signal, silencing other channels. Switches the track status of connected external recording devices. Activates or de-activates automation recording of channelsetting changes.
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). SOLO mode sends the soloed channel’s signal to the following outputs: • The mixing processor’s MONITOR OUT jack • The console’s MONITOR LINE OUT jack • Headphones connected to the console’s PHONES jack Using the STATUS button to enter SOLO mode 1.
Chapter 5 Mixing Procedure 1 (Input Channel) 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 ● You can quickly jump to this screen by pressing the [HPF/LO], [LO-MID] or [HI-MID/HI] STATUS button, as desired, while holding down [CH EDIT] for the channel you want to edit. 4.
Chapter 5 Mixing Procedure 1 (Input Channel) TYPE provides a variety of configuration choices for the LO-MID band: Disables the LO-MID band altogether for simpler, threeband EQ. Acts as a low-pass filter (to cut off higher frequencies) Acts as a band-pass filter (to cut off all frequencies other than the selected frequency).
Chapter 5 Mixing Procedure 1 (Input Channel) ■ 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. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of input channel you want to work with.
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 of the original, un-delayed signal to be heard. DELAY TIME: Turn [V4] (TIME) to select an amount of delay from 0 to 14,400 samples. * DELAY TIME defines the length of the delay and the time interval of repeats.
Chapter 5 Mixing Procedure 1 (Input Channel) ■ 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. Creating channel names 1. Press [INPUT] or [MULTI IN] in the SECTION area to select the type of channel you want to name.
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 VM24E (purchased separately) is installed, 24 MULTI OUT connections—utilizing three R-BUS terminals—become available. The VM-7200 mixing processor adds an additional eight independent Flex Bus outputs. This chapter describes using these outputs.
Chapter 6 Mixing Procedure 2 (Output and Monitor) 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. Use the master fader to set the cue bus master stereo balance. The master fader controls the cue bus’s stereo balance when [CH PAN] (CUE PAN) is pressed.
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. This system is equipped with Flex Buses and cue buses. (When this book uses the simple term “bus,” it refers to a Flex Bus.) What is a Flex Bus? A Flex Bus is a powerful, general-purpose bus. Each VM mixing processor offers 12 Flex Buses.
Chapter 6 Mixing Procedure 2 (Output and Monitor) 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. Call up a Flex Bus’s MAIN/CUE page as described in Step 3 in the previous section. 2. Press CURSOR [UP] to select a parameter in the upper area of the display. You can also access this setting from a multi-out channel.
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. They can also be set on the PARAM VIEW on Fader screen (p. 64). fig.06-08 2. Set the Flex Bus’s send level and pan to the MAIN OUT jacks: Use the V1 knob (MAIN LEVEL) to select the desired level from infinity to +6 dB.
Chapter 6 Mixing Procedure 2 (Output and Monitor) ■ 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. Press [FLEX BUS] MASTER 1–12 in the SECTION area. 2. Press the desired Flex Bus channel’s [CH EDIT]. 3. Use [PAGE DOWN] to select the [NAME] page. 4.
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. ● A Flex Bus can also be surround-panned on CHANNEL EDIT mode’s SURROUND page on the while viewing each channel’s surround settings graphically. You can also set surround-panning for linked channels, and fine tune surround output levels.
Chapter 6 Mixing Procedure 2 (Output and Monitor) 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. ● For how to surround-pan each input channel, refer to p. 74.
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. Press [F1] (ON) and select [SURROUND CONTROL MASTER SW] on the screen—when surround is turned on, it’s highlighted in black. 4.
Chapter 6 Mixing Procedure 2 (Output and Monitor) Routing Signals to MULTI OUTs and ASSIGNABLE OUT Jacks You can select the signal to be sent out of the system through each MULTI OUT connection and ASSIGNABLE OUT jack. • MULTI OUTs 1 to 24 • ASSIGNABLE OUTs 1 to 8 • DIGITAL OUTs A and B The following (e.g. source and level) can be set for the above outputs. To use MULTI OUTs, a VM-24E (purchased separately) must be installed in the system.
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” and short names (up to 3 characters) such as “Tr1” can be set. Calling up the multi-out channel name screen 1. Press [MULTI OUT] in the SECTION area. 2. Press the desired multi-out channel’s [CH EDIT]. This calls up the multi-out channel EDIT screen. 3.
Chapter 6 Mixing Procedure 2 (Output and Monitor) 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. 4. Enable or disable dithering and set the word length.
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: • INPUT CHs 1 to 24 • Flex Buses 1 to 12 • Cue buses L and R • Monitors L and R • Mains L and R Setting the STUDIO 1 and 2 send level 1. Press [SOURCE/STUDIO2].
Chapter 6 Mixing Procedure 2 (Output and Monitor) ■ Turning the monitor send to each output jack on or off You can independently activate or de-activate the sending of monitor signals to the following three jacks: • MONITOR DIGITAL OUTs 1 and 2 on the console • MONITOR LINE OUTs L and R on the console • MONITOR OUT on the VM-7200 processor Monitor signal is always sent to the PHONES jack. To avoid hearing the signal, turn down the [PHONES LEVEL] on the console. Turning monitor signal send on or off 1.
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. Press MONITOR/PHONES [SOURCE SELECT]. 2. Use [V1] (SELECT) to select the desired signal to monitor using the V1 knob (SELECT), choosing from INs 15 to 24, FBUSes (1 to 12) MAIN and CUE. 3.
Chapter 6 Mixing Procedure 2 (Output and Monitor) ■ 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. Press MONITOR/PHONES [SOURCE SELECT] while holding down [SHIFT]. This calls up the monitor screen. 2. Use CURSOR [UP] to select DIM/BALANCE/MONO. fig.06-27 3.
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. The slate function operates similarly, except that it records the signal from such a microphone—a spoken slate, such as “Take 1,” “Take 2,” and so on, can identify the material being recorded.
Chapter 6 Mixing Procedure 2 (Output and Monitor) ■ 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 When [TALKBACK/ SLATE] is pressed, the microphone’s signal is sent to the destination selected in Step 3 below. 1. Press [TALKBACK/SLATE] while holding down [SHIFT].
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) 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. mute and fader-group functions) allow you to control signals from several channels simultaneously.
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) 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. Turning Mute Group 1 to 9 on/off To mute each channel separately, press [MUTE] under CH STATUS MODE and press the desired channel’s STATUS button (p. 77).
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. Repeat Steps 3 and 4 to set the registration of other channels.
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Each channel fader can be registered in a fader group as follows: 1. Press [FADER GROUP] MASTER 1-24 in the SECTION area. You cannot register a fader in multiple fader groups. This calls up the fader group master screen and turns the channel strips into fadergroup master channels. 2. Press the desired fader-group master’s [CH EDIT]. This calls up the channel fader registration/deletion screen. fig.07-05 3.
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. Press [FADER GROUP] MASTER 1-24 in the SECTION area. 2. Select MUTE or SOLO using the CH STATUS MODE button. Pressing [MUTE] or [SOLO] turns each indicator on. fig.07-08 3.
Chapter 7 Mixing Procedure 3 (Settings Common to Input and Output) Chapter 7 Mixing Procedure 3 (Input and Output) Mute- and Solo-Related Settings Though mute (p. 77) and solo (p.
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. 1. Press [FADER UTILITY]. The FADER UTILITY MENU appears. 2. Press [F1] (CHANNEL LINK). 3. Press [PAGE UP] or [PAGE DOWN] to display the channel-linking screen.
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). Installation of effects Standard Added by installing the VS8F-2 to EFFECT A in the processor. Added by installing the VS8F-2 to EFFECT B in the processor. Added by installing the VS8F-2 to EFFECT C in the processor. Standard.
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. You can only assign effects to the locations checked on the chart shown below. fig.08-001e *1 Either INPUT or MULTIIN can be selected on an expansion board basis.
Chapter 8 Using the Internal Effects 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 Chapter 8 Using the Internal Effects 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. * This step is not required for the master effect. 3. Invoke the Edit Effect screen.
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.) • OFF Not used. • INPUT PRE EQ Inserted to an INPUT channel (pre-equalizer). • INPUT PRE FDR Inserted to an INPUT channel (pre-fader). • MULTI IN PRE EQ Inserted to a MULTI IN channel (pre-equalizer). • MULTI IN PRE FDR Inserted to a MULTI IN channel (pre-fader).
Chapter 8 Using the Internal Effects ■ 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. The setting range is 0 to 127; a value of 100 provides no increase/ decrease (0 dB). fig.
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). (On shipment, the user library contains the same data as in the preset library.
Chapter 8 Using the Internal 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. Algorithm (p. 232) Chapter 8 Using the Internal Effects • Effects 1 to 8... Effect libraries between P000 and P038 • Master effect...
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 onscreen parameters, see Algorithm List on and after p. 119. fig.08-006 The [FLOW/SW] area at the top of the screen indicates the order in which the effects are assigned in the algorithm.
Chapter 8 Using the Internal Effects 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) When you want to change a library name before saving it (p. 118) 1. Return to the Effect menu screen.
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. 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.
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) ● To add effects suited for the guitar/bass Reverb ............................................................................. (p. 120) Gate Reverb.................................................................... (p.
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 Direct Level Input L 3BAND EQ Input R Output L Reverb Output R Direct Level Sound types Sounds around us can be analyzed and categorized into three types: direct sounds, early reflections and reverberation. A direct sound is the sound that reaches the listener directly from the source.
Chapter 8 Using the Internal Effects Parameter (full name) Setting Function On, Off Turns the equalizer on or off. 3 BAND EQ (Equalizer) Sw (Switch) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
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 Direct Level Output L 3BAND EQ Feedback Level Lch Delay FeedbackLevel Rch 3BAND EQ Input R Direct Level Output 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. These delay sounds can be adjusted by setting Delay Shift (Shift).
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
Chapter 8 Using the Internal Effects StDly-Chorus (Stereo Delay Chorus) Delay and Chorus can be combined to create spaciousness. fig.08-10 Output L Input L Delay L Chorus L Cross FB Level Lch Cross FB Level Lch Cross FB Level Rch Cross FB Level Rch Chorus R Delay R 3BAND EQ 3BAND EQ Input R Output 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).
Chapter 8 Using the Internal Effects Chorus: Adds spaciousness and depth to the sound. Sw (Switch) On, Off Turns the chorus on or off. Rate (Rate) 0.1–10.0 kHz Sets the rate of modulation. 0–100 Sets the depth of modulation. -100–100 Sets the amount of the left-side chorus sound should be returned to the left chorus input. Feedback Level Rch1 (Rch Feedback Level) -100–100 Sets the amount of the right-side chorus sound should be returned to the right chorus input.
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 Output L Direct Level 3BAND EQ Pitch Shifter L Delay L Delay R Pitch Shifter R 3BAND EQ Input R Output R Direct Level Setting up pitch Chromatic Pitch (Cromatic) is used for major pitch variation while Fine Pitch (Fine) is used for fine adjustment.
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12 - +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4 - 20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
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. fig.08-14 Output L Input L (Instrument) Chorus 10 Band Vocoder Input R (Mic) Output R Instrumental sounds are input into the L-channel side of the effect.
Chapter 8 Using the Internal Effects 2ch RSS Gives each of the sounds input into the respective channels three-dimensional locations. fig.08-16 Output L Input A RSS Chapter 8 Using the Internal Effects RSS Input B Output R • Input A is input into the L-channel side of the effect. Therefore, it is required to insert and connect “Lch” of the effect to the channel handling Input A. Similarly, Input B is input into the R-channel side of the effect.
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. • Place the speakers as far as possible from the walls on the sides. • Do not separate the right and left speakers too much. • Recommended sweet spots for listening are as follows: fig.
Chapter 8 Using the Internal Effects 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˚ to the right. The center Delay output can receive the Feedback effect. fig.
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 Output L Direct Level RSS Chorus RSS Output R Direct Level Input R Location is fixed; no azimuth or elevation can be specified. Parameter (full name) Chorus RSS Function : Locates chorus sounds three-dimensionally. Rate (Chorus Rate) 0.1–10.
Chapter 8 Using the Internal Effects 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.
Chapter 8 Using the Internal Effects Parameter (full name) Setting Function Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) On, Off Turns the compressor on or off. Output Level (Level) 0–100 Sets the volume of the compressor sound. Sustain (Sustain) 0–100 Sets the time over which low level signals are boosted to a constant volume. Attack (Attack) 0–100 Sets the strength of attack when a sound is input.
Chapter 8 Using the Internal Effects Flanger: Adds effects similar to ascending/descending sound of a jet. Sw (Switch) On, Off Turns the flanger on or off. Rate (Rate) 0.1–10.0 Hz Sets the rate of modulation for the flanger. Depth (Depth) 0–100 Sets the depth of modulation for the flanger. Manual (Manual) 0–100 Sets the center frequency subject to application of the flanger effect. Reso (Resonance) 0–100 Enhances frequency components at around the center frequency set with Manual.
Chapter 8 Using the Internal Effects Vocal Multi This feature provides a multi-effect suited for vocals. fig.08-30 Input L Noise Suppressor Output L Limiter/ De-esser Enhancer 3BAND EQ Pitch Shifter Delay Chorus Output R Input R Cutting distortion in vocals Limiter can be used to suppress signals at a high level to prevent sound distortion.
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
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 Output L Noise Suppressor Over Drive Rotary Speaker Output R Input R Parameter (full name) Noise Suppressor: Setting Function Mutes noise in the silent mode. Sw (Switch) On, Off Turns the noise suppressor on or off.
Chapter 8 Using the Internal Effects Pre-amplifier 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: Clean Twin: Match Drive: BG Lead: MS1959: MS1959: MS1959: SLDN Lead: Metal 5150: Metal Lead: OD-1: OD-2Turbo: Distortion: Fuzz: Chapter 8 Using the Internal Effects The sound of a Roland. The sound of standard built-in type vacuum tube amplifier.
Chapter 8 Using the Internal Effects Parameter (full name) Noise Suppressor: Setting Function Mutes noise in the silent mode. Sw (Switch) On, Off Turns the noise suppressor on or off. Thresh (Threshold) 0–100 Sets the level to start muting noise. Release (Release) 0–100 Sets the time over which the volume will drop to 0 after the noise starts being muted. G-Amp (Pre-Amplifier): Simulates the pre-amplifier section of a guitar amplifier. Sw (Switch) On, Off Turns the compressor on or off.
Chapter 8 Using the Internal Effects 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 Output L Phaser L 3BAND EQ Phaser R 3BAND EQ Output R Chapter 8 Using the Internal Effects 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.
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) Sw (Switch) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
Chapter 8 Using the Internal Effects Parameter (full name) Flanger: Setting Function Adds effect similar to ascending/descending sound of a jet. Sw (Switch) Turns the flanger on or off. Rate (Rate) 0.1–10.0 Hz Sets the rate at which the flanger is modulated. Depth (Depth) 0–100 Sets the depth of modulation. Manual (Manual) 0–100 Sets the center frequency subject to application of the Flanger effect.
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 Output L Input A Compressor/Limiter A Noise Suppressor A Detector in Detector in Detector in Detector in Compressor/Limiter B Noise Suppressor B Input B Output R Input A is input into the L-channel side of the effect.
Chapter 8 Using the Internal Effects Parameter (full name) Setting Function 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. On, Off Turns the compressor/limiter on or off. Ratio (Ratio) 1.5:1, 2:1, 4:1, 100:1 Sets the compression ratio applied when threshold level (Thresh) is exceeded.
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 Output L Direct Level 3BAND EQ Gate Reverb 3BAND EQ Input R Direct Level Output R Gate Reverb fig.
Chapter 8 Using the Internal Effects Parameter (full name) Gate Reverb: Setting Function Mutes the revert sound midway. On, Off Turns the gate reverb on or off. Time (Gate Time) 10–400 s Sets the time from when the reverb sound begins until it is muted. Pre-Delay (Pre-Delay) 0–300 ms Sets the time until the reverb sound appears. Thick (Thickness) 0–100 Sets the thickness of the reverb sound. Density (Density) 0–100 Sets the density of the reverb sound.
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 Output L Diret Level Input L 3BAND EQ Pan 1 Pan 2 Pan 10 Multi Tap Delay Feedback Level 3BAND EQ Input R Parameter (full name) Multi-Tap Delay: 148 Output R Diret Level Setting Function Issues 10 delay sounds separately.
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
Chapter 8 Using the Internal Effects Stereo Multi fig.08-47 Input L Input R Compressor/ Limiter Enhancer 3BAND EQ Noise Suppressor Compressor/ Limiter Enhancer 3BAND EQ Parameter (full name) Noise Suppressor: Setting Output R Function Mutes noise in the silent mode. Sw (Switch) On, Off Turns the noise suppressor on or off. Thresh (Threshold) 0–100 Sets the level to start muting noise.
Chapter 8 Using the Internal Effects 3 BAND EQ (Equalizer) On, Off Turns the equalizer on or off. Hi Gain (High Gain) -12– +12 dB Sets the boost/cut amount in the high frequency band. Hi Freq (high frequency) 1.4–20.0 kHz Sets the center frequency in the high frequency band. Hi Q (High Q) 0.3–10.0 Sets the width of the area around the high frequency that will be affected by the gain settings.
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. Either of FX-1 through FX-8 can be used. For each of FX-1 through FX-8, two types of reverbs with different settings can be used or a combination of reverbs can be used. fig.
Chapter 8 Using the Internal Effects Parameter (full name) Reverb 2: Setting Function Gate reverb with two modes of gate operation On, Off Turns the reverb on or off. Type (Reverb Type) See the column on the previous page. Sets the reverb type. Time (Reverb Time) 0.1–10.0 sec. Sets the length (time) of the reverb sound. Pre-Delay (Pre-Delay) 0–200 ms Sets the time until the reverb sound is output. Density (Density) 0–100 Sets the density of the reverb sound. Effect Level (Effect Level).
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 Output L Input L Space Chorus Input R Output R Parameter (full name) Space Chorus: Setting Function Adds a chorus effect simulating SDD-320. Sw (Switch) On, Off Turns the space chorus on or off. Mix Bal (Mix Balance) 0–100 Sets the volume balance between the chorus sound and the direct sound.
Chapter 8 Using the Internal Effects Parameter (full name) Lo-Fi Processor: Setting Function Creates lo-fi sounds. On, Off Turns the lo-fi processor on or off. Effect Level (Effect Level). 0–100 Sets the volume of the lo-fi sound. Direct Level (Direct Level) 0–100 Sets the volume of the direct sound. Rate (Rate) Off, 1/2 - 1/32 Sets the sample rate. Set Rate to “Off” if no change is desired. Bit (Bit) Off, 15 bits - 1 bit Sets the number of bits in data.
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 Output A 4Band EQ A Link 4Band EQ B Input B Output B Cutting noise. 4-Band Parametric Equalizer can freely change the cutoff frequency or the band width (Q) at four points, that is, in the high, high middle, low middle and low frequency bands.
Chapter 8 Using the Internal Effects *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) Chapter 8 Using the Internal Effects Graphic EQ (10-Band Graphic Equalizer) This Equalizer sets the boost/cut amount by each segment of the frequency divided into ten bands.
Chapter 8 Using the Internal Effects Hum Canceler Eliminates annoying hum (or “surge” sounding “boon”). fig.08-59 Input A Hum Canceler Noise Suppressor Hum Canceler Noise Suppressor Input B Output A Output 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.
Chapter 8 Using the Internal Effects 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 Output L Input L 3BAND EQ Vocal Canceler 3BAND EQ Input R Output R Chapter 8 Using the Internal Effects Depending on the music source, sounds that you do not wish to be canceled may be canceled as well.
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),” the setting for Lo Q or High Q is invalid. Frequency (p. 237), Q (p. 243), Shelving Type (p. 244), Peaking Type (p. 242), Vocal Canceler (p. 247), Equalizer (p.
Chapter 8 Using the Internal Effects 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 Output L Voice Transformer Reverb Output R Chapter 8 Using the Internal Effects Input R * Voice Transformer can be used only with FX-1, FX-3, FX-5 and FX-7. * When inputting voice, use voice of one person only.
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) Output L VOCODER + + Chorus Input R(Mic) Output R 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. Similarly, vocal sounds are input into the R channel side of Effect.
Chapter 8 Using the Internal Effects Parameter (full name) Vocoder: Setting Function 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) 0–100 Sets the tone of the vocoder. SynInput level (Synthesizer In Level) 0–100 Sets the input level of the instrumental sound. MicSens (Microphone Sensitivity) 0–100 Sets the input sensitivity of the microphone.
Chapter 8 Using the Internal Effects MicSimulator (Microphone Simulator) This modifies sound that was recorded by a conventional dynamic mic, lapel mic or direct line, causing it to sound as though it had been recorded by an expensive condenser mic or a special studio mic. The mic simulator can add effects of proximity or distance. fig.
Chapter 8 Using the Internal Effects Parameter (full name) Link: Setting Function Channel B follows the settings for Channel A. Link (Link Switch) Mic Converter A/B: On, Off Specifies if Channel B follows or does not follow the settings for Channel A. Converts the characteristics of the low-end general-purpose microphone into the characteristics of the high-end microphone for studio application. On, Off Turns the microphone converter on or off. Input (Input) See the column on the previous page.
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. fig.
Chapter 8 Using the Internal Effects 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.
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 Analog Flanger L Analog Flanger R Output L Output R Types of Flanger Effect Analog Flanger provides a variety of flanger effects or chorus effects. Selecting the desired flanger effect type in Mode.
Chapter 8 Using the Internal Effects 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 R Output L Chapter 8 Using the Internal Effects Input R Analog Phaser L Output 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. fig.
Chapter 8 Using the Internal Effects Speaker Modeling Models a variety of speaker characteristics ranging from those of high-end professional monitor speakers used as the standard at studios around the world to those of speakers of small-sized TV sets and portable radios. fig.
Chapter 8 Using the Internal Effects Parameter (full name) Setting Function SP Modeling (Speaker Modeling): Selects the speaker subject to characteristics modeling. Model (Model) See the column on the previous page. Output Speaker (Output Speaker) Phase (Phase) See the column on the previous page. NRM, INV Specifies the type of the speaker subject to characteristics modeling. Specifies the speaker actually generating sounds. Sets the phase of the speaker.
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. fig.
Chapter 8 Using the Internal Effects Lo Mid Q (Low Middle Q) 0.36–16 Sets the width of the area around the low middle frequency that will be affected by the gain settings. Lo Gain (Low Gain) -15– +15 dB Sets the boost/cut amount in the low frequency band. Lo Freq (low frequency) 20–2.00 kHz Sets the center frequency in the low frequency band. Lo Q (Low Q) 0.36–16 Sets the width of the area around the low frequency that will be affected by the gain settings.
Chapter 8 Using the Internal Effects Compressor: Compresses the entire output signals when the input volume exceeds a specified value. Sw (Switch) On, Off Turns the compressor on or off. Hi Thres (High Threshold) -24–0 dB Sets the volume at which the compressor for the high frequency band starts working. Hi Raito (High Ratio) 1:1–16:1, INF:1 Sets the ratio at which the output in the high frequency band is suppressed when the input level has exceeded the high threshold level.
Chapter 8 Using the Internal Effects 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 Output A BAS-CUT A 31BAND EQ A Link Chapter 8 Using the Internal Effects BAS-CUT B 31BAND EQ B Input B Output B 31-Band Graphic Equalizer can be used only with FX-1, FX-3, FX-5 and FX-7.
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. fig.
Chapter 8 Using the Internal Effects Compressor: Compresses the entire output signals when the input volume exceeds a specified value. On, Off Turns the compressor on or off. Hi Thres (High Threshold) -24–0 dB Sets the volume at which the compressor for the high frequency band starts working. Hi Raito (High Ratio) 1:1–16:1, INF:1 Sets the ratio at which the output in the high frequency band is suppressed when the input level has exceeded the high threshold level.
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.
Chapter 8 Using the Internal Effects Expander: Expands the dynamic range at a certain ratio. Sw (Switch) On, Off Turns the expander on or off. Thres (Threshold) -80–0 dB Sets the volume at which the expander starts working. Ratio (Ratio) 1:1–16:1, INF:1 Sets the ratio at which the output is increased when the input level has dropped below the threshold level.
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 VM7100/7200 as well as for sounds output from PHONES (head set) of this equipment.
Chapter 8 Using the Internal Effects EQ A/B (10-Band Parametric Equalizer) Sw (Switch) On, Off Turns the 10-band graphic equalizer on or off. Input Level (Input Level) -30.0– +15.0 dB Sets the overall volume before passing through the equalizer. Band 1 - 10 Gain (Bands 1 - 10 Gain) -15.0– +15.0 dB Sets the boost/cut amount by frequency. Band 1 - 10 Freq (Bands 1 - 10 Frequency) -20– +20 kHz Sets the center frequencies in the respective bands. Band 1 - 10 Q (Bands 1 - 10 Q) 0.
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. In addition, Expander or Limiter can be used to expand or suppress the dynamic range.
Chapter 8 Using the Internal Effects Compressor: Compresses the entire output signals when the input volume exceeds a specified value. On, Off Turns the compressor on or off. Hi Thres (High Threshold) -24–0 dB Sets the volume at which the compressor for the high frequency band starts working. Hi Raito (High Ratio) 1:1–16:1, INF:1 Sets the ratio at which the output in the high frequency band is suppressed when the input level has exceeded the high threshold level.
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.
Chapter 9 Using the Spectrum 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. Select the desired effect pair—1/2, 3/4, 5/6 or 7/8—using the V1 knob and [F1] (SET). If the analyzer’s DISABLE setting is engaged, all of the system’s effects are available for normal use even when the ANALYZER screen is displayed. fig.
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. Generator (p. 237) Oscillator (p.
Chapter 9 Using the Spectrum Analyzer ■ 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. Press [ANALYZER/OSC/GEN]. This calls up the ANALYZER screen’s VIEW page. 2. Switch to the GEN/OSC page by pressing [PAGE DOWN] several times. 3. Use CURSOR [DOWN] to cursor to OUTPUT ASSIGN in the lower section of the display.
Chapter 9 Using the Spectrum Analyzer 6. Use [V2] to set the analyzer source to the input channel to which you connected the microphone. 7. The microphone captures the sound of the pink noise in the hall, and this is displayed on the VIEW page. The graph shows the frequency characteristics of the concert hall. For a relatively small room, such as a meeting room, you can use your own voice and a microphone instead of pink noise. Connect the microphone to one of the inputs and speak into it.
Chapter 9 Using the Spectrum Analyzer • 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. • Gain reset → Press [F5] (RESET) to reset the boost or cut for the selected band to ±0 dB, or [F6] (ALL RST) to reset the boost or cut for all bands.
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. A single processor allows up to three recorders to be connected, as shown below. fig.
Chapter 10 Combining Recorders 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. Normally, the multitrack recorder is selected as the master because of its mechanical arrangement.
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.
Chapter 10 Combining Recorders ■ 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). 3. Press [F3] (NAME) to open the screen. fig.10-004 Chapter 10 Combining Recorders From this screen, you can change the locate point name selected in step 2 above (up to 12 characters).
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. Changing registered contents. [F4] (CLEAR) [F5] (REGIST) V2 knob (TIME) V4 knob (PRE ROLL) [F6] (PROTECT) Used to Clear registered contents. Used to register Current Time. Used to correct current settings on a column basis.
Chapter 10 Combining Recorders ■ Loop and auto punch in/out Using the Loop Function, you can control connected recorders remotely so that it automatically repeats “Play → Rewind” for a specified region. 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 → play switching information to a currently running external recorder at a predetermined timing.
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. Thus, synchronization must be established between the multitrack recorders or video recorders used.
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. Referred to as “Automix,” these recorded contents can be revised as desired.
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. Note that data types that can be recorded vary from section to section.
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. - LEVEL: Level - PAN: Panning ● Other data types - Mute switch: Mutes/does not mute the channel.
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 4 2 1 3 5 1 CURRENT PROJECT Here, you can check the name of the project currently selected. 2 MEMORY REMAIN Here, you can check the remaining memory space that can be used for recording Automix. 3 INITIAL SCENE Defines the status of the mixer upon starting recording/playback of Automix.
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. Press [F1] (SEL) to set Automix in the playback/recording start status. To start with the current status, set to “NO SCENE.” To start with one of the recorded scenes, set to “SCENE” and select the scene number by turning [V1] (INITIAL SCENE).
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. You can check the state with the indicator. Define the state suitable for the desired operation for the respective channels.
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” (p. 196) before you start.
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. 1. Press any of the buttons in SECTION to select one of the sections. 2. Press [AUTO-MIX] to set it to ABSOLUTE RECORDING (the indicator: red). 3.
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. Relative recording can only be performed on the parameters subject to operation with the Fader. 2. Press [AUTO-MIX] to set it to RELATIVE RECORDING (orange indicator). 3.
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. 1.
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 CURSOR [DOWN]/[UP] while holding down [SHIFT]. 7. After step 6, follow the same steps as for RELATIVE RECORDING (p. 205) or for ABOSOLUTE RECORDING (p. 204). To set the recording finish position to the current position, press [F5] (NOW).
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 automixing 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. fig.11-03 1 9 8 2 3 4 5 1 6 7 VIEWER area You can check data by channel by viewing this area. On the left, the channel numbers and names (abbreviated) are displayed.
Chapter 11 Recording/Playing Back Fader or Knob Actions (Automix) 5 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. 6 SOURCE section The channel subject to auto-mixing editing (source channel) is specified in this section.
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] while holding down [SHIFT]. Displaying scaled-up/down VIEWER area 1. Press CURSOR [DOWN]/[UP] to move the cursor over to the ZOOM section. 2. Turn the [V5] knob to scale up/down the display along the time axis.
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. 214). 1. Check if the AUTO MIX VIEW screen is displayed (p. 208). 2.
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. 211) indicates the region to be copied. ● FROM This field sets the reference position in the data to be copied. The position specified here is copied to the position specified in the TO field.
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). Turning the TIME/VALUE dial shifts the current position by either hour, minute, second, or frame units. To change the unit, press CURSOR [LEFT] or [RIGHT] while holding down [SHIFT]. 9.
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. ● FROM This field sets the reference position in data to be moved. The position specified here is moved to the position specified in the TO field.
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. To change the unit, press CURSOR [LEFT] or [RIGHT] while holding down [SHIFT]. 9. Press [F1] (FROM) to assign the current position to FROM. 10.
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. To erase the space created by erasing data, execute CUT (p. 217). fig.11-06_70 ● FROM/TO These fields display the region of the data to be erased. The value of REGION SET (p. 211) indicates the region of the data to be erased. 1.
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 If you do not want the data following the region that has been cut to be shifted forward, use ERASE (p. 216) instead. ● FROM/TO These fields display the data region to be cut. The value of REGION SET (p.
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 Unlike screens for other operations, the VIEWER area displays only the data in the specified channel. MARKER ● MARKER This field sets the reference value(s) for seamless transition.
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. To clear the displayed dialog, press [F6] (EXIT). 4. Press CURSOR [UP] to move the cursor to the top section in the dialog. 5. Press [F5] (GRADATION) to display the GRADATION screen.
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. This function is useful when you want to add dynamics. fig.11-10_70 ● SHIFT This field specifies the value increment in auto-mixing data. fig.11-11e To obtain the value specified here, set the value for RATE at “100.
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. 9. Turn the [V3] (THRESHOLD) to set the reference value. 10.Press [F4] (EXEC) to execute EXPAND. When EXPAND is completed, a “Complete” message will be displayed. 11.
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] → [F4] (MIDI) fig.12-10 1 5 2 3 6 7 4 1 PROGRAM CHANGE The following settings can be switched using Program Change messages sent from an external MIDI device. For example, when you want to switch the FX-7 effect algorithm to a 31-band graphic equalizer, send program number 36 on MIDI channel 7 from an external MIDI device.
Chapter 12 Using with MIDI Devices ■ Settings related to tempo/metronome [SHIFT] + [PROJECT] → CURSOR [DOWN] → [F5] (TEMPO/METRONOME) fig.12-11 1 2 1 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. 2 MIDI METRONOME Settings for the metronome. MODE Determines when the metronome is to be sounded.
Chapter 12 Using with MIDI Devices ■ Settings related to synchronization [SHIFT] + [PROJECT] → CURSOR [DOWN] → [F3] (SYNC CLOCK) fig.12-12 2 1 3 4 5 6 1 7 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” and determine which time code to sync to.
Chapter 12 Using with MIDI Devices ■ 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). fig.
Chapter 12 Using with MIDI Devices [SHIFT] + [PROJECT] → CURSOR [DOWN] → [F3] (SYNC CLOCK) fig.12-02 • [EXT SYNC]: ON • SYNC MASTER: EXT, MTC • SYNC OFFSET: Provides the time on both the console and other devices with an offset when the console is being synchronized with video or similar equipment. • FRAME TYPE: Sets the frame rate for the device to be connected. • MMC CONTROL: ON (Only when the external MIDI device controls synchronization start and stop.
Chapter 12 Using with MIDI Devices [SHIFT]+[PROJECT] → CURSOR [DOWN] → [F3] (SYNC CLOCK)/[F4] (MIDI)/[F5] (TEMPO/METRONOME) fig.12-04 • [EXT SYNC]: OFF • SYNC MASTER: INT • MIDI SYNC Tx SW: MTC or MIDI CLOCK • SYNC OFFSET: Provides the time on both the console and other devices with an offset when the console runs in synchronization with a device such as a video device. • FRAME TYPE: Sets the frame rate for the device to be connected.
Chapter 12 Using with MIDI Devices ■ Controlling a MIDI device from the console fig.12-03* The processor also has a MIDI OUT/THRU/ METER connector which is used in the same way as that on the console. When the external MIDI device has been connected to the processor, set MIDI THRU PROCESSOR to “OUT” on the SYSTEM MIDI screen. Controlling volume or panning Change to the following screen by pressing [MULTI OUT] while holding [SHIFT] down.
Chapter 12 Using with MIDI Devices [SHIFT]+[PROJECT] → CURSOR [DOWN] → [F4] (MIDI) 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. [SHIFT]+[PROJECT] → CURSOR [DOWN] → [F4] (MIDI) fig.
Chapter 12 Using with MIDI Devices ■ Controlling the console from a MIDI device fig.12-01* The processor also has a MIDI IN connector which is used in the same way as that on the console. 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.
Chapter 12 Using with MIDI Devices 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. [SHIFT] + [PROJECT] → CURSOR [DOWN] → [F4] (MIDI) fig.
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. 2nd unit ➔ 1st unit Absolute recording One method of recording automix, in which fader or knob movements are recording just as they are operated.
Glossary 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. This simulates the bass cut switch that is found on some mics. Blank parameter chart A sheet of paper used to write down parameter settings. It contains the parameter names in an organized layout, with blank areas in which to write the value of each setting.
Glossary Condenser microphone A type of microphone that applies the principle of a condenser. It has excellent high-frequency response, and allows more subtle nuances of sound to be captured. A power supply is required for operation, and most professional condenser mics use phantom power. Less expensive models that run on batteries (electret condenser mics) are also available. ➔ Phantom power Console A surface on which controls are mounted.
Glossary On this system, refers to the digital audio input/output connectors of the processor. There are two: DIGITAL A (coaxial), and DIGITAL B (XLR connector). DIGITAL A can be connected only to the S/PDIF compatible digital input/output jacks found on many types of audio equipment, and DIGITAL B can be connected only to the AES/EBU compatible digital input/output jacks found on some professional audio equipment.
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 highfrequency overtones. It can be used when you wish to give the sound more definition and make it stand out, while not changing the tone or balance.
Glossary A general purpose bus, of which twelve are provided for each processor. These can be used for a wide variety of purposes, such as collecting signals to be sent to the internal effects, or for providing separate stage monitor feeds. Flex buses 1–8 differ slightly in functionality from 9–12 (refer to the diagram on p. 29). The VM-7200 processor provides independent outputs (bus out) for flex buses 5–12. ➔ Bus Foot sw, Foot switch A switch that is operated by stepping on it.
Glossary Guitar amp simulator (Guitar amp modeling) An effect that simulates the characteristics (distortion or tone) of various well-known guitar amps to make an instrument sound as though it were being played through that guitar amp. This system uses Roland’s proprietary Composite Object Sound Modeling (COSM) technology. ➔ COSM High frequency damp In reverb or repeated delay (echo), this is a function that causes the high-frequency components of the sound to decay first. It is also called “high damp.
Glossary 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. Lo-Fi processor An effect that creates a “lo-fi” sound by lowering the sampling frequency and/or number of bits.
Glossary Mic simulator (Microphone modeling) A function that uses digital signal processing to imitate the tonal changes that occur when sound is picked up by a specific model of microphone. This allows you to use an inexpensive generalpurpose mic to get the sound of a high-performance condenser mic or a special studio mic. The distance between the mic and the sound source (proximity effect and time delay) can also be simulated.
Glossary 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. ➔ SMPTE time code ➔ Frame rate ➔ NTSC format Note number A number included in a MIDI note message to specify the note location on a keyboard.
Glossary Patchbay A patchbay brings together the input/output jacks of a recorder or rack-mounted equipment into one location so that connections can be changed easily. This can help reduce the complexity of connections that can occur as larger numbers of MIDI devices and audio devices are used together. Connections can be changed easily by connecting cables (patch cords) within the patchbay.
Glossary An amplifier that boosts the signal to an appropriate level in the initial stage of the circuitry (input section). In this system, it refers to the analog amp that amplifies the signal in the input section of the processor. The signal that is output from the insertion jack of the processor has passed through this preamp. Pre-EQ This refers to the signal of an input channel immediately after it passes through the attenuator and phase switch and before it passes through the EQ section.
Glossary Return level When an effect is connected in a send/return configuration, the “return level” is the amount of signal that is taken from the output of the effect. Conversely, the “send level” is the amount of signal that is sent to the input of the effect. Reverb An effect that simulates the reverberation of a room or hall. It can add depth and spaciousness to the sound. RMDB2 Another name for R-BUS. An abbreviation for Roland Multipurpose Digital Bus 2.
Glossary An attribute of a filter, indicating the number of dB that the signal level changes one octave away from the cutoff frequency (i.e., at half or at double the frequency). For example, a -24 dB/octave filter produces a steeper attenuation around the cutoff frequency than a -6 dB/octave filter does. SmartMedia A type of memory card used by this system. SmartMedia is a format of small flash memory cards, and can hold several megabytes of data in a card measuring 45 mm x 37 mm.
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.
Glossary 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. Value The setting of a parameter. ➔ Parameter Velocity (MIDI message: initial touch) MIDI data that is included in a note-on message to specify the strength of the note.
Parameter List ■ PROJECT [PROJECT] CURRENT PROJECT PARAMETER VALUE, INITIAL VALUE NAME (12 characters) COMMENT (32 characters) PROTECT OFF, ON TYPE 1, TYPE 2 TYPE ■ SYSTEM DIGITAL I/O [SHIFT] + [PROJECT] [SHIFT] + [PROJECT] → [CURSOR DOWN] → [F1] PARAMETER VALUE, INITIAL VALUE DIGITAL IN A(COAXIAL), B(XLR) DIGITAL OUT MODE TYPE 1, TYPE 2 DIGITAL OUT COPY PROTECT OFF, ON WORD CLOCK SOURCE INTERNAL, MULTI 1-8, MULTI 9-16, MULTI 17-24, CASCADE, WORD CLOCK IN, DIGITAL IN WORD CLOCK IN TER
Parameter List [SHIFT] + [PROJECT] → [CURSOR DOWN] → [F5] TEMPO 25.0–120.0–250.
Parameter List ■ EZ ROUTING [EZ ROUTING] TEMPLATE [EZ ROUTING] → [F1] PATCHBAY [EZ ROUTING] → [F2] ■ STUDIO1/2 [SOURCE/STUDIO 2] PARAMETER VALUE, INITIAL VALUE SOURCE SELECT NO SRC, IN 1/2–IN 23/24, FBUS 1/2–FBUS 11/12, MON L/R, MAIN L/R LEVEL 0–100–127 MONITOR/PHONES(CONTROL ROOM) EDIT [SHIFT] + [SOURCE SELECT] DIM SW OFF, ON DIM LEVEL 0–40–127 MONO SW OFF, ON BAL L63–C–R63 OUTPUT PRESET A, B, C PRESET A DIGITAL MASTER 0–100–127 PRESET A SEND SW PROCESSOR MONITOR OUT OFF, ON
Parameter List [LEVEL METER] PARAMETER VALUE, INITIAL VALUE SOURCE INPUT, MULTI IN, FLEX BUS, MULTI OUT PRE EQ, PRE FADER, POST FADER OFF, ON -0dB– -24dB 0–3–7, CONTINUE POSITION x1/2 SW OVER RANGE PEAK HOLD ■ ANALYZER/OSC/GEN [ANALYZER/OSC/GEN] PARAMETER VALUE, INITIAL VALUE ANALYZER SW PAUSE, RUN ANALYZER LEVEL -64dB–0dB– +63dB ANALYZER SOURCE INPUT 1–24, FBUS 1–12, MAIN L, MAIN R, CUE L, CUE R, MON L, MON R ANALYZER PEAK HOLD OFF, ON ANALYZER AVERAGING SW OFF, ON 1–128 NORM, EXP OFF,
Parameter List ■ SCENE [SHIFT] + [SCENE] PARAMETER VALUE, INITIAL VALUE SCENE ACTIVE PARAMETERS PREAMP SW OFF, ON SCENE ACTIVE PARAMETERS DELAY SW OFF, ON SCENE ACTIVE PARAMETERS EQ SW OFF, ON SCENE ACTIVE PARAMETERS MUTE SW OFF, ON SCENE ACTIVE PARAMETERS MAIN SW OFF, ON SCENE ACTIVE PARAMETERS CUE SW OFF, ON SCENE ACTIVE PARAMETERS BUSSEND SW OFF, ON SCENE ACTIVE PARAMETERS OTHERS SW OFF, ON SCENE ACTIVE CHANNEL INPUT 1–24 OFF, ON SCENE ACTIVE CHANNEL MULTI IN 1–24 OFF, ON SCENE A
Parameter List [SHIFT] + [AUTO-MIX REC] PARAMETER VALUE, INITIAL VALUE VIEW UNIT SW 1st UNIT, 2nd UNIT [INPUT, MULTI IN, FADR GRP, FLEX BUS, MLTI OUT, MIDI, VIEW SECTION Chapter 13 Appendices ■ AUTO-MIX EFFECT, FX MST, MAIN, CUE, MUTE, SCENE VIEW PARAM VIEW PARAM ALL SW OFF, ON ZOOM TIME 1–4–14 ZOOM CH 1–4 REGION IN 00:00:00:00–23:59:59:29 REGION OUT 00:00:00:00–23:59:59:29 SYNC SW OFF, ON SOURCE SW CH 1–24 OFF, ON (COPY) (MOVE) (ERASE) (CUT) (GRADATION) (EXPAND) (CLEAR) ■ PREAMP 1–2
Parameter List FEEDBACK DELAY SW OFF, ON FEEDBACK DELAY DELAY LEVEL 0–70–127 FEEDBACK DELAY DIRECT LEVEL 0–100–127 FEEDBACK DELAY TIME 2–14400 samples 0.04–200–300.0 mS (Fs=48kHz) 0.01–103.
Parameter List 0–127 FLEX BUS 10 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 11 SEND SW OFF, ON FLEX BUS 11 SEND LEVEL 0–127 FLEX BUS 11 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 12 SEND SW OFF, ON FLEX BUS 12 SEND LEVEL 0–127 FLEX BUS 12 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 1/2 PAN L63–C–R63 FLEX BUS 1/2 PAN SLAVE TO MAIN OFF, ON FLEX BUS 3/4 PAN L63–C–R63 FLEX BUS 3/4 PAN SLAVE TO MAIN OFF, ON FLEX BUS 5/6 PAN L63–C–R63 FLEX BUS 5/6 PAN SLAVE TO MAIN OFF, ON
Parameter List ■ MULTI IN CH 1–24 PARAMETER R-BUS 1–24 ATT -24dB– +6dB É” (PHASE) NORM, INV PHASE DELAY SW OFF, ON 0–14400 samples 0–300.0 mS (Fs=48kHz) 0–103.2 Meters (Fs=48kHz) PHASE DELAY TIME FEEDBACK DELAY SW OFF, ON FEEDBACK DELAY DELAY LEVEL 0–70–127 FEEDBACK DELAY DIRECT LEVEL 0–100–127 FEEDBACK DELAY TIME 2–14400 samples 0.04–200–300.0 mS (Fs=48kHz) 0.01–103.
Parameter List 0–127 FLEX BUS 7 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 8 SEND SW OFF, ON FLEX BUS 8 SEND LEVEL 0–127 FLEX BUS 8 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 9 SEND SW OFF, ON FLEX BUS 9 SEND LEVEL 0–127 FLEX BUS 9 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 10 SEND SW OFF, ON FLEX BUS 10 SEND LEVEL 0–127 FLEX BUS 10 SEND POSITION Pre EQ, Pre FDR, PostFDR FLEX BUS 11 SEND SW OFF, ON FLEX BUS 11 SEND LEVEL 0–127 FLEX BUS 11 SEND POSITION Pre EQ, Pre F
Parameter List ■ FLEX BUS MASTER 1–8 PARAMETER 258 VALUE, INITIAL VALUE BUS ATT -24dB–0dB BUS MODE INT, EXT FLEX BUS 1 SEND SW OFF, ON FLEX BUS 1 SEND LEVEL 0–127 FLEX BUS 2 SEND SW OFF, ON FLEX BUS 2 SEND LEVEL 0–127 FLEX BUS 3 SEND SW OFF, ON FLEX BUS 3 SEND LEVEL 0–127 FLEX BUS 4 SEND SW OFF, ON FLEX BUS 4 SEND LEVEL 0–127 FLEX BUS 5 SEND SW OFF, ON FLEX BUS 5 SEND LEVEL 0–127 FLEX BUS 6 SEND SW OFF, ON FLEX BUS 6 SEND LEVEL 0–127 FLEX BUS 7 SEND SW OFF, ON FLEX BUS 7 SE
Parameter List 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 Chapter 13 Appendices MUTE STATUS MUTE GROUP 1 SW OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, REC, PLAY ■ FLEX BUS MASTER 9–12 PARAMETER VALUE, INITIAL VALUE BUS ATT -24dB–0dB CUE SEND SW OFF, ON CUE SEND LEVEL 0–127 CUE SEND PAN L63–C–R63 CUE PAN SLAVE TO MAIN OFF, ON MAIN
Parameter List ■ FADER GROUP MASTER 1–24 PARAMETER VALUE, INITIAL VALUE GROUP LEVEL 0–127 MUTE STATUS OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, ON OFF, REC, PLAY 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 ■ MULTI OUT 1–24 PARAMETER VALUE, INITIAL VALUE SOURCE NO SOURCE, INPUT 1–24, F-BUS 1–12, CUE L, CUE R, MON L, MON R, MAIN L
Troubleshooting Chapter 13 Appendices 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. Each device is not connected correctly. Audio cable is disconnected. The amplifier or mixer volume is set too low. Sound volume is too low.
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. ● [On Display] is turned on (lit). → As long as the light is on, the parameter selected from “parameter view on fader” is not reflected on the fader.
Troubleshooting Chapter 13 Appendices ■ 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. → Auto-mixing data is stored in the internal volatile memory. If you turn the power off before saving a project on a memory card, all the data will be lost.
Q&A This section presents frequently asked questions regarding the general use of the VM7200/7100 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. ■ Basic setup and structure Q. How is the mixer operated? A. Broadly speaking, there are two ways to operate.
Q&A Chapter 13 Appendices Q. What are the differences between the VM-7200 and VM-7100 mixing processors? The VM-7100 is a lower-priced version of the VM-7200, featuring half the number of A. 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 VMA.
Q&A ■ Hardware Q. How much headroom does the preamp provide? A. In addition to the rated input (+4 dB), you have another 18 dB of headroom. Q. What is the maximum phantom power current? A. 100 mA total for the device (this will vary depending on the connection of optional external devices). Q. With which sampling rates is the system compatible? A. The system works with 32 kHz, 44.1 kHz and 48 kHz. Q.
Q&A Chapter 13 Appendices Q. What about the processor’s LINE input jacks? A. These inputs are labeled “LINE” to make it clear that no phantom power is supplied. However, just as with the XLR connector (MIC) inputs, the input level is adjustable between +4 and -60 dB. Therefore, you can also connect dynamic microphones to these inputs. When connecting a high-impedance electric guitar or an instrument’s Piezo pickup, a direct box or other such device is required. Q.
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 A. 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. Route those signals to a pair of outputs for your main speakers.
Q&A Chapter 13 Appendices Q. What about the sampling rate when the R-BUS is used for receiving digital audio signals? This is locked to the sampling rate of the digital audio signals received through the RA. BUS. Q. When the sampling rate of the digital audio signals received through the R-BUS is locked, what would happen if I input signals with a different sampling rate through DIGITAL IN A or B? There is no problem with this setup. Signals can received through the DIGITAL IN A A.
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. Any note on/off messages received are ignored.
MIDI Implementation ●Song Position Pointer If “MIDI Program Change Sw” is on, program change messages will be received to perform the corresponding operation for each reception channel. VM-C7200/C7100 never transmits this message.
MIDI Implementation ●Universal System Exclusive Message MIDI Machine Control Commands ❍MIDI Time Code Status F0H Data byte 7FH,7FH,01H,01H,hr,mn,sc,fr Byte F0H 7FH 7FH 01H 01H hr Description Exclusive Status Universal System Exclusive Realtime Header Specify all connected devices MIDI Time code (sub-ID #1) Full Message (sub-ID #2) type/hours (0yyzzzzz) yy Time code type 0 = 24 frame/sec 1 = 25 frame/sec 2 = 30 frame/sec (Drop frame) 3 = 30 frame/sec (Non-drop frame) zzzzz Hours (0 - 23) Minutes (0 - 5
MIDI Implementation The message is transmitted under the following condition. When the VM-C7200/C7100 transmit the data on the requested parameter after receiving the Data Request message(RQ1). see “2. Data Transfer Address Map” for more details of the transfer parameters. Parameters that take special values The following parameters take special parameters for data transfer.
MIDI Implementation ●1-1.
MIDI Implementation ❍2-4.
MIDI Implementation ❍2-5. VM-7x00 Talkback Parameter ❍2-8.
MIDI Implementation ❍2-11. VM-7x00 Effect Section Parameter The insert location is controlled differently depending on the FX No. and the Effect Board Select of the 2-16.Misc parameters. As shown below, valid MSB and LSB must be provided simultaneously. It is not possible to insert two or more FX in the same insert location. Please check whether the insertion location you are attempting is not used by another FX.
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.
MIDI Implementation | | | 1:Delay | | | | 2:Stereo Delay Chorus | | | | 3:Stereo Pitch Shifter Delay | | | | 4:Vocoder | | | | 5:2ch RSS | | | | 6:Delay RSS | | | | 7:Chorus RSS | | | | 8:Guitar Multi 1 | | | | 9:Guitar Multi 2 | | | | 10:Guitar Multi 3 | | | | 11:Vocal Multi | | | | 12:Rotary | | | | 13:Guitar Amp Simulator | | | | 14:Stereo Phaser | | | | 15:Stereo Flanger | | | | 16:Dual Comp/Limiter | | | | 17:Gate Reverb | | | | 18:Multi Tap Delay | | | | 19:Stereo Multi | | | | 20:Reverb 2 | | | | 21
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.
MIDI Implementation * (Delay Time) + (Absolute value of Shift) should be 500 or less. Algorithm 3 Stereo Pitch Shifter Delay |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| P.ShifterDelay SW | | 00 00 0F#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| EQ SW | | 00 00 11#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| P.
MIDI Implementation Algorithm 6 Delay RSS |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Delay RSS: Delay Time | | 00 00 0F#| 0bbbbbbb| 0,,,1200ms| |——————————+—————————+————————————————————————————————————————————| | 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| 0,,,1200m
MIDI Implementation Algorithm 11 Vocal Multi Algorithm 12 Rotary |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Noise Suppressor SW | | 00 00 0F#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| Over Drive SW | | 00 00 11#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| Noise Suppressor: Threshold | | 00 00 13#| 0bbbbbbb| 0,,
MIDI Implementation | 00 00 2C | 0aaaaaaa| Speaker: MIC Setting | | 00 00 2D#| 0bbbbbbb| 0, 1, 2 = 1, 2, 3| |——————————+—————————+————————————————————————————————————————————| | 00 00 2E | 0aaaaaaa| Speaker: MIC Level | | 00 00 2F#| 0bbbbbbb| 0,,,100| |——————————+—————————+————————————————————————————————————————————| | 00 00 30 | 0aaaaaaa| Speaker: Direct Level | | 00 00 31#| 0bbbbbbb| 0,,,100| |——————————+—————————+————————————————————————————————————————————| | 00 00 32 | 00 | (Reserved) | : : | 00 00 7
MIDI Implementation Algorithm 17 Gate Reverb |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| G.Reverb SW | | 00 00 0F#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| EQ SW | | 00 00 11#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| G.
MIDI Implementation | 00 00 62 | 0aaaaaaa| EQ: High EQ Type | | 00 00 63#| 0bbbbbbb| 0, 1 = Shelving, Peaking| |——————————+—————————+————————————————————————————————————————————| | 00 00 64 | 0aaaaaaa| EQ: High EQ Gain | | 00 00 65#| 0bbbbbbb| -12,,,12dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 66 | 0aaaaaaa| EQ: High EQ Frequency | | 00 00 67#| 0bbbbbbb| 14,,,200 = 1.4,,,20.
MIDI Implementation Algorithm 22 Lo-Fi Processor * When Link SW = On, Bch corresponds to Ach.
MIDI Implementation | 00 00 36 | 0aaaaaaa| EQ Bch: 500Hz Gain | | 00 00 37#| 0bbbbbbb| -15,,,15dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 38 | 0aaaaaaa| EQ Bch: 1.0kHz Gain | | 00 00 39#| 0bbbbbbb| -15,,,15dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 3A | 0aaaaaaa| EQ Bch: 2.0kHz Gain | | 00 00 3B#| 0bbbbbbb| -15,,,15dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 3C | 0aaaaaaa| EQ Bch: 4.
MIDI Implementation Algorithm 29 Mic Simulator |——————————+—————————+————————————————————————————————————————————| | 00 00 0E | 0aaaaaaa| Link SW | | 00 00 0F#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 10 | 0aaaaaaa| Mic Converter Ach SW | | 00 00 11#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+————————————————————————————————————————————| | 00 00 12 | 0aaaaaaa| Bass Cut Ach SW | | 00 00 13#| 0bbbbbbb| 0, 1 = Off, On| |——————————+—————————+—
MIDI Implementation | 00 00 1E | 0aaaaaaa| Tape Echo Tape Head S Pan | | 00 00 1F#| 0bbbbbbb| 1,,,127 = L63,,,R63| |——————————+—————————+————————————————————————————————————————————| | 00 00 20 | 0aaaaaaa| Tape Echo Tape Head M Pan | | 00 00 21#| 0bbbbbbb| 1,,,127 = L63,,,R63| |——————————+—————————+————————————————————————————————————————————| | 00 00 22 | 0aaaaaaa| Tape Echo Tape Head L Pan | | 00 00 23#| 0bbbbbbb| 1,,,127 = L63,,,R63| |——————————+—————————+————————————————————————————————————————————| |
MIDI Implementation (*1) (*2) (*3) (*4) (*5) Refer to “MIDI Data - Mixer EQ Freq Table.” Refer to “MIDI Data - Mixer EQ Gain Table.” Refer to “MIDI Data - Mixer EQ Quality Table.” Refer to “MIDI Data - EXP/CMP Ratio Table.” Time(ms) = 50.0 * pow(100.0, Data/100.
MIDI Implementation |——————————+—————————+————————————————————————————————————————————| | 00 00 36 | 04 - 5E | Bch EQ Input Level (*2) | | | | -30.0,,,15.0dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 37 | 22 - 5E | Bch EQ Band1 Gain (20.0Hz) (*2) | | | | -15.0,,,15.0dB| |——————————+—————————+————————————————————————————————————————————| | 00 00 38 | 22 - 5E | Bch EQ Band2 Gain (25.0Hz) (*2) | | | | -15.0,,,15.
MIDI Implementation * When Link SW = On, Bch corresponds to Ach. (*1) Refer to “MIDI Data - Mixer EQ Freq Table.” (*4) Refer to “MIDI Data - EXP/CMP Ratio Table.” (*5) Time(ms) = 50.0 * pow(100.0, Data/100.
MIDI Implementation Master Effect Alogrithm 2 3Band Dynamics ●4-1.
MIDI Implementation | 00 00 7F | 00 - 01 | Digital Audio Output - Channel Status Type | | | | Type1, Type2-Form1 | |——————————+—————————+————————————————————————————————————————————| | 00 01 00 | 00 - 01 | Digital Audio Copy Protect | | | | Off, On | |——————————+—————————+————————————————————————————————————————————| | 00 01 01 | 00 - 05 | Date Display Form | | | | YYYY/MM/DD, YYYY/MMM/DD | | | | DD/MM/YYYY, DD/MMM/YYYY | | | | MM/DD/YYYY, MMM/DD/YYYY | |——————————+—————————+———————————————————————————————
MIDI Implementation ❍5-3. VM-C7200/C7100 MIDI Control Project Sub Block ❍5-8. VM-C7200/C7100 Unit Project Talkback Parameter +——————————+——————————————————————————————————————————————————————+ |Offset | | | adrs | MIDI Control Project Sub Block | |==========|======================================================| | 00 00 00 | MIDI Project Channel Param. -1 (Ch 1) 5-4 | | : : | | 00 00 78 | MIDI Project Channel Param.
MIDI Implementation ❍6-4.
MIDI Implementation | 00 00 24 | 00 - 7F | Surround LR:C Ratio 1,,,127 | |——————————+—————————+————————————————————————————————————————————| | 00 00 25 | 00 - 01 | Pan Link Off, On | |——————————+—————————+————————————————————————————————————————————| | 00 00 26 | 00 | (Reserved 10) | : : | 00 00 2F | 00 | | +—————————————————————————————————————————————————————————————————+ ❍6-7.
MIDI Implementation ●DEFERRED PLAY (MCS) (Transmission and Reception) Data byte 7FH,Dev,06H,03H Status F7H Byte F0H 7FH Dev 06H 03H F7H Description Status of System Exclusive Message Universal System Exclusive Realtime Header Device ID (or 7FH) MMC Command Message DEFERRED PLAY(MCS) EOX (End of Exclusive) Description Status of System Exclusive Message Universal System Exclusive Realtime Header Device ID (or 7FH) MMC Command Message LOCATE(MCP) Number of Bytes “I/F” sub command Information Field (08H, 0
MIDI Implementation 4. MIDI Joystick Support A joystick connected via MIDI can be used to operate the surround function. All MIDI channels of the following control changes are received, and will affect the surround parameters of the channel that is selected in the screen. The VM-C7200/C7100 does not transmit this message.
MIDI Implementation Chart Date : July. 16, 1999 MIDI Implementation Chart Transmitted Function...
Specifications VM-C7200: 94 ch V-MIXING CONSOLE ■ Sync MTC ■ Sample rate 48 kHz/ 44.1 kHz/ 32 kHz ■ Signal processing AD Conversion: Internal processing: DA Conversion: 24 bit linear, 64 times oversampling 32 bits 24 bits, 128 times oversampling ■ Frequency response Sample Rate 48 kHz: 44.1 kHz: 32 kHz: 10 Hz–20 kHz (±0.1dB) 10 Hz–20 kHz (±0.1 dB) 10 Hz–15 kHz (±0.1 dB) ■ Residual noise level (IHF-A Typ.
Specifications ■ Sample rate ■ Sync 48 kHz/ 44.1 kHz/ 32kHz ■ Signal processing AD Conversion: Internal processing: DA Conversion: 24 bit linear, 64 times oversampling 32 bits 24 bits, 128 times oversampling ■ Frequency response Sample Rate 48 kHz: 44.1 kHz: 32 kHz: 10 Hz–20 kHz (±0.1 dB) 10 Hz–20 kHz (±0.1 dB) 10 Hz–15 kHz (±0.1 dB) ■ Residual noise level (IHF-A Typ.
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 .................................................
Index D DA converter .................................................................234 Damp ..............................................................................234 DAT ................................................................................234 Data entry ......................................................................234 De-esser .........................................................................234 Default ...................................................................
Index FLIP ..................................................................................66 Foot sw ...........................................................................237 Formant .........................................................................237 Format ............................................................................237 Memory card .............................................................28 Frame ..........................................................................
Index Mute group ............................................................103, 240 On/off ......................................................................103 Register/delete a channel ......................................103 MUTE GROUP button ...................................................15 N Name ..............................................................................118 ASSIGNABLE OUT ..................................................94 DIGITAL OUT ..................................
Index Pitch Shifter ...................................................................242 PLAY button ...................................................................16 Post-fader ......................................................................242 Post-production ............................................................242 Power on/off ..................................................................24 Power source .................................................................
Index V T XLR connector .........................................................21, 247 TALKBACK ....................................................................38 Talkback .....................................13–14, 100–101, 189, 246 TALKBACK/SLATE .....................................................38 TALKBACK/SLATE button .........................................14 Tape Echo ......................................................................246 TapeEcho201 ...................................
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.
VM-C7200/C7100 VM-C7200/C7100 Owner’s Manual Owner’s Manual Notation used in this Owner’s Manual To make operation procedures easy to understand, the following notation system is adopted: • Characters and numbers in square brackets [ ] indicate buttons on the front panel. For example, [LEVEL METER] represents the LEVEL METER button. • Notes in the right margin of sections marked attention. Be sure to read these notes.
