The Roland M-5000 console's internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially "build" a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.
Up to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.
It starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit, and more.
Flat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The "touch and turn" mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.
Operate the console from a computer on a second or third display. The M-5000 GUI allows multiple windows, and features support for high-resolution displays. The dedicated app supports remote control from an iPad and supports Retina displays for crystal clear graphics.
Mono/stereo-settable input/output channels:
Input and output channels can be set as either mono or stereo in the channel edit mode. Channels used for stereo can be made stereo pairs for input, not just adjacent channels.
Dynamics and EQ sections that permit reordering:
The two Dynamics blocks can be used simultaneously enabling, for example, a compressor at an earlier stage and de-esser at a later stage.
The sequence of the Dynamics and EQ sections can also be reordered.
Input channels, AUX, Matrix, Group, and Main Out are switchable between mono and stereo
The signal flow for each is provided with high and low-pass filters, two independent Dynamics sections (with Compressor, Gate, Expander, Ducker, and Limiter selectable for each), a 4-band fully-parametric equalizer, and signal delay.
Full-featured audio processing is performed not just at the input stage, but at the output stage as well. Effect insertion points can be set both before and after the Dynamics and EQ blocks.
A Channel Link function that allows up to 12 Group settings:
The Channel Link function permits freely linking parameters for multiple channels.
Channels are linked by going to the CHANNEL LINK window and selecting a LINK group, then successively registering each channel by pressing the SEL button above its fader, making it possible to change the parameters to be edited all at once.
Linkable channel parameters can be registered for each Group enabling operations such as individually linking EQ, Dynamics, and other parameters or selecting ALL to sync all parameters allowing setup of parameters for multiple channels in a single operatio
Selectable LINK PARAMETER settings: ELAY / DIRECT / SENDS / ROUTE / PAN / MUTE / FADER
Main Out supports 5.1 surround, LCR, and LR. Built-in surround panning and stereo downmix:
As with the Input channel, the Main Out bus has two Dynamics and EQ blocks that can be switched in and out. Effect insertions are settable as well.
In addition, 5.1 surround, LCR, and LR can be selected as output destinations and simultaneous stereo downmix output is possible when in 5.1-channel mode.
The 5.1 output also supports surround panning, and when using LCR output, LCR PAN can be used to set the output balance for left, center, and right.
Monitor output supporting 5.1-channel surround:
As with Main Out, monitor output is provided on two types of buses: Monitor 1, which supports 5.1-channel surround, and stereo-compatible Monitor 2.
For 5.1-channel monitoring, individual delay and an Alignment function allowing level adjustment are built in for LCR, LEF, Ls, and Rs.
Moreover, Monitor 1 and 2 each have an Insert circuit. A flat monitor environment can be created by assigning graphic equalizers to monitors.
Built-in Sub-Group bus:
The M-5000 is equipped with a Sub-Group bus for using POST Fader to send signals from the desired channels.
As on the other output buses, Dynamics, EQ, Delay and Insert Effects can be used to adjust the sound.
The M-5000 features a Mix-Minus (minus one) function, indispensable to recording and relay feeds. The required number of outputs from this can be set as desired.
The M-5000 includes 24 DCAs. These are useful when globally controlling a large number of input channels, such as a string section or drums.
8 MUTE groups:
Eight sets of MUTE groups are available. Registering these in the user-assignable area makes it easy to turn muting on and off at the single touch of a control.
8 stereo multi-effects:
The M-5000 features a total of eight stereo multi effects for input and output.
These can be inserted and used at any desired point in input channels, AUX's, Matrices, Groups, and Main Outputs.
The multi-effects include Digital Reverb, Delay, Multi-band Compressor, and Dynamic EQ, and are modeled on leading Roland effect processors that include: the SRV-2000, SDE-3000, SDD-320, RE-201, CE-1, SPH-323 and SBF-325.
In addition, Distortion and Delay (digital and analog) modeled on BOSS compact pedals are also included.
Two selectable Solo systems:
The monitor feed is provided with two stereo solo buses. For example, Solo 1 can be used for stage monitor speakers, and Solo 2 can be used for in-ear monitors. Solo 1, Solo 2, or Solo 1+2 is selectable.
The headphones bus can also select either Monitor 1 and 2 to use as the source for monitoring and features a dedicated delay as well.
This allows for sound alignment with FOH or other configurations.
Solo In Place function:
Pressing and holding the Solo In Place button for at least two seconds activates the function.
Switching on a solo on an input channel during Solo In Place mutes the other input channels and outputs only the solo-on input channel to the routing destination.
32 graphic and parametric equalizers:
Graphic equalizers and parametric equalizers are independent of the multi-effects. Up to 32 graphic and parametric equalizers can be used simultaneously.
As with the Channel Link function for inputs, the setting of graphic and parametric equalizers can be changed at the same time.
Two audio analyzers:
Two 31-band audio analyzers are provided for the console and dedicated RCS. Each can be assigned not only to the desired bus output, but to inputs as well.
System layout using the built-in REAC master/slave modes:
OHRCA features a slave mode in addition to a master mode.
This makes two-way transmission of audio input and output possible between two OHRCA consoles, M-480, M-300, M-200i, or other V-Mixers.
Settings allow input to the master console using output from a slave deck, or vice versa.
External control using GP I/O:
The rear panel is equipped with eight GP I/O input connectors (including TRS phone jacks) and 12 GP I/O output connectors for external control. Latch and momentary settings are possible.
These can be used for beginning CD playback on fader start and preventing incorrect operation while live on the air.
They also make possible a wide range of control, including setting delay times by tapping, switching monitor speakers on and off by means of an external cough switch, monitor interrupts with dimmer during talkback, and more.
Talkback settings for up to 3 locations:
Three Talkback systems are provided as output destinations making communication possible between three locations, such as FOH and the monitor position as well as between FOH and a relay vehicle.
During talkback return, the desired TALK switch can be made to flash to indicate the call source. In addition, the amount of volume reduction performed by the Monitor Dimmer function during talkback can be adjusted individually for Monitor 1 and Monitor 2.
- Set three inputs per channel with full backup support:
- Three inputs can be set for each input channel of the console: primary input (IN), alternate (ALT) and track input (TR).
- For example, assigning the main vocal mic to "IN" and a backup mic to "ALT" allows for instant switch-over on the CH EDIT screen in the event of a mic failure. "TR" assignment is also available for backup audio as well as recording or virtual rehearsal/pla
- This is convenient if running recorded rehearsal content and also being able to easily patch in a previously captured track.
- Along with individual settings at the CH EDIT window, the system also supports global switching via scene setups.