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TECHNICAL FOCUS: FIRST LOOK Copyright Lighting&Sound

America March 2015

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Roland M-5000 Digital Live Sound Console By: Mel Lambert

Designers of live-performance consoles are faced with an unenviable dilemma. Assignability enables controls to be placed anywhere on the control surface but brings with it a number of key decisions. How many knobs, faders, and switches should be placed under the operator’s hands? If the resultant surface becomes too wide or too deep, we are forever reaching left and right, or bank-switching remotely located sections and hidden layers to the central sweet spot. But if the designer offers too few on-surface controls, it can take a critical number of seconds to interrogate the LCD screens, switch the target channel, output, or monitor path to an appropriate physical control, and then make the desired change. So what is the perfect number of controls to be included on a digital console that is designed to fulfill a number of assignments in live-sound production? This was the exact multifaceted question that Roland’s Japan-based engineering team addressed while developing the new M-5000 digital live-sound console which, for many potential customers, will represent a cost-effective and highly flexible alternative to some of the more established brands in this price/performance category. A key to the new console’s innovative design is Roland’s new platform, OHRCA—Open High Resolution Configurable Architecture—which enables M-5000 component elements to seamlessly communicate with one another at sample rates up to 96kHz and 24-bit resolutions. In essence, OHRCA offers 128 freely definable audio paths, with expandable control protocols, multi-format I/O choices, plus a flexible user interface and operator work flow. In addition to the M-5000 control surface, which offers 28 fully assignable faders and a central touch panel, the new console connects to a wide variety of I/O boxes and recorders, including the S-4000S modular digital snake, M48 personal mixing module, S-Series stage boxes, and R1000 recorder. For theatrical performance, the surface offers multiple master bus topologies—ranging from LR through LCR to full 5.1-channel surround, with multiple panning options—and a configurable foot switch for scene changes; low-noise fans ensure quiet operation. Redundant power also is possible using Roland’s optional Model S-240P DC unit. The pro-user price is just under $34K for an M-5000 with four S-2416 stage racks, a configuration that offers a total of 112-by-80 digital I/Os.

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Side view of compact Roland digital with Remote Control Software screen.

An open architecture allows the M-5000 console to accommodate different digital I/O formats, including Audinate Dante, MADI, and Waves SoundGrid, in addition to hardware utilizing Roland’s REAC-format ports used in previous smaller-format offerings, stage boxes, and multichannel recorders, plus other configurations to come. REAC— Roland Ethernet Audio Communication, introduced in 2005—interfaces with any REAC-compatible unit, and supports up to 40 inputs and 40 outputs of low-latency 24/96 digital audio transfer and control over standard CAT-5e/CAT6 Ethernet connections. The M-5000’s rear panel connections comprise a total of 16 analog mic/line inputs with discrete pre-amps and 16 analog outputs, two dual-channel AES-EBU-format I/Os, and a pair of dedicated REAC ports that can be cascaded to accommodate a total of four REAC-compatible outboards, plus two user-swappable multichannel ports compatible with optional XI Series Dante (available in April), MADI (available June), SoundGrid (available September), and REAC expansion cards. Each REAC card offers additional 80 x 80 I/O channels at

TECHNICAL FOCUS: FIRST LOOK

A user-assignable section permits assignment of various parameters via four encoders, eight buttons in three banks, and an organic EL display.

The M-5000’s assignable control surface allows operators to implement a custom work flow.

a conventional channel count of 64 bidirectional channels at 48kHz (32 at 96kHz) via dual BNC or optical connectors. Similar redundancy is available for MADI or Dante cards. In this way, the operator can access up to 300 discrete inputs and 296 discrete outputs at 96kHz sample rates, or an astonishing 460/456, respectively, at 48kHz; internal bus summing is to 72-bit linear precision. The available audio paths can be assigned as channels, auxiliaries, groups, matrices, etc., allowing the flexible user interface to be adapted to a number of different applications, including front-of-house, stage monitor, and even live broadcast. The 12" touch screen features assignable control knobs and toggle buttons that follow both contextual and assignable functions. Roland’s Touch-and-Turn function offers a total of 28 fully scrollable faders that, dependent upon the user’s preferences, can be set either to control an isolated signal path, or to follow the preset layering and bankswitching modes. Internally, the M-5000 utilizes what Roland describes as optimized signal processing using sophisticated FPGAs and high-precision custom DSPs; the former enable high-speed computation for the mixing sections, while the latter handle the console’s built-in effects section. A 72-bit linear summing is said to offer enhanced sound quality from low to high mix levels. The effects section uses Roland’s proprietary 32-bit floating-point processing for enhanced dynamic range and audio precision. The channel equalizer incorporates state-variable filters that are described as having a proven track record in analog circuitry, as well as high-precision computing power that is said to generate zero noise— even while changing control parameters. And within each dynamics section, the M-5000 uses a high-precision exponential circuit that is said to offer sophisticated level control, while the mic pre-amplifier features a revised discrete architecture with “rigorously selected components.”

Fully configurable system architecture

Multifunction knobs and buttons within the programmable section offer remarkable flexibility.

44.1kHz, 48kHz, or 96kHz sampling rates—one use might be to install a redundant REAC board to offer both main and backup connections, with automatic switchover—while the Dante card enables full-duplex, two-way communication of 64 channels at 48kHz (32 channels at 96kHz), and the XIWSG module for a SoundGrid-capable server enables the use of Waves plug-ins on the M-5000; the MADI card offers


The M-5000’s integral architecture lets the operator adapt to the application at hand and, in essence, fabricate a custom work flow that produces the number of required channel inputs plus group, auxiliary, and monitor outputs. From the available pool of up to 300 physical analog or digital inputs— the latter in several formats—a total of 128 freely definable audio paths with full-function EQ, dynamics, and multichannel panning can be routed to a choice of 296 analog/digital outputs at a 96kHz sample rate; 460 x 456 at 44.1/48kHz. Built-in virtual patch bays can be used independently of the mixer control surface for off-line I/O setup. And any input can be routed to any single or multiple output, including gain control (only on REAC-connected sources) and phantom power, without having to be accessed via a mix channel. The available REAC-compatible snakes and stage boxes comprise:


• S-4000S-3208 modular stage unit, a rack-mount chassis that features preconfigured 32 mic/line inputs and eight line-level/+4dB outputs, with XR-1 mic pre-amps, 96/24 A-to-D and D-to-A conversion, plus redundant Ethernet ports with Neutrik etherCON connectors, which offer seamless switching with no loss of audio. • S-4000S-0832 modular stage unit, a rack-mount chassis with eight mic/line inputs and 32 line-level outputs; specs are identical to the S-4000S-3208. • S-4000S-MR modular rack chassis for custom configurations with no pre-installed I/O, designed to house the SIAD4 four-channel analog input module, SO-DA4 fourchannel analog output module, SI-AES4 four-channel AES/EBU digital input module, and SO-AES4 four-channel AES/EBU digital output module. • S-2416 24 x 16 stage unit, a rack-mount chassis that offers 24 mic/line analog inputs and 16 output line-level analog outputs, plus eight AES/EBU input and eight AES/EBU digital outputs; specs are identical to the S4000S-3208. • S-0808 input/output unit, with eight mic/line inputs and eight line-level outputs, a compact unit capable of battery power or embedded power over Ethernet (PoE). • S-0816 front-of-house unit, with eight mic/line inputs and 16 line-level outputs, and capable of being floor- or rackmounted. • S-1608 16 x 8 stage unit, with 16 mic/line inputs and eight line-level outputs, and capable of being floor- or rack-mounted. • M-48 live personal mixer, which enables control of up to 40 audio channels via 16 stereo groups, either locally or via the M-5000 control surface, with a built-in ambient mic that lets each musician hear the “presence” in the room, plus other musicians, without having to remove their IEMs; functions accessible via built-in controls include channel level, pan, three-band EQ, and reverb per group.

power for M-48 live personal mixers. • S-4000M REAC merge unit, which combines the outputs from up to four networked REAC devices into a single data stream, with PoE (for the S-0808 I/O unit); channels can be routed automatically via an auto-map function. By way of an example, an M-5000 mixer connected to four S-2416 24 x 16 stage unit will accommodate 112 analog inputs and 36 channels of AES/EBU-format digital inputs, routing to 80 analog outputs and 36 AES/EBU output channels.

Intuitive control surface topology Although disarmingly compact, measuring just 37" wide by 28" deep by 14" high, the M-5000’s assignable control surface design packs a lot of creative power that allow operators to implement a custom work flow and way of working. The combination of a 12" full-color touch screen, 28 channel faders laid out in four areas, three 8-fader bankable sections, plus four assignable master faders—together with multifunction knobs and buttons, and a user-programmable section, is remarkable. It is obvious that Roland’s talented designers have focused their attention on offering speedy and accurate operation with a topology that combine a balance between on-surface usability and flexible assignability. The three primary banks of eight faders can be scrolled horizontally via five layers, labeled input channel, DCA bus, and User 1, 2, and 3. Each of eight-fader banks is also fitted with an isolate function that offers independent scrolling and layer switching, or in tandem with other banks. Channels can be freely assigned to any bank—maybe input channels to the left-hand section, DCAs to the center section, and output busses to the right-hand section. Usefully, an anchor function allows key fader-scroll positions to be recalled quickly, or to serve as “jump-to” points. Beneath the central flat screen with clear vector-graphic displays are a total of 16 encoders fitted with skirts that

• R-1000 48-track recorder/player, which handles 48 tracks at 48kHz and 24 at 96kHz sample rates, with a 24-bit file in BWF format; configured for virtual sound checks, rehearsals, music playback, etc.; removable storage includes an HDD-500G hard drive and an optional SSD128G solid-state drive. • S-4000D splitter and power distributor, which handles up to 10 REAC ports, including eight with REAC-embedded

The full-color touch screen features 16 encoders whose colors change according to assigned functions.

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change color corresponding to the currently assigned function and to match the on-screen parameters. The user simply touches the encoder and changes the targeted parameter; it couldn’t be easier. The screen also incorporates Roland’s Touch-and-Turn capabilities; a selected knob located to the right of the 16 encoders follows whatever parameter is touched on the screen. Full-color EL displays above each channel strip offer outstanding visibility in virtually any ambient lighting. Four faders on the extreme righthand side of the surface can be freely assigned to any signal path—maybe the master output, a lead vocal, or other critical input channels—for instant access. The right side of the surface also includes a user-assignable section of four encoders and eight buttons with three switchable banks; a dedicated display window enables speedy access to key user-assigned functions. Input channels can be configured to access up to three sources: primary input (IN), alternate (ALT), and track input (TR). One application might be to assign a main vocal mic to IN and a backup to ALT, to enable instant switch-over; the TR choice is available for both backup audio as well as recording or virtual rehearsal/playback from an external R-1000 48-track recorder/player at the press of a single button. Inserted between I/O sources and the M-5000 console, the R-1000 provides full control of track arming, routing, and start/stop for concert playback and sound checks through an identical signal chain as the live sources with no patching—and complete with pre-amp setting, if necessary. (This might be handy when rolling a previously recorded rehearsal track, for example, with the ability to quickly duck out of a live source.) In addition to a CH EDIT window, the M-5000 also offers global switching via scene changes. All input channels, aux, matrix, group, and main outputs are switchable between mono and stereo; channels in stereo mode can be selected from any input pairs, not just adjacent channels. Each signal path—both input sources and outputs—features high- and low-pass filters, two independent dynamics sections (selectable between compressor, gate, expanderducker, and limiter), a four-band parametric equalizer, and signal delay. For added flexibility, two effects-insert points are available: Insert A is pre-EQ and dynamics; Insert B is post-EQ and dynamics. A channel link function enables up to 12 group settings to be freely linked across multiple parameters. Having selected a LINK group, the operator simply adds the target channel by hitting the corresponding SEL button above the corresponding fader. Single parameters can be assigned to each group—enabling individually linked EQ, dynamics, etc.—or, by selecting ALL, assign every signal-path parameter across multiple channels. The main out signal path supports left-right, left-center-right, and 5.1-channel surround assignments with separate panning laws, and built-in stereo down mix. As with input channels, the main out features two selectable dynamics and EQ sec-


Rear-panel REAC connectors plus word clock I/O.

Four assignable master faders can be freely assigned to any signal path for instant access.

tions, with effects inserts, as necessary. The M-5000 console includes a total of eight stereo effects that can be assigned to input/output signal paths, including input channels, aux sends, matrices, groups, and main outputs. The effects comprise digital reverb, delay, multi-band compressor, and dynamic EQ, modeled on popular Roland-brand outboard processors, including the SRV2000, SDE-3000, SDD-320, RE-201, CE-1, SPH-323, and SBF-325. Distortion and delay (digital and analog) modeled on BOSS stomp boxes and pedals also are offered. A total of 32 assignable 31-band graphic or eight-band parametric equalizers can be used independently of the integral multi-

Two stereo solo buses are available for monitor outputs, with a dedicated delay for alignment with FOH or other arrays. Solo In Place mutes all other inputs and outputs only the Solo-on input channel.

effects library, with a channel link function. Like the Main Out, each stage-monitor output features a Monitor 1 bus, which supports 5.1-channel surround, and stereo-compatible Monitor 2, each with an insert point to accommodate, for example, graphic equalizers. Individual delay is featured for 5.1-channel monitoring, with an Alignment function offering level trim for LCR, LFE, Ls, and Rs outputs. A separate Sub-Group bus allows post-fader outputs to be derived from targeted channels, with full dynamics, EQ, delay, and insert effects, plus a Mix-Minus for record mode. A total of 24 DCAs is available for global control of multiple input channels covering, for example, a string section or a drum kit. Eight mute groups also are provided. For system alignment, the M-5000’s pair of 31-band spectrum analyzers can be assigned not only to the desired bus output, but to inputs. Two stereo solo buses are available for monitor outputs, with Solo 1 possibly assigned to on-stage wedges and Solo 2 to in-ear monitors; headphones can also be selected from Monitor 1 and Monitor 2 with a dedicated delay for alignment with front-of-house or other arrays. Solo in place—selectable by holding down the SIP button for at least two seconds—mutes all the other input channels and outputs only the solo-on input channel to the targeted destination. Eight rear-panel GP I/O inputs and 12 GP I/O outputs are provided for external control via conventional switch closures; both latch and momentary actions are supported for initiating, for example, CD playback on a channel-fader start, muting of monitor speakers via an external cough switch, or monitor-interrupt mode during talkback, etc. All

console settings can be stored in one of 300 scene memories and recalled as necessary, including via external triggers. Several interface protocols are supported, including RS-232C serial for connection to AMX, Crestron, and other external controllers, MIDI for audio-follows-video when connected to Roland video switchers and remote OHRCA commands, with remote operation over a LAN connection from a Windows or Mac computer using a proprietary Remote Control Software/RCS application. A dedicated word-clock connector is featured for system synchronization to outboard digital systems. Because REAC connections enable both slave and master modes, two-way transmission of audio I/O is possible between two OHRCA-capable consoles; in this way, an M-5000 can connect directly to a M-48 live personal mixer, as well as existing M-300, M-200i, or other Roland VMixers. Talkbacks can be configured between three console locations, such as front of house and the monitor position, as well as between front of house and a mobile truck, for example. (Usefully, the talkback switch can be set to indicate the caller source, with the amount of dim during talkback being individually adjustable for Monitor 1 and Monitor 2 modes.)

Remote stage-monitor control and companion recording Uniquely, the M-5000 interfaces directly with the M-48 personal mixer and its integral 40-channel mix engine to provide customized balances for every on-stage musician. In this way, an M-48 can also be used on the M-5000 front panel—mounted conveniently on a built-in shelf—as an engineer’s monitor, powered by the REAC backup port’s embedded DC. An Engineering Monitor function (available Q2, 2015) mirrors the remote musician’s M-48, enabling the M-5000 operator to check the mix and monitor exactly what each musician is hearing, with selection of the REAC A or B port for a monitor feed. The M-5000’s Remote Control Software/RCS—available as a free download from Roland’s website—can be used to operate the console from an outboard Mac or Windows PC, connecting via a USB or Ethernet remote port to enable LAN operation. The custom GUI allows multiple control/interrogation windows, with support for high-resolution displays for viewing additional windows of input/output meters. Remote control using an Apple iPad is enabled from a dedicated app that connects using either a wired dock, a LAN router, or a USB wireless LAN adapter; two-channel recording/playback using the iPad dock connector is also supported. The remote-control iPad app can play back audio files when dock-connected, with input sources and output channels being configured as necessary. The M-5000’s built-in 16-in/16-out USB audio interface enables 16-channel recording and 16-channel playback

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In a nutshell—a powerful control surface linked to enhanced connectivity

An M-48 personal mixer can be used as a self-powered engineer's monitor.

The M-5000's rear panel features a number of analog and digital I/O ports, including REAC, MADI, Dante, Waves SoundGrid, and other formats.

to/from an external digital audio workstation, while connection to an R-1000 offers 48-channel record/playback at 48kHz or 24 at 96kHz sample rates. Playback control is via the M-5000’s SUB input (TR mode); since multiple R-1000 units can be accessed from the console, successive playback from song files and stacked, synchronized units can be configured for higher track counts.


Announced shortly after last year’s AES Convention in Los Angeles, the new M-5000 digital live-sound console is a remarkable development based on Open High-Resolution Configurable Architecture that delivers 128 full-featured audio paths as input channels, aux sends, matrix outs, mix-minus, subgroups, monitor, and main outputs. The provision of two dynamics processors and a four-band parametric EQ section on each channel path, plus graphic/parametric EQs and builtin effects processors, rounds out the user features. The REAC multi-channel I/O format supports 24/96 work flows with lowlatency and is compatible with Roland’s series of digital snakes, stage boxes, and recorders, while plug-in modules handle Dante, MADI, and Waves connections. With 24 channel faders in three banks that can be assigned to fixed-format and user-defined layers, the M-5000 will accommodate a number of live-sound chores, ranging from touring rigs through houses of worship to performance centers. And while it can simultaneously handle both front-ofhouse and stage monitors—which is handy when staff is scarce, or space at a premium—the M-5000 is also targeted at handling individual applications with speed and agility. Fold in an Apple iPad app that enables full remote control of key functions via a conventional Wi-Fi link and it’s easy to appreciate that the M-5000 has sprung from the minds of a team of clever console designers that fully understand the requirements of contemporary live-sound engineers. Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for more years than he cares to remember. He is principal of Content Creators, a Los Angeles-based copywriting and editorial service, and can be reached at [email protected]; 818.558-3924. He is also a 30-year member of the UK’s National Union of Journalists.