In some ways, products are a lot like humans. The final result begins with a idea or concept (i.e., conception) and then follows through a development phase and when it’s ready to debut, the timing of that event is entirely in the hands of the product. With humans, we may want a child to be born on some certain special day, whether it’s a holiday or to coincide with the birthday of someone in the family. In the case of products, a marketing team may prefer that the product launch follows a tradeshow calendar, but it doesn’t always happen that way, and such is the case with Roland’s new M-5000 live mixing console, unveiled on the distinctly non-tradeshow date of Nov. 4, 2014.
If the M-5000 was simply an upgrade to Roland’s popular M-480 V-Mixer, that would be one thing, but this new entry takes the concept much further and makes significant strides in console design. Key to the M-5000 is its new O.H.R.C.A. (Open, High-Resolution Configurable Architecture) platform. Unlike other consoles, the O.H.R.C.A. implementation in the M-5000 architecture is not fixed into any predetermined structure and instead gives users the power to create a console structure to suit the needs of any specific application or venue.
The M-5000’s 128 audio pathways can be used to create any input/output combination of mix channels, auxes, matrices, subgroups, outputs, mix-minus buses and other configurations. So any certain performance requirement can easily be handled, whether that happens to be an unexpectedly large number of stereo auxes to feed a classical ensemble for IEM monitoring, or the need to feed a dozen or more output sources for surround playback with speakers hidden in various locations for an immersive audio program.
Yet this is not to imply that the M-5000 is just provided as an amorphous construction set with a massive I/O router and a set of “design your own console” instructions. Any console configuration or setup can be stored and recalled for immediate recall — whether for FOH, monitors, broadcast, recording — with unrestricted patching for up to 300 inputs and 296 outputs at 96k Hz or 460 inputs and 456 outs at 48k Hz.
The M-5000 can easily handle conventional (traditional) console duties, with its local analog 16 inputs and 16 outputs and full compatibility with the Roland’s extensive family of digital snakes, M-48 Personal Mixers and multi-channel playback/recording systems.
Yet clearly this is no obsolescence changeover. The M-5000 interfaces seamlessly with any Roland REAC platform product made since 2005, and its two expansion slots also support other platforms, including Dante, MADI and Waves SoundGrid. Roland’s long-established REAC (Roland Ethernet Audio Communication) protocol offers low latency, high quality digital audio transfer and control offers, with up to 40 inputs and 40 outputs (80 channels) of uncompressed 24-bit/96k Hz audio over standard Cat-5e/Cat-6 Ethernet cable.
Adding one REAC card brings another 80 user-defined channels (at 44.1/48/96 kHz), while a second card bumps that figure up to 160 x 160. A Dante card provides full-duplex two-way communication on a maximum of 64 (48k Hz) channels or 32 channels at 96k Hz.
For critical “no-fail” applications, redundant REAC lines can be created by connecting both a main and backup line. If the main line experiences a problem, switchover to the backup line takes place automatically, with no audio interruption. Similar audio redundancy is also possible for MADI or Dante cards installed in the expansion slots. On the power side, in addition to the standard IEC AC connection for the internal power supply, the console also has a DC input that can connect to an optional S-240P power unit.
Beyond the flexibility and power the M-5000 offers, a key point of the O.H.R.C.A. technology is high resolution. The D-A and A-D converters are 24-bit/96k Hz, while FPGA’s offer high-speed computation for the mixing section, with 72-bit linear capacity for the critical summing circuit that determines mix quality. The onboard (and remote snake) XR-1 preamps are a high-end discrete design with ample headroom for any source — and full remote control of gain and phantom power.
The User Interface
Given the system power, the console itself is built into a compact 37 by 28 by 14-inch (WxDxH), 79-pound footprint, with 28 motorized faders in four banks. These are arranged as three assignable tiles of eight faders and one bank of four (also assignable) faders. Located at the far right side of the mix surface, the latter four can be dedicated to any source, whether as main outs or as any critical “money channel” inputs and can be set and changed on the fly, based on any need at the time.
Each of the three eight-fader tiles feature an Isolate function that allows scrolling and layer switching independently — or in tandem with — other fader banks. Different channels can be assigned to each bank, such as input channels to the first bank of eight, DCA’s to the second and output buses to the third bank, while an Anchor function lets users assign often-used fader scrolling positions for fast recall or “jump” points.
Central to the console layout, is a large, bright 12-inch full-color touch screen that uses a flat design and vector graphics for clear, vivid display of information. Beneath the touch screen are 16 encoders with illuminated rings that change colors to match on-screen parameters. The “touch and turn” system of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.
The control surface also makes extensive use of full-color organic EL displays of channel and user-assignment displays providing high visibility under any lighting conditions.
The M-5000 will include Mac/PC remote control software offering full console operations that go beyond the built-in GUI. Users can separate and resize individual windows, creating any custom organization of critical pages or meters on external monitors. Also in the works is an iPad console control app for walk-the-house tweaking.
FX and More
The effects section adopts Roland’s 32-bit floating-point processing, and DSP functions can easily be ordered to suit needs, even simultaneously, with, say, the dynamics block split to provide a compressor at an earlier stage and de-esser at a later stage.
In addition to the 32 graphic and parametric EQ’s available on any channel or bus, eight stereo multi-effects are available on inputs or outputs and inserted at any point in the chain. These range from digital reverb, delay, multi-band compressor and dynamic EQ — all modeled on classic Roland effects such as the RE-201 Space Echo and the SRV-2000, SDE-3000, SDD-320, CE-1, SPH-323 and SBF-325 — as well as emulations of BOSS distortion and delay pedals. Need more? Adding an XI-WSG module and connecting to a SoundGrid server brings the entire family of Waves plug-ins to your palette.
Recording the Show
Recording flexibility with the M-5000 is well equipped. Besides the rear panel 2-channel AES outs, there is also a 16 x 16 USB audio interface and stereo record/playback to flash USB drive. On the REAC side, Roland also offers the R-1000 48-channel player/recorder, which offers full control of track arming, routing and transport control for performance capturing, sound check playback, backing tracks and more. And the MADI and Dante interfaces from the expansion slots open even more possibilities, whether for live recording, interfacing with broadcast personnel or simply multi-channel show archiving.
More to Come
The Roland M-5000 marks a major step forward in addressing the constantly changing needs of pro console users, whether in fixed installations, touring, theater, house of worship or portable reinforcement applications. Shipping is slated to begin Q1 2015.
