M-300

Live Mixing Console

Powerful, Compact Mixing
An innovative console that fits anywhere.
Easy to operate. Incredible sound.

  • USB
  • REAC
  • V-LINK

Powerful, Compact Mixing
An innovative console that fits anywhere.
Easy to operate. Incredible sound.

Roland introduced the modern V-Mixing System to the world in 2007. The V-Mixing System incorporates several models of V-Mixer Live Mixing Consoles, Digital Snakes for advanced digital audio transmission, the M-48 Personal Mixing System and the SONAR REAC Recording System for multi-channel recording. The V-Mixing System has been embraced the world over because of its high-quality sound, powerful features, extensibility and ease of operation. V-Mixing Systems are currently in use in live venues, touring and production, television and radio broadcasting/recording, as well as concert halls, educational institutions and houses of worship.

The M-300 V-Mixer expands the number of V-Mixing System applications with a compact, highly portable chassis useable in any type of situation. The M-300 builds on the core V-Mixer feature set to represent the highest levels of performance at a breakthrough price.

Introducing the M-300 V-Mixer.

  • - 32 mixing channels, L/C/R outputs, 8 AUX buses, 4 Matrices
  • - 4-band PEQ and dynamics on all channels
  • - 11 different built-in multi-effects/ PEQ and delay on all outputs
  • - 24bit AD/DA for high-quality sound
  • - Remotely controllable from a PC
  • - Record to /playback from USB flash memory
  • - Perfectly integrates with the Digital Snake for simple and high-quality audio transmission, distribution, splits and merging
  • - Construct a flexible and powerful system by adding the Personal Mixing System, multi-channel recording and other REAC components.

The V-Mixing System Advantage

There are reasons why sound professionals and venues around the globe have chosen the V-Mixing System.


Advantage #1 Superior Sound Quality : Digital Snake

To achieve superior sound quality, the I/O unit(s) (Digital Snake) and the mixer (V-Mixer) are separate. Before A/D conversion, the input enters the discreetly designed, high-quality preamp, which is then digitally transmitted to the mixer over REAC protocol. By having the mic preamps closer to their source and by avoiding the transmission losses of long runs of analog cables, audio has a chance to sound its best throughout the whole system. The system provides superior clear sound, great intelligibility and with the wide range of Digital Snakes and REAC Merge Technology there is incredible flexibility for placement of audio inputs and outputs on-stage, off-stage, at FOH or in amplifier rooms.



Advantage #2 Intuitive User Interface : V-Mixer

Knobs and buttons for Preamp, EQ, and PAN are located on the front panel of the V-Mixer for intuitive, analog-like operation. Dedicated buttons for direct access to the patchbay and effects are also located on the front panel. With the on-board HELP system it's easy to learn and operate the V-Mixer.



Advantage #3 The Musician's Choice for Personal Mixing : M-48

Stage monitoring is crucial in getting the best performance from any artist. The V-Mixing System seamlessly integrates with the M-48 Live Personal Mixer allowing full control of set-up and mixing of any musician’s M-48 directly from the V-Mixer interface. Musician’s around the world have chosen the M-48 as their personal mixing system of choice because of the unprecedented level of control and amazing sound quality.




Advantage #4 Live Recording of Up to 40 Channels : SONAR

The demand for live recording has increased as live sound mixing has become digital. Connecting a PC for recording to the V-Mixing System is a simple Cat5e connection. Live recording of up to 40 channels is easily captured with SONAR DAW software from Cakewalk. Additionally, you can record a master mix directly from the V-Mixer to a USB flash drive.


Installation case 1 : Pope Benedict XVI in Fátima, Portugal

Pope Benedict XVI made a pilgrimage to this sanctuary in Fátima. Several ceremonies were held, which were followed by more than 450,000 attendees as well as millions of people around the world through television, radio and internet. All these events were mixed and split via 5 M-400 V-Mixers, and audio signals were distributed using Digital Snake systems via cable CAT5e to different split points such as television, radio and internet. Choosing this system was based on a previously successful experience during a 2007 visit of Pope Benedict XVI to Valencia (Spain) where a large number of Digital Snakes were installed. Fátima Sanctuary has two V-Mixing Systems: one in the control room of the sanctuary as a central point for audio monitoring and a second unit in the new Church of the Holy Trinity with a capacity of 9000.

Installation case 2 : Covenant Family Worship Center, USA

At Covenant Family Worship Center (a multi-cultural, non-denominational church in Fredericksburg, Virginia), technology and media department head Stephen W.Stafford uses the V-Mixing System including the Live Personal Mixing system for regular Sunday services and other events. He finds that the V-Mixing System has “allowed us to utilize volunteers with little or no previous audio engineering experience to effectively control the audio system”. He reflects that the benefits of the personal monitoring system are twofold. “First, it relieves the audio volunteers from the additional responsibility and concern for the monitor mix. Second, it allows each musician to tailor their stage mix as needed on an individual basis.” Stafford acknowledges he enjoys the “store and recall of settings, and signal integrity over Cat5. In total, I’ve experienced state of-the-art audio production on an unrivaled affordability scale.”

Installation case 3 : Trent FM Arena Nottingham, UK

The arena, which is based inside the National Ice Centre, holds many concerts/events for major acts with a capacity of 10,000. Adam Timson facilities manager says “The brief we were working to was the seamless replacement of our large 32 channel analog mixing desk ensuring there would be no loss of quality, features or usability. We looked at quite a few different options but after consultation with Simon Taylor of One Big Star and Andy Hague, our tame sound engineer, we decided the M-380 V-Mixer with Digital Snake best suited our needs and budget. It has a 19" footprint which allows us to move it easily and the Digital Snake means we can plug it in using just a single mains lead and single Cat5 cable. Since the M-380 was installed we have been happy with its performance and find the menus easy to navigate. We are able to save specific set ups and still adjust on the fly when we need to. The desk is as flexible as we are.”

Simple and Flexible High-Quality Sound - REAC: Next Generation Audio Transmission Technology



The foundation of the V-Mixing System is “REAC” (Roland Ethernet Audio Communication), the digital audio transmission technology developed by Roland. As a result of this technology, a flexible V-Mixing System can be constructed to match any venue using the Digital Snake and other REAC components. REAC is an Ethernet based technology, allowing devices to be connected easily with a standard CAT5e LAN cable. REAC can transmit up to 40x40 channels of uncompressed 24bit digital audio data, volume level information, and various control data using a single cable.

By placing the preamps as close to the source as possible, sound quality deterioration during transmission is minimized to the lowest possible level.

In the past, multiple analog cables were used to transmit data at low gain levels, which caused problems such as unwanted noise, sound quality deterioration, and crosstalk between channels. With REAC, those problems have been eliminated since the pre-amp gain is set before the data is transmitted digitally. REAC technology not only provides superb sound quality, but also enables easy setup and installation.

From Analog Console to V-Mixing System

Much more than just a console replacement.

Unlike other digital consoles, the V-Mixing System is not just a simple digital version of an analog console. The V-Mixing System offers a total solution for audio input and output transmission/splitting, personal mixing and multi-channel recording in a totally integrated system. As the centerpiece of the system, the V-Mixer includes a built-in recording/playback function and effects, digital scene recall and user customizations and level management. To replicate all the functions of the M-300 with an analog console system, a vast array of equipment would be required. A 32ch analog console, 32 separate compressors, 32 separate gates, 4 separate stereo multi-effect units, 15 separate 8-band parametric EQs and delays, and a digital recorder. All that is built into the M-300 with the added ability for every setup to be easily saved and recalled. More than a console - it's a complete system.

Compact, Uncompromising Sound and Features

Impressive mixing capacity in a small package

The M-300 V-Mixer is the ultimate solution for a variety of venues and applications. It provides a substantial mixing capacity of 32 mixing channels, 8 aux buses, 4 matrices, which represent the highest level in its class. The M-300 V-Mixer seamlessly integrates with other REAC devices. The user can directly operate the Digital Snake preamp, control an M-48 Personal Mixer, and set up the I/O for the S-4000M REAC Merge Unit. All of these features are contained in a very compact size of 749mm width x 626mm depth x 229mm height, and at a weight of 9.8kg (21 lbs 10 oz). The M-300 is the perfect choice for any venue with a limited set-up area, as well as for mobile sound reinforcement. Optional rack rails are also available.




Powerful Built-in Channel Effects

Equalization of channels and dynamics are the foundation of any great mix. The enhanced sound shaping abilities of the M-300 input channels include 4-band fully parametric EQ as well as gate and compression. A Key-In filter can be used for the Gate/Compressor to enable more expressive mixing. The 4 multi-effects processors can be set to use any of 11 different effects types. In addition to Reverb and Delay, modulation effects such as Chorus and Phaser are also available. The M-300’s busses are also equipped with 8 bands of fully Parametric EQ and Signal Delay on each Aux, Matrix and Main output. The M-300 is fully equipped with all of the sound adjustment tools built-in and ready to go.


 


Advanced Control Surface Design

The M-380 and M-400 V-Mixers are highly regarded for their ease of use and the M-300 continues this tradition starting with 17 x 100mm motorized faders. Central to the M-300’s operation is a high-resolution 800x480 pixel color display. Channel Parameters such as Gain, Pan, EQ and Dynamics can be comfortably operated from the Channel Edit section located on the left side of the display. All parameters can be instantly saved and recalled from Scene Memory. The layers of faders can be easily switched with the LAYER button. Faders can be accessed and arranged freely, and saved as a User Layer.


USB memory recorder/player

Record the output of the M-300 Main, assigned AUX bus or MATRIX bus di rectl y to a USB memory drive connected to the built-in USB port. A mix produced with the M-300 can be saved as an uncompressed WAV file, without the need for an external recorder. WAV files on the USB memory drive can also be played back on the M-300 and used for background music/tracks. User settings and mixer data can also be saved to a USB memory drive.


The M-300 interfaces with a variety of devices

Control remotely from a PC

The M-300 can be controlled remotely in real-time from a PC (Windows) connected via the USB port. Mixing functions on the M-300 can be operated directly from a PC by using the M-300RCS dedicated control software which has the same GUI as the M-300 color display. (The M-300RCS can be downloaded from the Roland Systems Group website.) The M-300RCS can also be operated in of f l ine mode, al lowing data for various settings to be created in advance and saved to a USB memory drive. When you get to the venue, load the settings and jump right into sound check and rehearsal.

Control remotely using a wireless LAN

By enabling Remote Desktop Connection on a local PC directly connected to the M-300 via the USB, the M-300 can be controlled remotely from another PC using a wireless LAN. A tablet PC can be used to control the M-300 from a remote location. For example, you can be seated in the audience to adjust the house mix during the rehearsal, or stand onstage to adjust the monitor mix while consulting the stage performer. The M-300 enables new mixing possibilities that you could never achieve with an analog console.




Multi-channel recording to a DAW

For ty channels of 24-bit audio can be recorded directly to a PC (Windows) by connecting a REAC port to the gigabit Ethernet port on the PC via a single Cat5e cable. Audio is recorded as individual WAV files using Cakewalk SONAR and can be mixed af ter recording using the power ful digi tal audio tools and effects in SONAR.


* To use this feature, the REAC driver is required in addition to SONAR.

V-LINK - Audio and Visual Solution

By connecting the MIDI input/output to the video switcher such as the V-1600HD, V-LINK automatically synchronizes the audio of the M-300 with the visual images allowing “audio follows video”.


System Example

The variety of REAC products open a world of possibilities.
Expandability and flexibility bring many advantages

Basic System

Basic system supports various applications. 2x S-1608s are used for I/O unit. 32 inputs can be selected for mixing from all inputs, and 26 channels can be output.


* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.



Expanded System

This expanded system has many advantages. 4x S-0808 are connected via the S-4000M Merge Unit allowing very flexible and distributable setup. Each of the musician's M-48 Personal Mixers can also be managed from the M-300.

* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.


Broadcasting System

This system enables both live stage production and broadcasting. REAC signal comes from the stage to the M-300 and is then split to another two locations. Multi-channel recording is also possible by connecting a PC.


* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay.

Dimensions

PROCESSING

Number of Channels
32 mixing channels/11 buses/4 MATRIX buses/Up to 92 inputs and
90 outputs when using REAC Devices
AD/DA Conversion
24-bit/48.0 kHz or 44.1 kHz
Network Latency
2.8 mS (typ.) *1
* Total System Latency of audio signal from S-1608 inputs to outputs via M-300's REAC ports (A or B).
* Sample Rate: 48.0 kHz * Effects : No insert effects

CONNECTORS

CONSOLE INPUT jacks (1 to 4)
XLR-3-31 type (balanced, phantom power)
CONSOLE INPUT jacks (5 to 8)
1/4 inch Phone type (balanced)
CONSOLE INPUT jacks (9 to 12)
RCA Pin type
CONSOLE OUTPUT jacks (1 to 4)
XLR-3-32 type (balanced)
CONSOLE OUTPUT jacks (5 to 8)
1/4 inch Phone type (balanced)
PHONES jack
Stereo 1/4 inch phone type
DIGITAL OUT jack
Optical type
REAC port
RJ-45 EtherCon type x 2
USB port
Type A x 1, Type B x 1
Remote Connectors
RS-232C connector: 9-pin D-sub type
MIDI connectors (OUT/THRU, IN): 5-pin DIN type
Other Connectors
Grounding terminal
AC INPUT connector

INPUT/OUTPUT CHARACTERUSTUCS

Frequency Response
CONSOLE OUTPUT jacks (1 to 8):
-2 dB / +0 dB (20k ohms load, +4 dBu)
PHONES jack: -3 dB / +0 dB (40 ohms load, 150 mW)
Total Harmonic Distortion + Noise
CONSOLE OUTPUT jacks (1 to 8): 0.05 % (typ., +4 dBu)
PHONES jack: 0.05 % (typ., 40 ohms load, 150 mW)
Dynamic Range
CONSOLE OUTPUT jacks (1 to 8): 105 dB (typ.)
Crosstalk@ 1 kHz
CONSOLE INPUT jacks (1 to 4):
-80dB (Pad: ON, Input sens: +4 dBu, typ.)
CONSOLE INPUT jacks (5 to 12): -80dB (Input sens: +4 dBu, typ.)
CONSOLE OUTPUT jacks (1 to 8): -100 dB (typ.)
* Sampling frequency is 48 kHz or 44.1 kHz.
Nominal Input Level (Variable)
CONSOLE INPUT jacks (1 to 4):
-65 to -10 dBu (Pad: OFF) or -45 to +10 dBu(Pad: ON)
CONSOLE INPUT jacks (5 to 12): -28 to +4 dBu
Input Impedance
CONSOLE INPUT jacks (1 to 4): 14 k ohms
CONSOLE INPUT jacks (5 to 12): 10 k ohms
Non Clip Maximum Input level
CONSOLE INPUT jacks (1 to 4):
+8 dBu (Pad: OFF) or +28 dBu (Pad: ON)
CONSOLE INPUT jacks (5 to 12): +22 dBu
Nominal Output Level
CONSOLE OUTPUT jacks (1 to 8):
+4 dBu (Load impedance: 10 k ohms)
Output Impedance
CONSOLE OUTPUT jacks (1 to 8): 600 ohms
PHONES jack: 100 ohms
Recommended Load Impedance
CONSOLE OUTPUT jacks (1 to 8): 10 k ohms or greater
PHONES jack: 8 ohms or greater
Non Clip Maximum Output level
CONSOLE OUTPUT jacks (1 to 8):
+22 dBu (1 kHz, 10 k ohms load)
PHONES jack: 150 mW + 150 mW (Typ., 1 kHz, 40 ohms load)
Residual Noise Level (IHF-A, typ.)
-88 dBu (All faders: Min)
Equivalent Input Noise Level (E.I.N.)
-126 dBu (Main Fader: Unity, Channel faders: Unity only one
channel, Preamp gain: Max)

OTHERS

Display
800 x 480 dots Wide VGA TFT color screen with backlight
Power Supply
AC 115 V, 117 V, 220 V, 230 V, 240 V (50/60 Hz)
Power Consumption
50 W

Size and Weight

Width (W)
470 mm18-9/16 inches
Depth (D)
483 mm19-1/16 inches
Height (H)
195 mm7-11/16 inches
Weight
9.8 kg21 lbs. 10 oz.

(0dBu=0.775Vrms)


* XLR type: 1 GND, 2 HOT, 3: COLD

* phantom power: DC+48V(unloaded maximum), 14mA(maximum load) (All XLR type inputs)

* When a REAC Splitter S-4000D or a switching hub is used in-line with REAC cables, the network latency will increase by the amount of processing delay introduced by the splitting device itself. The actual delay is dependant upon the specifications of the splitting device, though the maximum delay amount for a single splitting device should be about 200microseconds.

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All specifications and appearances are subject to change.

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